📝9/10

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"Dalek: The Tragic Return"

Robert Shearman’s sole contribution to televised Doctor Who, Dalek, draws inspiration from his earlier Big Finish audio play Jubilee. The result is a gripping, base-under-siege story that reintroduces the Doctor’s most iconic foes in a way that feels fresh, intense, and deeply emotional. Set against the backdrop of the Time War’s shadow, this episode puts both the Doctor and the Daleks in an entirely new light, delivering one of the darkest tales of the Ninth Doctor’s era.

This is a classic Doctor Who monster story reimagined for a modern audience. The base-under-siege format feels like something straight out of the Second Doctor’s era, complete with a self-absorbed leader, an ill-fated crew, and an escalating alien threat. But here, it’s turbocharged—with a deadly lone Dalek, a faster pace, and a much darker, angrier Doctor at its core.

The episode wastes no time establishing its central threat, introducing the Dalek within minutes. The Doctor’s reaction—shock and fear, quickly giving way to unbridled rage—is captivating and immediately sets the tone. This isn’t just a rehash of Doctor Who’s past; it’s a bold statement about the lasting scars of the Time War.

The story effectively makes a single Dalek terrifying, showcasing its relentless lethality and its ability to wipe out entire squads of soldiers single-handedly. Yet it also flips the script, making us question what defines humanity and monstrosity. The humans torturing the Dalek, particularly the Elon Musk-esque Henry van Statten, are deeply unlikable, while the Dalek itself becomes an object of unexpected sympathy.

Christopher Eccleston’s Ninth Doctor is at his absolute best here. His performance ranges from fury to heartbreak, delivering one of the most powerful depictions of the Doctor’s inner turmoil. The parallels between the Doctor and the Dalek are stark—both are war survivors, struggling with their identities. Watching the Doctor edge closer to the Dalek’s ruthlessness is as chilling as it is tragic.

Billie Piper shines as Rose, though her role is more limited than in other episodes. Her act of kindness towards the Dalek leads to the story’s emotional climax, where the creature questions its purpose and ultimately chooses self-destruction. The connection between Rose and the Dalek may stretch believability (particularly the DNA-feeding element), but it’s undeniably pivotal to the narrative.

Corey Johnson’s Henry van Statten is the quintessential “rich and stupid” villain—entertaining but somewhat cartoonish in his arrogance. Harriet Jones would have handled him in seconds! Meanwhile, Bruno Langley’s Adam proves as annoying as ever, already showing the uselessness that would define his short stint as companion.

The production design is simple yet effective. The dark, claustrophobic sets heighten the tension, while the Dalek’s sleek new design and upgraded capabilities (yes, it can climb stairs!) are both iconic and terrifying. Murray Gold’s score, as always, elevates the episode’s emotional beats, though the atmosphere is so strong that it would remain chilling even in silence.

The story’s emotional core, rooted in the Doctor’s trauma and the Dalek’s existential crisis, is its greatest strength. The pacing, while slow to start, builds to an explosive and cathartic conclusion. However, the tonal balance wavers at times. The Dalek’s brief moments of “humanity” are intriguing but may not sit well with purists who prefer their Daleks as unfeeling machines of destruction.

Final Thoughts:

Dalek is an atmospheric, character-driven reintroduction of the Doctor’s most infamous adversaries. While it doesn’t fully recapture the cold, calculated menace of the classic Daleks, it reinvents them for a new generation, combining terror with tragedy. Paired with one of Eccleston’s finest performances, it’s an episode that lingers long after the credits roll.

Random Observations:

• When the first season of a series takes place in a future that has long since passed in real life, you know it has been going on for a while. Here it is the wonderful year of 2012.
• A nice bit of fan service here: the Utah museum has the head of a Mondasian Cyberman on display. That remains the only onscreen encounter between the Ninth Doctor and a Cyberman.
• Davros is indirectly mentioned here by the Doctor.
• Following their latest appearance in Remembrance of the Daleks (1988), the Dalek is capable of levitating up a staircase, effectively ripping off the famous cliffhanger from the previously mentioned story.