A decade in, how’s the bold New Doctor Who bearing up to compared to its Classic predecessor
10 YEARS. 10 YEAR’S ALREADY. 10 YEARS. THE TIN ANNIVERSARY. AND THEY SAY TIME IS RELATIVE. Since Doctor Who returned on 26th March 2005 we’ve heard more about fixed and immovable points of time than ever before. Sure, they haven’t been treated too consistently over the past decade, but if ever there was a point that had ultimate mobility it was one spring day 10 years ago.
Jokerside’s always been kind to the show’s prolonged hiatus. For all the shame that Who was cut down at the all too young age of 26, when it was reaching a considerable 1980s high, and clearly by decision makers who had little objectivity, the hiatus has proved crucial to the show’s legacy. True, we might have lived without the American TV Movie, although losing Paul McGann would have been criminal. More important was the throng of fan activity that quickly swung into place to continue the Doctor’s adventures and keep the Sacred Flame alive during the lean early 1990s; imaginations starved that quickly adapted to generating content for themselves.
Keeping the Sacred Flame alive
The New Adventures came about through the chance inquisitiveness of Peter Darvill-Evans at Virgin Publishing, before BBC books found repeating that magic wasn’t that easy. Among the roster of Virgin’s subsequent New and Missing Adventures were Russell T Davies, Mark Gatiss, Gareth Roberts, Paul Cornell… On screen, the wittily disrespectful Curse of Fatal Death gave Steven Moffat a chance to script Who that wouldn’t otherwise have materialised. At the end of the decade, Big Finish roared into prolific recording, reviving those would be soon called classic doctors thanks to Nick Briggs, Gary Russell et al – creators who would have a significant role to play in 21st Century Who.
While many were dragged into the world of New Who following their involvement in the above, reputations enhanced by proven success, there’s no doubt that the looser editorial control in the early 1990s (that is, from the BBC) allowed Who to diversify and deepen far more than it could on television. And the legacy of creative explosion on New Who is undeniable, even as it sits proudly back its traditional Saturday family slot.
Masterful appropriation of fate
More importantly, when all these events combine, the hiatus became the ideal metaphor for the perfectly vague Time War. A non-descript, highly destructive war of which few could speak and the Doctor would take no little time to recover from: Masterful appropriation of fate.
Who loves a birthday, but has rarely managed to hit the date. There may be something coming up in Series Nine to celebrate this anniversary, which would be a neat reference to the Classic series 10th anniversary special, which may have fallen in Season 10 but was almost a whole year early. Whatever happens, we’ll be very lucky to see Three Doctors team up this time around.
So if you took 10 key points of Doctor Who – how would these first 10 years of New Who compare to the Classic Series?
THE TUNE AND THE TUNNEL
New Who has been lucky to retain Murray Gold for its entire run
Delia Derbyshire’s distinctive arrangement of Ron Grainger’s theme stayed broadly unmolested for seven years from the moment her second version had rung out at 17:16 on 23rd November 1963, just as the highly influential work of genius in the key of E should. There were a few minor tweaks of course – such as the echoes that appeared during Patrick Troughton’s first season. With colour and overhaul to the title sequence that had managed to last one doctor without sporting the protagonist’s face, came the first big theme change. Jon Pertwee’s first season in 1970 saw extra sting to match its Quatermass horrors arrive during The Ambassadors of Death. But the Third Doctor also saw his tune lose some of the introduction, completely mislay the middle eight and take fright at fading, opting for a stutter and eerie chopping.
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