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Doctor Who - Season 3
“The Doctor sort of travels through time and space and picks us up. God, I make us sound like stray dogs. Maybe we are.” That’s how Martha Jones describes her relationship with the Doctor, which is pretty accurate. After Rose has been left in a parallel universe and Donna ‘the Runaway Bride’ Noble had her short visit in the Christmas special, it is Martha Jones’ turn to travel through time and space as the Doctor’s companion.
The Doctor and the doctor, that’s the best way to name the dynamic duo of this season. David Tennant (‘Spies of Warshaw’) continues this season as the Tenth Doctor, but Rose’s role as companion is taken over by medical student Martha Jones (Freema Agyeman, ‘Law and Order: UK’). Sadly for Martha, the Doctor often reminds her that there was a girl before her who travelled with him; someone the Doctor can’t really get over too easily, but about whom he doesn’t want to talk. Every time that Rose is mentioned, it’s visible that something breaks within the Doctor. Freema Agyeman responds very appropriately to this, in my opinion: it’s clear that it bothers Martha more and more as the series progresses. Although not everyone’s a fan of Martha Jones, I am very happy that she is the companion in the season, because I genuinely believe that she adds value to this selection of episodes; something I couldn’t have said about Rose, for example.
My two favourite episodes of this season are ‘Blink’ and ‘The Shakespeare Code’ (and actually, also ‘Human Nature’, ‘The Family of Blood’, ‘Utopia’, ‘The Sound of Drums’ en ‘Last of the Time Lords’. Pretty much the entire season, really...). The new ‘monsters’ that are introduced in ‘Blink’ are the Weeping Angels. They are so inventive and I think they’re almost credible; that is probably the reason why so many people are left with nightmares after seeing this episode. The episode itself is very ingenious and well-built, the timelines seem to be completely accurate, even though the Doctor describes time as ‘a big ball of wibbly wobbly... timey-wimey... stuff’ (all praise to writer Stephen Moffat for this episode). I also really like ‘The Shakespeare Code’, but that’s especially due to the incredible about of references to literature, and the jokes about Shakespeare’s plays and sonnets (I’m a student of English, please forgive me).
Then onto the season finale. I’m someone who attaches a lot of importance to season finales, because I think that, when you’re able to write a satisfying end to something that’s so well done already, you really have to have skill. I don’t know what the deal is with ‘Doctor Who’, but they’re amazing with final episodes, and especially ingenious with the scarlet thread that they run through each season, without you actually realising it is such a big deal... Until you have your epiphany: those details actually appear to play an enormous role in the season finale. The actor worthy of praise for this season finale is John Simm (‘Human Traffic’), who plays Harold Saxon, the Master. His role is so much more important than it seemed, and he also is so well-chosen for his role that it’s almost scary: he practically is the Master. I think it’s brilliant.
This season, too, has become a masterpiece. I’m awarding it with a 9 and a standing ovation. Oh, and some last advice, should you run into a Weeping Angel: ‘Don’t blink. Blink and you’re dead. Don’t turn your back. Don’t look away. And don’t blink. Good luck.’
Follow Doctor WhoThe Doctor and the doctor, that’s the best way to name the dynamic duo of this season. David Tennant (‘Spies of Warshaw’) continues this season as the Tenth Doctor, but Rose’s role as companion is taken over by medical student Martha Jones (Freema Agyeman, ‘Law and Order: UK’). Sadly for Martha, the Doctor often reminds her that there was a girl before her who travelled with him; someone the Doctor can’t really get over too easily, but about whom he doesn’t want to talk. Every time that Rose is mentioned, it’s visible that something breaks within the Doctor. Freema Agyeman responds very appropriately to this, in my opinion: it’s clear that it bothers Martha more and more as the series progresses. Although not everyone’s a fan of Martha Jones, I am very happy that she is the companion in the season, because I genuinely believe that she adds value to this selection of episodes; something I couldn’t have said about Rose, for example.
My two favourite episodes of this season are ‘Blink’ and ‘The Shakespeare Code’ (and actually, also ‘Human Nature’, ‘The Family of Blood’, ‘Utopia’, ‘The Sound of Drums’ en ‘Last of the Time Lords’. Pretty much the entire season, really...). The new ‘monsters’ that are introduced in ‘Blink’ are the Weeping Angels. They are so inventive and I think they’re almost credible; that is probably the reason why so many people are left with nightmares after seeing this episode. The episode itself is very ingenious and well-built, the timelines seem to be completely accurate, even though the Doctor describes time as ‘a big ball of wibbly wobbly... timey-wimey... stuff’ (all praise to writer Stephen Moffat for this episode). I also really like ‘The Shakespeare Code’, but that’s especially due to the incredible about of references to literature, and the jokes about Shakespeare’s plays and sonnets (I’m a student of English, please forgive me).
Then onto the season finale. I’m someone who attaches a lot of importance to season finales, because I think that, when you’re able to write a satisfying end to something that’s so well done already, you really have to have skill. I don’t know what the deal is with ‘Doctor Who’, but they’re amazing with final episodes, and especially ingenious with the scarlet thread that they run through each season, without you actually realising it is such a big deal... Until you have your epiphany: those details actually appear to play an enormous role in the season finale. The actor worthy of praise for this season finale is John Simm (‘Human Traffic’), who plays Harold Saxon, the Master. His role is so much more important than it seemed, and he also is so well-chosen for his role that it’s almost scary: he practically is the Master. I think it’s brilliant.
This season, too, has become a masterpiece. I’m awarding it with a 9 and a standing ovation. Oh, and some last advice, should you run into a Weeping Angel: ‘Don’t blink. Blink and you’re dead. Don’t turn your back. Don’t look away. And don’t blink. Good luck.’
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