Gwyneth stands in the middle of an arch and opens the rift, allowing the Gelth to cross over. The Gelth deceived how many of them there are, and their true motive is revealed: they intend to kill the living to give themselves more hosts and take over the planet. Sneed is killed and his body is possessed by the Gelth. Realising the Gelth are affected by the gas, Dickens extinguishes the gaslights and turns the gas on full, pulling the Gelth out of the bodies. Unable to send the Gelth back, Gwyneth takes out a box of matches, intending to ignite the gas and hold the Gelth in one spot with the explosion. The Doctor determines that Gwyneth is already dead, and that by opening the rift, she had doomed herself. The Doctor, Rose, and Dickens flee the parlour just before it explodes and burns, trapping the Gelth and closing the rift.
The actors who played the dead bodies possessed by the Gelth had simple make-up, with just shading and contact lenses and no prosthetics. The production team was mindful of the programme's audience, and decided to not have any missing facial features. Originally, visual effects company The Mill planned the computer-generated effects (CGI) to just be the \"ethereal swirl\", but in the seance scene they ran into the challenge of animating the Gelth's mouth. The Gelth turning red during the seance scene was a \"last-minute\" change to the visual effects. The Mill overshot their quota of CGI for the episode, and compensated with small swirls in shots that focused on other characters.
Because the actual message of this story has the most ethical and philosophical resonance for me. It was about Charles Dickens understanding that despite the incompleteness of his scientific knowledge, his ethical views were still valid. The joy of life is in understanding just how vast and complicated the universe is. Instead of being intimidated, frightened, or depressed by that complexity, the proper response is joy: there will always be more to explore, no matter how little time we may actually have left to explore it. It doesn't matter that Charles will be dead in less than a year. He begins the story depressed, because he thinks his knowledge of all possibility is complete: his family is estranged and he's stuck himself on tour during Xmas. He ends the story in a universe that he knows is so complex that he'll never begin to understand it completely even if he had another century: he's hopeful and happy, on his way to a wonderful last Xmas making up with his family. Cosmic truths have world-changing personal implications.
I think one of the interesting and laudable things this episode does is to recast existing expectations of the series within this new framework, which amount in part to a return to the original ambivalence about the Doctor himself. He's never been entirely trustworthy, except when he was, and his judgment isn't always perfect. What's most interesting to me about the big speech in this episode, the Doctor's sermon, is that we can come away from watching feeling as though he was both wrong and right; or better yet, we can come away wishing he had been right and that this story hadn't fit into the traditional alien invasion mode. (That makes this episode an unquiet fit with the following two, which whole-heartedly embrace that mode, and I wonder if their reputation doesn't suffer a bit because of the proximity.) What's brilliant here is that the Doctor's position can be clearly related to his own experiences, his survivor's guilt coupled with his direct culpability for the ending of the Time War. The Gelth aren't any war refugees, they're refugees from a war the Doctor fought in and was arguably responsible for. So when we hear the Doctor's speech, his motives don't read as entirely pure and there's some grounds to take Rose's side of things.
That's a problem in the sense that it supports Miles' reading. But it's also a fantastic development, not just in terms of how the new series approaches character, but also in the contexts of liberal and especially neoliberal thought. Because making an audience likely to be highly sympathetic to the Doctor's argument feel ambivalent about it because of the context and because of the Gelth's subsequent behavior isn't simply about convincing us the Doctor was right in principle even if wrong in specific. It's about underlining the need for uncertainty, for diverse perspectives. Among neoliberalism's flaws is a tendency to declare itself right in ways which liberal thought ought not to accept. Xenophobia is wrong in that it does not admit to ambivalence; xenophilia can be wrong in the same way. Accepting war refugees as immigrants doesn't mean accepting war criminals. Blindly following any philosophical or political framework leads one to the dead end Dickens escapes as a result of the events in this episode.
As Phil noted a short while back, Buffy is now a part of the show's DNA, and one of the things Buffy excelled at was using its stories and especially its monsters as vehicles for exploring the characters' psyches via metaphor. The Doctor is obviously motivated by his experience in the War, and when this is taken as the central metaphor (rather than \"immigration\") I think it's a lot more clear that the resolution of the story is absolutely necessary: the Doctor can't bring his people back from the dead. The dead are dead, and having them walk around after death is an unhealthy wish.
I can't see Gwyneth as punished for her interpretation of the aliens as angels. The Doctor doesn't correct her. You could say that the Doctor tacitly colludes with her beliefs to make her do what he wants. But I think it would be wrong: it seems to me that Gwyneth would have done the same if she'd believed they were aliens as the Doctor believes.If anything, the bit at the end where she's still active despite being dead is presented as a rebuttal of the Doctor's interpretation.
But is she though One of the things that bothers me about this episode is the way the story seems to assume that the Doctor is morally right on the idea of allowing an alien race to colonize the Earth by means of animating human corpses and anyone who doesn't want to see Grandpa shambling around with glowing green eyes is just being a selfish prick. I don't know what Gallifreyan funeral customs were like (the great weight of available evidence seems to favor cremation), but on Earth, the idea of a respectful treatment of the dead actually predates humanity itself (the Neanderthals apparently buried their dead 300,000 years ago). I think it's incredibly chauvinistic of the Doctor to decide unilaterally after a five minute conversation with one Gelth that \"human respect for the dead is stupid, let's let these aliens I just met ride them around like jalopies.\"
But here's the kicker: confronted with a new species he knows nothing about, one that is desecrating the dead and terrorizing his favorite planet, his first reaction is to trust them and want to help. Sure, that turns out to be wrong (as Jane noted, everyone gets something wrong here), but for me the biggest part of this story is how it underlined the Doctor's moral code: trust first.
\" I think it's incredibly chauvinistic of the Doctor to decide unilaterally after a five minute conversation with one Gelth that \"human respect for the dead is stupid, let's let these aliens I just met ride them around like jalopies.\"\"
That would fit with something I thought I detected in the early seasons of the new series, whereby RTD would seemingly take some of the most panned idea from the old days and demonstrate how they could do them properly (See also: the episode where the Doctor kisses a companion, the power source of the TARDIS gets opened up, a human corpse gets used to create the body for bad guy, and timey-wimey magic brings someone back from the dead.)
The Doctor takes Rose on her first voyage through time: to the year five billion, when the Sun is about to expand and swallow the Earth. She is cautious and soon starts to question her reasons for joining The Doctor. But amongst the powerful alien races gathering to watch on Platform One, a murderer is at work. Who is controlling the mysterious and deadly metal spiders
The Doctor, Rose and Captain Jack stop off in present-day Cardiff to recharge the TARDIS on the Rift they formerly encountered in 1869. Whilst there, they come upon a since-thought-long-dead enemy of theirs, who is hatching yet another plan to destroy Earth.
After the TARDIS makes a crash landing on the Earth of another universe, Rose discovers her father is alive and rich, Mickey encounters his alternative self, and the Tenth Doctor learns one of his oldest and deadliest foes is about to be reborn.
Ghostly beings have been regularly appearing across the world and people, believing them to be their dead loved ones, are welcoming their visits with open arms. When the TARDIS arrives at the Torchwood Institute, the Tenth Doctor and Rose are taken prisoner. They are drawn into the investigation of a mysterious sphere kept in Torchwood Tower, and monstrous foes return as two universes collide.
Amy Pond takes her first trip in the TARDIS when the Doctor whisks her away to the distant future and they discover Britain in space. Starship UK houses the future of the British people as they search the stars for a new home. But when Amy explores she encounters the terrifying Smilers and learns a deadly truth inside the Voting Booth...
A crashed spaceship, a shattered temple and a terrifying climb through the maze of the dead - River Song is back in the Doctor's life, and she's brought more trouble than even he can handle. The last of the weeping Angels is loose in the ruins of Alfava Metraxis, and the Doctor is recruited to track it down. \"Don't blink!\" everyone tells Amy - but Amy is about to discover, not blinking might just be the worst thing you can do...
There's no way back, no way up and no way out. Trapped among an army of Weeping Angels, The Doctor and his friends must try to escape through the wreckage of a crashed space liner. Meanwhile, in the forest vault, the Doctor's companion, Amy Pond, finds herself facing an even more deadly attack. 59ce067264