TV Club: Doctor Who, The Greatest Show In The Galaxy

“The Greatest Show In The Galaxy” (season 25, episodes 11-14. Originally aired Dec. 14, 1988-Jan. 4, 1989)

It’s not a good sign when the first thing that pops up on screen is a cornball, embarrassingly dated rapper who talks up how wonderful the rest of the show is going to be, like a high-school principal trying desperately to get in touch with youth culture without really knowing what he’s doing. But I suppose the Rappin’ Ringmaster didn’t seem quite so terrible when “The Greatest Show In The Galaxy” was originally broadcast, at the tail end of Sylvester McCoy’s second season as the Seventh Doctor. Which is also, at least where I’m coming from as a viewer, something that can be said about the Seventh Doctor era in general. This period of the show has plenty of champions among Doctor Who fans, not just among the Internetigentsia, but pretty clearly in the ranks of the folks who make new Doctor Who shows today; I think it’s safe to say that the spirit of seasons 24-26 has had a greater influence on Russell T. Davies’ and Steven Moffat’s versions of the show than anything that came before. When you look at this era in the context of the long and tortuous evolution of Doctor Who as a series, there’s a lot to admire, with a plethora of ambitious ideas and creative energy. “The Greatest Show In The Galaxy” is a great showcase of this trend, showing a significant and progressive improvement over the disaster of the Sixth Doctor era. But try as I might, I’ve never been able to warm to this era, certainly not to the extent of the sizable number of fans who call it the zenith of classic-era Doctor Who. Because for all they were doing right here, it too often feels thin and amateurish, with potentially good concepts too often marred by sloppy thinking, lame execution, and tacky gimmickry. At its worst, it makes me feel a little mortified to be a Doctor Who fan in the first place. Exhibit A: the Rappin’ Ringmaster.

So, with that said: what were they doing right here? Most importantly, the sour and misanthropic stories favored by previous script editor Eric Saward were history. Andrew Cartmel’s vision of Doctor Who was more hopeful, more whimsical, and much more fun. It aimed, I think, for the bantery, light-hearted approach that typified the best of the Fourth Doctor/Romana seasons, not coincidentally the last time the series had pulled in large ratings. The show also leaned more heavily on the fantasy side of science-fantasy, which is particularly apparent in “Greatest Show In The Galaxy”: With its reliance on mysticism and allegory, and especially its tres-1980s fixation on the broken, corrupted legacy of the 1960s counterculture, this serial wouldn’t be at all out of place next to Neil Gaiman’s Sandman.

Originally published Nov. 11, 2012 on Read the complete article.

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