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Reviews By Drew Vogel
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Reviewed By: Drew VogelReview Date: 5/26/17 2:15 am
0 out of 0 found this review helpful.

I think the story is probably the weakest part about this one, and the story is fine. They say there's really only one Silurian story, and "Doctor Who" just keeps telling it again and again. There's more than a little truth to that, but Jonathan Morris at least finds a new spin to put on his version. Connecting it to Charles Darwin and setting the story on the Galapagos Islands is a brilliant conceit, and Morris's script makes the most of the idea by really working the themes of natural selection. The story's big twist is brilliant as well, and the end of Part Three deserves to be counted among the greatest cliffhangers of all time. With all that going for it, the fact that the actual story may seem a bit pedestrian at times doesn't seem very important.
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Reviewed By: Drew VogelReview Date: 5/25/17 1:50 am
0 out of 0 found this review helpful.

I find it rather difficult to rate and review this episode in isolation, as it really doesn't tell a complete story. "Dalek Empire" is better understood as one story told in four installments. Each installment is somewhat distinct from all of the others, but they work better as one continuous story. If Dalek Empire were released today, it would be as a single four-part box set rather than four individual releases. Still, I'll endeavor to make some observations about each installment in turn.

"Invasion of the Daleks" gets us off to an intriguing start. The script wastes very little time getting us into the action, but I feel like this is actually something of a problem. The story puts a great deal of emotional weight on the love story between Alby and Suz, but their relationship barely has time to be properly established before they're torn apart. With four 70-minute episodes to play with, there's plenty of time for high-intensity Dalek action. I think the story might have worked better had it taken more time in the beginning to establish the principle characters, their relationships, and the setting before the Daleks come screaming out of the sky.

Still, even without much development, the main characters all work very well, and the rollicking, fast-paced space opera approach suits the material wonderfully. The story is clear, compelling, and intriguing. Unfortunately, it leans a bit too heavily on some rather implausible coincidences, which is a problem that only gets worse in subsequent installments.
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Reviewed By: Drew VogelReview Date: 5/19/17 10:24 pm
1 out of 1 found this review helpful.

There's a scene in Part Three where the Master chastises Madame Salvadori for being so blinded by greed that she never even bothered to investigate the background of his mysterious alter-ego, Mr. Seta. The trouble with this scene is that Madame Salvadori has investigated Mr. Seta's background, but the Master made certain that she wouldn't learn anything. This isn't a huge problem, but it's an example of what I find so frustrating about Tucker's writing. The dialogue sounds like typical "Doctor Who" style adventure-story dialogue, but it isn't actually connected to the goals or desires of the characters. It's just there to move the plot along and hit the right notes along the way. The Master talks like a "Doctor Who" villain because he is a "Doctor Who" villain. That's about the level of depth you get from a Mike Tucker script.

After giving us mysterious living water and mysterious living stone, this story features mysterious living dust. Still, it's probably the strongest of the three. The story works well on paper, and there are a lot of good ideas in here. The sound design is good too... you can almost hear that screaming Dalek... The backstory of the superweapon is very interesting, and I like how Guthrie's backstory plays into the denouement. But the story overall is a muddled mess. Between the Master, the Krill, and the Scream, the story is just too busy.
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Reviewed By: Drew VogelReview Date: 5/19/17 1:35 am
0 out of 0 found this review helpful.

Typical Mike Tucker. The story is derivative, clumsy, and obvious, and the dialogue sounds like it was written by someone who has never met a person before. The "professional conflict" between Benny and Adrian, for example, is forced and contrived, relying on each party adopting a stupidly extremist and doctrinaire position. The "spurned lover" motif is unimaginative and borderline offensive.

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