In a show as long running as Doctor Who, it’s inevitable you’re going to get episodes which are designed to challenge the series’ norms. Having it be the “monster of the week” every episode’s not creatively satisfying for production team or audience.
Hence, Midnight is one of those episodes which subverts everything the show usually does. In it, the Doctor (David Tennant) is stripped of his hero status, humiliated and helpless, his standard tricks made useless. The standard Doctor Who monster is replaced by an invisible, unknowable force; its origins and motives never explained. And human beings, so often championed in 21st century Who as being amazing, inspirational creatures capable of so much, are seen here to quickly descend into vindictive self-preservation. In doing so, they disprove everything the Doctor has ever said about their brilliance and potential.
Midnight sets out to be the antidote to the show’s usual optimism about humanity, but that determination to find the heroic in the everyday proves a hard mold to break. Among its cast of bickering humans, it zeros in on one who goes on a character arc which describes 21st Doctor Who’s most prominent theme: that the Doctor can inspire ordinary human beings to acts of great heroism. It does this by tracing that character’s Orpheus-like journey into the underworld of selfishness and fear, and subsequent emergence by using Doctor-like logic and courage to save the day.
That character is the Hostess (Rakie Ayola). Forgive me for retelling the plot at you for a bit, but I think what’s interesting is how writer Russell T Davies uses her as a structural component of the script. It’s the Hostess who pushes the plot along, ramps up the tension in specific steps and then does an about turn which saves the day. Whoever said plot and character are the same thing would find an instructive example in Midnight.
At the story’s start, the Hostess seems like a purely functional character. She’s there to welcome passengers aboard this pleasure trip and her demeanour tells us it’s not a job she enjoys. When the Doctor tries to engage her in cheery conversation, she looks at him with weary politeness, just wanting to get on with her job. But crucially, she notices the distinctiveness of his turn of phrase, that jaunty “allons-y”.
The other passengers are utterly ordinary people. A holidaying family, a professor (of Which University) and his protégé. When their fellow passenger, the solitary Sky Sylvestry (Leslie Sharp) becomes possessed by the invisible creature, they act not like the courageous, noble humans of so many other Davies stories, but with fear and suspicion. The Doctor corrals them and the Hostess to the back of the ship and tries to convince them to simply keep their distance from Sky until the rescue ship arrives. As ingenious plans go, its practical, but not up to his usual standard.
Unfortunately, he can’t restrain the humans’ tendency to lash out. Davies ramps up the stakes in a series of reveals from the humans, each one punctuated by a dramatic sting in Murray Gold’s instrumental music. And the Hostess plays the pivotal role of influencer. She’s always the one to say what everyone else is thinking.
First, the Hostess says, “We should throw her out.” Cue sting!
It’s the first admission that at least one of them is thinking of a murderous pre-emptive strike on Sky. The Doctor just about manages to hose that one down, helped by the general belief that it’s not technically possible.
But then Dee Dee (Ayesha Antoine) says, “Yes we can,” and explains that a human jettison is possible, if done within 6 seconds. Sting!
And although Dee Dee makes the suggestion, it’s the Hostess who provides the practical method. “I wouldn’t risk the cabin door twice, but we’ve got that one,” she says, pointing out an alternative. “All we need to do is grab hold of her and throw her out.” The ethically questionable action which had been ruled out as impossible, is now feasible. The Doctor then calms debate down again, this time on the grounds of common humanity, asking if any one of them are prepared to become killers.
Again, the Hostess prompts the next development in this argument, saying “I’d do it.” Sting!
The cat is out of the bag again as the others admit that in order to save their own lives, they are prepared to commit murder. The Hostess falls back on her job description as justification, “It’s my job to see that this vessel is safe,” she says. The others panic and pile on. Having failed on grounds of practicality and moral values, the Doctor resorts to threats. He says if they want to throw Sky out, they’ll have to throw him out too.
Once more, it’s the Hostess who tells it like it is. “Okay,” she says. Sting!
And the mood shifts to questioning the Doctor. Who he is, why he’s on board, why he seems to relish the situation so. It’s here that we begin to sense the Doctor losing. We realise how flimsy the Doctor’s story must appear, when given the slightest scrutiny and without a companion by his side to back him up. When challenged about his assumed moral superiority and the right he has to take control of the situation, his response is desperate and arrogant.
“Because I’m clever,” he says, and that’s the moment where he loses everyone’s respect.
The Doctor usually wins by inspiring others to be their best, but here all he has done is alienate and antagonise them. They take offence, and when he tries to fob them off with his usual lazy pseudonym, John Smith, they don’t believe a word of it. At this point, there really is nothing to stop them from throwing him out of the ship. As the Hostess, points out, “He’s practically volunteered,” providing a moral justification for ejecting him. He’s a liar, a braggart and, by protecting Sky, a danger to them all.
When the creature finally captures the Doctor’s voice, his deconstruction becomes complete. He’s left paralysed and babbling on the floor. But former antagonists, the Hostess and Dee Dee, start to put two and two together.
While the others are preparing to throw the Doctor out, spurred on by the Sky/Creature, they start behaving like the Doctor. They notice the logical flaws in the creature’s story. They look objectively at the evidence. It’s a sudden about-face, but crucially it’s because they have both listened to what the Doctor has said. When the creature uses the Doctor’s favourite phrase, “allons-y,” the penny drops and the Hostess expels Sky and herself in the process.
You can see this self-sacrifice as being consistent with the Hostess’s sense of duty to “keep this vessel safe.” Or it could be seen as penance for her earlier suspicion of the Doctor and her stoking of tensions throughout the event. But I see it as the series snapping back into its basic shape. The story needs someone to be the Doctor, and if he’s incapacitated or all his usual strategies are neutralised as they are here, someone else will step up. His very presence will inspire scared, prejudiced humans to be better people, by using their intelligence to inspire acts of bravery and self-sacrifice.
In setting out to disprove Doctor Who’s fundamental tenet, Midnight actually reasserts it. While the rest of the cast are utterly broken at the story’s end, their relationships in tatters, their personal integrity destroyed – the Hostess proves once again why the Doctor loves humans so much. She just took the long way around.
LINK TO Genesis of the Daleks: TARDIS Wikia tells me that “This is the first televised story since Genesis of the Daleks in 1975 not to feature the TARDIS.” And talking of the long way around…
NEXT TIME… We’re off to Space Glasgow and we’re Hell Bent.