Am I really the only person to have been disappointed by the Doctor Who Christmas special? And consistently so? The first one was too short to successfully develop the myriad of ideas presented; last year's was better, although I was disappointed to see the Santas recycled, and I'm not a fan of Catherine Tate either (could make Series 4 a tough watch); this year's was the most ambitious of the lot, and had evidently had a lot more money thrown at it.
As lavish as the set and CGI were (the CGI particularly was a vast improvement over previous series), and as many big names (Kylie Minogue!) they got for the cast, the writing and the plot turns were, as with most of Russell T. Davies' episodes, quite frankly rubbish. The twist at the end where the baddie has control of the boat's engines and shuts them down remotely defied belief, not least because if that was the case, why did he go to all the elaborate lengths of paying off the captain, controlling the Host, etc.?
The only really nice twist (in the "good" rather than the "nice" sense of the word) was that the bastard stock dealer survived when everyone wanted him dead.
There was too much cheese in the writing, and Kylie's character, Astrid, was so two-dimensional in a 1950s-Sci-Fi-B-Movie kind of way that I almost didn't feel anything when she died. Twice. If it wasn't for David Tennant's masterful portrayal of the Doctor making something good out of a dodgy script I honestly couldn't have given two shits whether Astrid lived or died. Compare this with Davies' handling of Billie Piper's exit at the end of Season 2 whose pathos almost moved me to tears.
So, BBC, please get someone else to write the Christmas specials. Davies does have some great ideas, but they can't be realised in the small time slot allocated to the specials (even this year's longer slot). Ideally, consign Russell T. Davies to a director or executive producer role where he can retain overall creative control and plot direction over the series, but for God's sake stop him writing scripts! His episodes are consistently the weakest in each series, carried more by the strength of his ideas than their generally ham-fisted execution, and it pains me to think of what someone like Steven Moffat, whose episodes have consistently been the best in each series, might have produced.
Good morning, world.