Victory of the Daleks (TV story)

Victory of the Daleks
Novelised as:	Victory of the Daleks
Script release:	online here
Doctor:	Eleventh Doctor
Companion(s):	Amy
Featuring:	Churchill
Main enemy:	Bronze Dalek, Supreme Dalek
Main setting:	London and the Dalek Saucer, 1941
Key crew
Writer:	Mark Gatiss
Director:	Andrew Gunn
Producer:	Peter Bennett
Release details
Story number:	205
Premiere broadcast:	17 April 2010
Premiere network:	BBC One
Format:	1x45 minute episode
Production code:	1.3
Confidential:	War Games
Official trailer
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Doctor Who television stories
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Production order
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Victory of the Daleks was the third episode of series 5 of Doctor Who.

In it, the Eleventh Doctor met for the first time both the Daleks and Winston Churchill, having met each before in past incarnations. Like Daleks in Manhattan before it, it involved the last Daleks in the universe desperately trying to rebuild the Dalek race in a famous period of Earth's recent past. This time, they succeeded, bringing an end to the "barely surviving" arc present since the TV story Dalek. It also retconned several past battles the Doctor had waged on Earth after being scrubbed out of existence by the cracks in time, specifically the fact that Amy did not recognise the Daleks in her own era.

The episode was notable for its redesign of the Daleks into multi-coloured units, each with its own specific function. Writer Mark Gatiss acknowledged the controversial nature of this redesign in his in-vision commentary on the DVD box set. In conversation with principal Dalek voice artist Nicholas Briggs, and Dalek operator Barnaby Edwards, he said that the new shape of the Daleks, especially in the dorsal region, was not particularly to his liking. Briggs agreed but, with Edwards, swiftly noted that in their experience of taking the new Daleks on live exhibition to the public, British kids invariably loved the new design. The decision was revisited in DWM 431 with critics voicing their opinions on the design. A comparison was made with the bronze Daleks—then associated with the first Russell T Davies era, but later on supplanting this episode's design as the default Dalek design from Series 7 to at least the 2022 Centenary Special—but no conclusion as to which was the better-made.

The episode also displayed a rare occasion where the Daleks won, achieving what they set out to do. Although they did not destroy the Earth, they were able to resurrect the Dalek race which allowed them to rebuild their empire, fulfilling a long-standing goal of the Daleks.

Synopsis

Receiving a call for help from his old friend Winston Churchill, the Eleventh Doctor and Amy Pond head for World War II to assist the Prime Minister. Once there, though, the Doctor reunites with his greatest enemies, the scum of the universe — the Daleks. But why are these survivors passing themselves off as man-made weapons? And why don't they recognise the Doctor? What could these "Ironsides" have planned?

Plot

Winston Churchill enters the Cabinet War Rooms and asks about the status of incoming enemy planes; they are out of range, ordinarily at least. He then advises them to roll out the secret weapon. A figure is moved forward on the board — a miniature Dalek!

The Doctor's TARDIS materialises in the War Rooms in response to Churchill's call for help. The Eleventh Doctor is greeted by the Prime Minister, whom he greets happily. Churchill is shocked that the Doctor has changed his face once again; the two have long been good friends. The Doctor and Amy have arrived a month late; the newly configured Type 40 TARDIS is still a bit inaccurate.

When a Luftwaffe squadron approaches London, Churchill takes the Doctor and Amy to the roof to showcase his latest weapon. The Doctor's introduced to Professor Edwin Bracewell, head of the new Ironside Project. A squadron of Stukas comes into view over Blitz-torn London, and are shot down by energy weapons with amazing precision. The Doctor comments that this could not be human technology. The Doctor watches, horrified, as Bracewell produces a camouflaged, Union Flag-wearing, obedient Dalek. The Doctor's oldest enemies are back.

In Churchill's office, the Doctor argues with his old friend; Churchill will not listen to reason. Explaining that they are the Daleks and not "Ironsides", the Doctor is met with disbelief when Churchill produces photos, blueprints and test results Bracewell gave him as proof of inventing them and refuses to destroy it. Getting increasingly frustrated, the Doctor asks Churchill why he phoned him if he didn't want his help. Churchill admits that he had his doubts about the "Ironsides" at first since they seemed too good to be true but now he's convinced and is thinking about what he can do with hundreds or thousands of them. Sourly, the Doctor points out that's why he's trying to show him. At wit's end, the Doctor asks Amy to tell Churchill about the Daleks, but Amy has no memory of any planets in the sky or the Dalek invasion, disturbing him greatly.

Inside the Cabinet War Rooms, Amy approaches a Dalek with intent to learn its origins, but the Dalek simply asks if it can be of assistance. The Doctor approaches Churchill again, prodding him to reconsider his actions, but Churchill cannot afford to abandon his Ironsides at the risk of his city and people falling to the Nazis. The Doctor indicates that he is a beacon of hope for the country, except Churchill doesn't know if he can remain one for much longer. "If Hitler invaded Hell, I would give a favourable reference to the Devil. These machines are our salvation," he protests. An all-clear siren blares overhead, and the Cabinet lulls from its lengthy clamour.

The Doctor rages at a Dalek.

As Bracewell is offered tea by one of his Ironsides, the Doctor goes to see their "creator" to get some answers. He asks Bracewell how he came up with the idea for the Ironsides, leading Bracewell to show the Doctor other highly advanced inventions he has been planning. When the Daleks and Churchill enter the room, the Doctor strikes the Ironside Dalek with a large, heavy wrench, ordering it to attack him. He reminds them of how he defeated them, how he is their greatest enemy and how they are everything he despises. He yells, "I am the Doctor and you are the Daleks!" before kicking the Dalek across the room.

The Dalek recovers, and reverts to its true personality. "Correct," it says. The Dalek transmits the "testimony" to the Dalek mothership, which is hidden behind the Moon. Two soldiers run in to stop the Daleks and are promptly exterminated. The Professor yells for his creations to stop; one of the Daleks blasts his hand off, leaving only exposed wiring — Bracewell is an android, and they created him. They teleport away. Feeling like an idiot for falling for the Daleks' trap, the Doctor returns to the TARDIS, ordering Amy to stay behind.

The Doctor brandishes his "self-destruct device".

He materialises inside the Dalek ship, where he uses a supposed TARDIS self-destruct device as leverage. The Daleks reveal that one Dalek ship survived the destruction of the Dalek race in their last encounter; it located the last Progenitor device, a genetic archive containing pure Dalek DNA. Their explanation confuses the Doctor; why would they go to the trouble of building Bracewell? When the Daleks simply state, "it was... necessary", the Doctor laughs — the device doesn't recognise them as Dalek. As these three were created directly from Davros' cells, their DNA is different from regular Daleks. The Progenitor had a backup programming, which would accept a testimony from their enemies, for identifying them as Daleks if their DNA had become unrecognisable. They became part of the British army, so Winston Churchill would lure the Doctor in.

The Daleks order the Doctor to leave or else they will destroy London. However, the Doctor knows that they are bluffing, since their ship has suffered so much damage that it isn't capable of launching an attack on the Earth. The Daleks taunt him, saying "Watch as the humans destroy themselves"; they activate a device which turns on all of London's lights, exposing the city as a target for incoming German bombers.

Amy and Winston are left panicking until she remembers the Daleks left them a gift - Bracewell! They find him preparing to commit suicide, believing his whole life to be a lie. However, Amy talks him out of it, and Churchill demands to know whose side he's taking - humanity's or the Daleks - as it's the only important thing. Bracewell wonders what he can do until Amy reminds him that he talked about technology for lasers and such; Winston points out they aren't having a fireworks party until he realises Amy's plan. He wonders if they can send something up to fight the Daleks; Bracewell explains that in a gravity bubble, it is possible. Elated, Winston tells the professor that it's "time to think big".

A new paradigm of Daleks.

Back on the ship, the Doctor threatens the Daleks with his bluff, but they are willing to die with him. To the Doctor's horror, the machine behind the Daleks beeps, signalling the Progenitor has completed its process. The doors open, and the Doctor watches a new paradigm of five genetically pure Daleks emerge. The previous three praise their creations, who promptly label their creators as inferior. The old Daleks allow the new paradigm to disintegrate them via "maximum extermination". The Doctor watches in astonishment - "Blimey! What do you do to the ones that mess up?" The White Dalek identifies the Doctor, ordering his extermination, but the Doctor tells it not to mess with him, again brandishing the Jammy Dodger.

Back on Earth, Bracewell returns to the War Room, with a pair of headphones on his head; they are attached to a screen of some sort, which he explains will allow them to see what's going on in the Dalek ship. The black and white image shows the Doctor facing the White Dalek, which introduces each role the new five fulfil - White is the Supreme, Blue is the Strategist, Red is the Drone, Orange is the Scientist, and Yellow is the Eternal. The Doctor makes fun of the labelling.

Hoping to have better luck with this new batch of Daleks, the Doctor demands the Daleks turn off the laser, or he'll blow up the TARDIS and them with it. However, once the Daleks perform a scan that proves he's bluffing, he eats the Jammy Dodger, joking that he had been promised tea. The Dalek sensors go off, informing them that they have incoming spacecraft. The Spitfires arrive from Earth and are ordered by the Doctor to target the dish as he flees into the TARDIS.

The Dalek defence lasers take out two of the planes, Jubilee and Flintlock, leaving only Danny Boy. The Doctor disrupts the Dalek defences long enough for Danny Boy to destroy the dish the laser is coming from, shutting off London's lights. Just as the Doctor gives the order to destroy the ship, though, the Daleks appear on the TARDIS scanner. They order the Doctor to halt the attack, or they will destroy Earth with an Oblivion Continuum bomb they have built inside Bracewell.

Bracewell's bomb is exposed.

The Doctor reluctantly calls off the attack and returns to Earth, leaving the Daleks free to escape and build a new empire; however, true to their genocidal nature, the Daleks still activate the bomb as they flee. Upon arrival on Earth, the Doctor reveals that the bomb is charging itself inside Bracewell. Realising that the only way to stop it from exploding is to convince Bracewell that he is human, not an android and a bomb, he tries to remind the Professor of his memories and how much they hurt; however, the countdown continues.

As the oblivion continuum approaches detonation, Amy tries the opposite tactic. She asks him if he's ever fancied somebody he shouldn't; Bracewell proceeds to remember a girl called Dorabella, recounting how beautiful she was as the countdown retreats, cancelling the detonation. The Daleks escape through a time corridor, spitting that they will never be defeated, and will ultimately return. The Doctor is horrified over the Daleks' escape, flailing in furious anguish, but Amy reminds him that he has just saved the entire world. Bracewell explains the ideas the Daleks put in his head are gone; however, he does retain knowledge on how to use alien technology.

Amy bids farewell to Churchill. Sadly, the war continues on with a cost to millions of others. One of the young women at the War Rooms, Lilian Breen, is sobbing; after several hours of fearing for his safety on the war front, she has just learned that her boyfriend Reg has been shot down over the Channel, and is being comforted by one of Churchill's associates, Blanche. Amy looks on solemnly, but carries on, asking Churchill where the Doctor has gone. The Doctor enters and explains he removed all the alien technology Bracewell had in the base. Churchill begs the Doctor to let him have the technology as it would allow them to win the war in a day, but the Doctor points out it's that very reason why he took it. The friends hug and prepare to part.

However, Amy outstretches her hand, and orders Churchill to return the TARDIS key to the Doctor; it was swiped during their hug. Churchill gives the key to Amy, calling her "almost" as sharp-witted as himself. The Doctor then demands his key from Amy; she reluctantly complies.

The Doctor and Amy go to Bracewell. He believes that, as alien technology, he has no place on Earth or during this time period. He sadly declares that he's ready to be deactivated. However, they have no intention of doing so. When their subtle hints fail, the Doctor and Amy openly tell Bracewell to go looking for Dorabella or the old post office. Finally catching on, Bracewell happily packs his belongings and leaves.

Another foreboding crack is revealed...

The Doctor and Amy return to the TARDIS. Amy questions the Doctor about having enemies but tells him she doesn't have a problem continuing travelling with him all the same. The Doctor is puzzled and worried that Amy did not remember the Daleks from the Battle of Canary Wharf or the War in the Medusa Cascade, but puts this aside so that they may continue with their adventures. The TARDIS dematerialises, revealing a shining crack in the wall behind where the box once stood...

Cast

• The Doctor - Matt Smith
• Amy Pond - Karen Gillan
• Churchill - Ian McNeice
• Bracewell - Bill Paterson
• Blanche - Nina De Cosimo
• Childers - Tim Wallers
• Dalek 1 - Nicholas Pegg
• Dalek 2 - Barnaby Edwards
• Dalek voice - Nicholas Briggs
• Lilian - Susanah Fielding
• Todd - James Albrecht
• Air raid warden - Colin Prockter

Uncredited cast

• Dalek - Ben Ashley (TCH 63)
• White Dalek Supreme - Jon Davey
• Blue Dalek Strategist - Mathew Doman (TCH 63)
• Orange Dalek Scientist - Jeremy Harvey (TCH 63)
• Yellow Dalek Eternal - Sean Saye (TCH 63)
• Red Dalek Drone - Joe White (TCH 63)
• Voice of Danny Boy - Mark Gatiss
• Marines - Rob Caisey, John Childs, Tim Cooper, Matthew Doman, Jamie Jones, Richard Knott, Matthew Lias, John Ninnis, Jamie Wainwright (TCH 63)
• Technician - Dominic Kynaston (TCH 63)

Crew

Executive Producers   Steven Moffat, Piers Wenger and Beth Willis

Written by Mark Gatiss	Produced by Peter Bennett	Directed by Andrew Gunn	Director of Photography Graham Frake	Production Designer Edward Thomas	Visual Effects The Mill
Make-up Designer Barbara Southcott	Casting Director Andy Pryor CDG	Music Murray Gold	Costume Designer Ray Holman	Edited by John Richards	Special Effects Real SFX
Original theme music by Ron Grainer  •  Title sequence by Framestore  •  With thanks to the BBC National Orchestra of Wales   Daleks created by Terry Nation

General production staff Production Executive - Julie Scott Line Producer - Patrick Schweitzer Location Managers - Gareth Skelding, Paul Davies Unit Manager - Rhys Griffiths Assistant Unit Manager - Geraint Williams Production Co-ordinator - Jess van Niekerk Assistant Production Manager - Claire Thomas Production Runner - Sian Warrilow Production Accountant - Ceri Tothill A/Production Accountant - Carole Wakefield Script department Script Editor - Brian Minchin Camera and lighting department 1st Assistant Director - Steve Robinson 2nd Assistant Director - James DeHaviland 3rd Assistant Director - Heddi-Joy Taylor-Welch Runners - Nicola Eynon Price, Laura Jenkins Continuity - Non Eleri Hughes Camera Operator - Martin Stephens Focus Pullers - Steve Rees, Shirley Schumacher Grip - John Robinson Camera Assistants - Tom Hartley, Jon Vidgen Boom Operator - Dafydd Parry Gaffer - Mark Hutchings Best Boy - Pete Chester Electricians - Ben Griffiths, Steve Slocombe, Bob Milton, Alan Tippets	Art department Supervising Art Director - Stephen Nicholas Art Department Co-ordinator - Amy Pope Associate Designer - James North Production Buyer - Ben Morris Set Decorator - Arwel Wyn Jones Props Buyer - Catherine Samuel Set Designer - Ben Austin Storyboard Artist - Rod Knipping Concept Artists - Richard Shaun Williams, Peter McKinstry Graphic Artist - Jackson Pope Standby Props - Phill Shellard, Tom Evans Standby Carpenter - Will Pope Standby Art Director - Dafydd Shurmer Standby Rigger - Keith Freeman Standby Painter - Ellen Woods Props Master - Paul Aitken Props Chargehand - Matt Wild Dressing Props - Martin Broadbent, Rhys Jones Props Makers - Penny Howarth, Nicholas Robatto Construction Manager - Matthew Hywel-Davies Construction Chargehand - Scott Fisher Practical Electrician - Albert James Scenic Artists - John Pinkerton, John Whalley Graphics - BBC Wales Graphics Costume department Costume Supervisor - Lindsay Bonaccorsi Costume Assistants - Sara Morgan, Maria Franchi	Make-up and prosthetics Make-up Supervisor - Pam Mullins Make-up Artists - Abi Brotherton, Morag Smith Prosthetics - Millennium FX Movement Stunt Co-ordinator - Crispin Layfield Stunt Performer - Stewart James Casting Casting Associates - Andy Brierley, Alice Purser General post-production staff Post-production Supervisors - Chris Blatchford, Samantha Hall Post-production Co-ordinator - Marie Brown Assistant Editor - Cat Gregory On-line Conform - Matthew Clarke, Mark Bright Special and visual effects VFX Editor - Ceres Doyle Colourist - Mick Vincent Sound Sound Recordist - Bryn Thomas Dubbing Mixer - Tim Ricketts Sound Maintenance Engineer - Jeff Welch Supervising Sound Editor - Paul McFadden Sound Effects Editor - Paul Jefferies Foley Editor - Helen Dickson

Not every person who worked on this adventure was credited. The absence of a credit for a position doesn't necessarily mean the job wasn't required. The information above is based solely on observations of the actual end credits of the episodes as broadcast, and does not relay information from IMDB or other sources.

Worldbuilding

• Soldiers raise the British flag.
• The Daleks measure time in units of rels.
• Biggin Hill is mentioned.
• Churchill asks for a message to be sent to Clement Attlee.
• The Germans use Heinkels, Messerschmitts and Stukas.

References

• The ARP Warden says "Put that light out" in the manner of Bill Hodges from Dad's Army.

Influences

• For the tone of his narrative, Mark Gatiss looked to classic British war movies such as The Dam Busters and Where Eagles Dare. He even included the latter's famous call sign "Broad Sword calling Danny Boy".

Story notes

The three different covers of the Radio Times.

• Working titles for this episode were The Dalek Project and The Dalek Tea Party.
• The end of TV: The Beast Below ^[+]Loading...["The Beast Below (TV story)"] directly leads into this story.
• In this episode, each Dalek was given a different title which corresponded with its armour colour, namely, "Scientist" (orange), "Strategist" (blue), "Drone" (red), "Eternal" (yellow) and "Supreme" (white).
  • The red, blue and yellow Daleks were first revealed in the Radio Times and the colours were used to symbolise the different colours of the three major British political parties: Labour (red), Conservative (blue) and Liberal Democrats (yellow).
• Initially, the new Daleks were going to replace those of the design introduced in Russell T Davies' first era, but due to polarised fan reactions, it was later decided that the new models would serve as an "officer" class above the existing "soldier" variants. The last appearance of the designs introduced in this episode was in series 7's TV: Asylum of the Daleks ^[+]Loading...["Asylum of the Daleks (TV story)"], and the second half of the Moffat era primarily used the bronze design introduced in the first RTD era, with the ranks in TV: The Magician's Apprentice ^[+]Loading...["The Magician's Apprentice (TV story)"] and The Witch's Familiar ^[+]Loading...["The Witch's Familiar (TV story)"] being filled by pre-2005 designs. While some variants existed in the Chris Chibnall era, the primary design, and the sole design seen in 2022, was the one introduced in the first RTD era.
• This was the first Dalek story since TV: Dalek ^[+]Loading...["Dalek (TV story)"], back in 2005, not to feature David Tennant as the Tenth Doctor, as well as the first Dalek story since then to not be a multi-parter. Furthermore, this was the first Dalek story since TV: Resurrection of the Daleks ^[+]Loading...["Resurrection of the Daleks (TV story)"] in 1984 not to show any Daleks levitating; from 1984's TV: Revelation of the Daleks ^[+]Loading...["Revelation of the Daleks (TV story)"] to The Waters of Mars ^[+]Loading...["The Waters of Mars (TV story)"] in 2009, all Dalek stories featured the creatures doing so to disprove the infamous joke that the design of a Dalek makes it incapable of moving upwards.
• Like TV: The Unquiet Dead ^[+]Loading...["The Unquiet Dead (TV story)"] in Series 1, this episode is the third in the series, is a pseudo-historical, has a historical British figure play a prominent part, is penned by Mark Gatiss, and is both preceded and followed by two episodes by the head writer.
• This is the second Dalek episode in the new series to use the infamous "...of the Daleks" title scheme, the first being TV: Evolution of the Daleks ^[+]Loading...["Evolution of the Daleks (TV story)"].
• Mark Gatiss said in the Radio Times: "They're bigger than they've ever been and in technicolour!" This was a reference to the fact that the new Dalek designs had returned to the trend of earlier designs being many different colours. In particular, it referred to the 1960s Dalek movies, which were filmed in technicolour, in contrast to the black-and-white television productions of the time.
• This is the third time in the new series that the Daleks have been featured mid-way in the series, following TV: Dalek ^[+]Loading...["Dalek (TV story)"] in series one and then in the series three two-part story TV: Daleks in Manhattan ^[+]Loading...["Daleks in Manhattan (TV story)"] / Evolution of the Daleks ^[+]Loading...["Evolution of the Daleks (TV story)"].
• The Daleks seen since series 1 were designed so that the eye stalk lined up with Billie Piper's eyes. The new Daleks are designed to match the taller Karen Gillan's height, as well as Matt Smith. Ironically, Gillan never actually faced the new Daleks onscreen.
• The New Paradigm Daleks were originally designed slightly differently, with blades on various parts of the casing. Budget and time constraints led to the design being simplified.
• The rear hatch and infamous "hunchback" of the New Paradigm Daleks was intended to store weapons. The manipulator arm and gunstick would swing around to the back along the grooves in the midriff and be replaced by different weapons. This would have been rendered in CGI had it ever become relevant.
• For narrative and filming purposes, the Cabinet War Rooms in the episodes are far larger than the real ones and have an RAF "spotter" table that was not really present.
• The Dalek model on the "spotter" table appears to be a Character Options Dalek toy painted grey, likely the "mutant reveal" Dalek figurine with the removable front given the visible separation lines on the front of the model.
• This episode holds the record for the most Dalek props (with the exception of CGI, cutouts, toys and other illusions) used in a single story, with no less than eight Dalek models on-screen at the same time.
• While these Daleks are part of a fleet of ships that were wiped out by the Doctor, it is not clarified whether they were part of the half-human faction from TV: The Parting of the Ways ^[+]Loading...["The Parting of the Ways (TV story)"] or members of the New Dalek Empire from TV: Journey's End ^[+]Loading...["Journey's End (TV story)"]. According to the nonfiction source The Dalek Handbook, they are Daleks who survived the War in the Medusa Cascade.
• This episode aired on the same day that the K9 episode TV: Jaws of Orthrus ^[+]Loading...["Jaws of Orthrus (TV story)"] was first broadcast on Disney XD in Britain. It also aired on the same day that TV: The Korven ^[+]Loading...["The Korven (TV story)"] was first broadcast on Network Ten in Australia.
• Although Terry Nation originally based the Daleks on the Nazis, this is the first time the race has appeared in World War II - ironically, helping the British fight against the Nazis.
• Along with TV: Daleks in Manhattan ^[+]Loading...["Daleks in Manhattan (TV story)"], this is the second individual Dalek episode from the revival era to not show any Daleks in flight.
• When the Daleks say, "I am your soldier", this is a direct reference to TV: The Power of the Daleks ^[+]Loading...["The Power of the Daleks (TV story)"], where they say, "I am your servant". Mark Gatiss asked voice artist Nicholas Briggs to purposely stall on the 'S' of "soldier" to trick the audience into thinking that they would say the infamous line once again.
• In the real world, the bulletproof spitfire engine was designed by Bill Dunn, whose daughter was Sheila Dunn.
• This episode is the only appearance of the Scientist Dalek to date.
• Near the end of the episode, Amy asks the Doctor "So, you have enemies, then?". This is the first part of a famous quote by Winston Churchill: "So, you have enemies, then? Good. That means that you stood up for something, once in your life."
• Churchill's line that "If Hitler invaded hell, I would give the devil a good reference" is an inaccurate version of a remark by Winston Churchill in Parliament in reference to Stalin after Hitler invaded the Soviet Union; "If Hitler invaded Hell, I would make at least a favourable reference to the devil in the House of Commons".
• When Mark Gatiss wrote the first draft, Matt Smith had not been cast as the Doctor. Gatiss wrote this early draft for a generic Doctor, though Steven Moffat commented it sounded like Jon Pertwee and Gatiss agreed. Once Smith had been cast, Gatiss watched Party Animals, as well as anything else Smith was in that he could find. Gatiss used these to "download [his] speech patterns" and examine his energy and phrasing.
• A scene cut from the episode saw Amy listening from the TARDIS as the Doctor described his history with Churchill. He was to mention a fist fight in the Sudan (where Churchill was a junior officer and a journalist in 1898), dodging doodlebugs (early cruise missiles used by the Luftwaffe) in 1945, and attending Churchill's memorial service at St Paul's Cathedral.
• Originally, the episode would have concluded with the Doctor and Amy watching Bracewell enter the post office about which he had reminisced, and the crack in time would have been revealed on the wall of a nearby cottage in front of which the TARDIS had materialised. However, Steven Moffat had come to feel that it would be more effective to depict the Doctor giving Bracewell a new lease of life in a dialogue-driven piece.
• Matt Smith later told Doctor Who Magazine: "I never felt that we got the Dalek episode right the first time round, and I don't think we got the Daleks right".
• This is the only episode in which the episode's writer appears on screen.
• Steven Moffat was inspired by a visit he made with his sons, Joshua and Louis, to the Cabinet War Rooms, which had been Churchill's base of operations during World War II and were now a museum. For added variety, he decided that Churchill and the Doctor should already be old friends.
• Matt Smith would later go on to star as Prince Philip in The Crown, where Winston Churchill is played by John Lithgow in season 1.
• Regarding the re-designed Daleks, Mark Gatiss later said: "When I saw the designs, I loved them in every respect apart from the hump. I said, "I think the hump is dodgy", because whatever has happened to the Daleks over the years, the fundamental pepper pot design has not been altered. It works. It's a design classic. What we've got now is...I think it's pushed just a little too far. They look fat. From the side, it looks as if they're slouching. Maybe if the head were bigger, to be more in scale? I think it's sad that the Daleks' new look has been the disproportionate focus of ire, because I love everything else about them. If it weren't for that hump, they'd be exactly what I wanted".
• The term for the Daleks, "Bracewell's Ironsides," is likely derived from the actual "Hobart's Funnies" of the 79th Armoured Division of the British Army in World War II. They were Sherman and Churchill tanks modified with various unusual devices such as mine-clearing flails, flamethrowers, and bulldozers. These were named after the division's commander, Major General Percy Hobart, and were used in the Normandy campaign.
• The line where Amy tells Bracewell that he's done well for a Paisley boy is quite likely a reference to Steven Moffat, who, like Bracewell, hails from Paisley.
• The Spitfire flown by "Danny Boy" is marked JE-J, which was the later WWII personal aircraft of Air Vice Marshal James Edgar "Johnnie" Johnson CB,CBE,DSO, DFC when he became Wing Commander of 144 Wing (Canadian).
• Steven Moffat was keen to both carry on the celebrity historical tradition and re-introduce the Daleks, as they hadn't had a proper story in 2009. Putting the Daleks in a World War II setting seemed like a natural fit, as Terry Nation was heavily inspired by the Nazis.
• Mark Gatiss wanted the script to spotlight the Supermarine Spitfire.
• For his portrayal of the Daleks, Mark Gatiss was keen to emphasise their deviousness and skill at manipulation. To this end, he drew inspiration from his favourite Dalek serial, TV: The Power of the Daleks ^[+]Loading...["The Power of the Daleks (TV story)"].
• The task of redesigning the Daleks fell to production designer Edward Thomas, who worked in tandem with concept artist Peter McKinstry. One of their goals was to create a more aggressive appearance for the Daleks which eschewed obvious man-made components such as bolts and rivets. The pair conceived some very radical departures from the traditional Dalek image, but Steven Moffat encouraged them to retain the same basic silhouette. Ultimately, the most significant changes included an angled, sharp-edged head grille and a bulkier rear skirt section, which Thomas conceived as storing various weapons that could be interchanged with the Dalek's other armaments. McKinstry also intended the skirt section to sport raised blades between each panel, but this feature proved impossible to fabricate in the time available. At Moffat's suggestion, the eyepiece was given an organic component to remind viewers of the living creature housed in the Dalek shell.
• A variety of different colour schemes was considered for the new Daleks. Peter McKinstry felt that a metallic sheen remained preferable, but Steven Moffat was inclined towards bright colours. It was ultimately decided that five new casings would be constructed, each in a different livery to signify a distinct function. Mark Gatiss coined the names of the white Supreme (reusing a Dalek rank first identified in TV: The Dalek Invasion of Earth ^[+]Loading...["The Dalek Invasion of Earth (TV story)"]), the red Drone, the orange Scientist and the blue Strategist; Moffat contributed the yellow Eternal, although he had no specific plans for what this enigmatic title might signify. According to Gatiss, a green Dalek was considered, but rejected because "a green Dalek just looks wrong, somehow". A purple and black Dalek were also rejected.
• Three of the existing Dalek casings were repainted to serve as the Ironsides Daleks. The fourth, the original version built for TV: Dalek ^[+]Loading...["Dalek (TV story)"], was now permanently housed at BBC Birmingham.
• Mark Gatiss gave Lilian the surname Breen, which was the maiden name of the mother of his husband, Ian Hallard.
• Lilian was part of Mark Gatiss' effort to remind viewers of the very real people who fought and suffered during the war, an event which was now often portrayed as more of a thrilling escapade than a global tragedy with a massive human cost. Likewise, Bracewell's sheepish memories of Dorabella became the key to defusing the bomb because Gatiss felt that this kind of mild embarrassment was a virtually universal emotion.
• This episode formed Block Two of season five, along with TV: The Beast Below ^[+]Loading...["The Beast Below (TV story)"].
• It was originally anticipated that a studio set would have to be constructed for the War Room. However, the production team was able to secure permission to use the bunker of the Joint Resilience Unit in Swansea, which had been an actual Ministry of Defence command centre during the 1950s.
• The Dalek Supreme was originally meant to introduce each of his cohorts by name. This was abandoned when it was felt to be too reminiscent of a beauty pageant.
• There was originally a sequence aboard the Dalek ship in which the Doctor was shown images from their previous encounters. Some adventures like TV: The Power of the Daleks ^[+]Loading...["The Power of the Daleks (TV story)"] were to be represented by newly-created footage, featuring a variety of Dalek casings borrowed from longtime fan Andrew Beech.
• Prior to this episode, Steven Moffat and Mark Gatiss were developing Sherlock together. This experience had given Moffat enormous confidence in Gatiss, whom he knew to be very comfortable writing for an historical setting.
• With so many of the show's visual elements changing to herald the start of a new era, Steven Moffat and Mark Gatiss felt that the episode presented an excellent opportunity to update the Daleks as well. He wanted them to be bigger and more menacing, but also more colourful. In particular, they both thought in terms of Dr. Who and the Daleks ^[+]Loading...["Dr. Who and the Daleks (theatrical film)"] and Daleks' Invasion Earth 2150 A.D. ^[+]Loading...["Daleks' Invasion Earth 2150 A.D. (theatrical film)"], which had boasted towering Daleks in a variety of Technicolor liveries.
• In an interview in April 2010, Mark Gatiss described how the cameo came about: "When we were filming last summer, someone came up to me and said, "Is it true you're going to play the voice of the Spitfire pilot?" And I said, "No..." The next day, two people approached me and said, "Oh, that's clever – are you doing a cameo as the Spitfire pilot?" And I said, "No..." And then a few weeks ago, Andy Pryor, the casting director, emailed me and said, "I understand you want to play the Spitfire pilot..." I emailed him back and said, "No! But I will if you want me to!""
• Nicholas Briggs countered the Paradigm Daleks' colourful appearance with a more vicious-sounding voice.
• This is the only episode of Doctor Who on BBC iPlayer to not have Audio Description available. This is because the episode was removed from iPlayer, edited, then put back up. Some episodes of The Sarah Jane Adventures have the same issue, most notably TV: The Curse of Clyde Langer ^[+]Loading...["The Curse of Clyde Langer (TV story)"].

Ratings

• 6.2 million - First broadcast
• 7.82 million - Final BARB ratings

Filming locations

to be added

Rumours

• Adolf Hitler was rumoured to make a brief appearance. He was mentioned, but not seen.
• Fans speculated that the Daleks had been digitally re-coloured for the Radio times election special covers, and the Daleks featured in the episode would be uniformly coloured. This was proven false, and Daleks coloured red, blue and yellow were seen in the episode alongside others.

Production errors

If you'd like to talk about narrative problems with this story — like plot holes and things that seem to contradict other stories — please go to this episode's discontinuity discussion.

• In the scene where the Doctor and Amy are discussing Bracewell's possible deactivation, editor John Richards fails to match the frontals of the Doctor with the reverses looking at Bracewell. In the frontals, Matt Smith clearly has his hands in his pockets or clasped together in front of him. On the reverses, his right hand is seen dangling rather lifelessly at his side.
• At the end, when Churchill is talking to the Doctor and Amy, he bends down to light a cigar and puts it in his mouth. When he gets up, it is no longer anywhere to be seen.
• When the Doctor was talking to the Dalek Supreme on the "actual" shot he was further away from the Dalek but on the screen provided by Bracewell, the plunger is nearly touching him. The Supreme Dalek was also seen moving towards the Doctor after the 'cleansing' of the old Daleks, but immediately after seen starting to move, it is back in its original position and immobile.
• There were numerous points in the episode where the 'earlights' of the Daleks did not light when a Dalek was speaking.
  • Before the Doctor arrived, a Dalek states, "Commencing stage two!", but its earlights aren't on. The next Dalek that speaks uses another Dalek's voice instead of its own.
  • When the Gold Dalek says "Receiving testimony now!" and "Testimony accepted!", its earlights do not flash.
  • Before the new Daleks emerged, an old Dalek states that they had succeeded, but its earlights were not on.
  • The Supreme Dalek had numerous incidents: when it ordered the extermination of the Doctor and stated that the Daleks would return, its earlights weren't on.
  • The Scientist Dalek's earlights didn't turn on when it was monitoring the energy pulse and the shields. Also notable is that its earlights were on when it wasn't speaking when the Supreme Dalek ordered the Doctor to 'explain'.
• When the Progenitor enters phase two, in one shot the lights on the device are blinking fast, but in the next shot they are blinking slowly.
• The cockpits of the Spitfire pilots glow green when firing their lasers, but they fired red lasers, though the green light could be from the green Dalek lasers passing the spitfires.
• When the TARDIS dematerialises and causes wind to blow against Churchill and Amy their clothes are affected but the cigar smoke in the air is unaffected and actually drifts towards the TARDIS.
• When the Dalek ship renders all light switches useless, one person flicks a switch three times in an attempt to turn them off. When power is returned to the switches, the lights in the Cabinet War Rooms should technically have turned off, as the switch was hit an odd number of times.
• In many scenes where the Ironside Daleks are present, the grill parts on their casing look ripped and in other scenes they are intact. The same thing happens on the Dalek spaceship, including with the gold Dalek.
• Just as one of the Dalek Ironsides is about to hand Bracewell a cup of tea, its dome is slanted to the left, but as its sucker arm retracts, the dome is straight again.
• In one of the long shots when the Doctor is in the TARDIS talking with the Dalek Supreme, it can be seen that no visuals that have been overlaid on the TARDIS wall screen, as the greenscreen is clearly visible.

Continuity

• The Doctor mentions sending the Daleks back into the Void in TV: Doomsday ^[+]Loading...["Doomsday (TV story)"] and saving all of reality from them, as he did in both TV: The Daleks' Master Plan ^[+]Loading...["The Daleks' Master Plan (TV story)"] and The Stolen Earth ^[+]Loading...["The Stolen Earth (TV story)"] / Journey's End ^[+]Loading...["Journey's End (TV story)"].
  • He further states that Amy should have remembered them from when there were "planets in the sky", as there were in TV: The Stolen Earth ^[+]Loading...["The Stolen Earth (TV story)"] / Journey's End ^[+]Loading...["Journey's End (TV story)"], and is concerned that she doesn't remember.
• The Doctor has previously been faced with the decision to wipe out the last of the Daleks at the cost of the Earth in TV: The Parting of the Ways ^[+]Loading...["The Parting of the Ways (TV story)"].
• Daleks also feigned subservience when the Second Doctor first encountered them in his post-regenerative story, TV: The Power of the Daleks ^[+]Loading...["The Power of the Daleks (TV story)"]. Further, the old Daleks state on numerous occasions that "I am your soldier," a very similar line to the one they said in the earlier story, which was "I am your servant."
• The Daleks serve tea, and pretend not to be threats, which unnerves the Doctor. The Eighth Doctor reacted the same way in AUDIO: The Time of the Daleks ^[+]Loading...["The Time of the Daleks (audio story)"] when the Daleks pretended to be Shakespeare scholars, and served refreshments rather than harming anyone.
• White Daleks appeared in TV: Revelation of the Daleks ^[+]Loading...["Revelation of the Daleks (TV story)"] and Remembrance of the Daleks ^[+]Loading...["Remembrance of the Daleks (TV story)"].
• The Dalek Saucer seen in the dogfight with the Spitfires is similar to those from TV: Bad Wolf ^[+]Loading...["Bad Wolf (TV story)"] / The Parting of the Ways ^[+]Loading...["The Parting of the Ways (TV story)"] and The Stolen Earth ^[+]Loading...["The Stolen Earth (TV story)"] / Journey's End ^[+]Loading...["Journey's End (TV story)"].
• The Doctor had a group of soldiers point weapons at him soon after exiting the TARDIS in Albion Hospital in TV: Aliens of London ^[+]Loading...["Aliens of London (TV story)"], and again while stepping out in Torchwood Tower in TV: Army of Ghosts ^[+]Loading...["Army of Ghosts (TV story)"]. It will happen again in TV: A Good Man Goes to War ^[+]Loading...["A Good Man Goes to War (TV story)"].
• The Doctor mentions that his TARDIS is a Type 40 TARDIS, a detail that was first established in TV: The Deadly Assassin ^[+]Loading...["The Deadly Assassin (TV story)","The Deadly Assassin"] and mentioned numerous times since.
• The new Daleks use a time corridor to depart from the era. They were first seen using this technology in TV: Resurrection of the Daleks ^[+]Loading...["Resurrection of the Daleks (TV story)"].
• Another crack like the ones that appeared in TV: The Eleventh Hour ^[+]Loading...["The Eleventh Hour (TV story)"] and The Beast Below ^[+]Loading...["The Beast Below (TV story)"] can be seen on the wall of the Cabinet War Rooms after the TARDIS dematerialises.
• Churchill remarks that the Doctor has changed his face again, implying that he has encountered at least two other incarnations of the Time Lord. The Doctor had indeed already met Churchill in his sixth incarnation in PROSE: The Shadow in the Glass ^[+]Loading...["The Shadow in the Glass (novel)"], and the Second Doctor encountered Churchill in PROSE: Players ^[+]Loading...["Players (novel)"].
• The Dalek saucer is hidden on the far side of the Moon. The Cybermen also hid a craft there in TV: The Invasion ^[+]Loading...["The Invasion (TV story)"].
• The Spitfire Pilot known as Danny Boy later appears in Series 6's mid-series finale, TV: A Good Man Goes to War ^[+]Loading...["A Good Man Goes to War (TV story)"], as one of many who owe a debt to the Doctor. He takes part in the Battle of Demons Run where he destroys the asteroid base's communications array.
• The Doctor exclaims to the new Daleks that it is the final end - something that he had said at the end of TV: The Evil of the Daleks ^[+]Loading...["The Evil of the Daleks (TV story)"].
• In the end, the Daleks escape and declare that they will return. They do return, this time accompanied by an entire new Parliament, in TV: Asylum of the Daleks ^[+]Loading...["Asylum of the Daleks (TV story)"], where they want the Doctor to "save" them.
• The Daleks pretended that they are a force for good like they will do in PROSE: The Dalek Generation ^[+]Loading...["The Dalek Generation (novel)"].
• The idea of using Spitfires upgraded with alien technology to win the war was also mentioned in AUDIO: Storm Warning ^[+]Loading...["Storm Warning (audio story)"], using laser cannons made with Triskele technology.
• The Daleks refer to themselves as "the master race", a moniker given to both the Nazis (whom they were fighting in this story) and the humans who "became" the Master in TV: The End of Time ^[+]Loading...["The End of Time (TV story)"].
• The Doctor mentions that the Daleks always manage to recognise him despite his regenerations. This was demonstrated as early as TV: The Power of the Daleks ^[+]Loading...["The Power of the Daleks (TV story)"], when the Second Doctor was identified by Daleks immediately after regeneration. However, it has not always been the case: in TV: Revelation of the Daleks ^[+]Loading...["Revelation of the Daleks (TV story)"], only the Imperial Daleks recognised his sixth incarnation, with the Renegade Daleks disbelieving that he was the Doctor. Furthermore, in TV: Doomsday ^[+]Loading...["Doomsday (TV story)"], the Cult of Skaro failed to recognise the Tenth Doctor but acknowledged that he registered as an enemy.
• The Doctor threatens to blow up the Dalek spaceship with a Jammie Dodger in just the same way that the Second Doctor threatened to blow up Gatwick Airport using a rubber ball in TV: The Faceless Ones ^[+]Loading...["The Faceless Ones (TV story)"].
• Bracewell has a positronic brain. Named for the type of processing unit that is embedded in each of the robots in Isaac Asimov's Robot stories, the positronic brain was first mentioned in TV: The Power of the Daleks ^[+]Loading...["The Power of the Daleks (TV story)"] and has been referred to in a number of stories since.
• The Doctor is close friends with Churchill. The Sixth Doctor asserted that this was the case in AUDIO: Doctor Who and the Pirates ^[+]Loading...["Doctor Who and the Pirates (audio story)"].
• Jammie Dodgers are added to the Doctor's list of favourite foods. He would later ask for them in TV: Night Terrors ^[+]Loading...["Night Terrors (TV story)"] and The Impossible Astronaut ^[+]Loading...["The Impossible Astronaut (TV story)"].
• When Amy fails to remember the Daleks, an incidental musical sting is heard that is identical to the one that played when the image of a crack appeared on the Doctor's TARDIS monitor screen in TV: The Eleventh Hour ^[+]Loading...["The Eleventh Hour (TV story)"], hinting that the cracks are connected to Amy's lack of remembrance. This is revealed to indeed be the case in TV: The Big Bang ^[+]Loading...["The Big Bang (TV story)"].

Home video releases

Series 5 Volume 1 DVD Cover

DVD & Blu-ray releases

• Series 5, Volume One was released on DVD and Blu-Ray in region 2/B on 7 June 2010 and region 4/B on 1 July 2010. The volume features The Eleventh Hour, The Beast Below, Victory of the Daleks, and the featurette The Monster Diaries.
• The episode was later released in the Complete Fifth Series boxset on both DVD and Blu-ray, in region 1/A on 9 November 2010, in region 2/B on 8 November 2010 and in region 4/B on 2 December 2010.
• A DVD-only release of Series 5, Part One, containing the first six episodes of the series, was released in region 1 on 15 March 2016.

Digital releases

• In the United Kingdom, this story is available on BBC iPlayer.

External links

• Victory of the Daleks at Shannon Sullivan's A Brief History of Time (Travel)
• Victory of the Daleks at the Doctor Who Reference Guide