Mickey lived on a parallel world for about two years, and after he returns to his original world, he probably keeps discovering ways in which the earths diverged. Idioms that he finally learned how to say on the other earth he has to relearn how to say the way he first learned to. History wasn’t his best subject to begin with, but sometimes he starts talking to Martha about countries that either don’t exist anymore or never did in this timeline. There are sports teams and models of cars and brands of cereal and all sorts of things where he can remember the names but he can’t always remember which world they were from. He’ll get a jingle stuck in his head and none of his friends can help him remember what it was for because it never aired in their world. He’ll learn of a celebrity death and be certain that person already died- but wait, that was in the Cybermen attack, that must have been the other world. Just because he’s home now doesn’t mean his time on the other world is forgotten, and sometimes he feels so isolated from the world around him because there are all these things he thinks should be one way that are now another.
Launching this autumn on BBC One, the highly anticipated new series of Doctor Who will be scored by burgeoning composer Segun Akinola.
The Royal Birmingham Conservatoire alumni will provide an exciting and emotional score beckoning in a new era for the show, including a fresh take on the legendary theme tune.
As part of the BAFTA Breakthrough Brit program in 2017, Segun has already been recognised as one of the rising stars among British composers.
Segun’s modern, rich and varied work on programmes such as Black and British: A Forgotten History attracted the attention of Showrunner, Chris Chibnall, who said: “Welcome to the Doctor Who family, Segun Akinola! We’re over the moon Segun’s agreed to join us, to provide the score for the next phase of the Doctor Who adventure. From our very first conversations, it was obvious Segun was a passionate, collaborative and delightful human being as well as a fantastic and bold composer. We’re looking forward to introducing the world to his exciting and emotional soundtracks for the Thirteenth Doctor.”
Segun Akinola, said: “Doctor Who is woven into the fabric of British culture and recognised globally. I am absolutely thrilled to be given the privilege of working on such a beloved series and to bring my musical voice to it.”
Occasionally people rag on Martha for “leaving all of time and space because a boy didn’t like her”. And I’m like hang on a minute, time and space? Think about it. Where exactly do we see Martha Jones go on the TARDIS?
Elizabethean London, meets Shakespeare. Nice.
The slums of New New York
The slums of old New York
Home.
SS Pentalion, a cargo ship currently crashing.
Stuck in 1913
Stuck in 1963
The end of the universe, as everything dies
Messaline, unterraformed planet of soldiers
They go to one nice place. There is one other mention of having been somewhere nice. (The moon landing, four times) They never spend the start of an episode just larking about, or end the episode intending to hang around and have fun. (Think Long Game, Idiot’s Lantern, Fear Her, stuff like that.) (Smile, Thin Ice, Vincent and the Doctor, The Rebel Flesh, Unicorn and the Wasp, Midnight, Fires of Pompeii…)
Then consider that a lot of the time it wasn’t just ‘not fun’. She has to spend two months in a British village in 1913 working as a maid, with no protection from the racism surrounding her; working in a shop for some period in 1969. Walking the conquered Earth, alone, for a year.
There isn’t a problem with “bad things happen to characters in action-adventure shows”. But the uniformity of Martha’s experiences is unique.
There’s also the fact that she’s allowed to make that choice. She’s choosing to stay with her family because she knows how it is to be far away and powerless to keep them safe. She chooses to stay and be a doctor. Most companions don’t get to make that choice. She took that opportunity and nobody should hate her for that.
