Originally broadcast on 17 April 2010, Victory of the Daleks is a fascinating pivot point early in Series 5. Written by Mark Gatiss and directed by Andrew Gunn, it delivers what initially feels like a genre romp—World War II, Winston Churchill, spitfires in space, and Daleks in butler uniforms. But behind the pulpy aesthetic lies a tightly wound tale about identity, manipulation, and the rebirth of a very old enemy. Rewatching in 2025, it remains a divisive, energetic, and oddly elegant story that boldly reintroduces the Daleks for the Matt Smith era.
The TARDIS materialises in the heart of the British war effort, and the Doctor is greeted by an old friend: Churchill, portrayed with mischievous charm by Ian McNeice. Churchill wants to win the war, and he believes he’s found the perfect weapon—a mysterious new machine developed by Professor Edwin Bracewell: the Ironsides. They look like Daleks. They are Daleks. But they serve tea, salute, and chant, "I am your soldier."
The Doctor isn’t buying it, and neither are we.
What follows is a thrilling slow-burn where the Doctor tries to expose the Ironsides for what they really are. Smith's Doctor, usually whimsical and light, turns to steel. The scene where he furiously attacks the Dalek with a spanner, demanding they acknowledge him, is riveting. Smith plays the rage with brilliance, keeping it just under the surface until it bursts.
Then comes the twist: the Daleks wanted the Doctor to confirm their identity all along. His recognition of them as true Daleks activates a progenitor device that births a new breed—the New Paradigm.
Ah, the New Paradigm Daleks.
Brightly coloured, chunkier, and instantly controversial, these Daleks divided fans from the start. Rewatching them in 2025, they still feel like a creative misfire aesthetically, but narratively, they make sense. The Daleks we knew were weak, fractured remnants. This story repositions them as a reinvigorated force—reborn, ruthless, and confident enough to leave Earth untouched because they know they’ll win in the long game.
The emotional core of the episode belongs to Professor Bracewell, played with beautiful subtlety by Bill Paterson. Discovering he is not human, but a machine created by the Daleks, he teeters on the edge of despair. It’s Amy who brings him back—not with science or logic, but with kindness. Her recognition of his love for a woman named Dorabella saves him. It’s a scene that underscores what Amy brings to the TARDIS team: compassion with bite.
The juxtaposition of aerial dogfights in space and deeply personal reckonings is classic Doctor Who. And while the tone occasionally slips into the cartoonish (Spitfires in orbit stretch believability even for this show), the visual imagination and narrative urgency keep it compelling. The Doctor racing against time, torn between letting the Daleks escape and saving London from a bomb disguised as a man, creates genuine tension.
There are smaller details too that work well. Churchill trying to steal the TARDIS key. Amy noticing the Doctor is disturbed by the fact she doesn’t remember the Daleks from Earth’s past invasions. The cracks in time reappearing subtly. These threads feed the wider arc without overwhelming the episode.
Rewatching in 2025, Victory of the Daleks holds more weight than it did on first viewing. At the time, it felt rushed and visually jarring. But from the lens of a full rewatch, it earns its place. It redefines the Daleks for the new era, shows how dangerous the Doctor’s reputation can be, and continues to develop Amy as a grounding presence.
Is it perfect? No. The New Paradigm Daleks remain visually incongruous, and the WWII setting could have been more deeply mined. But it's bold, it moves fast, and it never apologises for what it is.
Tea, war, identity crises, and a fresh start for old enemies.
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