There was this thing around about 2006-2007 that was in just about every show of the time that I like: Hustle, Ugly Betty, and Doctor Who. This was the first and only episode in Who to use it, and I think that works. It is that bit of direction and editing of one or two characters in a montage doing simple things. Hustle uses the sequence with music and voice over to explain a con, Ugly Betty would use moments like this to transition once or twice, and Who uses it as the set-up. A long set-up of two characters we know. They know each other, however, they just keep missing each other at every intersection, only to bump into one another.

I’ve had some attempt to say: “This shows how perfect their dynamic is as a duo,” or something like that. I don’t believe that’s wholly true, yes they have a dynamic, and yes it is shown. Though I’d argue it is only the fact they are in-sync with each other, they aren’t ‘perfect.’ I’ve said it before, I said it last week, and I’ll say it again; I don’t like Donna Noble or her characterization. Yes, she wants to travel, she has a passion for the adventure, but she’s filling out a role that isn’t missing from the show.

When looking at Series 11 and 12, there are three companions, and two of them are completely useless. Donna is that extra serving to an already full plate, and when she’s not, she’s a different character entirely. The role Catherine Tate fills-out is the comedy side character, a particularly gobby one at that. She has minor serious moments that don’t befit her rather brash character moments. There are glimpses where she’s a proper Who companion and a well-rounded character, but too often I’m left viewing them as isolated from who Donna is.

I know I’m skipping ahead a few episodes, but notably, there is the “Watch it, spaceman!” line from “Journey’s End,” and then she’s the more empathic Who companion in “Planet of the Ood.” These are two examples of her rather contrasting bits of character. The former is the loud and abrasive Londoner and Catherine Tate’s famously comedic character coming through; The latter is down to earth, caring, and human character. We saw it in “The Runaway Bride,” one moment she was loud, obnoxious, and nearly offensive to the ears. However, at the end when The Doctor showed his darker “No Second Chances. I’m that sort of man” side, she’s whipped into the compassionate one.

By all accounts, Donna isn’t the worst companion. I don’t know how many times I’ll say I want to kill Clara, but I will. Those of us who have seen the entire series, that discounting my editor, there is a good chance we all feel sorry for Donna. It is sadness, it is a sense of knowing what will become of a bubbly but irritable young woman who enjoys the otherworldly experiences of The Doctor. Meanwhile, Clara always felt like she thought it was nothing but her divine right to be there, like it was her ship to fly into the fray. There is one thing I do believe that Donna deserves like most (all but Clara and Peri) Who companions, she deserves my sympathy.

Right, that long diatribe aside, let’s get to the episode. It is just a bit meh and hasn’t aged all too well, at least in the ‘political correctness gone mad‘ world we’ve developed into over the last 12 or so years. “And the fat just walks away,” another one of these episodes that was telling kids to be thin and they’ll be happy. Ok, that’s not the only theme of the episode, it does wonderfully put the diet industry in the spot of the villain, for once. Though the villain, Ms. Foster, is the head of a company with a despicably appealing offer with its diet pill that is working without fail. Well, aside from when they kill people.

Adipose industries is the leading company in making the fat literally walk away. It would be weird of a company named after the connective tissue we commonly call “fat” to sell your mum’s favorite toy, motorbikes, and hand sanitizer. No, they are selling a little pill that causes the adipose tissue to escape from your body and become a little happy or angry being that looks like an enlarged CGI testicle. It was a rather obvious attempt at a marketing tool of plush toys for the time, and later one of the most horrific Funko figures I’ve seen. That’s saying something since pop vinyls already look like hollowed-out corpses worn like suites by demonic Teletubbies.

Although the company and Foster herself are sadistic and heartless, neither feel strong. They are similar to a toothless lion. The villain of sorts, isn’t all as fear-inducing as one might hope. Fear might not be the aim, but if the moon was at least shot at, there would be a target in sight. It is another example of the villain playing second fiddle to something else, akin to what Richard Curtis does with “Vincent and The Doctor.” While it is an entity there, and while it is threatening to the protagonists, there is a more important thing happening within the story. The trouble is, it is only an attempt to reintroduce Donna as a slightly less offensive companion for the long term.

The entire episode is cut into the usual three or so acts, with there being three distinct points of the episode. The aforementioned set-up, which is fun and interesting; the middle action-Who with lots of running and standing off with the villain. Then, there is the last part, back to Donna being the comedic character that might not understand something. “You are not mating with me, Sunshine!” The rather infamously forced parody of the usual request to hop on the TARDIS for adventures, that scene along with many other attempts to make her humorous feels drawn out for that purpose alone. The reunion/mime-act before we swing into the action is another perfect example of it.

“Partners in Crime” isn’t a bad episode, and it isn’t all that good either. What is left once you leave the episode to memory is all the worst moments: Testicle aliens, overdone humorous moments, and a companion a few might already have made their mind up on with her previous outing. Though there is one thing I’ll never say a bad word about, and that is Bernard Cribbins. The little old man that will sit atop a hill watching the stars. The man that gave Donna this desire for adventure; honestly love Wilfred “Wilf” Mott to death. Not to spoil it for my editor, but he’s the bit of hope in an otherwise sad series of Who.

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Doctor Who "Partners in Crime"

6.5

Score

6.5/10

Pros

• I adore Wilfred "Wilf" Mott.
• Sarah Lancashire's brilliant Ms. Foster.
• Great direction and editing of the set-up.

Cons

• A little too late to change Donna now, a lot made up their minds.