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Doctor Who: The God Complex
The TARDIS materializes in what appears to be a kitsch 1980s hotel. However, the Doctor, Rory, and Amy soon meet three people who explain that the hotel's rooms and corridors shift without warning, each room contains their worst fears, and a Creature stalks the hallways, feeding.
| 9/10 (12 Votes cast) |
Episode Info
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Episode number: 6x11 Airdate: Saturday September 17th, 2011 Special Airtime: 07:10 pm Alternate Airdates:
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United Kingdom
Main Cast
Recap
In a seemingly empty 1980s style hotel, pre-recorded music plays on the loudspeaker. A police officer, Lucy Hayward, finally approaches a door, opens it, and finds a clown inside. The last one left, she continues on to another door and finds a photographer waiting for her. He takes her picture and Lucy has a brief flash of herself as a child. Lucy quickly closes the door, realizing that she didn’t know what was inside the room until she saw it, and then wonders how she thought it could have been anything else. In the next room, Lucy hears running water and sees a gorilla come charging out of the bathroom. She closes that door as well and cowers in the hallway...Read the full recap
Episode Quotes
Amy: "Let's go to Ravensgala," he says. "The people are 600 feet tall, you have to talk to them in hot air balloons and the tourist information center is made of one of their hats," he says. I'm sorry, but I don't see any huge hats.
Rita: Their pupils are dilated. They are as surprised as we are. Besides which, if it's a trick, it'll tell us something.
The Doctor: Oh, you're good. Oh, she's good. Amy, with regret, you're fired.
Amy: What?
The Doctor: I'm kidding. (whispers to Rita) We'll talk.
The Doctor: Oh, you're good. Oh, she's good. Amy, with regret, you're fired.
Amy: What?
The Doctor: I'm kidding. (whispers to Rita) We'll talk.
The Doctor: I take it from the pathological compulsion to surrender, you're from Tivoli.
Gibbis: Yes, the most invaded planet in the galaxy. Our anthem is called "Glory To Insert Name Here."
Gibbis: Yes, the most invaded planet in the galaxy. Our anthem is called "Glory To Insert Name Here."
The Doctor: They're not doors, they're walls. Walls that look like doors. Dor-wals, if you like, or dwalls. Walds, even. You fully got it when you said they're not doors. I mean, windows are... right. Big day for a fan of walls.
Rita: It's not just that. The rooms have... things in them.
The Doctor: Things? Hello! What kind of things? Interesting things? I love things, ask anyone.
Rita: Bad dreams.
The Doctor: Well, that killed the mood.
Rita: It's not just that. The rooms have... things in them.
The Doctor: Things? Hello! What kind of things? Interesting things? I love things, ask anyone.
Rita: Bad dreams.
The Doctor: Well, that killed the mood.
Gibbis: Well, I was at work, I'm in town planning. We're lining all the highways with trees so invading forces could march in the shade. Which is nice for them.
The Doctor: So what have we got? People snatched from their lives and dropped into an endless shifting maze that looks like a 1980s hotel with bad dreams in the bedrooms. Apart from anything else, that's just rude.
The Doctor: Okay, this is bad. For the moment I don't know how bad. But it's certainly three buses, a long walk, and a taxi from good.
The Doctor: Hello, I'm the Doctor.
Joe Buchanan: You're going to die here.
The Doctor: Well, they certainly didn't mention that in the brochure.
Joe Buchanan: You're going to die here.
The Doctor: Well, they certainly didn't mention that in the brochure.
Gibbis: Personally, I think you've got the right idea. Times like this, I think of my old school motto: "Resistance is exhausting."
Howie Spragg: I've worked out where we are.
Rory: Hmm?
Howie Spragg: Norway.
Rory: Norway?
Howie Spragg: See, the U.S. government has entire cities hidden in the Norwegian mountains. The Earth is on a collision course with this other planet and this is where they're going to send all the rich people when it kicks off.
Rory: Amazing.
Howie Spragg: Well, it's all there on the Internet.
Rory: No, it's amazing you've come up with a theory more insane than what's actually happening.
Rory: Hmm?
Howie Spragg: Norway.
Rory: Norway?
Howie Spragg: See, the U.S. government has entire cities hidden in the Norwegian mountains. The Earth is on a collision course with this other planet and this is where they're going to send all the rich people when it kicks off.
Rory: Amazing.
Howie Spragg: Well, it's all there on the Internet.
Rory: No, it's amazing you've come up with a theory more insane than what's actually happening.
Amy: Whatever that is, it's not real, yeah?
The Doctor: No, no, I'm sure it isn't. But just in case, let's run around and hide anyway.
The Doctor: No, no, I'm sure it isn't. But just in case, let's run around and hide anyway.
Rory: Every time the Doctor gets pally with someone, I have this overwhelming urge to notify their next of kin. (Amy notices him and he recoils) Sorry. The last time I said something like that, you hit me with your shoe. And you literally had to sit down and unlace it first.
Rita: You are a medical doctor, aren't you? You haven't just got a degree in cheese-making, or something?
The Doctor: No. Well, yes. Both, actually.
The Doctor: No. Well, yes. Both, actually.
Gibbis: All I want to do is go home and be conquered and oppressed. Is that too much to ask?
Rory: You know, Howie had been in speech therapy. He'd just gotten over this massive stammer. What an achievement. I mean, can you imagine? You've forgotten that not all victories are about saving the universe.
The Doctor: Why what?
Rita: Why is it up to you to save us? That's quite a God complex you have there.
The Doctor: I brought them here. And so it's their choice. But offer a child a suitcase full of sweets and they'll take it. Offer someone all of time and space and they'll take that, too. Which is why you shouldn't. Which is why grown-ups were invented.
Rita: Why is it up to you to save us? That's quite a God complex you have there.
The Doctor: I brought them here. And so it's their choice. But offer a child a suitcase full of sweets and they'll take it. Offer someone all of time and space and they'll take that, too. Which is why you shouldn't. Which is why grown-ups were invented.
The Doctor: Forget your faith in me. I took you with me because I was vain. Because I wanted to be adored. Look at you. Glorious Pond. The girl who waited for me. I'm not a hero. I really am just a madman in a box. It's time we saw each other as we really are. Amy Williams, it's time to stop waiting.
Amy: What's it saying?
The Doctor: "An ancient creature, drenched in blood of the innocent. Drifting in space through an endless shifting maze. For such a creature, death would be a gift." Then accept it and sleep well. (the Doctor starts to walk away) "I wasn't talking about myself."
The Doctor: "An ancient creature, drenched in blood of the innocent. Drifting in space through an endless shifting maze. For such a creature, death would be a gift." Then accept it and sleep well. (the Doctor starts to walk away) "I wasn't talking about myself."
Amy: Hey. So. You're leaving, aren't you?
The Doctor: You haven't seen the last of me. "Bad Penny" is my middle name. Seriously, the looks I get when I fill in a form.
The Doctor: You haven't seen the last of me. "Bad Penny" is my middle name. Seriously, the looks I get when I fill in a form.
Cultural References
Joe Buchanan: Here comes a candle to light you to bed, here comes a chopper to chop off your head.
Joe is quoting from the English nursery rhyme "Oranges and Lemons" (1744)
Joe is quoting from the English nursery rhyme "Oranges and Lemons" (1744)
Episode References
The Doctor describes the creature as similar to a Nimon. The Nimon are a bull-like humanoid race that set themselves up as gods, and appeared in the original programme in the series "The Horns of Nimon".
Other Episode Crew
| • Executive Producer | Beth Willis | Steven Moffat | Piers Wenger |
| • Producer | Marcus Wilson |
| • Associate Producer | Denise Paul |
| • Production Designer | Michael Pickwoad |
| • Casting | Andy Pryor |
| • Line Producer | Diana Barton (2) |
| • First Assistant Director | William Hartley |
| • Second Assistant Director | James Dahaviland |
| • Music | Murray Gold |
| • Costume Designer | Barbara Kidd |
| • Make-up | Vivienne Simpson | Alison Sing |
| • Grip | Gary Norman |
| • Camera Operator | Joe Russell |
| • Set Decorator | Julian Luxton |
| • Location Manager | Nicky James |
| • Property Master | Paul Aitken (2) |
| • Production Assistant | Charlie Coombes |
| • Script Supervisor | Caroline Holder |
| • Production Coordinator | Claire Hildred |
| • Assistant Editor | Becky Trotman |
| • Post Production Supervisor | Nerys Davies | Ceres Doyle |
| • Gaffer | Mark Hutchings |
| • On-Line Editor | Jeremy Lott |
| • Stunts | Gordon Seed |
| • Stunt Coordinator | Crispin Layfield |
| • Production Secretary | Scott Handcock |
| • Assistant Production Coordinator | Helen Blyth |
| • Post Production Coordinator | Marie Brown (2) |
| • Production Management | Phillipa Cole | Steff Morris |
| • Sound Mixer | Jeff Welch |
| • Script Editor | Caroline Henry |
| • Dubbing Mixer | Tim Ricketts |
| • Sound Recordist | Bryn Thomas |
| • Third Assistant Director | Heddi Joy Taylor |
| • Costume Supervisor | Vicky Salway |
| • Main Title Theme | Ron Grainer |
| • Production Accountant | Dyfed Thomas (2) | Rhys Evans |
| • Camera Assistant | Simon Ridge | Matthew Lepper | Svetlana Miko |
| • Best Boy | Peter Chester |
| • Casting Associate | Alice Purser |
| • Assistant Director | Michael Curtis (2) | Janine H. Jones |
| • Production Executive | Julie Scott (2) |
| • Graphic Designer | Christina Tom |
| • Unit Manager | Rhys Griffiths |
| • Foley Editor | Jamie Talbutt |
| • Colorist | Gareth Spensley |
| • Assistant Costume Designer | Samantha Keeble |
| • Conductor | Ben Foster (3) |
| • Focus Puller | Steve Rees | Jon Vidgen |
| • Assistant Art Director | Jackson Pope |
| • Concept Artist | Shaun Williams |
| • Production Buyer | Ben Morris (4) |
| • Supervising Art Director | Stephen Nicholas |
| • Standby Art Director | Amy Pickwoad |
| • Construction Manager | Matthew Hywel-Davies |
| • Standby Props | Phill Shellard | Helen Atherton |
| • Sound Special Effects Editor | Paul Jefferies |
| • Make-up Designer | Barbara Southcott |
| • VFX Editor | Cat Gregory |
| • Make-up Supervisor | Pam Mullins |
| • Costume Assistant | Frances Morris (2) | Yasemin Kascioglu | Jason Gill (2) |
| • Script Executive | Lindsey Alford |
| • Location Assistant | Geraint Williams |
| • Sound Maintenance | Dafydd Parry |
| • Assistant Production Accountant | Ceredig Parry |
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