Most of science fiction is magic in the end: you make an assumption for
the purpose of illustration (usually of a social or political issue),
and as long as everything around it follows in a reasonable manner, you’ve got a successful gimmick.

Doctor Who has never been any different; the difference is that its key
assumptions, on a long-term basis, tend to be more for dramatic than
hypothetical purposes. To provide solutions rather than ask questions.
The sonic screwdriver exists, for instance, to resolve any physical
impasse. Davies has had fun with this and, flying in the face of JNT,
has made it even more of a panacea. (Note Boom Town and the
teleportation.) This is fine because this one magical assumption allows
us to skip the obligatory procedurals (that frankly have little to do
with story) and go more directly from cause to effect, on a narrative
level.

The TARDIS has always been another magical device. It works how it
needs to work to do what the writers want to do. That Davies is having
more fun with this than earlier writers and producers just follows his
whims and — frankly — the demands of the modern format of the show.
And of modern standards in storytelling.

That montage at the start of Rose tells all, really. In two minutes we
know all we need to know about her, and all we really get are setup
shots. It would be pointless to fill in the blanks, as that’s not what
the story’s about. We get all we need to know from what we’re shown,
and we can fill in the rest ourselves. Take that, expand it, you have
Doctor Who in a nutshell. All Davies has done is boil it down. And in
most places, it’s effective in the end. If you really need
explanations, you can make them up on your own. Fans are good at that.
They’re kind of irrelevant to the purpose of the series, though.

Thus concludes my review of Metroid II.