"The Doctor's Wife"

I must admit, I had some mixed feelings when I heard that Neil Gaiman was writing an episode of Doctor Who. I am not an aficionado of comic books, so my only exposure to Gaiman was the TV series Neverwhere and the film of his graphic novel, Stardust. What I found was that the worlds that Gaiman creates are absolutely intoxicating, but the stories that he tells in them are not. However, his inventiveness goes a long way- despite some narrative shortcomings, Stardust is one of my favourite films of the past few years- and the setting he creates for this story is idiosyncratic indeed- a living planet called ‘House’ that lures Time Lords to its surface to devour their TARDISes, making patchwork servants out of the bodies of the lost, all while existing outside the universe precisely not in the way that a small soap bubble clings to a large one. However, the weird setting is hjust the canvas for the story, which is based on a very strong idea- an idea that had been long overdue for airing- what if the TARDIS could talk to the Doctor?

What Gaiman and Moffat construct is a story that tells us more about what happened when the madman first found his box. It gives us the first other TARDIS we have seen this century and it finally answers a question about regeneration that has been whispered for decades. However, it is what is at the heart of the story which dominates it. It is a story about the longest relationship the Doctor has ever had, one that will only end with the death of one of the parties involved. The Doctor understands himself more clearly and, perhaps, his purpose is clearer as well. It is this which makes a story that contains numerous references to the series’s mythology and a barrage of technobabble so successful, working even with non-fans. The emotions in the story ring true, which makes all the difference and, after the technobabble is done, the solution is simple, yet brilliant.

The performances are perfect- the very talented Elizabeth Berrington plays Auntie and is ably supported by Adrian Schiller as Uncle. However, it is the wonderful Suranne Jones who captivates as Idris/the TARDIS from the moment she appears, effortlessly getting the most out of Gaiman’s time-bending dialogue and making her sexy, funny and impossible not to fall in love with. Matt Smith’s performance is very special indeed here- the Eleventh Doctor is not as traumatised by the Time War as his two predecessors, but the pain is still there. His controlled rage at losing his hope for the survival of other Time Lords is wonderfully played, as is his answer to Amy’s contention that he wants forgiveness. More crucially, we see this Doctor cry for the first time and the look on Matt Smith’s face makes him seem older than Hartnell. We must not forget the sterling contribution from the former Mr Kate Beckinsale as the voice of House (I wonder if they momentarily considered Hugh Laurie?). Amy and Rory continue to work well, their relationship strong enough to have tolerated bunk beds.

The production is practically flawless, directed with aplomb by Richard Clark. The visualisation of leaving the universe is done simply, yet so effectively and the scenes on House are very atmospheric. The sheer joy of the jerry-made TARDIS chasing its cousin is matched by the shocking scenes set in the TARDIS corridors- the scene where Amy finds Rory’s desiccated corpse amongst graffiti that says KILL-AMY-DIE-AMY- is very strong stuff, yet not inappropriate.

"The Doctor’s Wife" is one of the most satisfying stories the series has yet produced and one I heartily recommend!

NEXT: "The Rebel Flesh"/"The Almost People"