If there has ever been a greater hook for the fans than the pre-titles sequence to "The Magician's Apprentice" I have yet to see it. As written, however, it serves to anchor the purpose of the story, for, before the main course, we are given a sweeping entrée through the known universe as we are used to from a Moffat two parterbefore two random amuse-bouches of Doctor Who story types - the UNIT story that reintroduces Missy and the wacky pseudo-historical that marks the Doctor's re-entry into the story. We are taken further 'into the Dalek' than we have ever been before - free will apparently means nothing inside a Dalek and the reason for the constant repetition of their most notorious chant is that it is the only vocalisation permitted towards any non Dalek - a good way to reload. We are expressly told what happens to senescent Daleks; immortal they may be, but not ageless (it is good, incidentally, that the more cloacal aspects of the Skarosian slime are addressed and the word 'sewer' used, as the intimations would have been there anyway).
However, this is the tale of the Doctor and Davros and the creator and
the created. We are taken to earlier in Skaro's history than we have
ever been before and to the apparent end of Davros's life. A goodly
portion of "The Witch's Familiar" is taken up with a remarkable
conversation between Davros and the Doctor. Davros's seeming deathbed
repentance is one of the most shocking moments in the programme's
history and only someone blindly subservient to the programme's past
would deny that Julian Bleach exceeds Michael Wisher's high mark in his
performance in the role. He is helped by the best make-up job for the
character yet - recognisably the same, but utterly convincing as simply
the face of an old man, so the opening of his Kaled eyes (helped by the
framing of the shots) doesn't seem jarring. In addition, we finally find
out just how much of Davros's Kaled body is left, as the Doctor
literally unseats his arch enemy! Hettie Macdonald puts in stellar work
and marshals an outstanding job from the production team, such as the
retro, but utterly convincing Skaro and the trips to UNIT and mediaeval
Essex, which are treated with as much care as if they had been the
centre of the story.
It is testament to the skills of Moffat, Bleach and Michelle Gomez that
the first story to feature both Davros and the Master doesn't have one
swamping the other. Missy is brought back (the method of her survival,
lovingly detailed in the pre-credits sequence in "The Witch's Familiar".
Gomez's psychopathic flightiness makes Missy genuinely unpredictable
and genuinely frightening, notwithstanding the fact that for the vast
majority of their screen time together, the Doctor and Missy are allies.
Indeed, Clara is pretty much Missy's companion in the story and Missy
is quick to make Clara very much the fall guy in their double act. This
makes her apparent betrayal of Clara both totally expected and
incredibly powerful. Jenna Coleman effortlessly makes Clara noticeably
more mature, as she should be, following the loss of Danny. Capaldi is
on fire throughout, whether belting out 'Mickey' on his Yamaha SGV800
(with an invisible wah-wah pedal!) pleading for Clara's life or
regenerating the Struldbrugs of Skaro.
The dénouement, brings all these strands together. Embodying a Dalek
Empire that has literally been reborn, Davros is triumphant - yet he has
forgotten that all his children have been renewed; including the
abandoned elder ones. The sewers are, indeed, revolting. Most crucially
the Doctor saves the young Davros, answering the question 'Who Made
Davros?' with the only acceptable answer 'Skaro'. People who have
kindness shown to them when they were younger sometimes still become
The ninth series opener is a storming piece of work that seems
contemporary, retro and timeless at the same time thanks to sterling
work on all aspects of creation and production. The Doctor and Clara are
again free to wander time and space together. We are, however, left
with the promise of a horror awaiting our heroes in the future...
NEXT: "Under the Lake"/"Before the Flood"