"Rosa"

I must admit that part of me was dreading "Rosa". This century, Doctor Who has dealt with various historical figures, but they were all extraordinary figures. Rosa Parks, on the other hand was an ordinary person who did something extraordinary. Anyone else on that bus could have refused to give up that seat, but the fact that it was her made her a paradigm shifting heroine. This means that, whilst it is alright for Charles Dickens to encounter the Gelth and for William Shakespeare to battle the Carrionites, it would be inappropriate for Rosa Parks to join the Doctor in battling an alien menace. This means that the story is closer in spirit to the Hartnell era pure historicals than any other story made in colour. There is, however, a science fiction menace, in the shape of Krasko, but a major part of the story is keeping him out of Rosa’s way. This does give this story a similar feel to a Quantum Leap episode, which is no bad thing as few American programmes have aged as well as the exploits of TV’s second favourite time-travelling doctor.

The script could do with a couple more drafts, but, on its own, it is a step above the previous weeks’. I am too old to have been part of Malorie Blackman’s target audience, but it is clear that she is a very talented writer. The (in hindsight) horror of segregated America is excellently brought across and very few punches are pulled. A certain epithet which would have been spat out like machine gun rounds is not uttered (although a similarly derogatory one is used, in a wholly artistically justified way) and we are spared the truly revolting details of how Emmet Till was murdered – yet the violence and stupidity of the situation is vividly portrayed, from the moment Ryan is slapped in the face for talking to a white woman in an act of kindness. The struggle to put history back on course would be farcical, were it not for the very serious stakes. The moment when the regulars realise that they have become part of history is very moving. There is very strong material for the characters, such as Yas and Ryan talking about the realities of race in modern Britain and how much Rosa Parks’s story was instrumental in Graham’s relationship with Ryan’s gran. On a lighter note, Ryan meeting Martin Luther King is very well played and funny. Boldly, and yet bleakly, there is no arcane motive for Krasko to change history – he is just a racist from the future. There are some problems – the Doctor is a bit laissez-faire about Ryan going out on his own after dark in a state where a black man’s life would be in danger after dark.

The good material for the regulars is bolstered by the cast. Tosin Cole and Bradley Walsh put in very impressive performances. The Doctor has to be a bit more low-key and Jodie Whittaker retains a sense of fun whilst realising the seriousness of the situation. As Mrs Parks herself, we have an astonishing performance by Vinette Robinson in a controlled portrayal that dominates the screen. Mark Tonderai is equally skilful directing a very different kind of story from last week. One thing he brings out very well from the script is the sheer convoluted idiocy in implementing segregation – paying at one door, leaving and entering by another, moving the signs designating where certain races should sit, the fact that laws governing black and white make no allowance for the fact that the majority of people on the planet are neither.

The name of the story may hark back to the very first 21st century Doctor Who story, but this is unlike any other story broadcast in the past 13 years. Despite its flaws "Rosa" is a very powerful piece of television that demands our attention.

NEXT:  "Arachnids in the UK"

"The Ghost Monument"

"The Ghost Monument" can be seen as fulfilling the same function for Chris Chibnall as "The End of the World" did for Russell T Davies – a simple plot set in an extraordinary location, to plunge the companions headlong into the alien. As with "The End of the World", the plot is secondary to this aim, but, again, the fact that Chibnall is not the writer that his predecessors are is evident. There are stretches of clunky dialogue that would never have passed muster in previous years and the story is haphazardly structured. The central plot of the race is not a very engaging storyline, and, indeed, is not really presented well as a race.

With this in mind, the script is reinforced to a colossal degree by the utterly stunning production. The South African locations are spectacular and Mark Tonderai, gives the episode a very realistic feel by using deliberately messy composiitions – the scene where the spaceship crashes is a fantastic use of this technique. Tonderai also helps bring the Revenants to life, a brilliantly simple monster, evocative of one of M R James’s most famous tales that, unlike the tooth collection last time, is terrifying without being inappropriate. We are finally reunited with the TARDIS and the new set is spectacular. We also finally see the new opening credits and they are a very nice change of pace from before, with a fine arrangement by Segun Akinola.

The half-baked writing for the supporting characters is compensated for by some very nice performances. Shaun Dooley and Susan Lynch round out their characters very well and it is always good to see Art Malik. The best part of Chibnall’s writing is in fleshing out the regulars. We can see the relationships developing nicely and the performances are spot on. Indeed what Chibnall understands very well is the character of the Doctor. The Doctor sizes up each sticky situation and works out a brilliant solution and encourages her companions to use their skills and knowledge to help. Jodie Whittaker completely sells us on the Doctor and her joy at being reunited with the TARDIS is truly wonderful to behold.

Most importantly, despite its flaws, I had a blast watching the story – which is, of course the most important thing!

NEXT: "Rosa"

"The Woman Who Fell to Earth"

Make no mistake, "The Woman Who Fell to Earth" heralds the biggest reformatting of Doctor Who since The Power of the Daleks. Apart from the casting of the first woman Doctor, the production team has been completely overhauled but it is, of course, the casting of Jodie Whittaker that has dominated the interest in this new era.

Whilst I had no issue with a female Doctor and certainly none with Whittaker’s casting, I did have an issue with the head writer. Doctor Who has been very fortunate in being helmed by two of the best writers in the world, Russell T Davies and Steven Moffat. It would be a bit unfair and perhaps churlish to point out that Chris Chibnall is not in the same league, as few are, but Chibnall is hardly a standout writer, when it comes to Doctor Who alumni. Even in his great solo success of Broadchurch, his writing is easily the weakest aspect. A lot of his writing, even the borderline-great "The Power of Three", resolves the plot abruptly, be it god-from-the-machine or rabbit-out-of-a-hat style. "The Woman Who Fell to Earth", happily, does not do this, but it’s still clear that we are in the hands of a lesser writer. There are some nicely evocative speeches, but the nuts and bolts dialogue lacks polish and often resorts to cliché – Russell T Davies could make a conversation about takeaway pizza be funny and interesting. It was, perhaps, unfortunate that I had recently watched the first two Predator films, as that made the parallels with the Stenza 'Tim Shaw' even more obvious. This brings me to the most troubling aspect – the corpse-mutilation is, in my opinion, going a tiny bit too far for a family programme. I hope that the tone meetings are no longer a thing of the past.

Characterisation is not as rich as it was in previous eras, but we have some excellent performances Tosin Cole is, practically, the lead character in this episode and he is very charismatic. He is joined my Mandip Gill’s strong, yet adorable Yasmin Khan, Bradley Walsh, surprisingly understated and effective Graham, and it’s a pity that Sharon D. Clarke’s Grace dies, given her sensitive performance. I must also mention Karl, engagingly played by Johnny Dixon. Tim Shaw is, as said, hardly an original foe, but Samuel Oatley attacks the part with relish. However, it is clear who the star of the show is. Like Peter Capaldi and Christopher Eccleston, she is a recognisable ‘name’ actor, so I knew she had the ability. However, as with her predecessors, the unique spin she gives on the role is something truly wonderful. Jodie portrays the Doctor as an ancient soul who still finds delight in the challenges the world throws at her. Perhaps it's just me, but it helps, of course, that, with Capaldi’s costume on, she looks like what William Hartnell would look like, if Hartnell were a beautiful young woman!

Further helping the story is the excellent production. The pace is slower than in previous eras and Jamie Childs does a great job in the director’s chair – the initial manifestations seem genuinely alien and inexplicable. Sheffield comes alive on screen as Cardiff has done previously and the anamorphic lenses give the image more breadth. A major change behind the scenes is the first new composer since the programme’s revival. Segun Akinola’s incidental score is more ambient than Murray Gold’s and, although I am very fond of Gold’s music, Akinola’s arrangement of the theme tune is a vast improvement on the terrible Capaldi version.

I sincerely hope that Chibnall will be up to the formidable task, because the team he has assembled can clearly work wonders.

NEXT: "The Ghost Monument"