The brief era of the new Doctor with an old face begins with a surprisingly low-key romp, despite it being the first special to celebrate the 60th Anniversary of the programme.. However, low-key doesn't mean low-stakes. This story looks back to the past in adapting a 43 year-old comic strip from Doctor Who Magazine. I have never been a regular buyer of the magazine, but Beep the Meep is one of those characters that is popular enough to transcend these origins. However, it is not just the story, but the storyteller that is key in this episode and we have a seismic change in that department. Although it contained some very good episodes, it was clear that the programme had lost something in the Chris Chibnall area. I have written again and again that he is nowhere near the writer that his predecessors are. Now, one of those predecessors has returned and the thought occurs – am I blinded by nostalgia, and willing to forgive faults that I would hold against Chibnall? After watching "The Star Beast", the answer is a clear and resounding "no". The strip is adapted with a deft hand, with the polished dialogue that has become very rare in the past 5 years, with musings about a gigantic sausage roll having more emotional impact that many weightier dialogue scenes scripted by Chibnall. The something that was missing was in the nuts-and-bolts writing, consistency and vibrancy of characterisation and incorporation of themes successfully into the plot.
I raved about how excellent David Tennant was at the time and, although I believe that Peter Capaldi is definitely at least his equal, I would not argue with anyone who still calls Tennant the best. He slips back effortlessly into the role, so much so that is futile to compare the Fourteenth Doctor with the Tenth – it's the same Time Lord after all. It is a true joy to see him climbing on the sets and dashing at speed around the TARDIS again, like it hadn't been 18 years since he first did so. Returning to great success is one of the all-time great companions, challenged since only by the wonderful Ms Potts. The temp from Chiswick is older, with more responsibilities, but is still the same, brilliantly shown by the DoctorDonna being more Donna than ever. Bernard Cribbins is much missed, but Jacqueline King is back with a vengeance. The key new character is Rose, brilliantly brought to life by Yasmin Finney. The theme of gender suffuses the episode and the first trans character played by a trans actor is addressed full on. It is laid on a bit thick at times, but the fact that, in recent times, the most marginalised group in the LGBTQ+ community has been under attack from all areas, means that perhaps it needs to be laid on thick.
We have a new UNIT scientific adviser in Ruth Madeley's sparky Shirley Bingham and in the alien camp, the (understandably) cartoon-like Wrarth are very vibrantly bought to life. The titular beast is voiced by the legendary Miriam Margolyes who gives the cutest psychopath in the Whoniverse real bite. Despite the return of his predecessor as showrunner, it is Steven Moffat stalwart Rachel Talalay who helms this colourful and spectacular story. It's no secret that the involvement of Disney has meant a cash-injection the like of which Doctor who has never seen. Before this, Doctor Who managed miracles on its budget, and it's only occasionally that the increased budget shows - that is, until we see the new TARDIS set, which makes its 21st Century predecessors look like their 20th Century four bears.
There were always differences in quality regarding stories, when it came to their sequencing."Partners in Crime", good though it is, is necessarily lesser than "Turn Left". However, there are very very few stories in the past few years that are of the same quality as this utterly joyous opener. Mr T Davies, I welcome you back with open arms!
NEXT: "Wild Blue Yonder"
