"The Legend of Ruby Sunday"/"Empire of Death"

All too soon, we come to the end of the first season of this new/old era in an epic two-part finale. In evaluating the story, we must acknowledge the fact that this is, in fact two plotlines. Both are good, one more so than the other and the quality of the writer is shown in how these two are joined together.

The first concerns the return of one of the most iconic one-off villains of 20th Century Doctor Who. Moreover, the story that it is a sequel to, is a contender for my favourite ever Doctor Who story. Even before the reveal, one sentence intoned in that inimitable cadence is enough to inform us – Sutekh is back. The programme has taken a step into more fantastic realms and we are now squarely in the realm of Gods. Sutekh was always the most awesome adversary that the Doctor has faced, yet not the most powerful – until now. The mightiest of the Osirans has ridden the vortex and ascended to god-like status. Gabriel Woolf returns again and his sepulchral tones have the same effect as they did nearly half a century ago. The cosmic devastation promised in Pyramids of Mars is delivered with interest. However, the biggest criticism of the story as a whole is that Sutekh deserves a better send-off and the reset button is not as effective here as, say, in "Last of the Time Lords". It isn't a plot cheat, but it causes the most dissatisfaction with the story. I would like to think, however, that RTD reacts to the misunderstanding of the term deus ex machina and it's misapplication by fandom by expelling a god from the machine!

However, there is a second plot and the title of the first episode indicates that it isn't a secondary story. The mystery of Ruby's birth has been at the back of our minds since her début and, what glimpses we have had of her first day of life have been suffused in festive mystery, which reaches its pinnacle in the time window. We have a 3D extrapolation of a VHS tape, using future DNA records to enact in the present the secrets of the past. Yet the revelation is one of comforting normality – sometimes a mysterious cowled figure is just a frightened, crying young girl wearing a hood to keep out the snow. RTD had always celebrated the wonder of the ordinary life and Ruby is finally given one.

Jamie Donoughue is given the finale to début as director and he doesn't disappoint. The epic sweep of the Empire of Death and the intimacy of Ruby's meeting her birth mother are both expertly handled, with every mood in between. In particular, the fear factor. As with "73 Yards", this story is frightening in a way that is different from previous eras, in a very successful way. The sequence with the time window goes from spooky, to utterly chilling - Colonel Chidozie's fate in the first episode, with his ghostly voice blankly saying 'I am in Hell' is incredibly effective.

Every performance is excellently judged. Jemma Redgrave gives the best of a series of excellent performances. Kate is in awe of the Doctor and loves him, but is not above silently rebuking him for his complicity in Colonel Chidozie's death. Bonnie Langford delights again - it is only the voice that reminds us that the strong, assertive character of Mel is the same as one of the least beloved companions of 20th Century Doctor Who. The key supporting character is Susan Triad, played by the nominally deterministic Susan Twist in a low-key, yet very charismatic performance. Lenny Rush and Genesis Lynea do good work. I must give a special mention to Faye McKeever whose non-verbal reaction to the return of her lost child is fantastic.

It never ceases to astonish me that Millie Gibson is 19 years old, such has been the depth of her performances. I really look forward to any future appearances of the wonderful Ms Sunday. Ncuti Gatwa continues to astonish. He may have let go of his demons, but the Doctor still has his experience and his responsibilities. Displaying this, together with his joy, seems natural to our latest leading man and it has been truly exciting seeing this very fresh Doctor dominate the screen.

Despite some plot problems, the finale is in the hands of a wonderful writer who has crafted a truly memorable climax. We are left with a few mysteries, notably the mysterious Mrs Flood (and I, for one, am interested in the premiership of Roger ap Gwilliam. It may be a while before we get any answers. In the meantime - roll on Christmas!

NEXT: "Joy to the World"

"Rogue"

 For the first time this era, we have writers new to Doctor Who with Kate Herron and Briony Redman's "Rogue". It has to be said that the premise for the story is pretty flimsy; a family of aliens who are obsessed with television costume dramas in general and Bridgerton in particular cosplay their way through the actual period setting which, for a start, recalls the utterly wonderful Galaxy Quest. The Chuldur's motivation is a bit silly (nothing wrong with that) and their dastardly plan rather obvious, but the true meat of the episode is located elsewhere. This is, primarily, a character piece, a Doctor love story, which brings to mind the absolute classic "The Girl in the Fireplace".

With his potential love interest, the title character of the show has the title character of the episode to contend with. Rogue is reminiscent of another dashing LGBTQIA+ man with a gun, a winning smile and an American accent, but Jonathan Groff gives a very controlled and subtle performance. Groff is that very welcome thing, a young American actor with stage training and this, coupled with his natural charisma is wonderful. Ncuti Gatwa is playfully perfect in the usual Doctor way. Already, his playing the Doctor on autopilot is compelling enough on its own, but, in his scenes with Groff, he is on fire, flirting, dancing and reeling him in. we are also given his reaction to the imagined loss of Ruby – quiet tears and cold fury. Gatwa just gets better and better.

Millie Gibson has a ball as the modern girl out of time, something that has been played again and again in the programme, yet, as with all good companions, seems fresh. The guest cast is perfect, with Paul Barton making a wonderfully rakish Lord Barton and Camilla Aiko perfect as Emily Beckett. The effortlessly elegant Indira Varma is a hoot (sorry) as the Duchess, in both versions of her character.

In evoking the Regency and Bridgerton's evocation of it, the production design, costumes, music, and choreography have to be up to the job and, obviously, it is. Ben Chessell directs with real flair, the best scene being the Doctor and Rogue dancing, which reminded me of a similar scene in the best non-RTD episode of Torchwood, "Captain Jack Harkness".

Hopefully we haven't seen the last of Rogue, because this story, which should be utterly superficial kept me watching from beginning to end.

NEXT: "The Legend of Ruby Sunday"/"Empire of Death"

"Dot and Bubble"

"Dot and Bubble" is probably unique amongst Doctor Who stories, in that it's title is also the first line of dialogue uttered. We are sucked into Finetime a world that is recognisable as one extrapolated from trends in our own; from the moment of awakening, a person turns on social media and, in this case, is literally cut off from the real world in an virtual bubble. The individual is even told in which direction to walk and cannot do so unaided, perhaps a commentary on validation in the modern world. Into this social media cloud, the Doctor and Ruby arrive unannounced with a clear warning, yet the reaction is not what is expected.

The episode is reminiscent of Black Mirror, but to be fair Doctor Who has been doing Black Mirror for decades before Black Mirror itself – in Vengeance on Varos for one. However, the bright look and cheerful ambient sounds are immediately evocative of this type of futurism and, after his stellar debut last week, Dylan Holmes Williams continues to impress. The monsters who are devouring these drones are chilling, yet also slightly comical. Yet there is nothing comical about the way that a rogue dot can kill, in a scene that is suggestive of a brutal head-shot, whilst it clearly isn't one. Williams is excellent at shifting tones without incongruity.

As this is an easy week for both Ncuti and Millie, the main character is Lindy Pepper-Bean. Without an excellent performance by Callie Cooke, this deeply unlikable character would be unbearable to watch. Yet this character navigates us through her pastel world with her vapid friends, very successfully. A brief breath of fresh air is Ricky September, winningly played by Tom Rhys Harries. Despite being introduced as a futuristic TikTok star, dancing to the most annoying version of one of the most annoying songs ever recorded, his quiet rejection of the superficiality of Finetime makes one have hope – until his betrayal by Lindy. Lindy's character arc is not the usual one, as her growing knowledge and awareness doesn't make her a better person, but scrapes away the bubbly veneer to reveal the horrible person underneath.

Which leads us to the twist. Finetime is not just an idyllic playground for the rich, it's part of an experiment in social engineering that has some very disturbing undertones. There are hints, such as the lack of diversity in casting and Lindy not immediately realising the Doctor was the same person that she blocked. Even the production team make sure that the blue eyes that predominate are, more often than not, obviously contact lenses. Yet the first time the Doctor's appearance is a plot point, it's not in a historical story, but a futuristic one – a warning that it may not only be the good hopes and dreams that make it to the stars. These spoiled rich kids, obsessed with purity and complaining about the two hours of work that they have to do (in jobs that David Graeber would have had no hesitation in categorising) are loathsome – yet RTD does not say that this should completely condemn them. They are a product of their society and cannot be wholly blamed for its values, although Lindy clearly has other ways to be unpleasant.

However Davies does not forget that, although the Doctor is a black man, he is not a human being of African descent. As Time Lords can change sex and race, issues regarding a person's appearance will obviously not be as pronounced. The Doctor's reaction is not one of fury, triggered by centuries of oppression and marginalisation, but of exasperation that his favourite species can be so resolutely idiotic. Gatwa plays this perfectly and, whilst we may not care that these vacuous idiots are willingly sailing to their deaths, we can see, and appreciate that the Doctor does.

"Dot and Bubble" is a very powerful story that confirms Doctor Who's commitment to keeping one foot in familiar territory, whilst placing the other in the unknown.

NEXT: "Rogue"

"73 Yards"

When talking about certain Doctor Who stories, the phrase 'There has never been a story like...' often crops up. "73 Yards" is reminiscent of several of RTD's previous stories. The most obvious antecedent is "Turn Left", where the Doctor is removed from the equation and we see how the world in general (and the companion in particular) copes with that loss. There are also hints of his BBC series Years and Years in the decades-spanning timeline. Yet, it has to be said, that there has never been a story quite like "73 Yards".

Starting as the kind of disorienting rural horror that periodically trends in popular culture (I was reminded of the pretty dissimilar British film Enys Men) the story has Ruby dealing with the horror that has entered her life which, over time, becomes almost familiar, yet never loses its potency. What it does do is alienate her from her family, potential partners and her potential allies, exemplified by a

very clever use of the welcome return of Kate and UNIT. A crescendo is reached when she uses the presence to stop the ascendancy of a dangerous future prime-minister.

There are no easy explanations and much is left unsaid. You can make your own mind up as to why the Doctor disappeared – maybe he saw this salient timeline as the only way of stopping Roger ap Gwilliam? Maybe he was away having adventures of his own? The fact that there appear to be loose ends may actually work in the plot's favour – the apparition has fulfilled its purpose, but it may have developed purposes of its own. Doctor Who stories always provoke frenzied theorising, but I feel that this story will provoke volumes - for example, with its themes of alienation and an adversary who cannot be approached, is there a subtle reference to social distancing.

There are nice guest turns from the supporting cast, including the legendary Siân Phillips. Aneurin Barnard is low key, which makes him all the more effective in portraying an demonic demagogue. In his brief scenes, Ncuti Gatwa is as compelling as ever. However he is not the lead, this time. Whatever else this story is, in only her fifth episode, Millie Gibson puts in a tour de force performance, effortlessly representing Ruby from her late teens to her early forties, gradually accepting what can laughably be called her destiny. Davies's mastery of blending the everyday with the extraordinary is amplified to new levels by her performance, as she deals with the entity.

The entity. Doctor Who has often been described as scary, yet it is possible that there has never been a story scarier than "73 Yards". Sometimes the most unsettling things are simple, in conception – in this case, a woman whose face you can never see. The effect on people is instant, yet terrifying. Again, the difference between Carla the loving mother and Carla the dispassionate foster carer is chilling. Dylan Holmes Williams is masterly in his début for the programme, making something that would probably be too scary for children, were the number of scary scenes increased, and were it shown in a cinema. Yet in a television episode length it will be the cause of wholesome nightmares.

The true meaning of "73 Yards" may change in the coming weeks, but its status as a great story will not.

NEXT: "Dot and Bubble"

"Boom"

The new Russell T Davies era promises to be different from the first and it has very much fulfilled this promise. He has stamped his authorial authority on this season as he has never done before; except for one slot which he has reserved for his successor. The Steven Moffat episodes were always a highlight in the first RDT era so the first story the former showrunner has written in nearly 7 years is certainly an event.

There are some hallmarks of his style – the ridiculous, yet profound aphorisms ("Everywhere is a beach eventually") the hyper-compressed world-building, tying into the feeling that Moffat is building an enclave Whoniverse of his own (the church militant, Villengard and the holograms of the deceased, which recall the Data Ghosts from the Doctor's adventures in The Library). There is commentary on war, on those that profit by it and the pros and cons of faith. Yet this is anchored by a plot that is simplicity itself – the Doctor is standing on a landmine and has to deactivate it.

Moffat has his own views on who the Doctor is and here we are shown that in the most basic form – the Doctor can solve a crisis standing on one leg. The lines that Moffat writes could have been said by any Doctor, yet Gatwa takes it to another level, showing compassion, fire, authority and humour, with a touch of Kigali patois gilding the Hibernian lily. Millie Gibson complements this powerhouse performance perfectly. The guest cast is small, but impressive, nontheless. Joe Anderson's character is fractured, as of necessity, but the charisma of the character links it all together. However, Oswinning our hearts is the very wonderful début of Varada Sethu and it's good that we shall be seeing more of her. Director Julie Anne Robinson makes this bottle episode a wide-screen visual feast, without losing sight of the eyeball-to-eyeball tension.

Perhaps the only real criticism is that the twist is a bit obvious. But, like Robert Holmes before him, Moffat has crafted a tale that has the quality of his past stories, without seeming like a throwback. Like "Kerblam!" before it, it seems that onomatopoeic explosive titles might be a winner...

NEXT: "73 Yards"

"The Devil's Chord"

After the relatively easy beginning, we are taken way out there with "The Devil’s Chord" a sidestep into the more fantastical story suggested by the Fifteenth Doctor's first story. We are geared up for a pseudo-historical, in which the Doctor meets the Beatles. However, these Four are far from Fab. There are hints of the recent film Yesterday, in which we are shown a world that the Beatles never existed. Here, they do exist, but in a world that has lost the need for music. It is still produced, but with no aim beyond being a background noise, little better than Aeolian tones. Davies paints a world without the love of music as being a world with a part of its soul missing, which makes humanity even more bellicose than ever. As Davies referenced The Ark in Space last time, here we are given a scene reminiscent of Pyramids of Mars, as the Doctor shows what will happen if he does not intervene.

There are several Doctor Who stories where sound is important, but here sound in general and music in particular has never been more critical. The incidental music is muted, only really starting when the Beatles are on screen. The more smart-alec viewers will think that, perhaps, no soundtrack would have been better – until we realise that all of the soundtrack is diagetic. The powerful scene where Ruby plays her piece on the roof of Abbey Road Studios, awakening feelings that people had forgotten that they had.

But this is an offence to the villain of the piece, the diabolical Maestro, child of the Toymaker. I am not a watcher of RuPaul's Drag Race, so Jinkx Monsoon was a complete unknown to me. Her performance is barnstorming – flamboyant, loud and, at times, genuinely scary. She is perfect for the role. We have been told that once the Toymaker and his kith are involved, reality bends to their rules. The Maestro turns every setting into their stage at will and staves and rogue crotchets erupt from the Maestro's baton, attacking like tentacles. Maestro is a vindictive God and a party-pooper in one – when Ruby's piece inspires one person to play Clair de lune by Debussy, Maestro stops her before those peerless arpeggios are played.

With such a colourful supporting character, there is little room for others, yet each is nicely played. However, the opening scene introduces us to the hapless Mr Tim Drake, who calls the Maestro to Earth with his unappreciated genius. The name could refer to the person responsible for the compiling the music on the Voyager disc or, wonderfully, RDT could be a closet Cardiacs fan. The casting is inspired, as he is played by musician and comedian Jeremy Limb, who has a very personal connection to Doctor Who's music, although not as much as a fleeting cameo, later on. As Mr Drake summoned Maestro through his unsung genius, it will take the first ever Lennon-McCartney collaboration to banish them, in a truly cathartic moment. As said, the Beatles are supporting players in this tale, yet both John and Paul get significant scenes with the Doctor and Ruby. Despite looking only superficially like the greatest song writing team in history, Chris Mason and George Caple give nice, unshowy performances as the brains behind Northern Songs. Only the Beatles could have the mythopoeic heft to make this story work, even though they never used the tritone - mind you a story based around "Purple Haze" or Black Sabbath's eponymous song would have been amusing!

The regulars are on top form, with Ruby doing some challenging work. Gatwa is in control throughout, even when the Doctor feels that he isn't. Ben Chessell helms all of this brilliantly, especially in the unforgettable "Twist at the End", where Doctor Who goes full musical with those irresistible 60s shimmy dances. This has all the unreality of any musical sequence, but it seems that Maestro's influence lingers, as their father's did.

"The Devil’s Chord" is a little gem that rewards multiple viewings. It shows how Davies is differing his second run from his first; his attitude has taken into account how Doctor Who has changed since he left and there are clear hints of his successor's attitude, in the concepts...

NEXT: "Boom"

"Space Babies"

If there was any type of story that would be made in the event of  a stereotypical Disney takeover of Doctor Who, it would be one about space babies. What better way to make a family show more kid-friendly than by having the vast majority of the guest cast be talking babies? It does appear that this opening story is a bit too cutesy for its own good which, combined with certain plot points – the constitution of the monster of the week, the propulsion of the space station – seems to indicate that Doctor Who is heading into a more juvenile direction.

However, beneath the juvenile veneer there is some very clever use of the concepts. Digs are made at the recent backsliding in reproductive rights in America, the ethics of commercial interests in healthcare. The production is incredibly detailed, with expansive sets, moody lighting and little details such as the baby scribbles on the walls. The Bogeyman has a perfect blend of the Slitheen's ridiculousness, combined with sinister touches of the Alien and Shin Godzilla. It has to be said, however, that putting CGI lip movements on real babies has never been convincing. With so many of the supporting cast being unable to read their own lines, it is left to the incredibly versatile Golda Rosheuvel to give a great little performance as the nanny. Millie Gibson continues to delight as Ruby, but it is our leading man who transfixes us. It hits the viewer immediately that dialogue about genocide packs an extra punch when delivered by someone with Gatwa's background and the deftness of the writing and the skilfulness of the performance sell this 100%. Director Julie Anne Robinson keeps the sense of fun, whilst maintaining an aura of unease, a very tricky balance that is in line with the tightrope walk of a story that is teetering on the edge of bathos.

RTD has often said that The Ark in Space is his favourite Doctor Who story and, only a few months on from "Wild Blue Yonder", he does another take on it. Yet such is his skill in using the same frame to paint a different picture, that this is all but forgotten. Silly and lightweight on the surface, "Space Babies" has a good deal more to offer. Whilst it is a tale of talking babies, snot-monsters and farting space stations it is a very well-told tale of talking babies, snot-monsters and farting space stations!

NEXT: "The Devil's Chord"

"The Church on Ruby Road"

 The fourth iteration of 21st Century Doctor Who gets going with many similarities to the first, Russell T Davies is back at the helm, and we are brought into the chaotic family life of someone who seems ordinary from the outside, but whose actual experience is anything but, to them. Contrivance and coincidence is what makes a plot work, but here it is vital to the story. Although RTD's stories have a feel of their own, if any other writer could have written this story, it would be the late, great Terry Pratchett, who would have had a blast creating the goblin ship with its rope and knot-based technology (techknotogy?) We're told that it's a different type of science, but this tale of babies, goblin kings, Davina McCall, with a musical number thrown in, goes further into the realm of fantasy than the programme has done for a long time. It is the type of magic that is perfect for Christmas, which is now, thankfully, a Doctor Who tradition, again!

One returnee from the Chibnall era is Mark Tonderai and he is a perfect match for this heady brew, selling everything from the show stopping Goblin Baby song, to the subdued timeline without Ruby in it. The guest cast is superb, but a very special mention must be made of Michelle Greenidge as Ruby's adopted mother Carla, who effortlessly makes the loving mother and uncaring foster mother from different timelines into recognisably the same person.

What RDT had over his successors was his absolute mastery of making every single character seem wholly real and Ruby Sunday is wholly believable in whatever the story throws at us, which is a good thing. Millie Gibson makes an immediate impact as Ruby – unlike Billie Piper, nearly two decades ago, she actually is nineteen, but she has a charisma that makes it hard to believe that she has only a few years acting experience in her short life. However, bounding, spinning and climbing into view is the force of nature that is Ncuti Gatwa, who dominates the screen. His statement to the friendly policeman is one that could have easily have been made by David Tennant's Doctor(s). And yet, Ncuti makes those words his own. It's a blinding performance that promises a great deal more to come.

Davies is back with a bang, yet he has not ignored the past. All may not be what it seems with Ruby, as it was with Steven Moffat's companions. I eagerly await what's ahead of us...

NEXT: "Space Babies"

"The Giggle"

Chris Chibnall's swansong for the programme was made to celebrate the BBC's centenary, and, at the close of Doctor Who's 60th Anniversary trilogy, we are taken to the birth of television itself, two years after the founding of the Corporation. John Logie Baird was an inventor that seems too wacky to be anything but fictional – and yet, look him up! Baird's natural eccentricity is a perfect fit for this story, as is Stooky Bill. As a puppet became the first face on television, we learn that there was more than one puppet master. Russell T Davies has tried to capture the zeitgeist several times before, but nowhere has he succeeded more than in this story. A century after Stooky Bill's debut, humanity is tearing itself apart because everyone is convinced that they are 100% right, heeding only the echo chambers that mass media has provided. Our imagination has to do very little work to see a world where people demonise those who hold views opposed to their own, where the notion of a left-winger and a right winger being friends seems like something from a bygone fantasy age. Even Trinity Wells seems to have made the leap from MSNBC to Fox News!

The nods to the past are not as crowd-pleasing as in past celebrations, but we have the return of an awesome adversary almost from the dawn of the programme itself. The Toymaker is reborn in the incredibly charismatic form of Neil Patrick Harris, whose playful prestidigitation, juggling and dancing can be undercut with a chilling glower. We are left in no doubt that he is omnipotent within his domain and he has overcome the Guardians and even perhaps God in his gameplay.

The very talented Chanya Button brings all of this magnificently to life, whether it be the Hollywood blockbuster level UNIT base to the jaw-dropping "Spice Up Your Life" section. Catherine Tate's performance is incredibly skilful – selling the unease of the Stooky Sue sequence, before the sharpest tongue in Chiswick counter-attacks. Kate is back and such is the instant rapport, that we forget that she has never shared a scene with that particular Doctor. Also returning is Mel. Aeons ago, I said that Bonnie Langford didn't agree with me, due to irritation, rather than incompetence. It's strange what a few decades can do. Mel is still buzzing with energy and facts, but it is so much more easy to take from Bonnie in her 50s and it is truly joyful having her back. The regulars are having a ball running the show and David Tennant rules the roost – until something rather unexpected happens. The Toymaker insists that each game has to be played by a different Doctor; First, Fourteenth – and Fifteenth. As the fantastic rules of the Toymaker's realm still apply, we have the first ever bi-generation and the coming of the new Doctor without the death of the old one. Ncuti Gatwa is born to play the role and commands the screen from the moment his head pops out. If the final test being a game of catch loses something of the challenge, the concept of the Toymaker being beaten in the most primal game is very satisfying as a concept – before the games got more complicated, now they become simpler.

We are, therefore left with two Doctors permanently, it seems, but with a purpose. The Doctor has earned a rest, but must always move on. Now, he can do both and, whilst a beloved face sits down to relax with his family, a new one launches itself, smiling at the cosmos...

NEXT: "The Church on Ruby Road

"Wild Blue Yonder"

 The second special is free of the burden of the fanfare and finale, which leaves it with the purpose of telling a good story. We are eased into this by a light-hearted opening, where the TARDIS lands with a newfound violence that seems par for the course, together with the tendency to set the control to "famous". Here we have Isaac Newton and the apocryphal discovery of the weakest fundamental interaction that desperately needs a gegorable nage. We are, of course, used to these romps around creation with the DoctorDonna, but, on only his second outing in his second term RTD is determined to give us something truly memorable, in a deceptively simple tale of the Doctor and his companion alone in a mystery situation. The story elements are nothing particularly new, with immediate similarities being evident to The Ark in Space and "Midnight". Coincidentally, I was reading a Stanisław Lem book at the time (the hilarious Cyberiad) so my mind was also drawn to Solaris. Despite this, we have a story subtly different to anything else previously broadcast with a script by Russell T Davies that continues to impress with fresh nuances after new viewings. The scenes between the Doctor and Donna flow so naturally that it's easy to forget the skill in creating the dialogue. In this story, set at the boundary of creation, character is key and character is used to astonishing effect. 'A man is the sum of his memories' someone once said, but this story proves that there is more. The metathoughts are where the soul is, beautifully brought to life by the Donnas different ways of telling of their Southampton origins.

The very talented Tom Kingsley makes a strong début for the programme, dynamically using confined and extended spaces with precision. There was no need for the sets to be much more spacious that those for The Ark in Space yet the extra scale is very welcome. Moreover, the clinical white of the interior contrasts with the blackness of space, very reminiscent of 2001 (incidentally, the alarm sound from the Discovery pod makes an appearance again, as it did in "The Waters of Mars". The practical and digital effects give the NotDoctorDonna's attempts to correct their shape the requisite elements of ridiculousness and unease. This would all, however, come to nothing the without four astonishing performances by the two leads. Tennant and Tate could do this type of interaction in their sleep, but the fact that they go the extra mile is gives us astonishing results. Their performances are the meat of the story, but there is one other actor who must be mentioned. I was not expecting to see Wilf ever again, and the final performance of one of our most beloved actors was a joy to behold.

"The Star Beast" was a Davies romp that proved to be as good as the best Chibnall era stories, but here, we have an episode that effortlessly outclasses any Doctor Who story broadcast between 2018 and 2022. Funny, scary, tightly shot and impeccably acted – what more could you wish for?

NEXT: "The Giggle"