Storytelling is what makes for great television and this two-part finale is about creating fiction to unleash the truth behind the tale. The focus of Doctor Who has been moving towards the fantastical throughout Ncuti Gatwa’s tenure and, with its almost literal fairy-tale opening, this is further brought into focus. There are very many ideas, and, although they do flow together, the result is not as aerodynamic as it could have been. As with the previous year, an iconic villain is brought back as a monstrous efflorescence of their previous form. Yet, despite Omega being a more solid feature of the mythos than Sutekh, the effect isn’t as potent. With the loss of both Stephen Thorne and Ian Collier, there is no distinct vocal performance to emulate and no attempt is made to replicate it. However, the idea behind the Wish World is intoxicating and its accoutrements, such as the Bone Beasts are classic Russell T Davies ingenuity, blended with a touch of Moffatt influence. Furthermore, it is the other ideas that are fore successful. The increasingly idiotic culture wars that dominate the socio-political discourse in Western society are prime targets. People are ignored and (in the case of Rosie) actually erased. Yet Davies ensures that it is the ideas that are despicable, rather than the people. Conrad is shown to be a far better type of person than his real-world equivalents and he is given the redemption that a decent society would grant him, rather than the punishment that he probably deserves.
The realisation, marshalled by Alex Sanjiv Pillai is an intoxicating visual feast, as if Powell and Pressburger had collaborated with Karel Zeman, leaving us with appealingly stylised English life blended with incredible visuals that appeal due to their originality. The characters are fully blended both into the story and its realisation. Jemma Redgrave channels an Archers’ protagonist in a very good performance and Bonnie Langford and Ruth Madeley support admirably. However Omega is not the only returning villain. Archie Panjabi attacks the role of the Rani with real relish and her double-act with Mrs Flood is joyful. We also have the wonderful return of Steph de Whalley as Anita. Long may the Time Hotel’s lobby remain open.
The most heartfelt part of the story is that involving the child Poppy. The fact that she is needed has no relation to her objective reality. Her initial disappearance from reality is a masterpiece in economic televisual storytelling. Ruby, another lost child helps Belinda get hers back. Both companions give very human performances in making the child real again.
We also have a very welcome surprise in the return of Jodie Whittaker. It is, perhaps, just my own perception that makes me feel that this is one of her best scenes, as she finally gets a truly first class writer to script her. However, It is with real sadness that we say goodbye to Ncuti Gatwa, a Doctor both original and archetypal. Again, the Doctor gives his life for one other and his regeneration is more joyous than ever before. I would have liked to see him face the Daleks, but this is a great ending for the Fifteenth Doctor.
For the first time since 2005, there was no new Doctor Who to brighten the winter. Doctor Who’s future is more uncertain than it has been for over two decades, but it is still there. Here’s to the next Christmas!
