"Wish World"/"The Reality War"

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!

"The Well"

When it comes to rating the adversaries that the Doctor has faced this century, the Weeping Angels are usually cited as the most memorable. They were original and terrifying; yet there is a school of thought that has one enemy that is even more so. The status of "Midnight" has waxed inexorably since its airing and the unnamed entity in it was nightmare fuel for a generation. Seventeen years later, it returns – twice as long as the gap between Omega's appearances in the 20th century. Although the modus operadi is different from the first outing, it is still inexplicable, with perhaps no actual consciousness, in spite of its intelligence. You speak, it answers. It knows and understands. And yet it cannot be bargained with or appealed to. It Has No Name, after all. Again, the plan is as simple as a game played by an annoying child – instead of repetition, it's hiding behind someone. Again, the consequences are deadly.

The setting might be the same, but the scenario is different. Basically, it is the Marines in Aliens versus the entity and, as in that film, the characters are vivid, but mostly drawn in thick strokes. However, the actors put their all into the roles, making each character seem real. In particular, there are two guest roles that stand out. Rose Ayling-Ellis gives an appealing performance as Aliss, whilst keeping is wondering whether or not to trust her. Her deafness is used to season, rather than drive the plot, with sign language again being used. The role of the NCO is, however, slightly atypically written, in the form of Shaya Costallion, vividly realised by Caoilfhionn Dunne. Amanda Brotchie puts in her second outstanding stint in the director's chair, making the most of the limited setting. Functional script ideas like the holographic subtitles, become effective displays of world-building in her hands. Crucially, again, this is a terrifying story. Some of the nine-year olds who were hiding behind the sofa when "Midnight" aired, will be joined by nine-year olds of their own. The solution to the crisis is simple, effective and, of course, redolent of David Whitaker's alchemical obsession, sixty years ago!

Gatwa is only required to be more generically Doctorish, but carries that out with aplomb. The single tar is becoming something of a motif for this Doctor, yet it's still effective. Belinda Chandra continues to win all hearts, with a very basic 'battlefield nurse' role being vividly realised by Varada Sethu.

The concepts of "Midnight", that of groupthink and intolerance, are even more relevant now, in this post-lockdown world of sealed echo chambers."The Well” may not have the depth of its predecessor, but that is like comparing Aliens to Alien – lesser, perhaps, than the original, but doing something different, so that it's own qualities make it stand out on its own.

NEXT: "Lucky Day"

"Lux"

When "Space Babies" aired, I quipped that this was just the sort of Doctor Who story that a Disney takeover would produce. There is, of course a more obvious stereotype – Doctor Who with an animated villain. "Lux" provides us with an adversary unlike any before, but in doing so, takes the programme into areas new, both in terms of plot and concept.

As with the second episode of the previous series, we are introduced to a member of the pantheon, brought to life in a way that turns very simple scientific concepts into magic, in giving us the God of Light. However, despite the fiat to delve into this pantheon, this aspect is only the supporting concept, as we are taken further into the meta than ever before. Even before we deal with the breaking of the black mirror, RTD deals with the fact that events have been compressed to fit in a 45 minute runtime, meaning that motivation has to be accelerated and characters lose depth. These are largely pointed out by the adorable trio of Doctor Who fans who, although they might sometimes be annoying, found the best kind of friendship in their mutual love. There are many stories about the love of film, but this delves into subtly different areas. Photography in general and film in particular meant that, for the first time in human history, you would never forget the face of a lost loved one, because, of course, it makes you immortal. Even the real is fictionalised in memory.

The guest cast is excellent in their (probably intentionally) stock roles. It's unusual that Linus Roache's presence was not made more of a fuss of, but this very fine actor puts real soul into the role of Mr Pye and his yearning for his lost love. Hassan Chowdry, Lizzie Abel and Robyn Gossage are delightfully played by three actors who make these characters another celebration of fandom. The episode is a visual triumph, a celebration of brash Technicolor. The key sequence of the Doctor and Belinda being animated is a keen exploration of the levels of animation – from basic Hannah-Barbera to classic Looney Tunes to Disney feature film. The breakthrough to the real world is so well-handled that I genuinely felt that my living room would be graced with Ncuti Gatwa and Varada Sethu. Crucially, despite all the meta-n they never actually break the actual fourth wall – just the black mirror.

To voice Mr Ring-a-Ding, we have the return of Alan Cumming. It is a delicious performance, but it's only a part of the greatest triumph of the story. It would have been so easy to take the quickest route with an animated character, but Mr Ring-a-Ding is showcased in moving shots, slightly out of focus, all the time with eyelines perfectly kept. I can't think of a better realisation of an animated character in a live action setting. Again, Mr Ring-a-Ding's transformations are a little history lesson. On screen, he's a pre Snow White Disney character, becoming a Golden Age animation once he steps out. As he becomes more real, he moves through every development of Pixar, before becoming a deeply unsettling photo-realistic version. Amanda Brotchie's début in the director's chair is phenomenal.

The regulars have to deal with quiet character moments and interacting with a gangly cartoon pig-man. Gatwa is as astonishingly vibrant as he ever is, but Varada Sethu is fast rising up my list of great companions, making Belinda as opinionated as Donna, but in a very different way. It must also be pointed out that segregation is handled, as it had to be, considering the ethnicity of the leads and, whilst it points out the revolting idiocy of the concepts, it acknowledges that not every white person in segregated states were foaming racists.

"Lux" is something of a triumph for all concerned.

NEXT: "The Well"

"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"

"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"

"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"