"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!

"Lucky Day"

A week on from the sequel to "Midnight", we have a more spiritual successor, and not just to one story. An everyday man has an encounter with the Doctor as a child and becomes obsessed with finding him, accumulating a group of like minded individuals in his quest to find the Doctor's companion. Despite this being the same premise as "Love & Monsters", the result is very different. Instead of the fundamentally decent Elton Pope, we have the decidedly more malign Conrad Clark and this twists "Love & Monsters" into a decidedly unpleasant shape. Instead of the guilt that Elton feels in his search for Rose, Conrad's manipulation of Ruby is utterly cruel. Instead of finding love and friendship in his search, Conrad finds enablers who match him in malevolence, though definitely not intelligence. "The Well" didn't have the social commentary on groupthink that "Midnight" had, but this is delivered in spades here. Anyone with a condenser microphone and a smartphone can make a podcast and Conrad has weaponised his own resentment. One of the infuriating things about post-lockdown is the lack of nuance in public debate. Admitting that you were wrong is almost unheard of. Changing your mind means that your followers turn against you. Whether or not you know you're wrong becomes irrelevant. Pete McTighe wrote some of the best stories of the Chibnall era and his return is very welcome.  

As with "Dot and Bubble" all of this hinges on a very unpleasant character being brought to life by a skilled performance. Jonah Hauer-King is totally believable as someone who could charm a person into believing that they were a normal lovestruck young man, whilst being a toxic narcissist. The smirk that Conrad gives after he imagines losing subscribers after admitting the truth is perfect. However, the other prominent character is one that we are very familiar with and we have the very welcome return of Millie Gibson as Ruby. Despite the fact that you can buy whiskeys at the supermarket that are older than her, her maturity and charisma is astonishing. There is very little for Belinda to do here, but we are in good hands. Kate returns (with a seemingly very good friend) as we are given a UNIT story where the greatest threat is social media. As with Lindy in "Dot and Bubble", we have some context. Conrad clearly had a troubled childhood (we are shown a child being hit, for the first time) and the fact that he supports his mother can be seen as commenting either on how nuanced familial relationships are, or how toxic relationships can become normalised. Or possibly both.

Peter Hoar returns with a slick production that makes it look like Ruby is the lead in an X-Files type programme, with nods to the brilliant "73 Yards" from the previous season. Like that story and "Love & Monsters", this is low on Time Lords. However Ncuti Gatwa burns in his few scenes. There are no tears here, just kindness and cold fury.

Doctor Who again shows that its days of commenting on current human behaviour are not over. It is wrenching to see some of the very true-to-life behaviour on display. Yet such is the skill of the production, it remains highly watchable.

NEXT: "The Story and the Engine" 

"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"

"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"

"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

Flux

The first full series to be made after the first waves of the COVID pandemic (and the last full series for Jodie Whittaker) was to be one multi-part story which brings to mind the last time such a task was attempted. Although, unlike in 1986, Doctor Who's future is very much assured, the fact that it is not gaining the viewing figures it used to, immediately make one think of the end of the Colin Baker era. Flux is only about 30 minutes shorter than The Trial of a Time Lord, but is closer in structure to its '60s predecessor, The Daleks' Master Plan, in that it is one narrative that has some episodes that form discrete individual stories. Those 20th Century four bears have very different reputations, so to say that Flux falls between the two in terms of quality, is not very helpful! Flux is, however, very much Chris Chibnall's final statement on how he sees Doctor Who, so here we go.

The good news is that Flux contains some of the best episodes yet of the Chibnall era. "The Halloween Apocalypse" sets up things very well, with a wealth of memorable scenes and dizzying concepts and in its follow-up, "War of the Sontarans", we have a fun little alternate history/reality distortion story, where Russia has been replaced by a Sontaran bridgehead, resulting in the Sontarans being the masters of Earth, making the Crimean war a very different conflict. A fortnight later, we were given the pinnacle of Jodie Whittaker's tenure, "Village of the Angels". This story is lesser to the Weeping Angel stories written by their creator, but only by comparison, and is a tense, scary joy from beginning to end and proof that it is possible to make a fresh and surprising base-under-siege story, a story that ends with one of the best cliffhangers in the show's history (not affected by a bizarrely placed mid-credits scene). The remaining episodes are purely part of Flux's narrative. Of these, "Once, Upon Time" is a mind-bending puzzle box but, crucially, expands on the characters with some deft writing and performances that sets up what could be an intriguing finale . However, in the final two episodes, "Survivors of the Flux" and "The Vanquishers" that is not quite what we are promised. Although Chibnall's solution isn't the cuniculus ex capellum plot contrivance that I was fearing, there is the sloppiness in plotting that has been all too common. It seems that Chibnall is sometimes lacking confidence in his own creations; the Passengers are never sold as what they feel like to the viewer – an evil version of the TARDIS, which would have made the solution far more resonant. In addition, as I said, many, many moons ago in commenting on the resolution of "Last of the Time Lords", Doctor Who should be grounded on a contemporary Earth that is relatable to the viewer. Whilst it seems we have this, there is no indication that the effects of the Flux have been reversed. We are left with a universe of only a handful of galaxies and we are explicitly shown the destruction of Jupiter – something that would have cataclysmic effects on the movement of everything orbiting the Sun.

However, something that goes a very long way to compensating for the plot problems is the best character writing Chibnall has done to date. The Doctor's allies are a very appealing cohort. Chibnall has always been keen to bring back more of the educational aspect of Sydney Newman's vision (for history that is; the less said about the science, the better!) and we have appearances by Mary Seacole and, most wonderfully, Joseph Williamson, a person of whom I had not heard, but is integrated into Doctor Who better that any historical figure to date. An outstanding performance by Steve Oram surely resulted in a spike in hits to Williamson's Wikipedia page.

Characters like Bel and Vinder would usually be ciphers in previous Chibnall stories, but they are used well in the plot and brought to life by likeable performances by Thaddea Graham and Jacob Anderson. More sketchily written is Claire, but her plot is fascinating and she is effectively played by Annabel Scholey. Unlike with the previous returnee actor from a 1984 story, it would have been a miracle if this had not been the best Doctor Who story that Kevin McNally had appeared in. Professor Jericho is a truly wonderful character that I am sorry could not have remained as a proper companion. Then there is Karvanista the Lupar. The prosthetics indicate a fun alien, like the Cats of New Earth, but Craig Els makes him so much more. The expression of fury and despair on Karvanista's face when he learns of the genocide of the Lupari is all the more impressive in that it is delivered by an actor wearing a dog mask. I really hope that Karvanista remains a permanent fixture on the programme. Speaking of which, Jemma Redgrave makes a long-overdue return as Kate Stewart and fits into this new era like a glove.

Flux is blessed with easily the most charismatic villains of the Chibnall era, in the shape of the Ravagers, Azure and Swarm. Rochenda Sandall and Sam Spruell thoroughly command the screen helped by the nightmare-inducing prosthetics that they have been given. The Sontarans are back, with a more rugged look, but still with the brilliant Dan Starkey as the lieutenant. Strax became too beloved a character for Starkey to be in command, but we have Jonathan Watson performing admirably in those roles. Hovering between tertiary and quaternary villain status is Craig Parkinson's Grand Serpent, whose louche style always makes for interesting villains.

I love the Fam, but, it must be said that Yaz really shines on her own, and Mandip Gill gives one of the all-time great companion performances. this is helped by the fact that Yaz never states verbally something that has just been shown on screen - a very annoying trait of Chibnall's in earlier episodes. As I am only really familiar with him as a comedian, I was very pleasantly surprised by how effective John Bishop was as Dan and Chibnall cannot be faulted in any way in writing his character arc; of especial notice is Dan's relationship with Di, which is totally convincing and is given a very real conclusion. As with the Fam's Sheffield-ness, the Liverpudlian aspect is really well emphasised, and is brought to a hilarious crescendo, when Dan and his parents are discussing woks, a word that doubles its syllable count in a Scouse accent. Jodie Whittaker is playing against historical figures, malevolent primordial entities, other people inhabiting her form and two different versions of herself and is thoroughly spellbinding throughout. I look forward to seeing what remains of this new TARDIS line-up.

The production has been kicked into overdrive with some spectacular imagery although some cracks show (notably where the Doctor has her astral conference with the Mouri, which is not significantly better than a 70s CSO scene). However, the scenes with the Flux itself are spectacular and directors Azhur Saleem and Jamie Magnus Stone helm a very talented cast and production team. The freeing of Swarm is a masterpiece of teatime horror and there is a refreshing 3-dimensional quality to the space shots – too many films and tv programmes forget that space is infinite in all directions.

Cryptically suffusing this new Whoniverse, is the Division. We are again given a few more scraps of the Doctor's hidden lives and Chibnall provides us with startling snapshots, and a great role for Barbara Flynn as Tecteun, but it's unclear if he will give his rewriting of the mythos the power that it needs; it has the potential to be as existentially diquieting as the theory exemplified as Liu Cixin's Dark Forest. Also intriguing is the concept of the struggle between Time and Space (which brings to mind Sapphire and Steel) but, again, i have some concerns as to whether Chibnall can pull off this conceptual turn.

Despite being considerably better in almost every respect, like Colin Baker's swansong, Flux is less than the sum of his parts. However there is simply too much good stuff to dismiss it in the same way and I keep my fingers crossed for the remainder of this era.

NEXT: "Eve of the Daleks"

"The Zygon Invasion"/ "The Zygon Inversion"

Doctor Who very rarely “does politics” and, in the past, the results have been mixed. The Green Death managed to be an engaging story as well as informing the viewer on environmental matters and their political ramifications and The Curse of Peladon takes a look at an independent body joining a composite political entity that could be applied to EEC/EU membership. However, we also have the less successful likes of The Mutants in the 20th century and the ‘massive weapons of destruction’ which form the weakest part of the weakest story of the Eccleston era. "The Zygon Invasion"/ "The Zygon Inversion" immediately attracts, due to its irresistible title(s), but it also attempts to deal with some present-day hot-button issues - especially bearing in mind the events of 31 October and 13 November of 2015, chillingly close to broadcast. These aims have to hit their mark, especially now and the degree to which the story succeeds is completely unprecedented.

Following the events of "The Day of the Doctor", 20 million Zygons have assimilated into the human population. The overwhelming majority are peaceful, but a few of the younger generation are growing restless with the need to hide, to conform and have radicalised to form the group Truth or Consequences. The elder generation are appalled, but insist it is best for them to be dealt with by their own. It doesn’t take a genius to realise how much of this applies to radical Islam but the script by Peter Harness makes the issues easy to understand, without grossly simplifying them. Both sides spout hateful rhetoric, yet the viewer can understand the motivations of the characters spouting it. However, the dangers of radicalisation are only a part of the whole, for Harness and Moffat are just as keen on attacking modern warfare, indeed the entire concept of war itself. One abhorrent aspect of modern warfare that the vast majority of people just ignore or worse, accept, is the use of drones. Killing has become like a computer game, where, in a place of complete safety, operators can target images on a screen. Dehumanising the enemy makes their killing more effectively, and a dehumanised target is a faceless target. This story simply, yet devastatingly effectively, shows what happens when the faceless are given a face. Daniel Nettheim’s direction is unshowy, yet devastatingly effective in realising this and many other things. It takes a second to realise that the tumbleweeds in New Mexico are something more sinister and the dynamics of the Doctor negotiating peace with what looks like two little girls in a playground are fully explored for both incongruous comedy and grim drama. The Invasion of the Body Snatchers aspect of the Zygons is alluded to more strongly than ever before, most notably the 1978 version. It goes without saying that the production is fantastic, with the scene with the forced transformation of the peaceful Zygon being a deft mixture of the grotesque and the poignant.

The dialogue is brilliantly effective – the scene where the Doctor and Colonel Walsh have to give a pep talk to the UNIT soldiers follows a scene where they have a fundamental disagreement. Their speeches complement each other, yet do not betray their disagreement. However, it is in the key scene with the Osgood boxes that concept, dialogue, direction and performance combine to form one of the greatest sequences the programme has ever had in its 52-year history. War, the Doctor points out, is both preceded and succeeded by diplomacy and is the middle-man that needs cutting the most. Capaldi truly gives one of the best ever performances in the title role and, with the kindly smile he gives Bonnie, you can swear that you see all 2000 years of the Doctor’s life in his eyes. Jenna Coleman is great as both Clara and Zygella (sorry, Bonnie!) and we have the welcome return of Jemma Redgrave’s Kate and the brilliant Ingrid Oliver as, the far steelier, but still adorable, Osgood. We say goodbye, all to soon to Jaye Griffiths's Jac, but hello to Rebecca Front as Walsh - there is not a hint of The Thick of It when she and Capaldi share scenes.

"The Zygon Invasion"/ "The Zygon Inversion" doesn’t end with a bang, but neither does it end with a whimper. Zygella doesn’t betray the peace at the last minute and Kate doesn’t order UNIT to blow the Zygons up. What we have is better than a bang, a crescendo. "The Zygon Invasion"/ "The Zygon Inversion" is a story that I am tempted to throw superlatives at – ‘the best UNIT story since Inferno’ springs to mind. However, what I will say is this; there may be better stories than this one, but I cannot think of one that better shows how marvellous a programme Doctor Who is.

NEXT: "Sleep No More"

"Dark Water"/"Death in Heaven"

There are a fair few things that are a bit dodgy about the two part finale to Capaldi’s first series. Some of the explanations for certain concepts are a bit woolly, the motivations for pivotal characters in relation to the events depicted require something of an imaginative leap on the part of the viewer. However, "Dark Water"/"Death in Heaven" is so engrossing that these observations are totally blown away when one is watching it and the real impact of the ideas and emotion of the story ensure that they cannot even come close to ruining it. Rachel Talalay brings her considerable experience to bear in a very assured production with epic action scenes working hand in hand with more intimate sections, combined with some stunning visuals, especially the technological vault of the firmament that features early in the story.

The Cybermen of 21st century Doctor Who may physically revamp themselves less than their 20th Century forbears, but conceptually, it is another matter. They started out (as did their predecessors) as humans who took spare part surgery a step too far. In "Nightmare in Silver", they were a cyborg collective controlled by a central intelligence. Now, they are nothing short of being a cybernetic undead plague controlled by a hive mind – for the first time ever, the Cybermen seem genuinely unstoppable. Conceptually, the Cybermen’s effectiveness has always been driven by the fact that they are based on the fear of death and nowhere has this been more chillingly explored than in this story. The afterlife that we have been teased with (or 'NetherSphere' as it is dubbed) is simply a reservoir of minds that have been harvested throughout human history, to be installed into Cybermen. The existential horror of the Three Words would be arguably going too far for a programme made for children, if it were not part of the story’s aim of death and how we can deal with it.

However, although the Cybermen are central to the plot, the heart(s) of the story are the characters in it. The key event in the story is the totally unexpected death of Danny in the opening scene of the story. It occurs in an all too common way, making the loss seem more real than others have been. Clara’s reaction to Danny’s death is as unexpected as it is believable and the scene where Clara tries to blackmail the Doctor is completely convincing thanks to Jenna Coleman's astonishing performance. She is complemented by great work from Samuel Anderson as Danny, showing real grit combined with vulnerability. UNIT make a very welcome return with Jemma Redgrave’s brilliant Kate Stewart and the sad demise of Ingrid Oliver’s Osgood. Sanjeev Bhaskar’s Colonel Ahmed isn’t as lucky as his wife’s character was four years ago, but it is always good to see him, as is Chris Addison. However there is another very important returnee. I’m sure I wasn’t the only one who had guessed that Missy was the Master. Michelle Gomez’s is, physically, as close as one can get to a female Roger Delgado - both possessing 'demonic' good looks – and her unhinged, yet controlled performance makes her great fun to watch – yet we do not forget the sheer wanton sadism of her murders. It proves, without a shadow of a doubt, that changing the sex of a regular character can work perfectly well, if the right actor is found...

This series of Doctor Who has been seen by some as being darker in mood and having the Doctor himself as a darker character. The Doctor has less time for fools in this incarnation and certainly less time for tears. However, it is clear that this is still the man we love; if there were any doubts, his unconditional forgiveness of Clara silenced them forever. The Doctor has wondered whether he was a good man, has been called a good Dalek, but here, he embraces what he truly is – an idiot. His anger is still real, as his enraged frustration over Gallifrey show, but he is still that madman with a box. I never doubted Peter Capaldi for a second and his performance in this story caps an astonishing run.

Peter Capaldi’s triumphant first season makes me look forward all the more to a very Frosty Christmas...

NEXT: "Last Christmas"

"The Day of the Doctor"

The anniversary specials of the programme have always generated interest, but Doctor Who in 2013 is a mainstream success in a way it hasn't been since Dalekmania in the 1960s. It is probably no exaggeration to say, therefore, that "The Day of the Doctor" is probably the most eagerly awaited episode of Doctor Who since "Rose". It has to satisfy the wide mainstream audience that will tune in, whilst keeping an eye on the fans, some of whom remember William Hartnell, some of whom were not even born when Christopher Eccleston was the Doctor. It has to pay tribute to the 50 years of television history that preceded it, whilst trying to tell an engaging story. It is a pleasure to state that the episode manages to succeed in all of these aims on a level that genuinely surprised even me.

More so than any of the other anniversary specials, "The Day of the Doctor" works as a regular Doctor Who adventure, this one being a fiendish plan by the Zygons to take over the Earth. The use of the pictures as suspended animation makes that part of the plot seem like a bright and breezy season opener, with the added bonus of featuring a well-loved adversary from yester-year. However, although the Zygon plot is easily enough to sustain a story in itself, taking place in two time zones and featuring a Zygon Good Queen Bess, this is only the gateway into a deeper story. For the pictures are relics of Gallifrey and of the darkest day of the Doctor's life...

The key thing the audience remembers from Anniversary specials is the current Doctor meeting with past incarnations and here, we have the very welcome return of David Tennant, playing the Doctor like he'd never been away. Joining him is the incarnation we must now call the 'War Doctor' played by the legendary John Hurt. I stated at the end of his era that I thought Tennant was the best leading man the show had had since Hartnell and Hurt is an acting legend, one of the finest in the world, who has always been thoroughly mesmerising in every role he has played. I can think of no better praise for Matt Smith than stating that he completely holds his own in the presence of Hurt and Tennant. Moffat uses the three Doctors more intelligently than his predecessors did – we really get a sense of the centuries dividing them. The War Doctor is definitely the warrior that his predecessor chose to be, but he has not made the key decision that has haunted his successors. It is also a good choice to have a previously unknown incarnation be brought to the fore – the War Doctor has no nostalgic connotations, so he can stand in for all the previous incarnations more effectively, which makes his criticisms of his successors' characteristics all the more potent. Some portions of fandom criticise the perceived modern overuse of the sonic screwdriver, which is alluded to by the War Doctor and then it is shown why the sonic is used so often, as, for the first time this century, the Doctor is locked up! The War Doctor initially has little respect for the flippancy of his successors, but it becomes clear that it is a coping mechanism for something he has not yet done. Little kisses to the past abound, from the title sequence to the fulfilled promise of all the Doctors making an appearance.

Nick Hurran manages to make the episode both completely epic, with the stunning fall of Arcadia and also very low key in the quieter moments. The 3D photography really serves the epic space battles well, but the episode never devolves into a mere 3D showcase. The design is opulent and contains great little touches – apparently the original version of Le Radeau de la Méduse contained no humans! Hurran assembles a great cast, with the very welcome return of Jemma Redgrave as Kate Stewart, a fun turn from Joanna Page as Elizabeth and her Zygon double. There is also the wonderful Ingrid Oliver as Osgood (related to a certain UNIT technician who assisted at Devil's End?) Jenna Coleman continues to sparkle as Clara, whether impersonating witches or out-thinking three incarcerated incarnations of the Doctor. However, there are two minor parts that made my jaw drop – a brief flash of Peter Capaldi's eyes and (possibly) the first uttered words of the Twelfth Doctor; and the return of the most iconic actor to play the Doctor in the 20th Century. Whoever the Curator actually is, it is a true joy to see Tom Baker again!

The decision to rescue Gallifrey may not be acceptable to some, but the way in which it is brought about is excellently constructed. Moffat wants to rescue the Doctor from the burden of committing the genocide of the Daleks and the near omnicide of his home planet. We found out the importance of the name of the Doctor and now we find out what must be done in that name. The emotional consequences are still there, as the Ninth and Tenth Doctors forget what the War Doctor did in his final days. The Doctor has had many titles given to him, but where once he was Death, the Destroyer of Worlds, he is now the more famous aspect of Vishnu, that of Preserver < / pretentiousness >. Moffat's script is superlative, writing and rewriting myth with aplomb, without losing the little touches of humour.

I remember "The Five Doctors" when the programme was in the autumn of its success and I also remember Remembrance of the Daleks and Silver Nemesis when the winds of winter were blowing. The story looks back at the programme's history, but makes sure that it does not rest on its laurels and makes a decisive step forwards into the future. In this November, 50 years after it started, "The Day of the Doctor" is another highlight of a glorious second summer that shows no sign of coming to an end. Long live Doctor Who!

NEXT: "The Time of the Doctor"

"The Power of Three"

Chris Chibnall has written some of the least impressive stories produced for Doctor Who this century, but I, like many others, was very pleasantly surprised by "Dinosaurs on a Spaceship". However, it could be argued that such a premise would be hard for anyone to dislike, so the question was, could he pull it off again? "The Power of Three" contains some of the faults of Chibnall's previous stories- ill thought out plot points and pulling a rabbit out of the hat to compensate for the fact that he has written himself into a corner- the one here is particularly egregious, which I shall talk about later. Having said that, this is, nevertheless, a story with moments of true greatness and contains some wonderful writing.

The 'slow invasion' of the cubes is an intriguing idea from the start and instantly iconic. The premise recalls Nicholas Fisk's children’s sci-fi novel Trillions and the look of the cubes are like nano-monoliths à la 2001: A Space Odyssey. The changing perception of the cubes from headline news, to novelty, to half-forgotten bric-a-brac is a well thought out part of the plot, as is the fact that every cube reacts differently.

However, it is the people in this story that makes it so compelling. Chibnall has never been subtle in his characterisation, but here, where he has to juxtapose the 'Doctor-life' with 'Pond-life' and he manages to create a believable domestic setting, as well as whisking the Ponds off to spend their anniversary at the Savoy, being waited on by a Zygon Escoffier. Again, we see the Doctor coping in an ordinary domestic setting, but in a completely different way to "The Lodger" and "Closing Time", as he has to live through the boring bits as well. In fact, if you look at it, the Doctor is in a kind of self-imposed exile for a year, shooting off in the TARDIS when the boredom gets too much. In what could be effectively read as a hyper-compressed Third Doctor season, it is fitting that this is the first proper UNIT story of the Eleventh Doctor era. UNIT has changed, led by a woman who has known of the Doctor all her life. The revelation of Kate as being the Brigadier's daughter is perfectly handled, helped in no small way, by an outstanding performance by Jemma Redgrave. The nature of the threat is not, as was thought, an invasion, but of sterilisation of 'the human contagion' by the Shakri, the 'pest-controllers of the universe'. The Shakri is played by none other than Steven Berkoff, who knows how to be menacing in fifty different ways. There is beautiful dialogue between the Doctor and the Ponds- the Doctor explaining to Brian what happens to his companions, the Doctor explaining to Amy why his bond with her is so strong, all of which is brilliantly conveyed by the regulars. Douglas Mackinnon returns to helm a very confident production that seems like a Hollywood blockbuster and a classic afternoon BBC children's drama at the same time- the Shakri porters will feature in a fair few nightmares from now on. In years to come, 'the one with the cubes' will be as much part of childhood memory as 'the one with the maggots'.

The ideas are intoxicating and the concepts are explored well. There is, however, some woolly plotting- why are people being abducted from the hospital and why does the Doctor leave most of them to die on the Shakri ship? Which brings us to the resolution. Restarting the stopped hearts is scientifically stupid on a Gerry Davis/Kit Pedler scale and cannot be ignored- I assume Chibnall is lucky enough not to have known anyone who has had a heart attack. The real tragedy is that it is in no way intrinsic to the plot. If the cubes had released a disease, or evil nanogenes or, indeed, anything plausibly reversible it would have elevated the story to fresh heights.

It is a real pity about the denouement, as it stops the story from being one of the best of the Eleventh Doctor era and a true classic. However, it doesn't spoil a story that has a great deal to offer in so many other areas and actually makes me not dread the next Chibnall script- so long as it goes through a few more drafts this time!

NEXT: "The Angels Take Manhattan"