"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"

"The Robot Revolution"

Doctor Who returns for its 20th year on air in the 21st Century with another bright and breezy opener. Whilst it's not as light as "Space Babies", the brightness of the design matches the broad strokes of the story. Russell T Davies again throws us directly into the life of an ordinary human being who is about to have their life turned upside down. The strange thing is that, were in not for RTD's name on the credits, one could be forgiven for thinking that this was straight out of the Moffat era. Timey-wimeyness is at the heart of the story with a near paradox being the crux of the twist near the end.

However, if one looks closer, this clearly builds on what Moffat added to the programme, whilst being still the work of RTD. There is a reason as to why we are given very little of Belinda as a regular human being, namely that she is not really built up as the companion at all. In the story, after setting up the initial premise, Belinda actually re-enters events in the middle. Usually, the Doctor enters a situation, identifies the enemy and has to win the trust of everyone else, including the new companion. Here, this has been done, with Belinda entering the story where the Doctor is helping the rebels, with the help of his new companion Sasha 55 (winningly played by Evelyn Miller).  Amusingly, this means that population already trust the Doctor, but not Belinda, by the time she enters. However, Sasha is tragically lost, meaning that Belinda has to step up. 

There is, however, more going on than setting up a season in a breezy fashion. RTD makes sure to address his worries about society – in this case,  the directions that gender politics might be headed. There is a lot that the story has to say about toxic masculinity and the fact that  Alan Budd might seem like a nice, sweet guy, emphasises how rampant misogyny can hide anywhere and his fate is both amusing and apt, reduced to his component gametes. Jonny Green makes Alan both chilling and sympathetic in an excellent performance.

Peter Hoar helms a very bold production. The look has hints of Tintin and Dan Dare and the defeat of the villain made me think of The Prisoner, for some reason. However, it has to be said, the effect of the disintegrator ray is chilling, dead cat or no dead cat. As Belinda is de-facto, rather than de jure as companion, she is more of a POV character than even Rose was in her début. Varada Sethu works wonders in the role making Belinda instantly likeable. The Doctor is very nearly peripheral, but Gatwa never lets the camera forget who the star is.

This new season starts with something that seems to distil the very essence of the programme into a very intoxicating dram.

NEXT: "Lux"

"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"

"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"

"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"

"The Star Beast"

The brief era of the new Doctor with an old face begins with a surprisingly low-key romp, despite it being the first special to celebrate the 60th Anniversary of the programme.. However, low-key doesn't mean low-stakes. This story looks back to the past in adapting a 43 year-old comic strip from Doctor Who Magazine. I have never been a regular buyer of the magazine, but Beep the Meep is one of those characters that is popular enough to transcend these origins. However, it is not just the story, but the storyteller that is key in this episode and we have a seismic change in that department. Although it contained some very good episodes, it was clear that the programme had lost something in the Chris Chibnall area. I have written again and again that he is nowhere near the writer that his predecessors are. Now, one of those predecessors has returned and the thought occurs – am I blinded by nostalgia, and willing to forgive faults that I would hold against Chibnall? After watching "The Star Beast", the answer is a clear and resounding "no". The strip is adapted with a deft hand, with the polished dialogue that has become very rare in the past 5 years, with musings about a gigantic sausage roll having more emotional impact that many weightier dialogue scenes scripted by Chibnall. The something that was missing was in the nuts-and-bolts writing, consistency and vibrancy of characterisation and incorporation of themes successfully into the plot.

I raved about how excellent David Tennant was at the time and, although I believe that Peter Capaldi is definitely at least his equal, I would not argue with anyone who still calls Tennant the best. He slips back effortlessly into the role, so much so that is futile to compare the Fourteenth Doctor with the Tenth – it's the same Time Lord after all. It is a true joy to see him climbing on the sets and dashing at speed around the TARDIS again, like it hadn't been 18 years since he first did so. Returning to great success is one of the all-time great companions, challenged since only by the wonderful Ms Potts. The temp from Chiswick is older, with more responsibilities, but is still the same, brilliantly shown by the DoctorDonna being more Donna than ever. Bernard Cribbins is much missed, but Jacqueline King is back with a vengeance. The key new character is Rose, brilliantly brought to life by Yasmin Finney. The theme of gender suffuses the episode and the first trans character played by a trans actor is addressed full on. It is laid on a bit thick at times, but the fact that, in recent times, the most marginalised group in the LGBTQ+ community has been under attack from all areas, means that perhaps it needs to be laid on thick.

We have a new UNIT scientific adviser in Ruth Madeley's sparky Shirley Bingham and in the alien camp, the (understandably) cartoon-like Wrarth are very vibrantly bought to life. The titular beast is voiced by the legendary Miriam Margolyes who gives the cutest psychopath in the Whoniverse real bite. Despite the return of his predecessor as showrunner, it is Steven Moffat stalwart Rachel Talalay who helms this colourful and spectacular story. It's no secret that the involvement of Disney has meant a cash-injection the like of which Doctor who has never seen. Before this, Doctor Who managed miracles on its budget, and it's only occasionally that the increased budget shows - that is, until we see the new TARDIS set, which makes its 21st Century predecessors look like their 20th Century four bears.

There were always differences in quality regarding stories, when it came to their sequencing."Partners in Crime", good though it is, is necessarily lesser than "Turn Left". However, there are very very few stories in the past few years that are of the same quality as this utterly joyous opener. Mr T Davies, I welcome you back with open arms!

NEXT: "Wild Blue Yonder"

The End of Time

The final adventure of the Tenth Doctor would always have been a significant story in of itself- David Tennant is the only actor to have successfully challenged Tom Baker for the title of most popular Doctor. And what a story it is- two and a quarter hours in length (a six-parter in old money) with cameos from every actor to have played a regular role and the return of the Time Lords. The plot is simple and just about works, albeit with an odd structure. There are a few problems with the script. The resurrection of the Master is presented as a necromantic ritual, a move which could work had the emphasis been different. However, mentions of ‘potions of life’ and ‘the secret books of Saxon’ are a bit too Harry Potter. The plot means that the critical characters of Naismiths are given short shrift in the second episode- a pity, considering David Harewood’s fine performance. The means by which the Time Lords escape, although comprehensible, is in danger of being misread. Donna’s ‘defence mechanism’ seems to have been constructed purely to season the cliffhanger.These are all valid criticisms all raised by perceptive critics of the programme (together with others raised by those who cannot tell the difference between a plot hole and something that they have failed to spot). However, like The Evil of the Daleks, like Logopolis, The End of Time manages to overcome these shortcomings to produce a story of real wonder and excitement.

However, once the Master is properly back after his Voldemortesqe resurrection, we are again blessed with John Simm’s electrifying take on the character. The Master started off being simply an evil opposite to the Doctor, but since The Keeper of Traken, he has become a Time Lord who is physically, as well as mentally 'wrong'. His return in "Utopia" was as a fully fledged Time Lord, but his botched rebirth here leaves him a nightmarish horror- his flesh repeatedly vanishing to reveal the skeleton beneath, able to fire lightning from his fingers; and all the time, he is ravenously hungry, as shown in scenes that must have caused Yuletide gastric discomfort in a few viewers. The relationship between him and the Doctor is as deftly written as ever. Both need each other on a visceral level- the Master instinctively holds the Doctor as he falls from his own assault. However, once he finds out what is returning, he is perfectly willing to let the Doctor die- his visceral feelings were grounded in his own selfishness.

The story starts off by an imposing voice narrating events in a rather florid manner (but who are the ones who have an infinite capacity for pretension?) which reaches a crescendo in the middle of the first episode- to reveal the face of the Narrator. The Master Plan with his Master Race is only a small part of the grand scheme- for the Time Lords have returned. We are treated to Gallifrey on the last day of the Time War- the dome of the Capitol shattered, the wrecks of Dalek saucers strewn around. The High Council are in session and it is clear that these are a grimmer, more ruthless race than we have ever seen before. The Lord President (as the Narrator turns out to be) deals out disintegration for dissent and, as they descend on Earth, bringing the raging inferno that is the dying Gallifrey with them, it is clear that the destruction of the Time Lords was no accidental side effect. Twisted by the Hell that the war had become, they chose to ascend to godhood- ripping space-time apart in the process, as the final act of the war. Davies’ depiction of the final days of the Time War prove that it is an event that should never be explored on screen- how can anything compare to the images in our minds of The Nightmare Child, the Horde of Travesties and, most wonderful of all, the Could-have-been King with his army of Meanwhiles and Never-weres? It should remain a series of images in our head that point to something we can never fully understand. The Lord President is played with relish by Timothy Dalton, arguably the best actor to play James Bond. He is actually named as Rassilon himself by the Doctor, which makes sense- if the Master was brought back as the ultimate warrior, it makes sense that the founder of Time Lord society be resurrected to lead his people- a people who become just as much the Doctor’s enemy as the Daleks. The Time Lords are truly awesome in their power, Rassilon overcoming the Master’s schemes with a flick of his gauntlet (The Great Glove of Rassilon?) but it is clear that they know that the Doctor is not someone to be underestimated, even with something as primitive as a service revolver in his hand.

Euros Lyn is often overlooked as a director, despite his amazing track record. As the revived programme’s longest serving director, it is fitting that he helms Tennant’s finale. The spectacle demanded by the script is easily realized by Lyn, from the stunning scenes set on Gallifrey to the wonderful Star Wars inspired sequence where the Vinvocci ship has to evade and shoot down seemingly every missile on planet Earth. The appearance of Gallifrey is as awesome as it should be (it seems to be as large compared to the Earth as we are to the Moon). Lyn makes sure every performance counts (even in minor roles such as the Visionary and Shaun, we have Brid Brennan and Karl Collins). I must also mention the incredibly likeable Sinéad Keenan as Addams and a cheeky role for the legendary June Whitfield, in the wonderful sub-plot of the ‘Silver Cloak’- Wilf’s network of OAPs who know everything there is to know in London. Then there is the appearance of the legendary Claire Bloom as a woman who guides events to try and help the Doctor. We never find out who she is (or indeed, her fellow partisan, whose face is never revealed) which is for the best- until we do find out, let us revel in our theories.

There is spectacle to be had, for sure, but there is a heart to the story- the relationship between the Doctor and his companion. Here, that role is taken by Donna’s granddad, Wilf. It is great to see his joy in seeing the Earth from space and to feel the thrill he has in finally sharing in the adventures his granddaughter had. It is in the quieter moments between the Doctor and Wilf that the characters really shine. Both are old men, reaching the end of their lives, which means the Doctor is more open, more emotional with Wilf than he has been with anyone else. Wilf’s decency comes through in every scene, from his refusing to be shamed by the fact that he never took a life as a soldier, to the scene where he immediately rescues a man he has never met from being sealed in the Nuclear Bolt chamber, even though it means he gets sealed himself. Bernard Cribbins is wonderful in the role, mixing his natural lovability with a really strong performance.

But he does get stuck, which leaves us with the Doctor. He has prevailed against the Master, against Rassilon and his Glove (and, no doubt, his Key, Rod and Sash). However, the four knocks come- Wilf in the chamber. The Doctor knows that this is why Wilf has figured so often recently- he is the bringer of his Doom. He will not give his life to save the Universe or even Earth- but to save one man. On Mars he was at his most arrogant, speaking in condescension of ‘the little people’. It is for such a little person that he will make the ultimate sacrifice. He rages like an alcoholic Welsh poet, but in the end, in a scene of genuine heart-wrenching emotion, he saves Wilf, while the old man begs him not to. The scene of the Doctor’s irradiation itself is shot simply- it would scarcely have looked different twenty years ago. Although he gets up, it is clear that the regeneration has started. In the short time given to him, he visits his friends- Martha, Mickey, Sarah Jane, even the descendant of Joan Redfern in a series of scenes that have been earned and therefore avoid being self-indulgent. Although he cannot speak to Donna, he does make sure that she is secure for the future, before taking a trip to the Powell Estate in 2005. But his time has run out.

David Tennant has made the Doctor his own in the hearts and minds of millions in a way no-one has done since Tom Baker. He never failed to put in a great performance and, in some stories, he put in the best performance yet in the role. In watching the entire programme from the beginning one thing is clear- William Hartnell finally has his match in this fantastic actor. It is fitting that the Tenth Doctor’s passing nearly rips the TARDIS apart, in a scene that is shot and scored immaculately. ‘I don’t want to go!’ are his last words- and I’m sure that no-one sane wanted him to go either. Matt Smith seems good enough in his short appearance as the end- but he has a hell of an act to follow.

"The Waters of Mars"

"The Waters of Mars" sees a return to the ‘base-under-siege’ formula for Doctor Who which, as I said many moons ago, is a very constricting type of story that led to Patrick Troughton’s first full season being rather samey. However, it is soon abundantly clear that Russell T Davies and Phil Ford are intent on doing something interesting with this type of story. We are told that the events that occur on the Martian Bowie Base on 21 November 2059 are as iconic and vital to human history as, say, the destruction of Pompeii. The Doctor knows the names, ages and occupations of everyone on the base, just as well as we know Neil Armstrong and Buzz Aldrin- and he also knows what will happen to them at the end of that day- which is why his catchphrase for this episode is ‘I should really go!’ However, as he said when he was close to the end of another incarnation, ‘Curiosity has always been my downfall’.

The Flood (which seems to be the accepted term for the foe in the story) is, in the style of many memorable Doctor Who adversaries, simply conceived, yet instantly effective and the script uses its threat with an impeccable sense of dynamics, but there is more to the story than a memorable monster. The combination of Phil Ford and Russell T Davies has resulted in a script rich in detail. Even though only Adelaide is given any depth in the script, the characters all seem real people- even Andy, who has all of one scene before he gets Flooded. Conversations between characters give us an impression about what the Earth on 2059- references to a Branson inheritance brings up images of everything from Virgin Inteplanetary to a futuristic Jarndyce v Jarndyce! We also have the first explicit mention of the Ice Warriors, which is welcome and not just gratuitously pleasing the fanboys. Adelaide herself is a compelling figure. Although she is a typically dour base commander, from the start, she is humanised- the message from her daughter instantly shows the warmth in the character. We find out the motivation for her pioneer spirit in a beautiful flashback to her childhood encounter with a Dalek in 2008. The dialogue is suitable evocative- when asked by the Doctor if it was worth it she replies ‘…to stand on a world with no smoke, where the only straight line is the sunlight…Yes. It's worth it.’ Lindsay Duncan is phenomenal in the role (as she has been in practically everything else I have seen her in) giving Adelaide real grit and intelligence, but with a palpable sense of selflessness. All of the Bowie Base members are brilliantly performed- Alan Ruscoe and Chook Sibtain are excellent as the Flood infected crewmen, but I’m sure it is Sharon Duncan Brewster's Maggie who will figure in the nightmares of children, with her horrific ghoulish stare. Graeme Harper continues to prove that a story cannot be bad with him at the controls, making the story seem like the offspring of Silent Running and John Carpenter’s The Thing (together with a nice homage to 28 Days Later). The scenes of the Flood attack are brilliantly shot and choreographed. Scenes which are clichéd become immensely powerful when written by Davies and Ford and directed by Harper. For example, when Steffi faces death, she turns on a message from her children. The message is low in the sound mix and in German (with a Welsh accent, unfortunately!) so the effectiveness of the scene is down to Harper and actress Cosima Shaw, both of whom are fantastic. The special effects are awesome and look fantastic on HD. The realisation of the Flood is phenomenal- leaking water is bloodless, yet gives the faintest impression of haemorrhaging, which is exactly the right way to present a terrifying monster for a family audience. There are a few minor scientific errors, but so what? Who cares that Mars is actually more orange than red? Fires may be impossible in the Martian atmosphere, but burning debris looks great!

However, a very major factor in the story is the Doctor himself. Despite his proclamations, he never goes and it is that which damns him. At the start he is the fun figure we last saw in "Planet of the Dead" and, indeed, declares his intention as ‘fun!’ when asked. However, he is faced with a situation which he cannot alter, as he did in The Aztecs, The Massacre and "The Fires of Pompeii". He once said that the reason he travels is to see history happening in front of him. Here, the grimness of that hits him like a furnace blast. He hears the Bowie crew on his spacesuit radio come up with strategies to survive, only for them all to be dashed. He hears them go down, one by one, hears history being made. And something snaps. In a very short space of time, Adelaide, Yuri and Mia step out of the TARDIS on 21 November 2059- on Earth. The Time Lords are dead- the Doctor is the Lord of Time. Some have wondered why he brought Adelaide, Yuri and Mia to their own time, rather than hiding them in the past or future, but it is impossible that this did not occur to Davies and Ford. The obvious answer is that the Doctor did it because he could- the Time Lord victorious. For the first time we are genuinely scared of the Doctor himself. His justification is frighteningly reminiscent of the Master’s in "Last of the Time Lords"- but only a bit. The Master builds the Paradox Machine to conquer. The Doctor declares himself the Time Lord victorious to save people. However, his chilling talk of ‘little people’ horrifies Adelaide and us and it is Adelaide who saves the future- by her suicide. Horrified, the Doctor turns round- to see Ood Sigma. He has gone too far and knows that the Cloister Bell tolls for him. He is going to die.

I have mentioned several influences for this story, but there is one important one I will now mention: Fury From the Deep. There are many who remember this story as being genuinely terrifying. Listening to it objectively, the terror is there, but buried amongst some interminable longueurs. "The Waters of Mars" is Fury From the Deep as it exists in our imaginations, combined with some incredibly powerful writing, a truly wondrous hour of television.

NEXT: The End of Time

"Planet of the Dead"

The first Doctor Who story of 2009 is a simple tale of the Doctor trying to rescue some people on a bus that has travelled through a wormhole. The planet that the passengers arrive on is a barren desert, but he commuters are not alone. A Tritovore ship has crashed, with two of the fly-like beings surviving. But they are not the danger. The planet was once teeming with life and one of the Doctor’s travelling companions can hear the screaming of the planets inhabitants as they died - the danger is a swarm of flying creatures like metallic stingrays who strip planets of anything organic and open wormholes to their next feeding ground- the Earth.

Fortunately, his fellow passengers are more willing to trust him than the last time he was stuck on a bus. The story has a nice, straightforward plot- perhaps a bit too straightforward and not without problems- first on the ‘Why didn’t they just...’ list is why UNIT didn’t just chuck the TARDIS through the wormhole! The commuters are not exactly three-dimensional characters- they are characterised purely by their intended destination rather than anything more detailed. However, the performances manage to compensate for this somewhat. The role of companion is filled by Lady Christina de Souza, an adrenaline junkie with a taste for grand larceny. She is nicely played by Michele Ryan, and she is a resourceful and sparky foil for the Doctor- however it is hard not to see her as being mildly sociopathic. By far the most interesting characters are the UNIT characters. In the Doctor’s absence, they have a new scientific adviser, Dr Malcolm Taylor. Malcolm is a wonderful character, naming units of measurement after himself and making references to Quatermass. This may be another instance of Gareth Roberts letting his inner geek run wild (most kids nowadays would have to ask their grandparents who Quatermass was) but I love him as a character, especially with Lee Evans’s wonderful performance. Although I’m not exactly a fan of Evans as a comedian, when his considerable comic talents are correctly channelled, he is unstoppable. Noma Dumezweni also returns as Captain Erisa Magambo in a performance that refuses to be overshadowed by Evans. Magambo is clearly on the right side, but she is not above pulling a gun on her subordinates for the greater good. She has a hint of the Brigadier in Season 7 about her and, if the Doctor is stranded on Earth again, she would make a good Lethbridge-Stewart for the 21st Century. David Tennant has a last chance to play the Doctor as a fun-loving wanderer and- surprise, surprise- he is excellent.

James Strong makes it all look wonderful and makes sure the actors give it their best. Of course the main production talking point is the move to high definition. The cinematography by Rory Taylor is sublime (for how hi-def Who could have gone wrong, look at the picture on Torchwood Series 1). The special effects are good (although the stingrays look a bit ‘unfinished’) with some great animatronics for the Tritovores and the location filming is great- although I fail to see why they couldn’t have shot it at Camber Sands (or the Welsh equivalent) and used CG matte paintings.

"Planet of the Dead" is good fun, well made with some witty dialogue. It is a bit inconsequential, but there are hints of something dark coming for, as we all know, the Doctor’s song is drawing to an end.

NEXT: "The Waters of Mars"

"The Next Doctor"

There is something about the Victorian Christmas that makes it seem more Christmassy than any other type of Christmas. Maybe it's because of Dickens's A Christmas Carol. Maybe it's because such British Christmas symbols as the German Christmas Tree have their roots in the era. This is why it is a genuine thrill to see the Doctor emerge from the TARDIS to be greeted by the sight of carollers, men in stovepipe hats and boys in Norfolk jackets. He is stunned to hear his name being called and rushes to the source- a young woman who, strangely, continues calling for the Doctor, upon which a handsome man, seemingly in his early forties appears. Dressed to the nines in the height of Victorian fashion, he takes control of the situation, brandishing his sonic screwdriver, shouting 'Allons-y!', only then realising that the skinny stranger beside him has done exactly the same thing.

Of course, it soon becomes obvious that this man is not, nor ever will be the Doctor, but a man named Jackson Lake who, in the process of suffering the worst event of his life, suffered dissociative amnesia, a 'fugue'. However, in this case, there was something to replace the memories and personality that had fled- a burst of compressed information about the Doctor. Lake, believing himself to be the Doctor, attempts to live up to 'his' past, with his assistant Rosita, his sonic screwdriver (which is a normal screwdriver) and his TARDIS- 'Tethered Aerial Release Developed In Style'- a balloon! Despite the spectacle of this story, at the heart is the tale of a man in turmoil who has turned to the Doctor for salvation in a way that no-one else ever has. In subconsciously trying to save himself, he has become a genuine hero, not because of the information about the Doctor, but his own innate courage. This is very canny writing by Russell T Davies and is remarkably touching without one being cloying. The story also sees the return of the Cybermen who are up to their old tricks, but with a new, deadlier conclusion. To do this, they need child labour from the workhouses, which leads to the evocative plot of children toiling in the shadow of a vast steampunk machine. We also have the character of Miss Hartigan, a woman clearly born out of her time, whose ambition is enslaved to the Cyber King- a vast Cyberman with the capability of destroying cities and converting multitudes in its belly. Although the Cyber-plan takes second place to the journey of Jackson Lake, it is certainly a diverting plot thread.

The characters are well written and are brought to life by some stellar performances. David Morrisey is outstanding as Jackson Lake in a performance that is both very Victorian and easy for anyone to relate to. The gorgeous Dervla Kirwan is brilliant as Miss Hartigan, whose driving ambition makes her overcome even Cyber-conditioning.

The realisation of the story is sound enough with the scenes of the Cyber-king rising and wreaking havoc being truly awesome. However, director Andy Goddard sometimes takes his eye off the ball- Dutch angles are used so arbitrarily it sometimes appears that the camera was tilted by accident and there are some framing problems. The editing, too is a bit off. However, the cinematographic skills of Ernest Vincze do a great deal towards correcting this, as do the fantastic production values.

Although not 100% successful, "The Next Doctor" is tremendous fun and still way ahead of most 20th Century Cyberman stories.

NEXT: "Planet of the Dead"

"The Stolen Earth"/ "Journey's End"

Rose. Martha. Captain Jack and Torchwood. Sarah Jane and Luke. The Daleks. Harriet Jones. This was what we were promised in the teaser for "The Stolen Earth" and it was an increasingly poorly kept secret that Davros was returning. In addition to this, we have the return of Mickey and Jackie and not one, but two Doctors- the phrase ‘everything but the kitchen sink’ springs to mind, but this will be the last regular Doctor Who story until 2010 and so it must have that end-of term feeling of going out with a bang. The Daleks return in a truly spectacular manner- the Earth is moved across space to a location amongst 26 other planets. They do their usual thing of mercilessly subduing any opposition, but this merely incidental. Their ultimate plan is their most ambitious and masterful one since, erm, The Dalek Master Plan. These Daleks were born when Dalek Caan managed to do the impossible and travel back to the Time War. Despite the fact that his sanity was destroyed he managed to bring back Davros himself. Unwittingly taking a leaf from Sutekh’s papyrus, this new Dalek Empire intends to destroy all matter except themselves, leaving them the only life forms in every Universe and every dimension and reality, by using the gravitational fields on the 27 planets to amplify the effects of the ‘reality bomb’. This is a threat that dwarfs even the collapse of the Universe in Logopolis.

The return of practically every recurring character that appeared in the programme since its revival could have resulted in a self-indulgent mess, but Davies knows what he is doing and he understands the characters he has invented and the audience's reaction to them. The webcam session where they all meet is cannily constructed with Rose being an outsider, which probably gave the Martha worshippers a warm feeling inside. It is obvious from Rose's first materialisation that all these characters have changed. Rose spends a lot of time carrying a gun the size of a porpoise. Martha, clad in black, literally holds the key to the destruction of the Earth. As Davros says, the Doctor takes ordinary people and fashions them into weapons. Davies still manages to lighten scenes with some very funny lines- Wilfred's reason for not having a webcam had me in stitches and, of course, even the Daleks know who Harriet Jones is. I also love the fact that the mysterious Shadow Proclamation that has been hinted at since "Rose" is merely a police force, seemingly made up of Judoon and what look like space-age albino versions of the Bennet family from Pride and Prejudice. The cliffhanger is the most thrilling yet and its resolution, although it seems cheap at first, makes sense in terms of the programme's continuity and results in serious plot developments.

Graeme Harper gives this story the epic treatment it deserves with scenes looking incredibly cinematic. He is helped by the most spectacular special effects the programme has had up to this point, from the Dalek attack on the Valiant, to the flotilla of Dalek saucers to the awesome Crucible. Harper makes sure that all the performers are up to scratch. Any quibbles about Piper's performance in "Turn Left" are instantly quashed- Rose Tyler is definitely back with a wonderful performance by Piper. We also see the welcome return of Jackie and Mickey and, I must again heap praise upon Noel Clarke for another moving, yet very dignified performance. However, the best performance is definitely Julian Bleach as Davros. Bleach is definitely Michael Wisher's equal in realising the role, being both cold and calculating and a shrieking madman. The make-up is a fitting update for the character and anyone who wished to know what Davros had under his tunic get the unpleasant shock that they deserve.

This is very much the end of an era, so we are fittingly, given a series of endings that bring to mind Return of the King. We are taken back to Bad Wolf bay again and Rose is left in the parallel universe with the other Doctor. This manages to work because of the deep understanding of the characters that Russell T Davies has. Rose has a selfish streak, but it is proved here that she is not, ultimately, a truly selfish person. However, any emotion that Rose's second departure might have had is eclipsed by the rueful fate of Donna Noble. Of the companions who have travelled with the Doctor, Donna started off with the least and developed the most- a thirtysomething temp from Chiswick becomes half- Time Lord and saves all of creation. However, her human body cannot cope with the intelligence of a Time Lord so, to save her life, the Doctor removes from her memory all of her experiences with him. Once again, she is the eternal temp, eagerly awaiting a new Pringle flavour. Catherine Tate was never less than spectacular as Donna in a performance that should have silenced all her critics, but didn’t, as her critics could not see past their own prejudices. In my opinion, she was the best companion since the return of the programme, a character that was always interesting to watch and I will miss her.

We end on the Doctor being alone (thankfully not jarred by a teaser for the Christmas Special) after a real thrill-fest that had me gripped throughout. And yes, that includes towing the Earth home!

NEXT: "The Next Doctor"

"Turn Left"

Ever since It’s a Wonderful Life, the ‘What if X was not there?’ storyline has been used many times in film and television and it was time for this question to be asked in a Doctor Who episode: What if the Doctor wasn’t there to save us? We are presented with a world where the Doctor died as a result of the encounter with the Empress of the Racnoss. As a consequence, Martha dies when the Judoon steal the Royal Hope Hospital (together with Sarah Jane, who was the only one who stepped up in the absence of the Doctor). The starship Titanic crashes into Buckingham Palace, causing a nuclear explosion that devastates the south of England, causing the breakdown of British society. The USA would help, but the Adipose have harvested their young from the fat of America (one wonders why they didn’t do that in the first place!) Torchwood (with the obvious exception of Captain Jack) also give their lives immolated with the burning of the poison sky. We are presented with a Britain that is truly broken, where martial law is in operation and, eventually, non-British people get shipped off to labour camps. Some may find this a bit too grim, too 'adult', but this is what life would be like without the Doctor- a bit too close to real life for comfort. And it is clear that it isn’t just Britain or even the Earth that is affected. Overhead, without any fuss, the stars are going out...

I have said that the question is what if the Doctor wasn’t there to save us. However, it is soon obvious that the real question is what if Donna wasn’t there to save the Doctor? For the whole thing is brought on by a mysterious fortune teller on the planet of Shan Shen. Somehow, she is persuaded not to take up the job that led to her meeting the Doctor. This is the story of Donna Noble, the temp from Chiswick, whose normal life was ruined, but not destroyed by the horrors that were unleashed upon Britain. This episode is very much Catherine Tate’s and any lingering complaints about her performance should have been thoroughly eradicated. Donna is recognisably the same gobby woman from "The Runaway Bride", but Tate gives her more depth, understanding that Donna is not the one-shot character she once was. She can be crass and rude (such as in her initial treatment of Rocco Colasanto) but she shows real determination and grit and we love her for it. Bernard Cribbins works his inestimable magic in another delightful performance as Wilfred, but Jacqueline King deserves special praise for her excellent performance as Sylvia, effortlessly showing the fight draining out of her. Rocco is played by Joseph Long in a performance that initially screams ‘comedy foreigner’, which makes his eventual fate even more shocking and tragic in a wonderfully judged performance. However, there is another significant character- a mysterious blonde woman who rushes into Donna’s life at key points. Rose is back, although it has to be said that Billie Piper seems to be a tiny bit uncomfortable in the role, like wearing an old pair of shoes. It is wonderful to see her again, however, and her performance is good, in spite of Piper’s uncertainty.

Davies wrote the great script, but it is the masterful direction of Graeme Harper which binds it all together. Scenes of office mundanity are punctuated with tragedy, a bucolic Christmas is shattered by nuclear holocaust. Then, of course there is the unforgettable scene where Donna travels back in time. The beetle on her back is a very basic animatronic creation, but Harper’s direction makes it genuinely creepy. Harper also makes sure that the effects are as blinding as they have always been and Murray Gold provides another outstanding score.

This is a triumphant and thrilling story anchored by a phenomenal performance by Tate. Donna not only saves the Doctor, but saves the world (This is most emphatically *not* a reference to the execrable Heroes). However, Rose whispers two words that, as before, appear everywhere. The cloister bell rings...

NEXT: "The Stolen Earth"/ "Journey's End"

"Midnight"

There are many Doctor Who stories that have the Doctor turning up to find a crisis, winning over the dissenters, quelling the enemy and saving the day. This is not what happens in "Midnight". The Doctor is on the eponymous planet and decides to take a trip to see its famous Sapphire Waterfall. He makes friends with his co-travellers and everything seems peachy. Then, a threat emerges and the Doctor, to use a bit of an understatement, loses the room. Russell T Davies weaves one of the most frightening tales the programme has told. The threat is inexplicable at the start and equally inexplicable at the end and the way it manifests itself is simple, yet extremely creepy. Banging and knocking is heard outside the bus and the lights go out. When they go back on, the front seats have been ripped up and Sky Silvestry, one of the passengers, is behaving rather oddly. First she repeats what everyone is saying, then speaks simultaneously, first with all of them, then with the Doctor alone. And it has only just begun.

In such a claustrophobic setting (influenced by Hitchcock's Lifeboat) characters are important. What we have here are various types, ranging from a professor and his assistant to an ordinary family. The Doctor, as said before, establishes a rapport with them. But as the entity asserts itself, the Doctor finds out his charm does not work. Instead of being reassured by him, they are annoyed and finally enraged. Instead of them finding the best in themselves, they give way to their worst. The Doctor’s usual tricks do not work; when they are discussing whether or not to throw the possessed Sky out of the airlock, the Doctor’s ‘Could you really do it?’ is answered immediately in the affirmative. In the end, the creature speaks the Doctor’s words before he does and the rest of the passengers are all too keen to believe that the creature has possessed the Doctor- it is easier to deal with a practically catatonic man. It is only the doubts of the Hostess that enable the day to be saved, as she sacrifices herself to launch Sky out of the airlock. The survivors make the return journey in silence. Throughout all of this, one thing is clear- no-one but Sky and (at the end) the Doctor were affected by the creature- all that foulness came from their own frightened souls. These characters are played to perfection by a very talented cast. David Troughton is, of course, one of the finest actors in the country and he makes Professor Hobbes seem at first to be a likeable old academic who then gives way to his jealousy as he finds he is not the smartest man in the room. Lindsey Coulson and Daniel Ryan effectively play a couple who suggest that The Daily Mail is still in circulation in the far-future. Everyone’s favourite jug-eared young warlock, Colin Morgan, plays their son. In the key role of Sky Silvestry, Lesley Sharp is astonishing, even on the merely technical level of her repetition and simultaneous talking. She effortlessly changes her bearing and gait throughout the episode to awesome and chilling effect, making the unnamed creature a truly memorable foe.

Alice Troughton directs with great confidence, squeezing every drop of tension from the scenes. There is a wonderful sequence where the Doctor, Driver Joe and Claude the mechanic look onto the Midnight landscape- and Claude swears he sees a shadow moving quickly towards them. We see nothing, but this simple scene is so well done that we half-remember seeing the shadow. The sound design is exemplary, adding to the sense of claustrophobic terror- and it goes without saying that the matte paintings for the Midnight planetscapes are spectacular.

Donna once said that the Doctor needs someone to stop him. "Midnight" shows that sometimes he just needs someone to help him connect, in a masterful 45 minutes of humour, tension and real scares.

NEXT: "Turn Left"