Episode: The Impossible Planet/The Satan Pit Story Number: 174 Series: 2 Screenwriter: Matt Jones Director: James Strong
Thoughts:
Since the revival of Doctor Who, every story has been set on Earth, on an alternative version of Earth, or a space station orbiting Earth. For the first time the TARDIS carries the Doctor and Rose to a strange new world, and it’s a doozy. The planet is inexplicably orbiting a black hole and a team of humans have built a sanctuary base there to drill for the mysterious energy source. As the title of part 2 implies, there’s a mythical Beast trapped on the planet and while the Doctor deals with its giant body, its mind possesses one of the humans and influences the Ood to attack the humans on base.
It’s a story with your typical disaster movie tropes and a good guest cast carrying out their parts. The Ood made their debut in this episode, problematically cast a willing slaves and pawns of Satan. Future episodes would address these issues with the Ood from a more sympathetic point of view. I remember thinking this was a top notch Doctor Who story, but it felt over long on this rewatch. Still the cast, set design, Ood character design, and direction are all good. It just doesn’t feel as special in retrospect.
Episode: The Idiot’s Lantern Story Number: 173 Series: 2 Screenwriter: Mark Gatiss Director: Euros Lyn
Thoughts:
Rose and The Doctor arrive in London in time for Queen Elizabeth II’s coronation. An alien entity called the Wire (Maureen Lipman) uses television to feed on humanity and takes advantage in the surge of TV purchases by patriotic Britons wanting to watch the pageantry. There are some interesting ideas here and the Wire has a “Twilight Zone” feel, but the episode feels kind of bland overall. Rose gets some good moments investigating on her own but then essentially gets fridged to allow Tennant to overact how angry he is about it. The story of the abusive father doesn’t work because he’s portrayed entirely as evil so the redeeming moment at the end feels unearned. Luckily, 17 years later Russell T. Davies will find another way to use the early history of British TV in a more effectively haunting way.
Episode: Rise of the Cybermen/Age of Steel Story Number: 172 Series: 2 Screenwriter: Tom MacRae Director: Graeme Harper
Thoughts:
In retrospect, this two-parter did a lot to establish ongoing story arcs for the remainder of Russell T. Davies’ first term as showrunner. But, god, it’s such a mediocre story. I’m not a big fan of Cybermen stories to begin with and their alternative universe creation does them no favors. Big stomping cyborgs who shout “Delete!” because the Daleks have “Exterminate!” copyright are not my idea of an engaging antagonist. Their creator, John Lumic (played by Roger Lloyd-Pack apparently with the direction to ham it up as much as possible) is a cartoonish villain.
But there are some good parts:
The resistance fighters Jake (Andrew Hayden-Smith) and especially Mrs. Moore (Helen Griffin) add some human warmth to Pete’s World
Noel Clarke does well in his dual role as Mickey/Rickey and I like how he gets to be the hero. His choice to remain behind is a natural conclusion to his ongoing story arc
Overall, this isn’t a strong episode for the Doctor and Rose, with the former mainly scolding the latter to not see the alternate universe versions of Pete and Jackie as her parents and the later doing so anyway despite knowing better. The emotional inhibitor plot device lead to a grim conclusion that was filmed with tonal inconsistencies. There are a lot interesting ideas about Pete’s World introduced here, but they’re better used in later episodes.
Episode: The Giggle Story Number: 303 Series: Specials (2023) Screenwriter: Russell T Davies Director: Chanya Button
Thoughts:
The third and last of the 60th Anniversary Specials had all the elements of a classic Doctor Who finale. The return of a villain and a global threat, the return also of a former companion and UNIT, and finally rengeneration and the introduction of a new Doctor. The Giggle achieved these things effectively and satisfyingly with a few surprises. Nevertheless, I find it a notch below the other two specials as a Doctor Who, if only if they were so excellent.
The review continues with SPOILERS below the trailer….
There are so many elements to this story, it feels like Russell T. Davies is spinning plates in the air. Let’s break them down:
First there’s the historical portion of the program in which we observe John Logie Baird make the first television transmission in 1925 of a ventriloquist’s dummy called Stooky Bill. Naturally, Stooky Bill is trapped in every televisions broadcast going forward affecting humanity in a way reminiscent of “The Idiot’s Lantern” and “Day of the Moon.”
Next, there’s the return of the Classic Series villain The Toymaker, who’s first and most recent TV appearance was in a 1966 serial that is now mostly missing. In that story the Toymaker was played by English actor Michael Gough with Chinese racial stereotypes. In this episode American actor Neil Patrick Harris takes over incorporating German racial stereotypes into his behavior. I guess what we’re supposed to make of The Toymaker is that he enjoys making fun of other cultures.
The effect of The Toymaker embedding Stooky Bill and his giggle causes all of humanity to believe they are always correct leading to widescale violence (an unsubtle commentary of internet culture). At UNIT, the Doctor is reunited with Melanie Bush who traveled with the 6th and 7th Doctors. Donna and Mel figure out that the message trapped in everyone’s brain is an arpeggio of a giggle which leads the Doctor to uncover Stookey Bill.
The Doctor and Donna travel back to 1925, discovering The Toymaker’s shop. It’s a credit to the efficiency of this episodes storytelling that the scenes of the Doctor and Donna running through labyrinthine corridors, encountering creepy puppets, and getting mocked by The Toymaker’s puppet show. It feels like this was it’s own episode but it really took maybe 15 minutes of runtime?
The Doctor loses a game to The Toymaker and the latter determines to complete the best of 3 series in 2023. He even makes an entrance reminiscent of The Master’s dance to “Rasputin” as he lip syncs “Spice Up Your Life” while intimidating UNIT. The Toymaker wants the the third game to be played against a new incarnation of The Doctor and kills the Fourteenth Doctor initiating regeneration. Except, it’s different this time.
Typically, regeneration happens at the end of the episode and we only get a glimpse of the new Doctor. I’ve always thought it would be interesting if the Doctor regenerated mid-episode and then the new Doctor had to solve the crisis of the story. But Davies takes it a step farther with the new idea of bi-regeneration in which Ncuti Gatwa’s Fifteenth Doctor pops out of David Tennant’s Fourteenth Doctor, a voila! You have two Doctors. Together they win a high-stakes game of catch to defeat The Toymaker.
The Fifteenth Doctor and Donna convince the Fourteenth Doctor he needs to rest and work through his trauma so that the Fifteenth Doctor can be healed for more adventures. And he does, essentially retiring to live with the Noble family. It’s uncertain what the future is for Tennant’s Doctor. Will he return for anniversary specials (almost certainly), appear regularly during Ncuti’s run (I hope not), or get his own spinoff series (God no!). I do think it would be nice though if he returns when it comes time for Ncuti to inevitably regenerate to hold his hand through the process and bring things full circle. But it’s a pleasant surprise to see the Doctor and his companions get a happy ending, perhaps the one thing they haven’t had before.
Ncuti Gatwa makes a great first impression. He’s funny, tender, and excited for new adventures. I’m glad this episode allowed us to see a lot more of the new Doctor than we typically get to see in a regeneration story (and I don’t just mean his bare legs). I’m looking forward to Christmas and the Gatwa Era with an enthusiasm I haven’t had for Doctor Who in quite some time.
Episode: The Girl in the Fireplace Story Number: 171 Series: 2 Screenwriter: Steven Moffat Director: Euros Lynn
Thoughts:
In one of the all-time great stories, the Tardis crew discover a spaceship in the 51st century that has punched windows through time into the life of Reinette, the Madame de Pompadour (Sophia Miles). Creepy clockwork droids in 18th-century French aristocrat attire have determined that they need to repair the ship with human body parts, including Reinette’s brain.
This is Steven Moffat’s second script for Doctor Who and contains many of the themes that will recur in his work later as showrunner. The story plays out jumping through time with the Doctor briefly appearing in moments of Reinette’s life. The story is a mystery as the Doctor, Rose, and Mickey try to figure out the clockwork droids plan and how to stop them. It also is a romance as The Doctor grows from childhood imaginary friend to Reinette’s intellectual equal.
The radiant Miles puts in a terrific performance as a woman who is kind, intelligent, imaginative, and resourceful, contrary to the expectations of an 18th century mistress to the king. The clockwork droids are one of Moffat’s many creepy monsters. And the story and script are just pitch-note perfect.
Episode: School Reunion Story Number: 170 Series: 2 Screenwriter: Toby Whithouse Director: James Hawes
Thoughts:
When I first watched this episode back in 2011, I had no idea who Sarah Jane was other than long-time fans loved her. This episode marked her return after last being a regular companion in 1976, and I soon loved her as well. The idea of a robot dog sounded silly, but I soon loved K9 as well. This episode marked the new Doctor Who interacting with the show’s own past in a new way. Traditionally the Doctor moved on from his companions without ever looking back (except for the 20th anniversary special), but now a former companion arrives to challenge him on how he disposes of his friends. I love also how the relationship between Rose and Sarah Jane, while initially adversarial, swiftly becomes friendship as they bond over shared experiences. This is also a good episode for Mickey who thus far has mostly been the goofy boyfriend Rose leaves behind but he also begins to assert himself. The main plot of the vampire-like Krillitanes taking advantage of school children for scientific research is largely background to all the interpersonal relationships. This was also Toby Whitehouse’s first script for Doctor Who. He would grow to be unpopular in the fandom and I have to admit this is probably his best story (although I should probably rewatch “The God Complex”).
Episode: Wild Blue Yonder Story Number: 302 Series: Specials (2023) Screenwriter: Russell T Davies Director: Tom Kingsley
Thoughts: Donna and the Doctor are trapped on a mysterious, empty spaceship on the edge of the universe and face their most menacing enemy. Themselves!
The review continues with SPOILERS below the trailer….
This episode felt very Moffat-y in the league of Silence in the Library, Listen, or Heaven Sent. But it also has touches of Midnight, so Davies can write these types of stories too. Regardless it falls squarely in the Doctor Who tradition of weird, psychological horror.
There’s a lot to like about this story, starting with what might of been an anniversary blockbuster instead having the room to allow The Doctor and Donna to just talk. I really could watch a whole episode of these two just bantering. With only two actors appearing on screen in the main part of the episode, it’s also great that we have the talents of David Tennant and Catherine Tate to play villains who are so malevolent. Little plot details here and there pay off in big ways at the conclusion. And what a heartbreak when The Doctor chooses the wrong Donna. I do like how the Fourteenth Doctor has become more physically affectionate and willing to express his love. As an added treat, we get to see Wilf in the conclusion in some of the last scenes Bernard Cribbins filmed before his death!
This episode definitely justifies bringing back Tennant and Tate for the 60th Anniversary specials while also giving them a story they can sink their teeth into as opposed to a fluffier anniversary extravaganza!
Episode: Tooth and Claw Story Number: 169 Series: 2 Screenwriter: Russell T Davies Director: Euros Lyn
Thoughts: Scotland, 1879. The Doctor and Rose join the retinue of Queen Victoria (Pauline Collins) as she stops at the Torchwood Estate of Sir Robert MacLeish (Derek Riddell) to rest for the night. Naturally, they arrive at a time when the estate has been taken over by rogue monks who want to have a werewolf bite the queen. And naturally, the werewolf is actually an alien. Fortunately, Prince Albert and Sir Robert’s father left behind the tools that could save the Queen and the nation. It’s an odd episode with some good action and humor, but also some tonal inconsistencies.
Episode: New Earth Story Number: 168 Series: 2 Screenwriter: Russell T. Davies Director: James Hawes
Thoughts: For all the nostalgia around the Tenth Doctor/Rose era, it doesn’t start off well. We get to see David Tennant in action for the first time after a limited appearance in The Christmas Invasion. It’s also the first time in the new series that the Doctor and his companion are seen visiting somewhere that is not Earth nor a space station orbiting Earth. In this case, it’s a planet called … New Earth. The pair discover a hospital where beings have been infected with horrible diseases in order to create cures for more privileged patients. That hits different after living through a pandemic. While this plot is conducted by cat nuns, the main villain is Lady Cassandra, who plots to take over Rose’s body. I don’t think anyone was hankering for a return of Cassandra, and Davies’ writing from Billie Piper as Cassandra is not his best.
Episode: The Star Beast Story Number: 301 Series: Specials (2023) Screenwriter: Russell T Davies, from a story by Pat Mills and Dave Gibbons Director: Rachel Talalay
Thoughts:
Doctor Who is back after another interminably long gap between seasons. And we have a new(ish) show runner in Russell T Davies and a new(ish) Doctor in Rachel Talalay. Also returning are director Rachel Talalay and Catherine Tate as Donna Noble. The Tennant/Tate combo is one of my all-time favorites in modern Who (with Peter Capaldi/Jenna Coleman running neck in neck), so it is great to see them together again. When last we saw Donna in “Journey’s End,” the Doctor forcibly erased her memories because taking on being a Time Lord would kill her. This didn’t set well with a lot of viewers, some of whom called it a “mind rape.” After 15 Earth years, and hundreds or thousands of years for the Doctor, they’ve found a solution to bring Donna back and I think it’s a very satisfactory one.
The review continues with SPOILERS below the trailer….
I’ve made no secret of my general dislike for the Chris Chibnall Era, and watching this episode I felt bad for Jodie Whittaker that she didn’t get better scripts to work with. In fact, I can almost imagine a scene where the Doctor and Donna natter on with increasingly silly technobabble is a parody of how Whittaker’s Doctor always had to talk to herself about the ridiculously complicated plots.
This episode does a fine job of linking itself to the show’s past without wallowing on nostalgia. This is a new era and the Fourteenth Doctor is not the Tenth Doctor, he has grown and changed (for the better, I think). It’s great to be reunited with Donna’s family, her mother Sylvia and husband Shaun while meeting her daughter Rose, played by Yasmin Finney (I hope she gets a ride in the TARDIS, she deserves it). Representation is important, and not only does a transgender woman play a transgender character, but Rose’s identity plays a key role in the story. The new UNIT character Shirley Bingham (Ruth Madeley) is also an interesting new character who happens to use a wheelchair.
I have to admit that I saw the twist with The Meep coming a mile away. Nevertheless, the early part of the show where The Meep was very cute was a lot of fun with shades of an homage to E.T. The switch to The Meep as villain was perfectly executed and hilariously portrayed. If there’s one thing that bugged me about the episode it’s that the fissures extending through the streets of London magically sealed up again, but that’s a minor thing.
This was a 60th Anniversary Special that didn’t feel like a big event but allowed us to spend time with beloved characters. Of course, when you have three anniversary specials to work with, there is room to breath. I’m excited to have Doctor Who back and see its new direction and I eagerly await “Wild Blue Younder.”
It Is About Space and Time 