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Doctor Who isn't Dead Yet

Last month “Furiosa: A Mad Max Saga,” made headlines for having the lowest box office numbers on Memorial Day weekend. This is in spite of also being number one at the box office, just beating out “The Garfield Movie.” The movie was a certified flop, which is a shame because it’s stupendous (seriously, watch it sometime if you haven’t.)  I saw it a week after its release and already it had been relegated to the smallest theatre in the complex with only two screenings on a Friday. This small theatre had maybe eight people in attendance. To look at it, you would have to agree with those who say cinema is dying. It’s ironic then that Sutekh’s gift of death is what appears to have breathed a lot of life into my local cinema over the weekend.

To celebrate the Doctor Who season one finale, the BBC opted to show it in theatres across the UK. The screening began at eleven o’clock with “The Legend of Ruby Sunday,” and followed into midnight with “Empire of Death.” As we arrived, I saw many happy Whovians in cosplay buzzing with excited energy. The lobby was full of people in Tom Baker scarves and blue TARDIS t-shirts chattering away about their fan theories while they loaded up on snacks. The person dressed like the Fourteenth Doctor sitting in front of me was bouncing in their seat so much that I kept getting glimpses of David Tennant hair in my periphery. Needless to say, people were very excited. I don’t know if it was the fact that it was nearly 1 AM, but I did not see that same energy on the way out. So what happened?

It’s no secret that the overall fan reaction to RTD’s finale episode is one of being very underwhelmed. I even used that exact word to my friends on the way out of the theatre. I chose that word carefully. I didn’t want to imply that I hated it, because I didn’t. But after an entire season of build-up, I expected certain conditions to have been met. I’ve mentioned in the past that one of the benefits of this new midnight release schedule is that I often watch the episodes more than once. I find this helpful because the second viewing always allows me the opportunity to view the story divorced from my own expectations. But I have to ask- were my expectations so unfounded to begin with? Where did they come from if not the show itself?

Recently in an interview, Russell T Davies stated that he has been writing Doctor Who in such a way that it would generate a buzz on the internet. If people were talking about it, then maybe people would start watching it. While I am sure this method can increase engagement, it also has its shortcomings. Trickling information is all well in good, but when is it not enough? There is a point where teasing becomes more tedious than tantalising. Just look at Steven Moffat and Trenzalore- a concept that got so dragged out that by the time we finally got there, it was hard to care. Another downside is that it also raises people’s expectations to such a degree that it can be hard to meet said expectations.

Had this episode been written by Steven Moffat, we wouldn’t have picked up right back where we had left off. We’d have probably begun the episode on Agua Santina with the Doctor receiving the spoon from the kind woman. But this is more of a classic Doctor Who-style episode where the cliffhanger continues along. Last week I had guessed that Sutekh was a sort of trinity of Susan Triad, his jackal aspect, and Ruby Sunday. But as we learn in this story, not only is Ruby not related to Sutekh, but Susan Triad is no more Sutekh than Harriet Argbinger. That is not to say that she is any less dangerous in this moment. She holds out her hand to spread the dust of death which quickly begins to envelop London, then the world, and eventually, the universe, or at least the places where the Doctor has visited.

I rather liked the getaway scene with the Doctor and Mel. It was great to see Mel taking control of the situation. The Doctor almost feels like the companion following her away from danger. Her “Come on, cowboy!” line was so good. Once again, I really like what they’re doing with Mel in this season. The fact that she could have been this person in classic Doctor Who really annoys me that she wasn’t. While I grew to appreciate classic Mel in her own right, I’ll take modern-day UNIT Mel over screaming Mel any day. Bonnie Langford is coming here to Glasgow Film and Comic Con in August and I fully expect her line to be longer than when I saw her in 2015. She has been a highlight of this season and I fully did not expect to love her return as much as I have.

As the dust spreads through London, UNIT is still reacting to the presence of Sutekh wrapped around the TARDIS. Last week my friend said to me about Morris’ segway “How much do you want to bet that thing shoots lasers?” And sure enough, it shoots something. The UNIT team unload holy hell on Sutekh and Harriet, but nothing lands. Before getting in a little reference to her father, Kate Lethbridge-Stewart and her team are reduced to dust. Even the Vlinx’s head pops off, so not even robots are safe. Once again, the RTD2 era has borrowed from the Marvel Cinematic Universe. As Sutekh’s dust of death spread across the globe causing people to disintegrate, I leaned over to my wife and said “Mister Stark, I don’t feel so good,” in reference to the Thanos snap. Whatever. Marvel doesn’t own disintegration.

We see Mrs Flood and Cherry get swept up in the dust. Before she dies, Mrs Flood delivers some cryptic words that lead me to think she’s more than just a Time Lord but something far more powerful. However, she’s not so powerful as to avoid Sutekh’s gift. It’s hard to say just what is happening there, so I am not even going to attempt it. The Doctor and Mel find their way through the dust back to UNIT HQ where Ruby is still standing in the time window. Last week I mentioned that the memory of a TARDIS could become the Memory TARDIS from “Tales of the TARDIS,” and boy was I right. I love being right, especially after being wrong all season. I still want someone to be the Rani. At this point, they’re just messing with me.

Before we move along, I do want to call out an aspect of the dust scene that bothers me, and that’s Carla. Last week we saw Ruby tell Carla that she needed to either help or get out of the way. Historically, this would be where someone like Jackie Tyler would find some way to be helpful. I half expected a moment where it feels like all is lost until Carla comes out of nowhere like Ric Flair with a steel chair, saving our heroes from certain doom. It could have even been a self-sacrifice moment where she is still turned to dust. It would have been tragic and fuelled the Doctor and Ruby’s resolve. Instead, we see her in a cab on her way home after having witnessed her daughter's memories invoke the devil. What was even the point of her saying “Well, if your mother's part of it then, Ruby, you can tell her your mother is too,” if they do nothing with it? It felt so out of character for her to up and leave Ruby behind like that, and I feel like that lies solely at Davies’ feet.

It’s funny to me that in the lead-up to “Empire of Death,” people were saying “I hope they explain how Sutekh escaped the time vortex.” Mostly because it hardly matters, but also because they rarely explain how the Master or Davros escape death time and time again. Why is Sutekh any different? What is funny is that Sutekh escapes dying of old age in the time vortex by hitching a ride through the time vortex for thousands of years. Instead of dying, this just makes him stronger. He goes from an Osiran to a full-blown Titan. Sutekh reveals to the Doctor that Susan Triad was an aspect of the Doctor’s granddaughter who he had learned about while integrating himself with the TARDIS. He peppers these aspects of Susan throughout the universe wherever the Doctor lands. However, other than sharing a name, I don’t understand what Susan Triad has to do with Susan Foreman. They’re both brilliant and kind, but is this implying that Susan Triad is what the Doctor’s granddaughter might regenerate into? It’s a bit confusing.

After using Ruby’s memory to fully materialise the Memory TARDIS, the Doctor and his two companions escape Sutekh’s grasp, but even the Doctor senses that maybe Sutekh is keeping them alive. The visual of Sutekh sitting atop the TARDIS in his silent empire of death is an arresting one. I appreciated the sound design allowing the audience to really feel that silence. No music. No people. Nothing. Though on a scientific level, it does strike me as a bit odd that the entire universe is now dead. The Doctor may have had thousands of adventures across time and space, but I have to imagine there are countless planets out there which remained untouched by Sutekh’s dust. But I’m willing to suspend disbelief in this instance. 

After tying the Memory TARDIS together with intelligent rope, the Doctor, Ruby, and Mel, drift aimlessly in the Memory TARDIS. It’s uncertain how long they travel this way, but they manage to fit a costume change for the Doctor and an entire episode of “Tales of the TARDIS,” in there. Carrying a television screen still linked with the time window, we learn that the time window is still obeying Ruby’s commands as it had last week. Originally I had suspected this was because she was some sort of aspect of Sutekh, but as we have now learned, it’s simply Sutekh aiding Ruby’s search for her mother. After using the screen to explain to Ruby who and what Sutekh is, the screen also begins to show the Doctor and Ruby a way forward in the form of Roger ap Gwilliam. Meanwhile, Mel is being tracked by Sutekh through the dead cells in her body.

The scene on Agua Santina with the Doctor and the Kind Woman played by Sian Clifford was one of the strongest moments in the episode for me. We had watched the death wave spread across the earth, but this was a way to see how it affected people on an individual basis. Because the death wave happened at multiple points in time, we were able to see how it manifests from multiple angles. Having established the analogous relationship between time and memory, we can see how memory may begin to fade before life. People may still exist, but they won’t remember the name of their birth city because the person who would have named it died before they were able. But even more chilling is how the death wave doesn’t just travel up through bloodlines, but backwards as well. There’s an undeniable cruelty to making a woman have to experience losing her child before experiencing the same fate. It’s evil for evil’s sake and proof that Sutekh isn’t just an arbiter of death, but a demon as well.

The Kind Woman gifts the Doctor a spoon which he promises her he will use to save the universe. Fans of the Twelfth Doctor will have gotten excited by this promise as we’ve seen what the Doctor can do with a spoon. Instead, the Doctor uses it for metal, and possibly not even for metal, but for the memories within the metal. I found this all very weird as they literally showed Mel holding the Thirteenth Doctor’s sonic screwdriver which is not only made of metal, but several spoons. Was there really nothing on the Memory TARDIS with enough memory to jam into that TV screen? It’s a weird series of events punctuated by yet another weird occurrence when the Memory TARDIS gifts the Doctor with a whistle like we’re supposed to know why it’s significant. Nothing in the history of Doctor Who has been controlled by a whistle other than K9. Yet the Doctor puts it around his neck like it makes total sense and isn’t just some non-sequitur moment.

I said last week that I was waiting for “Empire of Death,” before I could fully know how I felt about “The Legend of Ruby Sunday.” Sometimes, a follow-up episode can enrich the experience of a previous story, while other times it can sully it a bit. You can imagine then my surprise when the episode that was sullied wasn’t “The Legend of Ruby Sunday,” but rather “73 Yards,” instead. My takeaway from “73 Yards,” was that the Doctor stepped on the fairy ring, releasing Mad Jack and setting the events of the story into motion. Ruby would then use the semper distans woman to scare away Roger ap Gwilliam and then again to save the Doctor. The Doctor doesn’t stand on the fairy circle, and Mad Jack never escapes. So if Roger ap Gwilliam still exists in the future, what was the point of any of of “73 Yards”? This doesn’t feel “wibbly wobbly, timey wimey,” as much as it feels “wibbly wobbly, shitty witty.” It just feels messy.

The Doctor tells Ruby and Mel that in 2046, DNA cataloguing became compulsory to anyone living in the UK. It feels on brand with Roger ap Gwilliam’s xenophobic platform, so no problems there. Meanwhile, Mel is being used like a spy, but the Doctor has been wary of her since she started appearing exhausted on the Memory TARDIS. The Doctor takes a blood sample from Ruby but just as they get a match on the DNA database, Evil Mel takes the wheel and transports them back to UNIT HQ leaving the Memory TARDIS behind. Finally, Sutekh has the information he needs to learn the name of Ruby’s mother. He will now learn how this unknown person has been able to thwart his gift of death and avoid detection.

What happens next is probably the weakest part of the entire episode. The Doctor and Ruby manage to fool Sutekh into thinking they are about to tell him Ruby’s mother’s identity, but it’s only so Ruby can get close enough to slap some intelligent rope around his collar. Why this feels weak to me is that it means somehow the Doctor and Ruby managed to squirrel away intelligent rope before exiting the Memory TARDIS. This means they would have had to do this without Mel noticing. And while I get that it’s intelligent rope, they basically pull it out of their asses because it’s nowhere to be seen. The fact that intelligent rope is a McGuffin that’s a callback to a pair of gloves many of us will have forgotten since the Christmas episode makes this moment all the weaker. The Doctor then uses his whistle in yet another McGuffin moment that allows him to control the TARDIS and shoot Harriet out the door. With the TARDIS finally back in the Doctor’s control, it’s time to take doggo for walkies!

The Doctor drags Sutekh through the Time Vortex bringing death to death, which causes life. Miraculously, if not luckily, people who we had watched die to the dust are now alive again. Colonel Chidozie is back. The Vlinx’s head is reattached somehow. And Cherry whose final memory of Mrs Flood was of her being cryptic and creepy is so happy to be alive again that she’s hugging the creepy old freak regardless. Cool. Not weird at all. Just people acting like real people. I don’t understand Cherry. She thinks the Doctor is trouble, but Mrs Flood is totally normal. What is it with these last two episodes and getting both Carla and Cherry’s characters so wrong? What gives, Russell?

The Doctor then does the right thing and cuts the intelligent rope, causing Sutekh to burn away in the Time Vortex. I guess this time it’s deadly because he’s not integrated with the TARDIS. That’s my best bet. I’m also willing to bet that the reason it snowed around Ruby and played Christmas music in her presence was due to Sutekh’s influence. He wanted to know the answer so badly that the memory manifested around her any time she got close to it. This is just speculation on my behalf, but it makes enough sense.

Speaking of Ruby’s birth mother (and not her real mother as they kept calling her) UNIT is able to find out who Ruby’s mother is, and she’s just some lady. I know some people were mad about this and I guess I can see why. There was so much emphasis on who her mother was that for it to be nobody special must have been a disappointment. Personally, I thought it was the least interesting mystery of the entire season. I get that she wanted to know who her birth mother was, but I was never emotionally invested in the storyline. The only thing that made it sort of interesting was the idea that there was a reason it was a big deal. You can’t feign surprise when audiences expect something to be big when it’s you who told us to feel that way. 

What I find strangest about Ruby’s mother is the way she points at the sign that says Ruby Road. First of all, why the hell was she standing like that? As body language goes, she looks less like she’s naming her child, and more like she’s marking the Doctor for death. Furthermore, why is she dressed like she’s about to hitch a ride on Shai-Hulud? But even weirder is how Ruby even ended up with the name Ruby. Ruby says “I always thought I was called Ruby because the social workers chose it or the paramedics or whatever. But, no, it was her.” But literally the only person who would have seen her pointing was the Doctor, and he left immediately after. So it really was the social workers who chose it or the paramedics or whatever. It feels less like she was pointing to name Ruby, and more like she was pointing to get the internet rumour mill buzzing. It worked, but at what cost?

Ruby finally meets her birth mother in a coffee shop. She’s a nice woman named Louise Miller who looks a lot like Lucie Miller, but I’ve learned my lesson this season with getting my hopes up. While Ruby and Louise embrace for the first time, the Doctor looks on remembering the granddaughter he left behind. Divorced from the hype, I’m fine with Ruby’s mum being nobody special. While I wasn’t a huge fan of Rian Johnson’s “The Last Jedi,” one aspect I really enjoyed was that Rey’s parents were just a couple of nobodies. It reinforced the idea that a Jedi can come from anywhere. Ruby doesn’t have to be anyone special for us to care about her. Unfortunately, so much of her story was tied up in this because ultimately, it did hurt her character development. I’d like to think that this is all part of the growing pains in finding a new equilibrium of fan excitement and good storytelling.

The Doctor knows he and Ruby must part ways. She has a whole new chapter of her life to explore and he would only get in the way. I mentioned after “Rogue” that Ruby was reminding the Doctor to embrace his human side, and here it is all over again. She has reminded him of the importance of family. He lets Ruby go because he can see that her need for a place to belong is greater than his need to have a travelling companion. Even if Ruby can’t see it right away, the Doctor is right. Their time together has come to an end. While Ruby has left the TARDIS, you do get the impression that we’ll see her again. There have been rumours that Millie Gibson has filmed some of season two, so don’t be surprised if we do see more of Ruby Sunday.

On a second viewing, I liked this episode a lot more than the first time. Like I said, divorced from my own expectations, I could see the episode for what it is. But the audience’s underwhelmed reaction is partly the fault of Davies’ machinations to get the internet talking about Doctor Who. He spends an entire season talking about the Doctor’s granddaughter Susan, but the only time we see Carole Ann Ford is in a flashback of her face with zero dialogue. We’re led to believe Mrs Flood is going to be something, but every time we feel like she is about to reveal some more information, she gives us more of the same tired bullshit she’s been doing since the first time we saw her. It begins to feel like television done in the same model as live service games. Keep subscribing. Stick around for additional content. Things trickle out over a gruelling pace. They gave us answers, but it feels like they could have given us more. Who was the Boss the Meep referred to? Is it the same Boss as the one giving Rogue so much paperwork? Will Susan actually appear at some point? Who is Mrs Flood and why is she always dressing like the Doctor’s companions? Instead, we learned who Ruby’s birth mother was, which, as I said, was the least interesting mystery of them all.

I do hope that these are just Davies and Co. finding their footing. The previous first season with Christopher Eccleston had a lot of experimentation as well. I somewhat wish that they had waited to see fan reactions before filming so much of season two. It might have done them some good to see people’s reactions to some of their big changes. I’m as rainy day a fan as rainy day fans get and even I felt they missed the mark on occasion. I think in trying to court a younger audience they lost a little of the essence of what made the show so appealing in the first place. Good writing and unique situations are the bedrock of Doctor Who. It doesn’t need to be Star Wars or Marvel. The fact that Doctor Who isn’t those things is why I love it so much. I can’t be alone in that.

The Christmas special is next. Followed by season two. After that, who knows? While Doctor Who has been number five in streaming drama, it hasn’t quite done the numbers Disney and Davies were hoping for. The show haemorrhaged viewers during the Chibnall era and even more when culture war pissants cried foul over trans actors and Davros redesigns. But it’s also just a symptom of the times we live in. Television is changing. People prefer short-form videos in portrait mode. The glut of streaming services is pushing away consumers while AI threatens to replace writers and artists alike. I’m reminded of Alan Moore when he said “I believe that our culture is turning to steam.” It’s important now more than ever that we continue consuming art made by real people. Regardless of whether you felt underwhelmed with the finale, keep watching Doctor Who. Show it to your friends. Host watch parties. Go see it when they play it in the theatres. Rewatch it when you’re feeling blue. Keep making fan art. Keep writing fanfic. Keep voicing your reactions, good and bad. Get over petty fandom squabbles. Because there may come a day soon when there is no new Doctor Who to get upset over.

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Is anyone else excited for “Empire of Death”? I know I am! Here are some rugs I finished making today! My dining room is full of fuzz. 😩

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Gotta give them that gift

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Dust and Darkness Prevail

Panspermia is the theory that human life was seeded by comets, asteroids, meteoroids, and space dust falling to Earth. Directed panspermia is the idea that an unknown third party purposely seeded life onto this planet through similar means. These are perhaps the most ancient of aliens. For whatever reason, be it propagation, a future food source, or simply contamination from an explorer’s boot, somehow, we were created.  It’s easy to see why mankind looked to the stars for parentage- we are made of star stuff, after all. As our understanding of the stars grew, so did our desire to understand them in relation to ourselves. Staring down the concept of being a mere dust mote floating within sunbeams, some of us began to wonder if the Gods we abandoned weren’t actually a different form of sky daddy. In the words of Giorgio A. Tsoukalos- “Aliens.”

Science fiction has a rich history of depicting ancient Gods as alien lifeforms. Doctor Who is no different. Sometimes these extra-terrestrial visitors are used to explain odd phenomena, and other times, they’ve been used to outright undermine the achievements of ancient civilisations. One of the most popular ancient alien theories is that aliens helped build the pyramids. Some Egyptian-themed polyhedron-obsessed aliens influenced ancient Egyptian culture. You can see it in movies like Stargate, or in television stories like the 1975 Doctor Who serial “Pyramids of Mars.” Recent books like Erich Von Daniken’s scientifically dubious “Chariots of the Gods,” or numerous documentaries narrated by Rod Serling had garnered interest in ancient astronauts. A year after “Pyramids of Mars,” aired, NASA released photos from their Viking 1 orbiter that would only feed these theories. The black and white photos of the Cydonia region appeared to depict a carved facelike structure and gigantic pyramids on the planet’s surface. Needless to say, some people let their imaginations run wild.

While many of the concepts explored in the History Channel’s “Ancient Aliens,” have been labelled pseudo-science or even racist, some of these concepts still crop up in popular media. A more benign example would be Marvel’s own Thor and Loki. Sure, they call them Gods, but they are very clearly from advanced alien civilisations. It feels appropriate then that Doctor Who returning with Disney money might also explore one of its own ancient aliens in Sutekh the Destroyer. Considering the build-up with the Toymaker and the Maestro, it all seems fairly obvious in hindsight. But what does this have to do with Ruby Sunday? In seeking out her own parentage, might she also benefit from looking to the stars?

One aspect to this season of Doctor Who that I feel has actually fallen a bit flat is the question of Ruby Sunday’s parents. Considering that the fandom has been interacting more with the question of the identity of Susan Twist’s character, it’s safe to say I’m not alone in this. It’s just not a very interesting question, and I think it’s partly because we already know the answer. Doctor Who’s official Twitter recently asked fans who they think Ruby’s mother really is, and only a few people actually got the answer right. It’s Carla Sunday, obviously. I find this whole question to be as flawed as the conversation around it. Ruby uses words like “abandoned,” to describe herself. And while I can understand the desire to know your roots, I know my adopted siblings were never abandoned. They were found. They have a family who love them. My mother who was also adopted had a mother in my grandma. My greatest hope with this storyline is that this is what Russell T Davies has been leading up to all along. Ruby’s real mother is the one who changed her diapers and cleaned up scraped knees.

Speaking of family, “The Legend of Ruby Sunday,” begins like a bit of a family reunion. Yasmin Finney is back as “Rose.” As are Gemma Redgrave as “Kate Lethbridge-Stewart,” Bonnie Langford as “Mel,” and Alexander Devrient as “Colonel Christofer Ibrahim.” Also returning is the Vlinx, with a shiny new chassis. Strangely absent is Ruth Madeley as UNIT’s scientific advisor “Shirley Anne Bingham." In her place is Lenny Rush as “Morris Gibbons,” a boy genius with a taste for excitement. We’re also introduced to Harriet, UNIT’s newest lead archivist. More on her later. The light tone of this family reunion is much needed as the majority of this episode is Doctor Who at its most bleak.

Something I have completely failed to mention this season has been the TARDIS’ weird groaning. It’s not as though I hadn’t noticed, there have just been so many things to talk about lately. I had meant to bring it up last week when the Doctor told Rogue the TARDIS doesn’t like bounty hunters. I figured then that it was the Doctor ignoring a bigger problem. Speaking of which, it does strike me as a bit odd that the Doctor hadn’t addressed the issue for such a long time. The TARDIS has been groaning and sliding into landings like a football tackle. I understand that the Doctor has a lot on his mind, but it would have been nice if they could have shown the Doctor showing any kind of concern for the TARDIS. He’s been flying her for thousands of years, he would notice any slight change. This isn’t a huge issue for me, though it does feel a bit out of character. But who am I to complain? Even I forgot to bring it up.

The Doctor does have a lot on his mind, which is what brings him to UNIT HQ. It was nice to see the Doctor lay all of his cards on the table for a change. You don’t often see the Doctor outright asking for help. Luckily, UNIT was already on the case. The woman the Doctor keeps seeing also exists in modern-day London as Susan Triad. I found it a bit odd that the Doctor would know a politician from an aborted timeline like Roger ap Gwilliam, but not a tech industry giant with her name on a skyscraper. Even Colonel Ibrahim recognised it as an anagram of TARDIS, so what gives, Doctor? 

Part of their gathering intelligence on Susan Triad has been using Mel to infiltrate her organisation. When I had heard they were bringing back Mel, I was excited. Mel has never been a fan favourite, and even I took a lot of time to warm up to her in classic Doctor Who. But bringing her back feels like a no-brainer. She’s a tech whiz and Bonnie Langford is a great actress. There is only room to grow with her character, and grow she does. Not only have they given her a bit more backstory with losing her family, but we also get to see her acting as a double agent and puttering about on her scooter. Seeing Mel in this capacity is a delight. I am really enjoying how they have built up UNIT to be more like the ‘70s (or was it the ‘80s?) with recurring characters. Instead of Yates and Benton, we’ll now have Ibrahim and Sullivan. I really hope they continue this trend, though I would appreciate it if they stopped haemorrhaging scientific advisors.

Despite around-the-clock surveillance, the most UNIT has managed to gather on Susan Triad is that she’s a seemingly nice human woman with no underlying alien traits. Her company’s upcoming event will announce that she is making the Triad OS free to the world, which seems like a weird flex. Ubuntu and Fedora are both free operating systems, so this is nothing new. What’s even more perplexing is that UNIT would integrate Triad into their own systems. Call me crazy, but if I were a government organisation spying on a tech giant because their name is an anagram of an alien time machine, I might opt to use Windows or Mac. The whole storyline was giving shades of “The Sontaran Strategem/The Poison Sky,” or even “Kingsman: The Secret Service,” wherein miracle technologies are secretly deadly. We still don’t know the ramifications of the Triad system’s worldwide rollout, but I imagine we’ll find out next week.

Something a friend pointed out to me that feels important happens during the Mrs Flood scene. According to Kate, the Triad press conference was scheduled for fifteen hundred hours, or 3 pm. What’s odd is that when Ruby and Rose show up to Ruby’s home, Cherry’s digital clock reads 15:08. At first, I had misremembered this scene and figured it must take place during the events at UNIT HQ, but the inclusion of Ruby and Rose implies that it’s not. I can think of three possible explanations for this. One explanation is that it was a continuity error. The production crew simply goofed. It happens. Another explanation is that Cherry’s radio is like my coffee machine in that the digital time display is incorrect. That’s possibly the most human answer. But television doesn’t often allow for such realistic discrepancies as they can confuse audiences. Seriously, how often do you see fictional stories where two characters share the name John? One of my closest friends is also named Natalie, but that wouldn’t usually work in fiction. This leaves us with a third explanation which is that it was done on purpose. Either something wibbly wobbly is happening, or they goofed.

As expected, Mrs Flood appears to be someone. With the reveal of Susan Triad being Sutekh, my hopes of the Rani have been dashed against the rocks of reality. Or have they? In explaining regeneration to Ruby, the Doctor describes it as a way to hide away with a new face. When Ruby fetches Mrs Flood to mind Cherry while Carla joins them back at UNIT, Mrs Flood mentions hiding herself away. While Mrs Flood was a bit rude to Ruby and downright hostile toward Cherry, these could be the actions of a bitter Susan Foreman, aka the Doctor’s granddaughter. However, I am reticent to call her Susan for a couple or reasons. For starters, Carole Ann Ford was present at the premiere for the 60th anniversary specials. Sure this could have simply been due to her history with the show, but it could also imply she’s been filming things for the RTD2 era. You could speculate that the only thing she actually filmed was a flashback regeneration scene into Mrs Flood, but that feels like a waste of a much-needed reunion. My money is on the Rani, but mostly because I want her to be and because Carole Ann Ford deserves her moment. If they bring Susan back, there’s only one person I want to see play her.

Ruby and Rose fetch the surveillance tape from the night Ruby was left on that church stoop. I loved that Carla joined them the moment she learned that Donna was involved with UNIT. It’s nice to see that at least one character hasn’t forgotten who Ruby’s real mother is. This also gave rise to one of my favourite Doctor moments of the episode when he says "Yeah but it’s Carla. Come on," in response to the claim that not even the prime minister has access to UNIT HQ. I loved the exchange between the Doctor and Kate about their possession of a time window. They claim they don’t have one, the Doctor knows they do. Classic. It’s the Doctor knowing of the existence of the Black Archive all over again. Even further, I loved the Doctor laughing at the way UNIT has “lashed together,” the time window. I doubt he really feels that way, but the Doctor needs to remind UNIT not to get too comfortable. Undercutting their achievement is a reminder that these items aren’t toys. It’s a subtle way to establish himself as an authority while also reminding UNIT of their limitations. The Doctor’s aim isn’t to belittle UNIT, but to instill a healthy fear of these technologies. As it turns out, the Doctor’s fears were well-founded.

The time window is a large room capable of viewing moments in time. The Doctor refers to time as a memory which is a bigger Whoiverse change than people are giving it credit. I always thought of the TARDIS as a supercomputer that stores moments throughout time in its memory like files. It makes sense that time and memory mingle like this. The effect of the VHS degradation on memory is one of the coolest visual effects in Doctor Who. It’s nice to see that Disney money coming into play. I also have to tip my hat to Lenny Rush for his performance as Morris here. Lots of UNIT characters were given little moments to shine in this episode like Harriet and Colonel Chidozie. The latter of whom we’re given a bit of background information about so that when he meets his demise, we care a little bit more. He’s just a Manchester lad with a cheery disposition. It would be a shame if something were to happen to him.

In an almost cruel twist of fate, the visual of Ruby’s mother is obscured. Not just obscured, but seemingly darkened as if on purpose. The moment she walks close to the Doctor and Ruby, she glitches past them. It’s sad for Ruby, but I feel it’s important that Carla is there to witness this moment. She needs to see that the mystery of Ruby’s life isn’t just one of being an orphan, but that something is deeply and darkly wrong. I feel as though Carla’s involvement in this storyline is due a rather big payoff next week, and I am looking forward to that. The Doctor notices that the TARDIS appears more corporeal than a simple image from a video. He asks the tanatalising question “If time is memory and memory is time, then what is the memory of a time machine?” It’s a question I have been mulling in my head ever since, and I still don’t have a great answer.

Colonel Chidozie disappears around the same time a swarm of dark energy begins to incircle the memory TARDIS (omg I think I just figured it out). The MEMORY TARDIS! Ok. I see what you’re putting down, Russell. Carla refers to the dark energy as “the Beast,” as in, the devil. But who among us didn’t automatically think of the Beast from “The Satan Pit”? Hell, it’s not as though it would break the show if Sutekh and the Beast were one in the same. They’re both voiced by Gabriel Woolf. Furthermore, we know Sutekh takes on multiple forms like the doggo or Susan Triad. There are plenty of examples of gods taking on multiple forms. Christianity has the Holy Trinity of God, the Son, and the Holy Spirit. Hindu gods often have multiple forms such as Vishnu manifesting as Krishna, Rama, or even Buddha. It’s fully within the realm of possibility that the Beast is yet one more aspect to Sutekh. After all, the Fourth Doctor did refer to him as Satan at one point. Why not?

Possibly the most interesting aspect of the scene is when Chidozie’s speaks out from the darkness. It’s not so much the fact that he’s in Hell or that his consciousness feels like it’s been hijacked like Angel Bob’s was, but rather the fact that he only seems to respond to Ruby. The Doctor tries to commune with the entity and gets nothing. Kate commands Chidozie to report and comes up equally empty-handed. It’s not until Ruby attempts to communicate with the entity that it responds. If Christianity has the Trinity and Hinduism has the Trimurti, perhaps Sutekh has the Triad. Perhaps there’s Sutekh, his doggo form, and Ruby Sunday. This might explain why Ruby’s birth mother has been obscured- she never existed. Whoever left Ruby at the church that day could have been a servant of Sutekh, or even Susan Triad herself.

The tone of the episode by this point is very gloomy. I think the last time Doctor Who gave me the creeps to this degree was “The Impossible Astronaut.” As a fan of dark and disturbing movies, I consider myself rather resilient to horror and dread in media. But there is something about turning the TARDIS into a malevolent force that chills me to my core. Bad Wolf Girl once said “You know the sound the TARDIS makes? That wheezing, groaning. That sound brings hope wherever it goes.” But here, the TARDIS offers no comfort. It goes beyond seeing our beloved symbol of hope twisted and perverted. We have seen what the TARDIS is capable of doing. We know how powerful it can be. We can also imagine what that power can do in the wrong hands. My dear late friend Quinn and I used to say that the cloister bell was the scariest sound the TARDIS could make. But this howling groan and sinister energy turning into a hound of Hell is like the cloister bell on steroids.

The Doctor and Mel head off to S Triad Technologies in the vain hope that Susan might be the Doctor’s granddaughter Susan. It’s a last-ditch effort to gain insight into what is happening. Earlier in the episode, we see Kate telling the Doctor that he brings joy, but after Chidozie’s death, you get the impression that her view has sobered up a bit. The Doctor sees the fear in Kates eyes. He sees the fear in Carla’s eyes. He even let down his best friend Ruby. But it’s Mel who picks him back up. Mel who has seen him at his worst and knows who the Doctor is underneath it all. Only she can give him the tough love he needs in this moment and I loved that they gave this opportunity to Bonnie Langford.

The Doctor makes contact with Susan Triad but there is no Time Lord recognition on either end. However, we’ve been here before. Maybe she has a fob watch she doesn’t like to look at. Maybe she’s hiding away. With her press conference due to begin, Susan is whisked away. But as she leaves the Doctor calls out asking if she’s ever dreamed of a girl named Lindy. Has she ever dreamed about a place called Pacifico Del Rio? Has she ever dreamed about being an ambulance? Out of context, he sounds insane. I mean, sure, I dream of being a sail barge, but that’s my special time. It’s enough to set things into motion.

At this point, we still don’t know the true identity of Susan Triad. She very well could still be the Doctor’s granddaughter. But the moment she walked onstage doing that awkward Theresa May arm thing, I knew she had to be evil. Historically speaking, if you want someone to appear evil in Doctor Who, compare them to a Tory. It worked in “The Happiness Patrol,” and it still works now. Could you imagine being the person who milkshakes Sutekh? I feel like throwing a sweet banana dairy concoction into the face of a terrible god would only resort in eternal suffering. While Susan Triad is having her public meltdown for all to see, UNIT’s own Harriet Arbinger is doing one as well. Once again we get another Harbinger. I’ll be honest, the H. Arbinger joke isn’t nearly as strong as RTD seems to think it is. But then again, Batman is the “world’s greatest detective,” and it took him a while to learn that E. Nigma was the Riddler.

I had begun to fully suspect Sutekh by this point, but part of me was starting to wonder if Harriet wasn’t going to turn out to be Sutekh instead. It would have been a very effective misdirect. I was really liking Harriet up to this point too, so I was a bit sad she just turned out to be a servant of the God of Death. Her “I was born for this,” line had me a little hot under the collar. But it looks like she’s gonna get a lot to do in the next episode, so that softens the blow a little bit. As she names off the various gods of the Pantheon, I was very happy to see them reference the Mara as I am a big fan of both “Kinda,” and “Snakedance.” Some have also speculated that the threefold deity of malice, mischief and misery could be a reference to the Gods of Ragnarok. I really hope this is true because I’ve always thought they were cool.

I’ve seen some people complain that they seem to have somewhat retconned Sutekh. People have said it makes no sense to make him the god of gods. He’s an Osiran, not the most powerful god of them all, right? Well, if you think about it, in many ways, death is the ultimate power. If a god like the Toymaker can die, then of course he would run from Sutekh. Also, he’s a god, of course he’s going to claim to be the best. That’s kind of their whole deal. They’re quite full of themselves, gods. Sutekh’s whole deal is that he believes himself the only being worthy of life. Thus all living creatures are an affront to him. Where he treads, he leaves only dust and darkness. Sutekh demonstrates this by reducing Susan Triad’s poor assistant to dust much like he did to Chidozie. With the TARDIS commandeered by evil Anubis and the Doctor being next in line to receive Sutekh’s gift, things have never looked darker for our Time Lord and saviour.

So who was Susan Triad? Was she always Sutekh? Harriet referred to Sutekh as “the mother, father, and other of them all.” I suppose I should start using they/them pronouns for Sutekh. But who were they? Did every incarnation of Sutekh know they were Sutekh? You could wager that they had a hand in a lot of what was happening, and a lot of what was happening could lead to death. The Space Babies were forced into existence and left to die. Roger ap Gwilliam and the Maestro were set on nuclear annihilation. Lindy and her lot were racists which often leads to death. And let's not forget the cold algorithm of the capitalistic war machines from Villengard. What’s even more interesting then is that if these are all aspects of Sutekh and death, then we know Sutekh is stoppable. In “73 Yards,” we’re shown that whatever Ruby’s follower said to Sutekh was enough to send them scurrying. Sadly, Ruby has no memory of this aborted timeline.

With a new episode of “Tales from the TARDIS,” in the pipeline, I expect we’ll see the return of the memory TARDIS in a big way. According to news sources, the new episode will feature the Doctor and Ruby discussing the events of “Pyramids of Mars,” so make sure to watch that if you need a refresher or have never seen the original. One aspect you might find interesting is that Sutekh initially manifests at a priory on the site of the original UNIT HQ. I have no idea if that will come into play, but it’s interesting that both stories are focused around UNIT, if nothing else. Even more interesting is the fact that in both stories, Sutekh is intent on possessing the TARDIS. I wonder if the Doctor will be forced to use the memory TARDIS to stop Sutekh since the regular TARDIS is compromised. We see Ruby’s memory begin to manifest once more when she and Sullivan enter the time window again. It’s entirely plausible.

I’ll be watching the finale like many others in the UK this weekend, at the movie theatre. The last time I got to see a Doctor Who episode in the theatre was in Kansas City when they simulcast “The Day of the Doctor,” at a local indie-theatre. I’ll never forget the feeling of a theatre packed with nerds cheering over Peter Capaldi’s attack eyebrows. I’m also going to see it in the theatre because, evidently, this is a big enough episode to merit a cinematic experience. I bought nine tickets, so it’s going to be a bit of an event for me. I’ll try not and let that colour my experience too much. All in all, I loved this episode, but we’re still waiting for the other shoe to drop. I loved “Fugitive of the Judoon,” but the lacklustre finale left me retroactively disappointed. But for the time being, RTD has my full attention. I can’t remember the last time Doctor Who left me this excited for what’s to come.

[timeagainreviews]

Review incoming...

Hello friends! I have had a much better week. Thank you to those of you who took the time to reach out to me. I found your kind words truly touching. My review won't be up until tomorrow (Tuesday) again. My poor doggie had 18 teeth removed today, so I am taking care of her. But I have loads to say about the new episode and I can't wait to share my thoughts with you! See you soon!

My little champ.

[timeagainreviews]

Witnessing Greatness

Thinking about the most recent episode of Doctor Who, I find myself reminded of Roger Corman, who died last month. Corman was a producer and director of b-movies and television. He was also beloved by industry titans due to his work ethic and ingenuity as a filmmaker. What made Corman so unique is how he dealt with limitations. If an aspect of one of his films was lacking, he made up for it in other departments. If the effects were bad, the script had to be great. If the acting was hammy, he’d make sure the music gave it strength. Instead of spreading everything thin, he knew that giving a little bit more attention to individual elements would make for an overall better experience. If you’re not firing on all cylinders, make sure the ones that do are firing brightly.

“Rogue,” is an episode with many bright shining points, lighting up the sky of Regency Era Britain. But lost within that light are a few flickering bulbs that could stand to be turned a bit tighter. However, it’s not as though we’re poking around in the dark. Without a doubt, the brightest star in the Whoniverse at the moment is Ncuti Gatwa. In a stand-out performance from a series of stand-out performances, Gatwa has really outdone himself this week and I can’t wait to talk about it. The folks at Bad Wolf Studios have refused to spread things thin, but no story is perfect. For as much as I enjoyed this week’s episode, I didn’t have to reach far to find problems. But when I’m smiling this much, it’s harder to care.

It’s funny how a week ago I said I didn’t like fan theories and then promptly made one. Just as promptly, I am now abandoning that theory. After the trailer for next week’s episode, I no longer think Susan Twist is the Rani. I officially don’t know what I think. I kind of love that. I have seen the rumours of Susan Twist being Sutekh. Maybe the Doctor is in the Land of Fiction. The name S Triad is an anagram of the word TARDIS. Perhaps she’s the original owner of the TARDIS coming to retrieve it. The point is, she could be anyone, and I am not all that worried about it. Why that feels important is that I was often full of dread waiting for Chibnall’s next big reveal. I didn’t look forward to the ways in which he might next waste a concept by not properly exploring it. So being in a place where I am game for whatever feels zen.

Having two new writers this week was a major draw for me. I’ve seen what both Davies and Moffat can do, the good and the bad. This is the first time all season where I felt like we were truly wandering into the unknown. I did watch Loki season one, so I was familiar with Kate Herron’s work, but not as a writer. I was even less familiar with Briony Redman. But like I said, I’m game for whatever. The pair bring a metatextual reading to the Regency Era drama that fits Doctor Who’s brand of camp. I was reminded of Kate Beaton’s satirical comics from her “Hark! A Vagrant” series. “Rogue,” acts as a sort of love-letter to Jane Austen, so it’s only appropriate that they treat it with a playful touch. The Doctor and Ruby aren’t just visiting Bath in 1813, they’re cosplaying Bridgerton. But they’re not the only anachronistic party goers. This bash is about to go to the birds.

Leading up to this episode, an article in Doctor Who Magazine had given us random lines of dialogue from each story, including this one. However, the line “Psychic earrings. Choreography beamed into your motor system. Tap twice to choose your moves. It's like instant Strictly!” left me a bit nervous. We were fresh off of “The Devil’s Chord,” and part of me was wondering if they weren’t suddenly turning Doctor Who into a variety show. I’m joking a little, but I was rather relieved when the line turned out to be about dancing at the Duchess’ ball. The Doctor and Ruby are dressed to the nines in their period appropriate clothing. I love the idea of the Doctor wearing more from his wardrobe as it’s always been fun in the past. Tom Baker’s tartan tam o’ shanter in “Terror of the Zygons,” is one of his most iconic costumes. Ncuti said in an interview that he wanted his costume to make him look like he owned land. It’s a brilliant image to depict when you consider the Regency Era was merely four years away from the abolition of slavery in Britain.

The Regency Era also brought with it a change in men’s attire. Dandies like Beau Brummell popularised a look of comfort and wealth while simultaneously streamlining much of the frills from 18th century fashion. It’s funny to look at the ruffles of a dandy’s attire and consider it anything other than flamboyant, but it was a considerable shift toward more conservative styles. While women’s fashion continued to evolve, men’s fashion stagnated a bit. A standard had been established and you can still see its influence today with the basic suit and tie combo. No wonder the Doctors often dress like variations on Edwardian fashion.

The opulence of the period led to a lot of scandalising and gossip, which has given us centuries of great drama. While I’ve never read “Emma,” I have seen “Clueless.” I’ve never watched Bridgerton, but I can still get into the costuming and pomp. Basically you don’t need to be a fan of the genre to know the tropes. It was a nice change of pace that it was Ruby’s love for a tv show that puts things into motion. The Doctor and Ruby are tourists as much as the Chuldur, but with far less deadly consequences. Both groups are there to experience the emotional highs of the time, but the Chuldur don’t care who they hurt in order to do it. This of course is why Rogue, a bounty hunter, has also crashed the party.

You’ll be pleased to know I actually remembered to watch “Doctor Who Unleashed,” this week. Partly because I had some questions, but mostly because I wanted to hear them talk about the costumes and make-up effects. Davies mentioned that the season hadn’t yet had its baddie in a mask trying to take over the world, which I love that he considers. If you read my review of “The Witchfinders,” you may recall how much I appreciated the Morax being scenery chewing people in latex makeup. There’s something essentially Doctor Who about bug eyed monsters (sorry Sydney) and there’s something very RTD when those monsters have animal heads. Davies is now confirmed as a furry, I’m calling it.

The Chuldur share their appearance with birds, something we don’t often see in Doctor Who. I’m trying to recall bird villains from the show and I am coming up a bit short. There were the Shansheeth in the Sarah Jane Adventures, those bird people on Varos, that heavenly chicken from “The Time Monster,” and the Black Guardian’s hat. Considering all of the reptiles we get, I’m surprised we’ve gotten so few birds. If you also watched the Unleashed episode, you may have noticed that they digitally changed the bird version of Emily’s beak from black to orange. It’s the Vinvocci’s green faces from “The End of Time,” all over again! What’s funny is that this change in Emily’s beak gives her something of a penguin appearance. It’s not exactly the shapeshifting penguin I was hoping for, but I digress.

Speaking of shapeshifting, I rather enjoyed the Chuldur’s unique method of doing so. If you recall, when the Duchess spots her servant out in the garden, the bird form of the servant is played by the same actor as the servant. It’s not until she takes the form of the Duchess that her bird form also takes on the resemblance of Indira Varma. You don’t usually see that and I admire them for making two versions of the same makeup, if nothing else. Doctor Who has had its share of shapeshifters, so it’s nice to see them changing up the formula a bit. Unfortunately for the Duchess, this isn’t a Zygon type of body snatching where you have to keep the person you’re copying alive.

Ruby’s psychic earrings are doing a treat until they begin picking up interference from Rogue’s tech. A lot of people have mentioned that this episode seems to borrow a lot from “An Empty Child,” and so it’s only appropriate that the Doctor does a scan for alien tech. The source of the interference directs the Doctor toward the balcony where Rogue stands brooding. Meanwhile, the Chuldur version of Lord Barton has taken a liking to Ruby. The Duchess, still human at this point, attempts to introduce them, but Ruby is not impressed by the pompous dandy, referring to him as Lord Stilton. As Ruby strops away she notices a painting of Susan Twist’s character as an old matron. The Duchess refers to her as “the Duke’s late mother,” whose eyes still follow her around the room in judgement.

The Duchess takes her leave to the garden where she meets her fate with the Chuldur masquerading as her servant. We get a bit more of a look at what exactly the Chuldur do when they take over your body. What’s left of the duchess is little more than a desiccated husk. Meanwhile, in the study, Ruby has stumbled upon a rather intimate moment between Lord Barton and Emily. The bookcase obscuring her from the two frames them like a television screen. Ruby is unable to look away from the real life Bridgerton scene playing out in front of her. The Lord tells Emily that he will not marry her which would leave her ruined, but he is compelled by her nonetheless. However, before they can kiss, Ruby knocks a pile of books onto her head causing a disturbance. I rather loved this moment for Millie Gibson. It’s rare that women get to be portrayed as clumsy and that book definitely bonked her on the head. A great bit of physical comedy.

The Lord storms out of the room leaving Emily and Ruby to talk. Removed from the framing of the bookshelf, Ruby finds her compassion once more and comforts Emily. After all, Lord Barton was being a bit of an ass toward her. Emily is amused by Ruby’s modern sensibilities and lack of finery. You could tell this scene was written by two women as they actually take the time to let them have this moment. Meanwhile, the Doctor and Rogue take a stroll through the garden in order to size one another up. There’s a flirtatious energy between the two but a wary tension underlies the conversation. The Doctor muses about the stars, but on a terrestrial level. It’s not until he finds the Duchess’ shoe and then the rest of her that he gives away that he is not of this world. Rogue sees the Doctor’s sonic screwdriver and begins to suspect the Doctor is a Chuldur in disguise. The two confront one another as the culprit, but Rogue has the bigger gun.

Still comparing sizes, the Doctor and Rogue compare ships like they were Ten and Eleven comparing sonic screwdrivers. Speaking of sonic screwdrivers, it feels appropriate that the Doctor’s sonic would match his outfit. That’s so Fifteen. He’s a fashionable Doctor, so of course he would accessorise. It’s like they made his wardrobe and accessories with cosplay in mind. Rogue’s costume is also noteworthy. People have drawn comparisons between Rogue and Jack Harkness and it’s not difficult to understand. His long coat draws parallels to that of Jacks and he even mentions assembling cabinets in regards to the sonic. But what’s equally interesting is how Rogue’s gun resembles the type of handgun you would see in a Regency Era duel. Its barrel resembles that of a blunderbuss. He’s either deep undercover, or he’s got a thing for cosplay himself.

Rogue doesn’t get a lot of time for character development, but they do give him a few little moments, mostly through environmental storytelling. He has a striking birdlike ship fit for a heroic rogue, but inside it’s dirty and depressing. Possibly most telling on Rogue’s ship are the set of orange dice on his table. Rogue gets his name from Dungeons and Dragons, but beyond being a geek, these dice could tell us more about his personality. We learn that Rogue has lost someone, perhaps these dice belonged to them. Perhaps he is unable to move the dice from that spot because he didn’t leave them there. We also learn later that Rogue isn’t a very strong roleplayer. He’s quieter and more thoughtful in his improvisation. Perhaps his staged tryst was the first time anyone has asked him to roleplay since losing his partner. Either way, Jonathan Groff plays it with a vulnerable subtlety, and I loved it.

Speaking of loved it, we have now reached the portion of this article where I gush over Ncuti Gatwa. Now, I need to preface this by reminding you all that I have always been pro-Ncuti. I adored his portrayal of Eric Effiong in Sex Education. I never doubted for a second that he could pull it off. However, it wasn’t until this episode that his Doctor finally crystalised for me. We’ve seen that his Doctor could be flirtatious and fun, but we hadn’t yet seen the way in which he could use that to do Doctory things. We’ve had hot Doctors, but we’ve never had a Doctor who was so effortlessly hot. He’s hot in the same way the Second Doctor was bumbling, as in it’s almost a distraction from what he’s actually doing. It actually makes him slightly terrifying.

Even as his Doctor is standing in a trap, he’s able to use his charm to buy time. Also, once again the Doctor is stepping onto things that can kill him. An odd recurring theme. He maintains an air of authority even in the face of danger and that is so the Doctor. When the Doctor finds Rogue’s music playlist I think I may have melted. How could anyone incinerate such a beautiful person? How could you not want to dance right along with him? As much as I loved this scene and the meta reference to Astrid Perth, it does also buckle a bit under itself. First of all, wouldn’t the Doctor knowing an Earth song like “Can’t Get You Out of My Head,” make you question whether he was a Chuldur? Sure, they know Bridgerton, but it would be enough to give me pause. Furthermore, I’m not sure how seeing the Doctor’s many faces would cause you to not think he’s a shapeshifter. Kind of odd that one other face means shapeshifter but eighteen other faces don’t. Wait, did I say eighteen?

When I had first watched this episode, I didn’t immediately recognise Richard E Grant as the mysterious extra face in the lineup of past Doctors. We now have three extra faces in the form of Jodie Whittaker, Jo Martin, and David Tennant (again), but this extra Doctor wasn’t registering for me. At first I thought he was the Valeyard, and then I thought he looked a bit like Jim Broadbent, which is ironic considering “The Curse of Fatal Death.” It wasn’t until I got online afterward and saw people saying Richard E Grant that I could see it. I wasn’t even 100% convinced it was him, but I’ve heard they actually took new footage of Grant for that scene, so I guess it’s him. The more interesting question is which him is he? Is this the Shalka Doctor or the Fatal Death Doctor? Maybe he’s both. Maybe he’s neither. This wouldn’t be the first time they’ve given us retroactive Doctors. Moffat gave us the War Doctor to great effect. But despite a strong performance from Jo Martin, Chibnall did a piss poor job of establishing the Fugitive Doctor as a character. I’d love to get excited for this mystery incarnation, but I’m taking a Tim Gunn stance in the meantime- “Make it work.”

With Rogue now on his side, the Doctor takes him to his TARDIS so they can recalibrate his triform transporter to be non-lethal. Recently in an interview, Ncuti Gatwa mentioned he had gotten onto his agent about playing someone like the Doctor or Willy Wonka. It felt a bit like wish fulfilment for his Doctor to sing “Pure Imagination,” to Rogue as they entered the TARDIS. I really loved Jonathan Groff’s slow growing infatuation with the Doctor. I’m a big fan of “Mindhunter,” but it’s a very heavy show, so it was fun to see him in a more playful role. In many ways, Rogue feels like a bit of River Song and a bit of Jack Harkness. He’s something of a reboot and remix at the same time. I don’t doubt we will see him again, which would be a nice chance to give him some much needed character development, but for the time being, we’ve been given enough to work with.

The Doctor and Rogue’s plan is to draw the Chuldur to them by exploiting their love for drama and scandal. What better way to whip people into a frenzy in 1813 Britain than for two men to share a passionate dance together? Besties, I’ll be real, I was grinning from ear to ear. Watching Gatwa and Groff dance was very exciting. I’ve seen people complain that the Doctor and Rogue’s romance felt rushed compared to the “slow burn,” of Yaz and Thirteen. Slow burn is a funny way of saying “non-existent for two seasons.” And I would much rather see two men share a passionate kiss than two women share a passionate ice cream. What’s wild is that I’m not usually the kind of person who likes the Doctor to have romantic relationships. They managed without them for 26 seasons. However, due to Ncuti’s emotional availability, it works for me. I can buy that his time with Donna might have left him more open to romance. Furthermore, this is the antithesis of queerbaiting. Ice cream is not a payoff.

The Doctor ends the dance by staging an argument with Rogue and calling him a cad. But Rogue doesn’t respond in turn with the same volatile energy. There’s a hesitation on his end that feels personal. As I mentioned before, perhaps this is him working up the courage to roleplay again. Perhaps his lost partner was more the avid roleplayer between the two of them. Or perhaps Rogue simply has a softer approach. What I loved is that his marriage proposal felt equally as shocking, but in a more emotional manner. It even feels like it takes the Doctor by surprise. There’s a moment where it actually feels like a real proposal. The Doctor says he can’t and you almost believe he considered it. Or maybe the Doctor can’t even pretend to say yes because of his marriage with River song. If he undoes their wedding maybe it can revert us back to hot air balloon cars, Winston Churchill, and pterodactyls.

Not to be left out, Millie Gibson has gotten a lot of time to shine in this story as well. She does a fair bit of choreography, but there is one bit of her choreography of which I was a bit disappointed. After learning that Ruby is from the future, Emily reveals herself to be a Chuldur, and she wants to cosplay as Ruby next. However, Ruby’s psychic earrings come with a battle mode, which complicates things for the feathered fiend. My disappointment however, stems from the fact that they kind of phone in the fight choreography. They went through the trouble of hiring Bridgerton’s choreographer, Jack Murphy, for the dance sequences, but the fighting felt like a second thought. It could have been really cute to see Ruby do some “Crouching Tiger Hidden Dragon,” moves, but instead she clobbers her with a book. A bit underwhelming. Still a fun idea, though.

The Doctor and Rogue abscond to the garden where they are pursued by the Chuldur who reveal their numbers to be greater than anticipated. As baddies go, the Chuldur were little more than hand wringing monsters foaming at the mouth for a bit of mayhem, but I liked that about them. The way they speak to one another reminded me a lot of the Slitheen. The last time we saw Indira Varma in the Whoniverse, she was playing Suzie Costello, the best part of Torchwood. Here she chews scenery with a zest befitting her brilliant makeup. The only time that I felt they went a bit too far with the Chuldur is when they call what they’re doing “cosplaying,” as it felt a bit too on the nose. Otherwise, I loved the idea of evil birds going around and messing up planets all too satiate a dangerous appetite for excitement.

The Doctor sees Ruby acting as though a Chuldur has taken her form and it brings out the fury of the Time Lord. I wouldn’t be the first and I won’t be the last to point out the parallels between this and “The Family of Blood,” wherein the Doctor has some long term punishment in mind for the bad guys. Unfortunately, it also feels like a case of writers giving the Doctor weird morality again. Rogue wants to send the Chuldur to the incinerator, but the Doctor wants to send them to a dimension where they can live out the rest of their lives somewhere where they can’t hurt anyone. How is that any different from what the Weeping Angels do? It’s “Arachnids in the UK,” all over again. When the Doctor expresses happiness that the Chuldur will suffer for a long time, it begs the question- as compared to what? I’m fine with the Doctor losing his temper and going too far, but what about his plan actually changed other than his attitude about it? He was always planning on sending them into a dimension where they would suffer for 600 odd years. A line of dialogue or two could have fixed that.

The Chuldur’s big finale is a wedding between Barton and Ruby followed by a light bit of mass murder, but the Doctor has other plans. The Doctor’s objection to the marriage reminded me a lot of Tom Baker. I could easily hear Tom saying that line about it being hard to hear things through those heavy doors. Gatwa has that bizarre alien charm that feels correct. However, neither the Chuldur or the Doctor know the entire story as neither side knows Ruby is still Ruby. So when the Doctor traps the Chuldur in the triform transporter, he’s also dooming Ruby to the same fate.

I’ve seen some confusion as to how the transporter actually works, but I think I can piece together enough to understand it. They had calibrated the transporter to trap up to six humanoids. When Ruby is first trapped, there are five humanoids in the trap. Rogue throws Emily into the trap bringing the count up to six. We’ve established that the Doctor was able to throw his psychic paper from inside the trap, so things can leave its field. My thinking is that as Rogue pushes Ruby out from the field, he overloads it with seven humanoids giving Ruby just enough give to fall out of the trap. What got a bit confusing is why didn’t Ruby just step out of her shoes? If you can throw psychic paper, then it’s not trapped by the field. Therefore, her shoes would be the only thing molecularly bonded to the field. They could even say the shapeshifters can’t step out of their shoes because they’re actually part of their bodies. But then we couldn't get the big sacrifice at the end.

The aspect of this that I found harder to follow was why Rogue would sacrifice himself in the first place. Sure he and the Doctor have chemistry and there could be a romance brewing, but he barely knows the guy. Perhaps he couldn’t stomach the idea of watching what happened to him happen to someone else. It was a chance to stop the sort of thing he was previously powerless to prevent. I could buy that well enough, but it barely felt earned. However, it fits the tone of the rest of the episode which was one of over the top romance and drama, so I digress. Around here, fun is king and fun I had. It didn’t matter that I didn’t fully understand people’s motivations. There’s plenty of time for that in the future.

The episode ends with the Doctor sending Rogues ship to orbit the moon until it can be retrieved again (or until the moon hatches like an egg, whichever comes first). He wants to move on, but Ruby won't let him until he takes a moment to feel his feelings. This is classic Doctor/companion stuff. The Doctor has always benefited from having humans around and I am glad they took a moment to reestablish that. The Doctor pulls out Rogue's ring from the proposal and slides it onto his pinky finger. Fans of Amy and Rory will recall that rings can be used to find lost lovers, so there's a seed of hope there. It was a fitting end to an emotional and exciting episode. I got to watch the Doctor and Ruby do Regency Era dances to covers of Lady Gaga and Billie Eilish. I got to see Indira Varma hunt people while dressed as a bird. This wasn’t just my favourite episode of the season, it may be one of my favourite episodes ever.

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Before I go, I wanted to apologise for how long this article took me to write. I’ve been dealing with some pretty heavy depression as of late, and it’s been hard to write these last couple of reviews. Even though I enjoyed both episodes quite a bit, it’s been a struggle. Despite episodes dropping at midnight on Saturday now, I don’t usually get around to writing until Sunday or Monday. But I didn’t get any good work done on this article until Monday evening. These articles are actually very therapeutic for me. It feels like a lifeline to the outside world. You may not think it, but I read every comment and every hashtag. I appreciate them all. Thank you for taking the time to read my stuff. It means a lot.

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Nowt wrong with a shameless plug, right?

(It’s been brought to my attention that Cubicle 7 did Doctors and Daleks, but I still stand by my joke)

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RIP William Russell

Back in 2015 I had the opportunity to meet William Russell at a convention. When it was my turn I presented him with my copy of the novelisation of “The Sensorites.” As he held it he said “Now, what’s this? Ah! The Sensorites! Very good!” He then proceeded to ask me how to spell my name but he accidentally added a Y to the end. “Oh I’ve ruined it!” he exclaimed. I assured him that he had very much not ruined it. I have this cherished memory of a lovely man. We will miss you.

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Bursting Your Bubble

Liam Lynch once said- “The internet is a glimpse into how rude people will be in the future.” At the time it felt like just another funny little line from his song “Internet Killed the Video Star,” (not to be confused with the Limousines’ song of the same name) but nowadays it feels prophetic. Just this morning I made the mistake of reading the comments section and it’s thrown my day off considerably. From the comforts of our keyboards, we can write horrendous things. Treat strangers with contempt. It’s sometimes easy to forget there are actual people on the other end of our glowing screens. Insularity breeds contempt for the different. We live in our little bubbles.

It would be easy to blame the posters, the content creators, the influencers. A few bad apples spoil the bunch. But as psychologist Philip Zimbardo would say- don’t blame the apples, don’t blame the barrel, blame the barrel makers. The people who put the apples into the barrel in the first place. Despite everything Russell T Davies’ “Dot and Bubble,” is trying to say, one question hangs over it and the rest of this season- who is the barrel maker? Things in Finetime are anything but fine, but by whose design? One might assume it’s Susan Twist’s character, but who is she? This is the overarching question of season one, but is the question beginning to feel a bit drawn out?

From the outset, “Dot and Bubble,” acts as a sort of Black Mirror version of “Blink.” We’re given a young blonde woman who finds herself in a dangerous situation that requires her to look at something she would usually ignore. All the while, the Doctor and his companion are forced to talk to the young woman through a screen. The difference here is that while Sally Sparrow had gumption, Lindy Pepper-Bean is about as useful as a wicker toilet. She lives in “Finetime,” an actual bubbled world. Her “Dot,” device then creates yet another bubble around her head. It’s bubble inception. The bubble tells her when to wake up, how to walk, and even when to pee. (Shout out to my boy Dr Pee!) Because of this, Lindy lives an unobserved life where hard questions need not bother her.

Everything about Finetime is a hyper-realistic nightmare of overstimulation. It’s like “A Clockwork Orange,” meets “The Stepford Wives.” Lindy can ignore her problems when there’s always a new Ricky September video on the horizon. As Frank from Brad Neely’s “The Professor Brothers” said- “We danced like those people in the hyper-tight light of fried chicken commercials.” Lindy and her “friends,” can completely ignore the fact that their friends have slowly begun disappearing. They don’t even seem to notice when they’re the only ones in the room, how would they notice gigantic slugs eating each other?

With Ncuti Gatwa away filming season four of “Sex Education,” the show had to do a couple Doctor-lite episodes. These are usually hit-or-miss among fans, but as “Blink,” proved back in 2007, they can become fan favourites. The Doctor and Ruby’s roles are reduced, but this episode does a good job of making them feel like a recurring part of the story. Even though they spend the bulk of the episode in what looks like the intro to “The Brady Bunch,” it never feels like we’re being underserved.

Lindy’s friends float around her like talking heads in her holographic bubble. But she keeps getting interrupted by the Doctor and his bad vibes. Even though Ruby is also invading her privacy despite not being on her friend list, Lindy is willing to hear her out. We’re not told why up front, but there is a reason Lindy can believe Ruby might feasibly be tech support, but the Doctor could not. Due to Lindy’s impatience, Ruby is forced to talk to Lindy as if she were a child, but not so much that she catches on. Anyone who stops Lindy from either working or playing is a massive drag to her. She really just wants Ruby and the Doctor to go away. How do they not know how society works? Why are they asking such stupid questions when the answers have been drilled into everyone since they were children?

We learn that Lindy’s mother is Penny Pepper-Bean, but she’s actually another Susan Twist cameo, so she could be anyone. Thankfully, both the Doctor and Ruby recognise her this time, and it’s not in an aborted timeline. I saw someone mention on Facebook today that they felt the Doctor recognising her felt rushed, and I couldn’t disagree more. It was high time we got something from this storyline. While it has been nice to genuinely be curious about Doctor Who’s mysteries again, this one has felt like a lot of the same. With the Doctor and Ruby now clued in, we have somewhere else to go in the future. Maybe now Susan Twist will come out from behind the mask and we can learn something more about her. Maybe now the Doctor will start looking into her involvement.

I’m usually not interested in fan theories as they’re often filler content when YouTubers and bloggers don’t have anything else to talk about. But here I believe we’ve been given quite a lot to work with to formulate a theory or two. I know I said “It’s probably not the Rani because it’s never the Rani,” but at this point, if she’s not the Rani, they’ve wasted their biggest opportunity to reintroduce audiences to her that the show has ever had. At this point, it would be weird if she wasn’t the Rani. The things she’s been involved with have all of her usual hallmarks. We have genetic manipulation in “Space Babies,” humans are being treated like lab rats in “Dot and Bubble,” and then there’s the whole disguising yourself in plain sight aspect. At this point, the bigger question isn’t whether or not she’s the Rani. The bigger question is why wouldn’t she be? Why would the show come so close to revealing her and then pull back?

Ruby finally convinces Lindy to look beyond her bubble where she witnesses her co-worker being eaten by one of the Man-Traps. Usually Lindy could just ask her Dot to guide her to safety, but for some reason, it feels more than ready to direct her right into the open mouth of a Man-Trap. Lindy must walk without the aid of her Dot, and man does she suck at it. She quite literally cannot walk talk and chew bubblegum at the same time. Part of me was worried the episode was going to spend all of its time making fun of young people and their phones. It’s cliched and honestly, I’m tired of it. But within the context of the episode, Davies isn’t attempting a technophobic condescension toward the youth of today. Instead, the episode endeavours to highlight the danger of relinquishing your thoughts and actions to outside entities. If we let others tell us what to like, who to like, or how to live, you may as well become worm food.

Having narrowly escaped death by slug, Lindy is forced to bumble about outside while the Doctor and Ruby direct her like the most exasperated form of Google Maps ever. An interesting aspect of this scene that I’ve not heard anyone talk about is the greenish-blue blood seen from a body being dragged away. You may not know what I’m talking about, but I’ll post a picture below. You may look at that and say “That’s not blood, that’s slug goo.” But where else in the episode do we actually see the Man-Traps leave behind any kind of snail trail? I’m going to go out on a limb and say I think the people of Finetime are blue-blooded, and considering what we learn about them, it makes sense. Blue blood is often a symbol for aristocracy, but it can also be used as a way to imply an inbred nature. In this case, we could infer that the citizens have blue blood because they don’t “dilute,” it with the blood of non-white people. Oh did I not mention the Finetimers are racists? More on that in a bit.

Throughout most of this episode, only one of Lindy’s friends seems to be concerned with the fact that people are going missing, and that’s Gothic Paul. Gothic Paul was a nice little addition to the episode because a trans man plays him and they didn’t make a big deal about it. He wasn’t even killed for being trans. He was killed for being delicious and too dumb to notice. A diversity win! Compare this to Chibnall’s gay representation where a character says “By the way, I’m gay,” and then spiders eat her face. LGBTQ+ people are allowed to exist in such a manner that it doesn’t feel like “kill your gays,” when they kill our gays. Representation has been so good that it’s not even problematic that a drag queen made a child disappear. You know, the thing all of those conservatives are worried about with drag story hour? That’s just the Maestro’s schtick. 

After the battery in Lindy’s Dot goes dead, she’s basically a sitting duck. That is until she hears a familiar voice call out. A voice belonging to none other than the dreamy Ricky September. Maybe it’s the insular nature of being a pop star, but Ricky isn’t bogged down by his Dot. Instead, he’s learned to appreciate existing offline. Because of this, Ricky reads things about their people’s history. And even luckier for Lindy, Ricky can actually walk and move about in the world. After a bit of starstruck awe, Lindy takes his hand as he leads her away from danger. It’s almost sweet if you don’t suspect what’s coming.

Ricky leads Lindy to Plaza 55 where a door leading to the river flowing beneath the bubble can lead them out into the Wild Woods. Knowing a bit about coding, Ricky simply needs to type in two digits every five seconds and the door will come open eventually. With no Man-Traps about, Lindy needs only to sit tight and let Ricky work his magic. While she waits, Lindy is able to charge her Dot which enables the Doctor and Ruby to contact her again. The Doctor infers that the Dots can see the Man-Traps, but willfully encourage people to walk directly into their mouths. As it turns out, the Dot hates Lindy and her friends about as much as the audience does. The AI has gone rogue and it’s taking these airheads with it. Sadly, this is also when the episode starts to get bogged down by the season's overarching plot.

The Doctor deduces that the Man-Traps are eating the people in alphabetical order. This leads him to believe that the AI must have created the Man-Traps, otherwise they would eat whoever, whenever. The reason I feel this feels bogged down by the overarching plot is that I can’t imagine these golfball-sized Dots being capable of growing creatures in a laboratory. The most they can do against Ricky and Lindy is act as a projectile. They don’t even have thumbs. Because of this, it’s logical to imagine that there is a third party involved. It’s not hard to imagine who that third party is, considering Susan Twist’s cameo. But in the meantime, we as an audience are left in a state of limbo where this is either part of some greater plan, or an unsatisfying plothole. Albeit, not an incredibly episode-breaking one. After all, the Daleks manage quite a bit with only a plunger.

With Lindy’s Dot trying to bash their brains in and Lindy being next in line, alphabetically speaking, we are finally introduced to who Lindy actually is as person. Using her mega fan knowledge about Ricky September, she informs the Dot that Ricky’s name is a stage name and his real name is Coombes. Ricky can barely believe the betrayal from the woman he’s tried so very hard to save. But her gamble pays off as the Dot refocuses its attention on Ricky, giving Lindy enough time to escape to the river while the Dot strikes down poor Ricky. As face turns go, this is one of the worst in Doctor Who history. However, it’s not entirely without warning. Certain lines of dialogue have clued us in to Lindy’s true nature throughout the episode.

Before we leave him behind like Lindy so callously does, I’d like to take a moment to talk about Ricky September, as I don’t think we’ve seen the last of him. It was hard to tell what the Dot does to Ricky because the camera looks away, but he could have survived. Why I think this is because they spend a lot of time building Ricky up as a character. Both the Doctor and Ruby have shown a romantic interest in him. There have even been rumours that there would be a sort of love triangle between the Doctor, Ruby, and Ruby’s boyfriend. On top of that, we’ve got another blonde-haired blue-eyed person with RS for initials. Even further, the S in both names indicates a point in time- September and Sunday. And just because Ricky comes from a community of racists doesn’t mean he is one. Like he said, he does a lot of reading. Perhaps he’s learned better. Or I’m wrong and he has a Dot-sized hole in his head.

Finally, we get to see the Doctor and Ruby in the flesh. Even more finally, we get to see them both in the costumes they wore in their first costume reveal! Lindy gives the Doctor and Ruby some shitty excuse about Ricky turning back to save more people. She even gives a begrudging thank you to them, but ultimately can’t bring herself to let the Doctor help her or her friends. Lindy and her fellow survivors can’t bring themselves to interact with the Doctor because he’s black. It’s as heartbreaking for the Doctor as it is infuriating to Ruby who can only stand there and watch her friend experience this ugliness. But the Doctor is still the Doctor and he’s a bigger man than their small minds. He continues holding out a lifeline to some of the most undeserving group of spoiled narcissists to ever grace the screen of Doctor Who.

I’ve seen people complain that the Doctor does this. That it doesn’t mesh with the same character who once punched a man who was racist toward Bill. But that was the Doctor drawing a line and defending his friend’s honour. The Doctor’s compassion is so great that he’s willing to forego his sense of self-respect to save lives. This is the same man who tries to reason with racist genocidal aliens, he doesn’t stop just because they look human. I know I would have let them die, but the Doctor is a better person than me. That’s not to say any of this is easy for him. It very clearly cuts him to his core. Ncuti Gatwa gives an earth-shattering performance here, and when you consider this is the first scene he filmed after the Giggle, it’s fucking astounding. This is the exact type of range I was hoping they would bring to his character.

As a white member of the audience, I am left with a lot of uncomfortable realisations. Like, I barely batted an eye at the fact that Lindy’s friends were all white. I’m also left wondering how many people the Doctor has saved in the past who might have also treated a black Doctor differently. But I also feel like this ending took me by surprise for a different reason than my own ignorance. I simply never expected Doctor Who to go there. The topic of racism is not new to Doctor Who. Martha experiences quite a bit of it, especially in “Human Nature.” But even their more recent attempt with “Rosa,” fell short by implying that in 3000 years, no other black person would stand up for their rights. It was an oversimplification of the civil rights movement that left me wondering if Doctor Who was capable of tackling such heavy issues. I never felt like the show properly addressed the Doctor being a woman, so believe me when I say how much I appreciate them addressing the Doctor’s race. Even further, I loved that it ultimately isn’t the Doctor who will suffer from their racism. Their prejudice has doomed them without anyone else’s help.

It’s weird to look at this episode on the TARDIS wiki and see the Dots and Man-Traps listed as the main enemy. Because really, it’s Lindy who is the real monster. It’s Hoochy Pie and her wack-ass trumpet. Also, can we not come up with a better name than Man-Trap? What about Erascists? They erase e-racists. Just some good little sluggy bois taking out the trash. I stan a king. The Dots hate those evil trust fund dickweeds, and honestly, same. Evidently, the name Man-Trap was introduced in Doctor Who Unleashed, which for the 4th week in a row, I’ve forgotten to watch. One of the side-effects of Doctor Who’s screwy release schedule is that now I completely forget Doctor Who Unleashed even exists. One benefit, however, is that I often get to rewatch the episodes the next day with my partners who didn’t want to stay up late. The benefit is that I’ll notice things I missed the first time. It also allows me to experience the stories for what they are, as opposed to what I expected them to be.

Being able to watch “Dot and Bubble,” with hindsight has given me an even greater appreciation for this story. Over time, I feel people will eventually regard it as one of Davies’ best. Its tone and themes remind me of something you would find in the Seventh Doctor era, which is high praise coming from me. Ricky feels like the promise of a character like Pex from “Paradise Towers,” properly realised. Hopefully, like the graffiti says- “Pex lives.” Dylan Holmes Williams does a fabulous job directing as the episode wastes nothing. It’s a Doctor-lite episode that manages not to waste a moment of screen time with the Doctor. In less than five minutes, Gatwa manages to be the command performance in an episode of solid performances. But much like “The Fugitive of the Judoon,” this strong episode remains feeling unresolved due to the plotline still hanging over its head. Once we have the hindsight of knowing how it fits into the greater storyline, it could appreciate in value. One can only hope.

[timeagainreviews]

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Just wait until she discovers Tayne

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A Foot in Two Worlds: 73 Yards

My third-grade lunch buddy was a girl named Kendra. We used to love chatting about movies and television. My favourite topic was Batman. Hers was Full House. However, one morning, instead of gushing over Stephanie Tanner, she told me about a movie she and her brother had watched over the weekend. The movie was 1989’s “Clownhouse,” and she was a bit traumatised by it. And because of her vivid description, so was I. Honestly, I don’t remember anything past her saying “It’s about these kids who see clowns watching them through their windows,” because I never stopped thinking about that sentence, for years. While I’ve still never actually seen Clownhouse, nor do I experience coulrophobia, the idea of being watched from a distance still creeps me out. I still close the blinds at night.

Initially, I wanted to compare “73 Yards,” to something like “It Follows,” or even “The Immortal Snail.” Both scenarios entail being tracked by a slow but relentless pursuer who kills you if it ever catches up to you. But “73 Yards,” isn’t so much a story about being pursued. It’s about feeling watched. It’s about feeling judged. It’s about feeling abandoned. It preys on our fear of being the subject of gossip. That people could spread lies about us that scare away our loved ones. The fear that maybe they’re right. Maybe we don’t deserve love. It’s about the ambiguity that sits within our hearts. The liminal threshold between us at our best and us at our worst. But it’s not just about the wicked and the divine, but also body and spirit. A foot in both worlds.

Doctor Who currently has a foot in both worlds. The Doctor steps on a science fictiony land mine one week, and the next week he’s stepping on fairy circles. A recurring theme in this new season is “look before you leap.” Or ‘watch your step.” Ruby steps on a butterfly in the past and changes species. The Doctor steps on a land mine and almost dies. And now, the Doctor steps on a fairy circle and disappears. The Doctor is learning to have a healthy respect for the new supernatural powers coursing through the Whoniverse. At least he would if he remembered anything from this adventure. Not even Ruby will learn a lesson here, so was it worth it?

After last week’s “Boom,” I was game for whatever Russell T Davies had in store for the future. The trailer for “73 Yards,” gave us very little to go on, and in hindsight, it’s pretty easy to see why. This was a Doctor-lite episode and therefore not a lot of footage to share that wouldn’t also spoil this being a Ruby-centric story. But I was ready for it. Ruby has been suffering a bit from underdevelopment as a character. I even saw a Chibnall stan on Twitter saying so, which is quite extreme when you consider how underdeveloped Yaz was. In Ruby’s case, however, it’s hard to pinpoint what it is about her that’s underdeveloped. She’s got a great family dynamic. She’s nurturing. She plays in a band. But who is she? Like River Song before her, her character arc is starting to affect her character development. And my interest is waning.

After the Doctor steps onto the fairy circle and disappears, Ruby unsuccessfully tries the TARDIS doors. She then checks around the other side to see if he’s having a pee. This may be the first time the show has canonically mentioned the Doctor goes to the bathroom. It’s funny to think of the great Time Lord having a slash off the edge of a cliff. The Doctor seems to do a lot of important things on cliff edges these days. Failing to find the Doctor, it’s then that Ruby notices a strange old woman standing under a creepy old tree from 73 yards away making some sort of hand gestures. However, the closer she walks toward the woman, the further she appears away.

The mechanism of how the woman moves is hidden by editing, but it feels like something Ruby would notice quickly. I don’t imagine Ruby walking closer would cause the woman to start backing up physically like that Community episode where Professor Duncan got a restraining order on Chang and used it like he had force powers. Instead, they cut back to the woman and she’s simply further away. Ruby is conveniently looking for footing every time, so she fails to see this. But if you started walking toward someone and they started hovering backwards, wouldn’t you find that weird? It’s not like she doesn’t sense something weird pretty early on. She even asks the woman if the Doctor’s disappearance has anything to do with her. She even asks the hiker (yet another character played by Susan Twist) if she can see the old woman.

Something I found interesting about the Susan Twist scene was that whoever her character is, she’s not immune to the effects of the old woman. Either that, or she’s lying. Either way, it feels important that we were shown her having the same reaction to the woman as everyone else. If she’s a magical trickster, she’s not an invincible one, or maybe she’s not magical at all. We’ve learned very little about Susan Twist’s character(s), but this indicates that she’s not fully in charge of the situation if she can be scared off like that. What’s frustrating is that the first time a character looks at her and says “Hey don’t I know you from somewhere?” it’s in an aborted timeline. I would have expected the Doctor to have made the connection after the ambulance screens in “Boom,” matched the woman from Space Babies, but maybe he’s been distracted by clothes.

By this point in the episode, I’ve been fully drawn in. Ruby finds her way to the small village of Glyngatwg and a pub called “Y Pren Marw,” which translates to “The Dead Wood.” I thought this might have been a reference to the weird tree on the cliff, but the illustration on the pub sign looked more like an oak tree, so I doubt it. Another name they could have used for the pub could have been “The Gaslight Inn,” because man oh man did they gaslight the hell out of Ruby. They keep accusing her of thinking they’re yokels for asking pretty innocuous questions. Asking if you can pay with your phone is perfectly reasonable. There’s a chippy in my village that does the best fish n chips in the area, but I never use them because they haven’t got a card machine and I don’t carry cash. I don’t imagine the owner of the chippy goes home every night in his Fred Flintstone car because of it. Maybe they’re worried they really are yokels. Either way, five quid for a Coke and abusive staff? What’s their Trip Advisor score? Negative six?

The only non-yokel in the pub is Enid and that’s solely because she’s played by Siân Phillips, who could never be mistaken for common. She was easily the highlight of the episode for me, sitting elegantly at the bar in her fashionable hat. Of all of the patrons at the bar, she’s the one I believe would coin the Latin phrase “semper distans,” to describe the way the old woman follows but never approaches. If only she could have taught Isaac Newton the word “gravitas.” Beyond being incredibly rude, I rather enjoyed the patrons of Y Pren Marw. They reminded me of characters you would have found in classic Doctor Who. The pub scenes reminded me a lot of “The Dæmons,” or “Terror of the Zygons.” But more than anything, this episode reminded me of “The Stones of Blood,” wherein things start like folk horror and end in a more mundane setting.

After Ruby’s unwanted follower scares away one of the pub’s most faithful patrons, she’s forced to head back to London, which is about where the episode starts to lose steam. Up until that moment, I was expecting a sort of witch coven or worse to spring up in the sleepy village of Glyngatwg. I was ready to call it RTD’s best ever. But now we’re back in London where the biggest mystery is Mrs Flood, and she’s really only there to remind us she exists. But that’s not to say a piece of Glyngatwg didn’t leave with Ruby, and it’s not to say I disliked the story’s ending. But there was a noticeable drop in excitement the moment Ruby boarded that train.

I found it odd that Carla and Cherry were badmouthing the Doctor in his absence. Cherry was ready to jump his bones the last time they spoke and now he’s good for nothing. I get that they want to support Ruby, but like, what if he’s hurt somewhere? All I’m saying is that if I ever go missing, please don’t send Carla and Cherry to find me. After telling Carla about the old woman, Ruby’s deepest fears are realised. Like Susan Twist and Josh before her, talking to the old woman causes her to abandon Ruby. The look Carla gives Ruby from the cab as it drives away is the last way anyone would want to be looked at by their loved one. It wasn’t a look of fear, it was a look of disgust.

It’s that look of disgust that really started to make me think of another story from the Whoniverse- “The Curse of Clyde Langer,” a Sarah Jane Adventures episode written by Phil Ford. In it, Clyde’s name becomes cursed and anyone who hears or reads it becomes irrationally opposed to Clyde. His friends and family disown him and it’s Clyde against the world, which is wild because Clyde’s one of my favourite characters in all of Doctor Who. Who could hate that precious cinnamon roll? Even further, who could forget that episode? Well, it turns out Davies was kinda hoping the answer would be you. I’m not saying Davies is out of ideas, but he seems to be “remixing,” a lot of what has come before. More on that in a moment.

After losing her family, Ruby gets on with life, but not before being given a spark of hope in the form of Kate Lethbridge-Stewart. We even learn some things about the old woman from Kate. We establish that yes, it is always 73 yards away. And no matter how close a person gets to her, she always looks as in focus as a person with 20/20 vision would see her from 73 yards. We also learn that the old woman’s “powers” work via headset, as Kate breaks contact with Ruby, leaving her devastated from losing yet another lifeline.

An interesting factoid about that scene is that Kate and Ruby were sitting across from “The House of Pi,” and Pi Day is the 73rd day of a non-leap year. Why do I know this? Because I went into a bit of a rabbit hole trying to learn about the number 73 yesterday. I looked into its mathematical significance. I learned it’s Sheldon Cooper’s favourite number. I looked it up in terms of numerology. I read the 73rd Psalm. There are 73 books in the Catholic Bible. But none of it felt significant. Then my dumbass googled whether RTD had explained the number, and he claimed it was as simple as going outside and measuring the distance from which people’s faces began to blur. Right. Well, that’s disappointing, albeit creative.

We’re treated to a montage of Ruby getting on with her life throughout the next couple of decades. Like the rest of us, her age starts to show itself with long hair and big glasses. I mentioned earlier that Ruby suffers a bit from a lack of character development and this montage does nothing to help that. She grows up into possibly one of the most boring people they could have made her. Her queer group of friends she has a band with seem to have disappeared. Her dating life is painfully heteronormative. She didn’t date a single woman throughout that time? She would have learned by now not to encourage her friends to talk to the old woman, and due to the perception filter, it’s not like anyone seemed to mind her anyhow. I’m just saying, if someone as normie as her started wearing a political shirt for the nuclear war-hungry Albion Party, I’d look at her and say “Pssh. Figures.”

Speaking of the Albion Party, it’s time we started talking about Harold Saxon. Oh, sorry, I meant Roger ap Gwilliam. The episode implies that Roger is the trickster “Mad Jack" who had escaped the fairy circle after the Doctor stepped on it. But Davies is remixing the classics, or as LCD Soundsystem puts it- “Shut up and play the hits.” He even mistreats women in the same way as the Master. I took this to be Doctor Who’s flimsy attempt at a comment on the MeToo movement. It would work better if ap Gwilliam was more than a moustache-twirling miscreant. Especially because Ruby throws poor Marti to the lions by not warning her away from Roger. If this is a MeToo story, Ruby is an enabler, which is not a great look. But she apologises so I guess it’s ok. Don’t worry Marti, your trauma gets erased anyhow.

While the campaigners prepare for a press conference for Roger ap Gwilliam to announce that Britain has purchased Pakistan’s nuclear arsenal, Ruby realises she’s out of time and needs to act now. Using her semper distans friend to her advantage, Ruby backs 73 yards away from Roger and sends him cowering and eventually resigning from his position as prime minister. Ruby expects this to be the end of the old woman, but she remains with her until the day she’s on her deathbed, at which point, the old woman changes from her perspective to Ruby’s. As the old woman, Ruby sees her young self and is able to call out to her and warn her about the fairy circle. That’s what happened, right?

Well, maybe? The biggest curveball comes in the form of the old woman herself. Because while Ruby does age to the ripe old age of 80, the actress playing her is Amanda Walker. The actress playing the woman is Hilary Hobson. Set pictures have also revealed Hobson in make-up that appears to be scarring going up the left side of her face. And those hand gestures of hers? Sign language. Eagle-eyed viewers have roughly translated her signing as “Bless you. Thank you so much, that's so kind of you. When you gave me that little thing, it was just so precious. How am I ever going to repay you? But we will think of something.” Perhaps this scarred woman is someone the Doctor and Ruby have yet to meet. Perhaps she repays them by warning them away from the fairy circle and saving both the Doctor and Ruby from a bizarre fate.

People seem divided by this episode in a major way, which is pretty normal for Doctor Who. But one of the more irritating takeaways I’ve seen is that the episode doesn’t make any sense. That’s only sort of true. There are some bootstrap paradox things occurring, which if you haven’t accepted as a reality of Doctor Who at this point, what are you even doing here? But what does the old woman say to Ruby? Where does the Doctor go? How does she travel back in time to the clifftops of Glyngatwg? Forgetting completely that we’re in a Doctor Who era which has introduced magic in a real way. But that’s a bit hand-wavy, can’t we do better? Well, they do mention that the TARDIS’s perception filter parked so close to the fairy circle might affect how people ignore the old woman. I liked this because it implies that the TARDIS and magic are somewhat compatible and therefore opens up new avenues for storytelling. You could also imply that if the TARDIS could affect the fairy circle, perhaps it can affect the TARDIS in turn. Maybe people reject Ruby because the warding spell placed on Mad Jack is affecting Ruby. Maybe Ruby needed to be in a position where she was so friendless that she would join the conservative party.

The episode may not have explicitly explained things, but it gives us enough of a vague framework to form an idea. As a fan of David Lynch, I am rather happy to exist in that liminal space. To straddle the cusp between the known and the unknown. It leaves an air of mystery, or as David Lynch would say “room to dream.” I will however slightly come down on the episode for its rather bland ending compared to its strong start. I don’t agree with the people who said it nosedives toward the end. But I would be lying if I said I lost a lot of interest the moment Ruby left Glyngatwg. Earlier, I compared the story to “The Stones of Blood,” but where the two stories differ is that when “The Stones of Blood,” changes its setting from the occult folk horror of the Cornish countryside, it replaces it with something equally strange.

That isn’t to say the jump to the year 2046 isn’t interesting. I’d be very curious to see how this story plays over the next few years. It acts as speculative fiction and the bizarre reality of speculative fiction is that it occasionally becomes mundane in hindsight. What once sounded unreasonable now feels painfully obvious. HBO’s “The Leftovers” hits different after the pandemic. Richard Kelly’s loony “Southand Tales,” feels tame after the 2016 election. Therein, I fear the day Roger ap Gwilliam becomes something more than a cartoonish depiction of British politicians. Partly because of the implied threat of nuclear devastation, but also because 2046 feels like a rather generous timeframe.

[timeagainreviews]

Review Coming Soon...

Hey friends! I am sorry it's taking me a while to post my latest review, but I've been a bit busy with personal stuff. I will have my review of "73 Yards" up hopefully by tomorrow.

[timeagainreviews]

Sometimes you just gotta shine some cones

[timeagainreviews]

Mining Gold

In his 2012 stand-up special “New In Town,” John Mulaney quipped that he “always thought quicksand was going to be a much bigger problem than it turned out to be.” This sentiment seems to have rung true with people online. Quicksand was such a big deal in media in the ‘80s and ‘90s. Who could forget Westley jumping headlong into quicksand to save Buttercup in “The Princess Bride?” Remember the first time you saved Mario from sinking deep into golden sands? Yet in real life, very little quicksand. While I am sure there are parts of the world that grapple with quicksand, it’s more of a trope than anything. Trapping our heroes allows storytellers to show who these characters are under pressure. While Doctor Who has its share of great escapes, it’s also prone to using capture to pad time. But isn’t that a cynical view? Can’t trapping our heroes also give the narrative a moment to breathe?

Quicksand is the perfect type of trap because it’s a ticking clock that must be treated with attention and care. Characters must slow down and assess their situation. It’s odd then that Doctor Who has never used quicksand in the show proper. But it’s just a placeholder. You could throw someone into the Timelash. The Fourth Doctor had to shoot a rope while standing over a pit of horda. Or again with the Fourth Doctor when he stepped on a landmine. But that last one is different, isn’t it? The horda and Timelash are as real as the Swamp of Sandness and the Bog of Eternal Stench. But landmines are very real. And in some parts of the world, a horrific day-to-day reality.

Returning after a seven-year absence, Steven Moffat brings the Doctor back into the minefield with “Boom.” But unlike Doctor Who’s last episode named after an explosive onomatopoeia, “Kerblam!”, this episode aims to chastise capitalism’s role in atrocity, not give it a free pass. Also making a comeback are a few Moffat staples- Villengard, the Anglican Marines, and stupid children. Each does their part to build a narrative mirroring the current political climate. But have any of Moffat’s less celebrated qualities returned along with him? Will he fall into his own trappings as a writer? Is this trope just padding out time? Or can a bottle episode become an instant classic?

Coming off the heels of last week’s manic “The Devil’s Chord,” the show was due a bit of a breather. While I’m all for bombast it’s nice to know this thing has an off switch. I already saw someone on Instagram who disagrees wholeheartedly. In their words “Boom? More like BORING,” so I imagine this one won’t be popular among dullards and the chronically contrarian crowd. But as an old, I appreciated the slower pacing and the emphasis on emotion. If you need a constant source of laser swords and loud noises, allow me to quote the Third Doctor- “Don't worry, Brigadier. People will be shooting at you soon.” Luckily, Billy No-Mates and his five Instagram followers appear to be in the minority. Most everyone I’ve talked to absolutely loved this episode.

The one issue I’ve seen fans bring up that holds any kind of water has been the conversation around faith. The inclusion of the Anglican Marines introduces a religious angle that some have criticised as preachy and offensive. In the past Moffat has used the Anglicans to various ends. Spanning across two centuries, the Anglicans we’ve met so far have come in numerous forms. Sometimes they’re allies of the Doctor, and at other times, they’re a fanatic organisation hellbent on stopping the Doctor at every turn. This time, however, the Doctor and they cross paths presumably by happenstance. (More on why I say presumably later.) This group of Marines are already in a deep conflict with an elusive enemy, which they appear to be losing. Despite these losses, they keep their faith. But it’s hard to keep faith when your enemy is as invisible as your god.

The two soldiers we’re introduced to are Carson and John Francis Vater. Not as in they’re married like the Fat One and the Thin One couple from “A Good Man Goes To War,” but rather that Carson only gets the one name. As names go, John Francis Vater is akin to purple hair in an anime- total protagonist vibes. Vater even has a daughter named Splice living back on base. He has a cute “save the cat,” moment when he tells Splice to brush her manky teeth. Which is why when he dies, it feels like there’s still more to his story. Unfortunately for Carson, he exists to illustrate the way the Villengard smartmines on Kastarion 3 operate. As it turns out, it’s pretty quick, rather violent, and kind of pretty. Even more unfortunately for Vader, he is now essentially lost as Carson was acting as his eyes due to temporary blindness.

It’s never really explained why the Doctor and Ruby are parked on the planet. Presumably, it’s the Doctor doing his usual “land wherever and explore,” approach. But it’s the death of Vater that draws the Doctor and Ruby into the action. After lifting the veil from his injured eyes, Vater’s injury draws the attention of a Villengard Automated Ambulance Unit with the video face of Susan Twist. Having assessed that Vater’s recovery time would be too big of a drain on resources the ambulance terminates him. The Doctor comes running at the sound of Vater’s scream but finds nothing but an empty crater and a smartmine under his right foot. It’s the inclusion of Susan Twist here that makes me wonder if this isn’t part of some greater plan. Pretty obvious, really. Also, didn’t a big portion of Moffat’s last episode also take place in a crater?

The Doctor’s voice carries out along the horizon with a mournful rendition of “The Skye Boat Song.” It tells of the journey Bonnie Prince Charles took from Benbecula to Skye after his defeat at the Battle of Culloden, thus spelling the end for the Jacobites. This worked for me on several fronts. As a fan of the Second Doctor, I admired the nod to his past. I also enjoyed the reference to Ncuti Gatwa’s Scottish identity. The forlorn quality of his singing reminded me of the Master playing the Skye Boat Song in “The Power of the Doctor,” which was one of the better parts of that story. I was also grateful that they didn’t undercut the tension with a pop song, or something truly cringe, like quoting from Harry Potter.

The Doctor is singing to calm himself and hopefully delay the bomb until he can come up with a new plan. But it’s this singing that draws Ruby to his location. Together the two of them must move their bodies in sync to a rhythm so the Doctor can rest his leg. In yet another contrast to “The Devil’s Chord,” music is being used in an entirely different manner. But this time, the Doctor’s dance partner, Ruby Sunday, is less complimentary and more complicated. The Doctor faces death all the time, but seeing Ruby put in harm’s way raises the Doctor’s blood pressure. The adrenaline becomes harder to control. And his bio-signs become easier for the smartmine to detect. Because of this, the Doctor’s emotions are raw and prickly, another stark contrast from last week. He chastises Ruby for not doing as he tells her, but she ignores him because she’s got her own ideas about what she is and isn’t allowed to do. I was getting shades of Amy Pond from Ruby in this one, and considering the author, that makes sense.

If you’ve ever heard me say that I wanted the chance for Jodie Whittaker to get mean, or show anger, this is precisely the kind of depiction of the Doctor I meant. In many ways, Ncuti is the same brand of golden retriever adorable as Whittaker, only here they’ve allowed him to show that he’s capable of a depth of emotion. The Doctor has an authoritarian streak that he hides well, but in times of stress, the walls begin to fall away and you see the complicated Time Lord underneath the fish fingers and custard, the floppy hair, and the eccentric fit. This is exactly the kind of episode I wanted to see Ncuti get to do. I’ve seen him deal with heavy subjects in “Sex Education,” I’m glad they didn’t just hire him because he’s hot and dripping charisma. He’s also incredibly capable of going into dark places.

While looking for a rock to help the Doctor balance his dangling left leg, Ruby happens upon the “smelted,” remains of Vater. The Ambulance sort of formed and condensed Vater’s body into a tube shape topped with a nameplate and a hologram projector containing an AI facsimile of Vater’s consciousness. And I’ll say it because everyone’s waiting for me to say it- it’s an actual fleshlight. There, I said the thing. Are you happy? Is this what you wanted from me? Are you not entertained? I’d like to pretend I was so wrapped up in the episode that I didn’t think it, but I absolutely did. It’s VOR all over again. I got over it pretty fast.

That’s the way good Doctor Who goes, really. The little hang-ups are more like snags when you’re moving along. It’s easier to look past the nitpicks and grievances when there’s so much more at play. When Doctor Who is bad, all it has are its nitpicks and grievances and that’s a real sadness when that happens because we’re no longer watching Doctor Who, we’re watching the background go by. We’re admiring the wallpaper because just because the writers phoned it in, doesn’t mean the set designers did. But this is Doctor Who firing on all cylinders.

We are however getting into the realm of one of my nitpicks about this episode and that’s Splice. Because she lost her mother, her dad, Vater, has special permission to let her live on base. The issue I have is that I wasn’t joking earlier when I said she’s stupid. I don’t say this to badmouth the little girl playing her, as she was good. I also don’t mean to denigrate the script. What I don’t understand is why is she so old? That may seem like a weird question because kids come in all sorts of ages, but this one is little kids stupid. I found it hard to believe that a girl of her age would confuse a hologram for her father. I get that she might be fooled by the voice and I can even believe that she would be foolish enough to wander into a battlefield to find him, but I’ve never once seen my dad looking like a translucent blue hologram. This is why I say she’s too old. An older kid would have figured it out. They should have either changed her dialogue or cast someone younger. Otherwise, she’s a perfectly fine character.

Splice’s emotional reaction draws the attention of another Anglican Marine named Mundy Flynn. Immediately my Whovian brain was doing backflips at the sudden appearance of Varada Sethu. For those of you not in the know, Sethu is planned to be a companion in season 2 next year. Seeing her this early was very exciting. Was this an Oswin Oswald scenario or a Martha’s cousin dying at Canary Warf scenario? Did they enjoy working with Varada so much that they created a character for her in the next season or is this some wibbly wobbly sort of thing? Well, as it turns out, it’s a wibbly wobbly thing. I didn’t learn this from the show, however. I learned it from Doctor Who’s social media. And honestly, I really wish they’d have just left us to wonder on this one. Would it have killed them to leave an air of mystery around her character? There’s still a bit of mystery, but I feel like they’re holding people’s hands a bit too much. I guess they’re afraid people’s imaginations will run too wild and we’ll set ourselves up for disappointment. They know who their audience is. But still, I like the not knowing part. I like the speculation.

Mundy sees the Doctor holding the remains of Vater and commands him to drop them. But if the Doctor drops the remains, he risks setting off the mine. But even worse, if the mine goes off, it will turn him into the explosion. The Doctor refers to himself as a ”complex spacetime event,” indicating that if he were to explode, it could take out half of the planet. But Mundy isn’t convinced and tries to shoot the Doctor’s arm to make him drop the tube. Sensing combat, the Ambulance bots start looking for the injured to either heal or put out of their misery. Releasing her mistake, Mundy commands Ruby to shoot her in the arm in order to draw the ambulance away from the Doctor, but in her hesitation, Ruby is mistaken for an enemy and shot by Mundy’s comrade Canto who arrives late on the scene.

While we’re on the subject of Ruby, I wanted to point out that I found it a bit odd that Kastarion 3 was her first experience on an alien planet. Sure this is only her fourth adventure onscreen, but we were told in The Devil’s Chord that six months had passed. Granted, Rose Tyler spent an entire season having earthbound adventures with the Ninth Doctor, so there’s an explanation. I have to tip my hat to their attention to detail here as not even the Doctor Who Magazine comics have taken her off-world. I guess “Space Babies,” kind of counts. Just something I felt worth mentioning.

Not only has Ruby now died, but the Doctor learns that even if he does dupe the smartmine into thinking he’s not a living person, it will eventually detonate by default. The only way to stop this is now outside of the Doctor’s control, sort of. He must convince Mundy to surrender. Since the mine belongs to the Anglican Marines, only their surrender will disarm the device. Otherwise- boom. The Doctor explains to Mundy that the war they’re fighting is with themselves. The Villengard algorithm has been tricking the Marines into attacking themselves to keep them buying their product. It’s a war being waged against nothing all in the pursuit of profit.

Mundy asks the Doctor for proof which is where the Doctor’s stance on faith comes into play. But I feel like the actual conversation the Doctor is having in that moment is that faith is both a good and a bad thing. It’s not that he’s saying it’s bad for someone to have faith in God, but that it’s bad to let faith do your thinking for you. Splice has faith in her daddy. The Doctor and Ruby have faith in one another. Faith can strengthen us as people. But when it’s used to justify not considering deeper truths, it’s a hindrance. I feel like this is very in line with things we’ve heard the Fourth and Tenth Doctor’s say about religion in the past. I will admit though, I am an atheist, so I can’t speak from the perspective of a person with faith.

When Mundy tries to send evidence back to command, it’s intercepted by the algorithm and overruled. The machine has taken over and the smirking face of Susan Twist shows no signs of compassion leaking through. But with the Doctor connected to the machine and his hand connected to the remains of Vater, he’s able to send Vater into the algorithm. As Vater battles the ghost in the machine, I was reminded of “The Doctor’s Wife,” when the TARDIS re-enters her body and destroys House from the inside. In fact, lots of this episode reminded me of previous Doctor Who. The short war fought on the basis of a lie reminded me of “The Doctor’s Daughter.” The message about unchecked capitalism reminded me of “Oxygen.”  And of course there’s the mine calling back to Tom Baker in “Genesis of the Daleks.” Lots of what Ncuti was doing this week reminded me of Tom Baker and I mean that as the utmost compliment. He was doing stellar work here.

This episode had me grinning from ear to ear for the entirety of its runtime. But it wasn’t until after that I realised what it was that had me so happy. Sure, the episode was good, but I realised that it was the first time in the last 5 or 6 years that I had enjoyed a new Doctor Who episode without a giant asterisk hanging overhead. I cried tears of joy during “The Woman Who Fell to Earth,” but that was excitement for Jodie. My opinion of the episode itself was quite low. I enjoyed “The Witchfinders,” (also how cool was that reference to it in this episode?) and I enjoyed “It Takes You Away,” but I loved “Boom.” Without any hesitation, I absolutely loved it.

While the RTD2 era has been a marked improvement, I have had a few reservations. Mostly that it has so far felt like they’ve been trying way too hard. Trying too hard to have fun. Trying too hard to be funny. Trying too hard to be action-packed. I hope that the people in charge have seen the fan reaction to Boom for what it is. You don’t need massive budgets. You can do smaller stories with simple sets. The fans will respond well when you nail the tone and writing. Even Ncuti Gatwa said that while he was confused the entire time shotting the episode, it ended up being his favourite of the season. This felt like the most Doctor Who episode of Doctor Who that I’ve watched since Moffat left, and I’m including the new Davies stuff in there. This is what I meant when I said I wish Davies would chill the fuck out. Stop trying so hard.

Where this falls short for me is it highlights how insular the show has been since it returned. Eight episodes, six by the same writer, one by a former showrunner, and the remaining one is shared by two new authors. Why? I’ll be honest, Davies has never been my favourite Doctor Who writer. He’s a strong producer who writes people well. But when it comes to his episodes, other than “Midnight,” he’s never written one I would call a favourite. This is just a personal preference. When they announced his return, I was more excited for a return to competence than a return to classic writing. We could use new blood in the writer’s room. Even Chris Chibnall could see that, and he did hire some pretty good talent. My two favourite episodes from his era are written by people new to the show. More of that, please.

In truth, bringing Moffat back was a good choice. Unlike Davies, Moffat has written some of my favourite Doctor Who. And as with most anyone who has written the shear volume of Doctor Who as he has, he’s also written some of my least favourite Doctor Who. It’s bound to happen at that level of output. He’s not a writer without problems. His writing of female characters leaves something to be desired. But Moffat writing under a different showrunner, with an editor? Total Chad material. Some of the best. If they kept bringing him back like this every year or so, I would absolutely love it. Especially because it would continue to leave room for new talent.

With Vater in the machine, the ambulance revives Ruby. Sadly, Mundy’s love, Canto, dies just as he proclaims his love for her. This part was a bit shallow in that it was barely set up and felt like loss for the sake of loss. As Jean Cocteau once said “Emotion resulting from a work of art is only of value when it is not obtained by sentimental blackmail.” So it’s a bit difficult to feel sorry for Mundy here, but it’s not completely void of an emotional core. It’s nice that Splice has a new caretaker in Mundy, and that’s as happy an ending as we need. What’s more important is the emotional depths we’ve experienced with the Fifteenth Doctor and Ruby. This was the moment when they were solidified for me as characters. I needed this episode. Not so much to show me that the Ncuti and Millie could do it, I knew they could. But rather to show me that the show could still do it. That RTD was still up to the task of delivering us something more than progressive happy fun. We’re not beyond the realm of complexity. And with that, I can relax a little. What else ya got, Davies?

[timeagainreviews]

I've been playing a lot of Fallout lately