newwhoreview2016

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Empire of Death

The opening 5 minutes of this are tremendous. I could critique it by saying that Kate’s death could have been convincing, but once we realise Rose, Carla et al are dead too, we know a reset button is coming. But the same is true of Peter Parker and others in Infinity War, so it gets a pass.

Using the memory TARDIS was a nice surprise. Lashing it together with ropes (and Tom’s scarf) is fun enough, but makes more sense now I know the ropes are used later. And I’d forgotten the colourised clip of Carole Ann Ford.

Big problem: why retcon Sutekh? He used to be just an evil Osirian, not the most powerful enemy we’ve ever faced. Again, make this the Beast and it makes way more sense. (Check out the later Mel possession scene, so similar to Toby Zed’s.) And the Susan Twist explanation is just daft, as is the idea of the big dog hanging out on the TARDIS since the seventies. See multiple memes for proof.

We’ve now seen people standing in or on the TARDIS in Space many times, but it’s never looked so fake. And the scene goes on and on. Stop giving him so many lines. We understand the stakes! We get it! And then the scream…almost works.

Then it’s the spoon scene. Which is supposed to be profound? Or something? I honestly have no idea.

Mel falling under Sutekh’s spell is fine, but more could have been made of it. What if it had been revealed that she was always a harbinger? That that’s why she joined UNIT?

OMG, imagine if it was Fenric instead of Sutekh! That would make so much more sense!

“What happens if you bring death to death?” Well, nothing. The denouement whereby the all powerful god is put on a lead and dragged around, somehow magically reversing everything, is shit. That is all. And I include the Doctor’s OTT reaction to having to kill Sutekh.

Ruby’s mother. I love the idea that she’s nobody - the Last Jedi route - but this sadly makes no sense with anything that’s gone before (her Nazgul get up, Sutekh being obsessed with her). And bringing 73 Yards into it is frankly odd. But the mother-daughter reunion really gets me. Nice scene.

And then to Mrs Flood. That really better pay off next year.

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The Legend of Ruby Sunday

Never has it been more blatant that RTD wants to ape another Disney property.

This is so easy to watch, full of familiar faces talking about familiar things. Some of them are criminally underused (Rose, the Vlinx) and we get fun new ones too (Lenny Rush). It helps if you don’t stop for a second to question anything, because nothing really makes sense. You also have to ignore when people start talking completely out of character (“I love Davina!” plus anything about Susan).

The time window sequence is great, but it’s hard to recapture my initial positivity about it now that I know that it leads nowhere. In fact, this is the problem with the whole episode: terrific setup with a colossal letdown on the way.

Why is Mel now in the series? Goodness knows, but the scene in the corridor proves that it’s a good thing.

So for 39 minutes this is a brilliant episode. Then… the thing happens. And that’s brilliant in a whole different way. Although - it would make so much sense if it were Gabriel Woolf’s other Beastly role. And sorry, the big dog looks shit.

Side notes: this is the 2nd time in five years that a tech billionaire is miscast. This might be my favourite Jenna Redgrave episode since her first. Nobody in the future will get the Theresa May reference, but I appreciate it. If you’re going to make a joke out of everyone noticing the S TRIAD anagram at the start, don’t end with the ludicrous H Arbinger thing and Sue Tech. I like the suggestion that Susan’s existence doesn’t necessarily mean the Doctor has kids…except Ten explicitly told us he did. Oh well.

Next time: I’m sure everything will be explained satisfactorily.

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Rogue

The word “Bridgerton” is used four times in this episode. Once would do. It feels like watching something get dated within seconds of transmission.

There’s nothing too obviously wrong with this episode, so why do I feel unenthused? It’s either too slender to fill up an episode or would be better as a two-parter, or possibly both.

After 10 minutes, the Doctor and Rogue find the Duchess’s body. After 20 minutes, they’re on the same side and heading into the TARDIS. Meanwhile, Ruby is in another, less interesting wing of the plot. At 25 minutes, the men dance. (The subsequent scene goes for iconic but hasn’t quite earned it.) At 30 minutes, the Chuldur are chasing them around the estate. Yeah, the pacing seems good, so why am I restless?

The use of cosplay is delightfully meta and gives the Chuldur a unique motivation. The revelation that Emily is a Chuldur is perhaps a twist too far. “Pure Imagination” is wasted here. It’s a great idea, but in the wrong episode. “Poker Face” is random too. Michelle Greenidge’s cameo is a bit odd…

…and this should be a defining moment for Ncuti. He thinks Ruby is dead. He has dialogue which Tennant would eat. But it seems this Doctor, so expert at portraying sadness, is less adept at anger. And Rogue being able to shove Ruby out of danger is too easy.

Rogue: “…ever since we got that new boss.” Callback to the Meep’s final line - will we find out in s2?

Why isn’t Susan Twist playing the housekeeper?

Next time: speaking of Susan Twist…

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Dot and Bubble

There is no excuse. You could have chosen any song ever. Why choose Itsy Bitsy Teeny Weeny?

This is probably the most watchable, rewatchable and engaging bit of Doctor Who screened in the Gatwa era so far. The social media satire seems a bit route one, something Black Mirror did better ages ago, until you realise that’s not what’s being satirised. Watching it again once you know what’s going on pays dividends and that’s not something you can always say.

Previous stories that sidelined the regulars gave us sympathetic characters played by Marc Warren or Carey Mulligan. It’s brave to focus so heavily on the abhorrent Lindy, but Callie Cooke carries us with her. The monsters are good too.

“You still have battery problems” is a vibe.

Next time: period costume, animal heads, the bloke from Glee with a gun.

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73 Yards

First of all, there’s no call for ditching the opening titles.

Whatever I end up thinking of the whole episode, let me mourn the episode I thought I was getting. The episode set in a Welsh pub with witchcraft and interesting locals. Now we’ll never get that episode.

The central image of the woman semper distens is very effective, especially when seen from the train. Her continual effect on everyone who speaks to her, raising the stakes each time, is also good. Carla’s rejection of Ruby is effective, but undermined by the fact that she already played this beat 5 episodes ago. And the sudden unexpected appearance of Kate is startling, exciting, then raises the stakes still further, showing how alone Ruby is. Kate’s dialogue is fab, and I like her acknowledgement of how supernatural things are getting.

Then time passes - another startling innovation. Then we see Aneurin Barnard and the story completely changes again - Chekhov’s fascist. The Albion party’s rise obviously chimes with recent events (Trump, Reform, new parties in other countries) and that makes it scarier.

One odd sequence: why age Amol Rajan up rather than inventing a character? Why drop in the 2031 Great Russian War? And the bit about firing nuclear missiles (“we’ll cut that bit out”) is kinda on the nose.

Why is the Marti plotline here?

The scene in the stadium is fantastic, bringing everything together to solve the problem and save the world.

And that’s where the episode could have ended.

Instead, we get to skip 40 years and see a sequence presumably influenced by 2001, leading to - of course! - she was the Watcher all along! Which never makes sense. Why 73 yards? Why is everyone terrified of her? Why anything?

If you want this to wrap up in a way that makes sense, I have bad news. (Which is bad news for the whole season too.) But aesthetically and thematically, this episode is beautiful throughout.

And did anyone else briefly think that Amanda Walker was Maureen O’Brien?

Next time: looks very much like dystopia

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Boom!

In the opening scene, we’re told that nobody ever sees the Kastarians. Is there anyone who didn’t work out the twist immediately?

The whole premise of this episode is great. The Doctor unable to move; Ruby’s first planet; capitalism as the enemy; killer AI ambulances; all good. But some of the actual dialogue is quite ropey. And that mine should explode at least 50 times during the episode.

The arrival of Splice doesn’t improve things. She’s not well written or acted, and apparently very stupid if she can’t notice her dad is a hologram.

The whole setup that leads to Ruby being shot is rather neat and using the dead Vater to end the situation is good too.

“Do you get-get-get it” is one of the stupidest things any Doctor has said. And why does he hug Mundy? At what point did she stop being an antagonist or do anything useful or good? The very end got me though - I do love a bit of Philip Larkin.

Next time: creepy goings-on in Wales.

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The Devil’s Chord

What on earth is the point of the cold open? Nothing in it is important to the rest of the story. It’s meaningless and off putting. Maestro playing the opening of the theme music is obvious, but nice.

There’s nothing wrong with the basic idea of music disappearing; of using the Beatles to show that; of the funny dog song. But the heart-to-heart between the Doctor and Paul McCartney doesn’t sparkle because it doesn’t feel earned. Actually, that’s often the problem. Everything from the Doctor’s freak out about the Toymaker to his half-hearted wrestle to get the TARDIS back to the sixties. Doesn’t earn its place. The conversation on the roof about Shoreditch also feels oddly placed, but the speculation over Susan’s death actually got me this time.

Ruby is a composer and pianist now?

Muting the whole show is a great idea but it happens for less than a minute, throwing away something potentially fabulous. One trick, once.

There is a great tv finale to be made from an epic music battle. This isn’t it. It’s ok, but not great.

“I thought that was non-diegetic” - brilliant line.

The glimpse into a destroyed 2024 is a nice touch - a surprise it’s taken 19 years to revisit this scene, really. Hopefully this will be the only callback to Pyramids of Mars this season.

Yeah, we’ll get there. But watching the “hidden song” section here, with snow and foreshadowing and Carol of the Bells - I’m saying there has to be more. We don’t know the whole story yet. Season 2 will redeem it. At least a bit.

As for the musical number…well, it had to happen one day, so I’m glad it was now and with such gusto. It come close to saving the episode, but the musical zebra crossing pushes their luck too far.

Next time: something of a shift in tone!

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Space Babies

It’s been months. I forgot how much I like the new opening titles and theme music.

The opening torrent of exposition divides people (it’s not needed, no) but Ncuti and Millie do such a good job with it. The way Russell uses “adopted” and “posh” and “genocide” as if these have always been part of the lore rather than a new way of looking at it. And then he throws away a great episode concept on a vignette about prehistoric Wyoming.

When we reach the space station, the dialogue continues to sparkle. “There's no such thing as monsters, there's just creatures you haven't met yet.” And Millie screams! We have a screamer! For the first time in so long!

If you’re going to have to edit our your Sugababes sequence, edit out all the times the Doctor says “push the button” afterwards.

So I did not hate this on first viewing. In the months since, I’ve lived in the world where this has the reputation of Plan 9 From Outer Space, and on this rewatch, the moment the SPACE BABIES turn up it feels…bad. Why was this what they did? What saves it (at first, anyway) is Millie and Ncuti again. And I’ll admit the “when was the last time you had a hug” sequence got me.

I’m so conflicted. Is the Doctor’s conversation with Poppy the cringiest thing ever or a magical moment like Pat in “Tomb”? Or both? Either way, the Doctor says SPACE BABIES 13 times in this episode. That’s too many.

We can’t blame Space Babies for Empire of Death, so let’s acknowledge the moment when it snows is pretty cool.

The people who hate Chibnall’s didacticism hate the messaging here, I presume? Mind you, it could be a bit more subtle. At one point, Ruby virtually looks to camera to say “right, viewers”?

“Crock of waste products” - that’s a proper laugh.

I don’t mind the bogeyman being made out of bogeys. It makes more sense than Sleep No More. But the whole final bit where somehow it’s bad to suck the bogeyman out the airlock…the episode has lost its way. Also, that’s not how airlocks work.

It’s not how farts work either.

Overall? There’s enough here to enjoy, but this was not an episode that needed to exist.

Next time: Beatlemania?

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The Church on Ruby Road

The first story of the Gatwa era proper starts multiple times. There’s the pre-titles at the church. Then Ruby talking to Davina. Then a nightclub at Christmas with the Doctor dancing like Eccleston could never.

I believe the sequence with the snowman and the policeman was a late addition and I really like it. It’s Doctorish in a McGann way. And then Shakin’ Stevens.

I love Ruby and her family. RTD really can write engaging characters. I love the super gloves too. Not so much the return of mavity.

I don’t know if I had “remake of Labyrinth” on my Doctor Who bingo card but here we are. By the way, a lot of people criticised the music and yes, it is a bit much sometimes, but it doesn’t spoil it for me. And the goblin song is great and I enjoy the Doctor and Ruby singing too.

15 saying he’s adopted is my favourite thing about the Timeless Child yet.

When Ruby disappears, I realise now that Labyrinth has turned into It’s a Wonderful Life. Merry Christmas.

Stabbing the Goblin King with the church spire is perfect. Chekhov’s Church.

Mid-credits scene! And the celebrated Mrs Flood.

This episode is better than I’d remembered. And I like Ncuti more than I thought. So that’s good.

Next time: I’ll let you know very soon!

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The Giggle

Do I think we needed the Toymaker’s return? No. If he had to return, am I happy that Neil Patrick Harris is doing the job? Absolutely. Most of this episode is comprised of ideas the show did not need, but there is unstylishly and enjoyably, so who cares.

For instance, I didn’t need UNIT to have a Tony Stark skyscraper in the middle of London but it’s there now. Hopefully, now we’ve dropped people off it, it can just be a location henceforth.

The basic concept of everyone in the world deciding they are right and this leading to chaos is very obvious satire, and I am here for it. Then it deviates into satirising covid conspiracy theorists, and frankly it’s delicious.

Please tell me the Vlinx will be addressed. Nobody even questions it!

Clips of Michael Gough and William Hartnell - lovely.

The Doctor and Donna again get separated and go into different rooms to face surreal nightmares. It’s essentially padding but it’s giving God Complex (or Bill & Ted’s Bogus Journey). It’s creepy but inessential until we reach the puppet theatre of canon, wherein RTD playfully destroys the Moffat era.

The Master? The One Who Waits? The Boss? “My legions are coming”? Lots of foreshadowing. Nothing that sounds especially exciting but hey.

When the Doctor returns to UNIT, he spouts a hell of a lot of technobabble, so thank god this leads to the Spice Girls sequence instead. Which is chaotic in the best way.

Tennant’s face off with Harris on the platform is rather good and I love the way he drops the word “celestial”.

The bi-generation thing mostly works. It’s fun to do something different. Just - it’s not a word.

Ending the whole plot on a game of catch is fun, but the way the Toymaker loses is anticlimactic. He just misses? That’s it?

I don’t think I appreciated Ncuti’s recap of the past 60 years enough first time, taking in everything from Sarah to Rose to River to Adric to Mavic Chen. It’s a great speech.

Fourteen’s final scene is lovely too. I kinda wish 12 and 13 could have come by to see how happy he is.

Next time: Destination Christmas

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Wild Blue Yonder

The Newton scene. I rolled my eyes at this so hard first time. Now, it seems less annoying, but it still seems like an 80s comic strip or 90s short story and I’m not sure it belongs on screen.

Unless of course Mrs Merridew and Mavity will turn out to be relevant.

The spaceship sets are fantastic and the intrigue is introduced gradually. After about ten minutes, you start to realise that we’re watching a two-hander. Which is an odd choice for a special. One of only three.

When the fake doctor and fake Donna arrive, it’s more obvious than I remembered that they are fakes. But what’s nice is that they don’t act fake. Normally under these circumstances you get Bill Filer intoning “Come to Axos” or Mickey saying “pizza” oddly. But Ten seems so natural and that’s scarier.

23 minutes and 27 seconds. That’s the exact moment when this episode gets really weird and turns into something we have never seen before.

The salt bit. I’m not convinced. Apparently this is some huge mistake he made which allows chaos to follow? Or something? Seems a stretch to me.

On first viewing, I did not like this episode. It just seemed ludicrous, and not in a good way. There’s still that problem - the big arms look like something from a Muppet movie and I suspect future viewers discovering this episode in ten years will fall about laughing. But the acting is good, the plot unfolds effectively and the peril provides tension.

I still don’t really understand why the TARDIS returns, nor why it’s playing that song.

The Donna fake out death bit goes on long enough that we briefly think RTD might actually do this…but given how easily the Doctor Uno Reverses this, it’s not really necessary.

The final scene with Wilf is lovely and obviously I know that they were unable to film any more. But how odd that it’s in this episode, not the start of next week’s!

Next time: the end of the whole world, apparently. Still missing the trailers.

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The Star Beast

On first viewing, this episode made me so happy. The RTD1 era may be my favourite era overall and it felt like we were right back. So let’s see how it feels now, before the 15th Doctor’s first season begins.

The recap is a bit odd, isn’t it? Tennant, looking like he’s cosplaying as the Tenth Doctor, like everyone in Dimensions In Time wearing half-remembered outfits, plonked on top of a generic background like he’s in a TikTok video. But then it’s into the best theme music and best title sequence we’ve had in ages, so it’s all fine.

“We’ve still got that giant sausage roll from Thursday.” The beauty of this episode is that it barrels along from beat to beat and they’re all entertaining. And the Noble family dialogue is straight out of Dinnerladies. Why is Susie Mair shorter??

Shirley isn’t as fabulous a character as RTD thinks she is, but she’s good, and her chat with the Doctor shows us Tennant starting to ring some changes.

Sylvia: “YOU!!” Having these characters back is just so much fun. All the Wilf stuff is lovely too, but more of that next time.

Do I care that the sonic screwdriver can now create shields? Yes, I do a bit, but not enough to spoil an exciting action sequence. (There is a bit too much gunfire-in-the-streets though.)

My god, the way it barrels along! The man is so good at this stuff. From chaos at home, to battle in the street, to trial in the car park. It’s wonderful.

The scene in the ship - David has to do his big yelling acting and nails it, then finally solves the one big problem everyone had with Journey’s End…

… although, while we are here, did we really need that to happen? Did we really need an entire return for this Doctor just so that RTD could appease everyone upset about Donna‘s lack of agency? Isn’t that about as necessary as solving the question of the Morbius doctors?

… except that I absolutely love the way they do it. The fake out death drags on a bit too long, but the solution, involving Rose, and the frankly miraculously coincidental use of the word binary all those years ago, is just fabulous. And the knowledge that there would be people all over the country really annoyed by this just made it even better. I’m actually crying again watching this. The bit where they just shrug off the metacrisis afterwards (“Let it go!”) is less satisfying, but I’ll allow it.

Ok, quibble - the Meep completely destroys a lot of London. And then somehow, because Donna turns it off, the roads repair themselves magically. Still, more good news for Sadiq Khan.

Overall, this was brilliant. I’ve been a fan since the Tom Baker era, but it’s very possible that RTD1 is my favourite era of the show. The Star Beast felt very much like my favourite era returning and I am completely there for it.

Oh yeah, and I love the new console room. Best one since the eighties. And I love the middle eight too.

Next time: anywhere in time and space, but there’s no trailers any more so who knows?

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Power of the Doctor

The pre-titles is energetic and not to my taste, a bit like The Halloween Apocalypse. The only good bit is Dan, having an experience that leads him to piss off out of the story five minutes later like Dodo with a more convincing accent. A bit weird, honestly.

“You are the Master and I will obey you.” Poetry, that.

Seismologists, a new planet, Rasputin, Cybermen, a Qurunx… this is every bit as busy as Flux and even less necessarily so. It works a little better though. And then Vinder arrives, for some reason! And some plotlines (most obviously the traitorous Dalek) go nowhere.

I’m loving Sacha Dhawan in this one. “A man’s allowed to experiment.” Why does every Master give their best performance in their final story?

“I’ll go that way, you go that way. Be careful.”

“I’m supposed to be the one saying that to you.”

Yes, that’s rather the problem.

The Russian Doll Cyberman should be a terrific moment, even a classic cliffhanger…but it’s thrown away a bit, plus it’s too similar to Passenger a few episodes ago. And as for Ashad coming back - pointless.

I remembered that the “Rasputin” scene is a highlight - but I’d forgotten that, insanely, the episode intercuts it with bloody Vinder talking to himself. Such bizarre decisions made during this era!

Forced regeneration, then. An interesting idea. But surely it makes no sense at all?

We thought the best thing about this would be Tegan and Ace, but in fact it’s the appearance of all the past Doctors. Suddenly, the plot doesn’t matter any more. We’re loving the reunions and the cameos and everything else will be fine. The all-too-brief 5/Tegan and 7/Ace scenes are lovely and make me wish Nicola Bryant was somehow in this.

Graham!

This really is getting better as it goes on. The plot is ridiculous but it’s all about the moments. Little moments like Vinder shooting the Master, Yaz talking about the Doctor’s friends, Tegan saying Rabbits! Ace’s timers still not working. “We used to be friends, him and me.” “HOW is it bigger on the inside?”

The Qurunx killing the Doctor is a bit weak, but really it was the Master. Yaz fetching her is rather lovely. And the final non-goodbye is probably the best we were ever going to get.

The companions’ AA meeting though. William bloody Russell. That was a real treat.

Then there’s the Durdle Door regeneration and…in a few days I get to see what happens next.

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Legend of the Sea Devils

The opening sequence is atmospheric and effective. Except it takes half an hour before anyone explains it but never mind. Sea Devil/Land Parasite is a great exchange. And even the bit where the Sea Devil jumps onto the flying ship looks less stupid than I’d remembered, but it’s still odd.

It’s once the Doctor meets Madame Ching that this starts to creak. The exposition scene is painful, then we enter a series of scenes that feel as though they’ve been edited to the bare bones. We know a ton of material got snipped - maybe it was here.

A trip back to 1533 seems like a great idea, but it’s too brief to be successful. Then the story zips from one ship to another via the underwater base. Then the Earth is in danger but there’s some sword fighting and Dan starts flippantly killing people which…is odd. Ji Hun does a Ko Sharmus. The plot ends at breakneck pace and I don’t really know what happened but everyone is ok. And I forgive you for killing my father.

On first viewing, I thought this could be the worst Doctor Who story ever. Now…it’s just mediocre. Disappointing and poorly constructed, but not the worst.

And the Thasmin stuff is better than I thought too.

Next time: Ace! Tegan! Never mind anything else.

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Eve of the Daleks

Before I get into this one, I know in advance that I’m looking forward to it, which is a relief as that hasn’t been true for about 13 episodes. However, let’s start by pointing out that the setup doesn’t work at all. A storage facility with only one customer which nonetheless continues to operate and employ staff? A phone with the button to put it on silent conveniently broken? A failing business that blows up and Sarah doesn’t end up being arrested for insurance fraud? Literally everything about Nick?

As we go on, there’s more that doesn’t quite work. The Daleks are very poor shots when they’re needed to be. The time loop stuff doesn’t quite track. And the “good hearted weirdos” scene which boots up Thasmin (a little too late to please anyone) does it awkwardly.

But I don’t really mind about any of that.

9 minutes 20 seconds before the opening titles and everyone has been exterminated. And the episode continues that way - like the Dalek says, relentless. It’s exciting enough that the above contrivances and any other plot holes don’t really matter. And it’s funny too.

These are the best Daleks, or rather this is the best treatment of the Daleks, since I don’t know when. “Dalek”, maybe? And we get another subversion of their catchphrase courtesy of Nick.

The Doctor has an inspiring speech in the reception area about 40 minutes in. The “This is what being alive is” stuff. I can image this moment landing with any of the last 4 Doctors, but CC’s writing + JW’s performance doesn’t do it for me. Sorry.

The episode contrives to solve its problem with a firework display which is nice for a New Year special. But why is Karl here? And why isn’t Karl Jeff?

Next time: OMG it’s a Sea Devil!

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The Vanquishers

The Doctor is reunited with Yaz, the Sontarans in the tunnels are defeated, the Doctor meets Bel and Karvanista - and this is still the pre-titles!

There is so much going on here, so much that needs to go on, that the writer has been forced to split the Doctor into three with very little justification. She chaotically hijacks the Lupari ship to attack the Sontarans; she gets Williamson and Kate to exposit; and she is tortured by Swarm and Azure with her fob watch. And there’s a cringy Paul Hollywood joke.

Chocolate-addicted Sontarans? Funniest thing in ages or least funny thing since the wifi joke in Resolution? You decide.

There’s a great conversation I’d forgotten about between the Doctor and Karvanista. This is how the Division backstory should be dealt with. But it’s brief then we’re back to chaos. What’s the point of killing all the Lupari? It’s so incidental.

Oh yeah, Vinder and Diane inside Passenger! As if there weren’t enough strands in this episode! And what’s the point? They escape very easily.

The gang go and get Claire from the sixties to infiltrate the Sontarans with Jericho. If I’m honest, I’m not clear what the psychic thing the Sontarans are doing actually is. But once the Doctor and Kate explain the plan involving antimatter, Daleks and Cybermen, my main problem is… This is a Sontaran plan? Really? It doesn’t fit. They’re the wrong monsters.

Oh, and Diane’s plan to use Passenger is much better. We didn’t need Daleks, Cybermen, Sontarans or Lupari - this is obviously the best solution.

Jericho’s death is rather lovely, but also random and pointless. He doesn’t achieve anything through his death. The nameless Ood has a more meaningful exit.

In the end, what are Swarm and Azure? What is the point of them? We overlook this because the make up and the actors are so good, but they are just conceptual shrugs. And Time is even worse: they couldn’t even be bothered with a new design or actor. Time is just a handy way to dispose of the Ravagers and foreshadow The Power of the Doctor.

Flux, then. Overall, better than I’d feared. But it’s a six hour mess of too much stuff, most of which is undercooked. Full of sound and fury, signifying nothing.

Next time: some of the Daleks survived, then.

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Survivors of the Flux

Right from the start, a problem: Yaz, Dan & Jericho playing Indiana Jones is hugely engaging, but the Doctor is wandering around an offputtingly conceptual series of scenes where exposition doesn’t even really exposit.

Finally we reach Division. There’s a big tree, an Ood for no reason and a woman in a funny hat. The woman gives a quite good speech about what Division is then says she’s the Doctor’s mother and that she created the Flux to destroy the universe because of the Doctor. Or something.p

Then, quite unexpectedly, it’s 1958 and the bloke from Cold Feet is setting up UNIT while going shooting with the Grand Serpent. And we follow him through the episode until Kate joins the story. And we wonder how obvious the Hydra/Shield steal was supposed to be.

And in 2021, Karvanista accidentally stops Bel from reuniting with Vinder. Instead, he gets eaten by Passenger and meets … Diane?

Then we’re in Nepal with a hermit. What the hell is that scene? We’re back to Monty Python.

Then there’s Joseph Williamson whose tunnels finally start to make sense. And the Serpent is in league with the Sontarans. And Swarm and Azure turn up at Division.

There’s a celebrated scene where Yaz interacts with a hologram of the doctor. In this scene, which is good, the doctor talks about how displaced aliens will all want to come and attack earth because of the flux. This is a great concept and this is what the series should’ve been about. Shame it wasn’t.

Any individual 3 minute segment of this is pretty good (except for the hermit) but if you watch them in sequence it’s like six jigsaws have been mixed together.

Next time: Really, are we going back to the bloody Sontarans?