#The Devil's Chord Review

[esonetwork]

Doctor Who: Space Babies & The Devil's Note Review

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Doctor Who: Space Babies & The Devil's Note Review

Embark on an epic journey through time and space with the Earth Station Who Podcast, as we delve into the exhilarating premiere of Season 14 of Doctor Who! Join us as we unravel the mysteries and marvels of the first two episodes, ‘Space Babies’ and ‘The Devil’s Chord.’ From thrilling encounters with Space Babies to meeting the Beatles and the heart-pounding musical horror of facing off against the Maestro, we explore every twist, turn, and timey-wimey surprise that awaits the Doctor and Ruby Sunday. Whether you’re a devoted Whovian or a curious newcomer, join Mike F, Michael G, and Mary, as well as their guests Elaine Sweatman, Matt Sweatman, and Dave Chapman, for our insightful analysis, engaging discussion, and insider insights that will transport you to the heart of the action. Tune in now and discover the excitement of the new series of Doctor Who, exclusively on the Earth Station Who Podcast, and remember there’s always a twist at the end!!!

We want to hear from you! Please write to us at feedback@earthstationwho.com. Also, please subscribe and rate the show on iTunes, Amazon, YouTube, or wherever fine podcasts are found. Feedback is always welcome and much appreciated.

Links Listen to older episodes of the Earth Station Who Podcast ESW on iTunes Earth Station Who on Spotify Earth Station Who on Instagram Earth Station Who on YouTube Make-A-Wish Foundation The ESO Network TeePublic Store The ESO Network Patreon The Rat Hole Creative Criticality Legend of the Traveling TARDIS Monkeeing Aroundee

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If you would like to leave feedback or comment feel free to email us at feedback@earthstationwho.com

[sit-cons]

Although ‘the Devils Chord’ isn’t my favourite Season 1(4) episode I still find it brings an interesting amount of experimentation and concepts.

I’ll still never forgot watching Ruby and The Doctor run into the recording studio, the music is ramping up but as we cut to The Doctor — it muffles. It’s subtle but between the camera switching perspectives and the track becoming almost diegetic again you can really feel the confusion Ruby has on her face, it’s honestly amazing.

Anyways still a good and silly episode.

[an-american-whovian]

• An American Whovian Reviews: 'The Devil's Chord' — by Russell T Davies.

I'm sure a lot of us were hoping this would be a legit musical episode and we got a lil' bit of that at the end. However, what we still got was a lotta fun. Mostly due to the eponymous time wizard's latest terrifying villain: The Maestro.

Also, some people complained about The Beatles casting — but I've definitely seen worse .

⭐⭐⭐ outta four.

[joju-but-trek]

Doctor Who Season 14, Episode 2: The Devil's Chord

They shouldn't have cancelled Schmigadoon.

I loved this episode. It was so weird and so fantastic and so different from how Doctor Who usually works.

I absolutely recommend it, with the caveat that it is going to feel like a ton of stuff happened between episodes 1 and 2.

This episode took the premise of being as ridiculous as possible and ran with it. I respect it for that.

The Maestro is such a fun villain, Jinkx Monsoon is incredibly chaotic. I love the approach for the Toymaker's army generally being evil concepts. I normally love that kind of cosmic horror and this was such a fun way to deliver it.

I like how they played with the other things in the show's history happening in 1963, and used it to further the idea of the Fifteenth Doctor reacting to his past in a more complicated way.

Also, Ruby is definitely cosmically something. I'm buying into that theory now. My joke answer is that Neil Patrick Harris is going to pop out of her in the finale or the Christmas Special. I do like that this episode played into her musical history, it was nice to get a character beat from her that wasn't about her family.

Also this episode fucked with the sound in so many ways. The mute scene, the background scoring, the lead-in to the theme, it was fantastic. And the way they lead into a musical number at the end was fun too. It did remind me of Schmigadoon, which again, should not have been cancelled.

I made a note in the non-spoiler section that stuff happened between episodes 1 and 2. There were a few moments where Ruby started with "Doctor, you always do this" and I kept remembering that we've seen them do two things together, and during the second one the fact that the Doctor got scared of something kept coming up. If this were a show with a reasonable number of episodes, we'd probably have a couple more, but I feel like this is leaving space for comics and audio dramas. If that's the case, good, it's just assuming a lot and I'm not sure how someone who hasn't seen the show before is supposed to read this.

Anyway, a ton of fun, CGI music notes are great, 9/10.

[the-all-seeing-salmon]

Doctor Who Episodes 1 and 2 - Thoughts in breif

Space Babies - Couldn't help but compare it to End of the World which was SO much better. It was fine as episodes go, I predicted the plot pretty early on, it was a nice (if explicit) commentary on anti-abortion and childcare and there were a few really nice scenes. Gatwa is great, I love him, and I'm interested in what's happening with Ruby (though I'm worried she's going to become a Clara). But the episode was a bit too fast paced. It felt rushed, like it was trying to dump the last 60 years of lore about the Doctor on new viewers in one episode - which I don't think you should do! New companions don't need a full explanation of everything, let them and the audience discover things at the same rate naturally. Some companions don't need to find out everything either. That's my primary complaint. Overall a mid episode: 5/10

The Devils Chord - New villain who is absolutely fantastic, loved them! The story felt fresh and the pacing was so much better than the last episode. There's so many good scenes and once again, Gatwa kills it (and I'm loving the different outfits)! I have very little negative to say about this one, the is good Doctor Who: 8/10

[ewatsonia]

this season of dw wasn't my absolute favorite but i got to see 15 be really sad about susan multiple times so i'm pretty content tbh.

[thelowerdecker]

My ratings of the two Episodes!

Space Babies: It was alright, wasn’t a fan of the gross out humour. 🤢

The Devil’s Chord: Now, that was when things picked up, absolutely love that episode, that ending song is still stuck in my head! 🎵

[radiantlyrey]

Doctor Who Review: S1/S14E02 - The Devil's Chord

The second episode of this season's double premiere, "The Devil's Chord" follows the Doctor and Ruby Sunday to 1963 as they go to watch the Beatles record their first album. But something has gone wrong with music, and the pair soon find themselves in a fight for the universe against the mysterious Maestro.

It's difficult to know where to begin with this episode, because I adored almost everything about it. It's beautiful on a technical level—the sound design, music, cinematography, and costumes are all top-notch—but it also hits so many good notes (if you'll pardon the pun) with the performances and action as well. There's a lot in this episode that's unsettling to me, but it's still a magnificent piece of fiction from start to finish.

If we have to start somewhere, then let's start with the standout guest star: Jinkx Monsoon, whose electrifying performance brings Maestro to life with a wicked, campy glee. From the first moment they appear, Maestro draws the eye--not just with their over-the-top costumes and makeup, but also with the way their mood seems to turn on a dime. One moment they're a little gleeful, and the next they're riding a wave of fury as they scream in a slightly lower register. I think it's fair to say that this episode largely works <em>because</em> of Monsoon, who makes Maestro feel equal parts campy and dangerous. The scene when Ruby and the Doctor are hiding from Maestro is a particular highlight for me; Monsoon owns the screen for those few minutes, her performance so magnetic that I felt like I couldn't look away. (I don't know if Doctor Who qualifies for the Emmys this year--it might because Disney is co-producing--but if it does, they really ought to submit Monsoon's performance in one of the Guest Role awards.)

And this isn't to sell Ncuti Gatwa and Millie Gibson short--their performances are a little dwarfed by Maestro's screen presence, but no less excellent. The Doctor is only rarely out of his depth, and Gatwa really sells his terror and helplessness when Maestro first appears. Gibson does good work here, too; Ruby's horror at the nuclear winter in the alternate 2024 is grounded even more when she tearfully asks the Doctor where her mum is. Their chemistry together continues to delight me; the scenes when they're watching the various music recordings pop out in my memory. (Ruby gently patting the Doctor on the back as he's almost literally knocked over by how <em>bad</em> the orchestra is sticks out in particular.) They're making quite a good TARDIS team so far, and I can't wait to see what they do next.

But the thing that hits me hardest about this episode is the place it seems to hold in the season's overall story. We get a few more crumbs about Ruby's background, which are made all the more interesting because Maestro seems genuinely unnerved (and a little terrified?) by her. More significant to me, however, is the sheer number of fourth-wall breaks in the episode. Maestro acknowledges the camera twice and plays the opening notes of the show's theme song (bleeding into the opening credits themselves). The Doctor <em>also</em> winks at the camera at the end of the episode, and at one point makes a comment about non-diegetic music (namely, mistaking Maestro's diegetic music for the music that backs the whole show). That last is <em>especially</em> intriguing given the appearance of old musical themes in diegetic sound here. When the Doctor and Ruby encounter Maestro in the bad future, Maestro plays three notes of the opening theme, as well as the Master's theme from Series 3. The Doctor also seems to recognize the song Ruby first sings while under Maestro's control, but I haven't been able to positively identify that one yet. I have a feeling that this episode is going to be <em>vital</em>  to the season's arc, but I can't quite figure out <em>how</em> yet.

So that's a whole <em>other</em> ball of wax. I don't have a lot of coherent thoughts about the episode, but I do have a small list of things I liked, so let's get into that:

- First off, SUSAN FOREMAN. The Doctor tells Ruby about living in Shoreditch with his granddaughter, and Ruby asks him where Susan is. He speculates that she's probably gone (which to my mind makes me think that she might actually be coming <em>back</em>?? maybe???).

- In the same vein, I love that the Doctor is being more open about his past. Previous New Who Doctors often had to have backstory details dragged out of them, but Fifteen is a relatively fresh breath of air in comparison. I think this also ties in a little with the 60th anniversary specials, and the way the Doctor was more willing to be openly affectionate and more emotionally available. We see a lot of that still with Fifteen, both here and in "Space Babies."

- Another intriguing detail: the Doctor mentions seeing Ruby perform with her band at Christmas in "The Church on Ruby Road", which stuns Ruby a little, and which the Doctor does not explain further. I have my theories about what was going on with the Doctor "following" Ruby in that episode, but I'm going to sit on them for now.

- I know I mentioned the music up above, but I really liked how it was used in this episode. The non-diegetic music is largely absent when the Doctor and Ruby first arrive in 1963, only popping up in scenes where the characters are deep in their feelings (the Doctor's conversation with Paul; Ruby's song for Trudy on the rooftop). I've already discussed the use of diegetic music, but needless to say, I enjoyed the way this episode meta-fictionally played with the notion of music in film.

All in all, "The Devil's Chord" is a delightfully weird episode, with great performances all around and intriguing threads being laid for the stories ahead. With the next episode being written by Steven Moffat (my favorite), I can't wait to see where this season of Doctor Who takes us next.

[geekpopnews]

Review | Doctor Who: O Som do Diabo (The Devil's Chord)

O segundo episódio de Doctor Who, "O Som do Diabo", chegou e nos apresenta um vislumbre do que foi prometido no especial de 60 anos. #DoctorWho #14thseason #Disney+ #NcutiGatwa #MillieGibson

Na transição do primeiro para o segundo episódio da nova Era de Doctor Who, é evidente o avanço na qualidade do roteiro de Russell T. Davies, em “O Som do Diabo” (The Devil’s Chord), contamos com a inclusão de personagens históricos, incluindo os Beatles. Contudo, o verdadeiro ponto alto é a introdução de um novo vilão, sinalizando promessas empolgantes para o desenrolar da série. A promessa do…

[dwimpossblog]

The Devil's Chord

The Doctor and Ruby visit Abbey Road Studios, only to find that there is something seriously wrong with music. Spoilers follow! #DoctorWho #DrWho #TheDevilsChord #Gatwa #FifteenthDoctor #Review

I can’t fight this.The Fifteenth Doctor This review contains spoilers. For my spoiler free review, click here. Synopsis The Doctor and Ruby meet The Beatles but discover that the all-powerful Maestro is changing history. London becomes a battleground with the future of humanity at stake. Review The Devil’s Chord is a story that masquerades as a celebrity historical, whilst it is actually…

[example-of-a-romantic]

the devils chord review

His ass is playling the piano! 10/10

[esonetwork]

Doctor Who Series 14 (or Series 1, Whatever) Review | Earth Station Who

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Doctor Who Series 14 (or Series 1, Whatever) Review | Earth Station Who

Join the Earth Station Who Podcast for a special live episode where we dive into the thrilling full season of Doctor Who featuring Ncuti Gatwa as the Doctor. Recorded in front of an enthusiastic audience, our hosts break down every exciting moment, character development, and key theme from this groundbreaking season. From Gatwa’s captivating portrayal of the Doctor in episodes like “The Legend of Ruby Sunday,” “The Devil’s Chord,” “Rogue,” and “73 Yards,” we cover all the season’s most unforgettable moments. Whether you’re a longtime Whovian or new to the series, this lively and insightful discussion offers something for everyone. Don’t miss out on the adventure—tune in now to the Earth Station Who Podcast!

We want to hear from you! Please write to us at feedback@earthstationwho.com. Also, please subscribe and rate the show on iTunes, Amazon, YouTube, or wherever fine podcasts are found. Feedback is always welcome and much appreciated.

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[gayleviticus]

reading devil's chord reviews i feel like maybe the biggest make-or-break is that i didn't like maestro as a villain that much? like. they were a more entertaining but just as hammy version of the toymaker and that was it.

whereas people who seemed to really enjoy the episode are being like 'theyre a fantastic villain, best new villain we've had for years'. which is fair but I just don't really see it.

they aren't scary or menacing or funny the way Missy is. their biggest strength is hamminess, which is fun, but I felt like there wasn't enough antagonistic chemistry between them and the doctor/ruby for it to work? hamminess in a vacuum is meh. just didn't work for me.

i feel like an actual musical number (duet between doctor and maestro?) might have worked better for that. but i just didn't vibe with them.

[starlightseraph]

doctor who series/season review that no one asked for!

overall this series was an 7/10 for me. the plots were mostly good, the characters were lovely. the dialogue was occasion corny, but this is doctor who we’re taking about.

- the special was alright, not great but still enjoyable.

- “space babies” was weird as hell, but not terrible.

- “the devil’s chord” was good, funny, and with a compelling villain. i think it might’ve been resolved a bit too easily, but still, i really liked it.

- “boom” was great, i have like two very minor quibbles with the pacing but they’re so tiny that it’s easy to ignore.

- “73 yards” was amazing, but i do feel like they set up a lot of plot threads that never came to much later in the series.

- “dot and bubble” was also amazing, very well done.

- “rogue” was great, basically the only issue i had with it was that one line. you know the one i’m taking about. i need rogue to come back, he and the doctor have amazing chemistry. as someone who���s not a fan, the incessant bridgerton references were mildly annoying, but i know that many of my fellow gen z people love it, so i’ll give ruby a pass for that.

- “the legend of ruby sunday” was so good, i was incredibly excited to see how all the overarching mysteries throughout the season would connect. it was probably because that episode was so good that “the empire of death” was so disappointing. the pacing was off, the resolution was odd, and so much was left unexplained (assuming, of course, that there isn’t some larger, longer-running conspiracy that we have yet to see the full picture of, but that seems unlikely atm, except for more involvement of mrs flood).

i only have one issue with the series as a whole, which was that we didn’t see much relationship development. i guess there wasn’t time because this series was so short, but i go crazy for doctor-companion bonding. scenes where they’re just sitting around, talking about life and the universe and everything are my favourites. i recently rewatched “the impossible planet” and “the satan pit”, and the doctor/rose dynamic is wonderful when they just talk. the six month time gap from the special to the first episode is probably when the doctor and ruby got to know each other, and i would have loved to see it.

[pluralzalpha]

Review to come when I have any time free, but now the finale's done, my personal ratings for the season:

Dot and Bubble

Rogue

Boom

73 Yards

The Devil's Chord

Space Babies

The Legend of Ruby Sunday

Empire of Death

[timeagainreviews]

In Space, Nobody Can Hear You Scream for Your Nappy Change

Few shows have had as many pilot episodes as Doctor Who. From “An Unearthly Child,” to the 1996 TV movie, to 2005’s “Rose,” and now “Space Babies.” However, one could argue that every new Doctor is essentially a pilot episode. There are notable shifts in the show’s dynamic to such a degree that it’s practically a reset. Any major personnel shift is a renewal. The transition from William Hartnell to Patrick Troughton, the transfer of power from Russell T Davies to Steven Moffat, and again, from Moffat to Chris Chibnall, for example. Even series ten began with the cheeky title “The Pilot,” where we find the Doctor earthbound as a college professor with his student, Bill, and his wife, Nardole. But “Space Babies,” is an odd one, for so many reasons. Mostly because it’s introducing us to characters we’ve been getting to know for a couple of episodes now. Then, of course, there’s everything else.

For some, an episode called “Space Babies” was always going to be a hard sale. Back in March when they revealed the new episode titles as a series of vignettes, Space Babies looked and sounded a lot like what we got. Sometimes a very literal title can be a bit of fun. “Snakes on a Plane,” tells you everything you need to know going in. While it may have benefitted from a bit of virality, you could argue that it does more with its premise than something like “Cocaine Bear,” which was little more than its title. I’ve complained in the past that my issue with the concept of the Timeless Child was that you could figure out the story by hearing the words. If I can watch a story in my head from its title, then in the words of Amy Pond- what is the point of you? My reaction to the title “Space Babies,” was very similar. Except in this case, I would say it was closer to a “Snakes On a Plane,” than a “Cocaine Bear.”

We’re off to a great start. I got to mention cocaine and babies in the same sentence. Speaking of awkward starts, why did Russell T Davies decide to open the show with the twee episode for the kiddies? Those types of stories are usually relegated to the mid-season point, after a really good one. I guess they needed a palette cleanser to put some space between “The Giggle,” and “The Devil’s Chord,” as they’re essentially the same story twice. But that’s for the next review. Though “Rose,” has its own brand of wacky weirdness with man-eating rubbish bins and plastic boyfriend doppelgangers with pizza peels for hands. Even still, it’s an odd choice for the “pilot.”

A lot of the episode’s enjoyment is predicated on how cute you think babies are. In my case, it’s not very much. If they had called the episode “Space Kittens,” it would have hooked me. But babies come with baggage. People are weird about babies. Babies are often politicised, which this episode definitely does, but more on that later. Another reason why babies were a hard sell for me is they’re not actors. Child actors are rarely good, so filtering their performances through the vacant faces of babies is like making a bad thing worse. Sure, they animated their mouths with cutting-edge technology straight from 1995’s “Babe,” but their faces gave us no range of emotion unless you count Eric, whose facial expression was that of one constantly bricking it in his diaper. I was reminded of the Gelflings in “The Dark Crystal: Age of Resistance,” in that it takes some getting used to the look of their faces. Except in the case of the Gelflings, the Jim Henson Creature Workshop knew their limitations and used CGI where the puppets fell short. A furrowed brow would have gone a long way to sell the babies.

However, I’m not made of stone. I’m not so joyless that I can’t send my critical brain on a little vacay for 46 minutes. I also appreciate that Doctor Who still takes the time to do stories for children. It’s a family show, after all. I was even impressed that the episode was able to sell me on the concept of a booger man (or Bogeyman to be precise) when “Sleep No More,” had so utterly failed to sell me on the concept of eye booger men previously. Even more, I had never expected to feel an emotional connection to said Bogeyman. While a lot of it had to do with Ncuti Gatwa’s performance, I’ll admit I actually got a little choked up at the end of the episode. Even a snotty little freak of nature deserves a place in the world, and I identified with that. It’s nice when a Doctor Who episode ends and it was actually about something.

As mentioned before, Russell T Davies uses the baggage that comes along with babies to stoke the fire of his own story. Through the eyes of Jocylen, the ship’s reluctant nanny, we see the babies in another light- as a constant source of worry. Having never wanted the job in the first place, Jocylen’s part is one of necessity rather than vocation. No one working in the field of charity or crisis aid wants to be doing the work. Sure, it’s fulfilling, but the nature of its necessity is telling of the world at large, or in this case- star system. In a perfect star system, no child would go unhugged, unattended, or forgotten. Yet here she is, forced by circumstance and emboldened by compassion to rise to the occasion. She may not be nailing it, but seriously, who the hell else was taking care of the children they forced to exist? If “Kill the Moon,” was Doctor Who’s pro-life story, this episode stands in stark contrast as the pro-choice story.

An episode with a butt-shaped space station that farts its way to the shores of freedom seems like an odd choice to talk about refugees, but it’s also the episode that gave a booger a soul. While a lot of the tone aligns more with “Aliens of London/World War Three,” or “Love and Monsters,” the message aligns more with something like “Turn Left.” Russell T Davies is giving us a spoonful of sugar with our medicine, which seems the correct approach in a show where Christmas trees are capable of murder. Suffice it to say, seeing a Rwandan refugee playing a British icon on the BBC commenting on the conservative government’s Rwandan bill is better than anything the show could do on its own. You almost have to do it, and more than I’m glad RTD rose to the occasion, I’m glad it was Ncuti who got to do it.

Speaking of things only Ncuti Gatwa could do, I appreciate that his Doctor is emotionally available enough to offer a hug to a child while still being alien enough to scare the bejeezus out of them. I can’t really picture Tom Baker hugging anyone, though I can imagine him scaring the bejeezus out of someone. Maybe Matt Smith would do it. Jodie as well. But Gatwa’s Doctor is an interesting mixture of compassionate and completely aloof. It’s a mixture that is sometimes at odds with itself, but it works. You see it in brief moments like when Ruby’s caretaker instincts take over and she runs head-on into danger, while the Doctor takes a moment to pop around the corner and catch up to her. It’s the classic dynamic of the Doctor being reminded of human nature by his companion.

I really like this selfless defender of the people streak in Ruby’s personality. It reminds me a lot of an ‘80s companion. She’s like a mixture of Nyssa and Ace. She puts herself in harm's way to protect others. She writes songs to cheer up lovesick lesbians. She’s got a very full personality that is palpable very early on. We got this level of character development with RTD’s earlier companions, and it’s nice to see it continue. What’s less nice is how he seems to have also taken a page from Steven Moffat’s book where the companion must also be needlessly complicated. What’s more is it feels less enticing and more like retreading familiar territory. It’s giving “The Impossible Girl,” vibes with an Amy Pond pregnancy body scan to bring it full circle. This is one of my biggest issues with the RTD2 era so far- it feels like a remix of past Doctor Who. That isn’t to say he’s added nothing new to the show, but it does feel a bit Clara 2.0. I’m just saying, it doesn’t always have to be some star-crossed destiny. If you do it every time, it loses its power.  Sometimes people just meet each other. Say what you will about Yaz’s characterisation, but at least she was allowed to be a person.

The story at the heart of “Space Babies,” is ultimately a bit thin. You could argue that there was never any real threat, but that happens sometimes on Doctor Who (take “Listen,” for example). I’ve seen some people online complaining that the Bogeyman doesn’t die, but what does it really do other than scare people? Sure, you see Eric’s pram toppled and find him characteristically bricking it in his diaper, but he’s not got a scratch on him. What if Eric went missing because the Bogeyman “ate” him. They could reveal that he actually was protecting Eric from the dangers of the malfunctioning bowels of the ship. Imagine the bogey bits tearing away out of the airlock, slowly revealing Eric inside. Not only would Jocylen have almost taken an innocent life, but two innocent lives. Pair that with the Doctor's brave rescue and blammo! It could have upped the tension and implied more danger, is all I’m saying.

I was a bit confused by the ship’s computer creating the Bogeyman in the first place. That entire aspect of the plot was skimmed over and very flimsy. I thought they were doing something with the show’s new magical premise, a “superstition of the Bogeyman made him exist,” sort of angle. But no, it was just something the ship did, for reasons. I also expected that to be the reason for Ruby's transformation into the weird scaly lizard woman. I expected it to suddenly be possible through superstition that stepping on a butterfly could change the course of history. But instead, the Doctor forgot to push the butterfly compensator on the TARDIS console. Kinda weird that RTD had two moments to further his own mythology but sided on technobabble. Not bad, just odd.

One aspect that bothered me was how long it took them to reveal the Bogeyman was made of snot. When they took the time to do this whole to do with the babies blowing their noses, I immediately looked over at my wife and said “The Bogeyman is made of baby boogers,’ to which she responded “I hate that you’re right.” They telegraphed it so hard that it made the Doctor seem slow on the uptake. If you recall from my review of "The Husbands of River Song," I felt like they did the same thing to River with how long it took her to recognise the Doctor. However, I imagine it's a bit of a balancing act to know when to reveal something. The Doctor doesn't necessarily have all of the information we have as an audience.

As pilots go, “Space Babies,” could have done better at introducing a new audience to Doctor Who. Much of the expository dialogue about who the Doctor is or where he came from felt rushed and unnatural. My friend Taryn said she enjoyed this aspect of the Doctor being less cryptic and more forthcoming with information. While I agree, I feel like the execution was clumsy, a word we’re starting to see more often in my reviews of the RTD2 era. For comparison, take Fallout, a show that came out only a month earlier. Both are technically first seasons of tv shows based on pre-existing properties with dense lore. Both have eight episodes to tell their stories. And yet with Fallout, we get a trickle of information as things happen. With Doctor Who we have the Doctor stopping his companion mid-sentence to say “Oh yeah, by the way, I have two hearts.” Look, I get it, I’m neurodivergent. I appreciate a good infodump. But there’s a big reason people are calling Fallout a triumph- it respects its audience enough to reveal things over time.

RTD said recently that young people won’t watch black and white. I don’t know if this is true as I am a cusp gen x/millennial. I don’t know much about what kids get up to these days, but I also don’t go around saying what they will and won’t do. It sounds a lot like “Those damn kids with their hip hop video games,” or like “Kids don’t like anything that isn’t Tik Tok or Roblox.” It feels like it misunderstands the appeal of storytelling in the first place. Studio executives have never fully understood what is good about Doctor Who. In the ‘70s and ‘80s, it was “Why can’t it be like Star Wars?” In the Chibnall era, the goal was to compete with Netflix. And now it’s “We need to meet the same standards of Marvel.” But if Doctor Who is always being compared to something else, you curse it into always being behind the curve. When I fell in love with Doctor Who, it was because it wasn’t like anything I had ever seen before. If I want to watch Iron Man, I’ll watch Iron Man.

Not all of the expository dialogue was without merit. I’ve been continually impressed by RTD’s handling of the Timeless Child storyline. As longtime readers know, I was not a fan of that story. Hell, first-time readers probably picked up on it in this article. But I don’t think it’s fair to discount the people who did enjoy that story. And I think it is far more interesting for the show to develop the idea as opposed to sweeping it under the rug. We learned that the Time Lord genocide was cellular, which helps the whole concept of the Master achieving what millions of Daleks couldn’t do make more sense. It’s amazing how much a single line of dialogue can overcome a lot of shoddy writing. I liked the Doctor stating that it doesn’t matter where he comes from, as I’ve been saying that the whole damn time. It’s also nice that despite everything, the Doctor is still a Time Lord in his hearts of hearts. We as fans kinda need those moments so we can collectively move on from what has been a rather ugly time in the fandom.

That’s not to say we aren’t still in an ugly culture battle within the fandom. Racism is still a very real aspect to the conversation. As are ableism, sexism, transphobia. And despite RTD meeting these things head-on with the grace of a fish out of water, we’ve still got some great points of intrigue. Who is this woman played by Susan Twist we keep seeing in the background? Who is the one who waits? Is Mrs Flood the White Guardian to Susan Twist’s Black Guardian? I would love to say it’s the Rani because it’s been 20 fucking years of it not being the Rani, which is also the exact reason I won’t say it’s the Rani. But god I wish it was the Rani. They even name-drop her! Give us this one, please. My point being, despite its daftness and its expressionless babies, “Space Babies,” still gives us a lot to go off of. If you didn’t like it, do what I did and watch it twice. The emotional resonance works better when it feels less like you’re watching a car accident.

Look, if you didn’t like “Space Babies,” I get it. Maybe it’s not for you. There are weird little problems with the episode. The expository dialogue I mentioned, for example. The babies are a bit much. The Bogeyman howling like a werewolf was batshit weird. I guess it was because they compared him to a dog. Even then, why not make it bark? You could ask things like “Why didn’t the Doctor use the TARDIS to fly them to safety instead of setting their space station on a crash course with the planet’s surface?” or "Why didn't the Doctor get sucked out of the airlock? It's air pressure, not gravity." Is the humour still falling a bit flat? Sure. It’s easy to pick stuff apart. But come on, the episode is called “Space Babies,” you knew ahead of time if that concept was going to work for you or not.

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Thanks for reading! I'm sorry these articles are taking a while. Having two episodes drop simultaneously doubles my workload! I'll have the review for "The Devil's Chord," up tomorrow! Hopefully next week will be more timely.