#dwe15

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Doctor Who: The Impossible Planet & The Satan Pit / The Legend of Ruby Sunday

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Still thinking about 73 Yards. One of the things I really appreciate about the episode is the way it tries to subtly predict where we'll be at technologically in 2046 and 2086. It's little touches like apps being things of the past and the van engine not having signal out on the headlands, as well as voice activated lights becoming the norm, especially somewhere where a person might struggle to reach a light switch by themselves. They're not outlandish predictions, just little touches that make it feel believably futuristic and also lived in.

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Doctor Who: 73 Yards/The Legend of Ruby Sunday

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Okay, so Carla calling Sutekh the Beast before he'd even fully manifested - and Colonel Chidozie saying he was in hell - already had me thinking about The Impossible Planet/The Satan Pit, but I just looked up the voice actor for Sutekh. Sutekh is voiced by Gabriel Woolf, who played Sutekh in the 70s as well.

Another role Gabriel Woolf has had in the Whoniverse was in 2006, as the Beast in The Impossible Planet/The Satan Pit. I'm not saying they're the same being, but… what if they were the same being?

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I said this already in my main review, but it deserves its own post. Captain Jack Harkness would be so mad that his carbon copy got to snog the Doctor like that and he didn't.

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Both times I've watched this new episode I've really loved Genesis Lynea's performance as Harriet and I'm really hoping she might get to keep being a character after this story. I really liked her just as Harriet, but I also love the way she speaks Sutekh's heralding and especially the tear that rolls down her cheek at one point. Is Harriet still in there as a person in her own right? Can she be brought back?

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Space Babies! Weird episode, but it had a charm. I had already prepared myself for the fact that RTD's era was notoriously camp and weird, and that I would for the first time be experiencing new episodes by him as an adult rather than as a 9-13 year-old, so it's not news to me that there would be some campy nonsense with a deeper message, and that this might be more jarring than I'm used to. The deeper themes were really thrown out (refugees, anti-abortion hypocrisy, genocide, capitalism) without being dwelt on, but that's not necessarily a problem.

The babies themselves were... a little unnerving? The mouth movements were quite uncanny, along with their voices and the general "I love you, Ruby!" of it all. I've just now made the connection that the latter puts me in mind of adverts for baby dolls.

The gunky snot monster felt very early 2000s British children's TV. If you weren't there for that, just know there was so much slime; think Slitheen exploding. I am very glad it got rescued. Nice message with the Doctor not usually running from things just because they look scary and, even though this is a creature specifically manufactured to be scary, it still deserves a shot at life.

It feels like a strange story to start with because I suspect it'll have mixed reviews. I would think you'd want a slightly more solid episode to draw people in with. Anyway, there was still a lot of thought put into making this a proper jumping off point with all its Doctor Who 101 stuff. Funny for a long-time viewer hearing it all rattled off in record time, but important to establish for new people, and I do think it's important for the show to remain accessible to people who haven't been obsessing over it for twenty years or more.

As a jumping off point, it very specifically reminded me of The End of the World. There's the big observation deck on a space station where the new companion, in her second episode and first off-world adventure, gets her phone updated so she can call her mum, in particular. The parallels to Rose are interesting, especially with the lecture the Doctor gives Ruby about how they can't travel back to meet her missing parent(s).

Speaking of that, there's some intrigue there with the snow appearing and the memory changing. I didn't like the Doctor doing a DNA scan of Ruby without her knowledge. It feels very 11th Doctor, especially when he literally scanned Amy and withheld medical information, but also the way he treated all his female companions as mystery boxes to solve without telling them. I guess we'll see what that's all about at a later point.

I'm still not completely sold on Millie Gibson, but Ncuti Gatwa is wonderful, and I do really appreciate their chemistry.

Small things:

Jocelyn was a good character, and the Nan-E filter made me laugh several times.

That place name before the Doctor turned the translation circuits off was absolutely not in English. Slightly weird way to phrase that line if it's going to be called Pacifico del Rio.

This is a very early point in the series for Ruby to get a TARDIS key! We're really speedrunning the usual steps here.

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Doctor Who: The Pyramids of Mars / The Devil's Chord

Bonus foreshadowing: The Pyramids of Mars / The Legend of Ruby Sunday

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According to the Radio Times, Susan Twist this week is a shady tech billionaire called Susan Triad!

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I think this Chuldur is my favourite

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Empire of Death

That was a very enjoyable 55 minutes, but I can't help but feel a little underwhelmed. So much happened and I enjoyed a lot of it, so it's going to take a while for me to fully untangle all my thoughts, but my current feelings are mixed. First, for things I liked!

I loved Gabriel Woolf's delivery; it's just as good now as it was 44 years ago, with so much menace but also a great subtlety to it. I also actually quite liked Sutekh's redesign this time. It feels like a nicely scaled up version of his bat face mask at the end of The Pyramids of Mars. I also like a lot of the ideas at play here. I like the Doctor realising he has literally trailed destruction in his wake, especially after him saying he brings disaster last episode. I like the Doctor killing Sutekh and saying that Sutekh has won because of that - coward or killer returns, and this time he was forced to choose killer. It also places the Fourth Doctor's lack of remorse for killing Sutekh originally into an interesting contrast. I'm also generally fine with the Doctor taking Sutekh back through the vortex and bringing death to death. I'm not entirely sold on why that works, but it's fine in the context of the episode.

However, there were issues at play. The level of destruction wants to make this feel extremely important and epic, and it did remind me of Flux at times but with more emotional reaction from the Doctor and companions, but, much like Flux, it did more to undermine itself than anything. For instance, Kate's death really shook me (and everyone else in the room, but I was focused on Kate). I fully expected some people to not make it out of this episode alive, so it seemed very possible that she might actually be dead. However, as soon as the death dust spread out a certain amount, I knew it would have to be undone and that Kate et al. would be absolutely fine. Now, I love an 'everybody lives', but it just fails to have any stakes at all when it's so obvious that that will be the outcome.

Mel's death was similarly shocking, though I was a bit more prepared for it. Again, I thought there was a real possibility she might really be dead because she wasn't dissolved like the others but turned into an agent of Sutekh. However, I didn't fully trust it because I could already tell there were going to be a lot of death retcons, and indeed her death seemed to be undone just as easily as everyone else's. Susan Triad too, of course, who seemed entirely unfazed by being a transplanetary and transtemporal being with thousands of different existences.

What actually is Susan's initial origin? We know why she was everywhere and why she's called Susan, but not who she actually was originally or why Sutekh created/used her specifically. Continuing with the agents of Sutekh, what about Harriet? Her name is Harbinger, so is she like that little boy from The Devil's Chord? Or is she like Susan or Mel and is still just a person underneath it all? I think she got killed for real by the TARDIS blast when the Doctor whistles open what I assume is the heart of the TARDIS (though that's never actually said), but this is not focused on at all. Does she not matter? She may be the only person to actually die in this story and I had to go and check the episode again just now to make sure she really had. It all seems rather underexplained and underwhelming - and unfair! Justice for Harriet!

Another underwhelming aspect was Ruby's mother. Now, don't get me wrong, I adored the Doctor's speech about Ruby's mother being ordinary and being important because they think she is, like gods but also like people. However, it's extremely underwhelming after the question of who she is has been hyped up so much. More problematically, I just do not buy that Sutekh cares so much about her. I'll see what I think on rewatch, but right now I'm just left wondering what all this was about. Sutekh's desperation, the extremely dramatic pointing, the way she flickered and moved about in the time window, the way the memory changed, the goddamn snow! What does it all mean? I really liked Ruby reuniting with her, but there's a disconnect between the set up and the pay off.

Mrs Flood is a remaining mystery, but at least she's meant to be. Last week gave the impression that she was malicious, but in her interactions with Cherry this episode she doesn't seem so at all, and her remark about the cup of tea not happening now seems to be just because she knows Sutekh will kill them both. She's even got her arms around Cherry and calls the Doctor 'that clever boy'. We're back to her speaking directly to the audience, and this time as an all-knowing narrator figure. It feels very book at bedtime on Cbeebies, especially with the 'night night', which was in fact name-dropped in The Legend of Ruby Sunday. It also feeds into the unreality/TV theory a lot of people are running with. Mrs Flood's final moments also felt rather Mary Poppins, with the umbrella and the suitcase. The latter perhaps suggests she's no longer going to be Ruby's neighbour, maybe because Ruby is no longer actively travelling with the Doctor (for now).

Speaking of Ruby, this was far more of a farewell than I expected! We know she's going to appear next series, but I wonder how much. Will she jump back in as a main companion pretty quickly? Will she be in a handful of episodes series 4 Martha style? Will she only appear once? I can't remember if much has been spotted of series 2 filming, so I guess we'll find out. One possibility is that she's dragged back into the storyline due to proximity to Mrs Flood, but as I mentioned above, I suspect Mrs Flood is moving out. Does Cherry remember the strange things she said, I wonder?

I don't know where else to put this, but we also got more 73 Yards stuff. My favourite of those was the confirmation that the Doctor stopped Roger ap Gwilliam in the original (and current) timeline, because it solves one of my lingering problems with the episode. Even though I like the episode enough to ignore its issues, I'm still glad to get that resolved. It just makes it a lot neater. It's interesting that the focus this time was on his DNA testing rather than the nukes. I don't mind that, but I think it would have made the reveal of how they can find Ruby's mother more satisfying if that had been seeded into 73 Yards itself. I just checked the transcript, though, and it doesn't look like it was mentioned at all. We also get the TARDIS field being 73 Yards and the Doctor saying that you can see things at 73 Yards, but there's no further exploration of that. I'd be happy to just leave it at that, but that combined with the CCTV footage of the church being 73 yards has me wondering if more will come of it.

So, that's all I have to say for now. It's a somewhat underwhelming finale after all the hype, but then this is also the first RTD finale I've ever experienced fresh as an adult. I knew going in to this era that I probably wouldn't be quite as forgiving of its flaws as 9-13 year-old me was the first time round. Still, I've overall really been enjoying this new era. I wish we'd had more episodes this series, but that can't be helped. At least there won't be such long gaps between series as there have been!

I don't like hating on the Chibnall era too much, especially given all the unwarranted flack it got, but Flux broke me somewhat and even before that there was something a little meh about it for me, so this has been re-invigorating. It should be clear from this review that I don't think RTD is perfect, but I also can't deny the fact that I'm excited about the show again in a way that I haven't been for years and it's been so wonderful and exciting. This finale was messy and ridiculous in a number of ways, but that's kind of the nature of the show and I'm still very excited for what comes next.

Misc:

I really liked the idea of memory dying because the things that created those memories have died.

Likewise, I love that the memory TARDIS was indeed explained and relevant.

Morris literally having guns in his mobility scooter? I know Shirley did in her wheelchair, but who let the thirteen year-old have deadly weapons? And he's shooting them behind other UNIT officers who are higher up than he is. He might be more dangerous than Sutekh.

Kate got to have a little hand hold with Ibrahim, which sure okay. I don't really care about them apparently having a thing and it feels a little odd to just shove it in there, but I suppose it's kind of sweet.

Still no Susan (Foreman), though I enjoyed seeing her in old footage. In fact, I liked all the old footage used. I thought it was funny that the Doctor didn't ever explicitly say that the man with the curly hair was in fact him.

I loved the Doctor calling Sutekh Sutes at one point. That was so extremely Fifteenth Doctor.

Sutekh's been attached to the TARDIS since the 1980s, so like throughout the Time War and everything? When House took it over? That's such an insane lore bomb to drop.

Also, as I keep bringing up, what about Fourteen's TARDIS? Did Sutekh just stick to Fifteen's TARDIS at the diverging point? Is part of him still attached to Fourteen's?

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73 Yards

I have slightly mixed feelings on this one, but what it did well it did brilliantly. The episode was beautifully shot with a fantastically creepy atmosphere throughout. The Welsh landscape, the close shots, the out of focus semper distans, the mystery of what was being said. Millie Gibson's performance throughout was stellar and this is the most invested I've felt in her character so far. I did miss Ncuti's presence somewhat, but it says a lot that she was able to carry the episode on her own and I do love when the format gets shaken up occasionally and we get a Doctor-lite episode.

I loved Kate's brief appearance and the way it sold the fact that this was a very serious situation. You think UNIT might be able to help here, but Ruby is once again left alone. The themes of abandonment in this one were incredibly potent and really tie into the themes of the series. Unsurprisingly, one of the most effective and upsetting parts of the episode was Ruby's mum also being affected by the mysterious woman. Her anguished screams for her mum were really quite harrowing, as was that awful comment about her birth mother not wanting her.

It also got far darker than I would expect in a Doctor Who episode. The far-right politician and the threat of nuclear war was plenty, but what was done to Marti was absolutely chilling, as was Ruby's apology for not doing anything. It gets away with it because it's all through implication, but that almost makes it more hard hitting. You don't always need to see the monster in action to know what it's doing. It also reminds me of my much younger self not picking up on the Master beating Lucy Saxon until I was a teenager.

The way time began to speed along was actually quite shocking to begin with - I actually gasped when we saw the 25th birthday cards - and it kept bringing to mind various other episodes where companions have been abandoned either in the real world or another timeline/reality, especially things like The Girl Who Waited, Turn Left, Forest of the Dead, The Lie of the Land, World Enough and Time etc. That things get undone at the end was again a little reminiscent of a few of them, but this is also where we come to my criticisms of the episode, because - while I loved the experience of watching it - the ending feels tacked on in a way that is very unsatisfying.

There were a number of things that just never get explained. For a minor example, why did the Doctor disappear? Disturbing the fairy circle released Mad Jack (I'll come onto him) and also made the Doctor disappear? And also made the TARDIS lock in a way that couldn't be opened with Ruby's key? I'm not as bothered by this as the below, but it feels messy and like an attempt to do a Turn Left without an actual reason for the Doctor to be gone.

A bigger gripe is Ruby being the following lady. That on its own would have been fine, but that combined with other elements just frustrates me. Mainly, if the following lady was Ruby, what is it she says to get people to run away? I don't mind things being left to the imagination - for instance, I quite like that we don't get an explanation for why she has to be 73 yards away; I can infer that that's got something to do with the fairy circle - but it appears that whatever she says specifically makes people think there's something horrifying about Ruby.

What could Old Ruby possibly say to that end and why would she? And why would the same thing make a Prime Minister resign? If we had never found out who she was, I would have been perfectly happy to infer that she was a force of some kind that drives people mad, but it's Ruby! Knowing who she is but not what she does or how or why she does it is the worst way round. I want to know neither or both, or possibly the latter but not the former, but this way round just frustrates me.

On that note, the friend I was watching with pointed out that, as she was dying, elderly Ruby had very short hair and suddenly has long hair when she becomes the semper distans lady. A small detail, perhaps, but one that further muddles the conclusion. Why did her hair change? Where did the coat come from? It's a different actress as well and, even at that distance, you can kind of tell. Did Old Ruby just end up embodying an existing spirit to do with the fairy circle? If so, I would have liked that to be a lot clearer. If not, why does she look so different?

Okay, so, Mad Jack. Who or what is Mad Jack? Is he a spirit of some kind that possesses Roger ap Gwilliam? Was he always Roger ap Gwilliam? Does Roger ap Gwilliam exist without him? If Roger ap Gwilliam does not exist without Mad Jack, how come the Doctor still mentions him? If Roger ap Gwilliam does exist without Mad Jack, what is changed by the Doctor stepping on the fairy circle?

In the version of the timeline we end up on (where the Doctor doesn't step in the fairy circle but Roger ap Gwilliam is still mentioned by him as a dangerous Prime Minister), here are a few possibilities and why they don't work for me:

Does he still become Prime Minister and get taken down another way? Perhaps, but it's not like Turn Left where we know the problems would have been stopped by the Doctor (who's not here). Without Ruby's infiltration and semper distans lady, what stops him? And why was that not able to stop him in the timeline we witnessed?

Is he less dangerous? The second time around of the opening conversation we don't get the line about the brink of nuclear war, though only because Ruby interrupts him to point out the woman, but maybe we can infer that this time he's a dangerous Prime Minister but not that dangerous? That seems quite weak and unclear, though, and seems to disregard the horror of the Marti stuff.

Does the timeline only change after the Doctor's comments about him being a dangerous Prime Minister? He does say that before stepping (or not stepping) in the fairy circle both times. I might be happy to assume that Roger ap Gwilliam never comes to power after that diverging moment has passed, except that things have already changed before the Doctor mentions him because Ruby says she's been to Wales three times. Maybe they've changed a bit but not enough until the moment she stops him from stepping on it, but that is not at all clear.

If it's any of these (or none of them), that's really confusing! It's just so messy and unclear. It would have been a simple fix, too! Keep everything the same and just add in a line as they're walking away at the end along the lines of "thank goodness he never got into power; people never found him that convincing". That would have clarified a) things have changed since a few seconds ago b) that Mad Jack is what allowed him to get to power and c) in this timeline, that won't happen and Ruby won't need to stop him.

Despite all my complaints, I did really love watching this episode. It's just so carelessly wrapped up, as if they didn't think about the implications of the otherwise very well told story. I'll be interested to rewatch it and see if my complaints bother me more or less on second viewing. I really want to love this episode because there were so many fantastic elements, but it just makes all the inconsistencies and loose threads and muddled logic particularly frustrating because they were only another draft or two away from being solved.

Misc small things

No theme tune! I feel robbed! Maybe it was meant to be part of the vibe that we're not in the usual timeline, but come on. It could easily have been slotted in when she left the TARDIS the first time or before she got to the pub!

Other episodes I thought of: Extremis with warning other versions of yourself; The Hungry Earth/Cold Blood with waving at future versions of yourself that disappear when things change; Journey to the Centre of the TARDIS with weird timelines and future selves and things being undone; Last Christmas with the companion becoming elderly; Turn Left for the vibes of "there's something on your back"; Under the Lake/Before the Flood with a silent message, since it looked like the woman was trying to sign things to Ruby; and The Sound of Drums/Last of the Timelords with the triple whammy of the companion having to 1) set off on their own to 2) take down a prime minister and 3) have time reverse.

It's also got a good old bootsrap paradox in it, which doesn't bother me in the way of the above complaints, but for the sake of completionism: How was Ruby warned about the future when that future hasn't happened? Would have loved Twelve to briefly pop his head in and explain it for us.

It's interesting that the snow stopped throughout this version of her life. It also seemed to snow while she was on her way to the pub.

Kate's comment about how "this timeline might be suspended along your event" was interesting and I wonder if it connects with the snow stopping.

For the first time I actually recognised Susan Twist when she appeared, but I'm not sure I would have done without Ruby realising she recognised her. I liked that! It felt very Boom Town and recognising Bad Wolf coming up again.

There was a little cameo from Mrs Flood.

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The Devil's Chord! This was my most highly anticipated episode of the series because of The Beatles - who I'm very nostalgic for, sue me - but they had a much smaller part than I expected. That may be for the best, as the actors don't look anything like the real deal, but they did an admirable job considering the circumstances.

I love the idea behind this one. I'm a musician myself and love things about music. Music being important, music being holy, I love it all. Everything from Maestro playing us into the theme tune, to the way it aligns with the characters' established personalities (the Doctor's jukebox and Ruby's band), made me very happy. The music battle was especially cool. Very The Devil Went Down to Georgia. Out there, but I liked it a lot.

Maestro was also a lot. I liked them, though. Great costumes, great performance. A campy villain in the best way. They're the Toymaker's child, which is interesting in itself, and I like that the rules around fair play seemed to extend to them as well.

There was a lot of series arc stuff here. So, Ruby has Carol of the Bells deeply ingrained within her. There was some important figure (another of the Pantheon, presumably) at her birth - is Ruby herself a child of the Pantheon? More snow, as well. There's also the One Who Waits coming up again. It all feels a little too self-conscious and crammed in - "remember, there's pay-off coming for these random mysteries that you have no context for!". I know we live in an era of heavily serialised media, in large part because of streaming and the binge model, and obviously Doctor Who has been semi-serialised since the revival, but it just seems like a lot. Maybe even too much, especially since the first episode was quite heavy with it too.

Although, I did wonder if this one was meant to be later in the series. First Ruby saying "you never hide" and then "you always know what to do" signaled a far longer association with the Doctor than she has had, but then it was especially jarring when she said it was hard to keep track of when her time is and it could be June or July... That sounds like someone who's been travelling with the Doctor for a while, not like someone who's on their second trip. And it was Christmas for her only last episode. Obviously there can be off-screen trips, but usually for the first couple of episodes we want to feel that this is the start of their journey as the audience gets to know them. Did this get plucked from later in the series and dropped into the episode 2 slot? Because it seems a bit of a shame, if so.

There was a lot of fourth wall breaking in this one as well. There was a wink to camera each from Maestro and the Doctor, as well as the Doctor's comment about thinking the music was non-diegetic (a nice little moment that probably a lot of people will miss). I do quite like a meta moment, and particularly loved the Twelfth Doctor's partaking in them, but I wonder if these serve a particular purpose, because we also had Mrs Flood talking to camera at the end of the Christmas special. Since RTD seems to be going with a theme that the rules of the universe have changed and become a bit more magical, I wouldn't be surprised if the meta elements tied in somehow.

Then, this is less meta and more fully surreal, but that whole ending musical number was... odd. I don't know what I think about it yet. The Doctor with his wink and "there's always a twist at the end" seemed to signal that we were leaving the normal reality of the show, but then... Did that musical number literally happen? How about the Abbey Road zebra crossing acting like a piano? It's part of my specific brand of autism that I struggle with surreal things when it's not clear how/whether they relate to the more realistic things going on, so maybe other people love it. It just made me feel confused, though, and slightly annoyed. I expected a musical number because the trailers showing this made that fairly clear, but I'd assumed it would be explicitly connected to the strange happenings of the episode. Instead it's just plonked at the end after everything has been fixed.

A lot of this latter stuff sounds quite negative, but overall I really liked this one! As I said before, the music stuff speaks to me personally very much, and I'll withhold final judgement about the serialisation stuff and even the meta/surreal stuff, as it may well pay off yet.

Small things

Love their outfits so much, and obviously we've known about them for a while, but it was funny they were worried about blending in when both of them (especially Ruby) were wearing pretty 60s adjacent outfits at the start. The Doctor was more 70s, but I don't think many people would have looked askance.

Ahhhh, Fifteen mentioning that One was in the junkyard made me exceedingly happy! The speculation about what happened to Susan also has me hoping beyond hope that this might be set-up for a Susan return.

I loved that extended instrumental scene where Ruby just played on the rooftop and people listened. It was quite moving!

Love hearing the word "lesbians" on Doctor Who <3 - I don't think even Bill explicitly got to use that word!

Just the general queerness is really nice. Ruby writing a song for her friend's gay break up. Maestro being they/them and it not really being a thing beyond their introduction. Ruby's mum having a "girlfriend" who was a Beatles fan that makes me wonder if that's in the platonic or gay sense.

I want to know the behind the scenes details of how they chose the music they did, especially when it comes to the chords that both summon and banish Maestro.

Henry the child is real and alive at the end! (Though it's during the musical number, so I guess real is dubious.) When he vanished into nothingness (and his music teacher didn't seem to care), I had thought he wasn't real. Does he have his own world-ending powers?

The Doctor referring to bigeneration as having had his soul "torn in half". Hmm, don't like that! I won't rehash my feelings on bigeneration here, but this implies that there is not continuity between the end of Fourteen and the start of Fifteen, which mucks up one of the only ways I could hold onto being just about okay with it.

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The Legend of Ruby Sunday

Well that was certainly dramatic! A lot of questions answered, but more questions created. It's hard to have a conclusive opinion on this episode because it's so definitively only half of the story, but I certainly had fun throughout. There were lots of really funny bits of dialogue and good character moments, and a lot of drama.

I'd seen a couple of people speculating about Sutekh but I hadn't looked into why and, although I have watched The Pyramids of Mars, I don't remember an awful lot of what goes on in it! From what I recall, he wasn't that impressive a villain so the huge majesty and fanfare he's presented with here is quite interesting. He was a guy with a silly mask on in the 70s and here he's a somewhat ugly CGI dog, but I'm open to seeing how they connect these two versions of the character.

So, we have several people, all women, running around at the moment who have something to do with the mystery. 1) There's Ruby's birth mother. Why can't they see her face? Why was she pointing? 2) Mrs Flood, who turns out to be pretty unpleasant if she's refusing Cherry a cup of tea. Unlike the two I'm about to mention, she seemed to know what was coming and obviously about the TARDIS (and the camera) from the christmas special. 3) Harriet Arbinger, who is a harbinger of Sutekh. 4) Susan Twist, who is... another harbinger of Sutekh? It seems like Kate's chrysalis theory was right with her, at least. Does she serve the same role as Harriet? Is the little boy who was Maestro's harbinger have anything to do with either of them or did he just serve the same role?

Sutekh is apparently the mother and father and other of the gods, which could mean a bunch of things. For one it implies variation of gender, or at least an existence outside of it, which is interesting with the he/him pronouns and yet all these women who seem wrapped up with the plot, as well as the ongoing theme of abandoned children. Carla also called him the Beast before he'd even fully manifested, which of course brought to mind The Impossible Planet/The Satan Pit, especially with the soldier who died saying he was in hell. Probably no connection, but who knows! He is also specifically name checked as being Set and Seth from Egyptian mythology. What does it all mean!

Also, how did Sutekh latch onto the TARDIS in the first place? Does the fact that the Doctor mallet whacked the TARDIS to double it in The Giggle have anything to do with the present situation? I didn't like that at the time because she's a living being and he just cloned her(?) or split her(?) or something, but now I'm thinking it would make sense if it connects to how she got infested with Sutekh in the first place.

Speaking of the TARDIS-Sutekh connection, I loved that the TARDIS anagram was so obvious the UNIT team laughed at the Doctor explaining it, which makes the "wrong anagram" reveal even better. RTD knew the fans would work out the TARDIS anagram immediately (which they did) and that it would be a red herring for us just as much as for UNIT! Though not that much of a red herring, since the TARDIS is involved. Is it perhaps a little silly to create your evil secret corporation under a name that might give away your evil secret plan? Yeah, but I like it at the moment.

I'm so glad Susan Triad isn't Susan Foreman (at least, it seems that way). It's another big old red herring. I've been desperate for Susan to return for so long - and I would still love her to, and maybe she even will in this arc - but I don't want her to return like this! Not as a villain and not as someone other than Carole Ann Ford. While we still have her, let her play Susan again! Please!

I am fascinated by this stuff about the Doctor having her before having children... It's been established in the past that the Doctor did have children and that he lost them all (eg. in The Doctor's Daughter), but here Fifteen seems to be implying that he hasn't yet. How does that all add up? I love the idea of having children out of order, and have always somewhat rebelled at the assumption that Time Lords have children in the same way as humans (ie. sexual reproduction between two parents of "opposite" sexes). Gimme Looms or something equally bizarre or nothing, so I'm definitely down for this; I just wonder how it actually makes sense for the Doctor.

I'm so happy to see Rose again! Obviously we knew she'd be in this, but she's a great character and I adored her dynamic with Ruby. Very cute! I loved the Doctor's line about them being two shades of red. I hope they'll develop the stuff of her not being given much to do, as I guess basically a nepotism hire, because I want her to get to do exciting things! On that note, it is odd if she's so kept out of things that she stays in the room after everyone who is not necessary is made to leave. I know she's necessary in that she's a UNIT employee who is important to us, the viewers, but it doesn't quite make sense with what is apparently her role in the organisation.

Saving perhaps the most interesting for last, the CCTV of the night Ruby was abandoned was 66 metres away. Otherwise known as 73 yards. My ears pricked up the moment they said that, though I needed to check afterwards that they were the same, and that surely can't be a coincidence. I don't know if I need anything more about 73 yards, despite my many questions at the end of it, but it could be very interesting if the events of that episode have something to do with the bigger picture.

Overall, fun and engaging episode in its own right, but I'll have to withhold final judgement until next week!

Misc things

Rose says it's been ages since she last saw the Doctor, so we're a while after the specials. Also there was mention of 2004 being 19 years ago so we're currently in 2023.

It's interesting we have two characters in this story (Susan and Rose) who are named after important companions, each the original companion of their run of Doctor Who.

I love that the Trickster got a mention. So many people seemed convinced the Trickster would be the big bad coming up, but at least he got a name check.

I loved Carla's energy in this one! True Donna vibes. She only had to hear of the existence of Rose's mum at UNIT and decided she was also going to be involved.

Susan Triad says she remembers worlds with orange skies, which certainly sounds like Gallifrey, so could there be a Susan connection after all? I noted down that her father was a postman and her mother a dinner lady, but so far have gleaned nothing from this.

I love Lenny Rush! I've seen him in lots of things at this point and he's so charismatic and funny, especially for a fifteen year old. I hope Morris will stay on for a while yet!

It seems strange that UNIT didn't know about Susan (Foreman), since I'm pretty sure we've seen in the past that they have files on all the Doctors, including One.

[billpottsismygf]

The Doctor's reaction to Rogue grabbing the trigger after their snog is so funny. Like, why did you think he decided now was the perfect time for a steamy little kiss?

[billpottsismygf]

I don't usually like fight scenes but I actually wish we'd got to see more of the ladies in regency dress battle-dancing to an instrumental of poker face