Posts Tagged Russell T Davies

Review: Doctor Who Unleashed: 20 Years In Wales

1,383 words, 7 minutes read time.

Last year, Russell T Davis said that nothing was planned to mark the twentieth anniversary of the return of Doctor Who to our screens in March 2005. In the end, perhaps inspired by the possibility that that era is about to come to an end, maybe also to drum up a bit more interest in his desperate gamble of bringing back Billie Piper to the show, perhaps as the Doctor, perhaps not, he decided to throw together this hastily arranged extended version of the regular behind-the-scenes show Unleashed, three months after the anniversary has passed.

Exactly how hasty, can be gauged by the dating of the interview with Davies early in this special, 25th April, while the just-completed disaster of the confusingly named ‘Season 2’ was still airing. We also got an obviously tacked-on interview with Billie at the end, separate from the main interview she gave alongside David Tennant. In this second interview, without saying anything specific, it was clear that Billie knew she was about to return, though she was, and probably still is, about as much in the know about how, why and in what capacity as we, and Davies, are.

Logo of 'Doctor Who Unleashed' featuring the show's title in a colorful and futuristic style.

Eternally annoying Unleashed presenter Steffan Powell did refer to last week’s ‘shock’ regeneration, when Bilie’s head appeared superimposed on Ncuti Gatwa’s body, but, again, there was nothing specific said.

How could there be? The big Disney investment is almost certainly over, so it’s down to the BBC if they want to run with Davies’ latest half-baked idea, either with or without another streamer. There is almost certainly no script either. One rumour is that Steven Moffatt is hard at work on one, perhaps to air as early as Christmas this year. But, given the funding question, that seems unlikely.

For what it was, the documentary itself was OK. We got some nice location filming shots, particularly of Eccleston and Piper at work on the first season back in 2004. It was heavy on the whole Wales angle, as the title suggests, about how Doctor Who has put it on the map as far as TV and film production goes.

I particularly enjoyed the interviews with the owner of the real-world record shop where Blink, Moffatt’s masterpiece, was filmed, and the couple who are the custodians of the Lighthouse where one of the Jodie Whittaker episodes was filmed, Fugitive of the Judoon, I think. That was less of a masterpiece, but still a nice setting, and Wales has proven to be a great, scenic home for the show over the past two decades.

As far as major participants were concerned, we got the three showrunners, RTD, Moffatt and Chibnall who’ve now dominated the show throughout the modern show’s twenty-year existence. Of the era’s Doctors we have Gatwa, Whittaker and Tennant; and on the companions front we had Varada Sethru, (Belinda in the latest series), Karen Gillan (Amy) and her on screen husband and fellow Eleventh Doctor sidekick Arthur Darvill (Rory), both appearing via an iPad, Pearl Mackie who played Bill Potts in Capaldi’s last season, Mandip Gill who played Yaz as part of Jodie’s ‘Fam,’ and as I’ve indicated, more Billie Piper than originally planned, the first and possibly the last face to appear in Modern Who.

But more significant is who wasn’t there. Given his righteous ‘Sack Russell T Davis…’ diatribe of three years ago, Chris Eccleston’s non-appearance was a given. We know that Peter Capaldi had wanted, and deserved, a fourth season, but didn’t get it because Moffatt was leaving and his replacement, Chris Chibnall, had made the casting of a woman Doctor a precondition for taking the job. But he’s always remained positive about the show publicly, so I’m surprised he didn’t contribute a short, pre-recorded section. That he didn’t is perhaps an indication that his departure was more bitter than we know. Maybe he wasn’t even asked.

In fact, Capaldi’s three seasons got a mere two of the fifty-nine minutes here. Even more surprisingly, there wasn’t even a single mention of Jenna Coleman’s Clara, let alone an appearance from Jenna herself. This is bizarre, given that she was a two-Doctor companion, firstly in the later period of Matt Smith’s run as the Doctor, including in the iconic fiftieth anniversary Day of the Doctor special, the high-point of the modern show as far as public interest goes, as well as in Capaldi’s first two seasons.

The Eleventh Doctor himself, Matt Smith, who was the most popular Doctor globally, not Tennant, contrary to the official narrative, was also absent. Yes, he’s a big star nowadays. For him, Doctor Who was the launchpad to the sort of career Ncuti Gatwa almost certainly hoped for when his time in the Tardis was over, though that’s now unlikely. Matt cited the pressures of work for his non-appearance. But, if he’d wanted to, I’m sure he could have found five minutes to knock out something positive on his iPad or phone, as did his Co-star Gillan (for whom the show was also a stepping stone to greater things). It’d be interesting to know his reasons for not finding that time.

Another person who failed to appear was Millie Gibson, Ncuti’s companion in his first and for parts of his second season. I touch on the Millie saga more in my review of that second season finale, The Reality War.’ We don’t know, and perhaps never will know, the full story of her departure. But we do know that she was intended to be Gatwa’s companion for both seasons, and that she left early during filming, necessitating her replacement with Varada’s Belinda for most of what turned out to be Gatwa’s premature swansong season, and substantial rewrites, returning only for likely contractually obliged last-minute reshoots earlier this year.

The documentary was less than an hour long, and we could cite others who were absent, such as Freema Agyeman’s ‘Martha’, John Sims, the best of the modern Master’s, Michelle Gomez (‘Missy’), and Alex Kingston (‘River Song’).

John Barrowman, whose ‘Captain Jack’ was an important aspect of the show’s success early on, as well as that of the more adult spin-off Torchwood, has now become something of a persona non grata on British television because of some well-documented, though arguably, by the standards of the BBC rather harmless backstage sexual high-jinks, so it was never likely that he would appear.

So, given the limited time available, it’s perhaps a mistake to read too much into who wasn’t there.

But, the sheer number of significant figures who didn’t feature, including three of the six modern Doctors, four out of seven if we count Jo Martin’s Fugitive Doctor, make it hardly wild speculation to suggest that the production has not always been as full of fun and happy Welsh frolics as this ‘celebration’ suggested. 

Still, it’s enjoyable enough for what it is. And there is something rather poignant about seeing Eccleston at work early in the production of the first season of the modern era, with the knowledge that his decision to quit was made during that very first block of filming.

Anthony C Green, June 2025

PS In the day or so since this aired, the press is full of speculation that Tennant will return yet again, alongside Piper, for another ‘special’. Reading between the lines of this Unleashed, I suspect this is true, and perhaps it will be sooner than expected. It could make some sense if the BBC can find the money. As much as I dislike the idea of another Tennant return (and Tennant in general, to be honest), it could tie up a few loose ends, like undoing the ‘bigeneration’ mess, to explain Billie’s appearance at the end of The Reality War, and to bring to a final close the whole misguided Tenth Doctor/Rose romantic thread. But it should only happen as a means of drawing a final line under this era, leaving the road clear for a new Doctor under a new production team at some point in the future. If it’s merely an exercise designed for the BBC to keep the show on the road at any cost, with RTD still in post, and with plans for a series featuring Piper as the Doctor to follow, it will be a counter-productive waste of time.

Available on the BBC iPlayer

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Doctor Who: Analyzing the Interstellar Song Contest Episode

Season 2, episode 6 reviewed

Overview

2,492 words, 13 minutes read time.

Not being a fan of Eurovision, and most definitely not a fan of episode writer Juno Dawson, this was the episode I was looking forward to the least this season. But I was pleasantly surprised. Yes, like everything so far in Russell T Davies’ second period as showrunner, fourteen episodes and five specials to date, the plot falls apart the more you think about it. But at least there was a plot, and we were back in Science Fiction country, with proper aliens, space, space stations and explosions. This made a refreshing change after too many diversions into RTD’s Pantheon of Gods-Fantasy world.

It wasn’t without the inevitable left-liberal posturing, but on the whole, I thought that Dawson approached this as a Doctor Who fan and writer, rather than as a political activist. It also had one fan-pleasing moment that lifted the episode above the ordinary.

The episode left me looking forward to the two-episode finale.

Positives

This was described beforehand as the ‘most expensive episode ever’ and for once, we could see where the Disney money had been spent. The episode was visually stunning in places. The ariel shots of the Harmony Arena looked great, as did the sight of the hundred thousand strong audience at the song contest being sucked into space. Especially impressive, was the Doctor floating through the black void outside the stadium, his face slowly freezing. It was also good to see some proper aliens, aliens who looked like Science Fiction aliens, in the crowd and on the stage, although, this has to be qualified by some disappointment that there wasn’t more of this and that the main characters, and the main villain, drawn from the Hellion race, were of the usual humanoid form, albeit humanoids with horns.

When it was announced beforehand that the episode would feature four especially written songs, written by regular show composer Murray Gold, there was the worry that this would be a full-on musical episode, packed with tunes of the dubious quality of There’s Always a Twist at the End from The Devils Chord. As it happens, the use of music was nicely restrained, with three of the songs highly truncated in nature, including the amusing Dugga-Doo, and the final original song, sung by the Black Hellion character in her own language was good, even if it didn’t quite raise the musical stakes to the heights that were clearly intended. Even the use of Bucks Fizz’ Making Your Mind Up fitted, even if it did account for a sizeable proportion of the large budget.

As for the plot. It was thin, and simple, but at least it made sense in terms of character motivation. Essentially, it was two Hellion terrorists attempting to destroy the people in the stadium, and three trillion viewers watching the song contest at home, in protest at the Poppy Honey Company, the not very originally named ‘Corporation’ sponsorship of the event. This company had ravaged the Hellion planet to the point of desolation, by harvesting its honey poppies to extinction, for the sake of producing ‘honey flavouring’ for vast profit.

For once, the story allowed for a degree of ambiguity. On the one hand, we are invited to feel sympathy for the plight of the Hellion people, whilst weighing this against the response of the terrorists. I doubt that many would see the destruction of three trillion people (or, more accurately, sentient beings) as a proportionate response to aggressive economic colonisation, but at least we were given reasons as to why the antagonists acted as they did, which is better than the usual ‘Because straight white men are bad’ which has been the standard of late. Yes, once again, the main villain was indeed a straight white man, as I will come back to, but at least he was given some believable motivation.

The use of poppies as the source of the Corporation’s profit, suggested to me a link to Afghanistan, though some have made the connection with the ongoing situation in Gaza. If so, the subject was dealt with in a rather shallow fashion, with the suggestion that an emotional song could make everything OK, even though the power of the Corporation was never really addressed or challenged. This aspect of the story put me in mind of the weak Amazon satire Kerblam! From the Chibnall/Whittaker era.

The episode will be best remembered for those two big fan-pleasing moments. I discus the Mrs. Flood reveal and the return of the Rani below. But, the big one for me was the return of Susan Foreman.

Susan, played by Carole Ann-Ford, is the Doctor’s granddaughter and a genuine Doctor Who legend. She was one of the original Tardis team alongside William Hartnell’s First Doctor. More importantly, she is the only member of the Doctor’s family ever identified. Susan left the show in 1964, accompanied by Hartnell’s iconic ‘You go forward in all your beliefs, and prove to me that I have not been mistaken in mine’ speech as he left her with new love David Campbell in the ravages of a twenty second Century Earth ravaged by Dalek invasion. She returned only once, in the Five Doctor’s 20th anniversary special in 1983.

I’ve been hoping for a Susan story since the show returned in 2005, and been invested enough to check out the way the character has been fleshed out and developed in some of the novels, and in the Big Finish audios, where Carole Ann has now been reprising the Susan away from the cameras for more than twenty years.

We’d had lots of false trails through the years, mentions from both the Tenth and the Eleventh, and Peter Capaldi’s Twelfth even had a photograph of her in the Tardis. Then, last season seemed to be building towards her return, only for the whole ‘Susan’ theme to be wasted on the useless ‘Susan Twist’ character/actress. My worry was that RTD would go with a regenerated Susan without the involvement of the original actress. That would have been wrong, as I mentioned in a previous review.

But here, we got the real deal, the real Susan. It was only a few seconds, and she may or may not have existed only in the Doctor’s mind, but it was still genuinely emotional to see Carole Ann back on the screen in Doctor Who, and her mouthing of the words ‘Find me’ suggested more to come in the finale. I hope so.

For once, even the Doctor’s excessive campness didn’t seem out of place, given the uber-gay faux-Eurovision setting, and Gatwa gave a solid performance, though I will discuss the ‘Dark Doctor’ torture scene below. Freddie Fox was excellent as Kid, and the side characters were more engaging than normal, with good performances from Charlie Condou and Kadiff Kirwan as the gay couple Gary and Mike, Iona Anderson as Kid’s reluctant sidekick Wynn, and Miriam Teak-Lee as Cora. It was nice to see more characters with a crucial role in the story, and even the Special Guest Star appearances of Rylan and Graham Norton worked in the context of the episode. Varada Sethru had some nice Belinda moments, even if I found it hard to believe that the thirty-year-old British-Indian nurse would be as bigger Eurovision fan as she appeared to be.

The episode ended with the doors blowing off the Tardis, which left us on a good old-fashioned cliffhanger in the style of the classic era.

One more important positive: Ncuti didn’t cry!

Negatives

I’ve spent so much time on Susan in the previous section, that it feels right to return to it here. Her return was a big moment, but I can’t help feeling that, after so long away, the reappearance of the Doctor’s granddaughter should have been even bigger. Making Susan share her re-appearance with another returning , the Rani, diluted the impact somewhat, and I think this was a little unfair on Carole Ann Ford.

As for the Rani herself, the return of this character had been so heavily trailed that the element of surprise was lost. Personally, I’m somewhat indifferent to the character anyway, and have never quite understood the fascination with her in some sections of fandom. After all, she has only previously appeared in two 1980s stories, The Mark of the Rani and The Time of The Rani, though I did quite enjoy rewatching these two stories again to get me up to speed. That’s not to say she couldn’t be good if used correctly. Her main attribute in the days when she was played by the excellent Kate O’Mara, was as an amoral but brilliant scientist, and I’m hoping to see her scientific knowledge and expertise put to good use eliminating the Pantheon of Gods, the ‘Mavity’ conceit, and all other fantastical elements from the universe, returning it to something that can be rationally understood by the application of the Doctor’s pseudo-scientific mumbo-jumbo.

I could have done without RTD (and Dawson) doubling-down on the bi-generation idea introduced in The Giggle. Especially as the concept was put to even more nefarious use here, with the added new lore that the old incarnation, Anita Dobson’s Mrs Flood as was, is subservient to the new, played by Archie Panjabi (which is excellent casting), ‘A’ Rani as opposed to ‘The’ Rani.

I can’t help but wonder who the show is for now. I loved seeing Susan back, and some will have equally strong emotions about the Rani’s. But assuming there are still casual viewers out there, how many of them would know who either of these characters are?

The tropes of the modern show are becoming as tiresome as those of bad 1970s comedy and drama. As soon as I heard that the episode would feature a couple going through marital difficulties, I knew that this wouldn’t be the standard heterosexual couple, because such things now barely exist on our screens, and sure enough, here was Mike and Gary, one was black, one white, thus ticking another diversity box. In addition, we had another disabled character, which is obviously not wrong in itself, but I can’t shake the feeling that the production team approaches casting with a chart on the wall chart, ensuring that ‘Everybody gets to see themself represented on screen.’

Clearly the show has a big problem with white heterosexual males. The give away that Kid was to be the villain of the piece wasn’t that he had Satanic horns on his head, but that he kissed a hot girl (Wynn). The horror.

This is three episodes out of six where the baddie fitted this profile, and as the villains in the others were gods from RTDs Pantheon (Lux and The Story and the Engine), and an unseen alien entity (The Well), that’s a high percentage.

What makes this more troubling is the way the Doctor has treated these characters. Al the Incel (which he wasn’t, anyway) in The Robot Revolution was returned to the state of a sperm and an egg by the little laundromat gadget, which the Doctor, and Belinda, found hilariously funny. In Luck Day, the Doctor travelled forwards in time to watch English podcaster Conrad die sad and alone aged forty-nine, and then nipped back to the present day to gloat about it to his face. Here, the Doctor full on tortured Kid for a good minute with an electronic taser type instrument.

It’s nice to see myself represented on screen, or it would be if the Doctor didn’t seem to hate me so much.

It’s this torture scene that has caused most controversy. For myself, leaving aside the writer’s intent as to the targets of the Doctor’s venom, we’ve seen enough of this ‘dark turn’ to know that it must be deliberate, must play a part in the finale, and should ultimately have resolution.

At the moment, the only explanation for this behaviour is through the reiteration of ‘The Last of the Time Lords’ theme, which we’ve already seen with Eccleston’s Ninth and, notably, with Tennant’s Tenth’ ‘Timelord Victorious’ story arc back in RTD 1. If that’s all there is to it, then it’s simply RTD revisiting past glories. Plus, there have been so many resets over the years, as with the human races’ knowledge or lack of regarding the existence of aliens, that it’s no longer clear where we stand with the Doctor, Gallifrey and his own people. The return of the Rani and Susan should make it clear to the Doctor that he is not the Last Timelord, but it remains to see how this thread will play out in the next two episodes.

 The resolution of the plot depended on too many contrivances, in particular on Mike and Gary being in place at exactly the right time, and with just the skills needed to assist the Doctor in foiling Kid’s act of violent retribution.

Another problem is that, once again, nobody died. Too many miraculous resurrections destroy any sense of jeopardy, and that’s a petty in this case, where the initial sucking of the song contest audience into space was genuinely thrilling.

It was also rather silly that we were expected to believe that Gary processed one hundred thousand people, one by one, through his cryogenic chamber. That would take a long time, and it was also too much of a coincidence that Mrs Flood happened to be the very last one.

The Doctor has been described as a Superhero without superpowers.’ That is as he should be, but in the absense of such powers, there’s no real explanation as to how the Doctor was able to save himself from a certain frozen death in space, other than by a sheer act of will, which is far from satisfying.

There were also the usual pacing issues. The whole plot was essentially wrapped up within thirty-five minutes. This wasn’t such a glaring issue here, where the story was more cohesive and less convoluted than most. But it’s become a tired formula now that, after the twenty-fifth minute or so, Murray’s music will swell into bombastic mode, the Doctor will dash around shouting, laughing, and manically pressing buttons, and that, a few minutes later will be that.

Conclusion  

For once, the positives outweighed the negatives. I thought it was a solid episode that was recognisably Doctor Who. I enjoyed it and, especially the brief appearances of Carole Ann Ford. As I said in my introduction, it left me feeling hopeful for the finale.

It remains to be seen if RTD can land it. There’s certainly a lot to fit in: The Two Rani’s, Susan, Conrad the podcaster, the exploding Tardis, two season’s worth of fourth wall breaks, Mel, a tie in to the coming UNIT spin-off, Captain Poppy and the Space Babies, Dark Doctor, the Earth being destroyed on May 24th. That’s the date of the next episode, Wish World 

Anthony C Green, May 2025

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Exploring Themes in Doctor Who: The Story and The Engine

Doctor Who: The Story and the Engine

Season 2, episode 5 reviewed

Overview

The episode was written by Inua Ellams, a Nigerian poet and playwright, after he was recommended to showrunner Russell T Davies by Ncuti Gatwa. Davies rejected Ellams’ first idea and suggested he instead base the episode around his Barbershop Chronicles play. This had been developed by the writer as a celebration of Nigerian barbershop culture, and had been based on real conversations Ellams had taped in barbershops. Davies had seen this play and liked it.

Promotional poster for Doctor Who featuring a male and female character standing on a colorful alien landscape with the Doctor Who logo.

Aside from one white woman who appeared very briefly, the story featured an all ‘people of colour’ cast, and has been described by RTD as a companion episode to episode 6 of the last season, Dot and Bubble, which, aside from Ncuti, featured an all-white cast.

‘Nigerian barbershop culture’ doesn’t immediately sound like a great premise for a Doctor Who story, but if you locate the barbershop simultaneously in Lagos, capital of Nigeria, and mounted on top of a giant spider travelling through the ‘Nexus’, have it powered by the stories of customers, and you throw in a few gods, both Nigerian and non-Nigerian, then I suppose it can be. At least, it can fit into Doctor Who in its present Science Fiction-lite, Fantasy-heavy incarnation.

It didn’t offend me politically on the scale of Lucky Day, though I do have political issues with it, as we shall see. If I were to sum up the episode in a few words, then ‘tedious,’ ‘pointless,’ ‘convoluted,’ ‘tell not ‘show,’ and ‘irrelevant’ to the main season arcs would be high on the list of words featured.

Positives

I don’t hate the idea of a story derived from oral storytelling traditions, of Africa or anywhere else, and this did have a recognisably different voice as far as script and performance go. This was a mildly refreshing, if somewhat stagy, change after the last two episodes. The Well had been co-written by Sharma Angel-Walfall. Lucky Day was ostensibly by Peter McTighe. But, in both cases, Davies was unmistakably present in both, almost as much as if he’d written them both alone. Here, the dialogue had a very different feel in places, and that made for a refreshing, if somewhat stagy, change.

It was again a reasonable performance by Gatwa, and the main supporting cast did well, with credit particularly due to Sule Rimi as Omo and Ariyon Bakare as The Barber.

Visually, it had some nice features. The Nigerian market looked authentic, before we settled down into another single location ‘bottle’ story within the barbershop. The giant spider looked good on the two occasions we saw it, especially the aerial shot of the barbershop mounted on top of it. I also liked the painterly-style animations that accompanied some of the stories, and the beating heart inside the brain, as well as the screaming head that appeared briefly, and rather mysteriously, beside it towards the end.

Negatives

Politically, there’s nothing wrong in itself with the idea of an almost totally non-white cast, but for a show that is so keen to combat homophobia to have an episode set in Nigeria with no indication at all of the difficulties gay people can find in that country seems hypocritical. In a scene with Belinda in the Tardis, we hear the Doctor declare that now he has found himself in a black body for the ‘first time’ (see below), there are places on Earth where he no longer feels welcome. Ncuti is a very camp, gay man who, wrongly, in my opinion, plays the Doctor in a way that closely reflects this. I wonder how welcome he would really feel in Nigeria, a country where overt displays of homosexuality can bring a sentence of fourteen years in prison, as well, almost certainly, oppression from within their own community. As a gay man himself, RTD will be well aware of this, as will the writer. It is perhaps not simply down to cost as to why the episode was filmed entirely in London, not Lagos.

On the issue of race, I very much regret how much attention is being given to the current skin colour of the Doctor. The character, remember, is a Time Lord, perhaps thousands of years old, who has travelled through the furthest reaches of the universe, at all points throughout its history. He’s fought aliens such as the Daleks, the Cyberman, and many others who are bent on the elimination of all difference between species. He’s a lone wolf well accustomed to being an outsider. To have him so focussed on his current form and to be so pre-occupied with how that form is received in certain parts of twenty first century Earth, diminishes the character, and is part of the wider problem mentioned in previous reviews, that of the Doctor now being written and played as if he was a mere human, specifically a black, gay, male human.

I’ll add that Ncuti Gatwa’s parents are from Rwanda and left that country because one tribe of black Rwandans was determined to genocide their tribe of black Rwandans. He grew up in Britain, has succeeded in becoming rich and famous, and is now in the fortunate position of being the lead actor in an iconic British show. I have no doubt he’s faced racism and homophobia in his life, but is he really a victim or a success story? Would he have done better to have remained in Africa, where he feels so ‘at home’ or in the ‘racist’ West?

Moving on to the episode itself, the only note I made during my second watch was ‘Full of stories we haven’t seen, featuring characters we don’t know.’ These stories were made all the weaker by the fact that they were largely told to us in pure exposition, without even the animations as illustration for the most part.

The worst of these stories featured a character called Abby who, if I’ve got this right, had been a friend, or a companion of the Fugitive Doctor (see below), who’d somehow lost her hand in marriage through in an il-judged bet by the Doctor, Ncuti’s Doctor or the Fugitive Doctor. As we’d never seen or heard of the girl before, it’s difficult to know why we should care.

As viewers, we were expected to take a lot on trust. For a start, we were expected to believe that the Doctor, at least since he manifested as a black man, and maybe previously as a black woman, or in general, had spent a lot of time hanging out in this Lagos barber shop, was known and loved by all, and was expecially close friends with Omo, thus setting up a later ‘I’ve been betrayed’ bout of Gatwa overacting. As I struggled to recall any mentions of Nigeria, Lagos, barber shops or Omo through the sixty-two-year history of the show, this was too much of an ask for me.

One of the main problems with the episode was that it took us even further down the road of Fantasy, this time inserting a mixture of African and Western pagan gods into the plot. I learnt that the Nigerian god of stories was called Anansi, and took the form of a woman’s face on a spider’s body, so that explained, sort of, the giant spider that was transporting the barbershop through the Nexus. But where did Dionysus, the Greek god of wine and dancing and theatre and stuff come into it? Did the Doctor’s comment that he’d got drunk with this god mean that the deities of the Greek Mythos now have temporal existence ‘in-universe’? What about the Roman Pantheon, or the Egyptian, or the Norse? And how do these fit with RTD’s own beloved Pantheon, with Lux and Maestro, with the Toymaker and his ‘legions’?

I’ve no idea, and I very much doubt I ever shall.

Aside from the choice of setting and the casting being one big virtue signal, there was inevitably yet more. 

For instance:

The Barber revealed that his original name for the Nexus had been The World Wide Web. It soon became clear that the only reason this was inserted was so that the Doctor could call him a ‘Troll on the World-Wide-Web,’ revisiting one of the central themes of Lucky Day.

This has been a problem throughout the series. The writing serves the message rather than the story. Another example was the story that the Doctor told once he took his turn in the hair-cut chair. He had thousands of years’ worth of stories to choose from. Would he decide to power the engine with a tale of one of the numerous occasions he has saved the Earth from alien invasion, or of his many battles with the Master? Perhaps he might plumb for one of his historical journeys and his meetings with iconic figures from the history of our planet, with Marco Polo maybe, or Shakespeare or Hitler?

No, instead told a simple story of one of Belinda’s heroic endeavours saving our NHS from collapse, this one about how she saved the life of the token white character by correctly diagnosing her, overruling the Southeast Asian doctor in the process. Usually, bumbling fools in need of rescue by a Strong Woman of Colour are reserved for straight white males, but we all know now that the people we used to call ‘Orientals’ are ‘White Adjacent’ and thus part of the problem rather than part of the solution.

For some reason, this story was revealed through a proper short film, rather than mere words or painterly animation. Whatever, it had no reason to be here other than to stress how hard our nurses, especially our Indian nurses, work.

The resolution of the thin plot was unsatisfactory and derivative. How many times has the bad guy been vanquished through the sheer awesomeness of the Doctor and his history? Quite a few, though it was the climax of the Eleventh Doctor story The Rings of Akhaten that sprang immediately to my mind.

The point was that the Doctor had so many stories that the Engine overheated and was destroyed. This was illustrated by the overused projection of the images of some of the iconic Doctor’s past.

Perhaps this was used simply to remind us Ncuti was the Doctor. As is the norm for this season, the Doctor’s clothes gave no clue, blending seamlessly as they did into the pseudo-Nigerian environment. If one had joined the episode once the opening scene in the Tardis was complete, with no prior knowledge of the era, there would have been little to identify this show with the show we had once known or, until they appeared to remind us, the fantastic actors who’d once inhabited the character.

As far as I noticed, we didn’t get Colin Baker’s Sixth or Sylvester McCoy’s Seventh but we did get a few seconds of Jo Martin’s Fugitive Doctor who we’d first met during the rightfully derided Chibnall/Whittaker Timeless Children story arc.

Unless Martin is to re-appear as the next Doctor proper in the season finale, this appearance was pointless in the context of the story. Indeed, in the latest after-show Unleashed look behind the scenes, RTD said that this appearance was simply an acknowledgement, appropriate to the setting of the story, that we had had a black Doctor previously in the canon of the show. He seemed unaware that this contradicted the canon of the individual episode, where we’d already heard the Doctor play the victim as regards finding himself in a black body ‘for the first time.’ Maybe Ellams slipped that bit in without Davies noticing?

Conclusion

As I said at the beginning, The Story and The Engine didn’t offend me as much as Lucky Day, but I’d rate it fourth out of five so far this season, not far ahead of the last episode. It was instantly forgettable, and it’s unlikely I’ll ever watch it again.

Next week, it’s the Interstellar Song Contest, a tie-in with the oh-too-real-life Eurovision Song Contest. It’s been written by Juno Dawson, best known for his cryptically named opus How to be Gay. As great as that sounds already, it should be made all the better by the promise of the ‘Who Is Mrs. Flood’ reveal.

I should also mention that we also saw a little black girl at one point. I took this to be the little girl who was the first incarnation of the Doctor as seen in The Timeless Children. But the credits at the end revealed that it to have been ‘Poppy’ from the space station in episode one of ‘season one’. It seems she’ll be re-appearing in the finale, so maybe, as well as an answer to the riddle of Mys. Flood, we’ll also be getting a clue as to why RTD should have decided to open a brand-new era with Space Babies.

Anthony C Green, May 2025

Cover of 'The Angela Suite' by Anthony C. Green featuring feet and a camera, with a backdrop of industrial structures and the title prominently displayed.

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