Doctor Who - The Interstellar Song Contest

Flood Damage

Doctor Who -
The Interstellar Song Contest
UK/USA 2025
Airdate: 17th May 2025

Warning: All the big, big spoilers

Hmm... dunno. As I mentioned at the end of last weeks review, the trailer made this episode look pretty unwatchable but, I’m glad to say it wasn’t and a couple of my friends thought this one was really good. As I am writing this I’m still processing some of the big story strokes this one had but, on the whole I thought that it was... an okay episode.

Okay, lets get to it... the last stopping point of The Doctor (played by Ncuti Gatwa) collecting readings from the Vindicator to get Belinda (played by Varada Sethu) home to Earth, sees them landing on a space station broadcasting a future installment of... The Interstellar Song Contest which is what the Eurovision Song Contest apparently evolved into over time, after the destruction of the Earth which, apparently, coincided with the day The Doctor and Belinda left it.  One of my least favourite TV presenters, Rylan Clarke, is released from suspended animation to compère the show and the station even has an interactive holographic version of another of my least favourite television presenters, Graham Norton.

And, of course, Mrs. Flood is also in the audience. I’ll get to her soon enough because, she comes back big time in a mid credits teaser which reveals her true identity. So stick with it.

This one appears to kill off the whole audience, including The Doctor, within the first ten minutes but Belinda and a few others are spared due to their situation and, its not long before The Doctor returns, improbably riding a confetti canon from out in deep space protected by a gravity field, which due to the whole Isaac Newton thing from the opening scene of Wild Blue Yonder (reviewed here), everyone is still referring to as mavity. 

However, the reason The Doctor revives is because of a vision he has in his head while frozen out in the void. That vision being of his grand-daughter Susan Foreman, played once again by the actress who played her in 1963, Carole Ann Ford. Now, this is kind of interesting because,The Doctor originally left Susan on Earth in the year 2164, in the 1964 story The Dalek Invasion Of Earth (reviewed here), which was also made into a movie set in a different year (reviewed here). So where and when these visions are set is... interesting. As is the fact that Susan hasn’t regenerated at all in the last 61 years.

Anyway, as usual it’s another short review for this series with, some nice sequences but with a lot of camp in it (well, it is a Eurovision themed episode so I’m trying to forgive it that) and some nice musical cues from Murray Gold (none of which are of much consequence since his stuff doesn’t seem to be getting any proper CD releases anymore). So let’s get to that mid-end credits scene then...

Mrs. Flood is a timelord, no surprises there. And her identity is not a particular surprise either since... well people have been guessing it right since her introduction a couple of years ago. But what I didn’t expect was that Anita Dobson, who plays the character, would bi-generate just as The Doctor did during his last regeneration. And she bi-generated into... dum dum dum... The Rani. Originally played by the late, great Kate O’Mara opposite the Sixth Doctor (Colin Baker) and the Seventh Doctor (Sylvester McCoy), she is now played by both a bizarrely subservient Anita Dobson and newcomer Archie Panjabi. 

Oh... and note to the writers. If you’re going to have somebody new bringing back an iconic character, then maybe don’t have her quoting a Fourth Doctor speech which has echoed through the series as an indication that she’s the ‘definite article’. I’m already not liking the way she plays her. I remember seeing Kate O’Mara playing The Rani on stage in a musical Doctor Who show at Wimbledon, opposite Jon Pertwee returning as the Third Doctor many years later and, all I will say is... Kate O’Mara is to The Rani what Roger Delgado was to The Master. But we shall soon see, I guess.

Two more episodes to go now before, I suspect, Doctor Who will take a long rest or, quite possibly, be cancelled and slowly forgotten. I hope neither of those things happen but, yeah, I reckon it’s on the cards for sure. What with every episode in this season so far garnering the lowest ratings in the 63 year history of the show. Again... we shall soon see.

Doctor Who - The Pilot

Fore Play

Doctor Who - The Pilot
Airdate: 15th April 2017 BBC 1

Well this was a very strong start to the latest series of Britain’s most popular science fiction export (arguably more popular than Professor Quatermass, although I really don’t think it could exist without the good Professor clearing the path in the first place, so to speak). This episode introduces a new companion or, quite possibly, an old companion (yeah, alright, I’ll get to my silly speculation bits later) in the shape of lesbian character Bill Pott’s, played by the really very good Pearl Mackie, and also brings back the current ‘sort of’ companion Nardole, as played by Matt Lucas (who is also good... which shouldn’t surprise me but it does). This is the episode which had a preview scene released quite a while ago (over a year?) but I noticed there’s a heck of a lot less dialogue coming from Bill in the version of the scene as it was presented here so I can only assume that the character has undergone some ‘tweaks’ since she was first written in... well they’ve had a very long time between series’ to tinker with her, I guess.

So the episode starts off strongly for me, personally, because we have The Doctor, now seen to be a lecturer at Bristol University, explaining to students as to the nature of time. Time, he says, is an illusion created by seeing lots of static bits placed in such a way that the perception of them experienced one slice after another gives us a sense of a journey over ‘time’. This is nicely demonstrated with a moment which seems like it would better fit right in with Moffat’s other hit TV show, Sherlock, in that the film itself (although we’re really watching digital, right?) is sliced up before us as a metaphor for the explanation of the true nature of time. I’ve been telling people they’ve been looking at time all wrong for years... as a fluid rather than a static state accessed in a specific way we are mostly cursed with looking at it... it doesn’t exist. So it’s good that the universe’s premiere timelord has finally gone on record as saying this.

Okay, so we have a really good opener because it does what Doctor Who does best... gives us a mystery to work on. In this case there’s more than one because we have the introduction of Bill and the mysteries surrounding her and The Doctor’s mysterious ‘secret vault’... and we also have the writer running through the wet paint very fast to distract us with the mystery which gives the story its name. That of The Pilot... who appears as a manifestation of a permanent puddle which can chase you through time from one end of the galaxy to another and reflect your image back as a feedback the right way around, rather than a true reflection. This in itself is good stuff and this underlying plot, which I won’t detail here, helps explore the sexual diversity of the new companion and does it in a romantic way, full of wonder. So that’s all good then.

We also have another encounter with the Daleks which, fortunately, is only a minor appearance and doesn’t hook in with the main plot. There’s one of a few nice little nods to the history of the show which are found in this episode here in that the Movellans are seen with them. I couldn’t believe it because the last and, I suspect, only other time we saw them was in the Tom Baker serial Destiny Of The Daleks back in 1979. My joy was slightly tempered by the fact that the Daleks we see with them are a more updated design than they were when the Movellans were around but... oh, well... that BBC budget thing is getting in the way of authenticity, I suspect.

Another nice and, I suspect, ‘more important than they’re letting on’ reference came up in the scene where The Doctor was persuaded not to use a memory wipe on Bill. The implication of him falling victim of the very same thing in the last episode to feature Jenna Coleman as the deal breaker here was beautifully re-enforced by composer Murray Gold using his old companion Clara’s theme to support those moments... lovely stuff.

But there’s more than one mystery her to solve and, as is usual for the rebooted Doctor Who stories since the time of Christopher Eccleston’s reincarnation of the character, there’s an underlying puzzle thread to be solved which will obviously be an arc for the entire series. We know that Peter Capaldi will be leaving soon, allegedly during the Christmas special but, I suspect, the transformation may be a little sooner than that... after all the Mondas cybermen who are returning for the last two episodes of the series and who haven’t been seen in the show since 1966 saw the death of the William Hartnell incarnation of the character (who I suspect Bill is named after by the writer, in an affectionate tribute) and it would be a nice, fearful symmetry if they were to cause the death/regeneration of the latest incarnation too. But this is not the real mystery and nor, I suspect, is the vault which The Doctor is apparently guarding. He would know better than to have something precious locked up, surely? He’d hide it in plain sight I would have thought. It could be a TARDIS or a nursery even but, I suspect, something timelordy (especially if The Master is making a return) and so I think it’s about time I went into the ‘wild speculation’ section of this review. So I apologise if all this turns out to be silly...

We are used, over the last ten years or so, to seeing references to the previous episodes of the show and they are usually very brief, blink and you’ll miss them, shout outs. However, we have here a Doctor who has a picture of his 'late' wife River Song on his desk at the University along with a photo of his Grandaghter Susan Foreman, as seen in the first year or so of the original series. She was played by Carol Ann Ford and she left the show in the 1964 story The Dalek Invasion Of Earth, which I reviewed towards the end of last year here. And The Doctor keeps coming back to these photos throughout the episode rather than just have this as a throwaway shout out so... the writer wants us to notice something here.

Now I have several theories on the subject but this is my pet one at the moment. I’m betting on something similar to this but, please remember, I’m only one episode in so the pieces of the puzzle might not all have been revealed as yet...

What’s missing from this set of photos? We have The Doctor’s wife and The Doctor’s granddaughter... no Doctor’s son or daughter... whichever that was. That element is decidedly missing. We also have a new companion called Bill who The Doctor has suddenly taken an interest in and whose mother died when she was born. When she is now given some photos of her mother before she died, she spots the reflection of Peter Capaldi’s Doctor in a mirror taking the photo in one of them. And then she, and we, are all promptly asked to forget about it as the ‘puddle story’ takes up the heat for most of the rest of the episode...

However, if we don’t let ourselves get distracted we have the idea that we have The Doctor who knew Bill’s mum before she died and the idea of memory wipes represented. So my number one theory at the moment is that Bill’s mum was The Doctor’s daughter and, since Pearl Mackie doesn’t seem to be expecting to be staying around past this current series, I’m guessing her mind will be wiped a little and that she is The Doctor’s granddaughter and, when she regenerates into the familiar Susan Foreman incarnation of the character through televisual trickery at the end of the show, she will be left with an earlier incarnation of The Doctor (aka William Hartnell) and he will take her to Coal Hill School, sometime shortly before the very first Doctor Who story, An Unearthly Child, takes place.

Well, that’s my most favourite conclusion at the moment, anyway. Although, if that really does prove to be the case, then the LGBT community will want Moffat’s head on a stick for having a lesbian character who regenerates into a character who runs off with a man at some point. So maybe not. But I like the idea that the new companion ‘may’ be Susan or, at the very least, in some way related to her so... lets see if she’s revealed to be in possession of two hearts anytime soon, eh?

And that’s that for me. Great opener and I can only hope the show continues at this quality. I guess I’ll find out next week.

Doctor Who - Journey To The Centre Of The TARDIS

Fiddling While TARDIS Vernes

Doctor Who - Journey To The Centre Of The TARDIS
Airdate: 27th April 2013. UK. BBC1

Warning: New spoilers waiting to be discovered as you journey to the centre of this article.

For a long time now, Doctor Who fans around the world have been given occasional little audio and visual glimpses of other parts of The Doctor’s famous time and space travelling machine, TARDIS, besides the main console room which features in a lot, although not nearly all, of the stories. But rarely are we given a real chance to see what the rest of the TARDIS is properly like and even just the sound of the cloister bell, a famous chime in the Doctor Who universe, is enough to light up fans' eyes en masse (first used in Tom Baker’s last story Logopolis and still used in the Matt Smith series more than it ever was in the past, strangely enough).

So it was with much trepidation that I embarked on this episode with the Jules Verne inspired title of Journey To The Centre Of The TARDIS... after 50 years of not having enough budget to show us much else of The Doctor’s good vessel (in spite of at least one Hartnell story taking place in its entirety on board this ship). I was really not wanting to see much else of it in all honesty.

Moffat does like to change things and tinker with the established myth of Doctor Who more than The Meddling Monk and sometimes that can get quite interesting (when confined to certain acceptable parameters) and other times that can just seem quite arrogant, unnecessary and, frankly, leaving a downright tragic aftertaste in the mouth. I’m dreading what is going to be revealed in four weeks time at the end of the current series, for example... he’s already made some horrible references to The Doctor’s name in some scenes that really didn’t work in the last series and onward and... well... let’s all wait and see.

So, did the episode which was advertised to be an exploration of some of the parts of the TARDIS we’ve never seen before prove to be an interesting and respectful look at the space/time vehicle of this beloved show’s history or... did it fall flat? My expectations were not really going too much in either direction, well... with the exception of aforementioned trepidation, that is... and I can say now that this episode proved to be...

Okayish.

There was, as I’m sure a lot of us were all expecting, a lot of running down corridors and some of the rooms (and you really didn’t get to see much more than the corridors for most of the running time) looked like cheap CGI backgrounds as opposed to actual sets... but the episode certainly wasn’t anywhere disrespectful to the shows of the past and, considering it was presumably the “bottle neck”* episode of the current series, it was mostly quite entertaining too (Bottle neck episode is a term for an episode of a TV show which is deliberately “written cheap” to allow money allocated to be used for other episodes when unexpected costs happen. These episodes frequently feature few sets and often a lot of flashbacks to previous episodes, to the extent that many people also refer to them as “flashback episodes”. Many shows have them and they’re often not very hard to spot.).

This episode offered a few tantalising glimpses of things every fan would want to explore further, such as a Gallifreyan library with a certain book charting The History Of The Time War which gave Clara a mini moment of epiphany in regards to The Doctor’s name and his place in the universe, so to speak. Unfortunately, the episode also managed to cop out on all these little things because the way our heroes got out of this week's story was, frankly, a big time and space reset button which erased the versions of our characters out of history after they’d saved themselves from earlier folly, thus rendering the majority of the characters (at least the important ones) without a memory of the episode. So that was a bit pointless.

And, yes... we got to hear the cloister bell again. Briefly.

Nevertheless, although there was some hellish imagery used in the story, there were also some wonderful, visual delights, with a very diverse set of colour palettes used from scene to scene... especially the moment when The Doctor and Clara went from running through orange and green lit corridors to the side of a “snarling” plateau which used colouring more reminiscent of the Pertwee era. Pertwee, in fact, was also heard in this episode... as were a few Doctors and companions, since the removal of a panel on the TARDIS console triggered a series of sound bytes from the shows past, starting with a sample of The Doctor’s grandchild Susan Foreman (as played by Carole Ann Ford) explaining the TARDIS acronym from the very first episode of the very first story, An Unearthly Child. 

And talking of children, and possible grandchildren, it was also nice to have a glimpse, once again, of Melody Pond’s (aka River Song’s) cot from the A Good Man Goes To War episode too. Nice touch and one is still wondering, or at least I am, if Clara will eventually be revealed as the daughter of River and The Doctor at some point... or is she a future incarnation of The Doctor’s Daughter perhaps, ripped from David Tennant’s DNA in his third series as The Doctor. That’s another of my many theories this week... I’m hoping Moffat’s got something a little more clever planned for his big reveal though.

It wasn’t a fantastic story, it has to be said, but it certainly wasn’t a big letdown like the five episodes which comprised the first part of “Series Seven” were either, so that’s okay. It kept me interested and it really feels like the producers of the show are working up to something big. Now I’ve been twice bitten by that already with this series over the last couple of years so I’m not going to get my hopes up just yet... especially with Moffat now threatening that this year will somehow change the show.

What I will do, though, is look forward to next weeks Victorian London shenanigans with the return of my favourite lesbian Silurian, my favourite Sontaran and Bond/Avengers gal Diana Rigg in it. Wish I could leap seven days into the future and check it out now.

Doctor Who - The Rings of Akhaten

Ring Out Your Dead

Doctor Who - The Rings of Akhaten
Airdate: 6th April 2013. UK. BBC1

Warning: Very slight spoilers on this one, I suppose. 
If you really aren’t expecting them.


Well... I think this is going to be a very short review.

The Rings of Akhaten was, frankly, very dull.

Well okay, not that short a review then. Let me try to add to that.

I watched this one with my family and the general concensus in the room for this one was, I’m afraid, that it was kinda dreadful. I’d have to go on record as saying, it wasn’t dreadful by a long chalk... it just wasn’t very good.

Okay, so there are some very nice things going on this episode which include new companion Clara’s first journey to another world, a throwaway comment by Clara that the TARDIS doesn’t like her (which could mean one of a couple of things and I’m sure we’ll find out what when the time is right) and a mention by The Doctor of his grand-daughter... buy whom he presumably means his travelling companion Susan, who he left on earth after his defeat of the Daleks in The Dalek Invasion Of Earth. Of course, if she was a time lord, like him, she’s presumably long dead by now... erased from existence in the Time War we’ve heard so much about.

There were also some nice sets (lots of reds and earthy colours), some nice costumes (especially some of the alien creatures) and, erm, stuff. Lots of nice stuff which momentarily escapes me. Oh, yeah, the first five or ten minutes were pretty good with The Doctor visiting Oswin number 3 at different points of her life and finding out why the leaf in her book is so precious to her. That was all good stuff.

Also nice to have The Doctor facing death and having his new companion save his life in her second episode. Of course, this was a tactic employed with the second Amy Pond episode too but, who cares, it makes for some dramatic television. Plus, there were some great Doctor-as-messiah quasi religious kind of shots going on in the episode which made for some nice things to look at...

But...

There was no real action in the episode apart from some kind of “low speed” flying bike chase which had some terrible visual effects in it that managed to detract from the action enough to remind me of those old Blakes Seven episodes from the 1970s. I’d go as far as to say that this was pretty much as lifeless and unexciting as one of the modern Doctor Who episodes could get... except I’d also have to make that same comparison if we were watching classic Doctor Who too.

Seriously yawn inducing in places. I’m not gung ho for action scenes usually but this one could have done with a little less “cosmic wonder” and a bit more running around being chased by things. Oh, and probably a bit less singing too. In fact, I know Murray Gold has been accused of overscoring modern Doctor Who before, and it’s something I usually defend him from, but I have to say that this show had so much exciting music going on in the background for so little visual action that you could hear the mindset of the composer as he tried to spice up the on-screen visuals by speeding up the rhythms and throwing everything but the podium in there. While this tactic worked well for Elmer Bernstein in The Magnificent Seven, I’m afraid the lighter weight of the episode couldn’t really support it and, although I’m sure some of the music from that episode will make for a good listen on the inevitable album, it just kinda gets a little too obtrusive in the context of playing support for the visual image in this one.

And that’s all I’ve got to say, really. Some nice performances with everyone working really hard to bring an alien world to life before your very eyes... it just needed to either pick up the pace a little or really slow itself down to a two parter and given some of those heavy dialogue pieces a little more room to breathe perhaps? But one or the other I reckon... this one just felt badly paced.

Never mind. I’ll live. Ice Warrior on a submarine next week so maybe it’ll pick itself back up then.