Doctor Who: Season 1 (2024)

Don't be disappointed by the first two over-hyperkinetic episodes because the remaining six more than make up for these. No doubt Disney told Davies to throw everything but the kitchen sink on the screen so that two perfectly stories are spoilt with chaos and confusion.Surprisingly it is the master of headache arches who brings the third episode “Boom” down to a speed that inspires both emotion and messaging, being a very dark story on how today's turbo-capitalism in war armaments can easily get out of hand. Davies then comes up with one of the best Doctor Who episodes ever: “73 Yards”. It's a horror-sci fi story of how Ruby's entire life changes because of one tiny mistake.My favourite episode is the fifth “Dot and Bubble” because it takes a pop at the insane world of dumb social media bubbles and how they can also spiral out of control. Filmed in glorious pastel colours, it is a classic example of Davies' uncanny ability to portray unsettling dream-like dramas.Inspired by the period series “Bridgerton” the next episode “Rogue” is a delightful mix of history and monster aliens. The Doctor's suddenly going down the road of gay love when he can't even take a fancy to his gorgeous young assistants is an interesting turn that certainly didn't disturb me, even though I've been watching Doctor Who ever since the Second first appeared in 1966.The last two episodes are the typical but not over-done spectacular end feature of each series, the second part of which becomes very dark indeed before the Doctor suddenly brings everything back on track again.Ncuti Gatwa is right up there with the best doctors, managing to combine fun and empathy in one, as well as adding his unique brand of charm, of which he has Tardis-fulls. At just nineteen Millie Gibson has already nailed all the emotional qualities that make her a perfect dream companion.Unfortunately this new series comes in a floppy card box, unlike the solid boxes of previous series that will hold out for decades of repeat showings. However, with seven dvds it is a bonanza, even though the first is the Christmas special that we already got at the beginning of this year. There are hours of “How the Series was Made” episodes but, for me, the real extra treat is the full series of Tom Baker's “Pyramids of Mars” of 1975.

Disc's are perfect, shame about the New series very poor, compared to earlier seasons

Ncuti Gatwa's first full episode as the Fifteenth Doctor - The Church on Ruby Road - begins a new era of the show with a somewhat different direction that was hinted at in the previous two sixtieth specials. Unlike showrunner Russell T Davies' first stint in charge between 2005 and 2010, there is now less sci-fi and more fantasy in his second spell. It is true that losing some of the sci-fi has reduced the intelligence of the show a bit for example in this episode the Goblins create and feed off coincidences which is unlike the traditional Doctor Who. However, the most un-Doctor Who like moment in the episode of all is the Goblins sing-song/dance and the Doctor and his companion bizarrely then joining in. It is rather ridiculous and the nadir of the whole 2023 Christmas Special - perhaps the part-Disney control has influenced this.However, upon a re-watch in particular the greater use of fantasy is quite entertaining too and it is welcome after almost two decades since it was revived for Doctor Who to be innovated a bit. Although the first few scenes are not as dramatic as Nine's "Run" - though to be fair the Fifteenth Doctor's real entrance was spectacular in The Giggle and pleasingly during the climax of the action - and a bit slower they are still entertaining and provide the first Christmas Day special of Doctor Who in 6 years with a Christmassy atmosphere (e.g. the club and streets scenes). Anyway, in the second half and final third particularly the pace of the plot increases and the temporary loss of Ruby Sunday is emotionally affecting. While the Doctor altering the past is nothing new in Doctor Who, him using the gloves to crash the Goblin ship and save Ruby is a typical Russell T simple but satisfying resolution with the time travel providing the show with some pleasing sci-fi. Also, the plot is generally kept simple for this special - which even Steven Moffat tended to do for the Christmas ones - which is a positive too so that any new viewers on Christmas Day are not flummoxed with complex story arcs etc. Despite a couple of problems making it imperfect, The Church on Ruby Road revives the tradition of the Doctor Who Christmas Special quite successfully and is very good.However, compared to previous Russell T Davies series openers, Space Babies is deficient. For a start, using babies seemed a bit weird and apart from the time travel and space station Doctor Who seems now too devoid of sci-fi substance. The Bogeyman is an even worse monster than the 1980’s Kandyman and the nappies pay-off is totally puerile. It is a twee opener that lacks some drama and intelligence. However, upon a second viewing it is a bit more watchable and although the new companion having their first (full) trip in the TARDIS to a space station/ship has been done before that is fine because it is a New Who tradition. Also, it is easier to follow than the later Chibnall-era and re-introduces The Doctor to any new fans who are watching for the first time. Nevertheless, there is too much quirkiness and Space Babies ranks amongst the least effective New Who episodes and maybe it was unwise for it to be the first show.The Devil’s Chord is an improvement, but it still suffers from issues. Again, there is a lack of cleverness as it is illogical that the world losing music would lead to a nuclear apocalypse. Also, the pay-off with John Lennon and Paul McCartney discovering the final chord that banishes Maestro was slightly too predictable. However, this simplicity in the rest of the story is welcome too after the overwhelming plotting of some of the Moffat/Chibnall shows. Also, the callback to first companion Carole Ann Ford was welcome nostalgia while the opening scenes with the Doctor and Ruby meeting the Beatles/Cilla Black were entertaining and amusing. But it is ironic that the last over-the-top musical number - “There’s Always a Twist at the End” - with all the cast dancing was as cringeworthy and no better than the songs composed under Maestro’s power. There is too much singing and dancing in Doctor Who now and this is clearly the result of a negative influence from the part-Disney control. Overall, though it is not exceptional and strays a bit too far away from the New Who of old, Jinkx Monsoon delivers a dominant and entertainingly deranged performance as Maestro and despite a few overstretched scenes it is a satisfying musical romp.Like Russell T Davies, another legendary former New Who showrunner in Steven Moffat made an unprecedented return for this new Disney era too. But perhaps the concepts/themes in Boom of war being created for profit by capitalist companies and by organised religion too were unrealistic and crass given the state of the world at the moment. However, Boom is - in typical, reliable Moffat fashion and despite a small scene of singing again - the most cerebral storytelling of Season 1 and the concept of The Doctor trying to escape from the mine was genuinely captivating and a welcome expansion of a Classic Who idea. The reprogramming pay-off was intuitive but easily understandable too and triumphantly rounds off the story. It is packed with tension and suspense and the visuals of the planet are glorious also. After two episodes that were rather different Boom is the closest to the previous New Who of its heyday and it is the second strongest show of this 2024 run.Although Boom was truly very good, 73 Yards is the finest episode that Season 1 has to offer. It is engaging and eerily atmospheric and the visuals of the South Wales coast are spectacular. But there is one issue - a small plot hole - that prevents it from being absolutely perfect. It is never explained what the ghost of Ruby says to all the people who become close to her and how that removes an insane, nuclear fixated Prime Minister from power and even alienates her beloved foster mother too! Though to be fair the viewer never knowing what the ghost Ruby says provides the story with an extra layer of mystery. Ultimately, 73 Yards is thrillingly fast paced and shows the full potential of Russell T Davies’ imagination being realised. Even though it maybe feels too soon to have a Doctor-lite episode so early into Gatwa’s time in the role, it is just so amazing and Millie Gibson owns the screen and her characterisation reaches another level. Despite one minor problem, 73 Yards is outstanding and matches the quality of Russell T Davies’ first 2005-10 era because it is the one that best combines the sci-fi of those earlier shows - the redundant Ruby timeline at the end has a real Turn Left influence - with the supernatural new direction.The fifth episode, Dot and Bubble is very strong and another standout. The opening scene is admittedly a bit cheesy - that Timmy Mallet song is one of the most irritating of all time - but it does convey how the people of Finetime submit their lives to the all-powerful and crazy social media of the Bubble. After the previous couple of shows which were more complex it is pleasant for Dot and Bubble to be simpler in plot and it sustains interest as the viewer is intrigued by the mystery of the spoilt, elitist kids of the Finetime colony. The end in which Lindy Pepper-Bean - a multifaceted central character brilliantly portrayed by Callie Cooke - callously betrays Ricky September and then all the other survivors of the grotesque Slugs refuse The Doctor’s offer of transporting them off their dangerous world is an effective commentary on how social media de-humanises people and leads to cliques. However, the main powerful message in this final scene emphasises the stupidity of racism as the Finetime characters snubbing the Doctor’s help leads them to all extremely likely dying when they travel on the raft into the Wild Woods.There are a couple of issues however in that for a second episode in a row there is still too little of Gatwa so early into his time as the Fifteenth Doctor and it is a bit over-the-top in its silliness at times with more inane toilet humour so perhaps the Disney influence is again too much. But overall, as a critique of the over-reach and potential danger of social media - in particular highlighting racism - and an adventure through a bizarre alien planet it is very successful.The last self-contained story before the two-part finale is not perfect but yet another very good Season 1 episode from new Doctor Who writers Kate Herron and Briony Redman. Heavily inspired by the modernising of the Regency period in Bridgerton, the main plot is of a romance between The Doctor and bounty hunter Rogue. The Captain Jack comparison to Rogue was obvious and it possibly even implies that Rogue has a connection to him especially when The Doctor asks him about who it was who he had “lost.” It is also pleasing for there to be greater attention on Gatwa’s performance after two episodes in which he featured less, and it was likewise a positive to have a TARDIS scene again after they were similarly missing from the previous three shows too. The cosplaying shapeshifters were a bit of a strange antagonist yet again in Season 1 (only the Toymaker and Sutekh have been recalled from Classic Who in Russell T Davies’ second era) though they were effective overall and having nearly all new enemies has provided some innovation for Doctor Who.However, the main slight issues with Rogue were that a few scenes that were elongated again and the companion does not care that some of the humans could die and pretty much disregards them for being posh when Doctor Who should be for all and in Russell T Davies’ first era the Tenth Doctor was upset at and respected each and every death. Also, there is a slight lack of emotion when The Doctor recovers from his heartbreak almost instantaneously in the final scene. Though to be fair the first Doctor same sex kiss is not a backtrack that Jodie Whittaker as Thirteenth not becoming involved with Yasmin Khan was and he wears the ring he was given at the end, and he/she is an alien from another dimension after all. Overall, as a romantic story between The Doctor and charismatic new hero Rogue - with a moving and honourable self-sacrifice from the latter to save Ruby - it is a highly engaging and quite thrilling Bridgerton tribute that sustains attention.The penultimate show and first act of the finale - The Legend of Ruby Sunday - is very good and amongst the best episodes of Season 1. There are a couple of nitpicks in that maybe a few scenes are a bit too long winded and that the viewer must have a knowledge of Classic Who from five decades ago to understand the end properly. Also, it was maybe a bit too blatant that the “nice” Susan Triad was actually possessed by something really bad. But overall, it is very strong and for a start, the reunions with UNIT and other former companions are very welcome and connects Doctor Who - despite its new direction and Season 1 retitling - back to its gloried past. Although the moral messaging was very valuable in the previous shows perhaps toning it down a bit on this occasion in The Legend of Ruby Sunday has allowed a greater concentration from Russell T Davies on just simply writing a decent, proper sci-fi/fantasy story. With a superior script to a few of the other episodes Gatwa’s Fifteenth Doctor - donning a leather jacket that harks back to the attire of the Ninth Doctor - really shines in his trademark dominant and emotive way and fulfils his true potential.But the main highlight of this episode is the moving and sad story about Ruby Sunday being a foundling without ever knowing the identity of her birth mother. The Time Window scene in UNIT HQ in which they extricate from 2004 CCTV footage a 3D representation of the street from where the baby Ruby was discovered is one of the most intriguing and captivating scenes in New Who history. Having to be aware of all the positions of the characters involved is such a clever way for the viewer to be enticed into solving the mystery along with The Doctor. Admittedly it is slightly frustrating that the mother is not revealed by the end of the episode but that is a clever ploy from Russell T Davies in ensuring that the fan watches the next one.Sutekh is yet another fantasy “God of death” villain, but it is successful because like the Toymaker they were created in the Classic Who and during New Who’s peak of popularity there was the Satan-like The Beast in series 2 (voiced by the same actor as Sutekh). Also, there is enough sci-fi underpinning it this time and he is initially genuinely eerie and frightening, another hallmark of some of the best darkest Who. Another laudable characteristic of The Legend of Ruby Sunday is that the higher budget from the Disney funding is used more wisely here and it is visually stunning. Overall, despite a few small criticisms and a lack of action as it concentrates more on the two mysteries it is a high-quality Season 1 episode.Although the last show of Season 1 has some underwhelming aspects it impresses more upon a re-watch. However, for a start - after initially impressing in the first episode - the CGI of Sutekh eventually appears cartoony and daft. With the greater budget from the Disney funding, it should have looked superior to that. It is not Gatwa’s fault - it is the way he was written - but he appears overly emotional during his howling scene, and this was embarrassing especially after he said previously that he would fight Sutekh.Another issue that Empire of Death is afflicted by is that yet again parts of the story fail to make sense - why is Sutekh so fascinated with Ruby’s mother just because she is an anomaly therefore failing to destroy everything when there was not really any evidence to suggest to him that she was a threat? Additionally, it possibly was not totally realistic that Ruby’s birth mother would want to immediately reunite with her daughter so fast towards the end though to be fair Ruby was abandoned to protect her from an abusive stepfather.In terms of Ruby’s genetic mother being no one major in the Whoniverse it did provide a reasonably refreshing change from the past with it being someone more commonplace. But although it was still effective drama to finally discover the identity of Ruby’s mother it was at the same time turning Doctor Who into more like a space soap opera and the significance of the mother’s pointing at the unrealistic road sign to name her daughter was overly sentimental too. The series 6 Melody Pond story arc was more successful because River Song was a Doctor Who heroine and her Pond parents were significant companions to the Doctor also. The recurring snow and Home Alone-like music throughout the series had no real purpose in the end too with her birth mother not really having much significance and after all the speculation from fans her lack of importance in relation to the history of Doctor Who could be perceived as an anti-climactic reveal by some Whovians. Overall, the Ruby’s mother story arc was compelling but not without its flaws.However, Empire of Death did have some significant positive points too. Despite the disappointing underuse of the real TARDIS throughout Season 1 - even though it is the most expensive and one of the most spectacular TARDIS sets ever - the Memory TARDIS (re-used from the Tales of the TARDIS spin-off) was lovingly and beautifully constructed with numerous visual nods to the entire history of The Doctor’s time machine. Also, the scene with The Doctor requesting a metal spoon from an unknown woman was poignant too and was pleasingly reminiscent of Chris Chibnall’s underrated Flux series. Bonnie Langford had a much more prominent and heroic role as Melanie Bush than in the Classic Who and she has been another 1980s companion who has been brought back with much more success in the New Who of the last few years like Ace and Tegan. Also, although there was a bit of convolution generally throughout the finale, the simple pay-off for defeating Sutekh - with the same gloves cleverly being reused from the Fifteenth Doctor’s first full episode - rounds the main story off in an easy-to-follow and powerful way. Maybe there were several fantasy objects like whistles and ropes used to advance the plot without any clever sci-fi concepts behind them, but they fitted in with the magical and fun new direction for Doctor Who. The final scene is rather beautiful too as the viewer reflects on how The Fifteenth Doctor and Ruby Sunday have been on an emotional and moving journey throughout their adventures in discovering her family. Admittedly, the last Season 1 show fails to match the standards of the impeccable 2005-17 finales, but it is still pretty good, quite scintillating and superior to the first two Chibnall ones.Overall, after a shaky start Season 1 markedly improves. However, although it is a soft reboot with the new Disney money it would have been preferable for it to have been titled Series 14 to refer back to and better reflect its history. Also, the length of the main series run at 8 episodes is disappointingly significantly less than New Who’s heyday though it is 2 shows more than the previous Flux series and is just about enough to have a proper story arc. Additionally, it was not Russell T Davies’ fault that Ncuti Gatwa was filming other things but although 73 Yards was brilliant his absence should not have stretched to quite a lot of Dot and Bubble too as by the mid-series you feel that you still do not know this new Doctor enough. Meanwhile, although it is refreshing for there to be nearly all new antagonists it would have been a better balance if a couple more of the vintage enemies had reappeared too as for the first time in New Who there are absolutely no Daleks or Cybermen. Russell T Davies intended to write simpler after the largely complex Moffat/Chibnall-eras but really the storytelling is comparable to Series 5 and halfway between the more streamlined earlier episodes and the more convoluted - but rewarding - later shows. The picture quality of the Blu-rays is sharp, vivid and gorgeous and superior to streaming so it is well worth purchasing on disc. Although perhaps Season 1 could have done with more phenomenal episodes to add to 73 Yards and the new direction may have alienated some of the previous Whovians, the Christmas Special and shows 3, 5, 6, 7 and 8 are all genuinely very strong and stand out too. Despite it not being as consistently faultless as Russell T Davies’ first reign as showrunner and the concern over the ratings, it would be nice for Doctor Who to still have a future after next year to see if it can improve further on an already mostly solid first full Season/Series in almost 3 years.