Doctor Who: Empire of Death

 “Is this thing safe?”

“Absolute deathtrap, Melanie B.”

I was going to do a separate blog post for the Tales of the TARDIS thing for Pyramids of Mars but, well, there’s not much to it. We have some extra Egypt stock footage, some mildly redone effects, and a very short prologue and epilogue with the Doctor and Ruby wonder what the Dickens they’re going to do about Sutlekh. He’s unstoppable, he’s evolved into a “titan”… and that’s it. Presumably it takes place at some point during the episode in that remembered TARDIS while Mel is off doing something?

So on to the episode itself. I watched it at 7am this morning. Since then I’ve had a 200 mile drive and a day spent in full-on dad mode. I’m aware, as hours have passed, that opinion seems to be divided, much as I’ve tried to avoid others’ thought until I’ve blogged mine. Yet I can see how this episode could be fairly criticised: Sutekh destroys all life in the universe, is defeated by a clever trick, everyone is brought back to life with the press of a reset button, and Ruby’s mum was a massive red herring.

And yet… for me, the emotional and storytelling beats were fantastic. I bloody loved this finale. So let’s get into why. This may take a while.

We begin with what at first seems to be the destruction of UNIT with Sutekh’s Dust of Death- Kate Lethbridge-Stewart’s death is played like a big, stoic, dramatic moments and packs a punch. Yet it’s soon clear that the dust is spreading across London. The Doctor, Ruby and Mel escape in the TARDIS… and they can see, through the TARDIS doors, as the dust covers the whole planet. Earth is utterly sterilised. Other than them, there will soon be no one.

We get an interesting scene with Cherry and Mrs Flood, who seemed so creepy last episode but, if you recall, I suspected she may turn out to be an example of the creepy red herring trope- the apparently sinister character who turns out to be benevolent. I see nothing here to change my mind. Mrs Flood sees what’s coming, sighs, says she had “such plans” and hugs Cherry as both become dust. It’s a fascinating scene. And one which suggests to me that, whoever Mrs Flood is, and we may or may not like her agenda… but she’s no Big Bad.

We get some exposition from Sutekh, Gabriel Woolf still sounding spellbounding at ninety-one years of age. It seemed Sutekh hitched a ride on the TARDIS back in 1911 and has been there ever since, slowly setting a trap, the TARDIS now his forever. Yet somehow, very much light shaded by the Doctor, Sutekh seems to be sparing Ruby, Mel and himself.. why? It may all feel a little neat, but all of this is utterly compelling.

So they escape in the TARDIS from the reconstruction of that night on Ruby Road… a “remembered TARDIS”. Is this the explanation for what we see in Tales of the TARDIS? Because I still don’t understand how it all fits together, but no matter.

What does matter is that it isn’t just Earth, it’s everywhere: dead, sterile, lifeless. The Doctor speaks of Venus; Telos; Karen: the Ood Sphere; Skaro. Everywhere and every when the Doctor has visited, dead because he visited. An unbearable weight on anyone’s conscience: “I thought it was fun.” Ncuti Gatwa plays the Doctor’s anguish with such exquisite force. 

Millie Gibson is quite wonderful in this sequence, but do is Bonnie Langford, who really gets material to make Mel shine as she never could way back when, and rises with aplomb to the opportunity.

It all comes back to Ruby’s mother, the all-powerful secret that Sutekh wants. It seems he’s won, but this is his downfall. This… and a spoon. The scene of the Doctor and the poor forgetful lady in the tent who has somehow survived longer … yes, there’s subtext here that I’m not getting, isn’t there?

Yet the Doctor has a spoon… and we get some more exposition and unexpected references to 73 Yards. I’m not sure any of that episode’s ambiguities are explained, beyond the significance of that distance, but nor did they need to be. The secret of Ruby’s birth mother is found, while Mel becomes a horrifying looking servant of Sutekh. All looks bleak.. until the Doctor’s plan unfolds. It’s deeply satisfying, earned, and hits all the emotional beats, including the Doctor’s regret at having no choice but to kill Sutekh. And yes, everyone is resurrected… but the emotional beats are exquisite. And it all happened. 

That Ruby’s mum is just normal is… perfect. Ordinary, good but flawed people are as important as powerful godlike beings. And the scenes where Ruby finds and gets to know her birth mother are… utterly wonderful.

And so, with this all going on, the Doctor leaves for a while. He promises Ruby he’ll be back. He tends not to do this… but this time we believe him.

Oh, and Ruby’s parting words to the Doctor are “I love you”. Oh RTD, you give us the feels in ways Chibnall never could.

And we end… with a narration from a rather different Mrs Flood- her true self, whoever she is? To be continued, clearly. All else for this season is wrapped up: Mrs Flood is for next year. And all is foreboding…

This is television with heart, scares, thrills, all the things we’ve missed for so long. I loved every second of this.

Doctor Who: The Impossible Planet / The Satan Pit

The Impossible Planet



“And how can man die better
Than facing fearful odds
For the ashes of his fathers
And the temples of his Gods?”



For all that this extraordinary story more or less stands on its own, the teaser is just the sort of thing we’ve come to expect by now. It plays amusingly with both the Doctor and Rose’s relationship and the tropes of the show, as they burst out laughing at the mere suggestion they might perhaps decide not to explore where they’ve landed and just get back into the TARDIS. It’s also a nice little cliffhanger and resolution. But from this point on everything just feels different from the rest of this series. However much Matt Jones has utterly nailed the two regulars, he’s done something completely new and different and fantastic with this script.

It’s not the first time the “New Series" has taken us to a new planet, but it’s the first time it’s done it properly; this isn’t just somewhere that might be Earth. And this is where the show’s new aesthetic of space travel is established; as Rose says, it’s not “whizzing about, teleports, anti-gravity”- it’s tough. A very lived-in, post Alien style future, and although it’s not the first time we’ve seen this sort of thing in Doctor Who it’s never been either as well-realised or as refreshingly free from Eric Saward’s nihilism as this.

It’s a wondrous yet precarious situation that the Doctor and Rose find themselves in; a planet balanced, just, in orbit round a black hole, something which takes incredible quantities of energy which originates from somewhere below the surface. And almost as precarious is that the crew can only return to Earth as long as the black hole continues to generate some kind of bizarre gravity chute. Naturally, then, it’s here that the Doctor and Rose lose the TARDIS and become stranded. Makes you all nostalgic for the early Hartnells, doesn’t it?

Brilliantly, though, grim as this all should feel, somehow it doesn’t. And this is because of the crew- every single character has their foibles but is basically well-rounded and likeable, and there’s something noble in the human desire for knowledge and exploration which has led them here. The Doctor certainly seems to think so, and he has a point. For all that the mission has a practical purpose in that there’s the possibility of a new energy source, the crew seem just as interested, even enthusiastic, in the pure science and archaeology there is to discover on the planet, and whatever the grubbiness of their living conditions the romantic side of their work is not lost on them.

There’s something very New Adventures about the whole feel of this, incidentally, and that’s something which we haven’t seen on screen before. I haven’t read Matt Jones’s effort (is it any good?), but this reminds me a lot of the “Future History Cycle” novels from early in the range. It’s the whole mood of the thing, I think; for all that there is a dark threat, and even a dark side to humanity (the huge ethical problems with the Ood being used as slaves are not dwelt upon, but they are addressed, and that’s important), we care about these people, and that makes us more scared for them. The “don’t look behind you” scene with Toby is particularly effective (and isn’t it great to hear Gabriel Woolf’s voice again?) but Scooti’s horrible death is effective for a completely different reason, and really sold to us by the reactions of the crew. This really seems like a tight-knit group who care about each other.

We get a nice little interlude between the Doctor and Rose where the character arc stuff gets a bit of action. Billie Piper is particularly brilliant here. And, of course, the fact that Rose seems to want to settle down with the Doctor in domestic bliss but knows she shouldn’t just come out and say it in no way means that the relationship is going to end soon or in tears, so that’s all right.

Lots of fantastically scary things keep happening- the things said by the Ood and computers are easily as scary as anything we see- and the response of the crew is fantastic. I particularly like the way Jefferson, the gruff security guard, could so easily have been something of a cliché, but he isn’t. He’s no closed-minded bigot, so we get no tiresome suspicion of the Doctor and Rose, he’s capable of listening to reason, agreeing not to shoot Rose in the next episode when Rose reasons with him, and he’s a cultured man, who quotes Macaulay, good old-fashioned nineteenth century Whig that he is. Come to think of it, there’s something very much of the Whig interpretation of history in this story’s themes of human progress and daring.

The Doctor, of course, volunteers to accompany Ida on to the planets surface, and mentions a number of names for the devil, including “Abbadon”. Wonder if we’ll be hearing that again any time soon?




The Satan Pit



“Maybe that’s what the Devil is in the end- an idea?”



There’s a slightly disappointing resolution to the biggest cliffhanger yet, but fear not- the excellence continues pretty much non-stop. We get a bit of a contrast between the action sequences above ground and the more contemplative sequences between the Doctor and Ida below ground. And these in particular are brilliant; this Doctor has never before been shown quite so philosophical as he is here, but the characterisation never fails to ring true.

We begin with the Captain’s order to withdraw, and the subsequent discussion between the Doctor and Ida. The Doctor muses on the human urge to explore, but ultimately decides against the temptation. Fascinatingly, we’re touching on the themes which caused me to be underwhelmed by this story first time round; the Doctor seemed first time round to be implying here that there’s space in the universe for supernatural forces into which science should not pry. And being myself something of a rational, empirical, pro-Enlightenment sort of chap, I tend to be somewhat alienated by such messages.

We get a brilliant scene in which the Devil speaks to everyone, with a brief statement for each individual which serves to round out their characterisations rather nicely. And Rose, incidentally, is going to die in battle”. Ooh! This doesn’t stop her taking charge of the situation, though; having been more than a little annoying and selfish in recent episodes she more than redeems herself here in performing the rather Doctorish role in encouraging the crew to find reserves of strength and brilliance within themselves and survive. But everyone’s magnificent, above all Jefferson, whose noble death uncannily reflects the subject matter of the poetry he was quoting earlier.

There’s a nice Fanwank thrill from the Doctor as Ida lowers him into the pit; we get mentions of Draconia, Daemos, and the Kaled god of war. But the cable comes to an end, and beneath is only darkness. In a leap of faith, the Doctor jumps. Again, I had problems with this scene on original transmission. But on this viewing the scene it (and the story) seems not so much to be about the theme of faith versus reason but about human courage and curiosity, and the urge to climb Everest, walk on the Moon, leap into the unknown, all in spite of the dangers, because it’s there. Again, a very Whiggish view of human progress.

Mind you, we do get a brief musing on religious themes, albeit obliquely. The Doctor expresses agnostic sentiments, but arguably he’s not really talking about religion so much as his willingness to have his certainties challenged. But then he says something really quite charged: “If you get back to Rose, tell her… tell her… oh, she knows!” And then he jumps. We’re kept in suspense for the next several minutes as to whether he survived.

While the Doctor’s working out what’s going on and preparing to save the day, Captain Zachary Cross Flane finally gets to move away from the control panel and show himself to be a worthy and decent leader, whatever his doubts. He’s quite right to restrain Rose and take her with his to safety; too many people have indeed died. And he gets a wonderful line as they’re all seemingly plunging to their doom, pointing out that they’re making history, being the first people ever to fall into a black hole. Arguably his character represents the story’s view of the human race as a whole.

Fittingly, not everything is explained, but that’s okay as the writing and the nature of the Beast aren’t really relevant to the plot. And there’s a point here; not, as I used to think, that there were more things in heaven and earth than dreamt of in my philosophy, but that it’s good to have unknowns so that we can carry on exploring.



Wow. I liked that rather more than I was expecting. 5/5- in fact, it pushes The Robots of Death out of the top ten. A brilliantly constructed thriller with themes, character, and depth.

Doctor Who: Pyramids of Mars

Part One

“I bring Sutekh’s gift of death to all humanity.”

After an appropriately horror film-esque teaser with lots of stock footage in an Egyptian bent, we get a brief shot of the TARDIS flying through space, Just as we did at the end of Planet of Evil. Sarah’s trying on Victoria’s old dress in a bit of gratuitous continuity that’s mind-bogglingly rare for the Hinchcliffe era. The Doctor, meanwhile, is such a mardyarse that the script cannot be the sole culprit- would Paddy Russell be directing this one, perchance?

Mardy or not, he gets a good line in just-this-side-of-pretentious dialogue from, ahem, “Stephen Harris”: “I’m not a human being. I walk in eternity.” Oooh! The reason for the Doctor’s foul mood (Tom Baker’s obvious foul mood is something else entirely!) Is that he’s got a massive strop on about running around after the Brigadier. Is it me, or is there some sort of running theme emerging here? Actually, I suspect there may be two, the other one being that he doesn’t want Sarah to leave.

The TARDISeers land in the Doctor’s lab at UNIT HQ, except they don’t because it’s 1911 and still “the old priory” before it mysteriously burned down. Gosh, I wonder, for no reason in particular, what the last shot of the story could possibly be?

The Doctor’s getting quite into his namedropping again, Marie Antoinette being this week’s lucky woman. The Doctor’s rather fond of 1911, “An excellent year, one of my favourites.” Sarah, meanwhile, is revealed to be from 1980. That exact year. Fact. She says it straight up. Still, it could really be any old year as UNIT chronology is arguably completely buggered up by this point anyway.

Aside from all this we get a splendidly atmospheric first episode, with a real sense of threat, and the Doctor’s brooding presence and sudden mood changes really help in establish this. The Doctor manipulates Lawrence Scarman (the excellent Michael Sheard) into helping him by being alternately rude and charming. Well, alright, he’s charming once. Oh, and the Doctor claims to never carry firearms. Liar!

Good stuff so far, and a cliffhanger that really raises the stakes.

Part Two

“Holy Moses!"

So the Egyptian gods were really “Osirans”, all-powerful aliens who were behind all of Egyptian culture and, presumably, built the pyramids. Grr! I really hate this stuff. Just for once, can’t we have some ancient monument somewhere just being a result of ancient humans being clever?

Still, that’s not all we get. In what I like to see as a nod to the era just gone we have a poacher getting killed. How nice! And there’s a great scene where Laurence Scarman gets to see the inside of the TARDIS, just to make up for the Doctor bullying him even more than he did last episode, if that’s possible. Blimey, Tom / the Doctor really is in a foul mood. Was the Coach and Horses closed for refurbishment or something? Gosh, this bloke is, clearly, in no way going to get killed. And there’s more accurate piloting from the Doctor, incidentally. 

The guff about the alternate 1980 is nice, too, and something the series had to do at least once. I’m not sure it really works though- surely Marcus Scarman would have found the tomb anyway whether the TARDIS landed in 1911 or not, so all this would always have happened anyway?

Oh, and why is all this happening in England anyway if all Sutekh’s stuff was originally in that tomb near Sakkara?

Part Three

“Perhaps he sneezes?”

This is my fave ever Tom/ Lis episode, as it consists of the Doctor going straight for an attempt of the world mardiness record while Sarah spends the whole episode mocking him. All this and a real sense of peril too. Sadly Laurence has to die (isn’t Michael Sheard magnificent?) but at least he won’t have to put up with any more nastiness from the Doctor. The worst thing is, the Doctor still manages to be likeable even when neither he nor Tom Baker are trying to be.

Sutekh is a uniquely terrifying villain; he doesn’t want to rule the universe but to destroy all life. And it’s made clear just how powerful he is; even the Doctor’s precious Time Lords wouldn’t stand a chance.

The Doctor (well, actually Lawrence) determines to blow up the rocket Marcus Scarman is building with some gelignite, so he dresses up as a mummy with some rags. I love Sarah’s comment that it must have been a nasty accident, although I can’t help wondering how come all that metal framework is clearly visible underneath.

The ending is fantastic- Sutekh stops the explosion through sheer force of will, but then the Doctor distracts him so the gelignite can explodes. But, it seems, only at the cost of his certain death…

Part Four

“Where I tread I leave nothing but darkness. I find that good.”

Gabriel Woolfe must surely have the greatest voice for a superbaddie that ever, er, walked the planet. Just imagine Stephen Thorne saying these lines and you realise just how peerless he is. I mean, he even manages to say the line “You pit your puny will against mine?” without hamming it up, a feat surely once thought impossible.

Interesting line from the Doctor about the TARDIS controls being “isomorphic”- they certainly never have been in the past. Either he’s been tinkering or he’s telling porkies. Can Sutekh actually be lied to, though?

Tom Baker is spine-chillingly good as the possessed Doctor in a scene which must have scared the kiddies out of their wits. This is a great last episode; until the last couple of minutes it looks as though our heroes stand absolutely no chance whatsoever. Still, at least the Doctor survives his possession by using yet another previously undivulged superpower, his “respiratory bypass system”.

Incidentally, I love the Doctor’s description of the Osirans as having “dome-shaped heads… and cerebellums like spiral staircases”.

The bit with the puzzles is nice (I especially like the use of the old “forked road” riddle) and doesn’t hang around long enough to outstay its welcome. Bits of it look uncannily similar to puzzles in Death to the Daleks, but that’s ok because Sarah gets to undercut this by actually pointing it out!

The time loop ending is a clever twist, although I have no idea whether it makes sense or not. But in dramatic terms it’s a triumph. Oh, and famously all the supporting characters have been killed!

Probably not quite as good as either of its two predecessors, but still earns the third 5/5 of the season. Is this going to be the best season ever?