I have a lot of love for this episode, and a lot of that comes from a personal connection I have with the events that happen at the end. We’ll get to that in the fullness of time; there’s a lot to talk about before then that also makes this story great.
To start at the beginning then, we have the Chibnall Era Opening Credits. As the inky black vortex throbs in and out like a Rorschach test that’s been ran through the same tech used to make the original opening, Segun Akinola’s theme pounds away. It’s easily the best version of the theme since Delia Derbyshire delivered hers – sorry all you Peter Howell fans out there, you know I’m right, and I’m even saying that as someone who will defend the Keff version to the death. The bass drop that kicks everything off is just amazing; the drumbeat gives it real purpose, but it never loses sight of the fact this is Doctor Who. It’s a masterpiece, and Murray Gold has his work cut out if he’s going to top it. DISCLAIMER: Although Gold’s new version dropped yesterday, I have yet to listen to it. I want to go into The Star Beast & be thrilled the same way I was when I first heard Akiola’s version.
No one would have guessed that Chibbers would have left us with a cliffhanger at the end of The Woman Who Fell to Earth, but he did, and it’s resolved quickly & neatly here – the device of seeing the story through Ryan’s eyes as he wakes up is neat, and neatly repeated later. We’re then straight into the plot, which moves at a pace quick enough to keep us engaged but with enough time for some really excellent character moments: the boat ride & the discovery of the scientists’ Moria-esque final words standing out. I love the scene between Ryan & Graham as Graham tries to bond with Ryan and help him through his grief – it contrasts beautifully with Ryan doing the same at the end of It Takes You Away, which in itself shows the journey these characters go through. Who says Chibnall can’t do character, eh? Or arc for that matter, it’s a genuine progression when you see the two side by side.
And who says Jodie has no agency or confrontation moments? She disarms Epzo with just her pinky finger for pity’s sake!! This is after taking charge of the situation at multiple points. She’s fantastic in this, still nailing the childlike enthusiasm of her Doctor and finding the quiet moments like when she comforts Angstrom. This is also an episode with a lot more continuity than you probably realised on broadcast, with the Timeless Child seeded right here – I am sad, though, that after building up more of The Stenza here that Chibbers didn’t follow through and make more of them1.
Speaking of broadcast though, this is where this story really stands up for me. Moving the show to a Sunday night really worked for my house; not just because Doctor Who has that wonderful family feel to it that means it sits comfortably with the likes of Call the Midwife, but because it made it perfect for us to watch as a family. My eldest son was 6 at the time this went out, his brother was 4 months old; so we’d put the youngest to bed at 7 and let the eldest stay up til 8 and watch Doctor Who with us. Series 11 is the first series we watched as a family – me, him & my wife – so it will always have a place in my heart for that. His Doctor is Jodie, just like mine is Sylvester McCoy, he got her sonic for Christmas and everything.
After the previous week, where he’d looked after his mammy2 & made sure she wasn’t scared of the tentacle monster, we sat down to watch this episode. He was wrapt throughout, and when it got to the end where the Doctor gets the TARDIS to land after thinking she was lost…. well, he punched the air. Literally. And my heart nearly burst. So even if this episode had nothing else going for it, I would love it for that.
BUT it’s not just that connection that puts this one high up my list. It’s cinematic in feel, and that’s not just the look of it – it actually feels like a feature film. It could be classed as a “Kicking the Can” story3 but it feels more like a Terry Nation one, with our plucky heroes having to go on a quest over multiple locations & dangers before they get to safety. It’s a small cast but an excellent one – Art Malik is utterly superb, wringing every bit of disdain out of the few scenes he has to really lift his character.
This story is a belter, really building on what came the week before & giving us something better. Total Top 60 material.
COMING TOMORROW: “By morning we might all be dead…”
Skies Full of Diamonds 