Monthly Archives: October 2018

Doctor Who: Arachnids in the UK Review

By Chris Chibnall

Minor Spoilers Follow.

So after an intriguing opener, a frustratingly bland follow-up, and a politically-charged, powerful but divisive third entry, has Doctor Who’s 11th Series finally found some rhythm?

No. No it bloody hasn’t. And it’s abundantly obvious who’s fault that is.

The cast do their best here, but while they keep things watchable, its very hard for actors to rescue things where the writing is this poor and the dialogue this ham-fisted. Bradley Walsh continues to impress, and it was a relief to see Mandip Gill get slightly more screentime this week (now her family’s been introduced hopefully that might help flesh her out a bit). You suspect in the Moffat/Davies years Yaz would have been the sole companion – and I feel sorry for the actress cause I think she would have knocked it out of the park back then. Now, the material isn’t good enough and she’s got little enough of it compared to the other four. Tosin Cole doesn’t get that much to do this week, but he seems to have settled into the role of Ryan well enough. I am not liking Jodie as much as I thought I would a few weeks back – but with this kind of writing its very hard to tell how much that’s on her. She’s clearly as good an actor as the previous Doctors but her Doctor’s personality is getting a bit wearing. Doctors are always on Thin Ice with me when they get too preachy (Tennant and Capaldi both came close to this during their last seasons) and unfortunately Jodie’s incarnation gets VERY preachy whenever she goes into moral outrage mode. Yes, the Doctor should always be someone who calls out injustice, stands up to evil and holds the universe to rights. But this NEEDS to be shown – NOT spelt out for the audience as if we’re all four-year-olds.

Anyway, the writing. God the dialogue is atrocious in places. Gone are the dramatic, uplifting speeches of Moffat or the intense drama that Davies dished out. While some of the quiet, understated moments of emotion or humour work, this is largely down to Bradley Walsh or Tosin Cole, not the script. I can’t think of a single memorable line that Jodie has said so far to be honest. The plot is still riddled with clichés (monsters and toxic waste – really? Even comic books dropped that one a long time back) and while, yes it is very easy to take shots at Americans at the moment, the politics here felt REALLY forced. Chris Noth’s businessman was such an obvious caricature than it was hard to take him seriously as a character, and let’s face it, he was just incompetent and closed-minded, not devious or despicable enough to be a compelling villain. The Doctor having a thing against guns is nothing new (4 and 10 were especially notable for this) but most of them do, reluctantly, permit their use by allies when needed. Some of them have indeed used them in particularly dire scenarios (5, 6, 7, 10, 11, 12 have all used some form of weapon when needed). But again, the issue here got very preachy – and the sympathy for the spiders was, while a doctor-ish trait, done in an on-the-nose and ham fisted way.

Now I’m no fan of spiders – I have a notable fear of the larger, hairier varieties. But these ones were not scary. Harry Potter had scarier ones with 2002 level special effects. While they certainly looked realistic, they weren’t creepy enough and never really threatened the main cast in a significant way. The direction was a mixed-bag – the show still looks miles better than it did even a couple of series ago, but the director really didn’t seem able to make anything remotely scary. For one thing, everywhere is too well lit – it doesn’t matter how proud you are of your CGI monsters, you know they’ll probably look better in the dark – and they’ll definitely be scarier. The composer gave it a decent shot (and let’s face it, creepy music wasn’t always Murray Gold’s forte either) but it was probably his least memorable contribution so far.

The guest cast seemed good (the one thing every episode has nailed so far has been the guest actors/actresses) but Chris Noth in particular seemed to deserve much better material (like Art Malik in Episode 2). Yaz’s family seem like interesting characters, which is a relief after Clara’s and Bill’s dragged things down whenever they showed up, so hopefully we’ll see a bit more of them as the series goes on.

In many ways ‘Arachnids in the UK’ reminded me of Oxygen last year. Poor writing, crap political asides and lame jokes coupled with uninspired direction and a cast that, despite their best efforts, can’t rescue it. Since Oxygen is arguably my least favourite Capaldi episode, this is not a good sign. Series 11 so far has had one of  the weakest starts of any modern series. Normally in Who when this happens, things pick up around episode 5 or 6. Fingers crossed.

Overall, while the episode was watchable and the cast shone in a couple of places, Chibnall is falling below my already low expectations for him. Even his ‘Cyberwoman’ and ‘Sex Alien’ episodes of torchwood had more oomph than this. The cast has potential, but you just get the constant sense that things could be so much better with a different writer and showrunner. Whatever Moffat and Davies’ flaws, they never had me this worried about the shows future.

Rating: 2.5 out of 5

Next Time: F*** knows. Something in a hospital. These teasers are just annoyingly bland now – they’re better off scrapping them completely.

On the plus side – only 1 more Chibnall episode left before we get 4 in a row where he isn’t involved. Whether I still care by that point is debatable.

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Doctor Who: Rosa Review

By Chris Chibnall and Malorie Blackman

After last week’s frustrating debacle, my expectations were very low for this week’s instalment. Questions remain about Chibnall’s ability to write Who, and another week of underusing Yaz’s character, too much talk, overly-pc politics and weak villains seemed very much on the cards, particularly in an episode that was sure to be politically-charged given its focus on Rosa Parks, one of the most famous figures in the 20th century. Rosa’s story is undoubtedly important and still resonates with many today, particularly in the Trump era, but her story needed deft handling to work well as a 50-min drama. Who has a tendency to get very heavy-handed when getting moralistic (think 2017’s ‘oxygen’ and its broadsides on capitalism or 2014’s ‘In the Forest of the Night’ and its extremely cumbersome environmental message). Both episodes covered issues of importance, but on both occasions the moral/political message was put forth in such a ham-fisted and on-the-nose way that the episodes themselves ended up being some of the worst in their respective seasons. Doctor Who should always be free to bring issues like these up, but it is primarily a drama, not a documentary or an educational programme, and it needs to cover such topics a bit more subtly and a lot less-preachily. Get the message across, but in an entertaining way and without overshadowing the drama.

Did Blackman and Chibnall succeed in doing so? Surprisingly… yes they did. The episode showed 1950’s Alabama in a no-holds-barred way, which was both shocking and exactly the right thing to do. Segregation is a very, very dark stain on US history, and given that racism is still rife throughout the states today, reminding everyone of just how bad things were, AND how much more needs to be done, was a very timely message. The whole culture clash/shock that Ryan and Yaz experienced felt especially jarring, but crucially was done in a plausible way, which time travel shows can often fail to do (Legends of Tomorrow often ignores racial issues when travelling through time). There were still some clunky bits of dialogue (Yaz’s and Ryan’s discussion on discrimination could have been written by a six-year-old) but for the most part, the episode really hit home both as a moral message AND as a drama. Which is exactly what it should do.

The show’s production did generally seem to work far better this week. The plot was a lot more engaging and less cliched than last week (maybe smaller scale plots are the way to go for Chibnall?) and didn’t involved a rushed or convenient ending. The new title sequence is definitely growing on me, and Segun Akinola is really convincing as Murray Gold’s replacement as composer. The music played a big part in selling the emotional resonance of the story, and while using songs over the final scenes hasn’t always added much to Who episodes in the past, it felt appropriate here. Director Mark Tonderai also had a much better week than last time (perhaps he’s more at home with period dramas than futuristic run-arounds). The cast seemed to relish better material as well, with both the guest actors and the regulars putting in good performances, particularly Vinette Robinson as Rosa Parks, who was portrayed in a very believable and historically accurate way.

Yaz finally gets some decent screen time in this one, and Mandip Gill makes the most of it. Yaz may not have had anything that significant to do yet, but she does hold a lot of promise, and the character has a good dynamic with the other members of the team (at least when used properly). Bradley Walsh continues to be the best thing about the ensemble, and his rather understated take on Graham is a welcome contrast to the more lively Doctor and Yaz and the headstrong Ryan. His lingering grief at his wife’s death was touching, and Walsh seems to have a very good handle on the character already. Tosin Cole gets his share of compelling material too this week, and you get a sense the actor was really glad to be part of this story. Jodie Whittaker also fares a great deal better than last week – she doesn’t over-talk everything and plays a more significant role in events when she is involved, even if you do occasionally sense she’s still finding her feet.

There are a few lingering issues. The characters seem real enough, but they still aren’t always talking in a natural way (Chibnall’s dialogue doesn’t always seem to suit them) which has the unfortunate side-effect of reminding you that these are only actors playing a role. The dialogue does at times still feel very generic. The shows morality seems a bit variable too – last week the Doctor was annoyingly preachy about Ryan using a gun, yet this week she’s seemingly fine with him straight up murdering (effectively) the villain of the week? Be consistent please Chibnall. Speaking of villains, while Krasko was well-acted, he was essentially another one-note villain, who’s only interesting feature was his history as a stormcage inmate (its where River Song was imprisoned) – his plan was believable and well thought out, but his motivations aren’t really delved into any more deeply than simple racism and a nasty streak. While the episode was wayyyy above the level of the last two, I do have to wonder how much this episode’s success was down to Blackman’s involvement, because I’m still not entirely sold on Chibnall.

Overall, Rosa made for a powerful, emotionally compelling episode that takes a deserved swipe against some of the worst humanity’s past (and, unfortunately, present) mistakes. Rosa’s story was told in a sensitive (and crucially unpreachy) way that will (hopefully) affect most children and adults who watched it. I was pleasantly surprised. The series may still have its flaws, but this is the first episode where they faded into the background and allowed me to just enjoy the experience. More like this one please.

Rating: 4.5 out of 5

Next Time: Arachnids cause chaos in the UK (as if we didn’t have enough problems already) and we meet Yaz’s mum.

Well this episode has given me enough motivation to stick with the series, but I hope we can get this kind of hit on a consistent basis soon. And Chibnall really needs to get help on writing dialogue in a more purposeful and less heavy-handed way.

Doctor Who: The Ghost Monument Review

The Ghost Monument by Chris Chibnall

The first episode of Series 11 showed a lot of promise (particularly from the cast and the new composer), but a few lingering questions remain. Most importantly, can Chibnall live up to the relatively high standards set by both Moffat and Russell T. Davies? Davies may have written some absolute stinkers of episodes (The Long Game, Gridlock, Love and Monsters, the End of Time Part 1 etc.) and Moffat may have given us some deeply unsatisfying series arcs (The Hybrid, The Vault) but both oversaw very successful eras of the show and wrote some cracking episodes (The Parting of the Ways, The Girl in the Fireplace, Blink, The Waters of Mars etc.). To date, Chibnall’s best effort for Who (or Torchwood for that matter) is Dinosaurs on a Spaceship, which I’d give a 4/5 to for its excellent comedy value and character work. But he’s never written a real classic for either series he’s worked on, which, now he’s showrunner, really needs to change.

After the Ghost Monument, I can safely say: it hasn’t yet.

Chibnall’s strength definitely seems to lie with character work. His previous instalments of Who and his efforts on Torchwood tend to support that statement, and it was no doubt a factor to making Broadchurch such a success. Unfortunately, his storytelling prowess isn’t anywhere near as refined. As with last week, the Sonic was overused to get out of trouble, the cliff-hanger was resolved with minimal fuss or logic, and the story’s villain were little more than window dressing. The plot, like last week, also isn’t all that inventive for sci-fi shows, and again didn’t justify the full runtime. While I’m broadly supportive of Chibnall’s decision to rely solely on new villains for this series, they need to be good ones for that to work. Focus solely on the heroes and neglect the monsters and villains they face off with and you end up with Thor: The Dark World or the Flash Season 3 and 4: superficially fun but ultimately inconsequential and forgettable. Last week I gave Chibnall a pass because he wrote Whittaker and the new companions rather well. This week even that was a bit shaky – having Jodie talk her way through half an episode doesn’t work when what she’s saying has no oomph or real interest. The dialogue was generally pretty forgettable – Moffat and Davies may have relied too much on flamboyance and punchlines, but as least they gave Eccleston, Tennant, Smith and Capaldi something that would actually hold your attention.

Moving past Chibnall, the support cast are still generally working quite well. Bradley Walsh was probably the standout companion this week, though Tosin Cole still had a decent share of the action as Ryan. Yaz seems worryingly underutilized so far, generally existing to ask questions so the Doctor can go into long, never-ending answers. This is no slight on Mandip Gill, its just that so far, she hasn’t really been given anything decent to work with, which needs to change soon. Ensembles only work if all the cast add something and their characters get developed somewhat evenly. Jodie Whittaker didn’t impress as much this time round. She’s clearly a good actress, but talking ENDLESSLY and waving the sonic about is not what makes a good Doctor, and the writers really need to give her something more substantial to do (there was no real standout heroism this time, and the character’s pointless manic energy started to grate a bit).

The guest cast, at least, are good value here. Susan Lynch and Shaun Dooley made for an enterprising pair of rivals/rogues, and Chibnall does give them both distinct personalities to work with. Art Malik also makes the most of his limited role as the rather sinister Ilin, who a better episode might have made far more use of. He gives up way too easily at the end, which was a sure fire sign the plot had run out of steam. The direction isn’t as good as the premiere but is still decent, and we’ve seen far worse effects on this show. Still, Mark Tonderai is no Rachel Talalay, and I hope he adds a bit more spark to proceedings next time. The new composer is still performing though, his more understated style a real contrast to Murray Gold (who did sometimes have a tendency to get a bit too loud and bombastic, even if he nailed it the other 80% of the time).

Overall ‘The Ghost Monument’ was a definite step back from the premiere. Whittaker’s Doctor suffered noticeably with weaker material, and despite Bradley Walsh’s best efforts, the companions didn’t shine as much either. The guest cast were good, but had so much emphasis on them they overshadowed the regulars. Another weak villain leaves me worried that Series 10’s flaws may not be entirely gone yet.

Rating: 2.5 out of 5. On the plus side, that’s what I gave Matt Smith’s 2nd episode, so the show does have a record of improving from here on out in a Doctor’s run. It better bloody get a move on though.

Next Time: The Doctor and friends run into Rosa Parks (aka Sergeant Donovan off Sherlock). The trailer was so ludicrously short that’s all I have to say. I mean, I don’t mind a lack of spoilers, but why even bother with trailers if they tell you basically nothing nor give you a reason to tune in next time?

Final Thought: While I’m ambivalent about the new Sonic Screwdriver, I’m really not a fan of the new Tardis design. I can see what they were going for, but it seems far too gimmicky for me.

 

The Woman Who Fell to Earth Review

By Chris Chibnall

Warning: Spoilers!

Well there were a lot of questions hanging over this opener. New Doctor, New Companions, New Showrunner, New Director and New Composer. 4 of them shone. One did not.

First off, the good news. Jodie Whittaker is great! She feels natural in the role from the first minute she’s on screen. She’s got a milder version of Smith’s maniac energy, but at the same time, her interpretation feels fresh and different from those that came before. Which isn’t easy after 12 (more if you count John Hurt and David Bradley) previous actors have given it their all. The script doesn’t ask too much of her, but what is here is very, very promising.

The companions aren’t bad either. Tosin Cole gets the lion’s share of the material as Ryan, but Mandip Gill and Bradley Walsh come off just as well. Most importantly, they’re all likeable, and all somewhat relatable. Companions tend to work well if you feel like they are someone you could actually meet, and that’s true for all three of them here. I look forward to seeing how they develop over the season.

The direction is pretty good too, which is a relief after some of the weak efforts last season. The special effects look as good as they ever have, and this is an earth-bound episode! The monster’s design isn’t all that memorable, but it was hardly a disaster.

The music feels suitably different from Murray Gold’s style, but still fitting for the show. We’ll see how it goes going forward, but so far, Segun Akinola is doing a good job.

Now the bad news. I never had a problem with Jodie’s casting, but I’ve always been slightly nervous about Chibnall. His record on Who is alright but not inspiring, and his record on Torchwood is pretty damn shaky in places. Sure he wrote Broadchurch, but only the first season of that got critical acclaim, so my scepticism remained. I hoped he’d prove me wrong.

So far he hasn’t. He handles the character introductions well, and his character work in general is very good. But the plot isn’t particularly fresh, and some of the old who clichés are annoyingly present here (the Doctor survives a fall with no explanation how, the episode is resolved by some sonic wizardry which isn’t even hinted at). It’s pretty predictable stuff as well – you see every death coming a mile away.

Still, its only episode one. Russell T Davies took a while to hit his stride, and Moffat’s season openers were rarely perfect, so I’ll give him the benefit of the doubt for now.

Overall, there was plenty of promise, some upgraded special effects, good direction and  lacklustre writing. But the cast looks good, so I’ll be happy to stick with it for a while. Most importantly of all, Who is still Who, and any debate about Whittaker’s casting is over. She fits the role perfectly and I hope she gets the material to really show it soon.

Rating: 3.5 out of 5

Last Thought: That new version of the theme tune intrigues me. Its very classic, but with a modern twist. I think I like it!

 

The Greatest Doctor Who Moments from Series 1 to 10.

As Doctor Who returns tonight, it marks the start of a new era. The last time we had a transition like this was 2010, when Smith and Moffat took over from Tennant and Davies. But even that had some continuity, with numerous returning writers, the same composer, a few of the same directors etc. Not so this time. Aside from Chibnall himself, pretty much everyone on the senior part of the production team is new to Who. So I thought I’d kick off the new era by celebrating the last one. So without further ado, here’s my take on the highs the show has reached since 2005. They’re in chronological order, as sorting them in a top 25 would take forever and be a bit arbitrary.

Obviously, this includes spoilers for Series 1 – 10.

  1. “You Would Make a Good Dalek” (Dalek, Series 1) Eccleston was always at his best when facing off with the Daleks, and his initial encounter with a lone Dalek in a bunker in Utah is an absolute classic. The Dalek is almost a character in its own right, and after slaughtering Van Statten’s guards with ease, the Dalek hits the Doctor with this zinger, visibly shaking him.
  2. “Just This Once, Everybody Lives!” (The Doctor Dances, Series 1) The gas mask zombies two-parter is a masterpiece from start to finish, but its this feel-good scene at the end that always stands out for me, as Nine finally gets a win without losing anyone. The elation the Doctor feels is perfectly portrayed by Eccleston.
  3. “I Think You Need a Doctor” (The Parting of the Ways, Series 1) The Parting of the Ways is still one of the best finales we’ve had, and whatever you think of the whole Bad Wolf thing, the Doctor saving Rose by sacrificing his own life made for great television. Eccleston and Piper have never been better.
  4. “The Missus and the Ex, Welcome to Every Man’s Worst Nightmare” (School Reunion, Series 2) Watching Mickey taunt the Doctor as Rose and Sarah Jane get in a right spat with each other was downright hilarious. Who has given us some comedy gold over the years, particularly with Bill in Series 10, but for me, Rose and Sarah’s sparky banter is the highlight humour-wise.
  5. “I Believe in Her” (The Satan Pit, Series 2) One of my favourite two-parters, Matt Jones’ horror-fantasy introduced the Ood, but its the Satanic Beast itself that makes this stand out. Ten comes face to face with something he can’t explain and which rocks his own beliefs, but in the end, his faith in Rose gives him the confidence to beat the Beast at its own game and send it plunging into a black hole. An episode so good, it could have easily worked as a season finale.
  6. “Wait, That’s Not Cybermen!” (Army of Ghosts, Series 2) Most of the time, you see the show’s major cliffhangers coming. Either they’re teased so obviously in trailers or so heavily foreshadowed that you can guess what’s coming. Not so in season, where the appearance of the Daleks in a Cybermen-led finale caught everyone off-guard. One of the best twists Who has ever pulled off.
  7. “Rose, Hold On!” (Doomsday, Series 2) We knew Rose was leaving, and the show was hinting pretty heavily she would die, so this scene really put everyone on edge. With the Doctor stuck on the other side of the room, Rose desperately hangs on to a lever as the Daleks and Cybermen are sucked into the void. Pete’s last second rescue may be convenient, but Rose’s separation from the Doctor is no less tragic for it.
  8. “YANA” (Utopia, Series 3) The first of several Master reveal moments on this list, Professor Yana’s transformation into the malevolent master is pulled off with great panache, and Derek Jacobi owns the role better in 3 minutes than some actors have in several series. Russell T Davies sure knows how to write cliffhangers!
  9. “Why Don’t You Ask Her Yourself?” (The Stolen Earth, Series 4) I still think Rose’s return was a mistake, but this scene was so good it was almost worthwhile. Ten’s reaction to seeing her again is spot on, and the Dalek ruining proceedings leads to one of the series’ most memorable cliffhangers. Pity Journey’s End didn’t match up to this.
  10. “Gadget Gadget” (The Waters of Mars) The Whole Time Lord Victorious sequence is glorious, but this special’s standout moment has to be the Doctor rescuing the survivors of Bowie Base One using nothing but a funny robot and his TARDIS. Murray Gold’s bombastic score really gets the pulse racing too.
  11. “It’s My Honour” (The End of Time, Part 2) This was just tragic. The Doctor survives the Master and the Timelords, only to be undone by Wilfred Mott. Tennant is on his best form as he rages against the injustice of it all, but in the end, he saves Wilfred at the cost of his own life. Ten at his heroic and tragic best.
  12. “I Don’t Want to Go” (The End of Time, Part 2) Heart-breaking. Whatever the flaws of the End of Time, the last 30 mins of the two-parter is perfect, and Tennant knocks it out of the park with this last line. An Unforgettable Exit.
  13. “Hello, I’m the Doctor. Basically… Run!” (The Eleventh Hour, Series 5) Smith’s debut is great from start to finish, but his conversation with the Atraxi, in which he scares them off using only his own legend, is the highlight. The way clips of the previous Doctors are used before Smith walks through Tennant’s image is awesome.
  14. “Guess Who, Ha!” (The Pandorica Opens, Series 5) Matt Smith had some great speeches to get his teeth into during his time on who, but his Pandorica one is arguably the best of the bunch, as the Doctor rails against an entire armada of spaceships despite having practically nothing except himself to take them on with.
  15. “Listen To Me!” (The Pandorica Opens, Series 5) As cliffhangers go, I don’t think the one from the Pandorica Opens will ever be beaten. The TARDIS explodes with River inside, Auton Rory stabs Amy, the universe implodes and an alliance of Daleks, Cybermen, Sontarans and more seals the Doctor in the Pandorica. No matter how many times I’ve seen it, it still makes my hair stand on end.
  16. “WHERE. IS. MY. WIFE?” (A Good Man Goes to War, Series 6) Rory got more character development than arguably any other companion in the shows history, and this intro to the mid-season finale shows just how far he’s come. Facing down a squadron of cybermen as the Doctor blows up their fleet in the background, this scene is just so much awesomeness.
  17. “Together, Or Not At All” (The Angels Take Manhattan, Series 7) Rory and Amy were two of the Doctor’s longest serving characters (only Clara and Rose are anywhere near them) and their exit was an emotional rollercoaster from start to finish. This scene, where Amy refuses to risk Rory’s life unless hers is also on the line, was a great final moment for the couple.
  18. “No Sir, All Thirteen!” (The Day of the Doctor) If this isn’t one of the best moments in Who history, I don’t know what is. It is the jewel in the crown of the 50th Anniversary special, with great dialogue, kick-ass music and a whole load of amazing cameos (including a shock one from Capaldi!). Simply awe-inspiring.
  19. “I Never Forget a Face” (The Day of the Doctor) Damn it. Just when you thought the 50th had used up it’s lot of shock cameos, it goes and drops Tom Baker in our laps. Baffling yet Brilliant, Confusing yet Charming, Tom’s role as ‘The Curator’ allows him to show one last time why, for many fans (including me) he was the best actor ever to play the role.
  20. Clara leaves the Doctor (Kill the Moon, Series 8) Whatever you thought of Clara as a companion (I bloody love her), you have to admit Jenna Coleman is a hell of an actress. Her tirade against the Doctor for abandoning her during a real crisis moment was a stunning scene, and its hard not to side with her here. No wonder her career’s taken off post-Who.
  21. “Couldn’t Keep Calling Myself ‘The Master’ Now Could I?” (Dark Water, Series 8) What is it with the Master and dramatic reveals? The Missy Mystery worked very well in Series 8, and the pay-off here is as good as it gets. Michelle Gomez was unforgettable in the role, and I hope Chibnall can come up with some new villains who will prove as much of a challenge for the Doctor as she did.
  22. “I Will Be Brave” (Face the Raven, Series 9) Clara’s swansong in Hell Bent may not be perfect, but her initial exit here is heart-breaking and perfectly played by Capaldi and Coleman. I wish Moffat hadn’t messed with this exit.
  23. “That’s One Hell of a Bird” (Heaven Sent, Series 9) This is up there with the best of them. Capaldi’s marvellous single-hander was one of the boldest, most unique episodes the series has ever come up with, and the Doctor punching his way through an Azbantium Wall was a thrilling conclusion. The combo of Moffat’s writing, Rachel Talalay’s direction and Capaldi’s acting is a definite winner.
  24. “Hello Missy. I’m the Master” (World Enough and Time, Series 10) We all knew it was coming, but it was done with such gusto we didn’t care. John Simm got better material in 2 minutes than he did in the entirety of the End of Time. A real punch the air moment if there ever was one.
  25. “Well, Here We Go, the Long Way Round” (Twice Upon a Time) David Bradley captured the spirit of William Hartnell perfectly in this Xmas Special, and his recreation of the first Doctor’s regeneration scene was a really heart-wrenching moment. So much so that it arguably overshadowed Capaldi’s exit a few minutes later. Murray Gold’s score reminds us exactly why he kept the job of composer for so long!

Well that’s my list. The great thing about this show is that I’m sure anyone reading this will be able to come up with plenty of their own favourites – it always has something for everyone. Let’s hope Jodie and Chibnall can add plenty to those lists!