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“LUCKY DAY – WHAT HAPPENS WHEN A COMPANION STOPS RUNNING”

Lucky Day is that rare Doctor Who episode that turns its gaze backwards – not to Gallifrey or ancient myths, but to what happens after a companion leaves the TARDIS. This time, it’s Ruby Sunday in the spotlight, with a grounded, unsettling story about life after the Doctor and the scars left behind. What begins as a quiet slice-of-life with a new boyfriend becomes a sharp, socially aware thriller that explores PTSD, conspiracy culture, and the limits of UNIT's morality.

Ruby, now out of the Doctor's orbit, is trying to live a normal life – but flickering lights, strange shadows, and the eerie sense of being followed send her to UNIT for help. Is it paranoia? Or is something really out there? The story teases both possibilities smartly, raising the uncomfortable question: what does surviving the Doctor’s world do to a person? Doctor Who has rarely dwelled on this – Sarah Jane Smith and Rose Tyler got spin-offs or closures, but Lucky Day takes a darker approach, portraying Ruby as someone both brave and traumatised.

ENTER CONRAD: THE CHARMING NIGHTMARE

At the centre of this narrative is Conrad, Ruby’s sweet but slightly-too-eager boyfriend. Played with subtle menace by Jonah Hauer-King (best known as the disarmingly handsome Prince Eric in The Little Mermaid remake), Conrad initially seems like a lovely romantic interest – kind, respectful, and curious. But that curiosity becomes obsession. And then obsession becomes conspiracy.

We learn that Conrad runs Think Thank – not the previously familiar think tank from Robot, but a modern-day conspiracy podcast group determined to expose UNIT. In a clever and chilling twist, the Shreek – a transdimensional creature that stalks and kills once a year – is revealed to be a hoax, orchestrated by Conrad and his cronies to lure UNIT into a trap and discredit them. Even the monster costumes are handmade, in a cheeky nod to Doctor Who’s own rubber-suited history.

UNIT UNDER THE MICROSCOPE

The brilliance of Pete McTighe’s script lies in its dual focus. On one hand, it exposes the fragility of those touched by the Doctor’s world – Ruby’s paranoia, Conrad’s delusions of grandeur. On the other hand, it scrutinises UNIT itself. In a post-truth age where conspiracy theorists have powerful platforms, the existence of a gun-wielding paramilitary group with little oversight is deeply problematic – and Lucky Day doesn’t shy away from asking how the public might see UNIT when the Doctor isn’t around to justify their actions.

And in Kate Stewart, we get one of the show’s most fascinating moral pivots. Jemma Redgrave delivers her best performance yet, going from calm authority to righteous fury. Her breakdown in the UNIT tower – defending her father’s legacy, threatening Conrad, and nearly letting the real Shreek consume him – is electrifying. It’s a moment where Kate steps into dangerous territory, showing what she’s capable of when unchecked by the Doctor. It’s as dark a turn as we’ve ever seen for the character, and it works because Redgrave plays it with blistering conviction.

RUBY, RELATIONSHIPS, AND RECKONING

Millie Gibson continues to shine, showing Ruby’s resilience and growing maturity. She’s no longer the girl blindly chasing adventures – here she’s taking charge, making decisions, and navigating emotional landmines with increasing wisdom. Her chemistry with Hauer-King’s Conrad is believable, and their relationship is written with enough nuance that his eventual betrayal stings deeply.

We also get a brief but joyful return for Carla and Cherry, who instantly peg something off about Conrad, being wonderfully overprotective in their brief scene. Less successful is the continuing tease of a Kate/Ibrahim romance, which remains underdeveloped and awkward. More troubling is how little Ibrahim and Shirley actually get to do this episode – Ruth Madeley is especially underserved here.

And then there’s Belinda – sadly marking the beginning of her decline. Only featured in the New Year’s Eve 2007 flashback that sets up Conrad’s troubled past, she’s barely present in the plot. The scene itself is important for character setup, but Ncuti Gatwa’s Doctor feels strangely off-kilter in it – his performance oddly forced, missing the bounce and warmth that usually defines him.

A VILLAIN WHO COULD BE REAL

The transformation of Conrad from boyfriend to villain is chillingly believable. His motives – shaped by loneliness, a yearning for purpose, and a misguided sense of truth – make him a scarily realistic antagonist. His scenes with Ruby and UNIT are disturbingly plausible, and when he briefly has the upper hand, mocking them and revealing their secrets, it's genuinely tense. Even when his plan falls apart and the real Shreek nearly devours him, he reverts to a smug, defensive shell – perfectly capturing the performative victimhood of many real-world conspiracy theorists.

THE DOCTOR’S FINAL WORD

The climax is taut and terrifying, and the confrontation in the tower carrying Siege of Trenzalore-levels of tension. But the emotional peak comes in the quiet coda – the Doctor visiting Conrad in prison. Gatwa’s performance here is superb: cold, direct, and visibly shaken. He delivers a powerful rebuke, not with rage, but with disappointment. It’s a reminder of the toll that travelling with him takes – and how much Ruby’s pain weighs on him.

MRS FLOOD LURKS AGAIN

And then there’s that final twist. Mrs Flood, once again in the shadows, appears as a prison warden and lets Conrad go. The implications are massive and spill directly into the season finale. It’s a classic Doctor Who breadcrumb, delivered with chilling casualness.

📝VERDICT: 87/100

Lucky Day is a standout episode – bold, timely, and unsettling. It asks difficult questions about trust, trauma, and truth, delivering one of Doctor Who’s most compelling political thrillers in years. Pete McTighe smartly blends horror, emotional drama, and social commentary, with excellent performances from Millie Gibson, Jonah Hauer-King, and a career-best turn from Jemma Redgrave. The episode falters slightly with side characters and a wobbly flashback, but overall, it’s one of the most thoughtful, provocative entries in the Gatwa era. And with that ominous Mrs Flood moment, it leaves us nervously eyeing what’s coming next.