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"LUX – JAMES GOSS TAKES A METATEXTUAL MASTERPIECE TO THE NEXT LEVEL"

Following up on his brilliant work with The Giggle, James Goss returns in top form with Lux, a pitch-perfect Target novelisation of Russell T Davies’ dazzlingly strange and richly layered Doctor Who episode. Goss doesn’t just transpose the screenplay into prose—he elevates it, reframing the story through the eyes of its most unexpected chorus: the Doctor Who fans themselves. The result is a joyous, self-aware, emotionally intelligent novel that takes the meta-text of the original and rewires it into something both hilarious and deeply human.

A STORY THROUGH THE EYES OF FANS

The boldest—and most successful—decision here is Goss's reconfiguration of the narrative structure. Rather than simply recounting the events from the Doctor’s or Belinda’s perspective, the novel is framed by Lizzie and her fan friends, a group of die-hard viewers who gather every Saturday for ritualistic Doctor Who screenings. Goss bookends the novel with them and returns to them regularly throughout, inserting interludes where they theorise, analyse, and agonise in familiar ways (yes, The Rani is mentioned).

These moments are not only funny but affectionate, showcasing Goss’s deep understanding of fandom—its rhythms, fixations, and shared joy. It’s a knowing wink to us, the readers, without ever tipping into mockery. The interlude titled “Tea Break”, in particular, is a gem—a gentle warning that even stepping away for a moment can dull the show’s rhythm.

REEL WORLDS AND REAL FEELINGS

Beyond the fandom framing, Goss goes all in on the lush, stylised Miami 1952 setting. He subtly layers in context about racial segregation and the social climate of the time, without overshadowing the plot. Reginald, the projectionist, becomes a fuller character with a moving backstory involving the death of his wife—adding nuance to his role in the story’s emotional core.

When it comes to the central antagonist, Mr. Ring-a-Ding, the novelisation maintains his surreal menace. While some of the impact is inevitably lost without Alan Cumming’s performance, Goss compensates with razor-sharp prose, lending the character a theatrical, glinting presence that still chills and charms.

The book even dedicates a chapter to Lux itself—a welcome surprise—delving into the being’s motivations and desires. It's a delicate balance of comedy and tragedy, and it cements Lux as one of the most interesting, if bizarre, antagonists in recent memory.

EXPERIMENTAL, INVENTIVE, EXUBERANT

As with The Giggle, Goss isn’t afraid to play with format. The most bonkers parts of the TV episode—such as the sequence where the Doctor and Belinda become trapped inside a film—are beautifully translated to the page. One section is presented as a comic, another includes two Chapter Eights, and there’s even a fully written “deleted scene” in script format involving a surreal plane chase in a wide shot.

These structural flourishes are delightful without feeling gimmicky. They enhance the madness of the TV episode and help replicate the feeling of unpredictability and magic that made Lux such a standout. Goss also leans into the media-savviness of the tale, scattering visual gags and typographical surprises throughout that echo the episode’s own shifting styles and tones.

BELINDA, THE DOCTOR, AND BEYOND

Though the episode’s plot remains essentially unchanged, Goss deepens the emotional texture. We get more insight into Belinda’s experience, and the scene where the Doctor interacts with the fans is expanded to touching effect. The novel offers extra moments of intimacy, introspection, and absurdity—sometimes all in the same paragraph.

Fifteen is captured well here, with his energy, compassion, and spontaneity intact. Even without visuals, his voice rings out clearly, though, as the novel acknowledges, some of the spark of the original is inevitably muted when separated from the performances and visuals.

📝THE BOTTOM LINE:

Lux is a magnificent novelisation—funny, inventive, and packed with love for Doctor Who and its fans. James Goss once again proves himself the master of adapting chaos with clarity and wit, enriching the material without ever overwriting it. While it may not reach quite the experimental heights of The Giggle, it’s easily one of the strongest Target books in recent years. If you loved Lux on screen, this version offers new layers to fall in love with—and if you’ve never seen it, Goss makes sure you’ll still feel every twist, laugh, and gasp.

Rating: 10/10