📝9/10

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"The Empty Child: A Blitz of Brilliance"

Steven Moffat's debut as a writer for the revival era of Doctor Who begins with a chase that immediately establishes the new series’ capacity for dynamic action. From the high-speed energy of Rose chasing a mysterious object through London to the haunting stillness of a child’s voice asking, “Are you my mummy?” Moffat demonstrates his knack for blending pulse-pounding excitement with psychological horror. The juxtaposition of thrilling adventure and eerie tension is a hallmark of Moffat's writing, and this two-parter exemplifies why he would go on to become one of the show’s most influential figures.

Set against the backdrop of the London Blitz, the episode weaves a rich tapestry of historical and supernatural storytelling. The Blitz, already a time steeped in fear and uncertainty, is the perfect setting for an alien mystery, and the production team brings wartime London to life with remarkable detail. The sets and costumes feel authentic, immersing the audience in a world of ration books, blackout curtains, and air-raid sirens. While some of the larger visual effects—like Rose dangling from a barrage balloon during an air raid—may strain credibility, they succeed in conveying the scale and peril of the story.

Christopher Eccleston’s Ninth Doctor is in his element here, and this episode showcases his ability to balance gravitas with warmth. His interactions with the streetwise Nancy and her band of “Lost Boys” are some of the story’s most heartfelt moments, emphasising his compassion for the forgotten and downtrodden. Eccleston’s chemistry with the young actors feels genuine, reinforcing his Doctor's role as a protector even amid the horrors of war.

Nancy herself is a standout character. As a young woman caring for a group of homeless children, she embodies resilience and resourcefulness. Her sharp wit, exemplified in her playful jabs at the Doctor, provides a welcome counterpoint to the story's darker moments. Nancy’s role in unravelling the mystery of the gas mask children adds depth to her character and highlights her bravery in the face of unimaginable danger.

Captain Jack Harkness’s introduction is a masterstroke, bringing a fresh energy to the story. John Barrowman plays Jack with effortless charm, immediately establishing him as a dashing and morally ambiguous figure. His flirtatious banter with both Rose and the Doctor adds a layer of levity that balances the episode’s tension. The fact that Jack is initially revealed as a con man—a rogue operating outside traditional heroics—makes his eventual redemption all the more satisfying.

The horror elements of The Empty Child are among the finest in the show’s history. The titular child, with its gas mask fused to its face, is a haunting figure that taps into primal fears of sickness, loss, and the uncanny. The chilling refrain, “Are you my mummy?” is as iconic as it is unsettling, and the slow reveal of the child’s origins is masterfully paced. Doctor Constantine’s transformation into a gas mask creature is particularly harrowing, with Richard Wilson delivering a performance that is both poignant and terrifying.

Moffat’s script is also peppered with moments of wit and meta-commentary that showcase his understanding of the show’s legacy. Lines like “Doctor Who?” are playful nods to long-time fans, while the ringing TARDIS phone—a seemingly minor detail—takes on a sinister significance as the story unfolds.

The cliffhanger that ends the episode is a textbook example of how to build suspense. As the gas mask children close in on the Doctor, Rose, and Jack, the tension reaches a fever pitch, leaving the audience desperate to see how they will escape. It’s a testament to Moffat’s skill as a storyteller that he can balance such a wide array of elements—action, humour, horror, and mystery—without losing focus or momentum.

Final Thoughts:

The Empty Child is a near-perfect first half of a two-parter. Its rich atmosphere, compelling characters, and unforgettable scares set a high standard for the series and for Moffat’s tenure as a writer. Even as it sets up the resolution in The Doctor Dances, it stands on its own as a shining example of what Doctor Who can achieve at its best.