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18 February 2025
This review contains spoilers!
Thworping through time and space, one adventure at a time!
“WARRIOR'S GATE: A PUZZLINGLY AMBITIOUS FAREWELL TO E-SPACE”
The E-Space Trilogy concludes with Warrior’s Gate, a story that fully embraces the cerebral, experimental tone of Doctor Who’s Season 18. Written by Steve Gallagher, this four-parter is as visually ambitious as it is narratively perplexing, pushing the limits of what the show could achieve with its budget and storytelling. While the abstract nature of the plot is fascinating in concept, it often teeters on the edge of being impenetrable.
TECHNICALLY IMPRESSIVE BUT DENSELY OBSCURE
From the Alien-inspired opening shot of a derelict spaceship to the eerie white void reminiscent of The Mind Robber, Warrior’s Gate is a triumph of direction and atmosphere. Paul Joyce and Graeme Harper, in his first involvement with the show, employ innovative camera techniques, distortion effects, slow motion, and striking close-ups that make the serial visually distinct from anything Doctor Who had attempted before.
However, where the production excels in mood and style, it falters in clarity. The first three episodes largely consist of characters standing around, engaging in cryptic, unnatural dialogue that feels more like a puzzle than a narrative. Concepts like time sensitives, Tharils, and alternate dimensions are introduced, but the script is so abstract that it’s difficult to grasp what’s actually happening. Even in the final part, when the Doctor takes a more active role against Rorvik’s increasingly desperate attempts to control events, the story remains more concerned with mood than with making things comprehensible.
A STRANGE BUT MEMORABLE EXIT FOR ROMANA AND K9
Romana and K9’s departure from the show is handled in a curiously offhand manner, with Romana suddenly deciding to stay behind in E-Space and help free the enslaved Tharils. While it’s a noble fate for the character, the abruptness of the decision feels unearned, as if the script simply needed to remove her at the last possible moment. K9’s exit is tied into this as well, giving him a reason to remain by Romana’s side. It’s far from the worst companion farewell, but it lacks the emotional weight one might hope for after two seasons with these characters.
STANDOUT PERFORMANCES AMIDST THE CONFUSION
Despite the dense script, the cast does well with what they’re given. Tom Baker remains effortlessly commanding, injecting occasional moments of dry humour to break the heavy atmosphere. Lalla Ward delivers a strong performance in her final outing, making Romana feel assertive and capable until the very end. Matthew Waterhouse, as Adric, is once again relegated to the sidelines, doing little to leave an impression.
Among the guest cast, David Weston is a standout as Biroc, a Tharil with an intriguing backstory and a haunting presence. Clifford Rose also makes an impression as the unhinged Rorvik, a slave trader who descends into full-blown mania by the final episode. Unfortunately, his performance loses its effectiveness in the climax, where his exaggerated laughter turns his character into a caricature.
📝VERDICT: 4/10
Warrior’s Gate is a bold and visually striking experiment in Doctor Who storytelling, but it’s also frustratingly obtuse. While the atmospheric direction and unique setting are impressive, the script’s abstract nature makes it difficult to fully engage with. As a send-off for Romana and K9, it feels rushed and lacking in emotional weight. However, as a pure exercise in style, it remains one of the most visually daring Doctor Who stories of the classic era. Whether that makes it a masterpiece or a misfire depends entirely on the viewer’s tolerance for its abstract storytelling.
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