He stands on a landmine. Yes, it's brilliant. But it's no UNIT story, and it's not as good as the masterpiece that is Blink. That was unreal (like... us?) Steven Moffat, we know you have it in you!!!

Conclusion: That Mundy Flynn character was great, I hope we meet her again. ❤️❤️

- Hassan xxxxxxxx

Next up: Lux

I've watched this episode a few times to try and get into it, given how it is a bit of a fan favourite, but I just can't really resonate with this one very much.

The concept is clever - it's always an interesting school of creative thought to set boundaries for what is not allowed (in this case, the doctor moving) and seeing what flows from that. Unfortunately, I feel that this episode suffers dearly from its placement in the series order. As the third episode, it is also filling the role of Ruby's first alien planet which means that they have not been travelling together for a very long time. Ruby and the Doctor have this instant besties dynamic where she immediately just trusts him and we never really see any conflict between the two of them. As such, the relationship between the two of them never feels real - it just seems so superficial at every point. This is also never addressed later in the series - as the audience we are just expected to believe that off-screen they have gotten to know each other and trust each other. And that just doesn't work for an episode where the emotional tension is so predicated off of Ruby trusting the Doctor. Remove that impact of that tension and the episode just feels empty and hollow, which is how I've felt every time I've watched it so far.

The ending of this episode does not improve my view on it either. I am so sick of episodes where the resolution is just that the Power of Love™ defeats evil. It's just so lazy, and it reeks of the writer phoning it in at the end. It didn't work for the Monk trilogy from Capaldi's run and it still doesn't work here.

I hate being rude to the child actors on this show as they're young and often still learning, but their performance here was not great. They seem so happy-go-lucky about the passing of their dad, which is just a bit bizarre and off-putting.

I know Steven Moffatt loves his Anglican church army, but I didn't feel like they added much to this story - it did not feel to me as if it was treading over any new ground that wasn't in any of their previous appearances. I would like to see him not including some of his old creations in there to try and cook up something a bit more interesting.

Overall, this episode just isn't for me. I just can't get past the lack of character development from the start of this series ruining the character driven narrative of this story. If the dynamic of Ruby and 15 was more fleshed out (doesn't exactly need conflict between the two, but certainly show more of Ruby cautiously learning to trust the Doctor) and this episode was later on in the series, I think I would appreciate it far more. Unfortunately, I just found it a rather hollow watch.

The perpetuation of war, violence and death, to fund a capitalist corporation - oh, this is the brilliance of a Moffat script. The value of weapons, and how they are sold to continue to generate this profit provides much to think about and always politically relevant. In most stories, this will be the extent of the brilliance and genius, but Moffat had to add many more layers to this.

The concept of faith, believing without knowing, and how valuable this is, is a meaningful dimension to digest throughout - faith in the Church and their religion, and faith in the war - brilliant to consider, and another deep layer throughout this story.

The slower pace due the Doctor on the land mine allows for these ideas to be explored with value and merit, without rushing through superfluously. But to manage to maintain a tension and threat, which keeps you drawn in throughout a full story, with the Doctor immobilised the whole time, it needed the pen of Moffat to write.

Rewatched 2025-04-04 (⭐⭐⭐⭐½)

This story is all-around beautiful. The connection between capitalism and the cycles of violence in war is beautiful. The acting is beautiful, especially with how much goes into the facial expressions. The pointlessness of all three deaths is beautiful in its tragedy: all of them could have lived. There was no reason for them to be in danger at all, unlike the usual type of self-sacrifice done to protect someone in this show. And yes, obviously Ruby doesn't stay dead, but I still think her death matters here. It was unexpected and random and unnecessary, and reminds the Doctor just how much of the universe is like that.

It also feels very classic of this episode to take place (almost) entirely in one spot. An entire story takes place and the Doctor is maybe 20 feet from the tardis. (Maybe the least running he's ever done tbh). And the contrast of that with the gorgeous space effects just add to the beauty of this episode.

I don’t understand why people love this episode a lot. For me it’s good but not amazing. Ncuti gives a great performance when Ruby gets shot and I was not expecting that at all. I like the interactions between Mundy and the 15th Doctor especially after realizing that he was just checking out the area. The child character is okay and I like how the story ended. The speech that the 15th Doctor gives about death at the end is good.

Watched this as part of the Doctor Who Day watch-along, and it was better than I remembered. It's a lightning-quick script, but has great performances, as well as being a stinging sci-fi satire against capitalism, warfare, and religion. Ncuti Gatwa is pushed hard being stuck in one place all episode, and his explosion of joy when Villengard is defeated is beautiful. I think this will be one we remember when we look back on his time as the Doctor.

Wow.
I really must say I had high hopes for BOOM, a big Fan of Moffats Who, even if he had some weaker outings, at the very least some core ideas were always interesting. And so far I wasn’t too big on this Season, don’t get me wrong, as much as I enjoy Ncutis energy. Space babies was a decent opener with some bad jokes, while Devil’s chord while having a lot of great elements didn’t do it for me because there were a bit too many issues for me and I can, and do love campy Who.
But I won’t lie, I hoped Boom was a more serious outing and well it was and OMG I really liked it. As many pointed out, this felt like the most Moffat Episode ever.

For starters, it was a brave move to shoot Ruby, while obviously we knew she wouldn’t die, it worked very well for that Episode. And Ncuti. Oh Ncuti, I already enjoyed his energy from almost all the other Episodes he appeared, but this Performance was soooo stellar.
The Whole Idea of this Story and how it penned out was excellent.

I loved the idea of having the Doctor on this landmine, his speech to that one soldier was so good, the Child Actress was pretty solid. Although I am a bit surprised how she didn’t get a moment to mourn for her Farther, of course he saved them, but that was a bit odd, even addressed by Ruby, but not a major Issue I had. That one love subplot was pretty solid too, and I pretty enjoyed 15 singing a Song to calm themselves down, as well as his rambling was pretty entertaining.

Yes I know this Era (or at least that Season) promised to go more into the unnatural and that’s all good and fine, but I won’t lie I hope 15 gets plenty of Sci-Fi leaning Stories like that.

Overall I am a Fan of it.

Love the Doctor standing there, crying and begging, trying to make everyone survive. After two joyous episodes, Moffat brings back a typical Who-story.

Woo! Steven Moffat proving once again that he's a fantastic Doctor Who writer! I absolutely loved that this is a bottle episode in the open air. The tension grows and grows via events around the Doctor, causing him to decrease the amount of time left on the landmine. TV Who acknowledging that Time Lords are higher-dimensional beings is also a treat, and it's nice to see the Anglican Marines again.

Seriously, I love this episode... Aside from the flaws. Yes, this is another review on something I like in which I'll spend most of it talking about what prevented me from giving it a higher rating.

Firstly, the casting department screwed up. Splice is played and written as if she is a younger character than the child we see on screen, which is quite jarring. Someone half her age would have done perfectly.

There's also the commentary on religion and belief. Now, I have my beliefs, and I understand that not everyone has those same beliefs, or any. What I don't like is positions which are against religion. Atheism is fine, anti-theism is not. But I would have found it easier to understand, especially as the episode is in the context of a war, if Moffat and the Doctor's opinion on religion if the episode had stuck to it. If you're gonna do a 'religion bad' episode, don't end it with 'Well, religion is bad, but you need it'. Who is this episode for? Most of the world's religions do not say that other people need to follow the religion, and of those that do, most who follow those religions don't recognise this part of them, at least in my experience. And I know nobody who both believes that religion is bad and that people should still be religious.

The first time I saw this it flew by, sometimes on a rewatch episodes are not as good as you remember...

The Doctor and Ruby arrive on a war torn planet, hearing cries the Doctor runs to help, and find himself standing on a landmine. I will admit the Steven Moffat, who wote this story is a writer that I've always enjoyed and rarely does stuff that I don't. In fact I can't think of anything off hand and this is ticks all the boxes.

With the Doctor spending almost the entire time stuck in one place you would think that it would get a little boring but it manages to stay entertaining. Every few minutes another event ramps up the tension.A little girl looking for he Dad, Soliders, getting shot, each complication drawing the detonation the the mine ever closer.

Long time fans will remember the Anglican Marines from a few years ago, so its nice touch to make use of them here.

As with Moffat's previous work there are a one or two little twists heer and there.

So the Doctor cries tears, not for the first time this Doctor's run and I'm finding it a little overdone already.

After a not so great start to the series this is really rather good.

Steven Moffat's return to Doctor Who had left me very excited to watch this episode. He easily produced the best stories of the original Russell T Davies era, and his era as showrunner was also excellent. Boom is the first time in over a decade that Russell T Davies and Steven Moffat have both collaborated within the same era, and the resulting episode really doesn't disappoint.

As the promotional material suggested, Boom really is an excellent Hithcockian tale. The Doctor spends the entire episode stuck on a landmine, and it makes for such a tense watch. The episode brilliantly builds up a sense that the landmine could go off at any moment, and Ncuti Gatwa's performance really elevates the sense of peril.

This is easily Ncuti Gatwa's best portrayal of the Doctor to date. His delivery of Moffat's poetic lines is sublime, as you really feel the sense of the Time Lord's power and authority as he rails against the militaristic system. This Doctor also feels incredibly vulnerable here too as in the previous episodes, reduced to tears whilst stuck on the landmine.

Varada Sethu's appearance is a nice bonus. She does a superb job as Mundy, seeming tough but also caring. It doesn't seem as though Mundy is who she will be playing when she's the companion, which is a shame, as Mundy would make for a great assistant to the Doctor. Speaking of companions, Ruby Sunday getting taken out in the episode was certainly a surprise. Having Ruby seemingly die coupled with the return of the snow was an extremely effective means of raising the tension, and again contributing to the looming sense of danger in Boom. If Ruby isn't safe, then what hope is there for anyone else?

I have a feeling Susan Twist as Ambulance will have put a spanner in the works for a few Susan Twist theories. It's hard to see how she can still be Susan or the Meddling Monk, when the Doctor sees her in this episode, and she's a rogue AI medical machine. Although I suppose it would be a little in character for AI to steal somebody else's likeness, and also for the Doctor not to recognize another Time Lord. I loved the reveal that there was no enemy, though, and that the computer was creating fatalities by killing the injured to make it look as though a war was being fought. An extremely clever Moffatism.

Overall, this episode would be a solid 9/10 for me. A typical Moffat masterpiece, with some shocking twists and scathing political commentary on militarisation and AI. Unfortunately, it doesn't quite land the conclusion, which feels a little too convenient, but despite the ending, this is a Steven Moffat episode that creates a big bang rather than a whimper.

harry im standing on a landmine

HOLY s**t

Thworping through time and space, one adventure at a time! 

"BOOM: THE LANDMINE THAT KEEPS ON GIVING"

For his first Doctor Who script since leaving the showrunner chair in 2017, Steven Moffat crafts Boom—a tightly wound, high-stakes thriller inspired by a brief moment in Genesis of the Daleks. That moment? The Doctor stepping on a landmine and needing his companions’ help to get free. Moffat, ever the genius at extrapolating small ideas into full-blown episodes (Blink, The Girl Who Waited), takes that single scene and stretches it into an entire story.

The result? 45 minutes of pure, unrelenting tension. The Doctor, stuck on a lethal mine for most of the runtime, must keep perfectly still while chaos unfolds around him. Meanwhile, Ruby and the guest characters try to navigate an escalating crisis on a war-ravaged world where the very technology meant to help—AI-controlled Ambulances—has malfunctioned into something terrifying.

It’s an episode that blends suspense, satire, and classic Doctor Who morality. And it proves, once again, that Moffat knows exactly how to write for the Doctor.

A BATTLEFIELD OF BROKEN MACHINES AND BROKEN FAITH

The setting—Kastarion 3—is a war-torn wasteland, an ongoing battleground fuelled by endless conflict. Moffat establishes the stakes quickly and effectively. The mines don’t just explode—they disintegrate their victims. The Anglican Marines (first introduced in The Time of Angels/Flesh and Stone) are trapped in a war they don’t even realise is a sham. And Villengard—last visited in Twice Upon a Time—is back as a corporation profiting from perpetual warfare, ensuring just the “right” amount of casualties to keep business booming.

The war is a lie. The soldiers are pawns. The system is rigged. And, in true Moffat fashion, the solution to it all isn’t brute force or technology—it’s a moment of raw human connection.

The Ambulances are particularly chilling. They technically do what they’re programmed to—save lives—but their parameters have become so twisted that they see no difference between healing someone and reducing them to “usable” organic material. Susan Twist’s unsettling presence as the face of the Ambulance only adds to the creep factor, reminiscent of The Idiot’s Lantern’s Wire.

And then there’s Mundy Flynn, played by Varada Sethu—who’s about to join the show as new companion Belinda in Season 2. She’s great here as a tough, no-nonsense soldier slowly realising the war she’s been fighting is a farce. Her romance with Carson is underdeveloped but pays off in a gut-punch moment as he’s taken by the Ambulances. And, of course, there’s the delightfully cheesy moment where the Doctor suggests she marry Ruby, making her Mundy Sunday.

A DOCTOR ON EDGE, A RUBY LEFT IN THE DARK

This episode is a fantastic showcase for Ncuti Gatwa. The Doctor is clearly terrified, trying to hold himself together as he balances his usual wit and bravado with the sheer horror of knowing that one wrong move could kill him instantly. He jokes, sings, tells stories, and desperately tries to stay in control—because the moment he panics, he’s dead. Some may find his emotional reactions excessive, but let’s be real—who wouldn’t be terrified in that situation?

Millie Gibson’s Ruby Sunday also gets plenty of strong moments, particularly in her dynamic with the Doctor. She follows his instructions, feeding him information while staying alert to his every move. But the episode also continues her personal mystery—when the Ambulance scans her for next of kin, it comes up blank. A small but significant hint that Ruby’s past holds something unnatural.

It’s a shame she’s sidelined for the final third, but her early moments—particularly admiring her first alien world—help balance the story’s tension with small bursts of wonder.

A SATIRICAL EDGE, A MOFFAT-ESQUE SOLUTION

Moffat takes the opportunity to skewer both capitalism and blind faith. Villengard’s weapons empire is a clear critique of the military-industrial complex, where war is designed not to be won but to be profitable. Meanwhile, the Anglican Marines’ devotion to a cause they don’t understand is a sharp commentary on faith without questioning. The reveal that they’ve been fighting themselves all along is the final, brutal punchline.

And then there’s the solution—one that could only come from Moffat. The key to survival? Fatherly love. Yes, it’s a well-worn trope in his writing, but it’s undeniably effective. John Francis Vater (yes, his name literally means “father” in German, because Moffat is that on-the-nose) and his daughter Splice provide the emotional core that ultimately resolves the crisis.

The child actor playing Splice is a bit hit-or-miss, but the emotional weight of the climax still lands. And if you’re willing to accept that love can literally defuse a planet-killing war machine, it’s quite a satisfying resolution.

VISUALS AND ATMOSPHERE – BIGGER ON THE SMALL SCREEN

Visually, Boom is stunning. The war-torn world of Kastarion 3 is brought to life using a smaller-scale version of the Volume, the same projection technology used in The Mandalorian. The mix of practical foregrounds and CGI backgrounds creates an immersive, grimy battlefield that feels leagues ahead of the old quarry-set wars of Classic Who.

It’s a far cry from the foggy, soundstage battlefields of Genesis of the Daleks—and while the latter remains iconic, Boom demonstrates just how far Doctor Who’s production values have come.

📝VERDICT: 9/10

Boom is a masterclass in tension, proving that sometimes the simplest premises make for the best episodes. Moffat crafts a story that’s claustrophobic, intense, and thematically rich, balancing war satire, AI horror, and personal drama with expert precision.

Ncuti Gatwa delivers one of his best performances yet, Millie Gibson continues to impress as Ruby, and the supporting cast—particularly Varada Sethu—adds weight to the unfolding disaster. While the “love conquers all” resolution is classic Moffat (for better or worse), it’s hard to deny that it works in the moment.

With sharp writing, stunning visuals, and a nail-biting central premise, Boom is Doctor Who at its best.

Boom is a very Moffat episode, for better or for worse.

Sometimes, it must be said, for the worse - there were a few times you could have swapped Ruby out for Clara or Amy and would've gotten the same outcome. There was also a few too many concepts and metaphors packed into one episode,  it'd've been nice to get rid of some to let the others breathe

But GOD did it give me brain bees. The concept was fascinating, the execution was mostly very good, and Ncuti Gatwa was incredible. It was tense it was emotional it was a damn good episode

Steven Moffat is a writer whose work I have very mixed opinions on; this is mainly because he often writes stories that are really good but also ones that miss the mark so much that it's painful to sit through - so you can imagine my trepidation when it came to seeing Boom; his first script since 2017 - would it be a masterpiece or flop so hard it'd be laughed at for all time?

Going in, my expectations were low. They were exceeded, but not by much.

This isn't Moffat's best script by any margin, but it's also not his worst. It sits comfortably in the middle, I think, in “meh” territory. As expected, it has Moffat's brand of snarky companion, death fakeout, walls of exposition and an ultimately rushed conclusion - he's predictable in that regard, but it's the new things he brings to the table this time that both tickle my funny bone and rub me the wrong way.

The criticism of religion-based warfare is completely justified - such a thing is never a good idea, especially if said belief system is corrupt in and of itself. Controversial subject matter? Sure. Bound to alienate some viewers? Absolutely. Moffat is well aware of the effect this storyline will have on viewers, but his way of handling the subject does bring up some valid points... it's just hilariously ironic to me that he has the Doctor become preachy about it.

Ruby is well-handled and has some great moments to shine. You can tell Millie Gibson is having a great time with this character and exploring how she reacts to any given situation. I'd argue Ruby is the most realistic depiction of a 21st-century companion since Bill and Moffat clearly understands how to write a character like this well. Some have noted similarities in her dialogue to Clara, and I wonder whether that was intentional or not. It's fun, though.

The love arc feels very haphazard and kinda thrown into the proceedings with little care or thought. The plot just stops so Mundy and the other soldier can awkwardly skirt around the fact that they clearly have the hots for each other. The fact that this subplot is what puts Ruby out of action as well is just irritating.

The attacks on capitalism, while just as valid as the religion-based arguments, took me out of the story a bit. I just felt like Boom was retreading Oxygen's tracks and had nothing different to say about capitalism that hadn't already been said there.

Susan Twist was fantastic as the villain and I'm really curious to see how and where she shows up again. In fact, all the supporting cast were just fun in general, particularly the dad. Speaking of, I can't help but think the story might've been called Kiss Kiss Bang Bang at some point given the dad continuously says “kiss kiss” throughout the proceedings.

I also kinda felt Boom should've been more of a Doctor-lite story given he's out of action for most of the proceedings via standing on the landmine. That being said, the marketing for 73 Yards seems to indicate that it'll be a Doctor-lite adventure so maybe having two back-to-back would be a bad idea, I dunno.

Is this story better than those that preceded it? No. Is it bad? Also no. It's good, but not the cream of the crop. And to all those who are praising this like the king has returned to make Doctor Who good again, remember we've got the rest of the season to go. There may be more episodes queued up that'll blow Boom out of the water. Don't bet the farm on this being the best episode of the season just yet.

A beautiful little small-scale story about love and loss and parenting and ai and capitalism and the horrors of war.
9/10

Season 1 (Series 14); Episode 3 --- "Boom" by Steven Moffat

I would be lying if I said I wasn't excited for this one. Steven Moffat writing under RTD, up to this point, has been a four out of four streak of writing the series' fan favourite episode: The Empty Child is a haunting masterpiece, The Girl in the Fireplace is a beautifully sombre idea box, Blink is, well, it's Blink and Silence in the Library is the distillation of RTD era iconography. With a stellar premise under its belt, an in your face anti-war message and some great worldbuilding, I was prepared for this to be the best of the season and the best of RTD 2 so far. Unfortunately, I'd definitely call it the worst of the Stephen Moffat-RTD episodes, though I don't want to downplay what is still the best of Season One's first three episodes. And the good news is, Moffat's back to traumatising children, though this time not by showing what goes bump in the night but instead by giving ten year olds a 45 minute long heart attack.

Arriving onto a desolate battlefield, the Doctor finds himself stuck on a landmine with a clock ticking towards its explosion. With a planet at stake, the Doctor has to save a world without moving a muscle.

(CONTAINS SPOILERS)

Firstly, this episode is the return to formula I wanted. And when I say formula, I don't mean in a generic sense, I mean in a sense of returning to the original tone and intent of the show. So far, this is the first episode that actually feels like RTD coming back to Who and reviving his era, and it was written by another show runner, which is incredibly ironic. The style, the setting, the direction, the characters all felt straight out of a 2008 episode, something I have been looking for in these stories since the season began. Another massive draw in is Ncuti, who is just f**king phenomenal in this one. He sells his performance so unbelievably well and ended up being my main reason for investment; the 15th Doctor is finally getting some decent characterisation. Moffat being Moffat, he's also injected a great anti-war message into Boom, whilst simultaneously taking digs at Christianity, which is always fun. The message isn't exactly subtle but trying to make an anti-war message subtle is like trying to make an episode of Doctor Who make sense, it's pretty much impossible. The faceless weapon manufacturer feels like this big, imposing force that shadows the whole episode and is frankly more intimidating than Maestro ever was. And, of course, there's that 45 minute heart attack I mentioned. This episode is tense, it keeps you on the edge of your seat for most of its runtime and earns it, especially in the first half with just the Doctor and Ruby. It's easily my favourite episode of Season One tonally but it does beg the question once again who this show is being made for anymore because it feels like a completely different demographic than the last two.

However, the episode is, unfortunately, far from perfect. My main gripe here is that it feels rushed. The fast pace certainly helps with tension but it doesn't help with cohesion. None of the side characters feel developed, there are a number of great moments that are conceptually rich but I am prevented from feeling anything because the characters haven't gotten anything about them I want to know more about or feel interested in, this episode unfortunately continuing this season's problem of not letting there be any quiet, contemplative moments that let the characters grow on you, which is why there's been no original, interesting side casts so far, all three of these episodes have characters that are undeveloped or non-existent. Something else that's rushed is the ending, which causes all that tension to very anti-climatically shuffle to a stop. The power of love saves the day, and unlike The Doctor Dances, it doesn't come with decent enough character work to justify it. It makes the insurmountable threat of Villengard feel incredibly small and every character just seemingly forgets that their loved ones are dead. And speaking of not reacting to death, outside of setting up the climax, why is Splice here? Beyond the wooden child acting, she is just not presented like a ten year old, all her lines are written in an incredibly matter of fact manner and she never really reacts to her father dying horribly because she's, uhh, Christian, I guess.

Boom is not the masterpiece I hoped it would be and feels like it really did need a couple of moments to develop itself more - an air of early draft lingers around it - but it was a welcome return to form and definitely the best out of the first three episodes of Season One.

8/10

Pros:

+ Tonally, feels like we're back in RTD 1 era Who and I couldn't be happier about that

+ Ruby and especially the Doctor are fantastic in this episode

+ Ncuti puts on the performance of a life time (I have never seen anybody more scared)

+ Terrifically written anti-war message

+ Ranging from its synopsis to concept, there are a ton of great ideas in this episode

+ Villengard, at least until the ending, is horrifyingly topical villain that truly feels detestable even without a face to put to the name

Cons:

- Feels incredibly rushed, almost like an early draft

- You don't have enough time to get attached to any of the side cast

- The ending was heavily anti-climactic and felt like it didn't match up with the rest of the episode's bleakness

- The kid's involvement in the episode felt minimal and only really existed to set up a climax that failed anyway

- Ruby has a weirdly small role here and is really just a surrogate so that the Doctor has somebody to say "war is bad!" to and then when besides her shows up, she's taken out of action for the rest of the runtime

Wow, what an episode. It's a shame Moffat said that the Christmas special will probably be his last Doctor Who episode because 'Boom' shows us that he's still got it.

This was nonstop tension, I was on the edge of my seat for the whole thing, it's also so refreshingly unique with the entire episode taking place in one location. This episode will go down as one of the all-time greats in Doctor Who in my opinion, sitting up there with stories like 'Blink'. 15 is already on the way to being one of my favourites.

A brilliant, self-contained story, thoroughly enjoyed this one.

I can't say I cared very much for this one. It's a solid episode for all intents an purposes, but it felt sort of...empty to me. Not much happened and it felt too short and yet had too much fluff. The anti-war anti-AI message was great, if a little heavy-handed.

Splice is a fantastic name but not a particularly interesting character. She didn't seem to grieve at all for her dad, and while I like the "dead but not gone" message it was still a little fast. The poor child acting didn't help. Her dad doing all that to save her was nice, but it's an overdone trope that I don't care for at best. It didn't grate on me too much here, at least.

The romantic subplot between the side characters was cute at first, but by the end was starting to feel a little grating and unnecessary.

The Doctor singing to calm himself down was a nice touch. I also liked his speech about blowing the battlefield to dust; I feel like we don't get reminded that he's an alien often enough. Two hearts doesn't feel that unusual anymore, so reminding us that he's a multidimensional being was great.

Ruby's need to know her next of kin was incredibly annoying on a first viewing, and outright infuriating upon rewatch. Even without knowing her biological mother is an ordinary human woman, her next of kin doesn't have to be biological. However far in the future she must have descendents or descendents of friends or family who, over the generations, would have eventually inherited that status. I could see it being a glitch with the ambulance being unable to find her immediate next of kin, or something that would eventually be revealed to be caused by her dying young due to the Doctor (as so many moder companions do), but that's obviously not the way it was written.

A little bit of pedantry: last episode Ruby has supposedly been travelling with the Doctor for six months, but this was her first alien planet. I also don't love that the Doctor is changing his outfit every episode. For historicals it might make some sense, but I wish he had a more cohesive style like older incarnation.

All in all, a perfectly mediocre episode. I don't have much to complain about, but I also don't have any particularly high praise - other than the phenomenal acting from our two mains, as usual - which I suppose isn't a bad thing.

Wow! This episode was such a return to form after the last two. It managed to consistently maintain a high level of tension that kept me engaged and actually made me scared (even though I know that the Doctor and Ruby will survive) at a few points throughout. I can't wait for the inevitable future Black Archive on this episode and its myriad themes (which other people will be able to analyse much better than me).

A somewhat middling reaction from me. I didn’t really feel this one as much as other Moffat scripts. What should have been suspenseful and tense episode kind of wound up being sort of noisy and crowded affair for me. Really not a fan of the kid character here. Ruby and the Doctor remain outstanding for me, but otherwise, this ranks just above Space Babies in my books.

This episode was the first Ncuti episode this season that I liked so far. Actually, not liked, loved! Everything about this episode, from the side characters, to the Doctor and Ruby, to the plot was absolutely amazing. I, like others, was hesitant about Moffats return and was scared of this story being too "Moffaty" in a bad way. Well, it was extremely "Moffaty" but in the greatest way. Confining the story to one area helped streamline the story greatly unlike the messy plots of Space Babies and TDC. Seeing Ncuti play a more serious and grounded version of the Doctor is much more preferable to the over energetic and over acted Doctor we see in both Space Babies and TDC. Another great part about this episode is the numerous call backs to previous Moffat episodes like fish fingers and custard, Villengard, Anglican Marines, and "the moon and the presidents wife". These references never distract us from the plot and serve as great easter eggs for the devoted fans. Ruby's mystery is also getting more and more interesting with her age being extremely high. Susan Twist also got a much bigger role this time and I'm very interested in what her role in the season ends up being. In conclusion, this episode has gotten me completely back on track with the season after 2 episodes that were, to me, incredibly boring and not entertaining. I'm really excited for 73 Yards and getting more of the mystery unraveled.