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“TWICE UPON A TIME: A FAITHFUL YET FLESHED-OUT RETELLING”

Paul Cornell returns to Doctor Who novelisations with his take on Twice Upon a Time, Steven Moffat’s farewell to Peter Capaldi’s Twelfth Doctor. What might’ve seemed a straightforward adaptation is in fact a loving and often gently enhanced version of the original, adding detail, depth, and warmth to the already poignant tale of two Doctors refusing to regenerate.

Cornell remains closely aligned with Moffat’s script but brings his own flair to the page, especially when it comes to character introspection. Almost every scene is slightly extended, giving room to breathe, and even minor characters like Archie are enriched, making them feel more integral to the emotional landscape of the story. These subtle expansions add significant emotional depth—enough to make this worth a read even for those who know the episode inside out.

THE TWO DOCTORS AND THEIR DELICIOUS DISDAIN

Where Cornell shines is in the playful banter between the First and Twelfth Doctors. The novelisation adds new lines and layers to their already fractious relationship, delving into their inner thoughts with delightful honesty. The First Doctor’s disdain for sonic sunglasses (“That settles it! I'm not regenerating! You're cancelled!”) is a standout moment and precisely the kind of fan-pleasing addition that feels organic rather than indulgent.

Cornell also gently leans into the idiosyncrasies of Hartnell’s original performance, such as One’s occasional forgetfulness—most notably with companion names—which serves as a poignant nod to the fact that this is the end of his road. Rather than mockery, it feels like affectionate realism, reinforcing the Doctor’s weariness and growing need for change.

FAN SERVICE DONE RIGHT

One of the greatest strengths of the novelisation is its subtle layering of references. Cornell is one of Doctor Who’s most well-versed writers and effortlessly weaves in callbacks to the show’s long history—mentioning River, Borusa, and even lost stories like The Daleks’ Master Plan. There’s even a meta wink: One has no memory of that particular adventure, a sly joke about missing episodes.

He also provides a clever in-universe explanation for the occasional awkwardness of the First Doctor’s characterisation in the TV version—One is intentionally winding up Twelve, simply because he finds him irritating. It’s a lovely idea that recontextualises the more jarring elements of his portrayal.

VOICES AND VIEWS – GATISS AND THE MULTIPLE NARRATORS

Mark Gatiss’ narration is spot-on, with sound effects and musical cues that enhance the audio experience without overwhelming it. He captures both Doctors remarkably well, slipping between their voices with nuance and delivering emotional moments with just the right amount of restraint.

The book’s structure allows for rotating viewpoint characters, much like The Day of the Doctor novelisation, giving readers a chance to inhabit different emotional states. Naturally, Twelve and One dominate, but we also spend time in the minds of Bill and Archie, which helps flesh out their perspectives. Archie, in particular, gains a stronger sense of presence, becoming more than just the man who doesn’t want to die.

SOME SLIGHT STALLING AT VILLENGARD

Much like the TV episode, the detour to Villengard with the glass avatar and Rusty the Dalek is where the story momentarily loses momentum. While it’s important thematically—especially in exploring the First Doctor’s horror at a future universe shaped by war and decay—it lacks the emotional immediacy and sparkle found in the quieter, character-focused moments.

A MORE LINGERING GOODBYE

Cornell knows how to give a farewell its proper weight. The final scenes of Twelve saying goodbye to Bill and Nardole are expanded and given more emotional texture. There’s room to breathe here, room to reflect, and even room for a joke or two—like Twelve’s resigned irritation that he probably won’t be ginger, and his long-standing aversion to pears (a wonderfully nerdy nod to Human Nature).

These additions don't distract—they enhance. Cornell helps the regeneration land with even more resonance, making the end of Twelve’s era feel just a little more earned, and a lot more heartfelt.

📝VERDICT: 8/10

A lovingly expanded retelling of Moffat’s swansong, Paul Cornell’s Twice Upon a Time novelisation honours the original while enriching it with deeper character insight, playful references, and some truly laugh-out-loud new dialogue. Mark Gatiss delivers a strong narration, and the rotating perspectives lend a refreshing structure. Though the Dalek detour still slightly slows the story’s pacing, the emotional payoff—especially the final chapters—is elevated.

As expected from Paul Cornell, so very well-written; it really delves into the characters' thoughts and feelings, and delivers information that would have been impossible to show on TV without a big exposition dump.