The Empty Child and The Doctor Dances are two episodes which have become iconic. It’s the first writing credit for Steven Moffat on the TV series. It’s the first appearance of John Barrowman as Captain Jack Harkness. It features the ‘the Empty Child’ and the ‘gas mask zombies’ who have remained a striking, recognisable image for even casual viewers of the series.

It’s also a story which, typical of me, I was underwhelmed by on broadcast. I don’t think I’ve watched it since. Series 1, as a whole, was enjoyable at the time – not least because of it being brand new Doctor Who after the long years in the wilderness – but was, as a series, utterly eclipsed by what came next and, in my mind, wasn’t an era I was desperate to revisit.

The beauty of Doctor Who though (and something I really think the more rabid, kneejerk denizens of fandom forget (or wilfully ignore)) is that it is eminently rewatchable and more often than not, as this marathon has proved time and time again, when I revisit a story which underwhelmed me on broadcast, I find I enjoy and appreciate it much, much more.

Already immersed in World War Two what with The Churchill Years and particularly, my last entry on the Torchwood episode, Captain Jack Harkness, and previous to that Victory of the Daleks (or at least the first half of it) the story immediately struck a different chord. The way that war-torn London is depicted is immediately on a much larger scale than those previous stories. Torchwood was restricted to period costumes and set dressing in a dance hall and Victory of the Daleks spent its budget on a new paradigm of Daleks.

The Empty Child has entire sequences of Rose hanging from a barrage balloon whilst planes zoom around her and explosions rock the ground and sky. An invisible spaceship is tethered to Big Ben and plays Glenn Miller. There are numerous locations: a family home complete with Anderson shelter; a ‘deserted’ hospital; a crash site surrounded by barbed wire and armed soldiers. Everything is presented in glorious period detail and the atmosphere of doom and desperation pervades the story, making the climactic scenes all the more joyous.

Key also to the story’s success is Florence Hoath as Nancy. She is the entire heart of the story; the secret key to everything that is happening. As I understand it, Hoath has since retired from acting, which is a shame, as she is a powerhouse in this story showing steel and vulnerability in equal measure. She would have made a superb companion. Rose, in contrast, doesn’t actually get much to do aside from flirt with Captain Jack. Her main function seems to be to aggravate the Doctor by commenting on Jack’s more appealing sci-fi credentials. I’m not a huge fan of Rose but it does seem that Moffat is happier writing for Nancy’s pseudo-companion and of establishing Jack’s ‘loveable rogue’ credentials before he, himself, does join the TARDIS crew.

I’m never going to be a massive fan of the 9th Doctor either but this is definitely one of Eccleston’s better stories. Unsurprisingly, his scenes with Nancy are the best, particularly the scene where he appears at the dinner table with the children. The way they interact at a level of almost equals is fascinating. The Doctor knows less than Nancy about the situation so respects her advice and intel. He also simply accepts the way she has to live without judgement. There has been much said about how the Doctor is Series 1 is a facilitator, often taking a back seat to other characters solving the dilemma. It was an aspect I found frustrating. In this story, however, it works better than in others because whilst Nancy is the key to solution, the Doctor isn’t completely passive in the resolution.

The macguffin of the nanobots causing the gas mask ‘infection’ is a fun idea which allows for an ending that is slightly unusual in Doctor Who and earns the Doctor’s unbridled joy in the climactic scenes (as well as earning Richard Wilson’s gag about Mrs Harcourt’s extra leg (which itself seems to riff on Moffat’s other ‘too many legs’ joke in Coupling)).

The one aspect of the story which I’m not sure is warranted or needed is the whole ‘Doctor Dances’ theme. As a metaphor for ‘sex’, it seems a little on the nose when Rose invites the Doctor to ‘dance’. As a way of contrasting the Doctor with Jack, I’m not sure it is needed as the ‘sci-fi’ credentials schtick is more than enough ( especially the amusing sonic screwdriver scene). I know the modern series has been more in touch with the Doctor’s sexuality than the classic series ever was, but having an episode with a title that effectively means ‘The Doctor has sex’ seems a bit too much.

But it’s a minor niggle with a story packed with great performances, a tangible atmosphere deriving from excellent period detail and some exciting and chilling set pieces.

New Who Review #9

The Empty Child

This episode is fantastic easily the best 2 parter of series 1. The story is about a man called Captain Jack Harkness and how he thought a harmless warship would be a great con for the doctor and rose. But instead this ambulance is full of Nanogenes and has infected everyone. The doctor and Rose are split up in this part. The doctor is with a girl called Nancy investigating the "Bomb" which is in fact the warship jack threw at them. And rose is with jack getting information about who he is and finding out about the Nanogenes. Nancy is a cool character who is very important to this story I just wish we got more of her. The whole premise of being touched turns you into one of the Gas Mask Zombies is truly terrifying. The cliffhanger is pretty good as it's not too risky and the resolution pays off well. 10/10

📝9/10

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

"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.

There’s just so many great ideas, characters and moments all throughout. The nightmare inducing Empty Child with his iconic catchphrase, the introduction of Captain Jack Harkness, the clever revelation of what’s causing the gas mask plague and why, the emotional ending and Eccleston’s outstanding performance. I just never get tired of revisiting this story.

Out of all of Steven Moffat’s written works, this has aged considerably better than most of his episodes. Mostly due to the fact that while it’s bursting with imagination and different ideas, he never gets over ambitious or ahead of himself. The story is kept tightly written and never veers off in a pointless direction. The characters also have a lot more dimension compared to a lot of Moffat’s later side characters whose names I can’t remember even if you held a gun to my head! Especially when this story introduces the one and only Captain Jack Harkness who absolutely steals the show. It’s a real shame Jack’s time onboard the TARDIS was as short-lived as it was, he’s easily the most fun part of the Ninth Doctor era.

Disclaimer: This Review is the exact same, as with my Review on the Episode "The Doctor Dances". This is because I consider this Two-Parter not only ONE Story, but also consistent in its Quality, which is why I didn't see the Need to write two separate Reviews.

Honestly, is there anything i can add to this? It’s such a perfect story, when I revisited series 1 last year in order, I was fairly bumped out by the first couple of episodes, but episodes like this make this series easily one of the best of the revival (and I say that who tends to prefer classic in many ways). This two parter is wonderful, as many pointed out Florence Hoath who played Nancy was such a good guest star in this “serial”. The Doctor and Rose might have some of their biggest dynamic in here and the addition of jack is lovely (I haven’t seen much of Torchwood yet, but this might just be my favorite use of jack so far).

The ending with 9 embracing the fact that everybody lives in such a time is just stunning, easily my favorite moment of his Doctor. For me nothing can beat “Dalek”, it’s just sooo good, but this is a very close call. Yet another showcase why Eccelston, even through he may seem like a major departure from the previous actors who played the part, still is and always will be an excellent choice. There is a lot I just love about it, really I have a hard time of thinking any negative I have with that Story, just so good!