Pretty good, but it could've done better as a three-parter; there's a lot of padding here, and as has often been remarked, the part one cliffhanger is the weakest in Doctor Who. All the same, I do like it as a metaphor for Doctor Who itself, though Captain Cook is a particularly unpleasant foil to the Doctor.

This is part of a series of reviews of Doctor Who in chronological timeline order.

Previous Story: Silver Nemesis

An absolutely brilliant serial. Fitting to close out such an absolutely brilliant season. McCoy and Aldred are on top-form and I really cannot overstate how good a pairing they are. The direction and camerawork of this story really stands out to me. In the hands of the wrong director this could've easily been really ridiculous and difficult to take seriously.

There's a lot of odd elements to this story that seem like they shouldn't work together but they absolutely do. Clowns, werewolves, norse Gods and a colonial explorer all come together to make something really unique and impressive. Speaking of the norse Gods, the Gods of Ragnarok were really cool. They were built up really effectively with the sinister family in the audience and that whole sequence where 7 faces them down while doing magic tricks was a joy to watch. Their defeat was a bit underwhelming though.

For probably the first time in Classic I really can't get enough of it. It's a shame that I've only got 4 serials left after this because they had something really good going on here.

Next Story: 1963: The Assassination Games

I really like the Greatest Show in the Galaxy for the simple reason that the Chief Clown has a fantastic design. We can leave discussion about plot, characters, and attitudes towards fans of the show to other people - I'm having the time of my life in clown town!

The Chief Clown looks (and acts!) like your traditional whiteface clown: his costume is extravagant, his makeup has no sign of real skin colour, and he's the clear leader of the troupe. Even his backing clown robots are really well done, with a mix of auguste and other whiteface designs, each one unique (there's a couple less traditional ones, dressed like augustes but with all-white makeup, but then again I'm not a clown expert I'm just a clown appreciator speaking confidently)

Anyway yeah. Really really good clowns in this one

📝8/10

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

“The Greatest Show in the Galaxy: A Creepy Circus with a Dark Payoff”

The Greatest Show in the Galaxy is a disturbingly atmospheric and dark tale that fully embraces the show's knack for surreal storytelling. Combining killer clowns, a cursed circus, and a cosmic menace, it brings a nightmarish quality that contrasts starkly with its bright, colourful exterior.

From the very first scene, where we see the Psychic Circus escapees hunted down, the story establishes a creepy and ominous atmosphere. There's a deliberate contrast between the circus's cheerful surface and the lurking menace underneath. This duality—seemingly harmless fun masking horror—is what makes the story so engaging.

The eerie mood is heightened by the slow build-up of dread, punctuated by the unsettling presence of the Chief Clown, played chillingly by Ian Reddington. His piercing stare, unsettling smile, and calm yet terrifying voice make him one of the creepiest villains of the classic series.

The story is tonally bold, veering into dark fantasy and horror while maintaining the quirky charm of Doctor Who. This is strengthened by the music, which is brooding, atmospheric, and supports the undercurrent of danger perfectly.

The script excels at building tension, especially in the first and final episodes. The setup in Part One is intriguing, as the circus seems innocent at first but is soon revealed as a death trap.

However, the middle episodes—particularly Part Two—suffer from slower pacing and feel like filler, with characters running back and forth with little narrative progression. Some twists feel a bit predictable, and the plot doesn’t always take full advantage of its creepy premise during these sections.

The story takes a bizarre yet rewarding turn in the final episode, where the Doctor faces off against the Gods of Ragnarok. This part delivers one of the most epic climaxes in the Seventh Doctor’s era, as the Doctor uses his wit and magician-like skills to defeat these cosmic beings. The explosion and the Doctor’s calm, confident walk away from the destruction is an iconic moment that cements his stature as a true hero.

The finale’s intensity and payoff make up for the slower moments in earlier parts, leaving the viewer satisfied by the end.

Sylvester McCoy delivers a strong performance, showcasing a different side of the Seventh Doctor. He’s less manipulative here than in Remembrance of the Daleks or Silver Nemesis, and at times, he misjudges situations or makes mistakes. This vulnerability adds another layer to his character. The Doctor’s magician-like qualities come to the forefront, particularly in the finale, where his showmanship and cleverness save the day.

Ace continues to prove herself as a fantastic companion. Her bravery shines through, especially when she faces her fear of clowns while being hunted. Sophie Aldred perfectly captures Ace’s mix of fear, determination, and loyalty. Her separation from the Doctor for much of the story allows her to stand on her own, strengthening her character.

The supporting characters are well-acted and add depth to the story.

Ian Reddington as the Chief Clown is a standout. He’s sinister and deeply unsettling, embodying the story’s creeping menace. He’s arguably one of the scariest villains in Doctor Who history, rivalling Sharaz Jek in The Caves of Androzani (1984).

Jessica Martin as Mags is a fascinating addition. Her character, with her mysterious werewolf-like nature, makes her a memorable companion of sorts to the Doctor. Mags proved popular enough to return later in Big Finish audios, a testament to her character’s appeal.

T. P. McKenna and Ricco Ross give strong performances as part of the Psychic Circus staff, particularly as they begin to argue and unravel under pressure.

On the other hand, Gian Sammarco as the annoying “fanboy kid” is one of the story’s weaker elements. His character feels irrelevant to the plot and detracts from the tension.

The production design is simple yet highly effective, making excellent use of the show’s budget. The quarry setting for the planet Segonax works surprisingly well, providing a barren, Mad Max-like desert landscape. The Psychic Circus tent, while colourful, exudes an ominous vibe, especially with the sinister audience and creepy clowns.

The costume design is a highlight, particularly for the clowns, whose exaggerated and unsettling designs add to the story’s nightmarish feel. The visual effects, especially during the final confrontation with the Gods of Ragnarok, are impressive for the time and help deliver a sense of scale.

Final Thoughts:

The Greatest Show in the Galaxy succeeds in returning the creepy factor to Doctor Who, combining a surreal, unsettling atmosphere with a rewarding finale. Despite its slower middle episodes, the story’s unique concept, haunting tone, and iconic villain make it a standout entry in the Seventh Doctor’s era.

The final confrontation with the Gods of Ragnarok, coupled with the Doctor’s magician-like flair, delivers one of the most epic and memorable climaxes in the classic series. The story is not as polished as Remembrance of the Daleks but remains a fascinating and entertaining serial that fans will enjoy revisiting.

While not the strongest story of Season 25, The Greatest Show in the Galaxy proves that Doctor Who had rediscovered its creative energy—unfortunately, just as the classic series was drawing to a close.

Random Observations:

• It took 25 years for Doctor Who to depict a story with creepy killer clowns. Creepy killer dolls show up in one of the creepier episodes in the new series, Night Terrors (2011).
• The Seventh Doctor makes for a pretty fascinating magician. I'd watch him perform live anytime.

This was a wild ride.  A fantastical experience I would consider a perfect episode were it not for an ending that kind of felt flat for me.  There's a lot I was dwelling on watching these episodes for the first time.  First I marvelled at the sheer strength of Ace and the Doctor as leads for this show.  Even in a story like this where Ace spends a lot of time isolated, she easily drives and can carry the story on her own.  I was also impressed when I learned that this serial was faced with a lot of production issues including a full-blown studio shutdown.  You really wouldn't be able to tell unless you knew ahead of time.  Sure, you can definitely spot the low budget and cheesy effects, but that stuff is pretty normal for Doctor Who.

It's the ending that doesn't stick well with me.  The Gods of Ragnarok are set up well throughout the whole story in a way I quite liked, with this family in the audience growing more and more sinister as the episodes wear on, but once we see their true forms, well, I just can't defend that.  They don't look great.  The Gods look like dudes in frumpy costumes.  My suspension of disbelief was broken.

Everything else is such mad fun it hardly even matters.  This might be one of the best seasons in all of Doctor Who, and The Greatest Show in the Galaxy is a great example of why.  There's a werewolf, a robot bus driver, and Colonel Mustard all in this story and I have absolutely no idea why, but I am glad they are there.  It's fun, silly, sinister, a little unhinged, and full of fun little bits of dialogue that make Season 25, Ace, and the Doctor all something special.  It's not perfect.  But The Greatest Show in the Galaxy does kind of live up to its name.