SCREAMED for every bit of fan service. Chibnall did more to honor the classic era than Moffat did in the 50th and for that I thank him. Not enough praise can be given for Sacha Dhawan. He manages to be bombastic while still quickly pivoting to the sadness underneath. It's hardly even a pivot, it all somehow exists in the same moment.

Wish we had more time with Jodie. A bit odd that she's the only doctor who splits her last episode with previous versions of herself. She's been so wonderful in this role. Always trying to just have some fun with her friends. I love her wit, her childish glee at the unexplored, and her kindness.

Yaz piloting the TARDIS and saving The Doctor is amazing and I will FOREVER BE UPSET THAT THEY DIDN'T AT LEAST KISS ONCE!!!!! I'm docking this half a star because I think the last two scenes shouldn't have been intercut. The support group should have played first and then give the rest over to The Doctor's final now.

I started rewatching new who and all its spinoff shows in air date order back in January and somehow managed to finish the rewatch two days before this premiered. I have loved my time watching The Doctor wander through galaxies helping those in need and above all else, running as fast as they could. Whatta run for a show. I loved every bit of it with all my hearts.

This was the first episode I ever watched the day it was broadcasted (having just got caught up with New Who). I liked it, but as I hadn't watched Classic some of the references meant nothing to me. Now, this actually hits different. The story is still quite messy and it is one of the most nonsensical plans the Master has ever devised (which is saying something), but it is just so much fun. The nods to the Classic era are so well done, the characters are still as engaging as ever (Loved Ace being paired with Graham) and Dhawan's Master is one of the best (behind Missy for New Who imo). The last few scenes are beautifully written, the last conversation between Yaz and 13 is tear-jerking actually, I just wished her relationship would have been better developed across this era.

So yeah, great episode to end one of the most controversial periods of Doctor Who. As this is the last one, I'll say a few things about this era. I got to this part of my rewatch hoping that my negative views regarding 13 and her episode would change, and I can safely that they did! Mind you, there are some real stinkers here (Orphan 55, yes) but there were a few gems and some have even entered my top episodes of the whole show:

• The Haunting of Villa Diodati is, in my opinion, Jodie's (and 13's) best episode. The best showcase of how high her character could have gone with better direction and better scripts. I'm not going to beat around the bush, we got what we got, but she is a great Doctor and in some other episodes there are instances where you can see that, but there is no better example than in here.
• Demons of  the Punjab is what I believe her era should have put the focus on. More historicals, with heart and hope as the focus of the story. Learning about different cultures and conflicts that have shaped our world (as this show was originally intended to do, juggling sci-fi episodes with pure historicals).
• Honorary mentions: Village of the Angels, It Takes You Away, The Ghost Monument (yes, I love it), Fugitive of the Judoon.

Plus, I'm actually a big fan of the Fugitive Doctor and Division. The scenes in Flux where the focus was on this part of the Doctor's life were my favourite of the arc.

And I can somewhat get behind the idea surrounding the Timeless Child (it could have been better handled, let's hope RTD2 does something interesting with it).

So yeah, this era was great in some instances, not so great in others, but at least it gave us Doctor Who at a point where the show could have ended (funnily enough it is a recurring theme in this fandom)

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

“THE POWER OF THE DOCTOR: A CELEBRATORY, CHAOTIC, AND EMOTIONAL FAREWELL”

Jodie Whittaker’s time as the Doctor comes to a close in The Power of the Doctor, a feature-length special marking the BBC’s centenary and the grand finale of the Chibnall era. With returning companions, classic foes, jaw-dropping cameos, and a regeneration to top it all off, this episode has the makings of a spectacular send-off. But does it live up to the occasion?

A HIGH-STAKES OPENING

From the outset, The Power of the Doctor sets an ambitious scope. The opening sequence aboard a bullet train in space is an exhilarating start, featuring the return of the CyberMasters – the Cybermen who can regenerate, introduced in The Timeless Children. Their eerie gold-and-silver designs make for an imposing sight as they lay siege to the train, which holds an important cargo: a child-sized energy source that becomes a key plot point later. The Doctor, Yaz, and Dan attempt a daring rescue, but things quickly spiral into chaos.

This sequence is an exciting reintroduction to the TARDIS team, though Dan’s sudden decision to leave after nearly getting shot feels abrupt. While it makes sense that he’d want to return to his normal life, the moment is so rushed that it robs his departure of any real emotional weight. It’s a shame, given how much he added to the dynamic in Flux.

Meanwhile, multiple other plotlines are set up across time and space – missing paintings at the National Gallery, global energy surges, and erupting volcanoes. At UNIT, Kate Stewart calls in ex-companions Tegan Jovanka and Ace to help investigate, while in 1916 Russia, the Master has disguised himself as Rasputin, secretly pulling the strings behind historical events. Chibnall’s decision to weave together multiple threats in different time periods creates a sense of urgency but also makes the story feel overly stuffed.

THE MASTER’S GRAND SCHEME

Sacha Dhawan’s Master is given centre stage in this special, and he revels in every second. From the moment he appears, disguised as a seismologist named Rasputin, he dominates the episode with his signature blend of menace and gleeful insanity. His plan is as grand as it is personal – he doesn’t just want to defeat the Doctor; he wants to become the Doctor. Using stolen Time Lord technology, he forces a regeneration upon the Doctor, taking her body and becoming “The Doctor of Everything.” It’s an outlandish yet fascinating concept, and Dhawan brilliantly embodies a twisted version of the Doctor, complete with a patchwork costume made from relics of past incarnations.

His unhinged dance to Boney M’s Rasputin is one of the most surreal and unforgettable moments of the episode. It’s absurd, yes, but it perfectly encapsulates this Master’s love for theatricality and mockery. Dhawan’s performance is one of the best things about The Power of the Doctor, as he balances genuine menace with dark humour.

That said, while the Master’s plan is intriguing, it raises several unanswered questions. How exactly does the forced regeneration work? Why does the Master need Dalek and Cybermen alliances when he ultimately doesn’t rely on them? And how does he so easily revert the Doctor’s body back to normal later on? Some of these elements feel underdeveloped, as though they exist more for spectacle than logic.

A CELEBRATION OF THE PAST

While The Power of the Doctor serves as Whittaker’s farewell, it’s also a love letter to the show’s long history, packed with returning characters and nostalgic references. Ace and Tegan slot naturally into the story, feeling like older, more seasoned versions of their classic-era selves. Ace’s emotional reunion with the Seventh Doctor and Tegan’s heartfelt moment with the Fifth Doctor are standouts, adding genuine emotional depth.

The surprise return of previous Doctors – David Bradley (standing in for William Hartnell’s First Doctor), Peter Davison, Colin Baker, Sylvester McCoy, and Paul McGann – is a massive highlight. Their appearances in the Guardians of the Edge sequence, a conceptual limbo where the Doctor’s past selves linger during regeneration, is a touching and creative way to honour the show’s legacy. Seeing McGann, in particular, get more screen time is a joy, as he effortlessly reminds us why fans have long clamoured for more of his Doctor.

There are also plenty of callbacks to classic episodes. The Master’s plan to force the Doctor’s regeneration echoes The War Games, where the Time Lords forcibly changed the Second Doctor’s appearance. The return of the CyberMasters and the concept of a planet being moved next to Earth reference The Tenth Planet, the very first Cyberman story. UNIT’s headquarters and the Master’s imprisonment feel reminiscent of the Third Doctor’s era, and the Cybermen’s assault on the building is similar to Army of Ghosts/Doomsday. These nods are fun for long-time fans but never derail the story entirely for casual viewers.

A VISUAL SPECTACLE

Visually, The Power of the Doctor is one of the most cinematic episodes of the Chibnall era. From UNIT’s high-tech HQ to the eerie, decayed Cyber planet and the neon-lit ruins of the Dalek lair, the production design is top-notch. The CGI is impressive, especially in large-scale sequences like the Cybermen’s invasion of UNIT and the space train battle.

The action is also well-directed, with plenty of dynamic set pieces. Ace parachuting off a UNIT tower, Yaz navigating a Dalek-infested base, and the Doctor’s final battle with the Master all stand out. Jamie Magnus Stone’s direction ensures the episode maintains an energetic pace, even when the plot feels convoluted.

AN EMOTIONAL FAREWELL

Whittaker gives a strong final performance, blending her usual warmth and enthusiasm with a quiet sense of resignation. While she doesn’t get as many standout moments as some previous Doctors in their final stories, her final scene is beautifully handled. Her final words – “Tag, you’re it” – before regenerating on top of the TARDIS, watching the sunset, encapsulate the playful, adventurous spirit she brought to the role.

The episode’s last few scenes are particularly touching. The support group for former companions, featuring Jo Jones (Katy Manning), Melanie Bush (Bonnie Langford), and very briefly Ian Chesterton (William Russell), is a lovely moment of closure, reinforcing the idea that no one who travels with the Doctor is ever truly alone. Seeing Ian, the last remaining cast member from An Unearthly Child, return for a brief line is a poignant tribute to the show’s history.

And, of course, the regeneration itself delivers one final shock – instead of Ncuti Gatwa, Whittaker regenerates into David Tennant. It’s a jaw-dropping moment, setting the stage for the 60th Anniversary specials and leaving us with a million questions. Why is the Doctor wearing Tennant’s face again? What’s going on with his teeth?

📝VERDICT: 9/10

The Power of the Doctor is a fittingly grand, chaotic, and heartfelt send-off to Jodie Whittaker’s era, packed with nostalgia, spectacle, and emotional farewells. While not every plot thread lands perfectly and some characters are underutilised, the sheer love for Doctor Who radiates throughout. Chibnall, for all his faults, delivers a celebration worthy of the Centenary, and Whittaker bows out with style.

It’s messy, it’s wild, and it’s occasionally nonsensical—but above all, it’s an absolute joy to watch. A proper Doctor Who spectacle.

People (including me) can be blinded by the awkward and meandering script with more inadequacies than usual because Sophie Aldred and Janet Fielding and Peter Davison and Colin Baker and Sylvester McCoy and Paul McGann and David Bradley and Bonnie Langford and Katy Manning and William Russell show up.

I mean, that's great and all, but still!

i don’t know what the funnier part of this ep is, The Master breaking to Rasputin (Club Mix) — Boney M; or The Doctor getting hit by a laser beam and dying again