This is a perfect Example of a Story, which I respect more than I actually like.
I am more than grateful of what it introduces and there are PLENTY of Bits, I really like, it’s not like I don’t like this Story, just don’t love it.
On the positives, the Cybermen are at their Peak, their Design scary, their Voices terrifying, and their Goal fits perfectly with them. Their presence gives this one a superb eerie Feeling. The first Regeneration Scene is done so well, and I quite like how suddenly it all happens with the Doctor just acting weird, collapsing and becoming a whole new Man. Hartnells Speech about Emotions is one of the Show’s best and shows how great of an Actor he really was. And yet there is just something missing for me to elevate this one further. Of course, the Fact that his Presence is on ultimate low here doesn’t help much the matter to make it a really satisfying Ending for this Era of the Show. It’s really hard to articulate it, as I said it does have PLENTY of Things which makes it a GOOD Story, but it’s still very far away from being a great Story.

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“THE TENTH PLANET: THE CYBERMEN ARRIVE, HARTNELL DEPARTS, AND DOCTOR WHO IS FOREVER CHANGED”

Few Doctor Who stories can claim to have reshaped the series as fundamentally as The Tenth Planet. Broadcast in 1966, this serial marks a seismic shift in the show’s mythology, giving us not one but three major firsts: the introduction of the Cybermen, the concept of regeneration (initially termed "renewal"), and the now-familiar base-under-siege format that would dominate the Second Doctor’s era. It's the final bow for William Hartnell as the First Doctor—though due to illness, he's barely present for a third of the story. Yet, his spectral presence lingers heavily throughout, as the Doctor’s weakening body mirrors the shifting identity of the show itself.

SCIENCE FICTION WITH A SEMI-REALISTIC BENT

Written by scientist Kit Pedler (serving as unofficial scientific advisor to the show) and script edited by Gerry Davis, The Tenth Planet stands out for its attempt to ground its science fiction concepts in something vaguely plausible. Pedler’s speculative science—ranging from the Earth’s twin planet Mondas to energy-draining Cybermen—may not pass scientific scrutiny today, but his instincts are in the right place. There’s a clear effort to build a world that feels consistent and technologically grounded, even if the notion of a rogue planet suddenly orbiting Earth with no catastrophic consequences is pure fantasy.

Interestingly, Pedler’s vision of 1986 (twenty years into the future at the time) feels particularly quaint today, with its idea of a unified space command staffed by personnel from various countries—an optimistic gesture that fits the globalist leanings of mid-century sci-fi. It’s notable, too, for its diverse cast, including a Black astronaut, which was nearly unheard of in British television of the time. While his character doesn’t survive the ordeal, his presence reflects a quietly progressive undercurrent in a show that was often ahead of its time.

ENTER: THE CYBERMEN

If nothing else, The Tenth Planet earns its iconic status for introducing the Cybermen—one of the show’s most enduring and unsettling monsters. These original cloth-faced, half-human creations from Mondas are a world away from the stompy, metallic versions of the modern era. Their sing-song voices, dispassionate logic, and uncanny, semi-humanoid appearances render them eerie in a way few later versions manage. There's something genuinely disturbing about their almost-human quality, the sense that they were once people who willingly shed their humanity in pursuit of longevity and perfection.

Their debut is executed with a masterclass in suspense and atmosphere. The icy Antarctic setting, the blizzard-swept exteriors, and the slow march of the Cybermen toward the base all culminate in the unforgettable cliffhanger at the end of Part One—a moment that still chills. By Part Two, the Cybermen have essentially taken control of the base, asserting dominance with their emotionless pragmatism. They remain a consistent threat throughout the story, commanding both the attention of the characters and the audience.

And yet, ironically, the titular tenth planet, Mondas, is itself a tragic figure—its destruction, triggered by its proximity to Earth and its own energy absorption, marks the demise of the Cybermen (at least for now). The image of the creatures collapsing into empty shells is striking, visually and thematically underscoring the dangers of abandoning emotion and humanity in pursuit of immortality.

THE DOCTOR FADES AWAY

Unfortunately, Hartnell’s health issues meant he was entirely absent from Part Three and largely sidelined in Part Two. It’s a huge shame, especially as this is his final story and a golden opportunity to go out in style. Instead, the script awkwardly contrives ways to write the Doctor out of scenes, reducing him to a more reactive, peripheral figure in a story that ought to have been his swan song.

However, this absence is ultimately woven into the fabric of the narrative. The idea that the Doctor’s body is wearing thin feels eerily appropriate, and Hartnell’s final turn in Part Four—where he rises one last time to outwit the Cybermen—feels like a quiet reclamation of his importance. His final collapse in the TARDIS, as the controls seemingly operate themselves, is a haunting moment, beautifully realised despite the limitations of the time. Though the term "regeneration" is never uttered, the visual transformation at the story’s close—sparkling light, a flash, and suddenly a new face—is now etched into television history.

Fans familiar with Twice Upon a Time will appreciate the link, as that story effectively interweaves itself with the events of The Tenth Planet, giving Hartnell's Doctor a more fitting farewell than he was able to receive in 1966.

A WEAK MIDDLE ACT

While the serial begins and ends on powerful notes, Part Three is undeniably the weakest link. With the Doctor absent and no Cybermen in sight, the episode grinds to a halt, spinning its wheels with scenes of military debate, failed communications, and increasingly dull arguments about the Z-Bomb. Even within Part One, the scenes involving space command’s back-and-forth with the space rocket crew feel a bit padded.

Still, the base-under-siege formula that’s seeded here would go on to become a staple of the Troughton era, and the serial’s attempts at building a tense, enclosed scenario are effective. The polar base is tightly realised, with impressive production design and soundscapes that evoke the biting cold of the Antarctic setting. The tension inside the base is mirrored by the literal storm outside, creating a pressure-cooker environment that gives the story a palpable atmosphere.

THE HUMAN ELEMENT

Among the guest cast, Robert Beatty gives a commanding performance as the blustering General Cutler—every bit the militaristic obstacle that the anarchic Doctor so often rails against. Cutler’s unbending authority, emotional instability (especially after his son’s death), and aggressive posturing make him as much of a threat to the base’s survival as the Cybermen themselves. He represents the danger of command without empathy, and his clash with the more measured Dr Barclay (David Dodimead) adds an extra layer of human drama.

On the flip side, Ben and Polly are frustratingly underserved. Polly begins the story as promisingly active, but is soon relegated to coffee duty, while Ben spends most of his time getting captured or locked up. It’s a shame, considering this is one of only a handful of stories featuring this TARDIS team before the transition to Troughton.

A MISSING PIECE, AN ANIMATED SOLUTION

The final episode of The Tenth Planet is famously lost, but it has been gorgeously reconstructed through Planet 55’s animation, which—despite being an earlier effort in the animation series—does a solid job of capturing the style, tone, and character likenesses of the original. The final defeat of the Cybermen, with their suits collapsing into piles of cloth and wire, is particularly well executed. It’s a fitting capstone to a story that constantly underlines the fragility of even the most powerful enemies.

DEREK MARTINUS' BEST WORK

Director Derek Martinus does arguably his finest work here. The exterior Antarctic scenes feel perilous and convincing despite the studio constraints, and he gets solid performances from a large cast in a confined setting. He also injects the Cybermen with a genuine sense of menace through thoughtful blocking, stark lighting, and deliberate pacing. The only notable flaw is the frequent overlapping dialogue, which occasionally causes key lines to be drowned out in the chaos.

📝 VERDICT: 7/10

The Tenth Planet is not a perfect story—it suffers from a slow middle act, underused companions, and the absence of its leading man for a quarter of its runtime. But what it does achieve is historic: it introduces the Cybermen in genuinely creepy form, establishes the regeneration concept that would define the show’s future, and delivers a strong base-under-siege narrative with a rich atmosphere and thematic depth. Kit Pedler’s attempts at “serious” sci-fi don’t always land, but they give the story a distinct flavour. Add in solid direction, a diverse cast, and that haunting final scene in the TARDIS, and The Tenth Planet becomes far more than just a send-off—it’s a rebirth.

A fantastic swan song for the First Doctor, despite him being absent for half of it due to ill health. Also the first and best iteration of the Cybermen in my opinion.

for a cyberman episode, they are super super different here. they basically drop the whole twin planet thing in later stories mostly. the s2 cyberman 2 parter has them from a parallel earth and pulls off a similar concept much better. the things i really liked about this episode was that it was the first time the show ever feels diverse. there's an actual black character, and the space hub thingy has people clearly from all around the world taking part in these space missions, and the antartica base has some clearly non british people. all the mainest characters are still white and british though. i like tito he was cute but he dies pretty quick. i thought the 3rd episode where it suddenly became all about defeating the human captain was really weird - the cybermen should be the focus, not some random guy who tbh feels kind of in the right for what he was doing! i wish they sold us more on the father/son thing and deepened that relationship, at least gave the son a name!! the unique title sequence is so appreciated though. i think the doctor and polly honestly did very little in this story. i dont even understand why the doctor regenerates at the end?? ofc it's the first one so they didn't  have the rules for regeneration down yet, but it is still odd. it's also weird that this is one of few time that the doctor explictly already knows what is going to happen roughly, which is probably why he takes a back seat

The Tenth Planet is a very mediocre sort of story. The Cyberman designs are really fun, better than the more recent more robotic versions just by virtue of how it reminds you they were human once, too, but then it doesn't really do much interesting with them other than an "Oh no! The enemy is invading the world again!" plot. The side characters are okay but nothing special, so the plot is mostly carried by the main cast, but even then Polly as the single female character in the whole serial gets sidelined as The Screamer every time the Cybermen enter.

But perhaps more than any of that, I'm going to miss the First Doctor :(