Probably the weakest of the season so far - not to say that it wasn't enjoyable. It was experimental, interesting and clever. But the ending was a bit off and the slavery angle was massively flawed.

It's interesting how the TARDIS team don't really take the lead role in this story, and really just follow along with the side characters and their main goal is to make it out of E-Space, which they eventually do. Tom Baker's really vicious in this story. The killer glare he gives the Tharril when he smacks the servant is intense, and he's often getting into fisticuffs or wielding weapons - I got a lot of Third Doctor vibes from him. He seems really short with Romana in this episode and I'm not sure why. "Get into the TARDIS, that's an order!" and he doesn't seem to care much for her departure. Romana herself is very odd. She gets captured by the cargo crew multiple times, even though we've seen her fend for herself throughout and she's just a bit weak here, and then she suddenly decides to leave the Doctor? I mean, it makes sense because she knows that when she returns to N-Space, she'll be stuck on Gallifrey, but it seems like the choice was sudden, easy and the two didn't actually care about each other. Adric flips a coin and K-9 runs about. Those two are really unimportant to the story, and the Doctor and Romana once again become the power couple that they were for most of Williams' Era. It's such a shame that Romana didn't get a proper sendoff - the idea of being able to explore a whole new universe is so good, but it's so rushed and I was left disappointed.

I'm not sure who the enemy is supposed to be. I'm assuming it's the cargo crew, who were enslaving the Tharils, and the Tharils are meant to be the good guys, but they were enslaving other humans and the Doctor was like "yeah that's bad" but it's never brought up again? It's a really bad message, especially considering Romana joins the Tharils at the end and it's like they condone it. Also, the Gundans were just there attacking the Tharils and it's never explained what they are, but they were built by humans for an unexplained purpose? It makes no sense, and the cargo crew themselves are just a bit bland and generic, and by the end, the captain ends up being very pantomime. However, I liked the line "'You pull and I'll push!' 'No, I don't like that.' 'Alright, I'll push and you pull.' 'Alright, then.'"

The direction for this story is phenomenal - the opening scene just setting the tone with the camera passing through the ship, makes it feel really atmospheric, and the coin tossing throughout was really clever, the slowmotion parts and the greyscale moments were really cool! This story is visually unique and fascinating to break down and analyse! The green screen parts are a million times better than Underworld, the only reason I knew it was green screen is because of the green light on the actors' faces at times. Aside from that, it's really strong. I love the sets, they look fantastic, like the gateway and the castle. If there's any reason to watch this story, it's for the amazing vision that Graeme Harper and Paul Joyce had (also, speaking of Graeme Harper, welcome to the show! Can't wait to see your work again in the revived era!)

There's no side characters in this story aside from the Tharils, and I already mentioned why I don't like them. Their design and the idea behind them is good though. But it's just badly executed.

The music when Romana leaves is so sweet and it's one of my favourite tracks of the Classic Series. It fits the scene and the characters so well. It's a hopeful track but at the same time so sad and lonely.

Both Lalla Ward and Mary Tamm did a fantastic job as Romana, and they were definitely noble. It was such a bold move to introduce a Time Lord companion, and have two completely alien leads take over the show, rather than have the standard trope of the alien lead and the relatable human to watch the show through, but the bond between the Doctor and Romana developed so strongly over the years, and they had so much fun as they considered themselves above everything - they truly loved spending time together and it's sad to see it end in such a strange way. But at least Romana gets to be the lead Time Lord in E-Space without being overshadowed by the Doctor at long last. Farewell, Romanadvoratrelundar. Farewell, K-9. Farewell, E-Space. The end of an era.

• For a start, this story is too long, could have easily been 2 or 3 parts
• I'm a little confused, but it's got some spooky elements to it I enjoyed, but most of it is lost on me
• What does Adric do? press a button, and hide for most of the story. Then his line delivery with that satellite-looking device (beyond terrible)
• Romana's exit feels a little illuded to but does feel very sudden, though her performance is great in this story
• I do adore the cliff-hanger to episode 2, the scream and angle, perfection

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

“WARRIOR'S GATE: A PUZZLINGLY AMBITIOUS FAREWELL TO E-SPACE”

The E-Space Trilogy concludes with Warrior’s Gate, a story that fully embraces the cerebral, experimental tone of Doctor Who’s Season 18. Written by Steve Gallagher, this four-parter is as visually ambitious as it is narratively perplexing, pushing the limits of what the show could achieve with its budget and storytelling. While the abstract nature of the plot is fascinating in concept, it often teeters on the edge of being impenetrable.

TECHNICALLY IMPRESSIVE BUT DENSELY OBSCURE

From the Alien-inspired opening shot of a derelict spaceship to the eerie white void reminiscent of The Mind Robber, Warrior’s Gate is a triumph of direction and atmosphere. Paul Joyce and Graeme Harper, in his first involvement with the show, employ innovative camera techniques, distortion effects, slow motion, and striking close-ups that make the serial visually distinct from anything Doctor Who had attempted before.

However, where the production excels in mood and style, it falters in clarity. The first three episodes largely consist of characters standing around, engaging in cryptic, unnatural dialogue that feels more like a puzzle than a narrative. Concepts like time sensitives, Tharils, and alternate dimensions are introduced, but the script is so abstract that it’s difficult to grasp what’s actually happening. Even in the final part, when the Doctor takes a more active role against Rorvik’s increasingly desperate attempts to control events, the story remains more concerned with mood than with making things comprehensible.

A STRANGE BUT MEMORABLE EXIT FOR ROMANA AND K9

Romana and K9’s departure from the show is handled in a curiously offhand manner, with Romana suddenly deciding to stay behind in E-Space and help free the enslaved Tharils. While it’s a noble fate for the character, the abruptness of the decision feels unearned, as if the script simply needed to remove her at the last possible moment. K9’s exit is tied into this as well, giving him a reason to remain by Romana’s side. It’s far from the worst companion farewell, but it lacks the emotional weight one might hope for after two seasons with these characters.

STANDOUT PERFORMANCES AMIDST THE CONFUSION

Despite the dense script, the cast does well with what they’re given. Tom Baker remains effortlessly commanding, injecting occasional moments of dry humour to break the heavy atmosphere. Lalla Ward delivers a strong performance in her final outing, making Romana feel assertive and capable until the very end. Matthew Waterhouse, as Adric, is once again relegated to the sidelines, doing little to leave an impression.

Among the guest cast, David Weston is a standout as Biroc, a Tharil with an intriguing backstory and a haunting presence. Clifford Rose also makes an impression as the unhinged Rorvik, a slave trader who descends into full-blown mania by the final episode. Unfortunately, his performance loses its effectiveness in the climax, where his exaggerated laughter turns his character into a caricature.

📝VERDICT: 4/10

Warrior’s Gate is a bold and visually striking experiment in Doctor Who storytelling, but it’s also frustratingly obtuse. While the atmospheric direction and unique setting are impressive, the script’s abstract nature makes it difficult to fully engage with. As a send-off for Romana and K9, it feels rushed and lacking in emotional weight. However, as a pure exercise in style, it remains one of the most visually daring Doctor Who stories of the classic era. Whether that makes it a masterpiece or a misfire depends entirely on the viewer’s tolerance for its abstract storytelling.

RANDOM OBSERVATIONS:

• The serial was originally going to be a Gallifrey-set thriller by Christopher Priest. Steve Gallagher's original script, Dream Time, was heavily rewritten by story editor Christopher H. Bidmead and director Paul Joyce.
• Both Baker and Ward were notoriously difficult to work with during production, while director Joyce clashed with producer John Nathan-Turner, and a carpenters’ strike halted production.
• As of the writing of this review, this is the earliest Doctor Who story where both the credited writer and director are still alive.

An interesting and experimental episode, that goes into some weird directions. The Tharils are a fascinating premise, as people who once lorded over others who have become slaves. Adric also gets more to do here. However, Romana's exit comes out of nowhere. She just suddenly decides to stay behind and help the Tharils. It all feels like a very rushed ending for such an iconic companion.

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

Previous Story: The Quest of the Engineer

That was quite possibly, one of the strangest 1 hour 40 minutes of my life. I genuinely don't even know what to put in this review. I was tempted to just put "wtf" and leave it at that, as that entirely sums up my thoughts on this episode.

We say goodbye to Romana and K9. I like how sudden it was done. I'll definitely miss them as they're probably one of my favourite TARDIS teams, though I say that about every TARDIS team.

You either love this story, or you hate it. There is no inbetween. Personally, I love it, but I find it difficult to find Doctor Who that I hate.

Next Story: The Keeper of Traken

As The 4th Doctor is stuck in e-space, we teeter on the end of his era in this fascinating story.

There is a strong moral throughout this story that The Doctor presents to the two sides about the need to treat any creature with the power of reason with respect and not as an opportunity for free labour.

The timey-wimey aspect is exciting, flipping between different realms, states and times where the forties of our lion looking friends change and fade. The intersection between e-space and n-space reminds me of Big Finish’s Scherzo, this is a good thing. The direction, CSO and editing is wonderful here, it’s a refreshingly slick production. The lion looking alien being out of phase when he enters the TARDIS is extremely trippy - very impactful.

The only way The Doctor and his human enemies will escape e-space is to listen to his reasoning. He is a great negotiator. Romana’s decision to stay behind with K-9 “to be true to herself” is far less satisfying. Whilst K-9 has a motive, being unable now to work beyond the mirror, Romana just does it to help a group of people she’s spent very little time connecting with. From what I’ve seen there is little to love about e-space, so it’s an odd place to call home, even if they do have a mission.

I will miss Lalla Ward - she has been exceptional and played perfectly against Tom Baker. For K-9 however, this does feel like the right time to depart.