This episode is definitely a step down from the first part of this story. Eccleston, Piper, Clarke, Coduri, and Wilton are the biggest saving graces, delivering excellent performances in an an otherwise iffy episode. The ending is one of my biggest issues with this story, with 10 Downing Street literally being blown up, something which seemingly has little effect on Britain and the world. I do enjoy what this episode does to set up Harriet Jones, as she's a personal favorite side character of mine. Overall, a decent ending to our first alien invasion story of the revival.

I liked it less than the previous part. Doctor Who has a whole bunch of less serious episodes like this one and it is executed more or less correctly, playing between the immediate threat of a nuclear attack and the incompetence of the Slitheens, it makes for a decent comedy with even more political commentary than the previous part.

I think that the FX are a bit uglier than in the previous episode. The transition Slitheen in a costume and Slitheen running in 3D is a bit too jarring but I think they just did what they could and running around in those costumes must not have been easy.

I still don't like Mickey. They just made him a nerd who is now capable of hacking and it's pretty bad. He's still a comedic relief but this time the main source of comedy is either him getting bullied by the Doctor or his incompetence and it doesn't works at all.

The episode is even more on the nose regarding it's political commentary. It has a strong message about war only serving financial interests, all the comedy about the government incompetence and the fact that it's that easy to get access to the nuclear bomb by creating false threats and that it is that easy to launch a missile works great and is surprisingly still never corny.

I really liked all the scenes that are more character centric as it helps developing a lot more the characters and giving hints on their personality, such as when they are sheltered waiting for Downing Street to be bombed, it's great seeing The Doctor not wanting to cause any more casualties than he already has, Rose blase attitude regarding her death, Jackie's concerns regarding her own daughter and Mickey willing to risk it all are just hints of character traits we'll see more of in the future. But I think the character that takes all the spotlight is Hariet Jones. She is just magnificient here, taking decisions as the only democratically elected person in the room. It's just really fun to see all her genius moments and her facial expressions are just really fun.

The ending is a bit too rushed, The Slitheen all being in the same room, naked without their costumes feels a bit too easy and forced and it was a bit too disapointing.

The tone of the episode changes for the ending, Rose assuring her mother she will be back within 10 seconds and Jackie counting to 10 knowing well she won't is a great moment and ends the episode on a more somber and melancholic tone, putting a focus on the feeling of being abandoned.

I think overall it's a less interesting episode than the previous part. It was a good standard Doctor Who adventure, the focus put on the characters is all great but I'm a bit disapointed all the highlights are put in the last part of the episode.

There seems to be a lot of Tom Baker’s influence in what Eccleston gets up to in this two-parter, namely the sequence following the cliffhanger’s resolution, where he allows Margaret to continue chasing Rose and Harriet while standing nonchalantly in a lift, juxtaposed with the seriousness of “I could save the world but lose you.” Doctor Who is sometimes at its best when it doesn’t take itself too seriously, and this episode does a good job of balancing the serious threat of nuclear fallout and the comedic almost-incompetence of the Slitheen.

It’s a great plan and it would’ve worked, if not for those meddling kids.

Running down corridors, narrowly avoiding being chased by men in costumes in one shot, and pure CGI in another, is a little jarring but entirely understandable - those costumes don’t look easy to run in.

When did Mickey get so good with computers? Or manage to be so calm in a crisis? Perhaps that year of being under suspicion of murder gave him plenty of time to hone his skills? Still, it would’ve been nice to see hints of said skills in earlier episodes so it didn’t feel so completely out of the blue. At least we (but mainly Rose) are reminded that Mickey isn’t all that special compared to the Doctor a bit later on… Gherkins, pickled onions, pickled eggs, all being readily available in his kitchen, prompt the Doctor to wonder “YoU kIsS tHiS mAn!?” (I’d like to point out that Mickey had no idea where they were but Rose knew exactly what cupboard they were in, so maybe it’s not Mickey with the vinegary breath…)

I digress. There’s a lot of serious stuff going on amidst the farts and the vinegar, the discussion of blowing up Downing Street is some of the best character-centric stuff in the revival so far. The Doctor’s reluctance to cause more death, Rose’s blasé attitude to her own life/death, Jackie’s concern for her daughter, Mickey’s willingness to do whatever it takes- all these things come back later in the series, some more than others, but it’s a brilliant little scene to capture all their motivations in one go. Yet the star moment is Harriet’s- the only democratically elected person in the room. It rips the decision out of the Doctor’s hands and he is so relieved by it, and her statesmanship finally reminds him why he recognises her name.

It’s a little bit of a rushed conclusion to the threat- every single Slitheen in Britain being in one specific room right at the end so they can push the big red button together and out of their human-disguises because victory should be naked feels a bit convenient, but the shot of them all standing around looking gormless is fab.

The tone changes right at the end- Rose assuring her mum that they’ll be back in ten seconds, and Jackie counting those seconds hopefully, knowing deep down that they won’t be back, and very quickly being proven right- is a more sombre note than much of the rest of the episode, but it’s a wonderful (if short) exploration on what it’s like to be left behind like that.

📝6/10

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

This is a review of both Aliens of London and World War Three.

"Aliens of London & World War Three: A Tale of Two Tones"

The Ninth Doctor’s first two-parter brings Rose back to the present day, blending family drama, political intrigue, and an alien invasion. While the premise is ambitious and parts of it succeed, the execution is uneven, with tonal inconsistencies and pacing issues marring what could have been a standout story.

The episodes struggle to balance comedy, drama, and action, often lurching awkwardly between them. The Slitheen’s farting gags might delight younger viewers but detract from the otherwise sinister qualities of the aliens, whose design and predatory nature are genuinely creepy. The shift from slapstick humour to moments of high tension (such as the Slitheen’s human-skin disguises and their clawed attacks) creates a jarring viewing experience.

That said, the comedic tone does work in places, particularly in Harriet Jones’ subplot. Penelope Wilton is a delight, delivering both humour and gravitas as she begins her rise from backbencher to world leader.

The Slitheen concept has its strengths and weaknesses. Their grotesque designs and head-chipping process give them a menacing edge, but their motivation—a family-run business aiming to profit from Earth’s destruction—feels more whimsical than threatening. It’s a clever subversion of the typical "alien invasion for conquest" trope, but the execution leans too heavily on broad humour.

Christopher Eccleston continues to shine as the Ninth Doctor, adding layers to his character through his interactions with humanity, aliens, and Rose. His speech in Aliens of London, where he praises humanity’s potential while confronting the Slitheen, is a standout moment.

Rose feels sidelined compared to earlier episodes, reduced to a more traditional companion role as the Doctor takes charge. However, Camille Coduri as Jackie Tyler steps up, delivering a heartfelt performance that showcases her love for Rose and mistrust of the Doctor. Mickey Smith also has moments of growth, proving himself capable in the crisis, even if his character still leans on comic relief.

The visual effects vary wildly: the crashing spaceship looks impressive, but the CGI Slitheen at the end of Aliens of London has not aged well. The practical Slitheen costumes, however, are excellent, effectively conveying the aliens’ size and menace.

The production design is serviceable but unremarkable, relying on familiar settings like Downing Street and the Tyler flat. The action-heavy pace of World War Three contrasts with the slower buildup in Aliens of London, but both episodes feel slightly padded.

Final Thoughts:

Aliens of London and World War Three represent a bold attempt to modernise the alien invasion story, blending political intrigue with family drama and action. While it doesn’t always succeed, the episodes are still enjoyable and showcase the strengths of the Ninth Doctor’s era: character-driven storytelling, emotional stakes, and ambitious (if flawed) narratives.

An uneven two-parter that alternates between thrilling and juvenile, with strong performances and a memorable cliffhanger saving it from mediocrity.

This represents the first major stumbling block for the new series. Tonally it is a bit all over the place - it’s the burping bin in Rose, but for a much larger chunk of the run time. However, because of RTD’s natural ability to create enticing, likeable characters, as a whole package this story still works out okay. Thanks to Jackie (“The Slikeen!”), Mickey (/Ricky), Harriet Jones (and her cottage hospital plan) Rose and The Doctor have plenty to bounce off of.

Rose being reported as a missing person during her time away from early 21st century earth is yet another realistic detail Russell brings into the series. This story shines a light on what happens to those who are left behind - and foregrounds those characters, building a strong and rich world around our companion. RTD nailed this.

Farting aliens and the inexplicable transformation of Mickey into a computer expert who can subvert national security surveillance does not quite have the same level of rigour… but it doesn’t really matter. The emotional beats are there, and all audiences care about are character journeys and emotion.