holy s**t, he did it. the madman did it. he made a sequel to Midnight that's actually good, without showing the monster, without cheapening the effect.

i'm afraid to say it but WE ARE SO BACK. i forgive the uninspired robot design because this was DOCTOR FUCKING WHO!

my favourite character was actually trev

really kind of depressing and pointless? face it tegan, he’s drowned. some iconic scenes here though

somebody LIED to me and said this story was boring and skippable. instead, it turned out to be a perfectly serviceable spooky cyberman jaunt. the worldbuilding is especially notable here, taking the Doctor and Charley from a bustling market on an interstellar backwater to a grungy old garbage-collection ship. you can really feel the rust-caked, creaking, shoddy, unglamorous side of space travel here, far from a bright sparkling future, it's grim and realistic - misogyny, petty crime, smuggling, espionage abound. and, like all the best cyberman stories, it's affirming of what it means to be human, or, in this case, the idea that 'humanity' is neither innate nor permanent. you can take on the mantle of humanity with all the sacrifice that entails, or you can relinquish it. or you could stop angsting and put the kettle on

some incredible writing and performances. memorable and highly fleshed-out cast of side characters. makes GREAT use of the audio format, mick’s controversial call-in radio show is such an inventive way of playing with form. plenty of jaw-dropper plot twists, intrigue and conspiracy. realistic human darkness to rival torchwood. seven at his some of his most ethically dubious… and, of course, mildly incohesive liberal politics that amount to ‘violence is bad even against fascist agitators’, which is to be expected of The Liberal Show. even so, that’s not a flaw — it’s an inevitability.

arrival 2016 and psychogeography

an incredible sense of place developed here. that drab grey scottish seaside town was so clear in my mind’s eye. the doctor didn’t get to do much here, but that’s pretty much my only criticism. perfect setting for nine

this was created in 2016 which makes the fact that it's such a clear-eyed indictment of so-called AI 'art' almost spooky in its prescience

the best doctor who comic i've ever read. absolutely luscious art style and genuinely unnerving body horror, some banger dialogue too. wish it was longer

fun with a fantastic sense of humour. bit weak and predictable on the story/drama side — nothing of consequence really happens — which makes it all feel as missy would say a wee bit pantomime. rufus hound is hamming it up as the monk to the extent of making him a completely comic character and there’s nothing to latch on to emotionally. to listen on public transport after a stressful day, basically

good on alison for dumping joe. giving up a history degree for that mediocre white boy? girl get UP!

Torchwood does Lovecraftian horror. Horrific. Pessimistic. Makes me want to never have kids. Poor Gwen, Jesus Christ. 10/10 the exemplary Torchwood story I'd show somebody if they asked me what Torchwood was like.

Chibnall is a fantastic writer when he does adult drama so why he went the CBBC route with his era of Doctor Who (not 42 or The Stolen Earth/Cold Blood - those were great) is beyond me. It could have been dark and nuanced. The dude clearly understands how to sculpt 3-dimensional characters and tense interpersonal conflict so why were Graham and Ryan so generic, flat and unmemorable? Something isn't adding up here. I've loved the exploration of the team's relationship dynamics with each other in all of his episodes (yes including Cyberwoman) it's just so... incongruent with what 13's era became

imagine if fear her was greeks bearing gifts

timey wimey!

also, holy s**t is Ruby Sunday definitely somehow related to the Trickster. watching this has confirmed it for me. the parallels between her storyline and Sarah Jane's here are incredible.

fantastic episode! I haven't seen many SJA stories, but this one is certainly worthy of being on the main show - it's really well-developed and not a line is wasted. the police box fakeout scene is great and unexpected, especially hearing the Doctor's haunting theme get abruptly cut off. maybe the only element that reveals this as being unmistakeably not Doctor Who is the obnoxious Oscar/Graske, but even his presence redeems itself by the end.

obligatory 'f**k Gareth Roberts' disclaimer.

This is my first exposure to SJA: I missed it as a kid, and didn't see much point in taking the time to watch a children's spinoff, until the theories about Ruby Sunday's paradoxical existence potentially being related to The Trickster started popping up. What can I say? A story that's incredibly silly and illogical plot-wise, yet on an emotional and tonal level almost reaches Torchwood levels of morbid. Certainly feels like a first draft run-through of Turn Left: the difference is that, whereas the Doctor's untimely death in TL understandably lead to cataclysmic events pretty soon that were prevented by his adventures in the original timeline, the idea that Sarah Jane Smith is the only person on Earth capable of stopping a meteor wiping humanity out is absurd to the point where it almost takes away from the intended emotional impact. We like to joke that continuity doesn't matter, and to an extent in a fictional universe so expansive that's true, but there was a UNIT book on Sarah Jane's shelf. So UNIT must exist, even if Torchwood (presumably for obvious reasons) don't. If Sarah Jane owns a supercomputer powerful enough to deflect an apocalyptic meteor, then how come UNIT, the international organisation charged with protecting the planet from all extraterrestrial threats, don't have their own Mr. Smith that could do the job nicely? Why is Sarah Jane so important to the Trickster? (On a Watsonian level. "She's the protagonist of the show" doesn't count.) Yeah yeah, she used to be the Doctor's companion. Then why, if he's so powerful, is he going after her instead of targeting the Doctor directly? Seems like a far more surefire way to jumpstart the end of the world. Oh wait. Donna's beetle? Part of the Trickster's brigade. Turn Left. I'm describing the plot of Turn Left. Ah well, apparently gaping plot holes are excused when it's a show for kids, and being a nitpicky nerd is generally frowned upon - maybe not on the whovian website, but who am I to take any more chances? That's the cons nearly over, on to the pros.

First of all, I am inclined to partially believe the Ruby theory now. Malicious fantasy foes erasing people from time before they had the chance to grow up and affect the future - that's the plot of The Church on Ruby Road. In fact, the scene where Maria's mum forgets her and tells her husband tearfully that she "never had a maternal bone in her body" is practically a 1-to-1 mirror of a similar scene in TCORR, when the Doctor speaks to the cold and jaded version of Carla that never adopted Ruby. It's certainly possible. The Trickster is quite a compelling villain, menacing enough in his lust for chaos, and would slot quite neatly into Russell's new Pantheon of unpredictable primordial deities, perhaps even under the alias of The One Who Waits. He'd need a minimal revamp in both design and motivations. It could work. Only time (ha ha) will tell.

As for Andrea Yates: god, what a human, complex, sympathetic antagonist. Really, her role in this episode inspires pure existential terror in the way only a Who story is able to: the real magnitude of the hopelessness only sets in after you peer through the veneer of whimsical charm and sci-fi babble. Doctor Who goes out of its way to tell audiences that every person's life is equally significant ("Nine hundred years and I've never met someone who wasn't important before") but on a meta level this episode proves otherwise. Sarah Jane is important. She has to grow up to become a journalist, to meet the Doctor and travel in the TARDIS, to save the world multiple times with her son and his friends. Her narrative role is to become the Main Character. Andrea Yates' role in the narrative is... to die. To die as a child, afraid and without hope as her best friend looks on, so that she can become an 'inspiring memory' and 'motivate' Sarah Jane to 'cherish the value of every innocent life'. How sweet. How ironic. Imagine being told that your entire existence and its abrupt violent end is a plot device that somebody else's wild and adventurous future hinges on. But death is nothing special, death is a mundane eventuality, even a teenager's death. What's worse is living a full life and sharing it with people only to never be remembered. The idea that our memory lives on is what keeps many of us optimistic even in the face of the great maw that inevitably consumes us all, but nobody will remember the adult Andrea Yates. All those forty? fifty? years-that-never-were, for nothing. Gone. She died at 13. Wouldn't you make a Faustian bargain too? Not knowing about the meteor, not knowing about the grand design? I would. I know I would.

Mixed feelings. Strange brew. Distinctly Doctor Who, haunted by the phantom of that persistent question: does the universe revolve around the Doctor? Are his companions more important than everybody else? Where does that leave us "Andreas"? Mere mortals. Clara knew that. Ruby doesn't. Yet.