An Hour of Who a Day: 2022 Specials (Sept 21

2022 Specials (Sept 21 - Sept 23)

September 22: "Legend of the Sea Devils"

September 23, 2023: "The Power of the Doctor"

September 21: "Eve of the Daleks"

In the wake of the Flux event, the Doctor decides to head to the beaches of San Munrohvar, where she, Yaz, and Dan can relax while the TARDIS repairs itself after the breakdown of time caused it to go all screwy. Only they don't arrive on a beach, but in a storage facility in Manchester, where they're caught in a time loop. The Daleks are determined to exterminate the Doctor, and they don't care how many times it takes...

So now we've arrived at the first of the final three Jodie Whittaker specials, with this one airing less than a month after "The Vanquishers". And if Flux ended up being something of an overstuffed and overcomplicated mess, "Eve of the Daleks" shows what Chris Chibnall can do when he's not striving to be Epic. In contrast to the universe- and time-zone-hopping antics of Flux, "Eve of the Daleks" is focused on a single location, a small cast, and an easily understandable premise, and the result is a breath of fresh air.

It doesn't hurt that the guest cast are generally likable. Aisling Bea is a bit prickly as Sarah, but she doesn't go too far in that direction, instead striking a good balance between being annoyed and exasperated and being caring, even if she tries to shove that caring side down. Sarah is a character that could have easily become insufferable, but Bea lets the walls down a few times in a way that makes her relatable and thus easier to sympathize with. Adjani Salmon also does a good job as Nick, someone who's awkward but clearly has a big heart, even if he also has a bit of an inability to properly let go (as his storage unit makes clear). And the chemistry between Sarah and Nick is also good, feeling appropriate without being too cutesy or antagonistic overall.

The Doctor and company are exterminated for the third time. ("Eve
of the Daleks") ©BBC

But the main hook of "Eve of the Daleks" is the time loop plot (or Groundhog Day, as Dan puts it), which allows us to see our heroes actually get exterminated, without any lasting consequences. It also lets the Daleks win temporarily, while also letting us see the Doctor and friends learn from the previous iterations of the time loop. This means we get mad scrambling, trying out new strategies, and drama as people get annoyed with each other because of these crazy circumstances. ("Yeah, 'cos it's not my fault, is it?" Sarah yells at Yaz at one point. "It's hers. And there's no point us all sticking together if we keep on dying multiple times.") Plus it's fun to watch the Daleks adapting as well, often rendering the Doctor's plans moot (such as when they knock out the power in the building). Plus it also gives us a lovely moment where Dan decides to sacrifice himself to buy the Doctor some more time ("If I manage to stay alive, I'll see you up there. If not, I'll see you in the next loop. So there'd better be a next loop"), which then leads to a great scene with Dan treating a Dalek like it works in the building. "What kind of a welcome is that, eh? I'll report you to your manager!" he exclaims, after the Dalek attempts to exterminate him. And the fact that this is a time loop story means that they can do things like this without having to worry about engineering increasingly implausible escapes: just kill them and move on to the next iteration.

One of the other good things about "Eve of the Daleks" is that they actually take a bit of time to introduce some character growth too. You can kinda sorta see it in Flux, but here is the moment where we really learn that Yaz has strong feelings for the Doctor. Admittedly, this could still go wrong -- after all, we've been down this road before with Martha -- but it's at least something. And honestly, what makes it work for me in this episode isn't Yaz's feelings, but the way Dan quietly susses them out. The scene between him and Yaz is quite touching, while also working in some characterization for both Yaz and Dan: "I don't know what to do, Dan," Yaz says. "I've never told anyone. Not even myself." "Just tell her," Dan replies. "... Look, I took way too long to tell somebody that I liked them and then... the universe ended and everything got messy. I wouldn't want that to happen to you, Sheffield." But what's equally great is when Dan does the same thing with the Doctor: "She likes you," he tells her. "I like her, too," the Doctor says brightly. "No, I mean... she likes you," Dan replies. "I don't understand what you're saying, Dan," the Doctor answers. "I think you do. But for some reason you pretend to me, and to her, that you don't," Dan says, a bit harshly. As I said, I'm not fully sold on this potential relationship -- we'll have to see what they do with it -- but I'm definitely enjoying watching Dan nudge both of them along.

Is "Eve of the Daleks" perfect? No. It occasionally feels a touch padded (some of the exploration of Jeff's stuff, for instance), while -- much like Chibnall's very first Doctor Who episode, "42" -- the amount of time we're told they have left versus the amount of time they actually spend in a given loop doesn't bear close scrutiny (that last time through the loop especially). But these are minor complaints. After the excess of Flux, it's good to have a clear, focused, well-written episode again, with a clear indication of what Chibnall can do with the proper discipline. "Eve of the Daleks" is one of the highlights of this block of stories, and possibly of the thirteenth Doctor's entire era.

September 22: "Legend of the Sea Devils"

Promotional photo for "Legend of the Sea Devils" (from SpoilerTV)
©BBC

At the end of "Eve of the Daleks", the Doctor expressed an interest in learning what happened to the lost treasure of the Flor de la Mar, a (real) Portuguese ship that sank off the coast of Sumatra in 1511. And so here we follow up on that -- except instead of arriving in 1511 Sumatra, the TARDIS has been dragged off course to 1807 China, where the pirate queen Madam Ching (also a real figure from history, perhaps more appropriately known as Zheng Yi Sao, but we'll call her Madam Ching because that's what the credits call her) has just unwittingly released an "ocean demon" from its stone captivity...

When Chris Chibnall's final year on the show was being planned, they initially settled on a total of eight episodes: the six episodes of Flux and two specials. However, at one point BBC One asked for an additional episode to form part of the BBC's Centenary celebration in late 2022. Now I don't know for certain, but I'm willing to bet this is that extra episode. That's partly because this episode isn't concerned with either cleaning up after Flux or foreshadowing the end of the thirteenth Doctor's time, but instead is content to be something of an uncomplicated adventure.

One of the downsides of that, however, is that because this has been made during COVID, it's a curiously empty-feeling tale. You sort of expect a pirate adventure to be full of, well, pirates, but we only get a very small handful here: Madam Ching is the only true (human) pirate, while the villager Ying Ki and the captain-out-of-time Ji-Hun also do some pirate-like things. And, other than the Doctor, Yaz, and Dan, that's it. They try to explain it away with some stuff about how Ching's crew has been captured and is being held ransom for the treasure of the Flor de la Mar, but they don't really get away with it. They made the limited cast a virtue in "Eve of the Daleks", but they try to push it too far here. Which is not to say that the actors we do get aren't worthwhile: Marlowe Chan-Reeves is rather sweet as Ying Ki, while Arthur Lee gets to be noble and decent as Ji-Hun -- and of course, Crystal Yu does a good job as Madam Ching, searching out the treasure that she believes Ji-Hun claimed before he too underwent a mysterious disappearance. The people we get are great; you just wish there had been a way to include more people, even just as background artists.

Of course, that's also because they've chosen to have a bunch of Sea Devils in as well. And unlike the Silurians in series 5 and later, these are proper Sea Devils, with the heads looking more or less the same as they did in The Sea Devils and Warriors of the Deep. (Reportedly, they in fact had a cast of one of the original heads that they used for their design.) They look fabulous, and even dressed in more pirate-y outfits (as opposed to the string vests in The Sea Devils or the, er, samurai outfits of Warriors of the Deep) they still look fabulous. There are a couple minor niggles (they've tried to make the faces more mobile, but they still don't quite pull off the impression that the Sea Devils are talking, while someone's concerned we won't recognize which Sea Devil is talking -- even though only one of them ever speaks -- so they've put a necklace around the Chief Sea Devil's neck that flashes like Dalek dome lights (or the Silurians' third eye in Warriors of the Deep) whenever it says something), but overall it's a nicely faithful design without being in any way risible. It's a little strange, however, how Chris Chibnall and co-writer Ella Road have given them characteristics like the ability to teleport in a cloud of green smoke or to leap hundreds of feet in the air (with less than ideal CG -- but then, somewhat surprisingly, there are a number of somewhat ropey CG shots in this episode; is this a side-effect of the COVID restrictions, perhaps?). Presumably it's a technique to save narrative time, to not have to worry about how the Chief Sea Devil (Craige Els, by the way, back after having played Karvanista in Flux) gets from place to place, but it still feels odd, especially since no one comments on it; they just accept it like it's a natural part of being a Sea Devil. And if we're pointing out oddities, the way the Sea Devils keep calling the humans "land crawlers", while their ultimate goal, of causing the Earth to be flooded and once again "aqua", either forgets that their ostensible cousins the Silurians also lived on land or suggests that the Sea Devils aren't on as friendly terms with the Silurians as we've been led to believe.

Yaz and the Doctor look for the wreck of the Flor de la Mar on the
seabed. ("Legend of the Sea Devils") ©BBC

Still, in terms of story there's nothing terribly wrong here, other than the usual occasional "just go with it" moment that seems to characterize a lot of Chibnall-era Who. They even fit in a bit of time to develop that "Yaz has feelings for the Doctor" storyline from last episode, with the added wrinkle that maybe the Doctor reciprocates those feelings. "You know what I said earlier about not being a bad date?" the Doctor says to Yaz, referencing an earlier line. "Well, dates are not something I really do, you know. I mean, I used to. Have done. And if I was going to, believe me, it'd be with you. I think you're one of the greatest people I've ever known." It's a nice line of dialogue, but the problem is that it's difficult to believe, primarily because, as I've frequently noted, they haven't developed Yaz's character enough. Whether you liked it or you didn't, you could at least see what they were getting at with the Doctor and Rose's relationship, but this version just rings hollow. Yaz up to this point hasn't distinguished herself from any of the other companions, at least as far as we've seen, and so it's not clear what makes Yaz any different from, say, Ryan, or Bill, or Nardole. And to be clear, this has nothing to do with Mandip Gill, who's been excellent as Yaz; this is the fault of the writing, who haven't made enough of an effort to actually show us how Yaz stands out. It's as if Chibnall assumed that simply stating it was enough, without doing the work to have it play out on screen. I'm not upset that they're going down this road, but I do wish they'd let us actually see what the Doctor sees in Yaz. Not that this story's going anywhere anyway; the thirteenth Doctor only has one episode left, after all, while Gill has also made it clear she's also leaving, so it's not like this will be explored under Ncuti Gatwa's Doctor. So there's also a sense that this just being introduced for the sake of doing something, rather than because there's a clear purpose behind it.

I've discussed this rather at length because it's one of the meatier things to engage with in this story. The rest of the tale consists of a bunch of running around and worrying about technobabble-y problems. That's not the worst of sins; sometimes you just want a straightforward romp, and like I said, there's nothing really wrong with "Legend of the Sea Devils". It's just that there's not a whole lot here to wow you either. This is another one of those pleasantly average, vaguely forgettable stories the show occasionally turns out, and if this had been in the middle of a series I don't know that anyone would be that put out by it. But because it was an Easter special, and one of only three new episodes this year, it's a bit more frustrating that this wasn't a bit more ambitious. In many ways this just feels like marking time before the end of Thirteen, and while that may be the result of circumstance, it's still a disappointing place to find the series right before the thirteenth Doctor's final adventure.

But once again that brings us to the end of this year's set of reviews and reflections on the past year's episodes. I hope you'll join me here on September 23, 2023, for a discussion of the finale of Jodie Whittaker's time as the Doctor. "The Power of the Doctor" awaits...

September 23, 2023: "The Power of the Doctor"

While trying to stop a hijacking by CyberMasters, the Doctor, Yaz, and Dan become involved in an elaborate plot of the Master's involving multiple time zones, old friends, old enemies, and a very large source of energy. The Master is ready to take over not just the Earth, but the Doctor herself...

And so here we are at the end of not only Jodie Whittaker's time as the Doctor, but also Chris Chibnall's time as showrunner. And if that weren't enough, this is also ostensibly marking the BBC's Centenary (although, other than airing five days after the actual date and providing some cameos from earlier Doctors and companions, this has essentially nothing to do with those celebrations -- there are no plot points involving the BBC or 1922, for instance). It's also the longest episode of the 21st-century run to date (and only a couple minutes shorter than record-holder The Five Doctors). So there's a lot going on. Do they pull it off? Well...

It's been a trend for the stories made in this block of episodes (beginning with Flux, if you've forgotten) to be overstuffed and overcomplicated more often than not, and "The Power of the Doctor" continues that trend. We jump from location to location, across multiple planets and time zones, with a huge number of plot threads to try to keep track of. In other circumstances that might be OK, but there's just so much going on, and not enough explanations to clearly link it all together, that what we get is a frequently muddled mess.

One of the major examples of this is the Master. I'm delighted to see Sacha Dhawan back as the Master, and it feels appropriate for the thirteenth Doctor to bow out while opposing the Master, but because Chibnall seems interested in including as many ideas as he can, the end result is a scheme that seems overly complicated even by the Master's standards. Near as I can gather (and I've had to watch this multiple times to even figure this much out), the Master wants to take over the Doctor's body, so he enlists the help of his CyberMasters (who are back with no explanation after seemingly being all destroyed at the end of "The Timeless Children" -- guess Ko Sharmus died for nothing?) to create a giant power plant planet in order to induce a forced regeneration. Then he also gets the Daleks involved 106 years later so that they can capture the Doctor for him, in exchange for which they get to exterminate humanity via volcanoes. All this so he can, er, cosplay as a Doctor mashup.

This is even stranger when you think about it, because "The Timeless Children" established that the Master hated the idea of there being a bit of Doctor in him so much that he was willing to wipe out the Time Lords. Yet here he seems to desperately want to become the Doctor. Now admittedly this is partly to ruin the Doctor's name, but perhaps not entirely: there's a moment later on where the Master seems to not want to be the Master ("Don't let me go back to being me") that suggests something more is going on. But if the alternative to being the Master is being the Doctor, it's a bit surprising that the Master of "The Timeless Children" would be OK with that. (Unless the Master was lying about some of that there; I'm still not convinced the Master isn't also a Timeless Child, so to speak.)

But even setting larger character motivations aside, what is the Master playing at here? He seems to be hanging out as Rasputin in 1916 Russia for fun, and while it makes a certain sense for the Master to be Rasputin, there doesn't seem to be any intrinsic reason for it. Did he just really want to have a dance party to Boney M? And what's going on with all the seismologists? Is the Master concerned they might discover the Daleks? Or is he just trying to drop clues for the Doctor while he gets himself arrested by UNIT? It seems like a lot of effort just to capture the Doctor. (Not to mention involving the Daleks, which you'd think would be just asking for trouble. Well, except for the fact that they seem pretty much incidental here.)

And it feels like Chibnall missed a trick by making Sacha Dhawan play the Master in the Doctor's body, and not having Jodie Whittaker doing it instead. Imagine if it had been Whittaker playing the Master at this point, and Yaz sees the person she loves doing unspeaking acts. It would give Whittaker a chance to flex her acting muscles and make a much larger impact. But as it is, it just looks like the Master dressed up as the Doctor and just claimed the war he started was done by her, as if people wouldn't just think, "Well that's just the Master".

Now, the Master's entire plan is probably the most obvious issue, but there are others. It's probably because there are too many characters involved, but the way Dan Lewis leaves is really odd. He doesn't even make it to the 13-minute mark before he decides he's had enough scrapes with death, thank you, he'd like to go home now. It makes sense from a character point-of-view, but dramatically it's awkward, like trying to tidy up a loose end before getting to the heart of the story. So farewell to John Bishop, who was one of the best things about series 13. Frankly, Dan deserved better.

But similarly, because this is the end of the thirteenth Doctor's era, it does seem like Chibnall is trying to stuff as much stuff in as he can, with varying degrees of success. It's great seeing Kate Stewart and UNIT back, but in some ways it just feels like an excuse for the Master to do more Bond villainy, this time à la Skyfall, with being captured and brought inside headquarters part of his elaborate plan. Then there's the return of Ashad (or rather, his clone, according to a quick line from the Master), even though he doesn't get anything specific to do. Vinder is here because... he was present before, I guess, even though it doesn't make sense why he's there in 1916 in the first place. (Something to do with the wormhole they mention offhand, I'm guessing, but it's not explicit.) At least the cameo from the (holographic) Fugitive Doctor makes sense.

It's not all bad, fortunately. One of the best things about "The Power of the Doctor" is the way it brings back both Tegan and Ace, and it's interesting to see how they've grown and changed since we last saw them. Tegan seems rather aggrieved that the Doctor hasn't come back to see her since 1984, and while she seems to have done her best to live a life helping people it hasn't all gone smoothly. "I have spent the past thirty years living like a nomad," she tells Kate Stewart. "I have done land mines, coups, I have been hijacked, and I've nearly drowned trying to help people. I've seen off two husbands, and somewhere out there is an adopted son who hasn't called me for six weeks." Ace seems more calm and collected and with less of a chip on her shoulder than Tegan has, even while we get a sense that she and the Doctor parted on less than ideal terms. "Didn't the Doctor ditch you?" the Master taunts her. "No? Little fallout with your Machiavellian maestro?" But despite that, Ace seems more at peace with things and is still the Ace we remember. And it's lovely how she immediately accepts this new Doctor, calling her "Professor". But for both Ace and Tegan, it's cool to see them still risking their lives and being heroic, while still recognizably the same characters as before.

There's also something glorious about the little cameos of old Doctors, as the current Doctor stands on the brink of regeneration. It starts with David Bradley once more portraying the first Doctor before moving to Colin Baker, then Peter Davison, then Paul McGann (Paul McGann!), and finally Sylvester McCoy. (Therefore meaning every surviving Doctor has now appeared in the 21st-century version.) Each Doctor gets a little bit of screentime and some fun character moments, such as Paul McGann refusing to appear in the same robes that the others are wearing. "I don't do robes," he says. "...I am a manifestation of our consciousness. I can wear what I like." It's also genuinely lovely to see Peter Davison interact with Tegan again, and Sylvester McCoy with Ace. The scene with Tegan provides her some closure, which is sweet. "You think you left and I never thought of you again," the holographic Doctor tells her. "I never forget any of you. I remember everything." "Yeah?" Tegan challenges him. "Well, what am I thinking, seeing all these Cybermen?" "Adric," he replies, after a pause. It's a quick scene, but it's a really good one. Similarly, the scene between Ace and the holo-Doctor is also handled well, filling in a little bit of detail about what happened after Survival. "I was only ever trying to teach you good habits, Ace," the seventh Doctor says. "Obviously, I failed." "You never failed me, Professor," Ace replies. "You made me the person I am today. I'm sorry we fell out. I'm sorry I judged you. I didn't understand the burden you carried." It's nice to see Sophie Aldred and Sylvester McCoy back together again, even for a brief moment.

The companion cameos are great too. The first one is perhaps the best just because it's so unexpected: Ace running into Graham while exploring a volcano, as Graham continues to investigate strange things and help out, like he and Ryan were going to at the end of "Revolution of the Daleks". Bradley Walsh has lost none of his charm: "I can't get the hang of this," he says to Ace after unsuccessfully trying to use psychic paper on her. The two of them have great chemistry and so it's fun to watch their interplay. And then the fact that Graham organizes a companion support group at the end so that they can talk to each other about their experiences with the Doctor leads to some fun cameos from Katy Manning as Jo Jones, Bonnie Langford as Mel (guess Sabalom Glitz took her back home at some point), and William Russell as Ian, back on the show after over 57 years (which, incidentally, set a Guinness World Record for longest gap between appearances of a character on TV). "Sorry, did you say 'her'?" he asks. It's a great moment, bringing back these nods to the past, without overdoing it or making it incomprehensible for casual viewers.

But to be honest, while these moments are welcome, there just aren't enough of them. And they're not all perfect; the major glaring flaw in this regard is the way this story seems to more or less ignore the burgeoning relationship between Yaz and the Doctor. This is the one story where you can really start to see what the Doctor sees in Yaz, as she acts to bring the Doctor back from her forced regeneration and handles flying the TARDIS, making a fine showing of herself. So the fact that this story treats them as mates at best is a bit frustrating, especially after the end of "Legend of the Sea Devils". It's a bit disappointing how Chibnall brought the characters to the edge of a resolution in the previous story and then backed away from it here.

So in many ways, "The Power of the Doctor" encapsulates the best and worst moments of the Chibnall era. He excels at characterization and character interplay but falls down a bit when it comes to plotting and Epicness. If Steven Moffat tended to plot things so tightly they would nearly break, Chibnall is the opposite, more interested in throwing a bunch of ideas together without exploring the ramifications of any of it. This means that when he tries to go big, the result can be messy. There's so much in "The Power of the Doctor" that seems to be there because Chibnall thinks it would be fun or cool without trying to determine how or why these things are present, and so the final result suffers. And when you have a show that's spent the majority of its 59 years training people to think about what they're seeing and why things work the ways they do, this uneven mishmash can be disappointing. In general it's nice to look at (well, mostly -- there are, oddly, a couple continuity issues and things that don't work the way I'm guessing director Jamie Magnus Stone wanted them to, such as the first look at Rasputin that accidentally reveals it's the Master, or a shot of the battered Dalek that isn't at all battered). The characters are fun to watch, and seeing them move through this story is genuinely enjoyable. It's just the story itself where things fall down. And unfortunately, the plot is such a big part of this episode that the final result is a disappointment for all but perhaps the least demanding viewers.

But yes, time's up for the thirteenth Doctor. After sending Yaz away for some reason ("I think I need to do this next bit alone"), she goes to watch one final sunrise and gets a little farewell speech that's mercifully less overwritten than what Peter Capaldi got. "That's the only sad thing," she says. "I want to know what happens next. Right, then. Doctor whoever-I'm-about-to-be: tag, you're it." And then we get a rather stylish regeneration as the camera pulls back (and this time they're not destroying a TARDIS interior!), before, surprisingly, David Tennant reappears -- and not Ncuti Gatwa, who had been announced as the next Doctor. "I know these teeth," he says (in a line that was apparently written by Tennant himself). And yes, the Doctor's outfit regenerates as well: ostensibly because incoming showrunner Russell T Davies (back again!) didn't want to provide fuel for bigots with David Tennant wearing women's clothing (not that this was an issue earlier in the episode when Sacha Dhawan did it...), but part of me wonders if it's also because it had happened way back in 1966, with Hartnell into Troughton.

And so that's the end of Jodie Whittaker's time as the Doctor. It's interesting; while she's a trailblazing Doctor just by virtue of the fact of being the first woman Doctor, she doesn't seem like that big a departure from the other Doctors. It's proof, if nothing else, that anyone really can play the Doctor. The thirteenth Doctor was characterized by a joy for life and adventure, and Whittaker brought a real energy and liveliness to the part that made that joy shine through. As a Doctor, Whittaker more than easily proved her worth. If there's any caveat to be had, it's perhaps similar to that for Colin Baker, where the stories didn't always give her the best material to work with. Jodie Whittaker is at her best whizzing around, fixing things and discovering new worlds. If only she'd had more opportunities for that and less for exposition to be directed at her that she had to stand there and react to.

But this is also the end of Chris Chibnall's tenure as showrunner, and, as I noted above, it was a tenure marked by ups and downs. Chibnall's biggest strengths are characterization and small-scale stories, and it's in these moments that his time shines. Series 11 in particular is marked by a number of these stories, and so it may be the strongest of his three series. It's only when he tries to mimic, either consciously or unconsciously, the larger-scale stakes of his two immediate predecessors that things start to go wrong. Sometimes it seems like this is just because he hasn't taken the time to properly emphasize important details, such that they get lost in a sea of noise. But in any event, it does mean that there are moments during his time that fall flat. In many ways, then, his real successes were behind the camera, with conscious efforts to diversify the cast and crew of the show. All that said, for right now I'm generally positive about the thirteenth Doctor's era, because there are more hits than misses. There are so many positive things about Chibnall's time on the show, from casting to location filming to some really exceptional stories, but I think the additions to the Mythos of the show overshadow all the things that Chibnall unequivocally did right. But, more than Davies or Moffat, Chibnall's time as showrunner might be the hardest to judge right now. He took some big narrative swings that, right now, don't seem like they've really paid off. But it will be interesting to see how those moves are treated in the next 5, 10, or 20 years. Will they become part of the bedrock of the show, or will they be quietly ignored? And how will fandom treat this era now that it's over? It will be curious to see.

But now, as always, it's time to look forward, to the new fourteenth Doctor, who somehow has the same face as the tenth Doctor. How could that be? We'll have to wait for the 60th anniversary specials to find out...