TV

Talking about part ones is a mug’s game. Too much about ‘Dark Water’ is riding on Moffat sticking the landing with 'Death in Heaven’. So, without trying to judge the whole thing, here are a few things I really

Even more than ‘Kill the Moon’, this is Doctor Who as fairy tale. Whether it works for you depends on two things: how keen you are on that idea, and how willing you are to be led past main characters being completely

There’s a lot of fresh ideas turning up this year, and I like it. Elements of ‘Into the Dalek’, 'Listen’ and 'Kill the Moon’ have all been particularly surprising, and now we get 'Flatline’, a story full of

I loved this story. I had forgotten what it felt like to go back and replay my favourite moments obsessively during the week. ‘Mummy’ reminded me. I was initially terrified… not of the Mummy, but that they were going to brush

This was different. There’s a lot of differences between this year’s Who and last year’s Who, but I don’t feel it’s ever been as stark as in ‘Kill the Moon’. Perhaps not since

At times, ‘The Caretaker’ seems to be explicitly trying to be 'the funny episode’, with that sort of 'funny’ music they play on TV when everyone’s sneaking around acting slightly out of character. I didn’t like

I’ve never been so freaked out by new-Who than when the unfortunate bank-visiting gentleman turned his bald head to reveal that it was now concave instead of convex. Yeesh. This serves to make the Teller a much scarier creature than he otherwise

As the fine folks on The Incomparable’s TeeVee podcast pointed out, this is a story with a pretty weird structure. In a way, it’s sort of reminiscent of some of Moffat’s crazier breakneck stories in season six, like

I have a meh-hate relationship with Mark Gatiss’ Doctor Who scripts. At their best, they’re tolerably pointless. At their worst, they’re accidentally horrible, like ‘The One Where The Doctor and His Friends Shot a Crazy Old Lady and then Crushed a Defenceless

I knew this story was going to involve a crazy plot where the Doctor is shrunk and goes inside a Dalek. I did not expect it to be spliced with a mixed-up and brilliantly acted romantic comedy plot. This alone reminded me of the

Nine episodes in, I’ve realised that I’m really loving Doctor Who again, for the first time since series five, if I’m honest. As a result, I now feel like I should have been saying something about it. But

So, firstly, relief. They didn’t actually try to tell us the name of the Doctor. I was reasonably confident that they wouldn’t, after the whole issue last season when they said that the Doctor had definitely died, and it turned out that

I’m oddly ambivalent about Neil Gaiman’s second Doctor Who script. I quite liked his first: it had creepy moments and some excellent villainous and macabre characters. Of course, it also had the TARDIS getting mixed up about which door the “PULL TO

The best thing about ‘The Crimson Horror’ is that the Doctor isn’t in it for the first half. The worst thing about ‘The Crimson Horror’ is that he isn’t in it in the second half, even though they got Matt Smith to

Since the Doctor is a hero who doesn’t use violence (usually), he presents, I guess, a reasonable challenge to the unimaginative writer. If you’re not capable of imagining clever ways around problems, then you might end up writing twenty minutes of the