When I started this rewatch and blog series a… good lord… a year ago, the plan was to be through all ten series by the time Jodie Whittaker made her proper debut in series 11.
Which is the first week of October. It is, at time of writing, late September. This is what happens when you take a small, slight… multi-month hiatus from blogging to write three different plays. Well, almost three.
Gonna… gonna be a bit tight making that deadline. Well, as the Tenth Doctor would say… allons-y.
There’s a new Doctor on the horizon. The first female Doctor. This has some people wondering if it’s time to try out this show I love so much.
Well, that’s what I’m here for. Because when you love a show as much as I love Doctor Who, you have opinions.
These are mine.
The Doctor, the Widow, and the Wardrobe doesn’t live up to A Christmas Carol, but it tries its best.
When last we left The Doctor and friends (Eight months ago? My last entry on this series was eight months ago? Goddamn, me, get your life right…), The Doctor had faked his death at Lake Silencio, a fact River Song had let slip to Amy and Rory. We join The Doctor some time later, as he’s travelling alone and thwarting an alien invasion in the 1930s. Crashing to Earth, his helmet on backwards, he is aided in finding the Tardis by a British housewife named Madge Arwell. He promises her a favour in return, and a few years later she ends up needing it. Her husband’s plane is lost over the English Channel in late December, and she’s trying not to let Chrismas be the day her children learn their father has died. Arriving at a family estate in the country to avoid the German bombing, she is greeted by a strange man claiming to be the caretaker.
She doesn’t know it, but her mysterious spaceman (or possible angel) has arrived to repay a favour.
Unfortunately he does it in typical Doctor fashion, and a planned expedition to a planet in the future with naturally occurring Christmas trees goes off the rails because a) young Cyril Arwell sneaks through the portal early, and b) The Doctor has once again failed to check an almanac or something to see if, say, the entire apparently intelligent forest is about to be liquefied with acid. Rory warned you about this sort of thing last year during The Girl Who Waited, Doctor, and now here we are again.
It seems pretty dire for a minute there but it becomes the best Christmas present the family could have asked for. And in the end, Madge helps The Doctor realize something… no one should be alone on Christmas. Especially the people who love him. Which brings him back to Amy and Rory’s doorstep, two years after that whole mess in The Wedding of River Song.
The Doctor, Amy, and Rory, back together again.
Don’t get comfy.
Series Seven: Goodbye, Ponds
The first five episodes of series seven are all about The Doctor and the Ponds (much as Rory might protest, they’ve never been the Williamses). The Doctor knows, on some level, he should let them go. He tried last year in The God Complex. But he can’t. The gaps between his visits are getting longer, leading Amy to worry he’s trying to wean them off of him. Also, as long as Amy and Rory are out there, The Doctor can’t move forward. Amy is his companion, and he refuses to pick a new one. Which means other than the occasional, never seen River Song hook-up, he’s travelling alone. Which is making him cold and mean, and far too willing to kill those who oppose him. Amy lets this slide in Dinosaurs on a Spaceship, when this dark side first emerges, mostly because she doesn’t witness it. But when The Doctor tries to throw an alien scientist (and repentant war criminal) to his death to save the titular settlement of A Town Called Mercy, Amy draws a line in the sand.
“And what then?” she asks. “Are you going to hunt down everyone who’s made a gun, or a bullet, or a bomb?”
“But they keep coming back, don’t you see?” he retorts. “Every time I negotiate, I try to understand. Well, not today. No. Today, I honor the victims first. His, the Master’s, the Daleks’, all the people who died because of MY mercy!”
Amy stares him down. “See, this is what happens when you travel alone for too long. Well, listen to me, Doctor, we can’t be like him. We have to be better than him.”
It’s an incredibly powerful moment that underlines how badly this quirky, funny, seemingly carefree Doctor needs his friends.
Meanwhile, ever since The God Complex, Amy and Rory have been building a life. A real, human life. She’s been a model and a travel writer and other things… she’s having trouble committing to a job because any time now the Tardis could be back to whisk her off to new adventures. But as the time between Doctor visits grows longer, and their desire to be taken home comes sooner, they actually start making long-term plans that don’t involve time travel at all. She doesn’t want to give up either life, but they’re beginning to clash.
And The Doctor knows this. It’s why he’s been trying to pull back. But he can’t ever let go of Amy, not completely.
“Because you were the first,” he explains. “The first face this face saw. And you were seared onto my hearts, Amelia Pond. Always will be. I’m running to you and Rory before you fade from me.”
You know that explains the whole Rose Tyler thing. She was the first face two faces saw. Might explain why he never got over her until he regenerated into Eleven.
He needs Amy in his life enough that in The Power of Three he makes the penultimate sacrifice… he just hangs out for a few months. Lives the Pond life, stable and stationary and everything that drives him crazy… just because he misses Amy too much to leave.
Asylum of the Daleks and Dinosaurs on a Spaceship touch on this, but The Power of Three, which covers an entire year of Pond life, provides the breaking point. Which life will they choose? Earth life or Tardis life?
Sadly for all involved, The Angels Take Manhattan reminds us that it’s not always their choice to make. At some point down the road, when Amy’s aged from a 19-year-old kissagram to needing reading glasses, a run-in with the Weeping Angels in New York brings Amy and The Doctor’s time to an end. And in the wake of it, the show went on hiatus until the following spring. Well, of course, save for the annual oh balls–
It’s Christmas! (Again)
The Snowmen makes up for the heartbreak of The Angels Take Manhattan by being an absolute joy, right up until the moment it isn’t. Why you gotta keep hurting people on Christmas, Doctor Who?
Okay. Let me back up a little to the first episode of series seven, Asylum of the Daleks.
Tasked by the Daleks to help with the planet where they send their most damaged, The Doctor and the Ponds receive help from a computer whiz/souffle enthusiast named Ozwin Oswald. The Doctor knows something is wrong with this picture the second he hears about the souffles (“Where do you get the milk?” comes up a few times). To some, she simply seemed… oddly significant, in her swiftly iconic red dress, trainers, and baking-based utility belt, with her personal theme song, giving us a knowing look to the camera after her parting line of “Run, you clever boy… and remember.” To those of us who can’t stay away from entertainment news, we knew exactly who she was… only she wasn’t her. We knew the next companion would be named Clara and would be played by an actress named Jenna Coleman (then going by Jenna-Louise Coleman, you’d have to ask her why she dropped the “Louise”)… so imagine our surprise when she turned up without warning in Asylum of the Daleks, playing someone named Ozwin. Who… spoilers… doesn’t make it out of the Dalek Asylum.
Anyway, they let us sit on that for three months.
In The Snowmen, The Doctor has once again retreated to Victorian London, but not just for a visit. For an unspecified amount of time (not long enough for a human friend in that era to age much, long enough that the scuffing of the Tardis that started after all the fuss in New York has gotten significantly worse), he’s been living above the city, his contact with the world limited to three familiar faces from A Good Man Goes to War… Madame Vastra, Jenny, and their new butler, a no-longer-dead Strax the Sontaran, now collectively known as the Paternoster Gang. They don’t approve of The Doctor’s solitude, but are unable to stop it. (“A thousand years of saving the universe, Strax. And do you know what I learned? The universe doesn’t care.”) Seems nothing can. Until a chance encounter with a barmaid (who leads a secret double life as an upper-class governess) named Clara, and some living snowmen, begins to pull him back into the world.
He doesn’t know that she looks and sounds exactly like Ozwin Oswald… but we do. Jenna Coleman’s back, and this new Clara is refusing to let The Doctor just wallow in misery any longer. There are living snowmen and an ice governess menacing the children in her care and by God this Doctor fellow is going to do something about it. The Doctor realizes he’s coming back to his old self when he whips off a scarf, looks in a mirror and sees, for the first time in the episode, his bow tie is back.
The Snowmen is a grand adventure against a menacing villain that turns out to be the origin story of a deep-dive classic monster, filled with laughter and thrills…
And then she dies.
But not before saying that one line again: “Run, you clever boy… and remember.”
Seeing her full name on the tombstone… Clara Oswin Oswald… clicks everything into place. It’s the same woman. Same voice, same love of souffles, same catchphrase. He’s met her twice, in two time periods, and she’s died each time. There’s a mystery to be solved, the mystery of The Impossible Girl, and he’s off to solve it.
Series Seven Part 2: The Impossible Girl and the Road to 50
We pick back up a few months later with the excellent The Bells of St. John, in which The Doctor, losing hope he’ll ever find Clara again, holes up in a 13th century monastery… only for 21st century Clara (the one, true Clara, a description that makes sense later) to call the Tardis asking for tech support with the internet. Which naturally throws him for a bit of a loop. (“I’m not actually… this isn’t… you have clicked on the WiFi button, haven’t ya?”)
The eight episodes that remained in series seven were all one-off adventures with Clara throughout time and space, while The Doctor attempted to figure out what, exactly, she was, and Contemporary Clara attempted the same of this dashing, weirdly old-acting time-traveller that thrust himself into her life all of a sudden. This culminates in the series finale, The Name Of The Doctor, the first of three consecutive episodes to end in “Of The Doctor.” I’ll talk more about the Impossible Girl arc below, but here’s the more interesting thing about series seven.
Part two aired in spring of 2013. The 50th anniversary of Doctor Who, November 23rd, 2013, was fast approaching. In ways subtle and broad, Steven Moffat began gearing the show to celebrate the coming landmark anniversary. The first and most obvious, which began in the final moments of series six with the revelation of the First Question, is that Moffat became fonder than ever of writing “Doctor who” into dialogue. The end of Asylum of the Daleks makes this abundantly clear, and The Snowmen and The Bells of St. John drive it home. Of course, that means that by Hide he’s able to have some fun with it…
“I’m The Doctor.”
“If you like.”
The new opening title sequence adds an old tradition that had been absent since the 80s… it slipped in Matt Smith’s face. This had been a feature from Troughton to McCoy, and Moffat brought it back for the tail end of Smith’s run and into Capaldi’s. Will it remain for Jodie Whittaker? We’ll know soon enough.
Also important, a new character appears in The Power of Three: the new head of UNIT (you remember UNIT, right?) Kate Stewart, who The Doctor soon figures out is more properly called Kate Lethbridge-Stewart, daughter of Alistair Gordon Lethbridge-Stewart, UNIT’s first leader and The Doctor’s oldest (now passed) human friend. Played by Jemma Redgrave (of those Redgraves), we’ll be seeing much more of her. And it was important she be in place in time for the 50th anniversary.
Throw in references to past companions (Clara hearing The Doctor mention his granddaughter gives her a moment of pause, I tell you what), not one but two vintage monsters making a comeback, and a brief visit to Gallifrey in The Name of the Doctor, and it’s clear that the show is wearing its fifty-year legacy on its sleeve for all to see.
“I’m The Doctor. I’m an alien from outer space. I’m 1000 years old, I’ve got two hearts, and I can’t fly a plane, can you?” -The Doctor, mid-plane crash.
There are those who say that Stephen Moffat doesn’t understand grief, given how often major deaths are undone (Rory alone has come back from the dead no fewer than five times). To them, I say pay attention to The Snowmen. Having lost Amy, for good and all, he retreats from the world, presumably for years. He completely changes the Tardis interior because he can’t be in a room that Amy was in. He never wears his signature brown tweed jacket, or any of its variations, ever again, switching to a more sombre purple, because he can’t wear the clothes he wore when travelling with Amy. He keeps her reading glasses as long as he has this face. Amy leaves a hole in his hearts that Clara only begins to help heal.
But don’t think that every trauma is forgotten. In one all-time-great speech in The Rings of Akhaten, Clara learns (or appears to learn) exactly how much pain The Doctor’s been carrying around the past three or four centuries as he attempts to pour all of it into a parasitic sun that feeds on people’s feelings and stories, yes you read that right. I’d post an excerpt but without Matt Smith’s heart-wrenching delivery it just isn’t the same. So here’s a video.
But there’s one secret pain he’s kept hidden these last seven series and three faces. A secret we come face to face with in the closing moments of The Name Of The Doctor.
I’ve done a lot of defending Steven Moffat from his various accusers. But sometimes loving something means acknowledging its flaws.
So let’s get into the problems with Early Clara, shall we?
First, as of The Snowmen, they drift alarmingly close to Ten/Rose territory, as Victorian Clara makes some pretty strong advances on The Doctor, making things a wee bit awkward when he finally finds the One True Clara in 2013 England. Are things getting romantic between the two? One of them thinks so, but we’ll address that later.
The real problem is that the Impossible Girl storyline is about Clara but doesn’t involve Clara. The Doctor is trying to get to the bottom of how Clara can be a regular, normal young woman and also the late Oswin Oswald of the starliner Alaska and the equally late Clara Oswin Oswald of Victorian London. But since she might be a trap laid by one of his enemies (not an unreasonable assumption, given everything the Silence just pulled with River), he never lets her know that’s what’s going on.
Giving Clara no agency in her own storyline.
It’s the same problem as Chloe Decker from my beloved Lucifer, and nothing says “I’ve neglected this blog series longer than I meant to” like the fact that I’m using Chloe to explain what’s wrong with Clara and not the other way around. All the celestial beings talk about Chloe, but she never knows that it’s happening, let alone why it’s happening. It reduces her as a character. Likewise, by making the plot about Clara without including Clara, you’re basically making her a prop in The Doctor’s story, and your female lead should never just be a prop.
And there aren’t even any clues. It’s just “What’s the deal with Clara?” and everyone saying “Dude, she’s normal” until the last moments of the last episode.
This is the one complaint about Steven Moffat that’s spot-on. He has a terrible habit of introducing companions as puzzles for The Doctor to solve. It wasn’t so bad with Amy, because we made it all the way to The Big Bang before he raised the question of “Does it ever bother you that your life doesn’t make any sense?” Although that was swiftly followed by six episodes of “Is she or isn’t she pregnant,” which… yeah. Then River was a riddle wrapped in an enigma from her first appearance right up until Let’s Kill Hitler, and in series seven Clara is weighed down by all of this Impossible Girl malarky. He gets better about this down the road, right before he left the show, but as of series seven it’s just Rory who’s all surface.
That all said, there are some things about Clara that work. She’s exceptionally quick-witted, letting her play high-energy dialogue every bit as well as Matt Smith (which is outstanding). She’s great at comedy, and she plays something few other companions had to this point… she’s often terrified of what’s happening, but resolved to see it through. It begins in Cold War, when the rubber hits the road and she sees her first deaths on an adventure. The best example might be Hide, where she asks The Doctor exactly why she should help him look for ghosts, and he responds that she wants to. “I dispute that assertion,” she responds, fear sneaking through her witty facade.
Also, she doesn’t take any crap from The Doctor. When he first turns up on her doorstep in The Bells of St. John, he’s approaching her with the familiarity her alternate self showed in The Snowmen, and she is not shy in telling him to bring it down a notch. There are moments throughout late series seven were she shows her resourcefulness, but they tend to be overshadowed by the whole Impossible Girl thing.
Also her mother is dead. Because she’s a Moffat companion. All their mothers are dead. Well, except Amy’s, who stopped being dead in The Big Bang but was instantly forgotten.
But as series seven progressed, and we learned who would and wouldn’t be around for series eight, I forgave the weaknesses of Clara’s arc this year. I suspected that while she may have gotten her start with Eleven, she’d end up a more iconic companion to Twelve. Much as a whole pile of classic series companions started with one Doctor but were better known for their time with his replacement. (Basically every regeneration-time companion from Sarah Jane onwards… well, except maybe Mel. Mel wasn’t anyone’s most iconic companion. Poor girl. Just wanted The Doctor to drink his carrot juice.)
And like her or not, get comfortable. She’s the longest-running contemporary companion.
The Supporting Cast
River Song is back for two key episodes: she’s there for her parents’ farewell in The Angels Take Manhattan, and is basically present for The Name Of The Doctor, which provides her final farewell with Matt Smith. But not her final final farewell.
Also of note is Harry Potter’s Arthur Weasley, Mark Williams, as Rory’s dad Brian Williams. Brian gets swept up with Amy and Rory when The Doctor unexpectedly materializes the Tardis on them in Dinosaurs on a Spaceship, showing him what exactly his son and daughter-in-law get up to when they’re “travelling.” He’s only in two episodes (and an unfilmed deleted scene, written by future showrunner Chris Chibnall, which makes a sad episode sadder), but you instantly wish you could spend more time with him.
Less effective are those horrible children Clara is nannying for. The younger son, Artie, isn’t so bad, but Angie the older daughter seems annoyingly determined to challenge Clara at every turn. To borrow a phrase from Winston Churchill in series five, if Clara warned of Hell, Angie would give favourable reference to the Devil. It wears thin fast enough that I’m glad they were never seen or mentioned again following The Name Of The Doctor. Their mother is dead too, by the way. Look, I know the whole “All Davies companions have terrible mothers” thing was weird and overplayed but there’s such a thing as over-correcting.
The Big Bad: Returning for the first time since its two go-rounds with Patrick Troughton, it’s the Great Intelligence, everyone. Having previously menaced the world via robotic abominable snowmen, an early version of the Intelligence is revealed to be behind the icy menaces of The Snowmen. And The Doctor might have accidentally given it the idea that the London underground is a strategic weak point, perfect for invading with (abominable) snowmen. Which is the plot of Web of Fear, the Great Intelligence’s second arc (and the first appearance of Alistair Gordon Lethbridge-Stewart, not yet a Brigadier General). Following The Snowmen, the Intelligence continues to stalk The Doctor, now using the face of its Victorian assistant, Dr. Gideon… played by English actor of note Richard E. Grant, who non-canonically played The Doctor on two occasions prior to the reboot.
This Year in Daleks: Moffat finds the fear in Daleks again through a planet full of broken, insane Daleks that The Doctor, Amy, and Rory find themselves stuck on. Also, they have a new trick… through an infection of nano-tech, they can hollow a person out and turn them into a human-shaped Dalek. Because that’s safe. Daleks with stealth and infiltration capability. Anyway, this becomes a problem for at least one of the people in Asylum of the Daleks.
Classic Monsters Revived: The Great Intelligence isn’t the only Troughton-era deep dive this year. Cold War brings back the Ice Warriors of Mars… or at least one of them, which has been found frozen in ice by a Cold War-era Russian sub The Doctor and Clara pop onto while trying to reach Las Vegas. Reptilian figures in hulking suits of armour, they’re a menace for any human military, especially if they think there’s nothing to lose. The modern era lets the show do something the Troughton era never could: show an Ice Warrior out of his armour.
The Good: There are a lot of layers to what’s happening in Hide (Ghosts? Monsters? Nothing?) but it’s quite the ride. The Cybermen also get a scariness upgrade thanks to Neil Gaiman in Nightmare in Silver. The people-snatching forces lurking in the WiFi in The Bells of St. John are highly effective and really satisfying to see taken down a peg. The gunfighter and his target in A Town Called Mercy provide some strong philosophical dilemmas on revenge and redemption.
The Bad: The Tardis puts people through a lot of grief in Journey to the Centre of the Tardis, but it’s not the Tardis’ fault. The burnt zombie things aren’t even truly bad. No, the villain that week boils down to “some asshole.” And he learns almost nothing. Not their best work.
The Ugly: Could they have spent a little bit more on that puppet worm from Crimson Horror? Maybe. Maybe. Not that it matters considering who it’s attached to (see below).
The Snowmen and The Bells of St. John are both great, but if I have to pick one (and I do, because I have thus far), I would have to say The Rings of Akhaten. It’s a knockout of an episode, and the Queen of Years stepping up to support The Doctor the only way she knows how, through song, brings a tear to the eye even before The Doctor’s epic speech begins. Sure the budget constraints show a little in the sets and green screen work but it’s a fun and surprisingly powerful outing for The Doctor and his new companion.
Series seven went from strength to strength for the most part, but one could argue that Journey to the Centre of the Tardis isn’t holding its end up, despite getting to glimpse all the rooms we never normally get to see.
All five of the final Pond episodes, from the Daleks to the Weeping Angels, are excellent. Karen Gillan and Arthur Darvill (Whose name I’ve been spelling wrong on this blog for a long, long time… my b, Captain Hunter) could not possibly have asked for a better swan song. Those five episodes alone made me think that New Who had gotten better each and every year it was on the air. A trend that would soon end, but all good things do. And that quality continued through The Snowmen and The Bells of St. John.
Cold War is a classic “under siege” episode, with a great guest cast.
If you enjoy the Paternoster Gang… and I feel that you should… The Crimson Horror is a good showcase episode for them.
Technically nothing of import happens between Rings of Akhaten and The Name Of The Doctor. That’s the problem with Impossible Girl, it has no stages. No levels. It’s basically Bad Wolf all over again.
I guess you could skip over Journey to the Centre of the Tardis. Every piece of progress there gets undone.
Notable Guest Stars
- Plenty in Dinosaurs on a Spaceship alone. In addition to Mark Williams, David Bradley (Harry Potter, Broadchurch, Game of Thrones) makes his first of two guest appearances, as the thoroughly unpleasant trader/slaver Solomon. His next character will be nicer. Solomon’s quarrelling security bots are hilariously voiced by comedy duo David Mitchell and Robert Webb, who I’d handily just discovered. Sherlock’s Inspector Lestrade, Rupert Graves, plays The Doctor’s new pal, big game hunter Riddell.
- Isaac, Mercy’s town marshal, is played by Farscape’s Ben Browder. A rare American guest character played by an American, but they did venture out to America for filming purposes more often.
- Although he’s soon followed by Michael McShane (the original Who’s Line is it Anyway and Friar Tuck from Robin Hood: Prince of Thieves) in The Angels Take Manhattan.
- B-movie sci-fi almost-legend David Warner (lots of stuff) is an episode highlight as an 80s-pop-music-loving Russian scientist on a submarine in Cold War.
- Mission: Impossible II’s Dougray Scott, he who was nearly Wolverine, plays
Bernard QuartermassAlec Palmer in Hide. His assistant is played by Jessica Raine, who around that time also played Doctor Who creator Verity Lambert in the biopic An Adventure in Space and Time, which also featured David Bradley (see above) as William Hartnell.
- The voice of the Great Intelligence in The Snowmen is none other than Sir Ian McKellan.
- A carnival worker with a secret in Nightmare in Silver is played by Warwick Davis. And a soldier in the same episode is Alo from the third generation of Skins, if that means anything to anyone else.
Game of Thrones Guest Stars: That Russian sub I mentioned is captained by The Onion Knight (Liam Cunningham) with his overly hostile first mate being Edmure Tully (Tobias Menzies, yes I know he’s also from Outlander, my blog my rules). Dame Diana Rigg, formerly Mrs. Peele of the British spy show The Avengers, and at the time throwing epic shade at the Lannisters as Olenna Tyrell, is menacing Victorian England in The Crimson Horror.
Clara is only able to phone the Tardis because she got the number from a “woman in the shop.” There was a lot of speculation as to who that woman might have been. River Song was a popular guess. Some eternal optimists thought Sally Sparrow fit the bill. And old-school die-hards held out hope for Romana or Susan or someone. We were all way off, but there was a new player we were over a year away from meeting.
Based on the book one of Clara’s charges is reading in The Bells of St. John, Amy managed a successful literary career in her post-Doctor life. Despite the fact that the Melody Malone novel from The Angels Take Manhattan must have seemed really weird to most audiences.
The Angels Take Manhattan actually filmed in New York. I found the rock in Central Park where they have their picnic, because I’m that level of obsessed. And the cast found out just how popular the show was when hundreds of Whovians showed up to watch filming. Which may have been awkward, as the episode was as hard to film as it was to watch. According to legend (aka the IMDB trivia page), when they filmed The Doctor reading Amy’s last message, Karen Gillan sat next to Matt, reading her voiceover lines to him. Once they got the shot, Matt broke into tears. Can’t exactly blame him.
Rory’s middle name is “Arthur,” no doubt named after Arthur Darvill. (Look, it’s not my fault that it just looks like it should have an “e” at the end…)
The Doctor mentions the effort he put into taking “a gobby Australian to Heathrow airport.” This would be Fifth (and very, very briefly Fourth) Doctor companion Tegan Jovanka, who the Fifth Doctor would encourage with the phrase “Brave heart, Tegan.” Shortly after mentioning her, the catchphrase gets reused. “Brave heart, Clara.”
The scientist/ex-spy in Hide was meant to be Dr. Bernard Quartermass, of Doctor Who’s BBC sci-fi predecessor The Quartermass Experiment, but rights issues blocked it at the last minute. Pity. It would have been like Sherlock Holmes teaming up with Auguste Dupin. (Oh, Google it yourself if you need to.)
Clara Oswald was the first character Jenna Coleman ever played in her natural Blackpool accent, or so she’s said. Which was weirdly an extra challenge. Accent work had been like a mask, a way to build the character.
Future… well, “current” at this point, really… showrunner Chris Chibnall wrote Dinosaurs on a Spaceship and The Power of Three. Promising. Very promising. Those episodes are fun.
Steven Moffat surely believes that “I don’t know where I am” is an intrinsically terrifying phrase because it certainly gets used a lot.
Doctor Quote of the Year: “Run.”
(I mean the real quote of the year is “Run you clever boy, and remember,” but I don’t have a section for companion quotes.)
Historical Guest Star of the Year: Queen Nefertiti of Egypt is our last true historical guest star. That kind of fell off in the Capaldi years.
Saddest Moment: “Raggedy man… goodbye!” (oh god just typing it…)
Next time… Matt Smith’s final two episodes are the greatest episode ever and our next big farewell as the “Of The Doctor” trilogy brings us to the end of an era.