Ruby Sunday (Millie Gibson) and the Doctor (Ncuti Gatwa) | Credit: Bad Wolf/BBC Studios/Disney+
It’s the beginning of a new era for Doctor Who. Last year’s Christmas special, “The Church on Ruby Road“, saw the introduction of Ncuti Gatwa’s Fifteenth Doctor and his new companion, Ruby Sunday (Millie Gibson). But now, as May rolls around, the Doctor and his newest companion begin their adventures across time and space in earnest. And what a pair of rip-roaring adventures these first two episodes are. Taking viewers from a mysterious space station in the future all the way back to the recording of the Beatles’ first album, the first two episodes of Doctor Who offer a pitch-perfect introduction to the Whoniverse. Packed with frightening monsters, breathtaking performances, and a healthy balance of humor, emotion, and action, the future’s looking bright for everyone’s favorite Time Lord.
“Space Babies”
For their first journey together, the Doctor takes Ruby to a space station in the distant future. A space station crewed entirely by babies. As if that’s not strange enough, however, a mythical Bogeyman prowls the halls of the spaceship’s lower levels, scaring the residents above. As the spaceship slowly runs out of power, can the Doctor and Ruby defeat the Bogeyman and save the babies before it’s too late? Or is the Bogeyman about to take its latest victims? Written by Russell T. Davies and directed by Julie Anne Robison, “Space Babies” straddles the line between heartfelt character study and over-the-top, broad comedy. Complete with Baby Geniuses-style CGI and a premise that’s so laughably absurd it shouldn’t work, “Space Babies” somehow manages to defy the odds and deliver a genuinely thrilling story.
Longtime Doctor Who fans will see shades of 2006’s “New Earth” and 2008’s “Partners in Crime” in the absurdity of this episode. It’s one of those premises that shouldn’t work, and making it the opening episode of the first season of a brand-new era is beyond audacious. But at the same time, it’s a perfect microcosm of what Doctor Who can be. Yes, it’s laughably silly and the effects are sometimes distractingly offputting. But the way the simplicity of the narrative mixes with the emotional weight of the episode’s character arcs ties everything together. Nobody expects to enter an episode like this and have it leave such an emotional impact on you. And yet, that’s exactly what Davies’ script does.
All in all, “Space Babies” gets this new season of Doctor Who off to a great start. The pacing is excellent, the absurdity largely works, and the episode’s emotional core really hits home. It’s a nearly pitch-perfect opening story and a real litmus test for whether or not you’ll like this era of the show.
“The Devil’s Chord”
When Ruby requests to visit the Beatles during the recording of their first album, she and the Doctor discover something very wrong. Someone – or something – has stolen all of the world’s music, setting humanity down a perilous path. Can the Doctor and Ruby rediscover the world’s music and defeat the all-powerful Maestro (Jinkx Monsoon)? Or will humanity finally learn what happens when the music dies? Written by Russell T. Davies and directed by Ben Chessell, “The Devil’s Chord” starts like a traditional Doctor Who celebrity historical before turning into something far stranger and more exciting. A real musical horror of sorts – but no spoilers!
The real takeaway from this episode is bound to be Jinkx Monsoon’s performance as the episode’s villain, Maestro. Put simply, the episode doesn’t work without her. Monsoon easily rivals Neil Patrick Harris’s performance in last year’s “The Giggle” when it comes to being one of Doctor Who‘s most over-the-top villains. But somehow, underneath all of that campy excess, she gives Maestro a truly sinister edge. Here’s a villain you genuinely believe could best the Doctor; a force so uncontrollable that you can’t defeat them with mere words or actions. And that’s the basis of this story – how can the Doctor go up against someone who can steal a fundamental force of nature? We see the Doctor properly frightened, completely unsure if he can save the day this time. For the second episode in an eight-part season, that’s a pretty good hook if ever there was one.
All in all, “The Devil’s Chord” is thrilling, hilarious, and soaringly beautiful. A tale about the sheer power of music and all the ways it can change a life. It’s got a simple plot, to be sure, but one that’s carried by its superb performances and sincere emotional center. It’s Doctor Who at its most tongue-in-cheek in the best way possible.
A Cosmic Joyride
Put together, these first two episodes offer a thrilling start to this new era of Doctor Who. Narratively, neither story is particularly ambitious; in a way, they’re very traditional Doctor Who to a tee. They’re meant to ease viewers into Doctor Who‘s wild, wacky world. But what feels ambitious about them is their sensibility, their commitment to taking everything wonderful about Doctor Who and amping it to an eleven while adding a host of new elements. These episodes continue what Davies began in last year’s series of specials. This is Doctor Who as you know it but with a healthy dose of the supernatural sprinkled in the mix. It feels all at once familiar and new; the same, yet different. And there’s a real joy to that; a true sense of adventure.
These episodes are filled with utterly ridiculous storylines and characters, yet none of that is played for laughs. At no point does the idea of talking babies, for example, feel particularly ludicrous. It’s just something that’s accepted in Doctor Who, something the lead characters can roll with. And in a media landscape that continues to be filled with cynicism and needless darkness, there’s a certain thrill to be had in a show that’s presenting itself as a cosmic joyride. That’s not to say that these episodes don’t tackle some serious subjects. Emotionally, these episodes feel quite mature in ways we can’t yet reveal. A variety of throughlines tie the episodes together, picking up plotlines left dangling from last year’s specials. And those throughlines give these episodes a real sense of drama; some meat to tie all of the absurdity together. And honestly, it all just works.
Two Best Friends Traveling Across Time and Space
The biggest thing tying these episodes together is Gatwa and Gibson’s stellar performances. Gatwa’s Fifteenth Doctor is both carefree and wholly shaped by his past trauma. He’s an orphan, and that strongly defines who he is as a person now. But he lets that lead him into living a boldly adventurous life. Is he running away from his past or is he using it as fuel to make the universe a better place? That’s a question that keeps popping up but is yet to be answered. In these first episodes, Gatwa oozes both charm and chaos. His Doctor is full of life, recklessly careening across the universe as joyfully and unabashedly as humanly possible. But underneath all of that, Gatwa exudes a genuine warmth. He cares about the people he loves, and about the world at large. More than anything else, he wants to do good – and he’ll die trying.
Gibson delivers a performance as effortlessly assured as Gatwa’s. Ruby is as defined by her past, by her orphanhood, as the Doctor is. But unlike him, she’s desperate to learn all she can about her past. If the Doctor is running from his past, then Ruby is running straight towards hers. She immediately throws herself into whatever danger faces her, completely assured in the strength of her fear. But more than anything, Ruby seems so overjoyed at seeing the universe. Her dynamic with the Doctor is that of old school friends, gossiping and galavanting around like they’re on a mere weekend road trip. And that’s such a fun dynamic for Doctor Who to explore. Underneath all of the drama, the monsters, and the hidden secrets rests a friendship so strong that the universe won’t know what hit it.
Final Thoughts
The latest season of Doctor Who gets off to a near-perfect start with its first two episodes. If you’re new to the series, you’ll want to start with last year’s “The Church on Ruby Road” before jumping into these new episodes. But as the proper beginning of a new era, it’s hard to imagine a better pair of opening episodes. You’ve got a trip to the future and a trip to the past that’s packed with clever ideas, tongue-in-cheek camp, deliciously extravagant action sequences, and genuinely emotional character moments. Longtime fans are sure to immediately pick up on some of the groundwork laid for future episodes. But more than anything, these episodes are carried by the charisma and earnestness of its lead actors. With Gatwa and Gibson at the helm of the TARDIS, Doctor Who‘s future is looking as bright as ever.
Doctor Who premieres May 10th at 7 pm on Disney+ with “The Church on Ruby Road”, “Space Babies”, and “The Devil’s Chord”. New episodes premiere on Fridays at 7 pm.
Doctor Who launches its latest season with a pair of confident, action-packed episodes. Running the gamut from over-the-top silliness to heartwarming emotion, these episodes offer a nearly pitch-perfect introduction to the Whoniverse. There's action, adventure, gags, and a whole lot of love crammed into these episodes - and the show's all the better for it.
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Part-time writer, part-time theatre nerd, full-time dork.
