Doctor Who

Transmission: 24.10.2015.

Writer: Catherine Tregenna.

Director: Ed Bazalgette.

Guest Starring: Maisie Williams; Rufus Hound; Gareth Berliner; Elisabeth Hopper; Struan Rodger; John Voce; Ariyon Bakare; and Karen Seacombe.

It's 1651, Hounslow, and the Doctor is using his curioscanner to track down an alien artefact – when he accidentally interrupts a highway robbery. This is the notorious highwayman, The Knightmare, and his sidekick, and they form an uneasy alliance. But both sides have secrets.

The Knightmare, for instance, hasn't mentioned the lion-esque fire-breathing alien...

If you've seen The Girl Who Died, you'll know exactly who the title of this episode refers to: Maisie Williams is back as Ashildr, having had the responsibility of immortality thrust upon her by the Doctor. Or maybe she's learnt about recklessness, because here, she's not the trustworthy storyteller we saw defending the Viking village last week.

"Maisie's fantastic," writer, Catherine Tregenna told Doctor Who Magazine. "What she has to encompass, in this case of this particular character, is huge and I think it requires a lot of layers. She's got to be a match for the Doctor and outwit him... It's an incredibly layered and nuanced performance and I'm really impressed."

This is Tregenna's first script for Doctor Who¸ but fans will recognise her name from Torchwood of which she wrote four episodes, Captain Jack Harkness, Meat, Adam, and the fan-favourite Out of Time. Since then, she's been working on shows including Law & Order: UK, Lewis, and DCI Banks. Though she particularly loved last year's Listen, penned by showrunner Steven Moffat, this script is more akin to Robot of Sherwood – at least in the way the Doctor deals with the people around him.

We'll obviously explore Ashildr further, but producer, Brian Minchin says "comedian, Rufus Hound [steals] every scene." Hound, who appeared on 2013's The Next Doctor Live when Peter Capaldi was announced as the Time Lord, plays highwayman, Sam Swift, and he says he's pretty keen to return... as the Doctor's companion!

"What he represents is a kind of 'seize the day' attitude," Tregenna explains. "Bless him, he's got most of my silly jokes."

Ed Bazalgette returns for directing duties, while another familiar face also returns. Sort of. You might recognise his voice but he played another face: the Face of Boe. Struan Rodger was the (mostly telepathic) voice of the giant head that the Ninth Doctor and Rose first met in The End of the World (2005), but who returned for New Earth (2006) and 2007's Gridlock. This time, we'll actually get to see what he looks like!

This episode mainly focuses on the Doctor and Ashildr, exploring the consequences of the latter's seeming-immortality, so it's a somewhat companion-lite story. But don't worry: Jenna Coleman will be back for the following week's The Zygon Invasion...

The Woman Who Lived airs on 24^th October on BBCOne at 8:20pm. Keep your eyes peeled for our review over the next few days.

This was the week Doctor Who went bonkers. Again.

This is what our barmy show does with increasing regularity. The whole premise of the series is slightly unhinged. Sometimes, it works; other times it doesn't; and quite often, you're not quite sure what to make of it. That's the case here.

Much of this episode was great, and then it got weird. A couple of weeks ago, I said it would be wrong to judge Under the Lake by how well Before the Flood went, but a lot rests on The Woman Who Lived to put the last ten minutes of The Girl Who Died into context.

But that's the last few scenes, not the entire story. Because there was a lot to enjoy here.

After the success of his efforts in Series 8, Jamie Mathieson had heavy expectations to contend with: indeed, he won awards from Doctor Who Magazine for Mummy on the Orient Express and Flatline. With The Girl Who Died, however, he gives us something entirely different.

Sure, it's his first historical, but the tone of the piece is largely in contrast with his previous stories. You can see why so many previews called this a 'romp' but stayed away from that ominous 'filler' label that carelessly disregards stories just because they're not a series opener, finale, or show great character development for the Doctor and his companions.

'Romp' implies something light, funny, and generally somewhat frivolous. We definitely get this. The humour here works better than last year's 'romp' Robot of Sherwood through no fault of that particular tale. Series 8 set out to prove Peter Capaldi's Twelfth Doctor to be darker. After the intense Deep Breath and Into the Dalek, Robot of Sherwood jarred a little, despite being deftly written with strong characters, solid direction, and great performances.

Fortunately, the production team seems to have realised this year that he may be less user-friendly, but he's still the Doctor. It means that we've had severe stories for the past month, but the Doctor has been undoubtedly the hero we all want him to be. He's more jovial, and that's perfect.

The Time Lord is funny – generally and certainly in The Girl Who Died – without losing his gravitas. That's the beauty of this character.

In fact, he's quite joyous, amid bouts of moodiness and contemplative brooding. His happiness at seeing Clara Oswald (Jenna Coleman) returned to the village is a stand-out moment. "I'm not a hugger," he announces while giving her a thumbs-up. And then he rushes up and hugs her. That's the enthusiasm the audience likes to see. He's embracing life, not questioning whether he's a good man or not or getting bogged down by his dislike of Danny Pink.

Series 9 is almost giving us a new Doctor and that's exactly the right direction to take this 52-year-old (nearly) show.

The Doctor isn't without the weight that he carries around with him, no matter the incarnation. The Doctor speaking baby was initially a nice bit of comedy in A Good Man Goes To War (2011), added to in the same year's Closing Time. In that episode, though, Matt Smith showed a great sadness and optimism when speaking to Stormageddon/Alfie, mulling over the years that separate the pair. In The Girl Who Died, Capaldi portrays the same aching depth of emotion when translating the crying baby of this Viking village.

These could quite easily be funny scenes, a bit of light relief, but it's played very differently. It's underlined by the Doctor asking if babies die with honour.

Of course, the Doctor then throws this in the opposite direction: a little distraction comes in the form of a party, just as the Mire arrive to attack the town. Naturally, this is just sleight of hand, and there's something very satisfying that the thing that defeats the deadliest mercenaries in the galaxy is a good story.

Well, it's what we're all here for, isn't it?

The strength of a story is a common theme in many serials under Steven Moffat's tenure as showrunner: in The Big Bang (2010), Amy brought the TARDIS back in time for her wedding because the Eleventh Doctor told her an old-new-borrowed-blue story; he also planned to defeat the Old God in The Rings of Akhaten (2013) with tales of his losses; and in Into the Dalek (2014), the Twelfth Doctor hoped to redeem the Dalek with a story of the universe's cyclical nature.

It makes Ashildr (Maisie Williams) worth saving. She's brave and strange because she imagines – ultimately, that's what scares the Mire into retreating. That and the Benny Hill theme tune.

Her casting caused a publicity storm, and while Williams gives a great performance, it would likely be an anticlimax if this were it for her. I'm sure The Woman Who Lived will give us plenty more to think about regarding her character and role in the Whoniverse.

The device that brings Ashildr back to life causes a few narrative problems. Notably, it's not actually mentioned before the Doctor uses it: it's almost as if we don't really need to know the specifics of how he can do this – we just have to accept that the Doctor can save anyone if 'The Rules' are ignored. The second Mire medical unit – how might that be utilised next week? – introduces the questions that we'll likely explore in The Woman Who Lived, essentially the meaning of immortality, and by contrast, mortality.

If the Mire had this automatic repair kit, why were they scared by the make-believe dragon? It might tie into the Doctor saying Ashildr will live forever "barring accidents", or maybe recalls the Doctor's own fear of dying (largely focused on in The End of Time) despite his ability to regenerate.

Further plot holes centre on the electric eels, which many have noted wouldn't generate that amount of electricity. And why were they even there? The Vikings may have explored and fished, but not in seas with electric eels in.

In other adventures, you can pass the former off by pointing to the sonic screwdriver, but the Doctor was without both that and the TARDIS.

Nonetheless, the siege on the village is immense fun, at turns touching, hilarious, and exciting.

Sadly, it's those final ten minutes that give the story a slightly uneven feel. A great deal of fuss was given to Peter Capaldi playing the Doctor after previously appearing in The Fires of Pompeii (2008), and Torchwood: Children of Earth (2009), and we were promised an explanation.

Of course, plenty of familiar faces crop up numerous times: companions (Karen Gillan and Freema Agyeman), guest stars (Philip Madoc, Martin Jarvis, Geoffrey Palmer -  I could go on), and yes, even another Doctor (Sixth Doctor, Colin Baker was in 1983's Arc of Infinity). But we've just accepted it. This time, however, there was an in-story reason. Supposedly.

Except it sort of falls flat. Russell T Davies apparently told Moffat he had a reason for the same faces popping up now and again, and you can't help but feel this wasn't it. It feels like a cop-out. It might've worked last year, when the Doctor was trying to come to terms with who he is, but this year, he knows. He's the Doctor and that's all he's ever really needed to know.

What's more, that's all the audience needs to know too.

It might be expanded upon in the future, but here, it makes the tale disjointed. Yes, we need to judge these final scenes on how The Woman Who Lived plays out.

And this fan is looking forward to it...!

Transmission: 17.10.2015.

Writers: Jamie Mathieson and Steven Moffat.

Director: Ed Bazalgette.

Guest Starring: Maisie Williams; David Schofield; Simon Lipkin; Ian Conningham; Tom Stourton; Alastair Parker; Murray McArthur; and Barnaby Kay.

Captured by Vikings, the Doctor and Clara Oswald have just 24 hours to train the villagers –farmers, fishermen, and shepherds – into a fighting force. Because one of the villagers, Ashildr has declared war on the galaxy's deadliest mercenaries, the Mire.

"Now, I'm not going to lie to you," the Doctor says. "We are facing a force with vastly superior weaponry, training, armour, posture, and personal hygiene."

But the Mire bring the Vikings' God, Odin, with them... and the Vikings don't take too kindly to having their All-Father questioned by the Doctor.

Linked with next week's The Woman Who Lived, this isn't your typical two-part adventure. They have different writers, different enemies, and a mostly different cast – but one thing they do have in common is Maisie Williams. Casting of the Game of Thrones star has caused quite a media storm with everyone asking how she's connected to the Time Lord. Could she be Susan, the Doctor's Grand-daughter? Or a splinter of Clara? Or what about Romana, a much-loved former companion?

Actually, she's playing Ashildr, a spirited young villager who wants to defend her home from the would-be alien usurpers. The Doctor, however, recognises her somehow...

"It’s so refreshing to have this futuristic element linked into [the Viking setting] too; that’s what has kept me going really, not just beards and dragons," Maisie says."There’s a whole new element that’s fed in to the sides. It just looks so great with all of us in our Viking outfits, Jenna in her space suit and the Doctor in his cool coat with his crazy sunglasses. It makes for a really cool and interesting dynamic on screen."

Jamie Mathieson returns to Doctor Who, having written last year's stand-out episodes, Mummy on the Orient Express and Flatline, so we've plenty to be excited about. "It's The Magnificent Seven," he told Doctor Who Magazine. "Structurally, I realised that fairly early on. Good guys trying to train up weak villagers to fight powerful bad guys, with the clock ticking down."

Described by many as a 'romp', somewhat in the same fashion as Robot of Sherwood (2010), The Girl Who Died is directed by Ed Bazalgette, who is perhaps best-known for the stunning visuals from the hit BBCOne series, Poldark.

And to top it all off, co-writer and showrunner, Steven Moffat teases that we might just find out where the Doctor got his face from. Could this be a return visit to Pompeii?

The Girl Who Died airs on 17^th October on BBCOne at 8:20pm. Keep your eyes peeled for our review over the next few days.

Hey! You! Yeah, you! I'm talking to you! And so is the Doctor...

The Time Lord doesn't often break the fourth wall: in fact, the only other notable time he did was in The Feast of Steven (1965), at the end of which William Hartnell's First Doctor wished everyone at home a very merry Christmas! To do so is to risk breaking the world's illusion, ie. that the Doctor acknowledges he's a fictional character.

Writer, Toby Whithouse is brave to not only have the Doctor speaking directly to the audience, but to have this as the pre-titles sequence. It'll no doubt split fandom, but very few would argue that the subsequent rock-and-roll version of the theme tune is anything other than fantastic. (After the decidedly dodgy track that's accompanied the titles since Peter Capaldi took over the role, anything would be welcome. We get an instrumental that suits the Twelfth Doctor down to the ground.)

Yep, it's divisive, but it's also exceptional.

It's exciting and captivating, and for anybody who's left with a nasty taste in the mouth, there's an argument to be had that he's not really explaining the bootstrap paradox to us but to Clara Oswald.

This is the perfect introduction to Before the Flood because it gave us a hint about what's to come: timey-wimey elements, explanatory discussions, a slight cheekiness, thought-provoking scenes, and the Doctor on mighty fine form.

Indeed, it's a very exciting and captivating episode as a whole. Sure, it lacks some of the intrigue from last episode and anyone well versed in Doctor Who will already have guessed who is in the stasis chamber and that holograms would be used again. That doesn't entirely matter: there's enough to draw you in and keep you on the edge of your seat.

That's quite an achievement considering the story is packed with exposition-heavy scenes. Someone once said, "show, don't tell", so no doubt Whithouse will get criticism for this. Yet it worked. And what made it work so nicely was the ingenious narrative and engaging character development. (I'm not fond of the "show, don't tell" cliché anyway, but that's beside the point.)

Before the Flood is full of smart ideas, throwing the fairly-standard 'ghost' story in a different direction. That's how you keep a two-parter interesting. Give us something new to look at, some new notions to toy with. This isn't a story about hauntings - it's time travel. It might be set in Scotland, but that doesn't mean we can't have the village, pre-flood, covered in Russian propaganda. And because only a set number of ghosts were in Under the Lake, no one who went back in time could die in Before the Flood, right?

Sadly, we should've known that time is in flux, so of course someone would die in the past, and we're very sad it had to be O'Donnell (Morven Christie), an immediately charismatic, likeable, and intelligent character ideal for travelling in the TARDIS. She had something of Osgood about her, sure, but there was also a hint of Rita, a would-be companion from Whithouse's previous adventure, The God Complex (2011), doomed because the Doctor offered her a place in his space-time ship.

Fortunately, there were proper consequences to her death: added gravitas, sadness, and a further peeling back of the Doctor's motivations.

Arsher Ali showed considerable control as he portrayed Bennett's unspeakable grief and his realisation that the Doctor knew this was going to happen. That was foreshadowed by the electric scene in the TARDIS where the Time Lord asks her to stay there – but knows she won't. He did that to her last episode. He forced all of them to make a choice, to stay and satisfy their own curiosities.

Last series, this alien manner seemed very forced – intended to shock and set Capaldi's Doctor apart from his past regenerations. Yet here it works perfectly. The Doctor has always been like this; the extent to which it shows simply varies depending on incarnation.

It brings to mind further scenes from The God Complex, notably the Eleventh Doctor's seeming manipulation, perhaps unintended, of Amy Pond (Karen Gillan). The two adventures share quite a few qualities, despite appearing largely polarised on the surface. Both are important in the evolution of the Doctor-companion relationships (Clara's angry talk with him on the phone is stunningly acted and scripted); both feature large deceptions where the supposed-enemies seem more like victims; both star Tivolians; and both have memorable scenes of the Doctor hiding from a giant, lumbering beast, which ends in death.

Unlike the Minotaur from The God Complex, however, we don't see enough of the Fisher King, played by the tallest man in Europe, Neil Fingleton, and voiced by comedian-actor, Peter Serafinowicz and Slipknot's Corey Taylor. He's certainly a scary creation, beautifully thought-out and realised. His towering over Capaldi makes him seem a genuine threat, while his malicious streak manifests itself in his using of human souls.

There's something of the deep about him, so here's hoping the dam merely put back his plans, that he will return someday...

The Cold War training outpost is a neat idea as well, but one that's also underused. As a backdrop, it does the job and serves the narrative ably. Director, Daniel O'Hara makes it look interesting and gives us fresh new environs for the story to expand, but it did lack something. Nonetheless, it'll remind long-term fans of 1989's The Curse of Fenric, and that's definitely a positive.

The Faraday Cage concept, too, is used deftly in this episode: a place of safety, certainly until the Doctor realises that Clara's phone won't work in there so she'll have to leave it outside the room and fight through the ghosts if it does ring.

Similarly, Cass (Sophie Stone) is excellent, especially in her determination in making sure Lunn (Zaqi Ismail) is safe. Her picking up the vibrations in the floor when the ghost of Moran (Colin McFarlane) is coming for her is very clever, and again acting, direction, and writing all combine to create a tense, absorbing scene.

The really great thing about Before the Flood is that you thoroughly care about each of these characters. You don't want any of them to die. You feel the weight in Bennett's heart as he stares at O'Donnell's ghost then convinces Lunn to admit his feelings for Cass – because he left it too late for himself.

Toby Whithouse has proven again and again that he's a writer you can rely upon. Not one to go through the motions: he delivers vastly enjoyable scripts that play with expectations and make you truly care about the people involved.

There are definitely things to nit-pick about, but the 40-odd minute duration flies by and this two-parter is simply too enjoyable to rip apart. It remains my favourite Twelfth Doctor serial so far.

Images: BBC.

This weekend, the Doctor comes face-to-face with the terrifying Fisher King..

Anyone else getting a Curse of Fenric (1989) vibe?

In last Saturday's Under the Lake, the Doctor and Clara were up against mysterious ghosts chanting four words over and over again under their breath. Now, separated from his companion, the Doctor has gone back in time to see if he can find out more about the major threat on this underwater base.

On a remote Army outpost, a fearsome alien warlord – the Fisher King – sets in motion a twisted plan to ensure his own survival. The ripples will be felt around the universe. Is this chain of events inevitable? And can the Doctor do the unthinkable?

Here's a brief clip to whet your appetite, with Peter Capaldi's incanration of the Time Lord alongside O'Donnell (Morven Christie) and Bennett (Arsher Ali).

In our review, we called Under the Lake "a triumph", and added:

"Please excuse such untempered enthusiasm for Under the Lake, but it's already become my favourite Twelfth Doctor story so far. Considering it's got competition from Mummy on the Orient Express and Flatline (2014), that's a great feat."

Before the Flood airs on Saturday 10th October 2015 on BBCOne, at 8:25pm and concluding at 9:10pm.