Wrong place. Wrong time. Again.
.....oh yes indeed vicar.

Now I’m not strictly speaking talking helmets, other head-gear or masks here. So that such as the ‘Six Faces of Delusion’ and the Omega Mark I mask are out I’m afraid. I may very well be skating over the surface of hattery in ‘Who’, if I judge something average it ain’t getting a mention, let alone a look-in. Oh yes indeed. Taken into consideration will be not only the hat itself but the wearer’s bearing whilst on screen with hat donned. And of course, this means we have an excluded entry right from the start! If only Susan had worn her jockey cap outside of publicity stills and the unbroadcast pilot! Yes, I know it's in the first episode, but Waris Hussein has Carole Ann Ford in extreme close up and we can scarce see the cap-aaarrghh!! I can't stand the hat canon confusion in my mind!


Going through era by era, Hartnell is a fascinating period for hats in ‘Who’, it must be said. There are some potential contenders from completely missing stories, such as ‘Marco Polo’, but being unable to see ‘em in action, they’re out. (That said, I will blatantly overrule myself when we come to Troughton and his Stovepipe.) Hartnell’s Astrakhan is an interesting one, turning up in ‘An Unearthly Child’ and then again in ‘The War Machines’. Does he only don it on contemporary Earth? It’s a hat and a half for sure but doesn’t quite make the grade for me.

'Although that said, there's some truly powerful hat osmosis going down here.'

‘The Aztecs’ has many contenders, you may well think Barbara’s ceremonial headgear is in with a chance but for me it’s overshadowed.

'It's undoubtedly a corker madam, but today you walk among the gods of hattery.'

Passing lightly over ‘Reign of Terror’ for the minute, which has a supreme contender, Morton Dill’s Stetson in ‘The Chase’ ain’t half bad and ‘The Gunfighters’ is a veritable cornucopia of Stetsons, Steven Regret, the Doctor and Doc Holliday in particular. You’d think it’d be in with a chance but it’s a tough field.

'Nice try, gents, a very nice try...'

‘The Massacre’, whilst completely missing, has some astonishing stills of Steven and the Doctor.


'...somebody kindly find this immediately.'

‘The Smugglers’ as with ‘The Gunfighters’ and stetsons could be a treasure trove of piratical hattery but remains completely missing. And thus onwards to Troughton!

Wherein we run straight into the out and out magnificence of Troughton’s Stovepipe. Superlative reverend, just superlative. Yes, strictly speaking it’s a ‘missing hat’ (he wears it up until ‘Underwater Menace’ 1- unbelievable frustration that the first episode we have is 2!) but the publicity stills have frisson enough for me. There’re some tantalizing Tam o' shanter stills from ‘The Highlanders’ n’all. Although it’s gotta’ be said the Troughton era also has some pretty rubbish, low end hattery- Doctor Evans’s showercap in ‘The Moonbase’ and Perspex balancing in ‘The Ice Warriors’. Yerse..

'Colossal, just colossal- I stand up next to a mountain, I strike it down with the brim of my very fine hat'

.. ever onwards we should pause to take note of Maxtible’s rather formidable Top Hat in ‘Evil of the Daleks’. (Maxtible would also be a strong contender in any ‘Beard’ or ‘Hair’ ‘Who’ Top 10 but those are other issues entirely.) ‘The Abominable Snowmen’ sees a really rather astonishing turn from the Abbot Songsten.

'Bloody, bloody hell, what a hat! I'm sure if we ever find episode 6 it'll be revealed Songsten impales Khrisong on this.'

‘Web of Fear’ has Lethbridge-Stewart’s natty military issue headgear and we see a solid example of the good old fashioned Tri-corn from Sir Bernard of Horsfall as Gulliver in ‘The Mind Robber’.

The Pertwee era, perhaps surprisingly, is a bit of a wilderness period for hats in ‘Who’. Possibly Pertwee donning then doing away with the cap and trilby in ‘Spearhead’ has symbolic resonance. Wibble. Doctor Quinn’s Abercrombie in the next story up ‘Silurians’, is about the strongest contender.

'Fine hattery indeed Fulton.'

Although mention has to be made of the Guards on Metebelis Three and can’t fail to note Vorg’s timeless transparent Bowler in ‘Carnival’, along with Shirna’s funky day-glo deely boppers. Oh yes.

'Blarney the carney indeed.'

On to Tom Baker and it’s a bit of a hat renaissance for ‘Who’. Passing swiftly over Namin’s Fez in ‘Pyramids’ (yer outgunned I’m afraid guy) and a passing nod to Doctor Warlock’s Crown Derby in the same story we arrive at some sheer, outrageous arse-hattery from Maren and co in ‘Morbius’.

'Are those Christmas lights on the brim? It's no wonder the Sacred Flame's buggered.'

Speaking of the renaissance, there’s some absolute top flight floppy headgear on show from Marco and Giuliano in ‘Mandragora’. Season 14 also gives a stunning turn from Shaman Neeva in ‘Face of Evil’ and as for the Sandminer Crew in ‘Robots of Death’- we’ll catch up with ‘em later but sublime, just sublime.

'Uvanov really should be a Top 10 contender with this number but I'm docking him points for mislaying it after getting decked by Poul.'

‘Talons’ is to Top Hats what ‘The Gunfighters’ was to Stetsons, ‘Horror of Fang Rock’ has some smashing woolly hattery in the (light) house from Reuben and Vince. (Plus a bit of a stealth hat smash from Tom himself.) ‘Fendahl’ has some hot hat ethical debate, which is nice, but Gatherer Hade in ‘The Sunmakers’ is in another league altogether. Humbug indeed. Season 16 really hits it out of the park, with a thrilling variety of hattery in ‘The Ribos Operation’ and ‘Androids of Tara’. (Although I’m really not sure what’s going on with boneshaker to megalomaniacs everywhere, the Seeker, in the former story.)

'A very fine hat indeed there Mary.'

Season 17 has some good stuff from Lady Adrasta and cohorts in ‘Creature from the Pit’ and as for Fisk and Costa’s audition for Village People in ‘Nightmare of Eden’. ..beyond timeless vicar. Come season’s end and both Sorak in ‘Nimon’ and Skagra in ‘Shada’ have something really quite extraordinary going on. Then it’s pretty much all over bar the shouting and some re-used hats (notably from ‘Ribos’) in ‘Meglos’. As it were.

'Sorak- skirts close to hat greatness but somehow just a little too much going on.'

'This could have been timeless but crucially Christopher Neame isn't quite at ease with his hat.'

Into the Davison era, and the 80's as a whole and truth be told we’re back into the hat wilderness. Passingly decent effort from Richard Mace in 'The Visitation' but beyond that…There could be something I’m overlooking in ‘Black Orchid’, ‘Enlightenment’ has some stock piratical numbers but nothing’s really grabbing me by the lapels and shouting ‘Admire this magnificent hat!’ Likewise with Colin Baker, bar passing hattery from Terence Wotsit as Lord Wotsit in ‘Mark of the Rani’ and Shockeye’s rather feeble Tam o' shanter attempt in ‘The Two Doctors’. That said, there is the colossal magnificence of Lynda Bellingham’s Inquisitorial headgear in ‘Trial’. Same story with the McCoy era, truth be told, bar a vague frisson with Ken Dodd’s Toll Master in ‘Delta’ and the Caretakers in ‘Paradise Towers’. As for Kane and cohorts in ‘Dragonfire’, really, the less said the better- headgear less explicable than the episode 1 cliffhanger. Not that headgear has to be explicable but it really is just rubbish.

McGann, bless him, never gets a look in hatwise. Eccleston’s pretty barren on the hat front too, could be overlooking something in ‘End of the World’ but I don’t think so. ‘Father’s Day’ has some wedding-hattery but it’s nothing really attention grabbing for meself. Tennant has a surprising dearth of exciting hattery as well- possible moments in ‘Girl in the Fireplace’ and Trilby overload in ‘Daleks in Manhattan/Evolution’ but nothing really exceptional. Best moment is probably Joan and John Smith’s hilltop wander, yer, they’ve got some nifty enough barnets on there, but that really is about it. Matt Smith we shall return to but I’ve gotta’ give an honourable mention to Amy’s pirate hat in ‘Curse of the Black Spot’.

'Way to go girl'

Capaldi, nowt astonishing so far on the hat front, must try harder innit? Although Robin was pretty natty in 'Robot of Sherwood' and as for Missy...

'Yerse, definite potential there...'

Anyroad…the Toppermost of the Toppers for meself, as it were?

10) Matt Smith’s Fez. Perchance a surprisingly low placing and you may be surprised to learn this is Smith’s only entry. But yeah, he works a fine Fez mojo.


9) Tom Baker’s Crown Derby in ‘Horror of Fang Rock’. A powerful frisson, as it’s incongruous yet somehow brilliant and also, rather poignantly, a dead man’s hat. Powerful stuff. (I know Tom was by definition the hattiest of the hattiest but this is his moment for meself.)

'Superlative Tom, just superlative.'

8) Shaman Neeva, ‘Face of Evil’. It’s a spray painted cricket glove masquerading as future-tech, masquerading as a hat. Utterly brilliant. David Garfield wears it well.

'Cosmic reverend, utterly cosmic'

7) Autloc and Tlotoxl, ‘The Aztecs’. A fine double hander, the High Priest of Knowledge looks like he’s been busy down the primary school ‘flaming hat’ art class and Tlotoxl is just bizarre yet scintillatingly crap. Huzzah!

'A near insoluble 'Hat Off' for steam era companion Chatterton to judge'

6) Another double-hander, from Troughton and Ramo in ‘the Underwater Menace’ 2. Just what the hell is going on here?! Supremely crap yet magnificent, Troughton’s glee only adds to the vibe.

'Gosh and wow. It's hats like these that make the whole missing episode hunt worthwhile.'

5) Hartnell, ‘The Reign of Terror’. A majestically imperious hat for the ages.

'Respect Bill, respect.'

4) Gather Hade, ‘The Sunmakers’. Humbug and bunkum indeed sir!

'Bureaucratic twat-hattery to die for (and in, as the wearer will shortly demonstrate.')

3) Toos, ‘The Robots of Death’. Just missing the top spot due to some very tough competition but that really is a very fine piece of head wear madam.


2) The Inquisitor, 'Trial of a Time Lord' It's a wonder she wasn't put on trial herself with a hat like this one.


1) The Achimandrite, ‘The Androids of Tara’. Wondrous to give this to regular ‘Who’ guest turn Cyril Shapps. Simply masterful: Colourful, pastel, tasteful and ridiculous and Cyril is completely at one with his hat, a sublime extension of himself. Godlike innit vicar? Double huzzah with knobs on!

'Joyous Cyril, joyous.'
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Mid-life crisis 'Who' all over the local shop, or something.....As with David Tennant before him, in Peter Capaldi we have a genuine 'Who' nut from childhood, turned actor. Eye likely forever on the chance of getting the gig and the wish again granted. So a main man very much up for it. Although a slight sense that Capaldi himself sensed the time was somewhat out of joint for 'Who's' popularity in the wider stakes and an older Doctor being a bit of a risk. (Hah! and furthermore, double hah with knobs on!) So not surfing in on a wave of mass popularity/keen attention as with Tennant. Plus, vitally, a head writer/producer whose heart just ain't completely in it anymore and can be divisive/provocative at the best of times. Lawks.

'Talk to the lady hand don't fight it fanboy'

Now here we have one of the final instances of Moffat firing live rounds as opposed to blanks: Less is always more and story-wise this is largely the exemplar of that. Leave 'em wondering 'What?!/Why?!' So a definite outstanding qualitatively. But it's also significant in giving a first actual glimpse of childhood Doctor and again, kinda' game-changing with Clara's presence/influence on. Grump all you want fanboy, it's still outstandingly on the nose, if sentimental stuff. But hey, I like sentimental- what's the point in being a hard faced twonk if ye cannae' be a big old softie summa' the time, eh?

'Dark Water/Death in Heaven'
'Well fanwank surely can't get any more ill judged than this.....'

I'd love to give this one an outstanding but it really ain't all that.....So why's it on me list? Well, a good example of the Moffat 'hopeful two-parter derailed by one half'. In this instance, the second part. The opening installment is genuinely creepy'n'clever but by Rassilon's Time Trousers it all goes to, a'hem, hell in a hand-basket in the second. Cyber Brig, Mary Poppins Missy, Clara in the titles tipping a wink/flicking the v's. Nay, nay and thrice nay. Osgood apparently buying it to no lasting effect whatsoever. Nah.....Significantly bad. Plus a little bit game-changing in on screen confirmation of Time Lord gender swappability with Missy out in the open.

'.....er, can it?....'

'The Magician's Apprentice'/'The Witch's Familiar'
'.....oh crumbs Reverend.....'

And then this, me personal 'Who' bette noir, I actually find meself incapable of watching this one. Ouch. A writer who clearly wants out and is simply throwing cobblers at the wall to see what shticks, plus blatantly taking the piss out of 'Who', fandom, himself.....nihilistic crapulousness of the very first water. Awful vicar, awful. Outstandingly rubbish by any measure. Shudders and moves swiftly on.

'Heaven Sent'
'S'nice mind'

And then we get this, which I can quite comfortably divorce from the preceding and succeeding episodes: Linking theme fer sure but separate if not entirely discrete stories. Gobsmackingly outstanding on the acting (Peter Capaldi take a bow) and directorial fronts (Rachel Talalay likewise). Grimly humorous/humorously grim and Capaldi's finest hour alongside 'Listen', one of Mr Moffat's best ever too, although the Confession Dial doesn't make a load of sense if pondered too much.....

'Hell Bent'
'Oh Crumbs Part II'

Lucky I was happy to divide 'em as attached to this turkey, 'Heaven Sent' woulda' been dragged to the depths and no mistake. As said back in the main review, Clara and Me's Time Diner is so astonishingly duffly realised (exterior space shot) that it's almost some kinda' 80's Paintbox tribute/pisstake. Plus, yes, Me, a character that never really worked for meself and most egregiously of all.....Moffat cannot let it lie, Clara survives and just enough already. Shonky script too truth be told. Outstandingly bad 'Who'.

'World Enough and Time'/'The Doctor Falls'
'The horror, the horror.....'

Exactly the same problem as above- bit of a familiar theme emerging? Stunningly good first half, threatens to throw it all away in the second with yet again, unnecessary 'resurrection', detracting from both narrative and drama. Poor show indeed but the good far outweighs the naff here- outstanding in a good (if grotesque) way.

'....Ms Potts- she dead'

'Twice Upon a Time'
'Ah, spakk it.....'

And so Moffatt bows out with all the usual suspects- uber-powerful AI/Micro-tech, sentiment (very effectively here, granted) wins out over coherence/sense. Minor meta-significance for our third actor to take on the mantle of First Doctor in David Bradley. Very good he is too and the whole thing ain't half bad, especially considering Moffat wanted out from the gig at least a couple of years prior. Close but no cigar, I can't stretch to an outstanding but yeah, mega-significant turning point with the arrival of Thirteen, our first female Doctor. I couldn't squarely call it a game-changer, proof of that pudding'll come Series 11 and however Jodie Whittaker, Chris Chibnall et al choose to play their hand. What we have here is kinda' via N.F.Simpson circa 'A Resounding Tinkle', an ennui overload Uncle Ted changing sex and so on......

'.....take it Time Lady Man'

So yeah, interesting all the standouts, good or bad, are here Steven Moffat. There are some other very strong stories'n'contributors in this era but by this stage of the game, Moffat absolutely owned 'Who' and made unto his own snarky image it's a thing of both beguiling, beautiful pathos and oftimes, ugly, broken bathos.....H'mm and double h'mm Reverend, assuredly time for either a change or a rest, series 11 and further/Wibble XIII I await ye with no little interest.....


'The Eleventh Hour'
'When dreams become reality.....'

The Jammy Dodger! As it were. This opener simply significant and kinda' meta-significant on a couple of counts. I'd say it just misses out on an outstanding in terms of story. Our author and new head honcho about to drop the ball in no short order come next story. Significant for being Eleven's opener and the youngest actor to yet take the part. Which is where yer meta creeps in a tad in terms of expectations being utterly defied- there were a lot of very worried viewers out there, 'how can they give it to this inane young whippersnapper?!' Smith proceeded to pretty much hit it out of the park. Which was nice.

'Vincent and the Doctor'
'.....that's living hell.....'

Vaguely significant for being (I'm pretty sure!) the first instance of yer popular song ( 'Chances'- Athlete) being used in the 'Who' soundtrack. But basically here for being absolutely outstanding, dealing with a heavy subject in simple but well couched terms, stellar performanes all round.

'The Pandorica Opens/The Big Bang'
'....can't you see?'

Now this, this one.....is outstanding, by the skin of its teeth. Moffat stretches the timey wimey almost as far as he can reasonably take it. (Although it'll go to breaking point and beyond come the next Christmas special!)

'From Eternity to Here'

But I'd say one of the main reasons it qualifies is that Moffat here actually writes the best ever 'ending' 'Who could wish for- Matt Smith almost becoming the 'Lord of Fiction' speculated upon in the TARDIS Eruditorum 'Mind Robber' essay. (Serious genius- Sandifer on eloquent, evocative and really quite moving form: Respect and majorly recommended.) Eleven emotively wished back into existence by Amy Pond at her wedding- a story of hope'n'redemption that sings and then some.

'The Doctor's Wife'
'The winning entry of Blue Peter's 'Design a Doctor' competition'

Once again, an utterly outstanding entrant in the Matt Smith era. Also significant in the first open hint/confirmation that Time Lords can switch gender with the talk of the Corsair. And again so with a first (for the TV version) appearance of a walking, talking personed-up TARDIS. Memorable and poignant.

'The Name of the Doctor'
'You want filmic.....'

Uber-significant for introducing the previously unknown 'War Doctor' incarnation, plus the fact that Clara Oswald is responsible for getting the Doctor out of every mess he's ever been in. Cue online fan meltdown re: canon, too powerful companion figure vs Doctor wibble etc. As for the actual story here....very, very good but certainly not outstanding. 'Who' treading water/Moffat getting bored, the whole thing vanishing up its timey wimey fundament Reverend.

'The Day of the Doctor'
'.....we'll give you fanfic, sorry, filmic.....'

This one also, whilst great fun is 'close but no cigar' on the outstanding front. Although truth be told, Moffat does as good a job as humanly possible, akin to Terrance Dicks with 'The Five Doctors' back in the day.....

'Plus bunnies'

.....inane runaround doesn't being to cover it, despite the epic overtones. Ultimately achieves a kind of game-changing/reversing meta-significance. Which is a thing......

'Mrs Gantry still insists it's the most iconic moment in all 'Who' '

.....you have yer reveal that Gallifrey wasn't actually destroyed but rather 'hidden in time' by the Doctor/s. Plus a near painful, yet somehow just the right side of emulsional, all the Doctors CGI moment, plus Peter Capaldi's eyebrows. Which is nice.

'The Chuckle Doctors'

But the whole thing is beginning to feel dangerously bloated and in danger of toppling and Moffat's got another Doctor and change to go. By crimminy he shoulda' been free to exit here, the finale that 'Big Bang' moment, with a further Doctor (or sequence of) imagined into being.....

'The Time of the Doctor'
'Simply beyond hilarity Reverend.'

.....not what we get here. Where the wheels of the bus fall off absolutely in terms of quality and coherent writing/plotting for meself. Moffat attempting to tie stuff up that really might be better swept under the time carpet and, ooh, lordy.....painful. Outstandingly poor 'Who'- shame. Granted it's a game-changer in giving the Doctor a new regenerative cycle for One/Twelve/Fourteen/Whoever but nah....

.....an era that severely lets down an often captivating leading man. One who like Troughton before him, palpably switches to auto-pilot about a season and a half before his exit. And auto-pilot Matt Smith is still great value for money but I think the bigger problem, the more significant factor coming out of this version is we also now have auto-pilot Steven Moffat. Which is a massive shame- yes, he's divisive but on form is up there with the best of the best in 'Who'. Much maligned but much misunderstood in me humble.


183 Odd Entries Ago....

.....All this warbled, speaking for meself, I still don’t want the Doctor to be a woman.....(tumbleweed)..... Riiight...Trans-gender not an issue but you still don't want a female Doctor? Excuse me while I find a second gun so I can shoot myself in both feet simultaneously-The Crown of Ineptitude is mine! Brilliant. But, but, but..(scrabbles around desperately for something approaching coherent thought)...if the character had been some kind of Orlando, gender blending figure from the start, absolutely no biggie. If we'd already had a female 2, 5, 9 and 11 it really wouldn't be an issue. 50 years down the line it just kinda’ jars. ('You see that hair there Chatterton? That's what I call a hair and I'm splitting it!') I doubt televised ‘Who’s’ the forum for Orlando-esque, ‘Man Who Fell to Earth’ androgyny but I may be way off beam. Or perhaps they’ll just sweep it under the carpet with ‘I’m a woman now-deal with it’.

'Hah! Humbug!'

Yer Story in Hand

Chapter XXXV: 'In which the Doctors and fandom arrive at a (dis)enchanted place and we must leave them there/lean into it....'

'Yup, that's the future.....incoming!'

Well, a little further down the line for a full on look back at the Steven Moffatt era of 'Who'. As for his second leading man.....It's been weird. Because it seems to have gone in no time. From Capaldi's slightly awkward 'live introduction' reveal to the 'Deep Breath' slightly awkward bonus Matt Smith phone in: 'Yes, I know it's an older Doctor but give him a chance, eh?' (What were they thinking?! It'll be a woman next I tell ye!!)

'I Die: You Die.....'

And so to here, as we arrive in the blink of Time's eye at the, for some, apparently simply unacceptable, full, in yer face and proper reveal of Jodie Whittaker as Thirteen.* Of which there's scant little to say at present so returning to Capaldi- his last bow, his last wow or his last 'ow!'? Conceivably a bit of each it's actually turned out not half bad and nowhere near as half-arsed/cocked (excuse me adjectives vicar) as I feared. Some caveats but pretty darn good and the hope of considerably bryter layter innit Reverend?

'We are Glarse'

A Final Bit Blurt: 10 Random Festive/Regenerative Thortlets

1) Gatiss's Captain is so obviously gonna' be a Lethbridge Stewart but it's very well done and played exceptionally by Gatiss.
2) And the 'White Flag' 1914 temporary armistice moment- it's cheesy as hell but if it don't get you, check yer pulse.
3) As for our 'Glass' super-AI future projection woman, it's all too conveniently vague, uber-powerful and half-baked. But not a de-railer.
4) Rachel Talalay gives us a nicely dark'n'broken vision of Villengard and its burned out weapons factories.
5) The super-scuttler (literal) octo-spider far future Daleks are.....daft.

'Time waits for no man.....'

6) And Rusty returns. Really, whatever, shoulda' happened afore now and here nowt but plot expediency/convenience.
7) Peter Capaldi is an out and out tour de force mind.
8) The explanation for the David Bradley First Doc', face 'all over the place' prior to regeneration is cheeky but good.
9) As for the 'smacked bottom' moment- timeless arsery with some great Capaldi reaction.
10) The opening, '709 episodes' ago is so beyond meta it's out the other side, I just wish Bradley had toasted all of us at home again!

'.....but.....(...'multiple operations failures'- in no way a meta comment on the state of the show, eh Chris?)'

I mean, what we have here in terms of 'story' is very, very slight indeed and Moffat's authorial sleight of hand ain't quite deft enough to conceal it but.....I don't really think that's what he's concerned with. Largely only here due to Chibnall's unavailability/not wishing to start with a Xmas story this is.....an echo, a ghost of Moffat 'Who' and by and largely an appropriately haunting but also hopeful coda. Quite why it has to have the First Doctor, beyond Moffat can do this and some regenerative navel gazing is not entirely clear, I grant ye.

'.....it'll hold the door.....'

And so Moffat very much ends where he began, with all powerful, sentient future tech getting things mildly arse about tit/out of kilter, as in 'The Empty Child/The Doctor Dances'. Everything here predicated upon a slight 'time jolt/error', the Testimony's ( Glass Woman) harvesting of the Captain's memories being somehow bungled by two Doctors/TARDIS's in the same space/time. I think. It's as waffly and vague as wot I just wibbled innit Reverend? But as ever in Moffat World, nobody truly dies, everything's alright forever etc etc Twelve returns the Captain to his time line just that little bit conveniently closer to the armistice, all's cosy that ends cosy. Stuck record I know but this is definitely a minor points docker for meself. Which is a shame, as this is a way better bow out than 'Time of the Doctor' but it's also no uber-classic.

'.....for a lady.....won't it?.....'

With those heart-warming, cosy resolution themes in mind, we come to Testimony Bill and it's Pearl Mackie who suffers just a tiny bit if anyone does here. Stuck record again but shoulda' been allowed to sacrifice herself, not resurrected in 'The Doctor Falls'. She plays it excellently, some of the humour with Bradley and Capaldi make for high points of the episode. Which also gently pokes at the 60's iteration of 'Who' without descending into outright unkind/unfair. Plus the reality with 60's 'Who' was never that black and white in terms of sex and other isms in me humble. We also get the briefest of inevitable Clara moments and Nardole for a final cuddle. Stay warm, eh?

'......or propel her into the ether with a punt up the posterior: 'The Girl Who Fell to Earth' coming circa 2018'

And it does build as we move into Capaldi's final speech to self, show and future and.....love that initial overhead from the back shot of Whittaker. The ring falling, the not entirely unexpected exploding innards of the TARDIS moment and she's atumbling alarmingly.....'Aw, brilliant'? (Love that they're keeping her natural accent!) I hope so, there's really nowt to go on here beyond 'looks very hopeful but could pan out unknowably.....what happens now Mum?' For what we have here, ooh, a mildly outrageous 12.5, amazingly good, low key emulsional 'Who' with some real heart. Peter Capaldi you were an amazing Doctor, seriously thank you.

As for yerself Mr Moffat.....so long, fare well, thanks for all the (very arch) kitsch. By and large it's been very good fun , you son of a frock/novelty party gun. Love, peace, convoluted contrafibulations etc etc

'Cheers!! I adore this show in all its iterations**- yer very good health one and all'

*Which I kinda' continue to get and simultaneously not get: Obsessive casual, easily pleased, perpetual Trad Frock, Clarse of '68, inducted '73, Parsed Out Somewhen between the forever then and now Peace, Peoples, Peace

**To varying degrees and as the mood takes me, granted. And I'd be lying if I said I felt 'Who' ain't in a more than mildly burnt out/compromised state in its TV variant at present- put a mind probe to me head and I'd probably say a rest was better than a change at this juncture but.....I remain intrigued/hopeful and time'll surely tell.....***
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Gor Blimey.....

'The Girl in the Fireplace'
'Tragical history tour- the long way round'

Significant?Yer, for the more overtly sexually aware take on the Doctor with mockney webel Ten. A Time Lord truly willing to fly Madame du Pompadour to the moon and wear his broken heart plus sulks on his sleeve over the course of his tenure. Staying on story, what we've got here is sometimes glib'n'shmaltzy but oftimes outstanding with da poignancy.

'Love & Monsters'
'This is the dead land.....lips that would kiss, form prayers to broken stone'

Ground-breaking for 'Who' with its to camera narrator, Elton. Although likely a one time deal. Meta-significant nods'n'winks to fandom all over the shop. And outstanding into the bargain, one of 'Who's' most important, underrated and human tales for meself. Darker, harder, brighter, better, stranger, somehow just more.....

'Army of Ghosts/Doomsday'
'Think we can make this any sillier?' - 'Oh, f'sure.....'

Not here for any especially positive reason on my part but significant all the same. 'Who' finally plays the 'Dalek-Cyber' showdown card, with the inevitable Cyber-arse kicking ensuing. Probable meta-significance for really beginning the kitchen sink overload modern 'Who' finale.

'Human Nature/The Family of Blood'
'Show me a man.....yerse.....'

Ground-breaking for 'Who' blatantly hopping form within and outside itself, from book to screen and kinda' back again latterly with Verity Newman's 'A Journal of Impossible Things'. (I know Eight pulled this trick with the companion list in 'Night of the Doctor' but this was filmed first innit?) Again with the game-changing in the introduction of the DNA concealing Chameleon Arch. Plus simply double plus outstanding in terms of absolutely everything else, how could they top this?

'Feel no evil'

Oh. right. Little more to be said about a gob-smackingly outstanding little but by no means slight story.

'The Doctor's Daughter'
'Collective gawp at the direction of the 'plot'......'

As opposed to the gob-smacking slightness we have on show here. Outstandingly bad among a fair few possible Tennant era contenders. Meta-significant from the 'hilarious' jape of the title on down, modern 'This Week's Gimmick' 'Who' at its most truly egregious. The stuff of nightmares and then some. Game-changing (not!) in a crapulously underwhelming way.

'Silence in the Library/Forest of the Dead'
'Goodnight fanboy- don't have nightmares'

Now this is Steven Moffat on admittedly still very, very good, nah, spakk it, outstanding form. But it's also ground-breaking and by the pricking of me thumbs, a huge caveat this way comes.....future Mrs.Who, River Song, a character/cipher whose influence on and relationship with much modern 'Who' has been significant and unfortunately not a little tedious personally speaking. No comment on Alex Kingston, who does a superb job over the immediate and longer term but is dealt more than a little of a bum hand from her character's creator on occasion. Some of those 'spoilers!' moments are truly wince inducing and I know sometimes meant to be but really.....just don't, eh?

'The Waters of Mars'
'Make a wrong choice Doctor, any wrong choice.....'

An utterly outstanding, dark classic for meself. Also significant and kinda' ground-breaking for the introduction of the 'Fear my name- I am Super Who' variant of our titular wanderer that has sent a wrong note through much of the modern vintage for meself. Any series post Eccleston, truth be told. Sometimes uber-brilliant but oftimes caricature over character, grandstanding over coherent plot.

'The End of Time'
'Fear the Eyebrows of Rassilon!'

Significant for being Ten's last bow- sometimes taut and emotionally dark, other times simply inane gibberish. Which would be a fair summation of Ten's tenure for meself. Undeniably as stellar in terms of viewers/popularity as yer '63-'65 or '75-'79 vintage but in many ways a very hot mess indeed and as atypical as Pertwee for meself. Plus the story itself here is game-changing in an underwhelming way with the 'Gallifrey's back- no it isn't/yes it is/ hang on, where did I put it?' shtick and look how that one's played out Reverend.

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Kert Gantry

Author:Kert Gantry
Loving the Who from a very early age and invariably banging on about it. Hence the blog.

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