With the unraveling of a scarf and the donning of a smart cricket jumper, the Fifth Doctor’s era begins in earnest in the opening story of Season 19.
Gwen learns of another disturbing aspect of dealing with the Rift, and we all take a blow from Chris Chibnall’s ability to write emotionally charged scenes.
At long last, our enjoyment of the Fourth Doctor era in our rewatch of “classic” Doctor Who stories comes to a close with the final story of the 18th season.
We spin up some oldey-timey footage of circus sideshows and try and determine exactly who the ‘Night Travellers’ were, why they were doing whatever nefarious things they did in a century ago, and how they were captured in celluloid in the first place.
With more affection for Anthony Ainley than we can reasonably ‘master’, we collectively praise a well-told and well-executed long-game villain payoff.
Phil Ford is back in the writing credits for one of the strongest humor-horror-high-anxiety stories of the second Torchwood season, but we have a difficult time discerning which categorization best fits.
An immensely detailed storyline is condensed into four episodes that confuse us as much as entertain…and in a few of our opinions, more so.
It’s the second season story where not-dead Owen is a horrible grief counselor, Martha leaves, and we all agree that one can effectively leave it at that.
Staying in bright holiday spirits, we are visited by a ghost…or rather, The Ghost, the focal point of the Twelfth Doctor’s third holiday special (depending on how you count them).
After a bit of friction between writer and script editor on the balance between gothic imagery and science, the story divides our team on what we find interesting, entertaining, or worth the time investment.