Who Reviews The Face of Evil by Matt Rabjohns

 

Sometimes it’s the untold stories that are the most interesting. What immediately grabs one about Chris Boucher’s debut script for Doctor Who is he does something that had seldom happened in the show before. He speaks of an untold adventure within his story itself. The Doctor has once before visited the planet of the Sevateem and the Tesh and had something to do with the great computer Xoanon. It’s interesting when we get snippets of unseen untelevised adventures, as it leaves the mind free to dream up scenarios of what could have happened in these spoken of stories. 

And the great things about the Face of Evil most certainly do not end with just the mentioning of an unseen previous adventure. First and foremost, there is the brilliant introduction of Louise Jameson as Leela. What could I possibly say about Louise that hasn’t been said before? I am a massive fan of female characters in any show who are shown to be tough and able to take care of themselves. And the Sevateem Warrior Leela was and still is one of the most ballsy women I have seen in any TV show. She was not a screamer, she took the fight to the enemy, even if they were far deadlier than she was. Louise always gave her a gritty and real edge that was always superb to watch on screen. Her rather short and shabby leather costume too must have been a reason why the number of Dad’s in Doctor Who’s audience went on the increase Louise still to this day with Big Finish treats Leela with conviction and zeal and right from her first story she grips the attention and is glorious to watch on screen.

And it is not even greatly obvious that when she first joined Tom Baker in the show, they initially did not hit it off well. But now they seem to be the best of friends and this is great to see. It adds to their adventures no end. But as I say on screen one really never gets the feeling that they haven’t as yet hit it off. This to me displays what such quality actors they both were. They are excellent from the get go, already like a well-oiled team. 

Tom is on fine form and leads the story brilliantly from the get go. His Doctor is never less than incredibly diverting and interesting to watch. He’s never predictable. 

One slight oddity of the story though is Leela’s father is seen in the first scene. He then takes the test of the Horda and dies a horrific death in his daughter’s place and after all this she never speaks of her father ever again. I find this very strange indeed. But I am glad Big Finish have addressed this odd issue in their audio range as to me this always rang a bit strange. But for me that is the only strangeness in the script. 

The realisation of the computer Xoanon is excellently done. One really feels this is a psychopathic and deadly computer we are seeing the Doctor face off against. And that he feels partially responsible for how Xoanon has turned out adds a great sense of depth to the storytelling. The multiple screaming voices of Xoanon in the Doctor’s ears in part three make for a cracking good cliffhanger. The eerie girly cries of “Who am I? Who am I?” really disturb and leave one hungry to see how the situation is resolved. 

The Tribe of the Sevateem too are all superbly realised characters. Chris Boucher has a great grasp of character, just as strong as the late Robert Holmes. Victor Lucas as the leader Andor really sounds uncannily similar to Valentine Dyall in his vocal tones, and makes for a great leader of the tribe. Leslie Schofield too is equally excellent as the devious Calib. Brendan Price gives Tomas a human and decent edge that makes him another likeable member of the tribe. But it is definitely David Garfield as Neeva who steals the show as the shaman of the Sevateem. He is a joy to watch on screen, and only he could wear a cricket glove on his head and not look stupid! He gives Neeva his all, and he’s a brilliantly rounded character who dominates every scene he is in. The way he displays his faith in Xoanon being shattered too is excellent. 

The Tesh come across as soulless and unnerving too. Leon eagles as Jabel is particularly nasty and single minded in his portrayal. His smug, self-assured manner makes him a character one loves to loathe. It is very amusing how after Xoanon is finally delivered from his madness that the tribe of Sevateem and the Tesh have to learn to come together and work something out for their future. It is also highly amusing to see how Leela actually basically thrusts herself into the TARDIS and the Doctor’s journey is space and time too. She is so wickedly naughty as Leela, not only fiercely loyal and dependable and lethal with a knife and Janus Thorn. 

The set design of the story is very good too. The forests of the planet are reminiscent of the excellence of the alien jungle in Planet of Evil. And the stone carved face of the Fourth Doctor in the mountain is brilliantly achieved for the time. Perhaps, maybe the only slight problem is the scenes with the Tesh and Xoanon do seem a trifle over lit. But for once this does not impinge too much on how good the story is. 

So, all in all, The Face of Evil stands as a great introductory script from Chris Boucher into the worlds of Doctor Who. It’s a very fine story indeed and definitely deserves the mantle of “classic”. And as an introduction to Leela it is almost flawless. I think it’s a crying shame that Chris would only contribute two more stories to the Tom Baker era after this story. He is a very gifted writer indeed who I feel could have given a whole lot more to the show. It is good to see he would contribute greatly to the BBC original novels range when it came about in the 1990s but I still would love to see more from him in the screen way. 

The Face of Evil comes from Season 14. It’s a season rich with Doctor Who classics. Robert Holmes and Philip Hinchcliffe as Script Editor and Producer saw the show head in a more meaty, adult and gothic tone. It’s little wonder this era of Doctor Who is called the golden age of the programme. The Face of Evil ably proves why all on its own. 

Who Reviews The Stones of Blood by Matt Rabjohns

Seldom has there ever been a show that can successfully blend within one story several different tones and still be successful. At first when one comes to the Stones of Blood it can at first really seem like two stories put together. But it isn't, it is just really clever. It's a brilliantly inventive and superb story from newcomer at the time David Fisher. It's a very rich script populated with superb set pieces and a superb villainess and superb alien creatures.

Also, the Stones of Blood is noteworthy for being the 100th Doctor Who story to air on British TV, so it is rather a celebratory story for me too. And The Stones of Blood as a part of the Key to Time season also works so beautifully well indeed. There is so much packed into this four parter that never once does it seem like a debut script. David Fisher definitely has a keen grasp of character and also of sparkling dialogue too.

Tom Baker for beginners is on very fine form in this story. I love the scenes of where he takes on his own defence when put on trial by the Megara, the justice Machines. I think these scenes are just endlessly amusing and yet the balance is just right. Tom never goes over the top into farce at all.

Mary Tamm has already firmly found her feet as the original and best form of Romana. She is such a great asset to the Key to Time series. it's good to see a friend that at last the Doctor treats as an equal more than just a time space pal. She holds her own against the Doctor and is just as winning in every scene she is.

Susan Engel is simply delicious as the Cessair of Diplos otherwise known as Vivien Fay. She is so wonderful to watch as a villain, but she is not just some cardboard cut-out without character. She approaches the role with zeal and relish and it's no less than an awesome wholesome joy to see her on screen. She was an inspired choice for the role of the criminal of Diplos and the story is lifted so much by her aplomb.

But the real winner of performance in this story is Beatrix Lehmann. oh, dear wonderful Beatrice. What can I say about her that hasn't been dwelt upon before? That she totally steals every scene is an understatement. I truly wish Professor Amelia Rumford could have become an older companion. She would have been a revelation in the TARDIS. It's such a crying shame that she is only in this story. She has the exact same appeal as Jago and Litefoot, and we deserved to know more about her! The scene where she berates the Doctor for losing his marbles is priceless and totally winning TV! The Stones of Blood most definitely would not have been the same success it is without Beatrix. She truly deserves the mantle of one of the best one-off characters to have ever appeared on the show, perhaps maybe even THE best one-off character ever, yes, I do love her that much!

And the Ogri are a superb looking menace. And earlier scenes of blood being sacrificed on the stones is amazingly chilling to watch, especially as a heartbeat sound effect plays through the scenes. It's an eerie and creepsville score. There is also a very explicit scene where a camper and his girl both lose their lives as their essence is stolen by the Ogri and I am sure that this scene had Mary Whitehouse again reaching for the phone to berate the BBC once more. But for me it's a very very effective and truly bleak scene among many in this superb story.

I can't even really think of any major faults with this story at all. The Stones of Blood fits wonderfully into the Key to Time arc, and yet again the Key theme isn't overdone and doesn't dominate the storyline which is a wise scriptural move.

The ever-present squawk of crows too and shots of them throughout the story too are really well handed and add an eerie edge to the drama. It's really quite a shame that perhaps until Battlefield in Sylvester McCoy's era that this is the last time the show really does full on gothic. It's a wonderful genre of Doctor Who and the Stones of Blood illuminates this brilliantly from the get go.

Darrol Blake's direction is assured and smooth, and he certainly gets his monies worth from the entire cast of this story. I'm quite surprised that he was never asked back to the show to do another slot of directing after this. The Stones of Blood is a brilliant mix of styles of the gothic and the space age mixed together in a wonderful cake that is just so delicious to eat time and time again.

The Mothership Our Mrs Whittaker by Matt Rabjohns

Jodie, you make me smile every single day

When I give my Doctor Who DVDs a play

I can't thank you enough for the immense joy

You have bought to this mad keen fan boy

Jodie you make me wanna jump with delight

Your performance is enough to light up the night

I can't thank you enough for the hope

You've given me in my own personal pain to help me cope

You're a tonic, you're a breeze

Just like a friend who brings me to my knees

You're a friend, even if we've not met

If not down here then we'll have heaven yet

How you have made me forget my woe

One day I hope to be able to show

And to meet you and let you know

How much happiness and tears have been on the flow?

Since the first time you fell through that train's roof

Just to hit me with the truth

That you are perfect for the role of the Doc

And I know I'm not the only one in this flock

Jodie you make me feel good with that smile

I can even raise my own for a little while

Watching you brandish your sonic with a flourish

Is just so fulfilling and lovely and moreish

Jodie, you make me want to punch the air

You are a time lady and you truly care

I’ve heard it from fans who’ve met you out there

That would be a dream for me, oh, what a vision to share

You're a talent, you're a blast

Even when lying hates have their shadow to cast

We know with fans like us it won't last

We sail the good ship Whittaker and we raise the mast

How you fight the monsters and the evil

Takes away the very edge of my own upheaval

Makes me think there is some good to life

The man who’s your husband has such a treasure of a wife

Who Reviews Nikola Tesla's Night of Terror by Matt Rabjohns

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I have always been an avid fan of history. I have the entire collection of Horrible History books. Yes, I know they're for kids but they are just so interesting and revealing and what I love about Doctor Who is when it does history, that it does it so well. It never insults or belittles all those figures throughout history who in some way or other either helped shape or damage the world as we know it today. I particularly enjoy watching stories about historical figures that I know actually next to nothing about. I had heard of Nikola Tesla before this, but had never understood quite how much he had done in aid for our modern world. I always take delight in finding out about these sometimes-overlooked men and women who helped shape the world as we know it today. It’s always so very interesting and revealing and sometimes very heart-warming or heart-breaking indeed. ​

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Nikola Tesla's Night of Terror truly feels swamped with the feel of the classic era. In that it begins with a short chunk of time with our historical scientist of the title trying to get funding for his new project with electricity. Now in this day and age we take electricity totally for granted, but when watching this story, I was wondering what this power source must have been like back in the days when it had not actually been realised for long. Its little wonder that it was treated with fear by so many people. ​

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Goran Visnjic is the perfect choice to play the struggling scientist. His Tesla doesn't come over as too annoyingly aloof. In fact, he injects him with just the right amount of pathos and feeling so as to not be a failure in the role. Quite the opposite in fact. His scenes where he is totally flummoxed by the Skithra when they kidnap him and his willingness to give himself up to save the rest of the planet from destruction display him as a decent human being. It’s a very solid and confident performance that sells the character perfectly. ​

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Robert Glennister returns to Doctor Who after having portrayed Salateen in The Caves of Androzani with Peter Davison. Robert has long been a favourite actor of mine. His portrayal of the somewhat arrogant business man Thomas Edison are superbly performed. Edison's verbal slanging matches with Tesla are excellently performed and both men deal so well with the script. The characters truly feel real and Goran and Robert bring history to life so well. Edison's one of those well-formed characters who Robert gives just enough sense to in his performance so as not to just be a 2D nincompoop. ​

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Haley Magee is understated but sublime as Tesla's assistant Dorothy Skeritt. It was also a relief that in this story she was only portrayed as a friend of Tesla's and not some bumbling over the top silly love sick character chasing after the hero of the piece. One can easily get tired of that sort of character which have reared their heads in all too many modern era Doctor Who stories. But Haley is extremely likeable and is simply a really decent character. I can’t say I've seen Haley in much else on TV, but judging by this performance she is in for some great future as an actress. ​

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Anjli Mohindra (of the Sarah Jane Adventures) is also a scene stealer as the Queen of the Parasitic Skithra. It’s wonderful to see her portray a villain, and she ticks all the right boxes for me. She is nasty and vicious, and a delight to watch on screen. Her final showdown scenes with Jodie Whittaker are exceptionally charged and palpably performed so that the story comes to a well realised and great conclusion. ​

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The Skithra themselves are well realised too. The scorpion like insectoids are extremely unsettling although maybe perhaps The Queen looks rather similar to the Racnoss of the David Tennant era of the show. Maybe they are related as a species? It certainly looks like they could be. ​

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Segun Akinola's music score too has to again be applauded. He gives this historical story the right flavours and backdrops. The music is sometimes creepy, sometimes moving. He is shaping up to be a fine replacement for the legend that is Murray Gold. ​

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This story works very very well as a pseudo historical. Whilst not being quite as emotionally charged as either Rosa or Demons of the Punjab, it does however treat Tesla's character with immense respect and as a result he joins the legion of superbly realised historical characters that the show has brought to us over its long and wonderful history. ​

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Jodie Whittaker as the Doctor also just keeps on going from strength to strength. Her Doctor's charm seems effortless in working its magic on me. She is at once more sympathetic and approachable, but when the Earth is threatened then we get to see the deeper thinking and more angry side of the Doctor's nature. Jodie performs at the top of her game and is just so mesmeric to watch on screen. In fact, within this story there were far more larger shades of past Doctor's traits in her. There was a definite streak of the Third Doctor when she is appalled by the actions of the Skithra. And that her plan seems to backfire then she reveals a trump card smacks of the deviousness and calculation of Sylvester McCoy's seventh Doctor. Jodie plays the part so intensely. ​ And I'm not ashamed to say I love her persona to bits.

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Bradley Walsh as Graham is shaping up to be one of the best characters to be a companion in the whole of the modern era. His good humour and his good willingness to keep the snippish Edison in his place makes him intensely likeable all over again. It was a master stroke to get this man to play one of the oldest companions in the show. It’s a masterstroke and a breath of air to have an older companion of a more mature and assured outlook. Bradley is simply phenomenal as Graham and he gets some great lines in this story. ​

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Mandip Gill works well along with Goran Visnjic, when Yaz is charged with looking after him. It’s also great to see our companions in historical garb. That's another area where this show always succeeds, in its costume design department. And I've always said that they seem to cope far better with historical costume than futuristic design. The stories always look visually appealing and sumptuous and just exude the feel of the era that are intended to portray. ​

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Perhaps it’s only Tosin Cole as Ryan who has to suffer the "third companion a bit sidelined" effect in this story. In fact, apart from a few lines he doesn't really get to have a major impact on this story at all. But what little script he does get is still delivered with aplomb and I still wouldn't be without him, as the crew wouldn't be the same without him. It’s a testament to Tosin's performance in the role. I wouldn't be without any of the three companions of the Thirteenth Doctor. They truly do always feel like a family more than a TARDIS crew. ​

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This story's smaller cast of characters is a major plus point for it. It means that the characters involved all get given some excellent moments to shine and all the acting is of first-class prowess. It means that their characters are more defined and relatable than in several other modern episodes where the characters tend to be lost amidst the confines of only having fifty-minute episodes now in the modern show. But here the smaller cast list is most certainly a good idea, and the story is all the stronger for it. ​

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There is also a very good dose of action through this tale, which is well directed and performed by all involved. The human skin shells of the Skithra servants too are very very creepy indeed. The twisting red eyed faces lend them a disturbing and nasty aura and yet another success as a lethal Doctor Who alien foe. ​

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One does wonder though why at the climax to this story that the Doctor doesn't remove Tesla or Edison's memories of the TARDIS and her from their memories. Maybe her removal of Ada Lovelace's and the WW2 spies’ memories in Spyfall was because they were involved in more dark and dangerous moments in history? Well I don't know, but it does seem just a tad odd that she doesn't give the same treatment at the end of this episode to the two main historical characters of the piece. ​

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However, this is only the teensiest little gripe about an otherwise hugely entertaining story indeed. That this is the first script for the story written by newcomer Nina Metivier is not at all apparent. In fact, it seems more like a tried and trusted writer being used, so this is a testament to Nina. Let's hope we get a few more stories from this lady. Nikola Tesla's Night of Terror certainly exudes ounces and ounces of excellent scripting. ​

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Chris Chibnall has proved himself an extremely competent and worthy producer of the show. In fact, so far Jodie's era has, at least for me, been an exciting, emotional and brilliant rollercoaster with so much story variation and so much verve that one is astonished that this show has now been running for over 55 years. And there have been superbly realised and characterised alien races and menaces for the Doc to face off against so as the feel of the show is one of freshness and gargantuan appeal. Doctor Who clearly is going to last forever, isn't it.....??!

Who Reviews Orphan 55 by Matt Rabjohns

Doctor Who in series 12 has begun with an increased focus on action. I am in no way saying that series 11 was lacking in this respect, as it truly wasn't, but so far series 12 seems to be grander, more epic and definitely more adrenaline fuelled. But is this at the expense of the superb run of stories we had last series? I can answer that question with a resolute no.

Orphan 55 starts of very, very like an old Sylvester McCoy adventure. In fact, several elements of Paradise Towers raise their head right from the get go, only this time it is not Mel wanting a holiday but Graham. Although the place they land up in is very different to the grubby, murky Paradise Towers! With some pretty stunning location work in Tenerife the episode certainly looks incredibly bold and vivid.

Graham and the rest of the gang are then transported by transport cube to Tranquillity Spa. Things look splendid and attractive and clean and warm and fuzzy. But this is always a complete misnomer in Doctor Who. Maybe in this respect the script does seem perhaps just the slightest bit clichéd. So many stories are based on the crew of the TARDIS landing in an apparent Heaven which turns out to be hell. But where the story does succeed is in the acting and the inherent drama department.

Firstly, Jodie Whittaker gives a stunning performance. The care and concern of her incarnation of the Doctor is wonderful to behold after the darker aspects of previous new era Doctors. So far, she has been about compassion and consideration. And for me at least this has made her last two seasons wonderful to view. She was most assuredly a wise choice to be the first woman to play the Doctor officially in the show.

Tosin Cole gets to have a good strand of storyline with Gia Re's Bella. One can almost be tempted to think their rising closeness over the course of the episode might lead to something lasting. It’s a real pang of emotional power when the story resolves with Ryan and the gang reluctantly having to leave Bella and her rather less than perfect mother to face the villains of the piece, the hideous Dregs.

Yes, the Dregs are a very creepy design. And the revelation of what they turn out to be is sadly believable and this part of the story comes over very strongly. Doctor Who has frequently housed some subtle moral pointers within stories and this one is no exception. In fact, I would go as far to say that since Jodie became the Doctor the Dregs are the most fearful and viciously portrayed aliens she has yet faced. They certainly would have kept me up at night.

Other stand out performers are the wonderful Julia Foster as Vilma and Col Farrell as Benni. Vilma's hurt at the loss of her friend is palpable and jarring. And yet she is given some wonderful backbone when she buys the other characters time to escape by bravely facing off against the enemy with venom and defiance. These two make a thoroughly convincing pair given that the limitations of a 50-minute-long story mean sometimes true depth to characters may be lacking. But in spite of the format these two characters do seem more real than many others in pervious new era Doctor Who episodes.

Laura Fraser is also another excellent performer. Although her character of Kane does come over as not the best Mother ever in the world. The embittered and hardened soldier with a heart hidden behind a frosty exterior. Her relationship with Bella is done very well, there are some serious electrical sparks between the two of them as the story progresses. Yet again the confines of such a short story don't inadvertently detract from the great performances. Somehow Ed Hime's script gives his characters a chance to immediately grab you so that you feel at once for every single character in the story.

James Buckley is competent and compelling as Nevi, although his character is a little dismissive and unfair to his obviously talented young son Sylas, portrayed well by Lewin Lloyd. Again, the father/son relationship is believable. In fact, it’s good to see a younger character being given such an important role within the story. And Sylas comes over as being intelligent but not too overtly nerdy or aloof. He just wants his Dad to notice him more and see what he is capable of. A sentiment I'm sure many people around the world can sympathize with to the full. Yes, grown-ups, your children are more than just noisy ingrates. Sometimes they can even teach adults a thing or two about many subjects!

Amy Booth Steele has to fill the role of Hyph3n, she is visually striking with her squirrel like appearance which immediately annotates her character with the word cute. And in the long tried and trusted but not always satisfying BBC penchant of old, yes, they kill her off. This is sad as she could have been a returnee character, she had the character and feel of a returnee to me. Sadly, though the BBC penchant wins out yet again.

Perhaps the script does have some clichéd moments. I don't know how often the show has done the "Something seen in the first few minutes helps the gang at the perilous climax of the show" thing. But how it always does these stories in new and varied and inventive ways perhaps shaves off a little of repetitiveness.  And this time an alien virus gets to be part of the story's resolution!

There is also most assuredly the problem of three companions. Whilst I am loving all three companions with Jodie, every story probably means that only one or two of them will really shine in the story. And this time its Ryan who gets his hour to shine. But Mandip Gill may well have just not of been in this story at all for all she gets to do and the use she is put to within the story. But I'm sure that Mandip will have her story this season too. Bradley Walsh as ever though is reliably brilliant and Graham has surely become one of my personal favourite companions of the new era. Having said that, though Yaz is side-lined, I still wouldn't be without any of these three companions. They all have great characters and compliment Jodie as the Doctor no end. They have great screen presence and I am not looking forward to the day they all say goodbye to us.

This story packs a lot into 50 minutes. It does have its dark and stark peril; it does have a very relevant central theme that needs close attention to and learning from. It does pack some punch. Maybe it’s not absolutely completely perfect. The beginning does seem to commence at a break neck pace and one is pausing to catch one’s breath. So many characters are flashed before our eyes, but at least they are all given enough character so as not to become run of the mill or forgettable. The main thrust of the story also brings back echoes of the Curse of Fenric for me. In that we get a glimpse of yet another possible future for Mankind. The plot twist towards the climax did surprise me at least. So, it is great when a story does manage to present me with some surprises along the way at least.

The final scene in the TARDIS as Ryan is distraught ends the story on a poignant note. Although we do have to have the apparently obligatory nark on the Doctor, this time from Yaz as she questions her actions with a somewhat over mean and cruel look in her eye, although this is quickly mellowed as the Doctor gives her honest reply to her. Then Jodie is given another chance to display her Doctor's awesome moral centre when she warns them all to make the most of their chances and not become merely the senseless dregs of humanity. As a great believer in moral fortitude these are scenes I always adore.

There is much to commend in Orphan 55, its perhaps definitively not quite a 10 out of 10, but it does boast some great and creepy monsters, some superb character moments, some memorable action set pieces and some stunning visuals, and it’s all capped off by a phenomenally driven and dependable Jodie Whittaker. She most definitely, without a shadow of a doubt, is making her incarnation just as unforgettable and loveable as every Doctor who came before.

Who Reviews Spyfall 1 & 2 by Matt Rabjohns

“If you're seeing this, you've been to Gallifrey. When I said "someone" did that, obviously I meant... I did. I had to make them pay for what I discovered. They lied to us. The founding fathers of Gallifrey... everything we were told was a lie. We're not who we think. You or I, the whole existence of our species, built on the lie of the Timeless Child.”

Series 11 of the new rebooted era of Doctor Who bowled me over. I was so impressed by the quick and indelible mark that Jodie Whittaker made with her tantalising first season as the Doctor. Honestly, she must have been well and truly daunted by the task of being the first woman to tackle the role of the Time Lord properly on screen in the actual show proper. I was admiring the great amount of compassion and hope that shone through Series 11. That was most assuredly my cup of tea. Any apprehension was laid completely to rest within five minutes of seeing Jodie perform. Series 11 was a wonderful and diverse series. So, for me, series 12 had a lot to live up to.

I certainly wasn’t expecting the season two part opening story to be quite so brilliant and quite so mesmerizingly thrilling. There was a thick and enjoyable vein of past Doctor-ishness running through this story. From when Jodie is repairing the TARDIS with half its innards hanging out. This definitely put me in mind of Jon Pertwee’s third Doctor always tinkering with the TARDIS whilst exiled to Earth.

Spyfall is a story that has such a lot crammed into two hour long episodes. But Mr Chibnall has to be applauded for how he seems to do a Terrance Dicks (the ability to cram so many different characters in a story but the story still remain coherent and superb!) and keeps the plot of the story lucid and action packed. Yes, there is the true feel of James Bond weaving throughout this tale, but of course with the wonderful Doctor Who epic twists and turns along the way to add spice. The show has long been known for taking other well know literary and film plots and making something special and new of them.

Jodie is on amazingly good form in this story. She really truly delivers buckets of joy, charisma and hope that is so invigorating to watch. Her Doctor is laced with more decency and approachability than any of the other modern era Doctors. She is also more than ably assisted by the gifted trio of Bradley Walsh, Tosin Cole and Mandip Gill. Graham, Yaz and Ryan all have their moments to shine in this story. When together they definitely give the feeling that they are more than just a team, no they are a true family.

Spyfall has many superbly realised moments peppered throughout an intelligent and multi layered script that for me at least delivers on almost every level. Then there is the superb cliffhanger and the mother of all twists when we are re-introduced to a brand new incarnation of the Master. This time he is portrayed by Sacha Dhawan.

Sacha succeeds admirably in making the new Master his own. He is mad, loud and nasty but with a tad more restraint than John Simm. I found John Simm at times was going to far with his nonsensical and silly OTT actions. I am glad to see that Sacha has plenty of madness, but is not verging into ridiculous territory. I must admit to feeling a longing for an actor who would calm down the Master and make him more creepy. Overblown bluster and maniacal laughter do not make an awesome villain alone. Luckily Sacha seems to know this and his Master is wonderfully wicked and has several superb moments with Jodie throughout this story. The strange bond between the Doctor and the Master is always interesting and surprising.

Sacha is not the only superb piece of casting in this episode though. Lenny Henry and Stephen Fry are both surprisingly good in their roles. In fact, Lenny gives a menacing and convincing performance as the disturbed and deviant Daniel Barton. The only sad thing about Stephen is he is barely in the story before being rather crudely and horrifyingly shot in the back of the head. But it’s good to see him handle his small role of C with restraint.

As a man who is deeply interested in history, it’s wonderful to see characters like Ada Lovelace and Noor Inayat Khan is inspired. What is even better is that both Sylvia Briggs and Aurora Marion treat their roles with respect. Giving both historical figures a very believable face without once coming near caricature or theatrical. It’s always so interesting to learn of historical characters, especially ones that I, up to seeing this two-parter, was almost completely ignorant of. Such roles should always be handled with care and responsibility and thankfully both actresses deliver this with ease. It is particularly special to see the first British female spy sent behind German lines being given a bit of recognition. And I breathe a sigh of relief that Mr Chibnall does not give any kind of sci fi gloss or joke onto any of these two historical characters like Steven Moffatt seemed to be prone to do during his run as producer.

The dark secrets that are revealed towards the end of the story may well be taken either way by fans of the show. Sometimes complete overhauls of the show’s history have not gone down well. I seem to recall lots of reviewers being taken aback by Steven Moffatt’s re-writing of the climax of the time war theme which had been laid down by Russell T Davies. In that story Tom Baker’s wonderful Curator of the Museum tells the Eleventh Doctor the picture he’s looking at is called Gallifrey Falls No More, but then we have the shocking reveal of Spyfall that the Master has destroyed the planet. And there seem to even be hints that maybe the Doctor and the Master aren’t even time-lords. Mr Chibnall’s mysterious “Timeless Child” gets a mention again, this time from the Master’s lips. I can’t begin to think how this will upset the world of fan theories! It will probably throw it right in the air for a good many months to come at least.

The scene between Jodie and Sacha when the Master reveals he has destroyed Gallifrey is surely one of Jodie’s finest moments so far. The sadness and hollowness in her superb portrayal are palpable and truly cement the fact that she most certainly is the Doctor. Another brilliant scene is where the Master forces the Doctor to her knees and gets her to speak his name. The Doctor does what she’s told but her defiant eyes are a wonder to see. Here is where she shows us all that she definitely knows what it means to play the Doctor.

There are also some wonderful moments where the three companions get to display their courage and worth. A touching moment is when they sit and talk about what they really know about the Doctor. It’s this kind of intelligent interplay that makes the series so timeless and brilliant.

Spyfall could easily have been overburdened with sub-plots and padding. But there is none of this evident throughout the story. There are plenty of un-answered questions along the way. The Kassarvin are given a menacing look and voice, and at the end of the story are displayed to be a palpable and extremely threatening new menace for the Doctor to battle.

The clear messages of the good and bad points to technology too are woven well throughout this story. These days one can’t help but feel there is just far too much reliance on technology and this story gives a scary nuance to just what possible could be made to happen if ever technology went wrong or was abused. The final moments of part two where the whole of the human race is starting to be transformed into drones is very very pertinent and vivid. A real aura of moodiness and creepiness leaks from these scenes.

Spyfall must rank as the strongest opening serial of the show since the programme returned to our screens in 2005. There is a mountain of moments to enjoy. The car chase in part one is extremely reminiscent of a full-blown James Bond style epic road chase. And the Master’s use of his Tissue Compression Eliminator is far better than John Simm’s sonic laser. The nod to the show’s past is very welcome and appreciated.

It was also a lovely touch to see the first episode being dedicated to Mr Doctor Who himself, the wonderful. Late, and much missed and loved Terrance Dicks. I feel I can say with some assurance that Terrance, as the man who was mostly responsible for the birth of the Master, would have been proud watching this story. The Master is still going well and strong almost 50 years after Roger Delgado fantastically brought this amazing villain to our screens. Sacha Dhawan has definitely done both Mr Delgado and Mr Dicks proud with his new rendition of this brilliant villain. One can only hope that Spyfall is not the last we see of him. The Master never dies. He/she always comes back just when you least expect it.

If this is but the debut series opener, one must hope that the rest of the series can live up to this high point. Spyfall ranks as one of, if not the top, best story of Jodie’s era so far. It is going to be mighty hard to better. Will all the questions be answered? We shall have to wait and find out….Mr Chibnall, you have definitively whetted our appetite for the future