Doctor Who - Review of the Year: 2014

Happy New Year, everyone! Now that 2014 has been engulfed in volcanic flames only to be reborn as the completely different 2015 (this is a ham-fisted Doctor Who reference, by the way) it's time to take a look back at the year just past. But this isn't a review of trivial things like world events, this will be a review of what's most important: the year in Who.

Starring: Peter Capaldi (the Doctor), Jenna Coleman (Clara), Samuel Anderson (Danny), Ellis George (Courtney) and Michelle Gomez (Missy) with Nick Frost (Santa Claus)
Written by: Steven Moffat, Phil Ford, Mark Gatiss, Stephen Thompson, Gareth Roberts, Peter Harness and Jamie Mathieson
Directed by: Ben Wheatley, Paul Murphy, Douglas Mackinnon, Paul Wilmshurst, Sheeree Folkson and Rachel Talalay

Best Episodes

Robot of Sherwood
While it won't be one of the most remembered episodes of Series 8, I have a great deal of affection for Robot, particularly the way that it completely ignores the new moodier tone of Series 8 and delivers a hilarious swashbuckling adventure that could have come from any year of 21st century Who.

Flatline
Both of newcomer Jamie Mathieson's stories this year were belters but this one just pips Mummy on the Orient Express to the post. It's a creepy, clever story with a terrific monster in the Boneless and applause must be given for the amount of comedy mileage that is made from the Doctor being stuck in the tiny TARDIS.

Death in Heaven
'Dark Water' was really just a 45 minute long teaser trailer but this second part of 2014's series finale certainly packed a punch. With emotional moments abound, it gave us two well-executed monsters in the Master and her Cybermen as well as the amount of action and surprises as is customary for these occasions. The best finale since Series 5.

To read my reviews of all of Series 8, click here.

TARDIS Team

Firstly, surely the biggest change to the Doctor's character since the show's revival was made in 2014 as Mr Capaldi took over the role. A lot has been said about him returning to the style of classic Doctors but really the Twelfth Doctor is in a league of his own. He may have the dress sense of Pertwee and the crotchetiness of Hartnell but the hatred of soldiers, forgetfulness and gloomier outlook on the universe is new. That said, he may have already developed some of his own quirks but I don't think the Twelfth Doctor is one who has arrived fully formed. Whereas Ten and Eleven began their lives like baby kangaroos and gradually got weighed down by responsibilities and losses, I imagine we will see Twelve go in the opposite direction and have his lack of faith in himself and the universe overturned.

Perhaps for the first time in the show's history, both Doctor and companion underwent a regeneration this year - in a manner of speaking. The Clara of Series 7 was a bubbly young woman still raw from her mother's death when she was younger: she was the Doctor's 'impossible girl' who was absolutely devoted to him. In Series 8, Clara was a much more mature woman, with a life away from the Doctor in her job at Coal Hill School and in her doomed relationship with Danny Pink. Importantly, cracks also began to show in her relationship with the Doctor. The change wasn't a gradual one but rather - in classic Doctor Who style - an instant reboot, done to spice things up. As much of an improvement as it was, the difference in the two personas of Clara is a little jarring. But then, if any companion was to have different personalities it would be Clara 'Scattered throughout the Doctor's timestream' Oswald. As 'Last Christmas' ended with the two still travelling with each other, maybe we will get another regeneration of each character next year.

Story Arc

Ostensibly the main story arc of Series 8 was 'the Missy mystery' which consisted of the aforementioned Mary Poppins making enigmatic appearances at the ends of certain episodes. In reality, though, this was the B Story Arc, relegated to tacked-on scenes. Due to this series' renewed emphasis on character, the real story arc of this year was the triangle of relationships between the Doctor, Clara and Danny. I can't say I was the biggest fan of this 'love' triangle as I think it tilted the emphasis of the show away from ordinary people travelling with the Doctor to a sort of quasi-superhero/secret identity story with Clara struggling to keep both sides of her life in check. However it was a brave experiment that must be commended and resulted in many fine performances from the three main cast members. Next year, however, I do hope the show will once more be about, as Rory once said, 'planets and history and stuff.'
On the other hand, when 'the Missy Mystery' reared its... umbrella in the series finale I was pleasantly surprised. I hadn't particularly been inspired by Missy's scattered cameos but I loved Michelle Gomez' madcap performance as a female Master and, in a series of brave experiments, I count her as one of the most successful. While it would perhaps be a tad predictable to have Missy at the heart of next year's story arc here's hoping she comes back as soon as possible.

The Doctor and Clara will return in 'The Magician's Apprentice'...

Review: Doctor Who - Death in Heaven

Two of the Doctor's oldest enemies have returned and want to take away everything that is precious to the Time Lord and Clara. Will there really be 'Death in Heaven' in the series finale?

'Hey Missy, you're so fine. You're so fine you blow my mind, hey Missy.' 

Doctor Who finales are always something of a double-edged Darth Maul-style sword. On one hand, they are automatically the most anticipated and often most exciting to watch by nature of their sending off the current run of the show with a bang. On the other, the pressure of ending the series on a high note can be too much and such episodes don't always live up to the hype. In this respect, 'Death in Heaven' succeeds, delivering an episode both exciting and emotional in equal measure.

Perhaps unlike the feature-length series opener 'Deep Breath', this episode certainly benefited from its fifteen minute extra running time, which really allowed for a few scenes to be further explored that might otherwise have been cut short. The story deserves praise alone for wrapping up most of the ongoing ideas and themes of the series - from Clara and Danny's relationship to the Doctor's dislike of soldiers. Building on the thoroughly glum 'Dark Water', 'Death in Heaven' tugged at the heartstrings and contained its fair share of shocks to boot. Much like last week, however, there were points at which I thought the show was pushing the boundaries of taste. In particular, one 'reappearance' of a much-loved character seemed a tad dubious in its execution to me and I'd rather it hadn't happened. Still, there was much to enjoy elsewhere…

While it was fun to see them, this episode had the unenviable task of featuring two classic villains in the Cybermen and their Master. For the Cybermen, this was glorious comeback. Their new jet-powered boots are a great new superpower to add to their evergrowing collection and the image of them attacking UNIT's plane like gremlins is a terrific moment. Likewise, not since 'Rise of the Cybermen/The Age of Steel' has the true terror of the Cybermen been demonstrated this well: that they were once us. Whereas previous episodes have cast them as regular robots, we are left in no doubt here as to who these Cybermen are underneath. 

Also, Michelle Gomez is rather wonderful here as an utterly 'bananas' incarnation of the Master. What she does, particularly mowing her way through the episode's supporting cast and her scenes with the Doctor, she is brilliant at but with the episode as packed as it is the character is not as well explored as she could be - just why was she suddenly so besotted with the Doctor, for instance? This reviewer certainly hopes she will return. 

Despite the shocks and the Cybermen, the true heart of this episode is the trio of central characters who all go through the ringer here. Peter Capaldi, Jenna Coleman and Samuel Anderson have been superb all year and each go out with another fine performance. Anderson's Danny proves to be the real hero of the series as he finds redemption for past failures in the most tragic of ways. Faced with his old enemy, the Doctor has to look hard at who he is but comes out the other end a wiser man by realising he is nothing but ‘an idiot with a box.’ And Clara...Well, poor Clara. The final scene between Capaldi and Coleman is a touching affair and beautifully scripted by Steven Moffat, acting as a bittersweet round-up of the characters’ journeys over the series.

There really was much to like about this finale which encapsulates this series' style, mood and its courage to be different. It was not a heavenly episode of Doctor Who but that's not to say it came from the Nethersphere either. Say something nice? How about: 'Death in Heaven' is almost certainly the best finale since 2010. There you go, that's something to squee about. 

In the words of Clara, thank you Capaldi and Coleman for making Doctor Who feel special. 

Next time: The Doctor returns at Christmas when he faces the great evil of ... Santa Claus and his elves? 

Review: Doctor Who - Dark Water

The future becomes unclear when events take a turn for the existential in 'Dark Water.' Things are going to get very murky, indeed...

'The darkest day. The blackest hour. Chin up, shoulders back. Let's see what we're made of.' 

Before this regenerated series of Doctor Who started, a lot was made of the fact that it would be 'darker.' Upon airing, it could be said this was met with a pinch of salt. Sure, the show had a more serious Doctor and the series had sported episodes about weighty topics such as the nature of fear and tricky moral dilemmas but was it actually any darker than Doctor Who before it? Well, after tonight, we can say they were right to give us that warning as 'Dark Water', the penultimate episode of Series 8, was as bleak as the show's ever got. 

As with the hints scattered throughout preceding episodes, this episode's premise revolved around the age-old question: what happens after death? The answer, it turns out, is not a happy one, to say the least...

A few years ago, Torchwood presented its own, suitably nasty, depiction of the afterlife which was a natural fit for an adult-orientated programme that enjoyed exploring areas that its parent show couldn't. When said parent show did exactly this here, however, it felt unsettling in more than just the obvious way - should the show, that is avidly watched by children everywhere, do something as properly dark as this? Or perhaps this is a distinctly adult fear, one which kids will miss, but will keep us old folks awake at night? Either way, 'Dark Water' is certainly paving new ground. 

In other matters, the episode is on surer ground. The Cybermen's return in this episode was no secret but their actual reveal in the episode is inspired, a macabre twist on the classic image of Cybermen escaping their tombs. Gone are the invincible athletes of 'Nightmare in Silver', these silver soldiers march with menace down the steps of famous London landmarks and even use their old catchphrase 'delete.' Amongst the boundary pushing elsewhere its nice to see something so punch-the-air 100% Doctor Who. 

But enough of these trifles. There was only one question on our lips going in to this episode; who is Missy? Well, we certainly got the answer to that. In the end, it's the reveal many of us were expecting. The clues were all there. A penchant for pseudonyms. A love for teaming up with other baddies.  A general need to cause trouble for the Doctor. My personal reaction was to cackle for the next ten minutes at the sheer bravura of the move. Here's hoping Michelle Gomez gives the role its due now that the cat is out of the bag (or the Time Lord is out of the Time War...).

It is, of course, impossible to judge the episode fully without seeing its concluding chapter (what is Missy planning next? will everyone get out alive?) but the first forty-five minutes of this show-stopping story contained heartbreak, horror and shocks aplenty. Just like the Cybermen hiding in Dark Water, we've seen the skeleton of this finale, now I can't wait for the rest. 

The Doctor and Clara land in water that is deep as well as dark when the Cybermen arrive...

Next Week: Old friends and old foes surround the Doctor and Clara as the series comes to a blistering end. Will there really be 'Death in Heaven'? 

Review: Doctor Who - In the Forest of the Night

Once upon a time a forest grew across the world overnight.. But does this story have a happy ending?

'This is my world too. I walk your earth. I breathe your air.' 

Doctor Who has fashioned a new tradition for itself under Steven Moffat's reign; that of the 'celebrity guest writer.' Though perhaps not as much a household name as other such writers as Neil Gaiman and Richard Curtis, this week's episode was penned by Frank Cottrell-Boyce, the Carnegie Award-winning novelist and writer of the famous opening ceremony of the 2012 Olympics. Clearly, this guy has big writing chops (never understood that phrase. Doesn't chops mean mouth? And if so, why does the size of your mouth denote how talented you are at your chosen field?). So did he pull it off with his déb-Who?  

'In the Forest of the Night' opens with a wonderful pre-titles sequence featuring the Doctor befriending the sweet yet troubled Maebh (Abigail Earnes being by far the best of this week's younger guest stars). It's a charming scene that really feels like a new writer putting a fresh stamp on the show (the explanation of the TARDIS as like sugar in coke is inspired) and its topped off with the reveal of London landmarks surrounded by trees, a truly enchanting image that sets up the whimsical tone of the episode.

Unfortunately, this assuredness does not hold out for the whole forty five minutes. The symbolism of forests in our collective consciousness, how they are always places of danger in folk tales and myths, is very strong. Hidden amongst other plot points there was even a reason why woods are humanity's primal fear. It is a shame then that this fascinating notion was passed aside for none-too-subtle ecological messages ('if they're good then why are we chopping them down?' one child even says) which feel somewhat recycled from the other year's 'The Doctor, The Widow and the Wardrobe' (which also featured living trees with tinkly lights, now I think about it).

Still, Samuel Anderson is served a considerable role this week as Danny gets to be in his comfort zone, leading his young troops through danger, and Peter Capaldi and Jenna Coleman are as good as ever with particular praise going to the Doctor's touching nod back to 'Kill the Moon.' Also, not enough mention has been made this year to Murray Gold, who has delivered endless memorable music for the show for almost ten years now. In this episode he seemed to have a ball, playing off the fairy tale qualities of the story in his score (there was a fabulous, rousing piece of music accompanying the shot of Nelson's Column surrounded by the forest). It's amazing that man's talent hasn't run dry after all this time.

Full of literary allusions, this ecological fairy tale of an episode was certainly an original treat. It had its flaws - a promising premise that never quite lived up to its potential (with an unfortunately risible final scene that was predictable from the off) - but Cottrell-Boyce bravely fashions a sort of all-ages modern fantasy out of the stuff of Doctor Who and experimentation must be encouraged. Otherwise nothing would ever grow.

'You need an appointment to see the Doctor' - The TARDIS turns classroom this week...

Next week: Old friends and foes alike return for the first part of this year's finale. Terrible sacrifices must be made when things get murky in 'Dark Water.' BBC One, next Saturday.

Review: Doctor Who - Flatline

The TARDIS really was bigger on the inside this week but did the episode itself exceed its dimensions or did it just 'Flatline'?

'I'm the Doctor. But you can call me Clara.' 

Some Doctor Who titles say it all. No one sat down to watch last week's 'Mummy on the Orient Express' saying 'I wonder what this will be about?' This week's episode, however, sported much more nondescript nomenclature. With so little able to be gathered about the episode, it could have gone anywhere. In the end, it was one of the strongest episodes of this series, featuring a fantastic new enemy and a great use of its leading characters. 

This series is already full of fabulous monsters - The Teller, the Foretold, Skovox Blitzer (only joking) - but this week's lot (no idea what to call them - living graffiti? The muralons?) might just be the best so far. This show's already made us take notice of statues, or flickers in the corner of the eye but now we also have to watch our backs when we pass a piece of street art. Two-dimensional aliens could have felt like a hodge-podge of other monsters - a bit of Vashta Nerada, a sprinkle of Chloe Webber and her penchant for literally capturing people on paper - but it never does and the aliens come out as true original creations. Kudos to Jamie Mathieson, who has proved himself these last two weeks to be a talented Doctor Who writer. A veteran of other quirky genre shows Being Human and Dirk Gently, he clearly understands how to spin a proper Doctor Who yarn. In my books, he is welcome back any time. 

It is indicative of the extent of Clara's growth this year that an episode led by the character last series might have been a worrying concept - would she be strong enough to carry it? - but here it feels perfectly natural, and, just as the Doctor says, she made a 'mighty fine Doctor.' Speaking of the Time Lord, compared to other so-called 'Doctor-lite' episodes, he really was in it a fair amount. In reality, the episode was more of a role reversal for the two - even down to the fact that the Doctor gets to chastise Clara for her lack of 'goodness.' Is this the start of a slippery slope for Clara? Will she be able to climb back up? With the finale only weeks away, we may find out soon enough...

This has been one of those reviews that has turned into a string of praise but there were simply so many moments to relish this week. The Doctor acting like Thing from The Addams Family when pulling the tiny TARDIS away from the train tracks. The rather Looney Tunes method of fooling the aliens (remember Wile E Coyote drawing a fake door in a mountain to trick Road Runner?). Even the 'phoning home' segments of this episode had much more of a purpose than last week, embellishing the idea of Clara's 'cheating' on Danny. The bottom line is, though it was at first as hazy as the nature of this week's ambiguous aliens, 'Flatline' turned out to be anything but flat.

You know when people say paintings follow you around the room? Apparently it's the same with graffiti...

Next Week: 'Tyger, Tyger burning bright/ In the forests of the night...' William Blake's famous poem comes true when trees sprout up overnight in next Saturday's episode of Doctor Who. 

Review: Doctor Who - Mummy on the Orient Express

Mummy! The Doctor's holiday turns into a horror when something goes a-murdering on the Orient Express...

'I'm the Doctor and I will be your victim this evening. Are you my mummy?'

Doctor Who has cultivated a new type of story for itself in recent years. Rather than just historical stories, contemporary adventures and proper sci-fi dramas set in the future, there is now the historical-in-space. In the past we've had the Titanic ... in space! Dickensian London... in space! This week, the show gave us, you've guessed it, the Orient Express ... in space! And, something else you already guessed, on board is a rather ancient and unwanted passenger...

As this was an episode premise I was very much looking forward to I'm glad to say it was a very enjoyable adventure. We have a gaggle of guest characters with their own secrets but other than that, 'Mummy on the Orient Express' wisely does not lay on the Agatha Christie allusions (something already done brilliantly in 'The Unicorn and the Wasp') and largely plays its absurd plot straight, meaning that we just accept the bonkers juxtaposition of a classic horror creature and the period glitz and glamour. In fact, a word (or a few words. Oh, what the heck, a whole sentence) must be given to the set and costume designs here as the famous train looked wonderful in its 1920s décor and the Mummy, along with its chilling conceit, really was quite a visceral creation for Doctor Who. It is sure to give children tears before bedtime (that is if they're even still awake - for British viewers, the show is being shown increasingly late in the evening, something I'm not too sure of). 

Due to the lack of the Doctor's companion in promotional material, I assumed the Orient Express was going to be a Clara-lite ride but in the end Jenna Coleman (looking glorious in full flapper garb) had an important decision to make this episode and it was lovely to see the Doctor's kinder side leaking out again as he tries not to annoy his friend. Frank Skinner is also likeable as engineer Perkins but with the amount of screen time he shares with the Doctor the role does smack a little of  'celebrity guest star of the week.' So much was made of him, in fact, that I was a convinced that he would either turn out to be the culprit or an agent of Missy. Well, it still could happen.

Overall, featuring an entertaining script from newcomer Jamie Mathieson and great visuals (the clock counting down in the corner of the screen is a nifty, almost Sherlockian, device), the episode's lighter touch is a welcome change from 'Kill the Moon' although particular moments of happiness here do somewhat undercut the drama of that episode. Still, it seems a trifle unfair to complain about such things as, on an insular level (there was no appearance of the Promised Land this week), this episode invited us on board and took us on surely the most solid, classic and classy adventure this series. If you have a counter-argument, I'd like to hear it. You've got 66 seconds...

Is there a Doctor on board? - The Time Lord has to solve the mystery of the mummy murders...

Next week: Separated from the Doctor, Clara must face an alien menace from another dimension in 'Flatline' on BBC One at 8.30pm.

Review: Doctor Who - Kill the Moon

Stepping on the Moon might be one small step for a man, but it's also one massive decision for all of mankind in 'Kill the Moon'...

 'It's time to take the stabilisers off your bike.'

Over its long history, Doctor Who has posited quite a few difficult moral decisions - should humanity share the world with the Silurians? Should the Doctor save Pompeii? Is it right to destroy Gallifrey for the sake of the Universe? Well, the latest episode of Series Eight offered us a new, more avant-garde, one. Would you kill the Moon?

Without saying too much (I know, if you're reading this you've probably already seen the episode, but you just might be here to get some sort of spoiler fix, and I don't want to indulge that - see a Doctor), this episodes sports a terrific premise and one that's pure Doctor Who; an ingenious twist on a familiar (if outer space) object. Much like 'Listen' elsewhere this series, the episode also earns marks for audacity for switching styles half-way through, beginning as a sci-fi horror story (with that wonderfully eerie image of cobwebs on the Moon) and then developing into a moral debate which shakes the solidarity of our heroes' friendship...

On the other hand, 'Kill the Moon' isn't perfect. First-time writer Peter Harness is, in my opinion, still learning the Who ropes and much of this episode lacks the witty repartee that distinguishes most stories. Furthermore, there was some dissonance between the matter of the episode and how it had been promoted - the shocking action that the Doctor was said to make here was not quite so Earth-shattering (or rather Moon-shattering) as it had been made out to be. This could be seen as a plus, though, as rather than breaking the character in the end it just pushed the Doctor towards measures he doesn't usually take but kept the morals of our hero intact. 

It hardly needs saying any more, but Peter Capaldi and Jenna Coleman once again did their best with the dramatic possibilities of what they were given. Clara's tearing the Doctor apart is particularly impressive, even though I generally find it more enjoyable to watch a Doctor and a companion getting on rather than arguing (yes, I'm looking at you, Sixth Doctor and Peri). Likewise, Ellis George did a commendable job this week as guest traveller Courtney. The school girl was not a crucial element to the episode but at least was not as superfluous as the Matiland children from 'Nightmare in Silver.' Still, after last week's sparks between the Doctor and Danny I'd have much rather seen Mr Pink join the TARDIS crew in place of his student. As a soldier, he might have been on the 'Kill the Moon' side of the argument - which would have given it a more interesting voice than Hermione Norris' sadly undeveloped character, Lundvik

For all my grumblings, however, 'Kill the Moon' was a worthy addition to the series, moving this run of episodes up a gear as it heads into murkier territories. It might not have been out of this world, but, with a thoughtful subject matter, an unpredictable Doctor and a lack of easy answers, it certainly had gravity.

Dark Side of the Moon - a difficult decision has to be made... but what will the Doctor do?

Next week: The Doctor has a ticket to board the Orient Express... in space! With a Mummy! I bet you'll never guess the title...

'Mummy on the Orient Express' is next Saturday at 8.30pm on BBC One. 

Review: Doctor Who - The Caretaker

After taking care of the universe for centuries, the Doctor becomes the caretaker of Coal Hill School when an alien menace arrives. This really is the end of the world for Clara...

'I'm the one who carries you out of the fire. He's the one who lights it.'

Last week we had Doctor Who as a classy crime caper but this week was a very different kind of class as the show turned into a high-school drama - demonstrating the perils of Parent's Evening and examining the home lives of teachers. Waterwho Road, if you like. However, if this all sounds a little domestic (you wannabe Ninth Doctor, you), the Doctor and his impact on the everyday is very much at the heart of this school day in the life. 

Contrasting with other episodes this year, 'The Caretaker' had a simple plot, merely used as a tool to hang lots of heart and humour on to. Much more than most Doctor Whos this episode was led by its characters with the three leads all giving wonderful turns. Clara and Danny's relationship continues to impress and Samuel Anderson displays a nonchalant charm as his character treats the Doctor with irreverence rather than the usual awe, quite rightly pointing out the Doctor's hypocrisy when it comes to soldiers. There will surely be sparks to come in the TARDIS soon, and it won't just be because of some faulty switch...

The highlight of the episode though is, as it should be, the Doctor. Cast hilariously as Clara's disapproving dad, he's eager to meet his ward's suitor and sports a proud glint in his eye when he thinks she has chosen a boyfriend like himself (or one of his selves). This was surely Capaldi's most endearing performance in the role yet with the dour tones of his first few episodes thankfully toned down to be replaced by a twinkly-eyed irascibility in the vein of the First and Third Doctors.

On the other hand, after the magnificence of the Teller from last week, the twitchy, ungainly Skovox Blitzer must be one of the least threatening Doctor Who monsters ever, despite it apparently being 'one of the most deadly killing machines ever created.' Personally, I assume the Doctor was embellishing the danger somewhat to impress Clara - rather than having the potential to blow up the planet, the Skovox Blitzer seemed to merely be the scourge of school chairs.

Overall, as with any episode by Doctor Who's king of comedy, co-writer Gareth Roberts, 'The Caretaker' gave us lots to smile at, even if it was not his best work (that's a tie between 'The Shakespeare Code' and 'The Lodger' for this reviewer). By virtue of it being the episode that took care of the series' ongoing plot threads (Danny meeting the Doctor and, going by the 'next time' trailers, providing us with a new companion in schoolgirl Courtney) it was not a standalone great. However, with an abundance of warmth and wit, plus a welcome appearance by Peter Capaldi's The Thick of It co-star Chris Addison as Missy' prissy secretary. this caretaker episode of the show went about its job with flair. Top marks!

The Caretaker throws a spanner in the works of Clara and Danny's relationship

Next Week: The TARDIS takes the Time Lord, Clara and Courtney on a grand day out to the Moon. However, the Doctor must take a giant leap and face a grave decision - can he really 'Kill the Moon?' 

Review: Doctor Who - Time Heist

The most impregnable bank in all the universe, you say? The Doctor thinks differently in this week's crime caper of an episode...

'It's just a phone, Clara. Nothing happens when you answer the phone.'

For Doctor Who's seventh series, you may remember (unless you've had a bite from the memory worm) that every episode was plugged as a 'movie-of-the-week' with stories riffing off westerns, film noirs and horror films alongside others. This week we were treated to Series Seven's missing adventure, Namely, 'Time Heist', an episode that does exactly what it says on the tin and provides a sci-fi spin on the classic heist movie. 

As with the writer's previous effort, Stephen Thompson's adventure has timey-wimey painted all over it. The set-up could have come from any high-concept thriller film - four people wake up knowing they must rob a bank without remembering why they're doing it - and continues the strong openings of this year's run so far. The momentum is also generally kept up throughout the episode thanks to the pace and the camaraderie of the characters. If there is a fault in the plotting then it's that some of the twists don't come off quite as surprising as intended - although second guessing the characters is sometimes part of the fun.

In other areas, however, the episode certainly succeeded on all fronts. This, the second episode this year from veteran Who director Douglas MacKinnon, is as slick and stylish as Doctor Who has ever been and fits in with the flashier direction this series has been gifted with. It seems that since its visit to the silver screen the show is clearly making more of an effort to match up to its cinematic counterparts. 

Word must also be given to the cast which is ably filled out by Jonathan Bailey and Pippa Bennett-Warner as the Doctor and Clara's fellow bank robbers. They are not the Doctor's best ensemble gang ever but both are given enough to be likeable amongst all the action. Keeley Hawes is also well cast as the prickly Miss Delphox, a woman of many facets... 

Something that also struck this reviewer this week was how much Peter Capaldi has completely consumed the role of the Doctor. This is only episode five but it seems like he has always been in the role, insulting Clara's appearance and telling everyone to shut up. Crucially, though, his antipathy for others has occasionally bordered on making the character too far removed from our classic hero but here the Doctor shows his intelligence and compassion, as well as his grumps. This is the Doctor we all know and love. 

On the whole, 'Time Heist' is a fun jaunt away from the heavier episodes this year ('Listen, 'Into the Dalek'...). A kind of Doctor Who does Hustle (Doctor Who-stle?), it provides a solid 45 minutes of cleverly-plotted entertainment. It may not linger in the memory as much as some others but still serves as a important addition to the series - particularly in its inclusion of the Teller. With a memorable design, creepy power (the 'that's not tears. It's soup' line was utterly chilling) yet sympathetic edge, it is surely the best monster this year. And I'm telling the truth about that. Trust me, he'd know.

Reign of Teller - The Doctor and co have to watch out for this monstrous guilt-tripper.

Next week: The Doctor gets a new job - as Caretaker of Coal Hill School. Just as Clara is trying to sort out her relationship with Danny. This can only mean trouble. Oh, and there's an alien involved. This can only mean Doctor Who...

Review: Doctor Who - Listen

Listen up! This week the Doctor searches for the thing in the corner of your eye in this utterly unique adventure...

'What's that in the mirror, or the corner of your eye?/ What's that footstep following but never passing by?/ Perhaps they are just waiting, perhaps that when we're dead/ Out they'll come a-slithering from underneath the bed.' 

For a that show can literally go anywhere, Doctor Who has quite a lengthy checklist of things we expect from each episode. But sometimes an episode comes along that breaks the mould - and 'Listen' is one of those episodes. This week we were delivered many inversions of the show's norms - just this once there was a hugely ambiguous nature to the monster of the week, it centred around the Doctor and Clara on their 'days off'' and, most tantalisingly, went to places that the show has never been before. Well, it has but it hasn't. Trust me, it's timey-wimey.  

There seems to be a deliberate effort to up the thematic content of the episodes this year as, beneath the whimsical adventures in space and time, we've had stories that are really about change, hatred and heroism. This week's episode not only continues the theme but emphasises it. While 'Listen' may start out as a familiar - but still spooky as heck - Moffat scarefest it then goes down a completely unexpected avenue to become a sensitive mediation on loneliness and fear. As the First Doctor - and now Clara - said 'fear makes companions of us all.' 

While we've come to expect great blockbuster finales and Christmas specials from Steven Moffat, this episode takes him back to his creepy one-off roots, In fact, Moffat has described the episode as a 'chamber piece' a small-scale adventure with few performers. In such a story as this, then, the cast is all important and, thankfully, the three leads of Peter Capaldi, Jenna Coleman and Samuel Anderson do not disappoint. Firstly, Capaldi embodies the Time Lord better than ever before here, as we see him inspire children and face terrifying sights but also explore new facets to the character like his almost unhinged obsession with the notion of a perfectly-evolved hider. Can such things really exist?

Meanwhile, as several incarnations of Pinks were met this week, Anderson's Danny (don't call him Rupert) is fitting well into the show, aided by the actor's awkward charm that fizzes with Jenna's perky Clara. Speaking of whom, Clara herself proves once again this week how invaluable she is to the Doctor - we've already seen her save his entire life and inspire him to rescue the Time Lords but here she makes her biggest impact on the Doctor yet. The Doctor is the solider who never carries a gun - I wonder where he got that idea from?  

'Listen' utilises all the classic horror film tricks and motifs (the thing under the bedsheet is one we've all seen before but that makes it no less eerie here) to treat us to a sleepless-night-inducing episode but then is also not afraid (ha!) to pull the rug from our feet and surprise and scare us in different ways. But embrace that fear because being scared is a superpower. And being scary is just one tool in the endless arsenal of Doctor Who, the show that can do anything. Just as this episode reminded us. 

It's the end - Is there something waiting on the last planet in existence?

Next Week: The Doctor and Clara save the day - by robbing a bank? Find out how in 'Time Heist'...

Review: Doctor Who - Robot of Sherwood

As Alan-a-Dale might say 'Tonight, the TARDIS did land in Sherwood's bonny glade/ But when the Lord and the Earl did meet was a great episode made?' 

'When did you start believing in impossible heroes?' 'Don't you know?'

Doctor Who meets Robin Hood. How has it taken fifty one years of this time-travelling show, that loves to swallow up familiar genres and give them its own twist, for that to happen? As this week's episode pointed out itself, the nobleman who appointed himself champion of the people... and Robin Hood are ideal bedfellows. However, it's fitting that the meeting of these two legendary heroes comes now as it leads to much discussing of the nature and requirements of being a hero, very much fitting in with the themes of this series. Most importantly, though, it also gave this moodier, broodier take on the show the chance to have a laugh.

In the grand tradition of lighter-hearted Doctor Who episodes, 'Robot of Sherwood' is a swashbuckling romp and proud of it. The sci-fi plot is wholeheartedly standard Who fare (aliens have crash-landed on Earth and will do anything to get off - even blow it up) but that's not really the focus of this story. Not so much a tale of a hero versus villain, this is the story of hero versus hero as Robin and the Doctor rub each other up the wrong way. Their bantering (oh, yes, Doctor, you were bantering) is the highlight of the episode, reminiscent of the Doctor's rivalry when he meets his other selves. The two heroes may have their differences but they are more alike then they care to admit.

The cast all performed well with Ben Miller playing himself as the Sheriff of Nottingham (but with added murderousness, one would hope) and Tom Riley successfully channelling Errol Flynn as the Man in the Tights. But, as he should be, Peter Capaldi was the most fun, returning to the deadpan humour of 'Deep Breath' (I adore the pure Doctorishness of the sword-on-spoon fight). In contrast to previous adventures, the Doctor's resolute po-face and grumpy nature is poked fun at here and it helps to endear the spiky new Doctor considerably.
On the other hand, while the previous two episodes have taken substantial lengths to strengthen Clara's character, here she is relegated to the traditional companion role, even falling victim of the oft-used cliché of being the object of affections for both the lascivious villain and the smitten hero,

That aside, though, 'Robot of Sherwood' is a true lark, just what the Doctor ordered after two fairly dark offerings. It may not be an instant classic but it was the fastest and funniest (with the exception of 'Deep Breath''s Strax) episode so far, making it feel like an adventure that could have been had by any of the last three Doctors. In fact, this episode could perhaps open to the door for the Doctor to encounter other British heroes that people sometimes think are real in the future, for instance King Arthur or, oh, I don't know... Sherlock Holmes? In any case, this head-to-head between the Time Lord of Gallifrey and the Earl of Loxley turned out to be, appropriately enough, a Bullseye.

Box N' the Hood - The Doctor and Robin have to work together.

Next week: 'What's that in the mirror, or the corner of your eye?' A new horror awaits the Doctor and friends. Just 'Listen'...

Review: Doctor Who - Into the Dalek

Is the new Doctor a good man? We find out as the Doctor and Clara travel into the most dangerous place in the universe. Into Darkness. Into the Dalek...

'Clara, be my pal. Tell me, am I a good man?'

The new Doctor is never really properly the Doctor until he has tested his mettle against the metal of the Daleks, his oldest, deadliest and most reliably-defeated foe. Except this time, as Peter Capaldi goes eyebrow-to-eyestalk with his nemesis, there's a difference...

Let's jump right into that proverbial Dalek and get to the meat of this episode. Firstly, the decision to include a 'good Dalek' was a canny choice as a means to highlight the new Doctor's shifting moral code, an angle that gives the story a philosophical bent amongst the lots of lovely shots of Daleks blowing up. Speaking of which, a word must be given to director Ben Wheatley who has directed these past two episodes with a real flair and certainly delivered here with some superb shots (particularly the 'Dalek explosion porn' as it was christened by writer Clayton Hickman). Both of these elements conspired to give the episode weighty themes and a visual finesse to boot.
On the other hand, despite these pluses what prevents 'Into the Dalek' from being a fantastic episode is the fact that the plot feels a little familiar. Featuring narrative devices reminiscent of 'Journey to the Centre of the TARDIS' and 'Let's Kill Hitler', it also has a similar tone and set-up to 'Dalek' (also, as we're on the subject, the Doctor really should be more open to the notion of a good Dalek by now - he's met quite a few, not least the tragic yet heroic pepper-pot version of his companion).

However, as with 'Deep Breath', this episode's biggest strength is not the plot but the character interaction. Once again, the chemistry between Peter Capaldi and Jenna Coleman is sublime, with the audience siding with Clara more and more thanks to the Doctor's morally dubious actions. He's certainly still the same man underneath but he now has a more pragmatic attitude to death and survival. Although that's something he may regret after the Dalek Rusty's damning words.

The Doctor wasn't the only person Clara had on-screen chemistry with this week, though, as new love interest, fellow teacher Danny Pink, was introduced. Though they sat a little disjointedly with the rest of the story, the scenes at the school were some of the most confident of the episode. Overall, the show is still working out the kinks of its new persona (much like the Doctor) but it seemed to handle itself with more assurance while set at Coal Hill School. Well, it is the show's ancestral home, after all.

On the whole, then, 'Into the Dalek' is an enjoyable, lofty adventure if one that lacked that special spark of greatness due to the familiarity of the plot. The new direction of the series and the cast continue to impress, however, so - contrary to the Doctor's claim in this episode - the TARDIS looks set not to travel into darkness but into a bright future for Doctor Who.

In the Pink - Clara's new love interest Danny is introduced.

Next Week: Two age-old heroes collide when the Doctor meets Robin Hood in 'Robot of Sherwood'!

Review: Doctor Who - Deep Breath

And breathe out - Peter Capaldi's first episode has aired! But how did the new Doctor measure up? 

'I'm the Doctor. I've lived for over 2000 years. Not all of them good. I've made many mistakes. And it's about time I did something about that.'

Has any other actor been the Doctor so immediately as Peter Capaldi? Usually when a new Doctor is announced there's months of trepidation on the fans' part, worrying 'will this new guy fit the bill?' But it felt different this time. As soon as Peter Capaldi was announced to the world, walking out of the smoke holding his lapels, he was the Doctor. Then when we got to see a glimpse of him in 'The Day of the Doctor' - those were the Doctor's eyebrows. It was simply a fact that the Doctor's future was in safe hands. So, a whole year after he was announced as the Twelfth Doctor, Peter Capaldi last night made his début in the role. And how like Doctor Who to give us a change we've already accepted and then rip the rug from under our feet. Make no mistake, 'Deep Breath' marked a regeneration, not just of its leading man, but of the whole show, hurtling us into a brave, moodier reincarnation of Doctor Who. 

After one of the daftest (for daft, read brilliant) pre-titles sequences to ever grace the series - not only is there a T-Rex in Victorian London but it also coughs up the TARDIS! - 'Deep Breath' proves to be a more low-key affair than other opening episodes. Instead of a large-scale alien invasion we have a pseudo-sequel to 'The Girl in the Fireplace' with a troupe of Clockwork robots rebuilding themselves with bits of people - with some clever parallels drawn with the eerie Half-Face Man and the Doctor (both have changed their body parts so many times they can't tell if they are the same person underneath any more). And, of course, the Paternoster Gang return with the now customary comedy Sontaran antics of Strax. However, this was just window dressing as the main thrust of the story was the idea of changing perceptions and age. In all, then, the plot was a familiar one but it was how it was told and the moments hanging on it that set the different tone. Quite fitting for an episode about patchwork monsters, really. 

Perhaps this episode's biggest surprise, however, was how it is really Clara who steals the episode. Some have said that the character served as a plot device throughout Series Seven rather than a proper person but here we are unequivocally on Clara's side as we both adjust to the new Doctor. Jenna Coleman delivers her best performance yet, imbuing Clara with facets to her character - fear, anger, grief - that we have never seen before. The spark that she shares with Peter Capaldi is incredibly fresh and feels like none of the other Doctor/companion pairings we seen so far in the revived series. These two have real promise to grow into one of the great TARDIS teams.

Invasion of the Dinosaur: A T-Rex visits Victorian London.

But the most important question is -  yes, all right, I shan't keep you waiting any longer (blimey, put down that pitch fork) - how was Peter Capaldi? Well, over the course of the adventure there are hints of Christopher Eccleston ('I'm stuck on the planet of the pudding-brains!'), Tom Baker (there's much wide eyes and eyebrows - plus a mention of long scarves) and Jon Pertwee (the more autocratic attitude and the dress sense) but really Capaldi carves out a Doctor who is all his own. He's in turn mirthful and mournful, crazed and calm, not-your-boyfriend and, oh, so very Scottish. Deep Breath was a wonderful taster, showing us all that this new Doctor is capable of, but he is still a newborn. We'll have to wait until next week to see him on an ordinary day. Because travelling inside a Dalek is just another Saturday to the Doctor.

Complete with a thrilling title sequence (still not sure of the shrill new theme though) and a new mood and tone, this new series could literally go anywhere but there is someone to hold our hand along the way. Irascible yet irreplaceable, Peter Capaldi is the perfect man to helm this brand-new version of the show. The old Doctor Who is gone. Long live the new Doctor!


P.S. As we're on the subject of old Doctor Whos... While it's sure to prove a controversial moment, I for one thought Matt Smith's cameo as the Eleventh Doctor was a stroke of genius. It could have come across as fandering (that's a contraction of fan-pandering - do you like it?) but instead marked a special moment of Clara's - and our - acceptance of the new Doctor. This moment tells us that beneath the volatile and a little unknowable Twelfth Doctor, the more amiable, human characteristics of the Doctor - that Matt Smith embodies - are still there. Also, more Matt Smith is always a good thing.  

Doctor Who: Series Eight Episode Titles Revealed

With only five days to go until Peter Capaldi makes his full-length début in 'Deep Breath', Who fans were treated today with a full list of this series' episode titles. Just like the chapter page of River's book in 'The Angels Take Manhattan' I always look forward to the titles being released as its like a collection of spoiler-free hints that get you excited for what's to come, rather than the gimme-gimme nature of proper spoilers (yes, I'm looking at you, those who watched the whole thing online weeks back). So let's take a sneak peak at Series Eight...

1. Deep Breath by Steven Moffat

This one we've known for a while, of course. The 75-minute special promises to be a relaunch of the show in style, with much more emphasis on characterisation and mood, apparently, than whizz-bang action. That said, it is still Doctor Who, so there will be steampunk spaceships, clockwork men and T-Rexes. We only have to wait till Saturday to see how it all comes together...

2. Into The Dalek by Phil Ford and Steven Moffat

This recently revealed title implies the tantalising premise that the Doctor will venture into a Dalek. At the moment I'm imagining a spiritual cousin of Tom Baker adventure 'The Invisible Enemy' in which the Doctor goes inside his own body (don't ask) but it could be more of a philosophical episode where the Doctor has to learn how to get into a Dalek metaphorically i.e. learn how to think like it. Who knows...

3. Robot of Sherwood by Mark Gatiss

The 'Sherwood' of the title would suggest that we are in for a Doctor Who/Robin Hood team-up - an event that is surely overdue. How has no one else thought of that in fifty years? This looks set to be another of Mark Gatiss' wonderful romps, like last year's terrific 'The Crimson Horror.'

4. Listen by Steven Moffat

What do you know? When a teaser trailer was released a few weeks back of Peter Capaldi, I mean the Doctor (we'd better start calling him that), sitting on the roof of the TARDIS saying 'listen' we just assumed it was a sign of his eccentricity. Now it turns out he was actually giving us an episode title - and we didn't realise! We'll have to listen closer in future.

5. Time Heist by Steven Thompson

One of those titles that says what it does on the tin. Moffat has stated that one of the episodes this year 'a heist movie done with Doctor Who' so I'm going to out on a limb - no, make it two, an arm AND a leg - that this is the episode to which he's referring. If so, it looks set to be continuing on from the 'Movie-of-the-week' ethic of Series Seven. This is also the episode that Keeley Hawes will guest star in, as the villainous Miss Delphox.

6. The Caretaker by Gareth  Roberts and Steven Moffat

Co-written by Doctor Who's funniest writer - whom, I think, the show really missed in Series Seven - this one is sure to be the comedy episode of the series. The title is syntactically similar to Robert's previous story 'The Lodger' so this may be an episode either stylistically similar or, well, actually similar. Maybe the Twelfth Doctor's about to pop back to see his old friend Craig? 

7. Kill The Moon by Peter Harness

This one possibly wins this year's 'Let's Kill Hitler' Award for the Most Audacious Title. Little is known plotwise about this one but we do know it was filmed in location in Lanzarote - the same place Fifth Doctor story Planet of Fire was shot. As Lanzarote doubled for the planet Sarn in that episode, it is thought that the TARDIS could be returning there. Also, that story featured the Doctor's old enemy the Master, leading many to speculate the old devil is going to make a comeback too. I'm twiddling my evil moustaches in anticipation. 

P.S. How does one kill the moon?

8. Mummy on the Orient Express by Jamie Mathieson 

Hmm, perhaps the Most Audacious Title Award should be split? Intriguingly, way back at the end of Matt Smith's first series in the role, in the closing moments of The Big Bang (blimey, doesn't that feel a long time ago now? Doesn't time fly when you live in a rebooted universe), the Doctor received a phone call from the Orient Express, asking for help to deal with an Egyptian Goddess who was attacking the train. The similarity of the title to that suggests we are about to find out what happened. Perhaps the Doctor has only just remembered to go there?

9. Flatline by Jamie Mathieson 

In this second episode in a row from ex-Being Human writer Jamie Mathieson (there's lots of new Who writers around this series), we see... Well, it could be anything. The title is giving away no clues. One of Moffat's hints for the series is that this is proper scary one so have that trusty sofa at the ready to jump behind. Unless this episode's about a monster behind the sofa...

I'm now copyrighting that idea, just so you know.

10. In The Forest of the Night by Frank Cottrell Boyce

Acclaimed novelist and screenwriter Frank Cottrell Boyce brings us this lyrically-titled story. Apparently, this is a fairy tale of an episode - but one quite different from those told by Steven Moffat. I'm very intrigued by this one. Could it be this year's 'Vincent and the Doctor?'

11. Dark Water by Steven Moffat

In a first since the aforementioned 'The Pandorica Opens'/'The Big Bang' in 2010, the finale of Series Eight will be two episodes long. Little has been revealed as of yet but we do know that Michelle Gomez will be appearing as the interestingly-named Gatekeeper of the Nethersphere. And so too will the pesky Cybermen, recreating a iconic scene from the past - parading past St Paul's. 

12. Death in Heaven by Steven Moffat

This is my personal favourite title of the new series - but what does said title belie? Moffat, Peter Capaldi and Jenna Coleman have all spoken about the themes of the series including double identities, lying to protect those we love and the idea that travelling with the Doctor might not be healthy for those around you. With this in mind, we can expect a big finale with possibly some catastrophic results. Sporting such a grand-sounding title, it's bound to be an Earth-shattering ride. As I'm sure will the whole of Series Eight.

Take a deep breath, everyone. Just five days.

Doctor Who: A Look into Darkness - Series Eight Trailer Breakdown

The clock really is striking Twelve as the début of Peter Capaldi's Doctor is right around the corner, with more and more stuff coming out about this series (both officially and, ahem, illicitly). Yesterday, Who fans everywhere brought the internet down when the first full-length trailer for Series Eight was released (what do you mean there was some sort of big sporting event happening too?). So, in grand Scribble Creatures tradition, I'm here to breakdown the trailer to see what is in store for the new man...

Oh, but first, you might want to see it.

So, now that you know what I'm talking about, let's shed some light into this darkness... 

'Life Returns... Life Prevails!'

The most recent mini-trailer, which featured a Dalek voice talking about souls and beauty, started rumours that the Daleks' creator Davros could return. While I personally don't agree with said theory, we had more evidence for the new series featuring a more eloquent Dalek (or maybe a whole bunch of them) in the first dialogue heard in this trailer - 'LIFE RETURNS... LIFE PREVAILS!' went the Dalek voice with a more nuanced delivery and certainly a wider vocabulary than usual. Only time will tell what this means...

The trailer also offers us a glimpse at a revamped TARDIS interior. Unlike the transition from David Tennant to Matt Smith and then later Matt Smith to, um, Matt Smith, the console room hasn't completely regenerated but it is subtly different. The green glow of the Time Rotor has been replaced by an orange one and it can be seen that more home-y additions have been implemented such as bookshelves, suggesting the feel of Matt Smith's first TARDIS.

Plus, it's going to be on fire at one point. I hope they've added a fire extinguisher. 

Old Friends, New Foes

The only episode we know anything concrete about (and if you're someone who's sought out the episode online - everything about) is the series opener. Titled 'Deep Breath', it sees the newly-regenerated Doctor and Clara return to Victorian London and to their old pals the Paternoster Gang. Fun fact: in her one line in the trailer, Vastra says 'here we go again...' This is exactly what the Brigadier said upon the moment of the Third Doctor's regeneration into the Fourth. Yes, I do know too much about Doctor Who. But you're reading me meticulously picking apart a minute-long trailer so really you're just indulging me and it's all your fault.

Moving on. What would a new Doctor Who series be without new monsters? Nothing that's what. So let's take a look at the latest monstrous villains and alien enemies that the Doctor will face.

This cyborg (or perhaps robot covered in human skin) presumably appears in the opener alongside Vastra, Jenny and Strax going by their visibly Victorian clothing. They're the first of what appears to be a very cybernetic collection of monsters (more later). But this one has what looks to be a flame thrower for an arm so he might just pip the rest. Flame throwers are cool, as ol' Eleven would say! Oh, what did I go and do that for. I need a moment...

Robot number two here seems to be a fan of top Who monsters, the Cybermen and the Daleks, as its metal skin slightly resembles the Cybus Industries Cybermen while its striking blue eyes are the colour of a Dalek's eyestalk. You know, whimsicality aside, a monster that takes parts from the Doctor's other deadliest foes is quite an idea. Hmm, Steven Moffat, if you're reading this and something similar appears in the next series I want to be made co-Executive Producer. And be given a BAFTA. And perhaps a yacht.

This handsome fella is the only alien alien seen in the trailer and he seems to be rather a treat, with his eyes on stalks (but not in the Dalek way). In fact, it looks like the Doctor is giving it a staring contest. Expect that episode to be a tense forty-five minutes. Don't blink, indeed.

Say hello Robot Number Three! Going by the background, perhaps a castle or a monastery, it looks like this robotic ragamuffin has shacked up in a historical location, possibly the medieval setting said to feature in the Mark Gatiss written episode this year. Interestingly, the robot's helmet and prominent cross resembles the look of English Knights from the Crusades that went on in that period.

And finally, we have... dinosaurs! For such a popular extinct race of creatures, they're a surprisingly rare thing to find on Doctor Who. For instance, the last time they appeared was... last series. Ahem, yes.

Ah, I hear you cry (I mean, I imagine that you cry. Don't check behind that vase. I promise there is not a bug hidden there) those Dinosaurs were on a spaceship, this adorable little predator is trampling through the streets of London. That's never been done before.

To this, I have to awkwardly look away and mumble that you are mistaken. Third Doctor story 'Invasion of the Dinosaurs' featured... Dinosaurs in London. Unlike that story, however, it seems Mr. T. Rex here will appear in Victorian London in 'Deep Breath', with the cyborg man and the Paternoster Gang (alongside Capaldi's first full appearance, this is turning out to be a packed episode!), going by the steam and hat seen in the image above. Also, there's this shot in the trailer of the skyline of a Victorian-looking London. Look close enough, and you may find something out of sorts...

'Into Darkness...' 

But you don't want to know about all this. The only question on your lips (apart from 'how did he get that bug in here?) is: what will Peter Capaldi be like as the new Doctor? The trailer, though only short, does give some hints. True to the rumours and scant comments we've had so far, he looks set to be a very different Doctor from the last two. A darker, more sombre Time Lord, who, rather than despair over the losses of his past, seems to actively want to atone for them. The heart of the trailer, and more tantalising than any of the clips of monsters and the new TARDIS (as fun as they are), is the short speech the Doctor gives Clara in the TARDIS - handily presented on this dinky photo for your pleasure. 

In dialogue presumably taken from the first episode or one of the first, even the Doctor seems unsure of his new nature asking Clara,'Tell me, am I a good man?' 

So while everything is still bathed in mystery until 23rd August (well, for most of us), only one thing is certain...

Capaldi is coming...