What could I possible say about Mark Gatiss's writing that I haven't said before? Not a thing, so I'm not even going to try…
In "The Lie of the Land," the multi-part story of the Monks comes to an end, with patently ridiculous plotting and sadly diminishing returns.
"The Pyramid at the End of the World" presents a familiar conflict: the Doctor vs. God. So this week I'm taking a long look at the treatment of religion in New Who.
Steven Moffat's "Extremis" inspired some thoughts on River Song, death, and the problem of endings in Doctor Who.
"Doctor don't you call me, cause I can't go/ I owe my soul to the company store…" Workers of the world unite behind the Doctor in Peter Mathieson's "Oxygen."
Delivering nothing, saying nothing, and meaning nothing, Mike Bartlett's "Knock Knock" is a forgettable and regrettable hour of Scooby Who.
Some excellent character work elevates a fairly standard "monster-of-the-week" story.
New companion Bill learns what it means to travel with the Doctor—and proves her mettle—in a strong second episode.
It's a brand new season, a delightful new companion, and a welcome new beginning for Doctor Who.
The most unusual episode of Doctor Who ever is also Doctor Who in a nutshell.
In which we consider The Impossible Girl, and the frustrating impossibilities of being a girl in Moffat's Doctor Who.
Mark Gatiss wrote a found-footage story, and what he found was the worst episode of Doctor Who yet.
The conclusion of Toby Whithouse's two-part story left this reviewer with a massive headache brought on by confusion and frustration.
Doctor Who goes back to basics with a classic "base-under-siege" story.
Another strong episode is nearly suffocated with clutter. Is Steven Moffat just too goddamned clever for his own good?