• Edward Delingford

    Both of these episodes were extraordinarily good. They took concepts from a rag tag of much inferior new Who episodes (42, Waters of Mars, Impossible Planet, Father’s Day) and wove them into something fresh and new. Every part of this episode screamed high concept and confidence from the pitch perfect opening monologue (seriously, only Capaldi has the acting chops and gravitas to pull something like that off), the sublime guitar riffing (please keep this version over the very poor series 9 theme) right to the final Beethoven reference. Characterisation was as good as it has ever been on the show with no red shirts in the cast and each given clear motivations, hints of backstory; Cass in particular was outstanding; brilliant sets used effectively – I loved the Cold war village which was used wonderfully as they tried to keep out of the way of the Fisher King; great central monster voiced magnificently by Peter Serafinowicz; superb confrontation scene between Capaldi’s doctor and the monster (nobody does this quite as well as Capaldi); THAT axe dragging scene was friggin’ brilliant and further ominous character development for Clara. And all put together seamlessly within 45 breathless minutes without a second of padding. I think this is even better than Steven Moffat’s virtuoso outing and puts series 9 already on course as not only the best written, acted and produced of the modern era but quite in tone with the best Baker/Hincliffe. Bloomin’ marvellous!

  • Madge’s Mate

    No way was this a 10/10. A 6/10 at best.