Moffat Returns in Full Force with Ncuti Gatwa on dazzling form.
In a triumphant return to form, Steven Moffat delivers a script that is quintessentially his, packed with wordy banter, clever foreshadowing, and sharp critiques of corporations and organized religion. This episode plays out like a “greatest hits” collection of the Moffat era, and that's a good thing.
Ncuti Gatwa, spending nearly the entire episode trapped on a landmine, seizes the opportunity to deeply explore his portrayal of the Doctor. Gatwa is simply outstanding. His version of the Doctor is more outwardly emotional than we've ever seen, yet he masterfully switches from playful to intense in a heartbeat. At times, it felt like Moffat was scripting for his Eleventh or Twelfth Doctors, which makes sense given Moffat's long-held belief in writing a consistent Doctor, leaving it to the actor to infuse each incarnation with unique idiosyncrasies. (Indeed, in the in-vision commentary, he shares an anecdote about being congratulated on a rewrite tailoring "The Eleventh Hour" to the then newly cast Matt Smith. No such rewrite had occured.) Gatwa imbues the uniqueness of HIS Doctor with finesse. While I've been a fan of the Fifteenth Doctor since "The Giggle," this episode showcases shades of Matt Smith, Peter Capaldi, and even Jodie Whittaker in his performance. There were moments where you could imagine Smith or Capaldi delivering the lines seamlessly, which, in my opinion, is how it should be.
Millie Gibson continues to impress as Ruby, with a more substantial role this week. Moffat has often been critiqued for his handling of female characters, and initially, Ruby seems to risk slipping into the "Sexy Quippy Lady" trope familiar from Amy, River, and Clara. However, Gibson’s inherent warmth and vulnerability shine through, especially during a tense moment when her character gets shot, leaving me on the edge of my seat.
The mysterious appearance of Varada adds another intriguing layer, leaving us with more questions than answers. While it's tempting to assume her return is due to her on-set rapport, hints suggest a deeper connection, perhaps more akin to the Adeola/Martha link than the Oswin/Clara one.
The supporting cast also deserves praise, particularly the lovestruck soldier whose death was genuinely moving and tear-jerking.
But the true star of this episode is Moffat’s writing. His take on Doctor Who remains my favorite, and this episode felt tailor-made for fans like me. Coupled with stellar performances and impressive use of cutting-edge backdrop technology, this is, in my view, the best episode since "The Doctor Falls" in 2017.
As the series progresses, my episode ratings are evolving:
- "Church on Ruby Road": 7/10
- "Space Babies": 6/10
- "The Devil's Chord": 7.5/10
- "Boom": 10/10
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