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Engadget
17-05-2025
- Entertainment
- Engadget
Doctor Who: ‘The Interstellar Song Contest' review: Camp!
Spoilers for 'The Interstellar Song Contest.' No, really, spoilers from here on out. Much like Eurovision itself, that was a lot , wasn't it? And much like every other episode this season, 'The Interstellar Song Contest' was overstuffed, excessive and brutally short. It was also a lot of fun, even if the sheer volume of plot that I wish we'd had more time to explore remains frustrating. Unfortunately, it looks like the great qualities of this episode will be overshadowed by all of the dramatic lore reveals. As usual, head to Mrs. Flood Corner for the analysis, but let's talk about the rest first. James Pardon/BBC Studios/Bad Wolf If you're in the US, you may not be familiar with the Eurovision Song Contest, even if Netflix did make a movie about it. It's an annual music competition that began in the post-war years that saw the major nations of Europe select an act and a song to compete. Judges from each nation would then rank each performance, with the winning act's nation going on to host the event the next year. Despite the name, participation isn't limited to Europe, with entries from Oceania, Africa and the Middle East. And the event, to use a technical term, is Extremely Gay , playing up its camp excesses and offering a space for queer performers. Lara Cornell/BBC Studios/Disney/Bad Wolf The Doctor and Belinda arrive in a VIP box in the Harmony Arena, a large open-air (given it's in space, should that be an open-space?) venue. They're just in time to see the start of the 803rd Interstellar Song Contest, presented by (actual British TV presenter) Rylan Clark, who has just emerged from a cryogenic chamber. The Doctor takes the Vindicator reading, and has enough data to force the TARDIS back to Earth on May 24, 2025 — but the pair decide to stay and enjoy the show. Watching from afar, Mrs. Flood delights that the Vindicator is now primed and ready, but will stay around to watch the show as well. It's a popular event, with three trillion viewers from around the universe watching the show, as it's broadcast much like a TV show. Unfortunately, the production gallery is stormed by Kid, a terrorist who has hijacked the arena's security drones with help from Wynn, someone from the production crew. Kid and Wynn are both Hellions, a race of beings with prominent devil horns that are reviled across the galaxy for how they look. People assume they are evil, engage in cannibalism and witchcraft, and it's hard for them to get jobs. The show's director even says that they were advised against hiring Wynn because she's a Hellion. Kid switches the broadcast to the rehearsal feed, which didn't feature Rylan, which piques the Doctor's interest as there's a TV in their VIP box. He pulls out his sonic screwdriver and starts fiddling with the equipment, but as he's doing so, Kid opens the air bubble separating the arena from the void. And instantly, almost 100,000 people in the audience are blown into space, including the Doctor and the TARDIS, while Belinda is saved by the canopy's roof closing. Wynn closes the canopies to protect the life of Cora, the odds-on favorite to win and the show's star act. The director notices that the people may be frozen, but they're trapped within the station's mavity bubble and could therefore be rescued. The Doctor, knocked out and frozen, floating in the void of space, is awoken with a vision of Susan (!) in the TARDIS telling him to 'find me.' He opens his eyes, spots a glitter cannon floating nearby, and propels himself toward the station's airlock, Wall-E style. It's there he meets Mike and Gary, the couple whose VIP box he inadvertently stole. They were thankfully safe in the corridor outside when the roof was opened. The Doctor, aided by his new friends, starts working out what the next part of Kid's plan is — to push a delta wave via the broadcast to all three trillion of its viewers. The wave was powerful enough to knock the Doctor to the floor and give them a nosebleed, and will likely kill every single viewer. Kid and Wynn are doing this because their home planet, Hellia, was bought by the corporation that sponsors the song contest. It was the home of a poppy that could make honey flavoring, and when the corporation bought the planet, it took the poppy and burned the rest, including its people. The Hellions were scattered, victims of a genocide, looked down upon by the rest of so-called respectable society. Wiping out both the audience and the viewers at home at an event sponsored by the corporation will, Kid hopes, balance the books. James Pardon/BBC Studios/Bad Wolf Belinda winds up with Cora, the show's star act (and her partner). The trio hack the system to work out what is going on. Belinda, believing the Doctor is dead, is full of remorse at having never told him how wonderful she thinks he is. Thankfully, they're able to access the station's video calling software to see the Doctor and Kid meet via an intra-station call, where the Doctor is giving Kid a glimpse of how furious the Time Lord can get, much to Belinda's surprise. Cora has skin in the game here, too, revealing after the call that she is also a Hellion, but cut her horns off in order to fit in with the rest of polite society, becoming a star in the process. The Doctor is able to use the station's holographic technology to project himself into the production gallery. Kid shoots the hologram, giving the real Doctor enough time to walk in, casually destroying Kid's gun and the delta wave box. The Doctor then starts channeling the station's power through his hologram body to shock Kid. The Doctor said that Kid had put 'ice in his heart,' and now he would pay back the attempted murder of three trillion people by giving him three trillion shocks. Beinda walks in, to see the Doctor essentially torturing Kid, and even the Doctor himself is plagued by visions of Susan telling him to stop. With Kid and Wynn locked away, the Doctor works out another way to use the holograms — as a tractor beam. We see a montage of people being pulled in from the void and reactivated, first using Rylan's cryogenic chamber, then on a larger scale in a VIP booth. It's not long before the whole crowd is returned, and with it, Cora takes to the stage. She tells them her story and sings a song from Hellia, and while the audience is initially hostile, she wins them over by the end. To the applause, the Doctor and Belinda head back to the TARDIS, but not before a holographic Graham Norton — talk show host and the BBC's face of Eurovision — tells them the Earth was destroyed in mysterious circumstances on May 24th, 2025. The Doctor and Belinda sprint back, determined to push the TARDIS to that date and solve whatever issue is coming. But even with the Vindicator plugged in, the TARDIS refuses to co-operate, ringing the Cloister Bell and switching to the all red lighting scheme. There's a sinister noise from outside the doors that the Doctor identifies as the "sound of May 24th," before the TARDIS doors explode. And the credits roll... ... only to be interrupted after the first crew card to cut back to Mike and Gary on Harmony Arena as they revive the last person blown into space. It's Mrs Flood, who reveals her double brainstem froze while out in space, "lethal for a Time Lady, but I've got my own knack for survival." Breaking the fourth wall, she says "let battle begin," and then bi-generates, splitting herself into Mrs. Flood and The Rani (Archie Panjabi), with Mrs. Flood becoming the subordinate to her newer self. As the pair walk off, the Rani says she will bring "absolute terror" to the Doctor, telling Mrs. Flood to shut up when she points out she's already done that. James Pardon/BBC Studios/Bad Wolf Honestly, Doctor Who can sometimes be a bit like a teddy bear with a razor blade hidden under its palm. Sure, it may look lightweight and cuddly, disarming you with its charm, but then it'll cut you so deep you won't even realize. 'The Interstellar Song Contest' is, without a doubt, one of the most affecting episodes in the run. This episode comes less than a decade after the Manchester Arena bombing that killed 22 people and injured more than a thousand. The visual of the 100,000 people being blown into space was staggering in its brutality. Juno Dawson's already written for Doctor Who's wider world, but her debut script for the TV series goes hard . But even if it's a harrowing watch at times, it's also filled with enough moments of levity. The Doctor's flirting with married couple Mike and Gary at various points in the episode is delightful as they're both increasingly smitten with him. The music is delightful, and Cora's final song was designed to melt people's hearts, plus there's a few background gags for the more novelty act songs that appear every year. Once again, I'm compelled to say the 45-minute format does nothing for Doctor Who when it's treading this high a wire. The themes of this episode include indifference to evil, pinkwashing, passing privilege, cultural identity, commodification, the inhumanity of replacing customer service with computers, the perpetuation of abuse and the value of revenge. Given Eurovision presents itself as an explicitly queer event, I'm sure better-qualified writers can speak more authoritatively on the episode's deeper subtext and political themes. And possibly explain in better detail where its sympathies lie. Every episode this season feels like it had enough material to fill three half-hour episodes of late '80s Who. Much like last week reminded me of 1989's 'Ghost Light,' this episode put me in mind of 1988's 'The Happiness Patrol.' That episode is, on its surface, about a planet where you'll be killed on the spot if you show any signs of visible unhappiness. Of course, it's really about the UK under Margaret Thatcher, Operation Condor and the gay rights movement. If you're curious, read Elizabeth Sandifer's essay on the episode. Hopefully, too, you'll notice the thematic parallels that are running through many of these episodes. Conrad in 'Lucky Day,' The Barber in 'The Story and the Engine' and Kid here are all presented as characters looking for revenge. But while the middle member of that trio has been ostensibly redeemed, the other two crossed the Doctor and made him angry. If his speech to Conrad was full of vitriol, then Kid is the first time we've seen Gatwa's Doctor in full vindictive mode. This has been a recurring theme for most of the post-2005 series, that the Doctor needs to hold themselves back from unleashing their full power and fury. Dan Fearon/BBC Studios/Disney/Bad Wolf Doctor Who was born before the home media age, where episodes were broadcast on a more or less one-and-done basis. If you were a fan looking to revisit an old episode, you had to read the novelizations that started coming out when the show became a hit. But Doctor Who wasn't originally built to support a six decades-long global multimedia franchise, and that's an issue. When it started, the Doctor was joined on his adventures by his granddaughter, Susan (Carole Ann Ford), and two of her teachers who followed her home one night. Long before any talk of Time Lords or Gallifrey, Susan was just the kid who needed to be rescued every third or fourth week. Carole Ann Ford wasn't happy with how poorly served her character was, and so opted to leave in 1964, a year after the show started. During 'The Dalek Invasion of Earth,' the Doctor exiles his own granddaughter to 22nd century Earth because she wants to kiss a boy. He doesn't even grant her a real goodbye, locking the doors of the TARDIS and giving a speech that only shorn of its context sounds noble. But Susan's mistreatment isn't just about the casual way she was dumped off the show, but how her existence does (or does not) fit with the show's lore. If she is a Time Lord, a quasi-immortal shape shifter, then dumping her in one time and place because she fancies a boy is quite the outrageous act. To view this content, you'll need to update your privacy settings. Please click here and view the "Content and social-media partners" setting to do so. Susan's existence also raises questions about the Doctor's other familial relationships that have never been directly addressed on screen. The show's unspoken modus operandi was summed up by producer John Nathan-Turner as 'No hanky-panky in the TARDIS.' But if he has a granddaughter, does that mean the Doctor also has a partner/s or children waiting for them to return to Gallifrey for thousands of years? As much as the character, especially in recent years, has implied they're happy to screw around the cosmos, they're not looking to settle down. And aside from one small appearance in a 1983 anniversary special, and a picture in the Doctor's study in 'The Pilot,' Susan's existence has more or less been swept under the rug. That was, until an actress called Susan Twist was cast in 'Wild Blue Yonder' and then again in 'The Church on Ruby Road.' Twist would go on to appear in every episode of Ncuti Gatwa's first season in a series of cameos that the characters became increasingly aware of. 'The Devil's Chord' even ends on a fourth-wall breaking musical number called "There's Always a Twist at the End.' The show was very loudly hinting Twist was playing a regenerated version of Susan, who was explicitly discussed at the start of that same episode. By last season's finale, however, Twist's inclusion was a double bluff — part of Sutekh's plan to trap the Doctor. Now, it appears that showrunner Russell T. Davies has been playing the longest of long games with the fans. The season-long and highly-visible fakeout means I was actually surprised when Carole Ann Ford's face appeared on screen. She appears twice, the first time when the Doctor is at death's door, with her urging him to 'find me' (harkening back to what Reginald Pye's ghost wife told him before he blew up the film canisters in ' Lux .') The second time, she admonishes him for torturing Kid for his would-be genocide. In many ways, Susan's appearance completely overshadows the reveal that Mrs. Flood is none other than the Rani. That's the (classic) series' far less well-known Time Lord foe, who appeared in only two official stories during its original run. But the Rani gained an outsize reputation among fans as she was played by Kate O'Mara (perhaps best known in the US for her role in Dynasty ) who imbued the character with high camp excess. Which maybe blunted the idea that she was a sort of Time Lord Mengele, carelessly using people as fodder for her grisly experiments. Unfortunately, the Rani was created so late in the original series run that she only returned once in an episode most people would prefer to forget. It appears that Russell T. Davies' hidden mission for the streaming era was to rehabilitate some of the concepts that didn't work back in the '80s. After bringing Mel back as a UNIT employee last year, now he's doing the same for the Rani. Interestingly, both of those were created by Pip and Jane Baker — writers who are as emblematic of the series' wider decline before its dramatic revival under Andrew Cartmel. It's also notable, perhaps, that the name Rani is a Sanskrit word that broadly translates to 'Queen,' but Panjabi is the first actress of South Asian descent to play the character. I'll be honest, if nothing else, I'm relieved that Mrs. Flood has turned out to be the Rani if only to stop people going on about that character. It's not that she's a bad character per-se, but when the series already has the Master, a renegade Time Lord who concocts elaborate traps for the Doctor, it's hard to see the Rani as anything other than a 'will this do?' alternative. Hopefully the finale can establish a real distinction between the Rani of the classic series and the new one beyond breaking the fourth wall. Now, I have to apologize last week for not clocking the child Belinda saw in the alleyway was Poppy (Sienna-Robyn Mavanga-Phipps) from 'Space Babies.' Obviously, some fan theories have suggested it was a sign that the stories from 'The Story and the Engine' were leaking out of the pocket dimension. But at Comic Con Cardiff at the end of last year, Anita Dobson (Mrs. Flood) said that the second season would tie into ' Space Babies ,' which was another episode with a similarly fairytale premise. If that is the case, and everything that has unfolded in the last two years is all part of some grand plan then it must have started at 'Wild Blue Yonder.' It's the second of the three 60th anniversary specials, and the episode that saw David Tennant's Doctor disrupt Isaac Newton's discovery of gravity. It's been a running joke ever since that the force is known as 'Mavity,' and that episode is also the one that allowed the pantheon of gods to enter this universe. Given Susan Twist was playing Isaac Newton's maid, perhaps the series shifted into the Twistverse at that point. Or, you know, the prevailing fan theory that this era takes place in the Land of Fiction, a pocket fantasy universe depicted in 1968's ' The Mind Robber .' One subtle running thread this season has been the Doctor's almost insistent urging that Belinda enjoys their travels. He's made more than a few references to Belinda getting the hang of traveling with him in the TARDIS and starting to loosen up and enjoy things. If the only reason he met her in the first place was because of Conrad , then perhaps he's unwittingly building his own bootstrap paradox. Which would be, you know, a bad thing . Finally, it does appear that every episode of this season is going to share thematic parallels with its equivalent from last year. 'Dot and Bubble' and 'The Story and the Engine' both explicitly engage with ideas around how the Doctor's changed racial identity affects his life. 'Rogue' and 'The Interstellar Song Contest' both deal with queer themes through the lens of a pop culture phenomenon. If true, then 'Wish World' will likely be an episode where the story gets picked apart and the tension rises to another grand cliffhanger, followed by 'The Reality War,' which can't possibly hope to live up to the promise of its first half. You know, just like last year.
Engadget
10-05-2025
- Entertainment
- Engadget
Doctor Who ‘The Story and the Engine' review: Just a trim, thanks
Spoilers for 'The Story and the Engine.' Doctor Who lives and dies by the quality of its writing and acting far more than almost anything else on TV. Audiences may demand big explosions and trippy visuals but its best work is often done in small rooms. The Disney era began with an episode that, for all its glossy excess, rested its big moment on Catherine Tate's acting. Now, as the Disney era potentially draws to its end, it's once again highlighting what a smart script and great actors can do. 'The Story and the Engine' is a stellar episode and a sign of what Doctor Who could look like a year or two from now. Lara Cornell/BBC Studios/Disney/Bad Wolf To get Belinda home, the Doctor takes the Vindicator to Lagos, Nigeria, to piggyback on the country's communications network. But there's another reason — he wants to visit his favorite barbership, Omo's. The TARDIS can cut the Doctor's hair, but it's not the same — especially now he's living for the first time (that we know of) as a Black man. A trip to Omo's is a chance to both get a trim and feel accepted, telling stories and laughing with his friends. Belinda stays in the TARDIS while the Doctor heads out, past missing people posters and signs warning people to stay away. As soon as the Doctor crosses the threshold into Omo's, the TARDIS begins blaring red alert, much to Belinda's confusion. The missing people are here, in the barbershop, but Omo is no longer in charge, having lost control to the mysterious (and unnamed) Barber. The Barber has kept the men hostage, cutting their hair on a regular basis, with each one telling him a story as he does. Each story is broadcast on the inside of the shop's window, and as soon as they're done, their hair grows back. The stories aren't for entertainment, but to fuel an enormous robot spider traversing a metaversal web. Only one person is allowed to leave the shop, Abena, who brings the men food each day to keep them alive. Naturally, an immortal time traveler is a fantastic resource for stories, but his first tale is that of Belinda staying behind after work to save a woman's life. Whereas the other men's stories are rendered in animation, we actually see Belinda's story as live action. And, once the Doctor's hair is shorn, it grows back, ready for his next turn to be an unwilling storyteller. Belinda, after asking the TARDIS to show her where to go, heads to Omo's, where the Doctor is surprisingly happy to see her as she, too, gets trapped in the barbershop. Abena is hiding a secret, and has been hostile to the Doctor ever since she met him. That's because she's really the daughter of Anansi, the spider-esque trickster god of Akan folklore. Her father defeated the Doctor many (many!) lifetimes ago, insisting they marry her, but the Doctor skipped town, leaving her on her own. [Casual viewers totally lost as to what was going on at that point and why the Doctor suddenly turned into someone else, head down to Mrs. Flood Corner for an explanation.] At some point in history, Abena teamed up with the Barber, who isn't a god himself, but a form of fiction-weaving figure. He told tales to entertain and sustain the gods, designing the dimensional web his giant spider robot is currently traversing. At some point, he'd outlived his usefulness and was cast out by his masters, and so he is using people's stories to power his story engine. When it reaches its destination, he'll wipe out all the gods of myth and legend and take their place. Abena, horrified that her own family will be wiped out in the Barber's revenge, opts to switch sides and tends to the Doctor's hair. She tells the story of how African people under slavery would braid messages and maps as cornrows to evade detection. The Doctor's hair is now a map of the story engine's mazelike corridors, leading him to its beating heart. When the Barber tries to stop him, he (wrongly) invokes Hemingway, talking about the power of his six word story. Oh, but we're five minutes from the end, so the Doctor saves the day by, uh, playing a highlights reel of all his prior incarnations. The Barber, however, is a changed man, and comes back with the Doctor as the story engine itself collapses under the sheer weight of the Doctor's life story. With everyone free, Omo declares he's retiring, and hands the role to the Barber, who will use his powers for good. Abena opts to part ways with her friend, and the Doctor and Belinda head back to the TARDIS. James Pardon/BBC Studios/Disney/Bad Wolf 'The Story and the Engine' is a phenomenal debut from British-Nigerian poet and playwright Inua Ellams. The rules of the barbershop and premise of the story is clear enough to grasp before the title sequence has rolled. And little time is wasted getting the Doctor through the door of Omo's shop, enabling him to engage with the problem at hand. If there's an issue, it's the same one that's dogged every episode this season: the overstuffed narrative that picks up and drops ideas in minutes that another series would have milked for weeks on end. The narrative and thematic density here includes nods toward folklore versus the mechanical reproduction of storytelling. An exploration of the nature of community, family, safety, betrayal, love and the value of revenge. Hell, the antagonist is a writer who's pissed off their overlords cut 'em loose and took the credit that was theirs to claim. Not to mention, Doctor Who is having to make a case for its own continued existence given the behind the scenes rumors. That's so much to cram into 45 minutes that you just want everything to slow down and let things breathe. As much as Doctor Who might be seen by the majority of its audience on a streaming platform, it's still constrained by its broadcast runtime. Like the rest of this run, this episode is just begging for more time to allow its textures to be better explored. In fact, as I lay in bed after watching the episode, I was thinking about how many of these episodes would work well in the old-school half-hour format. Three half-hours would give us more time in the barbershop and a more earned ending. 'The Story and the Engine' is already a chamber piece — make the CGI spider a barely-seen matte painting and use stock footage of Lagos and this could have easily been done in the '80s. Again, given the rumors that, without Disney's cash, the BBC can't afford to produce Doctor Who , we're seeing how great it can be when it's just got five or six actors in a single room. That's not to say the extra money isn't welcome: I also want to, again, single out how much great work the rest of the production team is doing this year. The story engine's heart, a beautifully-made heart-tree-brain sculpture, was another great piece of design work. And any episode of anything that uses Blick Bassey's "Aké" as a needle drop deserves a round of applause. A Nigerian barbershop is not the usual place for an episode of Doctor Who to play out, but it's also absolutely perfect. After all, one of the richest seams of inspiration the show has is to find the magic in the edges of the mundane. What could be more magic than people sitting around, telling stories and forming communities through nothing more than the cutting of hair. Mrs. Flood gets a tiny cameo this episode, popping into the hospital during the Doctor's tale of Belinda's heroism. It's ambiguous if the Doctor knows Mrs. Flood was there, or if her presence was only for the audience's benefit. Given the more standalone nature of this episode, we shouldn't ask too much of Mrs. Flood this week. It's certainly interesting to see what Belinda does and doesn't know about how the world of the Doctor works. My assumption is still that the Doctor briefed Belinda on the basics and even the more advanced details off-screen. Belinda's smart and capable enough that she'd ask the right questions to learn that the TARDIS wardrobe is also able to style hair. I am curious, however, about why the Doctor was so happy to see Belinda as she walked into the trap. And why Belinda knew what to do when the Doctor made his break for the story engine in the conclusion. That the costumes have changed since 'The Well' implies that time has passed for these two, so maybe their rapport has grown in the interim. Dan Fearon/BBC Studios/Disney/Bad Wolf If you'll allow me to go out on a limb, what if the real identity of Mrs. Flood or this season's big bad is in fact Fenric? Hear me out: 'The Story and the Engine' shares a premise with 1988's 'The Greatest Show in the Galaxy.' In that episode, the Gods of Ragnarok have occupied a circus to fuel their hunger for entertainment, killing anyone who displeases them. The Barber in this story mentions he wrote stories for several Norse gods and tries to pass himself off as one of them before his real identity is revealed. Now, if you recall, another Norse god the Doctor tussled with in that era was Fenric, the villain from 1989's 'The Curse of Fenric.' Which was one of the classic-series stories highlighted for the 60th anniversary's Tales of the TARDIS run. Given Davies' shot an additional episode of that run to introduce new viewers to Sutekh before he appeared in last year's finale, maybe the groundwork was already laid to bring Fenric back. Yeah, you're right, it's not going to be Fenric. When was the Doctor a Black woman? To view this content, you'll need to update your privacy settings. Please click here and view the "Content and social-media partners" setting to do so. The 2020 season of Doctor Who made a number of controversial changes to the foundation of the series. Showrunner Chris Chibnall opted to dump the series' original deliberately ambiguous backstory in favor of something a little more stock sci-fi. Before then, our lead character was an outsider who left their world and stumbled around learning to become something of a hero. The show's first four seasons build to the moment when the Doctor says 'There are some corners of the universe which have bred the most terrible things. Things which act against everything we believe in. They must be fought.' Like a lot of early Doctor Who , the character's development over time wasn't necessarily visible until you look back on the era as a whole. Chibnall threw all of that out, insisting that the Doctor wasn't just the most Special Time Lord Of All Time, but the figure who gave the Time Lords the power of regeneration in the first place. In one season, he'd turned the Doctor into the equivalent of Adam and Eve and Jesus all at once. He also eliminated the series' longstanding regeneration limit, saying the Doctor can change their body an infinite amount of times. Which rather undermines the action and saps the dramatic tension from episodes like 'The Caves of Androzani' and 'The Eleventh Hour.' These changes gave the Doctor an entire as-yet unseen first and second act, with the adult Doctor working for the Time Lord equivalent of the CIA before having their memory wiped before the start of the series proper. The episode 'Fugitive of the Judoon' revealed the identity of one of these doctors, The Fugitive Doctor, played by actress Jo Martin — the only time the Doctor had been played by a Black actor before Ncuti Gatwa and only the second time (canonically) they'd been played by a woman after Jodie Whittaker. The Fugitive Doctor's place in the series' history is left ambiguous, and she mostly spent that time on deep cover missions. When Davies' return was announced, I was privately hoping he would very loudly unwind much of Chibnall's Timeless Child story arc. Trapping the Doctor in the hacky sci-fi role of chosen one felt like an act of near-fatal violence against the series. There have been many other secret origin stories for the Doctor over its sixty-year tenure, but the others were mostly content to sit in implication rather than bellowed from the rooftops. It's here I must offer yet more praise for Russell T. Davies, who opted to Yes-And Chibnall's hackiest impulses. He has managed to integrate the Timeless Child story in a way that serves the character of the Doctor supremely effectively. Rather than focusing on the ancestral history he's focused on the Doctor as an orphan, taken advantage of by cruel aliens. It gives greater weight both to his relationships with his companions, and to the need for belonging that takes him to Omo's. And the events of the Flux miniseries have broken the universe so utterly that it's opened the door for the pantheon of gods to enter it. Not to mention, it offers a vehicle through which we can get more stories of the Fugitive Doctor that gets it out from under the more reactionary storytelling under which she was created.
