The TARDIS gets caught between universes…

Before we go any further just look at that credit list: this episode stars Christopher Eccleston, David Warner, Gina McKee, Nicola Walker and Robert Powell, written by Lisa McMullin, directed by Helen Goldwyn with sound design by Howard Carter. In front of the mic and behind the scenes this is an absolute roll call of the best in their field and it does not disappoint.

McMullin is rapidly becoming one of my favourite writers and this sits alongside Two’s Company, her earlier entry in the saga as a highlight. Both view the Doctor(s) through the lenses of their companions and both dive into the byzantine, feral grandfather clock architecture of Time Lord culture and biology. Here though, the comedic heavy lifting is done by the Doctors rather than the companions and it’s lovely.

Eccleston’s lightness of touch with the character is something that never gets enough credit and it comes across in audio beautifully. Nine is a whirling hurricane of determination, barely contained rage and abject compassion and that mercuriality is on display here throughout. There’s a great moment at the mid way point where he’s shown his lives and it tells you why this story could only be for this Doctor. The same feral, frantic joy that leads to ‘JUST THIS ONCE, EVERYONE LIVES!’ is here, tempered with the start of something very subtle.

Eccleston, McMullin and Goldwyn conspire to create the start of something fascinating. Showing a Doctor who has always been defined by survivor’s guilt his future is a really powerful thing, and seeing this avatar of survivor’s guilt realize he doesn’t have to feel guilty is really powerful. It’s also an engine that drives the interactions between the two Doctors. Eccleston and Warner are fantastic throughout, and there’s a clear undercurrent of affection and respect under the usual Doctorly verbal sparring. Both men talk in the accompanying Special Edition interviews about their friendship and it comes across on air wonderfully. This is a younger, furious Doctor who isn’t sure he wants to carry on not only having that belief challenged but shown what happens when he does. Warner is magnificent as ever here, regal and funny and an open emotional book. An extraordinary performer and extraordinary man, this is some of his best work.

In fact, it’s some of everyone’s best work. McKee, Walker and Powell are jaw-droppingly good performers whose entire careers are full of must watches. McKee, reunited with her Our Friends in the North co-star Eccleston, is wonderful as the Lumiat especially as this is the first time I’ve heard the character in action. Created by McMullin, The Lumiat is the Master’s equivalent to the Valeyard; an incarnation whose inherent goodness is anathema to her other selves. McKee is superb as ever and there’s a real fragility and slight danger to the Lumiat I loved. You can hear the slight tension in McKee’s performance, the Lumiat consciously choosing to not be who her past selves were. It’s an inherently poignant role and McKee’s gentle flamboyance and charm is perfect for it. Especially in the double act she spends much of the story in, alongside Liv Chenka. Walker and McKee are two of the greatest actresses of their generation and their chemistry here is charming from the get go. The Lumiat knows way more about what’s going on and doesn’t really want to go public with that. Liv is significantly more stoical but also nowhere as read in on what’s going on. The end result is the Lumiat basically treating her like a companion and Liv not noticing for a while and it’s very, very funny without making either character weak. Liv’s determination and pragmatism is just as vital as the Lumiat’s slightly panicky charm and alongside the Doctors this really is a powerful ensemble, and one where each character plays a vital part.

That’s true too of Powell, playing the living embodiment of a Time Lord ideal with cosmic gravitas and wit. He’s got the least to do here but the role is the lynchpin for the story, as McMullin throws Time Lord history and the bulwarking of time against all threats at the ongoing plot. Nine discovers what fuelled the weapon he was hit with that caused the trouble, Unbound discovers some surprising common ground with an alternate, the Lumiat gets to be the heroine and Liv (eventually) gets to go back to the beach. Briefly. Oh and time and space get saved too.

Verdict: The core plot is great, the character arcs all soar and the arc plot finishes on a reveal which catapults us into the end game with the game very changed indeed. All of which is given wonderful, cavernous sound design by Carter and directed with typical precision and humour by Goldwyn. The entire line has been strong but this is an absolute gem. 9/10

Alasdair Stuart

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