There is a wonderful sense of renewal as we head into Series 11. We have a new show runner, a new writing team, a new composer, a new look and feel - heck, even a new airdate...oh, there's also a new Doctor!

In fact, there hasn't been this much change since the show returned in 2005, but change has always been at the heart of Doctor Who, and its heart is beating as strong as ever.

From the beautiful opening shots of a hilly Sheffield, we are introduced to our new companions, and, after a little exposition, we're thrown right into the action.

About 5 minutes in, it became refreshingly apparent just how little we all know about this new series. Being at the forefront of Doctor Who news and information, it can be tricky to avoid plot details and images (thanks to the many emails we get from our visitors), but for once, every single scene was fresh and new, and unspoiled. Kudos really has to go to the production team on a sterling effort to protect the show's secrets!

We are incredibly hesitant to talk too much about the episode, but what we can say is just how different it feels to the new series direction, thus far. That being said, there's a comforting familiarity, too. This isn't a radical change for the sake of change - it's an evolutional change that takes the show in a bold new direction.

The fact that The Doctor (Jodie Whittaker) now happens to be a woman, really isn't as big of a deal in the show as you would think. I mean, of course it's a big deal in the grand scheme of equality and diversity, and for girls (and boys) to have a rolemodel they can look up to, but, as far as the canonical issue of The Doctor now being a woman is concerned, she is every bit The Doctor as her predecessors, and it's business as usual.

Let's unpack Jodie's Doctor a bit more though. From the second you see her on screen, there's no time for you to question the if's or how's - it's straight into the action, and nitty gritty of getting to the bottom of the alien threat of the story. In fact, it isn't really until about two thirds in that there is a breathing space for her Doctor to start to unfurl who she is. That being said, by the time the credits roll, there is no question that this is The Doctor and she very much knows what kind of a woman she is.

As for our companions, Ryan (Tosin Cole), Yaz (Mandip Gill) and Graham (Bradley Walsh), again, we want to keep light on the detail, but they fit in perfectly with Jodie's Doctor, and all 4 of them already have a wonderful camaraderie with each other and The Doctor. Very much like with the Russell T. Davies era, you genuinely care about the characters, and the fact that there are consequences and fallout from actions and situations in the episodes.

The overall feel of the show is like a perfect mesh between new and classic who in its delivery. It's the familiarity we mentioned early on, and although it's hard to quantify exactly why, there are a couple of moments that stand out, and if you happen to be a fan of the classic series, you will know exactly what we mean.

That being said, this is still very much new ground we are treading. Gone are the monsters of old (for now), and before us stands a brave new world full of scary new threats. It all feels more real and grittier, and you can't help but feel like anything could happen.

To any of you still doubting Jodie as The Doctor, honestly, genuinely you have nothing to fear! She encompasses everything The Doctor was and is, and if this episode alone is anything to go by, we hope it is the start of a long tenure in the role.

Quick mention of Segun Akinola's powerful musical score! It's a little Broadchurch-y in places, and somewhat industrial, too, which feels very different to what we've become used to, but it totally fits. Music is such an important part of Doctor Who, and it really sets the tone of the series. We don't get a title sequence for episode one, but there is a little cue of the new theme in the episode, and it is truly fantastic! Hold out until the end credits and you may just start to fall in love with our new composer!

Finally, a huge tip of the hat to Chris Chibnall for an episode that feels so much larger than the sum of its parts. Beautiful dialogue, believable, earthy characters and an emotional vein that makes you care about them. Between Jodie and Chris, the show is truly in good hands, and what an exciting time it is to be a Doctor Who fan!

5 Things To Look Out For:

1)  A poignant bookend.
2)  Teeth.
3)  A nose-picking Doctor?!
4)  Sheffield Steel.
5)  A moment at the end that is pure Classic Who!

+ 11.1: The Woman Who Fell To Earth airs on Sunday 7th October at 6:45pm on BBC One.

[Source: DWO]

As we write our spoiler-free preview for Peter Capaldi's final outing as The Doctor, we are reminded of a particular verse from 'Beauty And The Beast';

Tale as old as time,
Tune as old as song,
Bitter-sweet and strange,
Finding you can change,
Learning you were wrong.

This is a show that has been around for over 50 years, and whilst many of us think we know it inside out, now and again a writer comes along and adds a new slant on things, that allows us to understand and appreciate it in a whole new light. This episode is bitter-sweet, its strange, and if you would allow us to follow this comparison through to conclusion, it's about finding you can change and indeed learning you were wrong.

Everything begins with a poignant "previously" recap, with some on-screen text stating "709 episodes ago". We see The 1st Doctor in scenes from The Tenth Planet, and William Hartnell's Doctor morph into that of David Bradley's, and at no point after this moment do we ever question that Bradley's Doctor IS The 1st Doctor. It's loyally executed and cleverly explains why Bradley doesn't look exactly like Hartnell, and even hammers a nail into a question that arose from 'The Brain Of Morbius', regarding the Doctor's past regenerations.

Mark Gatiss, provides a third male lead in the story as 'The Captain', who is, by far, our favourite of all of Mark's characters in the show to date - yes - even more than Gantok! His character is layered and without stereotype, and will have you reaching for the hankies by the end. We cannot give away much regarding his role, but the setting is incredibly important and leads to a memorable close.

We mentioned about this being a strange story, but this is no bad thing. It is strange in the fact we don't really have a villain; it's more a beautiful character piece, that affords us an interesting, well-paced send-off for Capaldi's Doctor. It brings The 1st Doctor back to life in all the ways we knew, but gives us something new, and Bradley's performance is just fantastic! Capaldi and Bradley spark off each other incredibly well, and there are some truly laugh-out-loud moments during the episode - some of which include Pearl Mackie's Bill and The 1st Doctor. Bill is a very modern woman, and The 1st Doctor...isn't.

There are little 'timey-wimey' moments that Steven Moffat has peppered throughout the story, that hardcore fans will recognise and love, without alienating or distracting from the story. Steven has to be commended for this beautiful tale; for it IS beautiful, in so many ways. It rounds off his tenure as head writer and showrunner, perfectly, and sets him up to be remembered as one of the most important guiding forces in the shows entire, long history.

If recent rumours are to be believed that the show's composer, Murray Gold, will indeed be stepping down after this Christmas special, then there are most definitely hints of this in the score. Look out for new versions of some of his most memorable compositions, including a slightly melancholic rendition of the 'Doomsday' theme from the end of Series 2. It feels like Murray is saying goodbye to us throughout the episode, and it's heart-breaking. It's no secret that we're huge fans of his work; you only have to look back through our many reviews and previews to see how much we mention him, but then, his music has become an important part of the show - a constant that helps you feel that little bit more emotion in pivotal scenes. For this we salute you Murray, and thank you for all you have done.

Whilst we are saying our goodbyes, we have to pay tribute to Peter Capaldi for his tremendous portrayal of The Doctor. Series 10 was hands-down the best to feature his Doctor, and he takes all of the gravitas and hard work gained throughout the momentum of Series 10, and literally goes out in a blaze of glory in 'Twice Upon A Time'. We always wondered just how amazing a fourth series with Capaldi could be, but, alas, it wasn't meant to be. That being said, there is someone new, exciting and totally right for the job, and she's about to take the show in a new, exciting direction! Welcome aboard, Jodie!

5 Things To Look Out For:

1)  3 perspectives.
2)  "Smacked Bottom".
3)  An old friend in a tower.
4)  "So that's what it means to be a Doctor of war!"
5)  A gift that, if you're a regular viewer, will give you a lump in your throat.

+  11.X: Twice Upon A Time airs Christmas Day at 5:30pm on BBC One.

[Source: DWO]

Wow...just...wow!

If this turns out to be Mark Gatiss' final script for Doctor Who, then he's going out on a massive high as we absolutely loved and adored Empress Of Mars!

There are so many classic series elements here that tick all the right boxes, and we don't just mean the Ice Warriors. The majority of the adventure is set in the caves underneath Mars, and thanks to the truly awesome locations used, the look and overall feel instantly pulls you in. There are elements of those cave scenes in Earthshock, but owing to the colour palette everything feels so much more other-worldly. This feels straight out of the classic series, but with all the trimmings of the new series and its budget.

In a nutshell, the year is 1881 and The Doctor, Bill and Nardole arrive on Mars to find Victorian soldiers from Earth in the subterranean cave network. Among them is a lone Ice Warrior who serves tea and even tidies up afterwards! It's not long before the army discover a long-lost tomb, but with dissension in the ranks, chaos is just around the corner. As promised by Gatiss, we are introduced to a new type of Ice Warrior, and how wonderful she is! Iraxxa not only adds a new vein to the Ice Warriors mythos, but she proves a powerful force to be reckoned with, whilst throwing a good old punch in the air for girl power. Bill bookends the girl power, thanks to her negotiation skills with Iraxxa; in fact women seem to rank higher than men in Ice Warrior culture.

Whilst historically The Ice Warriors have generally been considered a Doctor Who villain, we like how Gatiss has fleshed them out (quite literally in Cold War) and made them so much more than a slick, green, waddling "upright crocodile", and given them some redeeming qualities (beach ball kills, aside). In fact, in Empress Of Mars, we actually see an Ice Warrior run!

If there is just one gripe we have, it's the way in which the Ice Warrior's kill their victims. Gone are the days of the inverted, shaky mirror death, now they're turned into...well...human beach balls. That being said, I certainly wouldn't want to be turned into a human beach ball, so the threat element remains intact...in a roundabout way.

This is a relatively Nardole-light episode, with the main pocket of his scenes at the start, but when he does eventually turn up again, it sets the scene for a rather complex situation that The Doctor will have to resolve at the start of The Eaters Of Light.

Empress Of Mars is a textbook Doctor Who adventure that does a lot more than it seems at first glance. As well as being a rollicking good monster story, it actually incorporates many aspects of the show that has lead to its success over the years. There's time travel, rich characters, genuinely scary monsters, and, more importantly, a stonkingly good script. We really hope this isn't Mark Gatiss' final script for Doctor Who! This is probably our favourite episode of Series 10 so far! 

5 Things To Look Out For:

1)  Sleep No More.
2)  A nod to an actress last seen in Series 2.
3)  Not a good idea, Nardole...
4)  An old friend.
5)  "This can't happen. This...is not what we agreed to."

+  10.9: Empress Of Mars airs This Saturday at 7:15pm on BBC One.

[Source: DWO]

And so we have our first three-parter since Series Three's Utopia, The Sound Of Drums & The Last Of The Time Lords...

As far as gravitas goes, it would be unfair to compare The Lie Of The Land to those episodes, after all, it provided us with one of the biggest rug-pull moments in Doctor Who history as we finally got to see the long-awaited return of The Master. The big question is: "Does this really work as a three-parter?", and whilst we enjoyed all three episodes, the mini-saga felt a little drawn out by the time we finally get to the end of the adventure. The narratives of all three episodes, whilst linked, still feel quite disparate and the set-ups at the end of the first two episodes have no resolution at the start of their concluding parts.

Putting a pin in our gripe for a second, we start six months after the events of the previous episode, and the pre-titles scenes felt, stylistically, like they were straight out of the Russell T. Davies era of Doctor Who - it works really well, but you are left wanting to know what happened at the lab after the end of the previous episode. Also, what happened to Erica? Hang on...sorry about that...putting the pin back in again.

The plot revolves around the Monks now having taken control of the planet, leading mankind to believe that they've always been there, guiding them since the dawn of humanity. In reality, it has only been 6 months since Bill Potts gave her "consent", but thus unravels the titular lie of the land. We know we said it was unfair to compare this trilogy to the Series 3, three-parter, but a chunk of the plot here does, in part, seem quite familiar. An enemy (known to The Doctor and us as an audience) has taken control of the planet, and over a period of time it has become accepted by humanity.

That really is all the negatives out the way, and in spite of them, we still enjoyed the episode, and yes - this does still retain Series 10's high standard of episode quality. We mentioned earlier about the infamous rug-pull moment from Utopia, and there is another in this episode, though not quite as big. A big chunk of the story is understandably focused on how to bring down the Monks, but there are some really poignant stand out moments; one in particular involves Bill, who delivers her most emotionally charged scene to date.

Capaldi's Doctor feels particularly unpredictable in The Lie Of The Land, and never does he feel more dangerous than when you don't know what he's going to do next. 

Missy is back again (thankfully) and she is on fine form here. We get to see inside the vault and get an update on whether she really is changing for the better. Without going too much into the detail, The Doctor needs Missy's help and it seems she may have met The Monks before...

Whilst The Lie Of The Land may prove a little divisive among fans, there's a cracking story at its heart that just feels slightly overstretched to the three-episode format.

5 Things To Look Out For:

1)  Daleks. Cybermen. Weeping Angels.
2)  "It's me! Nardy!"
3)  The Doctor does something dramatic that he's never done before!
4)  Chocolat.
5)  A game of hot and cold.

+  10.8: The Lie Of The Land airs This Saturday at 7:35pm on BBC One.

[Source: DWO]

At the end of last week's episode, we were desperate to talk about the elephant in the room...quite literally, but as we are prohibited from revealing certain elements of the episodes (as part of our advance preview agreement), it would have given away the ending. Thankfully, by the time you are reading this, we will have seen The Doctor and Bill arrive in historical London at the last of the great Frost Fairs.

This is an episode that feels like Oliver Twist meets The Curse Of The Black Spot, and is as rich in story, character and script as it is in the beautiful setting - and what a setting it is! When we first read the synopsis, it felt like one of Virgin's Doctor Who Missing Adventures books from the 1990's - that's no bad thing at all, in fact, it seemed like one of those stories that read so well that you couldn't imagine there being a budget to allow it on screen. But seeing it on-screen is a delight, and it looks like a BBC period drama with all the trimmings. There are crowd scenes with so much going on that you'll want to pause it to see just how much life and activity there is. This is then juxtaposed with some literally chilling scenes on the Thames where there is just one character, a mist, a threat, and nothing but Murray Gold's eerie score to accompany them.

We get to see more of The Doctor and Bill's dynamic here, and their first proper argument, which feels a little awkward at first, and you begin to wonder if Bill might just pack it all in and demand to go back home. Bill really questions The Doctor - perhaps more than any other companion, and it's so refreshing to see how differently she views situations. The Doctor also comes more to the forefront in this episode with a couple of great speeches, whilst still allowing Bill some room to stand up and take the stage.

As for the main threat in the episode, there's more than just one, but the initial threat is dealt with in a wonderfully Doctor Who way; something lurking beneath the Thames, and it selects its victims with little green lights that swirl around you, underneath the ice, and then....splosh....you're gone! FANTASTIC! 

Writer, Sarah Dollard (Face The Raven), has done a truly fantastic job with Thin Ice; a very different story to her Series 9 offering (which we also loved). There are some bold decisions in the episode; without giving too much away, there's a character that gets pulled under the ice, and you think there may be a chance they'll survive, but Dollard sticks to her guns and it makes for a sad, but rather poignant moment. Whilst there haven't been that many female writers during the show's 52-year history (just 8 at our last count), Sarah Dollard is a prime example of why we need more, and we hope she remains under Chris Chibnall's reign. 

Thin Ice is a textbook historical adventure that, once over, gives you a warm glow. (Except for that bit right at the end...) 

5 Things To Look Out For:

1) “Who's Pete?”
2) The Doctor steals!
3) "I'm 2000 years old, and I have never had the time for the luxury of outrage."
4) The long-awaited return of Search Wise!
5) 3 Knocks...No...4 Knocks!

+  10.3: Thin Ice airs This Saturday at 7:20pm on BBC One.

[Source: DWO]

Having seen what The Doctor and his TARDIS are capable of, Bill is given the choice to go into the future or into the past, as the second episode of Series 10 hits our screens this Saturday.

Having chosen the future, and when asked why by The Doctor, Bill retorts: “Why do you think? I want to see if it’s happy!”, and she is about to see just how happy the human race are (and the cost if you're not).

This episode feels like a cross between The Happiness Patrol and Silence In The Library. The emoji-bots, as we've all come to know them as, have more than one similarity with the Vashta Nerada, and we genuinely thought they were going to be revealed as being behind the events of the story, but the emoji bots are something new to the Doctor Who universe, and we can't help feeling this was perhaps an opportunity missed. That being said, there's still something rather sinister in their cute exterior, coupled with the emoji's they display on their faces.

If you were a fan of Bill's TARDIS observations in episode 1, get ready for some more classic one-liners as she critiques the point of the chairs being so far away from the console, and whether there are seat belts! It's great seeing how differently Bill sees things, and, rather amusingly, how The Doctor reacts.

One of the main stars of this episode is undoubtedly the setting, and the Doctor Who locations team deserve a pat of the back for what they came up with in Smile. The main white structure, coupled with the surrounding wheat fields in contrast with the blue sky, make for a striking visual, and you really feel like this could be a futuristic city in a far off world.

Ralph Little's role was much smaller than we were expecting - he only appears about 10 minutes before the end of the episode, but he does a great job - as does Kaizer Akhtar as Praiseworthy! Mina Anwar is also a little underused; she's so loveable and watchable, and you can't help wanting more screen time with her.

Murray Gold's music features a little more in this episode, and it really helps set the scene and pace, further. Without giving too much away in the scene, there's a great piece of music that plays after The Doctor tells Bill to stay away from his browser history. It's the first piece of music this season that we've got really excited about and it was worth waiting for. There's something quite Classic Who about it in feel, and has a touch of Mark Ayres about it.

This is the second offering from writer, Frank Cottrell-Boyce, and whilst his first episode (In The Forest Of The Night) divided some fans (not sure why - we actually loved it), this episode should have something everyone likes. There's great Doctor / Companion dialogue, and the main plot point was cleverly constructed, albeit slightly rushed at the end - but this feels more of a production decision than a writing decision.

Smile is a great episode that neatly checks the box for futuristic adventure, and is only let down by the speedy resolution at the end.

5 Things To Look Out For:

1) “You don’t steer the TARDIS. You negotiate with it.”
2) Bill refers to Nardole as 'Little Fella'
3) A magic Haddock!
4) There's something in the fertiliser.
5) Patch.

+  10.2: Smile airs This Saturday at 7:20pm on BBC One.

[Source: DWO]

Going into Series 10 was always going to be a bittersweet situation; there's the excitement of a brand new series, after what feels like an age away from our screens, coupled with the sadness - and reality - that Peter Capaldi will be leaving the show this year. Perhaps, what has made this a particularly bitter pill to swallow, is just how good Capaldi is in this opening episode. He is fully into his groove as The Doctor, and embodies the role with gusto, and you can't help reminding yourself after every little Doctor-y moment, that his days are numbered. Thankfully, we have new companion, Bill Potts (Pearl Mackie), to help distract us from the harsh reality of Capaldi's departure.

'The Pilot' takes Doctor Who back to its basics, and, much like 2005's 'Rose' was a companion-centric episode, Bill has a real chance to shine as she takes up the majority of the screen time in the episode. And just how good is Pearl Mackie as Bill?! She positively shines with energy, attitude, intelligence and...yes...that AMAZING hair! The lump in our throats from Clara's departure is very much still there, but hands-down, Bill Potts will win you over before the end titles roll. There's a heart-breaking scene set at Christmas that is played down wonderfully, allowing you to connect your own dots, but it really gets you in the feels, and Pearl plays it so, so well.

Matt Lucas' Nardole is definitely warming to us and he is fast becoming a character that you're glad to have in moments when The Doctor seems a little too 'alien' to Bill's emotions. There's a rather lovely little scene towards the end of the episode that stands out in particular. 

The episode itself delivers in so many ways, and whilst it may not quite live up to the Series 10 opener, it sets up a new direction, a new companion and a new threat, fantastically. A typical device used by Steven Moffat is to take an everyday object and turn it into something sinister, and The Pilot is no exception. Without wanting to give too much away, there's a puddle that's...well....not *quite* a puddle, leading to some moments within the episode that will genuinely make you jump out of your seat. Oh...and taking a shower will never seem quite so appealing anymore. There's a neat little scene that almost mirror's Rose's descent into the basement in 'Rose', and whilst Bill is very different to Rose, you can't help feeling the connection here. Expect a very different reaction from Bill when she sees the interior of the TARDIS for the first time (rather frustratingly for The Doctor), but it's played out very well indeed, to comic effect.

Those of you expecting an all-out Dalek-filled romp will be disappointed as their appearance is fleeting, but you do get a rather nice cameo from some Classic Series characters who have a certain association with them. The scene that featured in the BBC One companion reveal of 'Pearl Mackie as Bill' does indeed find its way into the episode, albeit an edited version to suit the pacing.

What we are missing most from the episode is Murray Gold's amazing scores. Don't get us wrong, there is some new material here from Gold, mostly connected to Bill Potts, but the music isn't as anthemic as it used to be. For the record we absolutely adore Murray Gold's music for Doctor Who, and there's no denying we've been a little spoiled over the years with so many audible treasures, but the days when 'All The Strange, Strange Creatures' or 'I Am The Doctor' became set pieces that followed through the season, seem to be fading. There is a rousing snippet of the 12th Doctor's 'A Good Man?' theme, but it feels a little shoe-horned in, and what this episode is crying out for is something new and bold to push it above and beyond.

Overall we loved the episode and you definitely feel like you've been on an adventure by the end of it. Things feel renewed and refreshed, which goes hand-in-hand with this show and The Pilot wonderfully, and rather aptly creates a new stepping-on point for anyone wanting to start their own journey into the Doctor Who series.



5 Things To Look Out For:

1) A TARDIS trip to Australia!
2) A jar of Sonic Screwdrivers!
3) A present in the wardrobe.
4) What is The Doctor guarding?
5) "I fatted her!"

+. 10.1: The Pilot airs This Saturday at 7:20pm on BBC One.

[Source: DWO]

DWO’s Spoiler-Free preview of the 2015 Christmas Special, The Husbands of River Song;

So here it is, Merry Christmas! Everybody's having fun. Not least of them being Doctor Who, which is off on a bit of a lark following a season which saw the Doctor go through some fairly significant losses.

Bringing back Alex Kingston’s River Song to bounce off another incarnation of the Doctor was always going to be a recipe for fun, and The husbands of River Song doesn’t disappoint in this regard. Watching her dance around the screen with Peter Capaldi’s incarnation of the Time Lord is a real delight. There’s something about seeing the Twelfth Doctor let his hair down (so to speak… let his eyebrows down? There’s a breeze when he moves them…) and engaging in a bit of fun with his wife which is completely endearing and so perfect for Christmas Day.

As ever with River, the Doctor turns into a bit of a love-struck fool, and it’s really great to see a new side to Capaldi’s Doctor. Don’t fret that he’s not the Time Lord we’ve grown to know over the last two seasons, though; there’s a lot about his wife’s activities that this Doctor doesn’t approve of. Popping up with a new face (his thirteenth - one he’s not supposed to have and one River certainly doesn’t gave a picture of) gives him a chance to see what his beloved is like when he’s not around.

Oh, but the two of them absolutely sing together. Was there ever any doubt that they wouldn’t?

It helps that they’re supported by a stellar guest cast of husbands, fronted by the likes of Greg Davies as King Hydroflax, and Matt Lucas and Phillip Rhys as River’s partners in crime. As ever with names like this, there’s been a certain amount of grumbling about ‘stunt’ casting for the episode, but when you see the way everyone comes together on screen, you can’t help but get swept up in the ride. Make sure you hold on tight and don’t lose your head…

The episode also sees a very welcome return to the director’s chair for Douglas Mackinnon, who was sorely missed throughout the main bulk of Series Nine. Mackinnnon brings his style brilliantly to the worlds of the special, and there’s several moments where Doctor Who has rarely looked better.

There’s a danger that throughout this preview so far I’ve made the Christmas episode sound like a lot of larking about with no real substance, but never fear - the Doctor and River’s relationship has always been laced with emotion and sadness - how could it not when one of them dies on their first date? - and there’s a big dollop of that embedded in here, too.

Happiness and joy mixed with a hint sadness and thoughts of those we’ve lost. Is anything more Christmas than that?

Five things to look out for;

1) "I think I’m going to need a bigger flowchart…"
2) "The diary of River Song! The ultimate guide to the Time Lord known as the Doctor…"
3) "You are a time/space machine! You’ve a vehicle! I’ve never asked you to cheer me up with hologramatic antlers!"
4)  24 years. 
5) "An archeologist is just a thief with patience. I never had much of that."

[Sources: DWO, Will Brooks]

   

DWO’s Spoiler-free preview of Episode 9.4: Before The Flood:

What a cliffhanger to leave us on! The Doctor trapped in the Dalek city with both his friends exterminated is one thing, but heading back in time and then appearing in the present as a ghost... That's something else.

'Before the Flood' acts as a nice counterpoint to last week's episode, wisely moving from the tight, claustrophobic confines of the underwater base and instead shifts part of the action to the village outside during the 1980s. There's something fun about watching all the pieces from last week's episode fall into place, and it's a tale perfectly suited to Doctor Who. There's moments reminiscent of 'Father's Day', or 'Harry Potter', as the Doctor and his makeshift TARDIS crew work to put everything in place and attempt to save the future.

Such a set-up also gives us the perfect example of how 'time can be rewritten', with events in the past directly taking an impact on the future, meaning that neither time zone is ever safe for long. Even in a lovely desolate location, you can still feel the creep of the oncoming threat - just as tense as last week in its own way.

As usual, you can take it as read that Peter Capaldi shines through this episode, especially in an opening scene reminiscent of last year's Listen, in which we're given a glimpse into the way the Doctor thinks, and an even clearer window into what it's like to be a companion aboard the TARDIS. It's perhaps the crowning glory of a brilliant script by Toby Whithouse, with every line of this scene in particular crafted to sound just right coming from Capaldi's mouth. It also gives the Twelfth Doctor the chance to do something that none of the previous incarnations have done... Here at Doctor Who Online, we're not ashamed to say that we've worn out our preview tape by watching these opening few minutes over and over.

The two-parter format which is prevalent this season really shows its strength across this story, with much more time given over to building the individual guest characters. Splitting them apart in this episode only serves to shine the spotlight on each character in turn. While those traveling alongside the Doctor are reduced to being stand in companions (though still given the chance to show their skills and offer their advice), it's really in pairing Sophie Stone's Cass and Zaqi Ismail's Lunn with Clara that we find the real meat. Watching Clara's transformation into someone who understands the way the Doctor operates and isn't afraid to do the same has been a key point since last series, and this episode really backs Clara to the wall. The Doctor sometimes has to be cruel to be kind, as it were, but the question remains; does Clara have what it takes to be the Doctor, once he's been turned into a murderous ghost?

Five things to look out for:

1) 'There's this man who has a time machine. Up and down history he goes, zip zip zip zip zip...'
2) Beethoven is a bit intense. And he loves an arm wrestle.
3) Who is the 'Minister of War'?
4) 'Here. Now. This is where your story ends.'
5) A new theme tune!

[Sources: DWO, Will Brooks]

DWO’s Spoiler-free preview of Episode 9.3: Under The Lake:

Having kicked off Series Nine with two weeks of Dalek action, gorging us with Daleks from all eras, Davros, Missy, UNIT, Skaro, and everything else, you might wonder just how the series plans to ramp it up from there. The usual format is to start small and then build week-on-week until you're given a feast of those proportions in the series finale, enough to keep you happy during the long break between seasons. When you start the year on such a high, it's tricky to top it.

Cleverly, the team haven't tried to top all of that with this week's episode. It sees the return of that Doctor Who staple, the 'Base Under Siege', presents us with a claustrophobic setting and a finite cast, and let's us take a moment to breathe.

That's probably the best way to describe Under The Lake - after two packed weeks, with more and more elements being presented to us with every twist and turn, this story allows us to catch our breath for a moment, and really get our teeth into a proper mystery. The Doctor and Clara have arrived at an underwater base in Caithness, Scotland, 2119, where the research crew have discovered an in identified craft on the lakebed. The remote location feels all the more isolated when the crew start being picked off one by one, and return from the dead to take out their former colleagues.

In the past, Doctor Who has always taken a fairly firm line when it comes to supernatural elements such as ghosts; there's always a scientific explanation behind these things. It's rather brilliant, then, to see the Doctor so thrilled by the prospect that he might have been wrong all along, and that death really is just the start of a new adventure. Once again, Peter Capaldi simply shines in the lead role. His incarnation of the Time Lord has struck the perfect balance this year, between a man who can be jolly and frivolous, and yet being totally oblivious to the people around him, and their feelings. Jenna Coleman's Clara is, therefore, totally perfect for him - their relationship really is best summed up by paraphrasing last year's Into the Dalek; she cares so he doesn't have to. Watching them bounce off each other here is a real joy, especially when they're allowed to share some quiet moments alone, and in years to come I think they're going to be looked on as a real golden pairing, in the same way as Tom Baker and Elisabeth Sladen, or Sylvester McCoy and Sophie Aldred are now - a Doctor and Companion totally made for each other.

It's not just our regulars who shine in this episode, though. The small crew of the base all have their own distinct personalities and characteristics. Writer Toby Whithouse has clearly spent time thinking each character through, and ensuring that they're always true to form, so that even those who perhaps don't make it out of this episode feel fleshed-out. Perhaps the best example comes in the form of the base's deaf surrogate leader Cass (Sophie Stone) and her sign language interpreter Lunn (Zaqi Ismail). Though Lunn spends much of his time translating for us (and the Doctor - he doesn't do sign language in this incarnation, but he can do semaphore, if you've some flags to hand), he still has his own distinct personality which shines through.

A strong start to our second two-parter of the year, and with enough intriguing mysteries left to keep you glued next week...

 

Five things to look out for:

1) 'Keep calm, Doctor. You were like this when you met Shirley Bassey...'

2) Spaceship, or prototype weapon?'

3) The return of a Matt Smith-era alien.

4) 'It was my fault. I should have known you didn't live in Aberdeen'

5) 'Was it something she said? She does that. She once had an argument with Gandhi.'

[Sources: DWO, Will Brooks]

The BBC have been in touch with DWO with the first official promo image for the 2014 Doctor Who Christmas Special.

The image, which you can see in the right-hand-column, features The Doctor (Peter Capaldi) and Santa Claus (Nick Frost).

They also gave us some information about a special preview for the special, which will form part of this Friday's Children In Need TV programming on BBC One.

Viewers will be able to tune in from 7:30pm to watch the preview.

Check out the trailer out in the player, below:

[youtube:waSvCQSNruE]

+  The Doctor Who Christmas Special will air on Christmas Day, Time TBC, on BBC One.
+  Donate to Children In Need, here. 

[Source: BBC]

DWO’s spoiler-free preview of episode 8.4: Listen:

Since Doctor Who’s return to screens in 2005, current show-runner Steven Moffat has been the king of ‘scary’. He provided us with the chilling ‘are you my mummy?’ in Series One, ‘who turned out the lights?’ in Series Four, the ominous tick-tock of the Clockwork Droids in Series Two, and - of course - the Weeping Angels, some of the scariest monsters that the programme has ever produced. In many ways, Listen feels like a return to Moffat trying to scare us, and it’s safe to say that he succeeds.

This story revolves around a simple premise - what if when we’re all alone… we’re actually not. What if every second of our lives, there’s someone, or something there with us. What if when we talk aloud to ourselves, there’s someone listening, and when the hairs on the back of our necks stand on end, it’s the breath of another creature right behind you. It’s this thought which has preoccupied the Doctor when we find him at the start of the story, and the tale becomes his quest to find the answer.

The idea at the heart of this tale pulls on threads that Moffat has used before in a story for the 2007 Doctor Who story book, where he answered the question with the suggestion that people sometimes attract ‘Floofs’, small creatures which attach themselves to people and toy with them by hiding keys, or making mischief. Listen takes many of the concepts from that story and transfers them masterfully to the screen, managing to make them even more unnerving in the process. It’s safe to say that people will be checking in the shadows (and under the bed) on Saturday night. And probably Sunday night, too. And Monday, if we’re honest. [DWO have been checking for the last hour and a half, just in case.]

All the scares have been realised here by director Douglas Mackinnon, who storms back into the series with some truly gorgeous visuals. It’s some of his best directing work, and the use of colour in the episode is particularly nice. The direction of this story really serves to heighten the fear in places, and make a simple blanket the most terrifying thing in the universe. It’s also good to see that - as with Robot of Sherwood last week - directors are finding new and interesting ways to use the TARDIS set. It feels huge here, and somehow manages to make even Peter Capaldi seem small here, when left alone with his thoughts.

We’re also seeing the welcome return of Samuel Anderson in this episode, after a break from the programme last week. Danny Pink continues to be a source of humour here, but it’s nice to see Anderson given the chance to tackle some more dramatic stuff, too. He’s given lots to do here, and it’s hard not to simply love him. We can’t wait to see where his story goes from here - and this episode certainly give us some tantalising hints.

Five things to look out for: 

1) "Scared is a super power."
2) "Robinson Crusoe at the end of the universe…"
3) "A soldier so brave, he doesn’t need a gun."
4) Are you afraid of the dark?
5) "The human race. You’re never happy, are you?"

[Sources: DWO; Will Brooks]

 

The BBC have released a preview clip for An Adventure In Space And Time, featuring Sydney Newman (Brian Cox) and Verity Lambert (Jessica Raine).

You can watch the clip below:

[youtube:pUtOs0lUvXU]

Watch the official trailer for An Adventure In Space And Time, below:

[youtube:dEwikIhEZrE]

+  An Adventure In Space And Time will broadcast on BBC Two on 21st November at 9:00pm.

+  Follow @DrWhoOnline on Twitter!

[Source: BBC Worldwide]

DWO’s spoiler-free preview of episode 7.10 Journey to the Centre of the TARDIS:

When the TARDIS is dragged aboard a salvage vessel and begins leaking time, the Doctor and the Van Baalen brothers must fight through the labyrinthine corridors of his ship to find Clara before the ship can explode. But they're not alone, and something sinister is stalking them through the TARDIS, angry, and ready to attack... 

It’s safe to say that Stephen Thompson’s contribution to Series Seven, Journey to the Centre of the TARDIS has been one of the more hotly anticipated moments of the 2013 run. The title alone promises so much, and after years of fans clamouring to see more of the TARDIS interior, this is the opportunity to deliver. 

In the most recent issue of Doctor Who Magazine, Thompson says that showrunner Steven Moffat felt ‘duty bound to atone for’ 1978’s The Invasion of Time, the last story to take us deep into the TARDIS’ many winding corridors. Industrial action taken during the production of that story meant that the TARDIS interior had to mostly be filmed on location in an old Victorian hospital - perhaps not exactly the way the production team, or the audience, expected the ship to look. 

Journey takes the brief to make up for that story and really runs with it, giving us more to see of the Doctor’s machine than ever before. It would take a whole season (or several!) to see every room the ship has to offer, but the ones we catch sight of here are sure not to disappoint. There’s an appearances for both the library and the swimming pool (though, sadly, neither is inside the other), alongside some less-well known rooms, too. 

The design of the whole ship has clearly been the subject of an enormous amount of effort, and praise must be given to all involved, from the art department through to the set decorators, who’ve really pulled out all the stops to get this to screen. It’s everything you could possibly want to see from the TARDIS interior. Director Mat King guides us expertly through the many levels of the ship, managing to show us the beauty and the terror of the TARDIS at every turn. 

Tapping the cast together in a confined space (it it’s fair to call the ship that) means that we get to confront some of this season’s on-going story arcs head on. The Doctor has been trying to solve Clara’s mystery for some time, now, and the cracks are starting to show. The dynamic between Matt Smith’s Doctor and Jenna-Louise Coleman’s Clara continues to develop in interesting new ways, and the distrust between the pair reaches boiling point when subjected to this kind of pressure. Both of our regulars shine as bright as ever - it’s electrifying to watch them share the screen. 

Journey to the Centre of the TARDIS, with many nods to the history of Doctor Who, and many hits as to what may be yet to come in the remainder of Season Seven is sure to be a fan pleaser, and is definitely one of the gems of this era of the programme.

Five things to look out for...

1) “You’re like one of those guys who can’t go out with a girl unless his mother approves”

2) ‘The History of the Time War’

3) It’s rude to whisper.

4) Lancashire, South.

5) “You call yourself ‘Doctor’. Why do you do that? You’ve got a name. I saw it..."



[Sources: DWO; Will Brooks]

 DWO reports from The Rings Of Akhaten, with a spoiler-free preview of episode 7.7:

DWO's spoiler-free preview for 7.7: The Rings Of Akhaten.

Having finally caught up with the impossible Clara Oswald, the Doctor is determined to solve her mystery. First, though, he has a date to keep, and offers to take Clara anywhere in time and space. Armed with her trusty guide of 101 Places to See, she only has one stipulation: somewhere ‘awesome’. 

Last year, much was made about Season 7 being comprised of stand-alone episodes. Big, individual, filmic ideas that can really take in the full scope of what Doctor Who can deliver. Taking us from a Dalek Asylum, to a spaceship filled with dinosaurs and back to the old west in the space of three weeks. 

The New Series, while having more of an on-going narrative than the final days of the Ponds, still retains this style. The Bells of Saint John was typified by being set against a backdrop of twenty-first-century London icons, while this episode takes us through to another end of the spectrum, with a rich and textured alien society, where they barter with memories rather than money, and live in a world ruled in part by songs and stories. 

It’s in the design that The Rings of Akhaten really excels, with the TARDIS landing on the inhabited rings of the title, an alien civilisation with an arabic vibe. The heart of the society is the bustling marketplace - crowded streets filled with a whole host of brand new aliens. While it’s perhaps a shame not to not see any familiar faces buried within the crowds, it’s hard not to find yourself drawn in by the sheer... alienness of these new creatures. 

There’s something of a vibe of the Russell T. Davies era present here, with our brand new companion out on her first adventure. The story serves the same purpose as The End of the World or The Fires of Pompeii, and there are elements of both those stories echoed here, opening Clara’s eyes to the wonder of the TARDIS. 

We’re also given the perfect opportunity for Jenna-Louise Coleman to shine on her own terms, removing The Doctor from the equation so we can can witness her first exposure to the universe though Clara’s eyes. Matt Smith continues to - impossibly - keep getting better at simply being the Doctor, and is given plenty of time to shine in this episode, too. 

As this version of Clara first steps out into the stars, The Rings of Akhaten doesn’t disappoint. If the rest of the series continues on in the same quality displayed here, then we’re certainly fulfilling Clara’s desire - we’re headed somewhere really, really, awesome... 

Five things to look out for...

1) The Doctor is a fan of The Beano.

2) Time isn’t made of strawberries.

3) Clara’s leaf is the ‘most important leaf in human history’.

4) The Doctor gets to imitate a certain famous archaeologist.

5) Reference is made to the Doctor’s first incarnation.

[Sources: DWO, Will Brooks]

DWO have seen 7.2: Dinosaurs on a Spaceship and have put our spoiler-free preview together:

When Steven Moffat referred to this new series as "filmic" and "like standalone movies", it's difficult to think how such a thing would be possible with the restriction of a 45-minute time-slot - not to mention BBC budgets, but the Doctor Who team being who they are, only went and did it - in spades!

Dinosaurs on a Spaceship sees us travel from Egypt 1334 B.C. to Earth 2367 A.D. and then back in time to the African Plains of 1902 A.D., before we're brought crashing back down to the mundanity of real life in the Pond household. And that's all before the title sequence!

Sure, there's a lot crammed into this 45-minute episode, but rather cleverly (and miraculously) it doesn't feel cluttered or rushed. The Doctor has a total of 5 companions with him on this particular outing (not all of them are willing), and it leads to a surprisingly refreshing gear change that, on paper, shouldn't work, but to watch on screen is thoroughly entertaining.

The idea that The Doctor can pick up a companion of his choosing, anywhere in time and space is really quite fun and explored rather mischievously here - especially when they turn out to be Queen Nefertiti (Riaan Steele) and big-game hunter, John Riddell (Rupert Graves). An odd pairing, but one that works all the same - and with dinosaurs abound, The Doctor is going to need all the help he can get!

We mustn't forget Amy and Rory, though! There's plenty of Pond action for you to be getting on with. Amy in particular comes forward and shows off some of the skills she has learnt from her time travelling with The Doctor. Rory feels a little underused, however, which is a shame considering the momentum of his character development in recent episodes.

Together with a particularly unlikable villain (played by the wonderful David Bradley of Harry Potter fame) as well as two equally unlikeable (though slightly irritating) robot servants (voiced by comedians David Mitchell and Robert Webb), Dinosaurs on a Spaceship is incredibly well-rounded.

But lets get to the bit everyone wants to hear about, The Dinosaurs!!! Firstly, they are fantastically well done. The CGI shots are of the highest calibre (kudos to The Mill) and the model shots are so realistic, they give Spielberg's Jurassic Park a run for its money. Speaking of which, there are a couple of obligatory nods to the aforementioned movie, with Murray Gold's awesome score feeling quite John Williams-esque in places.

Writer, Chris Chibnall, has to be commended for this script. It would have been so easy to get carried away with the concept of throwing Dinosaurs into a Doctor Who story, but they're not overused. Everything and, more importantly, everyone, fits together nicely. Action-packed would be a bit of an understatement for this episode, and when you throw the words 'Doctor', 'Triceratops' and 'Golf Ball' together…well…just wait and see!

Five things to look out for...

1) Were introduced to another member of the Pond family (or should that be Williams).

2) It's been 10 Months since the events of Asylum of the Daleks.

3) The Doctor has a gang now!

4) The Doctor still has a Christmas List!

5) "Doctor, after all this time…"

[Source: Doctor Who Online]

This BBC have released more details for tomorrow's Doctor Who additions to BBC One's Children In Need television appeal.

Fans of the Doctor should tune into Children in Need on Friday night on BBC One.

There'll be a sneak peak of the Christmas Special plus a brief treat for anyone who can't wait until December to catch up with our favourite Time Lord! Written by Steven Moffat and starring Matt Smith as the Doctor, the Children in Need exclusive represents a first in the history of Doctor Who... But we'll tell you more about that nearer the end of the week!

The entire Doctor Who team has been an enthusiastic supporter of Children in Need for decades and over the years the big night has involved everything from clips to cast appearances. You can find out more about Children in Need here and don't forget to tune in on Friday evening to catch all the fun!

A quick look at the Official Doctor Who Twitter account gives us a few more tidbits of information for the specially recorded segment:

"Hurray! Things ARE going according to plan! Steven Moffat’s mini-script has just hit the in-boxes of a lucky few… Must look over shoulders…"

"We’ve seen the short script and it is NOT what you’d expect. Oh, it’s funny and fast and Doctorish and brilliant… but not what you’d expect..."

"Not what you’d expect, UNLESS you’re from the future. In which case, wasn’t it good? Talking of the future, we’ll have more news tomorrow..."

"Great to see people reading the CiN mini-script for the first time. They read a bit. Pause. Smile. Look up and usually start laughing."

"‘Really? Wow!’ is another common response... Quick reminder! #DoctorWho on Children in Need, Friday night, BBC ONE"

"Great news! Richard Senior, who directed the brilliant Let’s Kill Hitler is onboard and will be directing Children in Need’s #DoctorWho bit."

"CiN update. Matt has wrapped! The first time The Doctor has been filmed at BBC TVC since 'Ghost Light' in 1989!"

Three new promotional pictures featuring Matt Smith and Pudsey have also been released [pictured right].

+  Click Here to place your bids on the DWO Children In Need Auction!

+  Donate to Children In Need directly on the following link: http://www.bbc.co.uk/pudsey/donate/.

[Source: BBC]

The BBC Press Office has confirmed that this year's Children In Need BBC One schedule will include a sneak peak at the 2011 Doctor Who Christmas Special.

It is not yet known exactly what the sneak peek will include, but it is likely to be the first minute or two of the, as yet untitled, Christmas Special.

The Children In Need television appeal begins on BBC One on Friday 17th November 2011.

+  Click Here to Donate to Children In Need!

[Source: BBC Press Office]

DWO have seen 6.12: Closing Time and have put our spoiler-free preview together:

After the heady heights of last weeks Doctor Who episode (The God Complex), it was inevitable that this weeks story would have a lot to live up to. But with a certain Mr.Gareth Roberts taking up the challenge of writing this penultimate episode of Series Six, Closing Time not only lives up - it breathes!

It's been 200 years since the events of The God Complex, and The Doctor has been off having adventures of his own. Time, though, has caught up with him, and now he pays one last visit to his friend, Craig Owens. Craig has been busy too since he last saw the Doctor - he's a dad!

It's no secret that the Cybermen are back in this episode, and they've brought an old friend with them. As people start going missing, it's up to The Doctor...and Craig to get to the bottom of things.

Closing Time has a wonderful sense of nostalgia about it, harking back to some of the 1960's Cybermen stories. It has that wonderful sense of danger lurking in the background - you know who it is, but you're on the edge of your seat waiting for their arrival and, more importantly, their purpose.

Roberts has most definitely delivered his finest script here. There's so much for fans to love, from the awesome chemistry between The Doctor and Craig, to the laugh out loud one-liners, right through to another particularly memorable scene at the end of the episode.

Director, Steve Hughes does a fantastic job matching the light and dark notes of the script with flair, whilst using lighting and camera angles to full potential and effect. Once more, Murray Gold deserves a look-in owing to his excellent scoring within the adventure, tempering the moods to perfection.

Everything just works in this episode. Ok, it may not be as serious as some of the other stories this season has to offer, but then again, it doesn't pretend to be. This is about The Doctor having a bit of fun before his inevitable demise on the shores of Lake Silencio.

With so many different elements pulling together and working harmoniously, you will be reaching for the rewind button as soon as the episode has finished to relive what proves to be one of the finest new-who episodes to date.

Five things to look out for...

1) "you've redecorated, I don't like it".

2) Stormageddon.

3) "Shhhhh!".

4) Petrichor.

5) Don't turn around!

[Source: Doctor Who Online]

DWO have seen 6.11: The God Complex and have put our spoiler-free preview together:

The God Complex is one of the most grown-up Doctor Who stories to date, quite literally taking the word complex and running with it.

It forms an important part of a season that has forced the viewer to evolve with a new, more intelligent way of story-telling. A way that pays the loyal and casual viewer in dividends...as long as you stick with it, and pay attention.

The adventure kicks off with the TARDIS team arriving in an alien hotel, where everything is not as it seems, where nightmares come true, and where a mysterious creature hunts its prey in the maze-like corridors.

Emotions run high at various points throughout this episode, and by the end you will feel quite drained (in a good way) - one particular scene springs to mind that's totally unexpected, totally genius, and utterly heart-breaking - made even more poignant thanks to a perfectly placed piece of scoring from Murray Gold.

Writer, Toby Whithouse, once again pulls out all the stops and raises the stakes on both his previous Doctor Who outings and the momentum of the series so far. His scripts are incredibly distinctive whilst having the ability to slot in seamlessly with Moffat's tone for the season.

There are some great moments too for Classic Series fans, as well as fans who have watched the New Series of Doctor Who from the beginning. Subtle and not-so-subtle nods to the past make the viewer feel like they are part of this ever-growing show that's constantly changing and evolving.

This is Doctor Who at its very best. Surely it can't get better than this...can it?

Five things to look out for...

1) Cat Nun!

2) The Doctor has a degree in cheese-making!

3) Angry Doctor!

4) Nimon!

5) The Doctor finally gives Amy a key!

[Source: Doctor Who Online]

DWO have seen 6.10: The Girl Who Waited and have put our spoiler-free preview together:

Tom MacRae takes time travel to a whole new level in this weeks episode of Doctor Who, 6.10: The Girl Who Waited.

The TARDIS team arrive in a futuristic alien healthcare clinic, called the Twostreams Facility. Within minutes Amy gets separated from The Doctor and Rory, and so begins a thoroughly entertaining 40 minutes of trying to find and rescue her.

Unlike some of the other stories from this season, this isn't a laugh-a-miniute adventure, as we discover the consequences of choices (a theme that has been concurrent throughout Series Six), in a new, beautifully written way. That's not to say there isn't humour, however, as MacRae uses it sparingly but with bullseye accuracy.

Although The Doctor and Rory do feature in the adventure, it does feel quite Amy-heavy - and quite right too. Karen Gillan really gets something to sink her teeth into here with the opportunity of playing a totally different facet to her character. For the most part she delivers, but there are moments when the delivery isn't as genuine as it could be.

The Handbots featured in this episode, are perhaps the nicest killer robots in Doctor Who history ever, as they quite simply kill you with kindness. The threat of someone or something hunting you down, is a winning concept, and one that is put to great use in The Girl Who Waited. It sits there in the background, and you can't help feeling the inevitability of a showdown at the end. 

This is truly a great story, with an ingenious take on a concept that has already been worked with on so many levels in Doctor Who. There are some fantastic sets and visuals with the garden scenes particularly worthy of note, all of which help compliment the script. It makes you wonder why Tom MacRae's absence since Series 2 has been allowed to happen, as he clearly deserves a place in every season going forward.

Five things to look out for...

1) Forgetting your camera phone can have disastrous consequences.

2) Green Anchor or Red Waterfall?

3) Don't touch the hand!

4) Possibly the world's largest handheld magnifying glass.

5) Samurai Amy.

[Source: Doctor Who Online]

DWO have seen 6.9: Night Terrors and have put our spoiler-free preview together:

Leaving behind the series story arc for the time being, Night Terrors delivers a welcome change in style, pace and tone as Mark Gatiss offers up his fourth Doctor Who script, which is arguably one of his finest.

The story focuses on an 8-year old George, who is so terrified by the Monsters in his bedroom that he cannot sleep at night. His parents cannot help him, and so The Doctor comes to the rescue - making his first house call in a long time.

But there's more to George than meets the eye, as the mystery of what lurks in his wardrobe reaches a spine-tingling conclusion. Thus ensues a dark, creepy adventure that transports the TARDIS crew to a creaky old house with dolls that hunt you down and…well…that would be telling…

This could have quite easily been a companion-lite story like 2008's Midnight, but Gatiss puts both Amy and Rory to good use here, even allowing for a little character development along the way.

The star of the show, however, is young George, played by Jamie Oram. A terrific piece of casting that holds the whole story together due to conviction and belief.

Daniel Mays (Atonement; Ashes to Ashes) also sparkles, showing a more tender side to characters he has previously played on Film and TV.

There's something for both kids and adults in Night Terrors, with some particularly adult themes explored, including, for the first time in Doctor Who, IVF!

A few of the scenes in the flat share some similarities to 2010's The Lodger, owing to the almost surreal placement of The Doctor in a socially normal setting, but thankfully there's enough going on without it seeming too simulative or cliche.

There's also some great original scoring from Murray Gold, who portrays the seemingly mundane council setting with lazy clarinets and sweeping harps that give an almost Tim Burton-esque feel to the whole adventure.

Overall, Night Terrors is a very different story to anything in the Matt Smith era thus far. It isn't a 'classic' by any means, but thanks to a great plot and supporting cast, it will stand out as one of the more memorable episodes from an already strong season.

Five things to look out for...

1) The lift from hell.

2) Don't take the rubbish out alone!

3) "The Emperor Dalek's New Clothes", "Snow White and the Seven Keys to Doomsday".

4) A giant pair of scissors.

5) "Tick-Tock goes the clock, even for The Doctor".

[Source: Doctor Who Online]

DWO have seen 6.8: Let's Kill Hitler and have put our spoiler-free preview together:

It's been a nail-biting twelve weeks since we last saw new adventures of Doctor Who, and who could forget that jaw-droppingly awesome cliffhanger!? 

Let's Kill Hitler picks things up some time after the events of A Good Man Goes to War, with Amy and Rory trying to get The Doctor's attention, in a great situation reversal to the Series 6 season opener.

The Doctor is still looking for Melody Pond as all three of the TARDIS team get ready for the shock of their lives…in a corn field!!!

The episode feels quite filmic in places, and there's some fantastic direction that helps make use of the comedic scenes to full effect. The Doctor, Amy and Rory, (or rather Matt, Karen and Arthur) work so well together, and their unit makes for one of the best TARDIS crew combinations that the show has ever seen.

Those of you expecting the story to be an all-out World War II extravaganza, may be a little disappointed. Sure we get Hitler, and some great scenes involving Germany on the brink of War, but the real focus of this episode is River Song.

We get even more pay-off for the arc that has spanned the past couple of seasons, with a few more questions raised, which will hopefully be answered before the end of Series 6.

With another episode due from the show runner himself this season, Steven Moffat is showing no signs of tiring with either his cleverly imaginative story-writing or his love for the characters he has created.

Expect some new characters too. Mels, played by Nina Toussaint-White, shines in all of her scenes, which lift the lid on some clever background information from Amy and Rory's past, present and future. We also get to see a new organisation within the show, in the form of 'The Justice Department' - without giving too much away, you can't help feeling this is a new element to watch with great interest.

A final point worthy of note in this story is composer Murray Gold who provides a tremendous score for Let's Kill Hitler, which helps round off one of the strongest episodes in the season so far.

Five things to look out for...

1) A clever use for crop circles.

2) "Shut up ___, I'm focusing on a dress size"

3) "Guilt. Also Guilt. More Guilt"

4) A Sherlock-esque scene involving River and The Doctor.

5) We get to see the return of a certain blue diary.

[Source: Doctor Who Online]

DWO have seen 6.5: The Rebel Flesh and have put our spoiler-free preview together:

If you thought following Episode Two was difficult, put yourself in Matthew Graham's shoes as The Rebel Flesh has to carry the baton that the unbelievably popular The Doctor's Wife left behind.

Fortunately, you have no time to reminisce and compare, as you are immediately drawn into the adventure, which pulls you in from the opening shot. In fact, so different is this story in contrast to its precursor, that it's literally impossible to compare.

It's no secret that the story is centred around clones - a subject matter that Doctor Who history knows only too well, but this time around there is so much more to the concept that plunders emotional and moral depths in such a way that will have you questioning who you feel for most.

Perhaps most of all, this is a story about consequences and trust - something that not only echoes the plot, but the entire Steven Moffat era of Doctor Who to date.

Matthew Graham has carved his name into addictive and gripping drama; two elements that sum up this adventure perfectly. Those of you who have seen Life on Mars or Ashes to Ashes, will also know just how much life he can breathe into characters in just a few lines of dialogue. And its no different here.

Rory has so much more to do in this adventure, and it's rewarding to see so many more facets of his character that enable Arthur Darvill to really sink his teeth into the role. In fact, in this first portion of the two-part adventure, Amy very much seems to take a bit of a backseat, which leads to a refreshing change of dynamic.

As with all the episode previews for Series 6 thus far, don't expect us to cater you with plot details, as even the tiniest morsel might give away too much. What we can tell you is that there are lots of corridors, a little bit of running and several cases of mistaken identity, that will leave you wondering who's who. There's also a cliffhanger that will have you on the edge of your seat, and devoid of fingernails.

Graham's rather understated previous Doctor Who outing, Fear Her, may not have hit the right notes with certain circles of Doctor Who Fandom, but The Rebel Flesh, is set to secure his place in Doctor Who lore as a master storyteller who bridges the classic series with the new, seamlessly.

Something is building here, you really feel it, and as we make our way to the centre point of the series, you cant help feeling if we are halfway out of the dark, or halfway out of the light.

5 things to look out for…

-  The unforgettable sound of Dusty Springfield.

-  "Behold! A Cockerel! I love a Cockerel!"

-  The TARDIS gets that sinking feeling.

-  A lot can go wrong in an hour.

-  We find out The Doctor's shoe size!

[Source: Doctor Who Online]

DWO have seen 6.4: The Doctor's Wife and have put our spoiler-free preview together:

When we first heard Neil Gaiman was to write a Doctor Who story, it would be an underestimation to say we were bloody excited. After all, this is the very same Neil Gaiman who wrote the awesome Sandman comic book series - not to mention the Nebula Award-winning American Gods.

BUT... then we heard his episode was being 'bumped' to series six, and were a little worried things would go the way of Fry...

Fear not though! As right in front of us is the (still-warm-owing-to-the-fact-we've-just-watched-it) preview disc for 6.4: The Doctor's Wife - Neil Gaimain's love letter to Doctor Who. (Yes, they are his words, but it really is!). 

In 45 minutes, Gaiman's script takes us to another universe (in more ways than one), and dips several toes into the show's past, present and future - something that will please fans old and new.

As a viewer, prepare to experience a plethora of emotions that will leave you feeling you've run a mental marathon, with no time to stop for liquid refreshment, as you will almost certainly miss something witty, clever or heartbreaking.

As with every episode this season thus far, it is almost impossible to describe the story without giving too much away, but we will tell you this; Suranne Jones, and her character truly shine at the centre of all of this, and the sets and beautiful CGI scenery with its mesmerising bluey-green hues are truly epic. Also stealing some of the spotlight is the TARDIS, and something fans have been begging for since the show's revival in 2005...

Some die-hard fans may view this as a slightly unconventional episode, but this is not a bad thing. There are actually more strands of a traditional Doctor Who story here than you may notice at first, and all the ingredients are there from the cracking story to a purposeful threat, right through to an unforgettable conclusion.

Gaiman takes his turn to hold the proverbial Doctor Who torch, runs with it, and has it burning even brighter by the end.

It's no secret that The Doctor's Wife has had a lot of hype, but honestly, truly, it lives up to everything a fan of Doctor Who could hope for, and will have you hoping this isn't the last Doctor Who script from Neil Gaiman.

Our preview disc is now cold again…time to warm it up!

Five things to look out for...

1) Knock, knock - Who's there?

2) A cupboard with a terrible truth.

3) Uncle's looking a little green.

4) Rory shows his mature side.

5) "The only _____ in the ______ is the _____".

[Source: Doctor Who Online]

Any episode following on from the series 6 two-part opener would have a tough job on its hands, but Stephen Thompson's The Curse of the Black Spot, has delivered a mighty fine story that will unreservedly and undeniably buckle your swash.

The adventure begins on board a 17th-Century pirate ship that has been stranded for over a week. Members of the crew are falling prey to a curse of a black spot on their hands, which promptly summons a beautiful but deadly siren, played by Lily Cole.

The TARDIS team appear to be stowaways on board the ship - a situation that  Captain Avery (Hugh Bonneville), doesn't take too kindly to. After a few scuffles and a re-pegging of authority, the hunt begins for a cause, and indeed a cure for the curse.

It all feels very classic who, but yet unmistakably new who too, and a little bit Moffat-y in places also, but one of the biggest winning elements here is the wonderful atmosphere that the story and indeed the set, paints.

It's also good to see Rory being used more this season, and we certainly get to see some different sides to him in this adventure.

Expect some shocks and a couple more signature plot twists that Doctor Who is becoming famous for, and you have a thoroughly enjoyable 45 minutes, made more enjoyable by the fantastic guest cast.

If there is anything negative that could be said about the story, it would be the final scene, which, without giving too much away, feels all too similar to the penultimate scene from 6.2: Day of the Moon.

Rating: 8/10

DWO have seen 6.2: Day of the Moon and have put our spoiler-free preview together:

It's been 7 days and the nail biting can finally end as the resolution to last week's cliffhanger is finally here…

6.2: Day of the Moon, doesn't immediately pick up from where last week left off, however. The final moments of the previous story are revisited in a fragmented form which feels more like a stylistic resolution than what we have come to accept from traditional cliffhangers.

We're also treated to one of the longest pre-title sequences in the show's history - over 6 and a half minutes in total!

As with our previous preview, it's an incredibly difficult episode to describe without giving too much away, but we can tell you that it's set 3 months after the events in The Impossible Astronaut, there's another prison with The Doctor's name on it and there are more shocks here than the previous episode.

Day of the Moon actually feels a little more complex than The Impossible Astronaut, even with a couple of answers to some niggling questions (no, not THAT question…yet) - your brain will literally hurt after the 45 minutes are up.

Moffat displays once more just how talented he is on every level, delivering a story that takes the show to new exciting levels and possibilities.

But the cherry on this proverbial cake of an episode comes in the final minute - in a scene that will have you screaming through your television set in a way that makes Maureen Lipman's portrayal of 'The Wire' look diluted.

May the nail biting begin…AGAIN!

Rating: 8/10

Five things to look out for...

1) Rory's addiction to a little red light.

2) A certain picture in a frame.

3) 2 body bags filled with people The Doctor cares about.

4) River makes a splash!

5) Video Phone.

[Source: Doctor Who Online]

DWO have seen 6.1: The Impossible Astronaut and have put our spoiler-free preview together:

The wait is over! Series 6 gets off to a flying start with the curiously titled, 'The Impossible Astronaut' - a story that is unlike anything we have seen, or even imagined, before.

It's a real knotty one to describe as so much of the plot is spoileriffic, not to mention complex. Complex is good though! It's so easy as a viewer to simply vegetate and accept everything you see on screen without challenging you or making you think.

Steven Moffat really makes you work as the many strands that bind The Impossible Astronaut, and no doubt the rest of Series Six, weave their way through a thoroughly entertaining 45 minutes.

Doctor Who feels a little more grown up now, but at the same time, a little more childish in places. The beautiful locations, the grim locations, some of the subject matter and plots just make you feel that the stakes have risen higher than ever before.

We start off the episode with five minutes of fun, taking us from a royal court (where The Doctor is getting up to mischief again) right through to a Laurel and Hardy movie (more Doctor-y mischief). Three TARDIS blue envelopes are delivered to their recipients and a fourth to a mystery man. All of the recipients are summoned to an exact location at an exact moment in time, but why, and by whom?

Then, get ready to have the rug pulled from the very fabric of your being as Steven Moffat delivers the first course of what will play out to be one of the greatest story arcs to date.

Throw in a big dollop of President Nixon, the FBI, the scariest monsters ever to have appeared in Doctor Who (hands down), and a cracking cliffhanger to boot, and you have yourself a truly unmissable televisual masterpiece.

The only problem is we have a whole 7 days until we find out what happens next...

Rating: 9/10

Five things to look out for...

1) "I won't be ______ ___ again, but you'll be ______ me"

2) The Doctor's special fizzy straw.

3) Joy in the bathroom.

4) "River, make her blue again!"

5) Amy has two secrets The Doctor doesn't know about!

[Source: DWO]