The Giggle

The Giggle Russel T Davies

We often hear how we are more connected and divided than ever. I don’t know how that works; it’s more that we are connected with others and divided from those around us. I would refute it, but recently, I lost a friend over arguments, which came down to me wanting to draw a line on it all, and he insists he won. Sigh.

With the end of the 14th being at the forefront of the whole series of specials, it isn’t a spoiler, but the story itself does spoil me. There is not much of a game as an intricate puzzle placed on us from the start. It is a fascinating vintage, and the toymaker is evil through being inappropriate; it’s a bold choice in a post-allo world but played with such entertainment panache and verve you can’t be won by the charm.

We get everything thunderbird elements, nods to the past. Marvel Avengers-style unit and, frankly, by the end, a big massive pick and mix that Big Finish will have an absolute field day with

We move past marble to a more Moffat sense of suspense and horror. Seeing a greater sense of what makes this doctor distinct was a relief. The journey between the doctor’s incarnations is solid and worth pursuing; he is a different doctor with a blue coat, not ten.

Donna also proves why she is one of the best companions. Having lived without the doctor, we see the interplay and how it can work to his advantage. She fights and claws her way out of scraps, which would leave some of the others screaming, and it’s brilliant to see. Often, you hear a strong female lead and think it’s another resident underworld bloodyryne moment. But it feels fully realised and thought out in Donna.

With moments of history and fear, it’s like Russel has not just called himself the celestial showrunner and has made sure to go through all the creative chances taken in between. The finale, though, does suffer.

The dark mask-like attack via Spice Girls songs by the toymaker is fascinating to watch, and one bubble head will be seared into many children’s minds. But the whole point of order and chaos in play and having rules seems to be abandoned to be just play and whimsy. Which, on a story basis, is something my niece could come up with. Admittedly, she writes fan fic about me. It usually involves me about to get off with a supermodel, and their husband turns up and kicks me off a roof while I’m dressed in saucy women’s outfits. I survived the fall and landed on board with supermodels. So it’s alright.

There is some relief in the end. The toymaker shows a natural range and thought of his own, a being to rival the master or rani as a nemesis and worthy of being responsible for the next doctor.

But this is where the show fell for me, in an attempt to have its cake and eat it. We did get great scenes but at the cost of the story. I left a job after close to 20 years. I had thought and sometimes fought for what I felt would be best for the people coming to us. It was the public sector. Of course, the pandemic meant I was a keyworker. But it took its toll. People passed, got ill, and I kept going. So, I love seeing the point we all need a break.

But to the show, it took away from the new and the bold. Too many backdoors being left open at the end seem to weaken the faith I want to see in a charismatic and with relatively short screen time, cocky, charming, and bold. And (spoilers) in his pants Gatwa.

Still, despite the weakening of the pay to whimsy, it’s a solid finale and a great intro. I really am looking forward to Christmas.

And in the end, it really has been a trilogy, well worth seeing as a whole. So yes. The second one is the best. But you knew that already, and this pays off for the best.