Sunday, 1 March 2026

[This is a brand new spin-off at time of writing, so beware spoilers ahead.] Present day. The aquatic earth reptiles from prehistoric times, who humans now erroneously refer to as Homo Aqua, are no longer dormant. They're pissed off at all the pollution humans have created in the sea. A UNIT mission investigates the initial signs that they've awakened, before their full appearance to the people of the world. The team includes a UNIT desk jockey, Barclay, because of an HR error. When he shows respect to a dead earth reptile that the team find, he is selected to be ambassador in peace negotiations on behalf of the Land. The ambassador for the Sea is Salt, a Homo Amphibia. Barclays and Salt are attracted to each other. Negotiations initially take place in a special water tank in a building in London, then in an environment created by the earth reptiles deep underwater. A show of strength early on by the forces of the Sea causes all the detritus from the oceans to be pulled up into the sky and rain down onto the land. This, plus threats to lose access to sea crossings, makes a shadowy cabal of rich businessmen, politicians and military folks hatch a plan codenamed Severance. One of the party who has descended to the deeps is part of the Severance conspiracy and lets off a sonic bomb, killing himself as well as the rest of the Land party and many of the earth reptiles. Only Barclay is saved, by Salt.

Severance conspirators try to assassinate Kate Lethbridge-Stewart. She is saved by her lover Colonel Ibrahim, who shields her from the bullet and is killed. A deepfake of Salt claiming responsibility for the underwater bombing goes viral, meaning she is enemy number one on the Land; she's also disowned by her people in the Sea too, branded as a traitor for saving Barclay. Barclay and Salt go on the run, and have an intimate moment when alone together. Soon, though, they are cornered by UNIT on a bridge. Salt escapes into the water. Over the next while, Barclay regularly tries to find her by calling out for her on the shore. When he finally finds her he's been secretly dosed with a virus engineered by the Severance conspirators. She is immune and survives, but most of the earth reptiles are killed. The survivors accept terms that they will restrict themselves to the deepest parts of the ocean and not threaten humans again (though it is shown in flashforwards that they will have revenge on the leaders of the Severance conspiracy). Kate drives Barclay to the sea where he is reunited with Salt and grows gills (yes, really); the two swim off together. Kate sees someone on the beach drop a plastic bottle, and pulls a gun on him.

Context:

My rewatch of the episodes of this spin-off from the iplayer over a few days during the Chrimbo limbo period between the 25th and 31st December 2025 marked the point when, after having been blogging new and classic Doctor Who stories in random order since 2015, I finally caught up. I have covered all series and specials of 15 Doctors across 41 seasons, plus at least one story from every official spin-off like TWBTLATS. Doctor Who will return to TV for Christmas 2026, so this is a pause rather than an end.

First Time Round:

I watched both the new omnibus of The Sea Devils as a lead-in, and then the first two episodes of the spin-off, live on the BBC iplayer as they went out on Sunday 7th December 2025. The omnibus was fine, if a bit pointless as the creatures were so different in it that it didn't really work as backstory for the new show. Still, it flowed nicely and didn't have any excessively choppy moments. I felt a bit gaslighted when a line of 1972 dialogue was altered. A Sea Devil says "We shall be the victors in the war between the land and the sea" in the new omnibus, making it look like the cumbersome title (more whinging about that in the Reaction section below, by the way) is a quotation from classic Who. But in the original, the underwater reptile man is confident of winning a "war against mankind". It's seamlessly done, which seems to make it worse somehow. Anyway, the next two episodes episodes I caught up with on the Monday following the Sunday 14th broadcast as I'd been out the night before. Finally, I watched the fifth episode live again on the 21st December, when I was accompanied by the eldest, young man of 19 years of age. He'd watched the previous episodes of the series at university, but was back home for his Christmas hols by the time of the finale. Nobody else in the household could be tempted to watch, not even middle child, boy of 16, who's the biggest Who fan bar me in the family. He's much more interested in the final season of Stranger Things at the moment.

Reaction:

A note before I begin to cover this story proper: I'm sick to death of typing the overlong title in full, so will be abbreviating it as TWBTLATS throughout. Even that initialism is a bit cumbersome, mind (and somehow a bit rude-looking). In the Doctor Who Magazine that previewed the story and featured many interviews and articles about it, they used TWB. When you get the official magazine having to abbreviate the abbreviation, you'd think someone might have twigged that the title was too long. Sheesh! Having got that off my chest, I think the rest of this review will not veer too far into the negative. TWBTLATS was not without flaws, but was broadly very enjoyable, and in many places magnificent. It was also a relaxing watch as whether it was good or bad made not a jot of difference to the Whoniverse. Okay, tiny additional moan before I'm done: I know people wanting online engagement for their content have got to get their clicks somehow; but, if that's by going down the route 666 of devilish exaggeration or downright lying, it does tend to get on my wick. I saw many an article online around the broadcast of this spin-off talking about how it represented 'make or break time' for Doctor Who and the Whoniverse. Such bollocks! TWBTLATS represented the least consequential Whoniverse story ever in terms of its performance with an audience. It was made with funding from a coproduction partner who has already pulled out of making any more Doctor Who or spin-offs. Disney+ wouldn't really care about how it performed on their own platform (if they ever release it there) let alone how it fared on the BBC. And the Beeb had already decided to make more Doctor Who plus at least one more spin-off and announced both a good while before TWBTLATS aired.

It didn't matter how well it did, but in the end it did rather well. The overnight rating for the first episode did better than every episode of Ncuti Gatwa's two series, and its final consolidated rating was only beaten by one ep from them (2024 opener Space Babies). The final rating for the second episode beat most of those for Ncuti's most recent series too. It was on in a later slot at a different time of the year, and was released differently (premiering on TV and streaming simultaneously). On the other hand, the initial episodes held their own against stiff competition (the live final of I'm A Celebrity Get Me Out Of Here, one of ITV's biggest hitters). The BBC will be pleased with that, and the makers should take a little pride in it too. It might have had something to do with having a lovable leading man in Russell Tovey, who is excellent throughout. Ncuti Gatwa is sexy and charismatic for sure, but maybe doesn't have the lovable quality that Tovey, or David Tennant say, bring to the screen. I have seen some fans online reporting that they find Gatwa's screen presence a little off-putting. In a mass audience there are probably also some people who sadly won't watch a programme with a black or gay lead character, which will also have impacted Gatwa's figures. I don't condone such small-mindedness of course, and hope that future casting of the Doctor continues to challenge those viewers - hopefully, they can be won round eventually. If not, fuck 'em quite frankly. Anyway, other than the white male cishet (or should that be fishhet) lead character, the rest of the spin-off story is populated by a diverse set of characters and actors. Gugu Mbatha-Raw as Salt, and Colin McFarlane as General Austin Pierce were both particular standouts for me.

UNIT regulars of recent years are present and correct, but more in the background. From commentary around the time of its broadcast, I sense that some fans were disappointed that this was not the pilot for a full UNIT spin-off series, but it should have been clear from all pre-publicity and trailers that this was more the story of Barclay and Salt. The only UNIT regular with a significant role is Jemma Redgrave as Kate Lethbridge-Stewart. She gets some great material. Obviously, there are the harrowing scenes of her grief at the loss of Colonel Ibrahim; presumably neither of the characters are aware of the events of Torchwood's Children of Earth or Ibrahim would have taken a holiday: don't be the lover of the highest credited regular in a five-part Doctor Who spin-off, you'll never make it to part five alive! My favourite Kate moment is in the first episode when she's in the back of a car with Barclay. She jokes about having forgotten her gun before turning serious and revealing that she's done no such thing. Nice. Alexander Devrient as Ibrahim and Ruth Madeley as Shirley Bingham don't have as much to do, but get a few nice moments (not least being Devrient's self-sacrifice). Some actors in the large ensemble seem a bit wasted without much screen time (Vincent Franklin, for example), and some (like McFarlane or Patrick Baladi as the villainous Spears) feel like they're killed off too soon. Nonetheless, all performances are strong throughout whether small or larger role, regular or guest. Props to director Dylan Holmes Williams and the whole crew for that, and for the handsome, expensive look of the piece throughout.

The scripts by Russell T Davies and Pete McTighe are not subtle (the greedy villains are seen greedily tucking into a lavish spread in one early scene) but we've probably passed the point of subtlety for any story with an ecological theme. The environmental situation is such that some things need to be hammered home, as they are in well-visualised set pieces like the sequence of chaos where trash rains down on London. Foreign filming adds global scale to proceedings; as does Davies's standard approach, which McTighe adopts too as he did in Lucky Day, of cutting to various examples of world media during the action. This means that we get more scenes of Lachele Carl as Trinity Wells appearing in yet another Whoniverse show (she's appeared in almost every 21st century spin-off as well as the main show). Obviously TWBTLATS wasn't going to end with everyone living together in harmony, and neither was it going to solve the world's ecological problems at a stroke. It was therefore clear that at some point it would morph from eco thriller to love story. Though the romantic subplot is seeded in from the beginning and highlighted throughout, the gear change towards the end still feels clunky. I think it boils down to minor mistakes in the pacing of the last couple of episodes. If the earth reptiles are powerful enough to create the trash rain, which looms large in the imagination because of the impressive visuals achieved, why don't they retaliate quicker to the sonic bomb? Why piss about with stuff like kidnapping and eating pet dogs, leaving the humans time to develop their virus? A few script changes could have created more urgency. It's nonetheless a good fun story, and though it wasn't a UNIT series per se, it could lead to more spin-offs featuring UNIT in future. That's of course assuming that Kate Lethbridge-Stewart gets away with pulling a gun on a civilian for littering.

Connectivity:

Both The War between the Land and the Sea and Kinda feature reptilian adversaries that have something of a moment of intimacy with a lead character (if kissing was allowed on screen in Doctor Who in 1980s, I can definitely envisage the Mara being passed from victim to victim that way rather than by holding hands).

Deeper Thoughts:

Predictions for the gap year. It's been a tradition here in the last few years for the Deeper Thoughts of posts around New Year's to make predictions, and review how well - or how clownishly - the last ones panned out. My predictions for 2025 can be found in the Deeper Thoughts of the Joy to the World post from December 2024. Starting with my one prediction that was not about Doctor Who, I'm a tiny bit disappointed that Wham's Last Christmas hasn't proved to be the UK's Christmas number one forever. I thought it would take "a change in how the chart is put together" to stop it. In the end, it just took Amazon slightly gaming the system by pushing Kylie Minogue's song XMAS to anybody asking their Alexa to play Christmas music during the festive period. Still, XMAS is a good song, and Kylie's both a Doctor Who star and an (inter)national treasure, so it was a worthy winner. Last Christmas came very close to beating XMAS despite all that, so will probably achieve its hat trick of Yuletide top spots in 2026. Sticking with festive predictions, at the end of 2024 I believed that regardless of coproduction decisions Doctor Who would be on at least at Christmas every year including 2025. I was only a year out: without Disney money, the BBC have confirmed a Christmas special for 2026. TWBTLATS had a slightly odd compressed scheduling (two times two episodes per week, with a fifth and final episode on its own in a third and final week). I get the feeling that it was intended to air weekly in 2026. Its being somewhat tossed away in three short weeks may be because it was pulled forward to plug the Christmas 2025 gap.

It's hard to predict anything about the content of the 2026 Christmas special; Billie Piper will be in it, but maybe not as the Doctor. It's also rumoured that David Tennant could make an appearance. His fourteenth Doctor is still hanging around on Earth following the bi-generation, so I can definitely see a possible plot of him helping out Billie with some regeneration weirdness that's turned the Doctor temporarily into a Bad Wolf form. At the end of the special, he can send this interim Doctor on her way to regenerate into the new incumbent. Plus Daleks and/or Cybermen. Come back in a year to see if any of that is even remotely correct. Talking of those two august enemies, I predicted a year ago that at least one of them would feature in the show in 2025, "probably Skaro's finest". I was technically correct - the Daleks featured briefly in a flashback scene in The Reality War - but full deployment of those 'big guns' still feels overdue (and will feel even more so by December 2026). With Doctor Who absent from TV until Christmas, home video and other extended universe will have to suffice for eager fans. My predictions about Blu-ray box sets proved correct for the second year running (a sign, I think, of the ever dwindling number of choices rather than any increase in my powers of prognostication). In December 2024, the season 7 box set had already been announced. I guessed, and it so transpired, that season 13 would be next and that there wouldn't be another Doctor Who set in 2025, only Blakes 7 series B.

The first Blu-ray box set for 2026 has also already been announced. It's season 21 (where Peter Davison bows out and Colin Baker debuts). It's slated for March following a release of TWBTLATS on Blu-Ray in February. There will almost certainly be one more Doctor Who set released around six months later, with Blakes 7 series C then arriving towards the end of the year. The gap in Summer where a new series box set would normally be scheduled might mean that second set comes a little earlier, but I doubt it will mean an additional classic Doctor Who box set is squeezed in. The reason for that is the previously mentioned dwindling number of seasons to choose from, many with challenges around restoration or missing episodes. Once season 21 is released, there will be seven seasons of classic Who left, only two of them in colour. The biggest question when trying to predict which season will be next is whether it will be a black and white set. I think not, for the same reasons I touched on last year: it would be too messy to have a mixture of reconstruction and animation to replace missing episodes on any one set, so I think there will be a wait for the monochrome sets while their final story or stories are animated. As such, I predict that the second box set of 2026 will be the final Jon Pertwee set, season 11. I do think that there will be another animation released during the year too; my money's on The Space Pirates, as it would complete animation of the missing parts of season 6 and make that a contender for release in 2027.

What of the blog in 2026? I've covered all 15 Doctors' stories in random order now, so I can and will add in some indexes of the posts per Doctor in broadcast order (we Doctor Who fans love a list, after all). That'll keep me busy for a while. Then, when it gets closer to Doctor Who's December return - which I'm going to go out on a limb and say will not be a one-off, I predict an announcement about Doctor Who's future to be made before the end of the year - I will probably start blogging a few other bits and bobs. I've done every official spin-off, but there are many unofficial fan-made efforts out there. For now though, like for the show, there will be something of a hiatus... but we Doctor Who fans are used to such things.

In Summary:

Very enjoyable, but I'm glad it isn't the last Doctor Who-related story on the BBC, as it would have been an odd note to end on. Wishing you a Happy 2026 (with some Happy New Who at the end of it)!

Wednesday, 24 December 2025

Kinda

Chapter the 344th, is a gift for Christmas.

Plot:

The Doctor, Adric and Tegan explore the paradisiacal planet Deva Loka while Nyssa sleeps off a hangover in the TARDIS (a hangover from the end of the previous story where she fainted, I mean). Tegan falls asleep by some wind chimes and dreams of a mysterious figure who psychologically tortures her until she agrees to let him borrow her form: this is the Mara. Meanwhile, the Doctor and Adric come across a single-person armoured battle unit, the TSS. Operating autonomously, it escorts them to a dome set up by a survey party reviewing the planet for possible colonisation. Many of the survey team have gone missing outside the dome, leaving only three survivors. Commanding officer Sanders goes out to investigate, leaving the unstable Hindle in charge. Possessed by the Mara, Tegan finds Aris - one of the Kinda, indigenous people of Deva Loka - and the Mara transfers to him. Sanders returns to the dome a changed man, meek and smiley. He was given a wooden box by a Kinda, which he urges the others to open. It is a healing device for the mind, but Hindle refuses to open it. The Doctor and Todd escape and find that Aris is planning to attack the dome. The increasingly unhinged Hindle has wired the dome up with explosives, and an attack could mean the end of the world. Adric uses the TSS to stop the attack, but Aris escapes. The Doctor and Todd confront Hindle, who has regressed to childhood and is building a model city in the dome. Using reverse psychology, Todd gets Hindle to open the box, and his mind is healed. The Doctor disconnects the explosives. With the help of the Kinda, the Doctor traps Aris in a circle of mirrors. The Mara detaches itself from him in the shape of a red snake, and Aris is pulled free. The snake grows to massive size, but unable to face its reflection disappears. Tegan hopes she is free of the Mara's influence (she isn't, but that's another story).

Context:

Watched from the Blu-ray disc from the season 19 Collection box-set, a couple of episodes per night in mid-December 2025. I was accompanied for the whole thing by the eldest of my children, a young man of 19 years back from university for the Christmas hols. He enjoyed the story. I thought I'd adjusted the settings to select the version with enhanced effects, but when we got to the end it was the as-transmitted version. I had to pause the programme, go to the menu and flip the switch, so the eldest got to see the sequence of the Mara in the circle of mirrors both ways. He was very complimentary about Chris Petts's CGI work (as indeed he should be, it's magnificent).

Milestone watch: I've been blogging new and classic Doctor Who stories in random order since 2015, and I'm very, very close to catching up. This story completes a season (the 19th of the classic era) and another Doctor's era. Blogging Peter Davison's final remaining story makes it 15 out of 15 Doctors and 41 out of 41 seasons completed to date (classic seasons 1-26, and new series 1-15). None of the 892 episodes of Doctor Who from An Unearthly Child up to The Reality War are left, just the 5-episode The War Between the Land and the Sea spin-off remains to be blogged.

First Time Round:

This is one of a few key watershed moments in my early history of Doctor Who watching. The first episode of Doctor Who I ever saw in full was from An Unearthly Child, first ever Doctor Who story (thanks be to a 1981 season of archive repeats for that symmetry). The first full story I ever saw was The Krotons, and the first colour one was Carnival of Monsters (both were later in that same repeat season). The first episode of Doctor Who that I saw on its debut broadcast was the second part of Castrovalva, in January 1982, a few weeks after the repeat season ended late the previous year (sarcastic thanks be to the scheduling of my weekly Cub Scout session for my missing parts of Castrovalva). The first full story I saw on its debut broadcast was Kinda. I had to pretend to be sick for two consecutive Mondays to get out of cubs and watch it in full, and I was mesmerised by it. I should say exaggerate my sickness rather than pretend, for I was already somewhat sick... at heart: you see, I already had an immense crush on Tegan Jovanka. It was a definite moment for the prepubescent me seeing Janet Fielding playing the Mara-possessed Tegan, with the smallest smidge of sexuality that she felt she could get away with, but that wasn't the main reason for the story's appeal. It had something that the young me could sense but couldn't identify. I now know it to be nothing much more than well-written drama, but it was mysterious at the time. Kinda was the story of the year for me. I was out of step with the fandom of the time, though - Kinda came bottom of the Season Survey readers' poll in Doctor Who Magazine that year. People voted Four to Doomsday and Time-Flight higher. You can't trust people, can you?

Reaction:

Doctor Who didn't have any real competition for the affections of UK children until 1977. Star Trek was popular, sure, but back then comprised only three seasons played in endless rotation - it wasn't something new, which reduced the excitement quotient significantly. None of the other competitors (from Land of the Giants to Space:1999) even got close to Star Trek's level, let alone Who's. But then there came Star Wars. From that point on, there was a dividing line: once Star Wars was there as a good-looking, high budget option for the straight-laced kids, Doctor Who became the thing the strange kids loved. There had always been a certain strangeness in Who and its fan audience, but the programme seemed to embrace it increasingly as the 1970s ended and the 1980s began. Kinda might just mark the apotheosis of that process. It is downright weird in many places: the dream sequences where Tegan encounters mysterious characters in the landscape of her own mind, for example, are visually interesting and cryptic, but they're also abrupt. They have clearly been cut down from longer sequences as the episodes were overrunning, but this manages to make them even more unsettling. The climax of the third episode is a bravura sequence where an apocalypse is represented, simply but with devastating effect, by an alarm clock going off and an oversaturation of the picture leading to a white screen. A few stories later - with the same director - the show would begin a period starting with Earthshock (which then became a template for future stories) where it tried to ape sci-fi action movies. It was enjoyable, but it was also a bit safe. Maybe it would have been better to leave that sort of stuff to George Lucas: I don't think Lucas would or could ever produce something like Kinda.

The biggest action sequence in Kinda sees two people in wooden boxes dancing around each other for a minute or two in a cramped studio. It's all the better for that, in the opinion of this reviewer at least. The cliffhanger ending of episode two is one of the best in the history of Doctor Who, and all that it requires is a small box plus engagement with viewer imagination. The staginess on display in places somehow seems apt. Kinda is not aiming for naturalism: it is a didactic morality tale told using symbols and artifice. The irrepressible dynamism of director Peter Grimwade has to have an outlet, of course, and he creates Kinda's fireworks in character and performance. To do this he assembles one of the best guest casts ever put together for Who, and they all respond well to an excellent script from writer Christopher Bailey. Stalwart British stars Richard Todd and Mary Morris are as good as one might expect, but this is true of everyone down through the credits list, no matter what the size of the role or the experience of the performer. The stand-out performance is Simon Rouse as Hindle. I have seen the moment in the final episode where he holds up the broken cardboard figure of a man and says "You can't mend people" dozens and dozens of times over the years, but it never fails to be spine-tingling. Doctor Who has definitely been guilty in the past of egregious use of mental health issues for antagonist motivation. It can be an easy catch-all just to call a villain insane; but Hindle's nervous breakdown is played with sensitivity and is grounded in reality. The subplot of his worsening mental health and its eventual healing links thematically with Kinda's central idea about the power of the mind. Ultimately, the story champions the power of community and shared ideals in opposition to the individualistic thinking of the colonist, which was quietly radical at the time and remains so now.

The regular cast are also firing on all cylinders. The ones that are not written out, that is. I believe the reason Sarah Sutton's Nyssa does not appear for the majority of this story was contractual rather than dictated by the story, but reducing the number of regulars having to share out action and dialogue is a good move. Peter Davison, in some of his earliest work as the Doctor, is unshowy but strong. Janet Fielding gets an opportunity that's rare in Doctor Who to do challenging material as the companion, and she is pitch perfect. Her turn as the Mara-possessed Tegan casts a long shadow: Tegan's only possessed for two short scenes, but Fielding burns through the screen in both of them. It is no surprise that a sequel (Snakedance) was quickly commissioned that leans in more to the 'evil Tegan' premise, and lets Fielding play the antagonist throughout. Her earlier scenes where she struggles to keep her sanity through various nightmare scenarios are great as well. Even Matthew Waterhouse's turn as Adric isn't too bad in this story: the character's more adolescent immaturity is a nice counterpoint to Hindle's mental regression to a younger childhood. As if following a Doctor Who 'conservation of sexism' rule, Tegan being given more interesting material is balanced out by another female actor having to do the thankless scenes of wandering around with the Doctor asking questions. This falls to Nerys Hughes as Todd, but her more mature approach and the quality of the dialogue make it a rather nice guest performance, all in all. She does at least get to save the day by getting Hindle to look in the mysterious box and be healed.

Kinda has a little something extra beyond the good performances, good script and - for the most part - good visuals. The Discontinuity Guide by Paul Cornell, Martin Day and Keith Topping - a touchstone of fan opinion for those enthusiasts of the show that were around in the 1990s - is almost surprised to find that beneath the allusions and parallels Kinda is at heart "a very original piece of genuine SF". It is rare for Doctor Who (and Star Wars for that matter) to tackle science-fiction ideas head on; usually they're just used as set dressing for an adventure story. Not so here. So much careful thought and depth has been put into the society on Deva Loka and the legends of the Mara. No matter how bad you might find the final realisation of the snake in all its papier-mâché glory, this is a world and set of characters that seem real. There is so much clever world-building in every line and moment such that the story lives long in the imagination after a viewing. The Kinda, for example, refer to anyone who is not Kinda (a tribe that commune telepathically, let it not be forgotten) as the 'not-we'. This is just so beautifully right. It has also become a way that fans refer to the uninitiated in the real world (in a similar way that Harry Potter fans use 'muggle'). Little details are tossed lightly away like seeds in the breeze, but they take root: the box of Jhana, speech only being something that women can do, the consciousness of the tribe's wise woman passing to their young apprentice on death, etc. Depending on how the mood takes me, Kinda could well be the answer to the question of what is my favourite ever classic era Doctor Who story, so it was a good one to come up as the final classic story to blog. It's weird but it's wonderful. I don't know of any story in any big TV sci-fi franchise that has ever tackled similar material, nor done it so well. Take that Star Wars!

Connectivity:

Both Kinda and Wish World / The Reality War feature real world physical manifestations arising from the thoughts of humans; they also both feature an antagonist who is one of the Pantheon of Discord (The Mara is the Pantheon's "God of Beasts" according to Harriet Arbinger in The Legend of Ruby Sunday).

Deeper Thoughts:

The Christmas List. The shallow surface reading - and I've been very guilty of thinking this way myself, believe me - is that after only a single Christmas special in the entirety of the classic Doctor Who era, a Christmas special for our favourite programme then became a mainstay only when the series returned in a blaze of glory for the 21st Century. The smallest bit of research, though, gives the lie to this: Doctor Who had a presence in the Christmas TV schedules almost all the way through the classic era (and then triumphantly built on this once the show was back on TV from 2005 onwards). In the early days, Doctor Who was on almost all the year round, so couldn't avoid yuletide. Christmas TV was handled slightly different back then, though; the only day that really had any significance was 25th December; any broadcast on a day around the main one could go out as normal without the makers having to prepare anything different. This, though, proved to be a good thing for Who. On its third Christmas after staring in 1963, the regular Saturday broadcast of Doctor Who happened to fall on Christmas Day, the only time this happened in the 20th century. So, as seemed traditional with all types of programmes, an episode was broadcast that was much less good than usual. Instead of doing what Doctor Who normally did but being more epic or more accessible or both, the episode (The Feast of Steven, sixth episode of story The Daleks' Master Plan) broadcast on 25th December 1965 was composed of a string of lame gag-free sketches. Even worse, the Christmas Day episode of this Dalek story, didn't feature any Daleks. This was during the height of Dalekmania, when any episode featuring the metal meanies would have been perfect festive viewing for families.

This was doubly unfortunate, because every Doctor Who broadcast during the festive period up to The Feast of Steven had been a Dalek episode, but these ones with actual Daleks. In 1963, 28th December saw the broadcast of The Survivors, second episode of story The Daleks. The following year, Who went out on Boxing Day with Flashpoint, the sixth episode of The Dalek Invasion of Earth. The timing was no doubt accidental, but they couldn't have been chosen better as a gift for viewers of the time: the poisonous pepperpots' first on-screen appearance, and the big finale of their return adventure. At least The Daleks' Master Plan's seventh instalment on New Year's Day 1966 saw the Daleks return to the show again. Each of the remaining 1960s seasons saw a story broadcast that bridged Christmas and New Year, but none were Dalek stories. At the end of 1966, Patrick Troughton's first story The Power of the Daleks was slightly earlier (starting on Bonfire Night) and so was done with before the end of December. Christmas Eve saw the second part of following story The Highlanders instead. The Enemy of the World's first two parts aired on the 23rd and 30th of December 1967, and The Krotons kicked off on 28th December 1968. None were Christmas themed, but any new Doctor Who episode has got to be better than none at Christmas time. December 1969 fell during the longer than usual gap between Patrick Troughton's last story and Jon Pertwee's first. For a few years from Pertwee's debut, though, the twelve days of Christmas period coincided with the excitement of the launch of a new series of Doctor Who. This was the case for six seasons, all of Jon Pertwee's five runs and Tom Baker's first set of episodes. Usually the seasons would start early in the New Year (with part one of Day of the Daleks airing on the 1st January 1972), though later on the seasons slipped forward a little to a start in the last days of December.

Simply starting new seasons of Doctor Who just after Christmas was clearly not sufficiently feeding the audience's festive need for Who: from December 1971, a new innovation came along. Omnibus Doctor Who repeats were made and shown around Christmas, and proved popular. A cut down version of The Daemons aired on 28th December 1971, an omnibus of The Sea Devils on 27th December 1972, The Green Death got similar treatment on 27th December 1973 (airing in the middle of new story The Time Warrior's weekly screenings). On 27th December 1974, a Planet of Spiders omnibus including Jon Pertwee's regeneration aired the day before the new season started with Tom Baker's debut Robot's episode one on the 28th. For Tom Baker's second season the launch shifted forward to the autumn, but seasons ran every week for six months and would still cross the festive period. Usually, omnibus repeats would also nestle in the schedules in a short gap between the stories broadcast in one year and the next. The Android Invasion finished its weekly airings on the 13th December 1975, but on 27th December that year an omnibus of Genesis of the Daleks aired before the season resumed with The Brain of Morbius from 3rd January 1976. Towards the end of that year, the season - plus another couple of omnibus repeats - had paused by the 4th December, though the new stories resumed with The Face of Evil on New Year's Day 1977. Mid-season story The Sun Makers completed by 17th December 1977. After that, The Robots of Death - which had first aired near the start of that year - aired in two stitched-together 50 minute repeats on New Year's Eve 1977 and New Year's Day 1978. A week later, new Who broadcasts resumed with Underworld part one. The Robots of Death would be the last regular Doctor Who repeat shown for Christmas; after this, repeats aired during the summer instead.

The weekly airing of new Doctor Who episodes still happened around Christmas, though. The 23rd and 30th December 1978 were the days for broadcasts of the first two parts of The Power of Kroll; the 22nd and 29th December 1979 saw the first two episodes of The Horns of Nimon. Nothing aired in late December 1980 (the last episode of State of Decay aired on 13th December) but the current Doctor Who run resumed on the 3rd January 1981 with Warrior's Gate's first episode. At the other end of that year, Doctor Who's first ever spin-off K9 and Company aired on BBC1 on 28th December; it was set at Christmas and had K9 singing a carol and everything. From 1982, each new season of Doctor Who shifted to a start in the first week of January again, in the first few days of the year before Twelfth Night. Peter Davison's first season (including Kinda) started on the 4th January 1982. Things remained the same until Michael Grade put Doctor Who on hiatus in 1985. December 1985 to January 1986 became the first twelve days of Christmas period since Doctor Who started devoid of a new episode or a special repeat. It was a 22-year unbroken record. Don't anybody tell Michael Grade this; he loves the role of panto villain, and would no doubt revel in being the man who cancelled Doctor Who's Christmas. A quirk of scheduling delaying the start of Doctor Who's season in 1988 meant a couple of episodes aired in the Christmas / New Year period, and during the 'wilderness years' a few BBC2 repeat showings happened in late December or early January, but these were slim pickings. The party was over.

The party came back with a bang in 2005, though: Doctor Who was on the cover of the Christmas Radio Times, Doctor Who toys were big sellers for the kids that year, and the show had a special episode airing on the big day, 25th December. Doctor Who has proved very popular at yuletide since. From 2005 to 2017, 13 Christmas specials specials were aired, one a year, all of them on the big day. From 2019 to 2022, four more festive specials aired on New Year's Day. The specials returned to Christmas day again for 2023 and 2024. Even though there was an embarrassment of riches in this time, it didn't quite end there. In 2015, BBC4 showed The Face of Evil in two stitched-together 50 minute chunks on the 28th and 29th December, and the story was chosen deliberately because it had originally aired around the Christmas period. On 23rd December 2024, a colourised, edited version of The War Games aired, also on BBC4. Even a couple of years before, the idea that such a thing could happen would have been laughed off. This breathless rundown of Christmas past has been a real education: we fans have been so lucky, and the gifts continue. At the time of writing this is 2025, we have just reached the end of December airings of a spanking new Whoniverse spin-off, which is available as a box set on iplayer for the Christmas period (this century's version of K9 and Company?!), and we've been promised a Doctor Who special for Christmas 2026. After that, who knows, but I think it would be foolish to put any money against such goodies continuing in years to come.

In Summary:

Incidentally, a groovy Kinda Christmas to all of you at home!

Doctor Who - Done To Death

Sunday, 1 March 2026

Index: Peter Davison

Peter Davison's Fifth Doctor Stories ...

Sunday, 15 February 2026

Index: Tom Baker

Tom Baker's Fourth Doctor Stories ...

Wednesday, 4 February 2026

Index: Jon Pertwee

Jon Pertwee's Third Doctor Stories ...

Friday, 23 January 2026

Index: Patrick Troughton

Patrick Troughton's Second Doctor Stories...

Wednesday, 14 January 2026

Index: William Hartnell

William Hartnell's First Doctor Stories ...

Wednesday, 31 December 2025

The War Between the Land and the Sea

Chapter the 345th, serves up a generous portion of Surf and Turf.

Wednesday, 24 December 2025

Kinda

Chapter the 344th, is a gift for Christmas.