Christmas Day’s Doctor Who Christmas special, ‘The Church on Ruby Road’, marks the fifteenth Doctor’s first solo outing since the 60th anniversary specials.

The plot follows new, vibrant companion, Ruby Sunday (Millie Gibson), who, after being abandoned as a baby outside a church on ‘Ruby Road’ on Christmas Eve, is taken in as a foundling by foster Mother Carla (Michelle Greenidge),and foster-grandmother Cherry (Sunday) (Angela Wynter). Through a series of coincidences, she becomes acquainted with the enigmatic Doctor who isn’t the only one to take notice of her repetitive bad luck.

The series’ revitalisation and youthful energy are immediately consolidated by the eponymous character’s kilted, nightclub-dancing introduction

A new Doctor, a new TARDIS, and a new companion, mark a new beginning for the franchise. The series’ revitalisation and youthful energy are immediately consolidated by the eponymous character’s kilted, nightclub-dancing introduction. Ncuti Gatwa is instantly accepted as the newest incarnation of the iconic role, even if his debuted ‘sonic screwdriver’ was less admired by fans for its sky-remote sensibility.

Irrespective of this, the actor’s intrinsic charm lends itself to the wit, intelligence and bombastic heroism of the character who has evidently returned to form as a classic and triumphant hero. Most notably for a male hero, one who is not afraid to cry. Ncuti’s unique accent, a rich mix of Scottish and Rwandan, is also thankfully allowed to flow unencumbered, unlike in Sex Education, and imbue the character as not simply belonging to one physical place.

The folkloric nature of the foes, aboard a huge splintering galleon propelled by kites and sails, connotes Russel T Davies’ continually evident interest in the blending of fact, fiction, and mythos

Like a Time-Lord, this Christmas special has two beating hearts, one; Ncuti’s inherent allure, the other; the foster-family of Ruby Sunday. Her doting foster- mother, Carla, and demanding foster-grandmother, Cherry (who only wants a cup of tea), are instantly disarming, and facilitate Russel T Davies’ strength for writing warm and three-dimensional family dynamics. It’s only when their thirty-third foster child, a baby named ‘Lulebelle’, is kidnapped by the mysterious goblins, does Ruby find herself with the Doctor climbing a rope ladder into the sky with the aim of retrieving her.

Despite the astonishing amalgamation of practical and digital effects that fantastically bring the goblins to life, their presence in the episode left more to be explored. The ‘language of luck’ and coincidence, despite being highly engaging concepts, find themselves undeveloped. The folkloric nature of the foes, aboard a huge splintering galleon propelled by kites and sails, connotes Russel T Davies’ continually evident interest in the blending of fact, fiction, and mythos.

The episode’s sparing musical moments, despite being hit and miss, further consolidates the relevancy of the franchise through its evident dedication to progression, and willingness to move forward

It is aboard this ship that the iTunes hit ‘The Goblin Song’ is unveiled in full force, marking the first musical moment of the franchise since 1972, in which a version of the show’s theme tune was released with lyrics, titled ‘Who Is the Doctor’. The episode’s sparing musical moments, despite being hit and miss, further consolidates the relevancy of the franchise through its evident dedication to progression, and willingness to move forward, irrespective of its consequent effectiveness. Alongside songs about cooking infants, the music composed by Murray Gold was as expected – emotive, swelling, and beautiful.

Despite not quite achieving the same heights as ‘The Giggle’ (the prior episode), Russel T Davies truly marks a return to form with the episode’s mysticism, adventure, and emotional core. Doctor Who thrives on innovative and simple ideas emphasised with emotional depth. The romance of a foundling left on a snowy church doorstep, the disarming charm of Ruby’s foster family, and the folkloric, baby-snatching Goblins consolidate the new era of Doctor Who as sentimental, camp, progressive, and belonging to all people.

 Rating: 4/5

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