I was elated when I heard Russell T Davies was returning to Doctor Who—Davies’ original seasons changed my life. Not only did the main show introduce me to the joys of science fiction, Doctor Who Confidential, ignited a lifelong passion for creative writing. The first Davies seasons are a masterclass in televisual craft. Each episode provides a self-contained story that slowly builds a cohesive narrative arc. Every character stands out as a real, complex person, even if they only appear in one episode. Excellent dramatic performances sell every emotional beat. Although there are weaker points like The Long Game, an episode that feels garbled compared to standout stories like Dalek and The Empty Child, Davies’ original introductory season is a perfect jumping-on-point for new fans.

Conversely, these episodes disappoint. In summary, the opening two episodes follow Ncuti Gatwa’s Doctor and his new companion Ruby Sunday through a futuristic story involving lab-grown ‘space babies’ and a historical adventure wherein an attempt to meet The Beatles is waylaid by a music-eating deity. These two stories in succession follow a very typical introductory pattern. The show’s creator, Sydney Newman, wanted to educate children through “drama based upon and stemming from factual material and scientific phenomena and actual social history of past and future.” Therefore stories tend to be either ‘historicals’ (often featuring a celebrity figure such as Shakespeare or Rosa Parks) or pure science fiction romps. Space Babies and The Devil’s Chord are a good introduction to this storytelling technique and not much else.

The pacing is absurd. Rather than slowly teasing out details like in Eccleston’s season, Gatwa’s Doctor explains his backstory within the first nine minutes. While it may be a sign that this ‘therapy doctor’ is more emotionally open, it fails to build tension. Scenes like The Doctor fixing Ruby’s mobile are an explicit rehash of early Eccleston, and the almost identical dialogue is not only lazy but highlights how much weaker this season is in comparison.

Gatwa’s natural charisma shines through every scene yet despite his earnest performance, there is nothing that differentiates his interpretation of the character.

His relationship with Ruby is woefully underdeveloped. The Church on Ruby Road, did not justify why The Doctor wishes to travel with her in the first place. Sure, he relates to Ruby because they are both orphans unaware of their true parentage. But Ruby herself? Only Gibson and Gatwa’s chemistry sells them as a duo. Otherwise, it seems like The Doctor is treating his companion not as a complex woman in her own right, but rather as a symbol of his struggles. Early in her run, Jenna Coleman’s Clara Oswald drew similar criticism from feminists because her ‘Impossible Girl’ storyline did not explore her complexity outside of her relationship with The Doctor. It’s frustrating to see these reductive tropes repeated.

Since Davies returned as showrunner, women have been underserved. Besides Rose Noble saving London (she does not choose heroism, instead she develops superhuman abilities off-screen), women have stood back while The Doctor saves the day. This is a problem when it comes to Ruby. Davies’ original opening season centred around Rose Tyler. Rose is not about a young woman getting swept off her feet by a charismatic older man. It’s about a working-class girl realising her value and the heroism of standing against fascism. In the first episode, she saves The Doctor. And this set a precedent. Successive companions then proved themselves to The Doctor and the audience with acts of heroism that resolved the plot. After three episodes, Ruby still hasn’t had this moment. Even in a music-themed episode, keyboardist Ruby spends much of the story being dragged about. Adding insult to injury, John Lennon is uncritically portrayed as a hero. Ridding the female lead of agency while venerating a man who admitted to hitting women left a sour taste in my mouth.

There are bright spots in these stories. Jinkx Monsoon has rightfully received much praise for their turn as the villainous Maestro. The One Who Waits is an intriguing storyline, the repeated motif of snow is visually beautiful and thematically resonant. Costumes stand out as a highlight, especially considering the inclusion of June Hudson. However, if these episodes are a sign of things to come, I am not hopeful for the future.

Read more from Redbrick TV:

Doctor Who and Transgender Representation

Review: Doctor Who – ‘Wild Blue Yonder’

Review: Doctor Who – ‘The Star Beast’