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timeagainreviews · 4 days ago

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The Hyperfixations of Steven Moffat

Leading up to the Doctor Who Christmas special, I was surprised to see people expressing indifference toward the prospect of new Doctor Who. There were the usual shitbag “Not my Doctor,” homophobes and racists who add nothing but noise to the background radiation of the fandom. But there were also ride-or-die fans expressing disinterest. And it’s not like I don’t get it. The first season of RTD’s return was a bit jank. For me, it was a marked uptick in quality, but it also felt like it was trying a bit too hard. We’re also coming off the tail end of a Hell Year™, and we’re tired. Honestly, I kind of hate anyone whose biggest problem in the world right now is the Superman trailer. But I also recognise the need for escapism. Which is why a Doctor Who Christmas special and Wallace & Gromit double feature was such a welcome reprieve from Hell Year™. That was my Christmas sorted. And you know what? I had a lovely fucking Christmas.

My greatest takeaway from this double feature was that Wallace is a bit of a menace in his own right, and Moffat is a man with hyperfixations. When I say this, I don’t mean it in a judgemental way (except for Wallace, he should take more care), but rather to highlight what I think is Moffat’s main quality as a writer. Recently Moffat disclosed that he has been diagnosed autistic. As a neurospicy individual myself, I appreciate a good hyperfixation. Let this blog be exhibit A. You give an autistic or ADHD person a hyperfixation, and it’s like a dog with a bone. You can see this in the way Moffat writes about time travel. I’ve mentioned it before, but Moffat writes time travel like a young boy who got hyperfixated and couldn’t stop thinking about the implications of time travel.

What are some of Moffat’s hyperfixations as a writer? How about names beginning with “Os”? What about women who look like Elon Musk’s mum if she were a burlesque scientist? Or young people who meet older people and become obsessed with them into adulthood? (I’m not gonna get into it, but it’s weird that it happened three times) While some of Moffat’s preoccupations are distinctly Steven, others are more widely shared. I still remember being nervous around a hobo statue my grandmother had in her basement. I used to run past it as though it were going to spring into life the moment I took my eyes off it. I understand Weeping Angels. Fear of the dark gets us the Vashta Nerada. Steven Moffat is a writer whose fixations are at the centre of his work. And part of that work lands him in hotel rooms where he has plenty of time to lie there and think about the room he’s in.

About a month ago, we were given our first taste of “Joy to the World,” with the opening scene of the Doctor going door to door in various locations attempting to deliver a ham and cheese toastie and a pumpkin spice latte. I don’t usually watch scenes ahead of their time, but the costume geek in me really wanted to see the latest variation on what has become the closest thing we’ll get to a signature look for this Doctor. I loved the butterscotch tones with the wide legged trousers. Such an iconic look. This may be one of my favourite costumes Ncuti has worn thus far. However, beyond a glimpse at the new costume, I was curious to see the Fifteenth Doctor with a different companion from Ruby Sunday. I adored Nicola Coughlan as Clare in Derry Girls, so I had to sneak a peak.

It was rare in classic Doctor Who for a Doctor to go into a situation with no companions. The Third Doctor was alone before meeting Liz Shaw. The TARDIS engines had hardly cooled between Leela and Romana. There were also the Eighth Doctor and Grace. But for the most part, there was always a companion bridging the exchange. It’s far more common in modern Doctor Who to see the Doctor without a companion at the beginning of a story. These moments interest me because its a chance to see the Doctor’s vulnerability. With no one to impress, the Doctor feels somehow less confident. The Doctor doesn’t always need a companion to remind him when he’s gone too far, but also to remind him to feel love. Here, we see the Doctor still not used to being on his own. He pops into a hotel lobby for a couple cups of coffee before remembering he only needs the one.

While this is a nice re-introduction to the Doctor’s current emotional state, I was a little disappointed by this being the reason the Doctor was at the Time Hotel in the first place. It’s funny that he steals coffee from hotel lobbies on the reg, but it’s a flimsy device for a story setup. Then again, that is Moffat’s way. During his run on Doctor Who it was always impressed upon us that the TARDIS always took the Doctor where he needed to be. He even reiterates this concept during the Doctor and Anita’s conversation about her sat nav. That’s sort of the Doctor’s whole thing. Go somewhere innocuous on the day when everything went to shit. Henrik’s Department Store operated for years without incident until the Nestine Consciousness showed up and the Doctor had to blow the place up. Besides, how else are you going to draw a guy who time travels and has no need for a home into a time travelling hotel? Those are like the two things he needs the least. So yeah, the Doctor steals coffees like they were TARDISes.

Along with Nicola Coughlan guest starring as Joy, we get an adorable turn from Joel Fry as the charmingly dim Trev Simpkins. While his screentime is minimal, I fell in love with Trev almost immediately. Sadly, Trev wouldn’t be long for this world, but the stars are a completely different story. Having been conscripted by the Doctor to spy on a strange man in the hotel lobby, Trev quickly becomes embroiled in the journey of the mysterious Villengard suitcase by becoming its next host. This is how we’re introduced to Joy Almondo, a young woman staying at the Sandringham Hotel, which is a bit of a flophouse. Once again, we’re reintroduced to another Moffat hyperfixation which is a weird “women be shoppin’” attitude when Joy nervously asks Anita if its obvious that she’s single. I rolled my eyes at that line, and it’s made slightly more egregious when you consider the reason Joy is by herself in this run-down hotel on Christmas Eve. Why would she be thinking of men on the night she’s very clearly mourning the loss of her mum? The brief conversation between her and the fly in her room endears us to her far more than her anxiety about finding a man in this economy.

Ultimately, the Sandringham Hotel proves to be a lot more interesting of a location than the Time Hotel. Which is saying something considering that out of the Time Hotel’s many doors into different periods of time, one of those doors is some kind of Hobbit door. In contrast to the wacky voyeur tourism of the Time Hotel, the Sandringham Hotel was where the emotional core of the story takes place, even if I find Moffat’s conceit about hotels a bit contrived. You see, I can imagine the genesis of this story came from Moffat lying in a hotel room and considering that weird door that won’t open. We’ve all wondered about it. But he loses me a bit with his take on why people stay at such hotels.

Back in 2016, my friend Gary came and visited me from the states. We planned a trip down to London where he could see Abbey Road and then onto Cardiff for the Doctor Who Experience and up to Liverpool to see John Lennon’s house. It was a bare-bones trip over three days that required some sacrifices in train times and accommodations. We needed a good hotel in London, but what was most important was a place to hang our heads for the evening, so we went with cheap. The hotel we ended up with, we lovingly referred to as the Hotel Mos Eisley because it was a wretched hive of scum and villany. The rooms were numbered with a devil-may-care randomness. At the top of the stairs was a slashed canvas depicting Marilyn Monroe. One of her teeth had been blacked out and a swastika was drawn on her forehead. We had to sleep with toilet paper in our ears for fear of roaches. But we met so many characters in this hotel that we remember it as a fond memory of our trip. We still laugh about it to this day. My point being, sometimes a hotel room is just a means to an end. Also, some people are just poor. It’s not that deep, Steven.

I will however concede that this isn’t lost on Steven Moffat. As I said before, a lot of humanity can be found in the mundane setting of the Sandringham. Spoilers for the Bible if you’ve not read it, but that sentiment is reiterated with the humble manger where Mary gives birth to Jesus at the end of this episode. Furthermore, the Doctor was merely making Joy angry in an attempt to wake her out of whatever control the Villengard briefcase has over her. I had read about a week ago that Moffat wanted to bring the Doctor’s meanness back into the character, something which I have been waiting for since Chibnall decided to make the Doctor constantly stoked on life. I’m not going to go back and count the number of times in this blog where I mentioned wishing they would make Jodie scarier, but it was often. The Doctor is an alien and basically a god, it’s nice to be reminded of that on occasion. Eccleston is a good Doctor, but he became a great Doctor when we saw him lose his shit in “Dalek.” Even if it was being mean to save Joy’s life, it was nice to see the manipulative cosmic being we saw in the Seventh and Eleventh Doctors.

The Doctor is forced to go the long way to save Joy in the future by boot strap paradoxing the briefcase code to himself. I really loved this year the Doctor spends with Anita, working side by side at this hotel. As my friend Taryn quipped, they did more to build the Doctor and Anita’s relationship in one episode than they did Thirteen and Yaz’s relationship in three seasons. But in this relationship, I did find a few holes, and I don’t think I’m alone in suspecting they mean something. By now, you’ve probably seen a theory or two about Anita being Mrs Flood, and I’m right there with you. While she seems perfectly nice, there are some moments when Anita feels like she’s either a woman out of time, or not of this world. She didn’t recognise police boxes, which is sort of fair. I mean, here in Glasgow, they’re everywhere. But they are still a relic. She also didn’t know what Auld Lang Syne meant. Once again, fair dos, not everyone does. But growing up in the UK and not knowing who Guy Fawkes was? Very suspicious.

The Doctor stays with Anita for an entire year working side by side at the hotel. It gave shades of “The Lodger,” and “The Power of Three,” watching the Doctor stay in one place for an extended period while using his Doctory technology in service of mundane tasks. It was very charming and Christmassy to see the Doctor in this capacity. It only further drove home my belief that Ncuti Gatwa was a shoe-in for the Doctor. However, my internet addled-brain still laughed when they hinged a large portion of the episode’s emotional core around a hotel cuck chair. Moffat is clearly not suffering from the same brain rot as me. It’s Chibnall and VOR (see: vore) all over again. Moffat may have a lot to say about hotel rooms, but so does the internet. Sometimes, the fact that Doctor Who is made by middle aged Doctor Who nerds is entirely apparent. I suppose it’s what makes the show so wonderfully memeable.

Trev uses the phrase “Everywhere, all at once,” in this epsiode and I can’t help but feel like Doctor Who is dipping its toe into the metaverse. Last season we had a character called Susan Triad who was played by a woman named Susan Twist. Then the characters dance while singing that there is always a twist at the end. If Anita turns out to be Mrs Flood, then we’ll have a woman named Anita Dobson who plays a character named Anita Flood. I’m not saying this is what is happening, but it can’t be lost on RTD. Then again, Moffat did give us Oswin Oswald at the same time we got Osgood and I’ll be damned if it didn’t feel related back then too. One of the recurring theories I see people returning to is that the Doctor is in the Land of Fiction from “The Mindrobber.” Perhaps they have included the Master of the Land into the Pantheon of Gods. If you watched the trailer for season two, you’ll have noticed the large animated character emerging for the theatre screen. It’s either the deepest Eighth Doctor cut ever (Crooked World represent!) or the walls between fiction and reality are bleeding into one another. What will that mean for the Doctor, a fictional character? Doctor Who may be a staple of British culture, but it also exists in a Britain so foreign to modern Britain because it never went through a phase of Dalekmania. None the less, I sense another shakeup on the horizon.

Speaking of Britains from a foreign reality, how about that COVID-19 representation? I say foreign from reality, because if you were to have watched Doctor Who during the pandemic, you would think that their fictional version of Britain never had to deal with the coronavirus. I’m not going to sit here and call Chibnall gutless for not including the pandemic into the storyline. I imagine it was a choice that required a meeting and they ultimately decided not to address it. If I were to guess, I would imagine they left the pandemic out of the show for two reasons. Firstly, they probably wanted Doctor Who to be a reprieve from death and despair. And secondly, they probably wanted to avoid questions like “Why doesn’t the Doctor just give everyone the cure?” So yeah, they probably did what was best at the time and left it at that. I can appreciate that. I can also appreciate them introducing it to give the Tories a proper bollocking.

I’ve seen some complaints about Joy’s decrying the Tories as her mother gasped her final breaths in the hospital. Some people (see: idiots) thought it was too political and woke. Which, if that’s your takeaway from this episode, I pity you. If anything, the Tories got off light. I have friends who lost their mums to COVID and I was happy to see the show finally address the very real situation we survived. I’m old enough to have lived through monkey pox outbreaks, bird flu, SARS, and mad cow disease. I never met anyone who got those diseases. I’ve had COVID three times. The pandemic was out of control in a way no living human had seen since the 1920s. Doctor Who has often struggled with finding the correct tone when tackling deep issues. But I feel like they nailed it here. Oddly, it being a Christmas story allows it the proper tone to reflect on holidays spent with late loved ones.

It’s rare when I watch an episode of Doctor Who when my closest network of friends and family who watch Doctor Who are all in agreement as to its quality. Usually one of us has a grievance to air. But everyone in my little circle really enjoyed the episode. This is surprising considering the somewhat cheesy ending with Bethlehem (though I did love the idea that the Time Hotel is why there was no room at the inn for Mary and Joseph). Myself and Taryn, both atheists, weren’t bothered in the slightest. My friend Alice, a Christian, wasn’t bothered by it on any religious grounds. It was a sweet moment afforded by the fact that it’s Christmas. Besides, if Baby Jesus isn’t invited to his birthday party, then maybe they’re doing something wrong. Other than the usual chuckleheads, I’ve not seen many people complaining about this episode. I did see that some people were let down by the lack of Silurians. The Silurian hotel manager, Melnak, had led some to believe that this Christmas special was going to be rife with Silurians. I never got this impression as he seemed like a one-off character. In fact, after watching the second episode preview, I thought it was implied that the Villengard briefcase hologram took the form of the dominant species during dinosaur times. It would appear that we were all wrong. Other than that and some of Moffat’s weird “women be shopping” brand of dialogue, it was a very solid episode of Doctor Who.

Along with the quiet moments of reflection, the deep connection between the Doctor and Anita, and Joy’s mourning her mother, we even got some exciting action scenes. We got a Jurassic Park style dinosaur with glowy eyes. We even got an exciting train scene. I love watching Ncuti in that flowing coat. He’s like a superhero in his cape atop that train in an ice storm. It was fun to watch him swinging a grappling hook to open the tomb encasing the starseed. But when the Doctor returns, both Joy and the starseed have ascended the stairs to the wild blue yonder above. While I had hoped for a little bit more of a presence of Villengard, I appreciated that this sentient star had more in mind than death and destruction. Villengard was so far from in control of the situation by that point and I loved that. Because, in reality, they’ve always been pathetic and small-time in the Doctor’s world. They acknowledge and appreciate the shared risk all sentient life takes with their actions. They like to think its the same worry people had when they fired up the Hadron Collider, but it’s closer in nature to corporations killing the environment we all depend on. “The Starseed will bloom and the flesh will rise,” wasn’t a threat, but a prelude to Joy’s ascent into the heavens. What’s more is that Trev and the other carriers of the star case will also live on forever in the sky. Leading the wisemen to Jesus and delivering Joy’s mother to the great beyond. If you think this episode didn’t make me cry, you’d be wrong.

The episode ends, but not before revisiting a couple of familiar faces. We see Ruby waiting by her phone for the Doctor to call, but instead it’s her mum. We can expect to see Ruby again, but probably not right away, which I’m fine with. It will give us time to get to know Varada Sethu as “Belinda Chandra,” a name which excites me on two levels. Is she related to Rani Chandra? And why does she have a different name from Mundy Flynn? Is this an Adeola/Martha cousins thing? Or is an Oswin/Clara different versions of the same person thing? Maybe it’s something more? The important thing is that I’m curious and excited to find out. I expect great things from Doctor Who, and if nothing else, chairs for the TARDIS. The future of Doctor Who feels bright from my perspective, I just wish the rest of the fandom felt the same way. 2025, or Hell Year™ 2.0, is going to be a rough year for a lot of us. Like I said, I understand the need for escapism. You have my permission to feel good about yourself and to enjoy some Doctor Who next year. Fuck the haters. You have value and you deserve to feel joy.

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tindogpodcast · 4 days ago

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TDP 1329: #DoctorWho Christmas 2025 Joy To The World REVIEW

From Wikipedia, the free encyclopedia

312 – "Joy to the World" Doctor Who episode

Promotional poster, featuring the caption "Joy to the Worlds"

Cast

Doctor

Ncuti Gatwa – Fifteenth Doctor

Companion

Nicola Coughlan – Joy Almondo

Others

Millie Gibson – Ruby Sunday

Joel Fry – Trev Simpkins

Steph de Whalley – Anita Benn

Jonathan Aris – Hotel Manager

Peter Benedict – Basil Flockhart

Julia Watson – Hilda Flockhart

Niamh Marie Smith – Sylvia Trench

Phil Baxter – Edmund Hillary

Samuel Sherpa-Moore – Tenzing Norgay

Ruchi Rai – Receptionist

Joshua Leese – Mr Single

Ell Potter – Server

Liam Prince-Donnelly – Barman

Fiona Marr – Angela Grace

Production Directed by Alex Sanjiv Pillai Written by Steven Moffat Script editor David Cheung Produced by Alison Sterling Executive producer(s)

Russell T Davies

Julie Gardner

Jane Tranter

Joel Collins

Phil Collinson

Steven Moffat

Music by Murray Gold Running time 54 minutes First broadcast 25 December 2024 Chronology

← Preceded by "Empire of Death" Followed by → —

List of episodes (2005–present)

"Joy to the World" is an episode of the British science fiction television series Doctor Who. It was broadcast on BBC One and released on Disney+ on 25 December 2024 as the fifteenth Christmas special since the show's revival in 2005.

In the episode, the fifteenth incarnation of The Doctor discovers a strange hotel at Christmastime that has harnessed the power of time travel and finds a mysterious briefcase. While investigating, he meets new companion Joy Almondo (guest star Nicola Coughlan) who helps him solve the mystery.

"Joy to the World" was written by Steven Moffat and directed by Alex Sanjiv Pillai. It was filmed in October and November 2023.

Plot

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The Doctor arrives at the Time Hotel, an establishment in the year 4202 that allows guests to visit various points in history, several of which the Doctor visits during the episode. The Doctor enlists the aid of Trev, a worker at the hotel, as he investigates a mysterious man holding a briefcase. As each new person is tricked into taking the briefcase, it takes control of them, and the previous carrier disintegrates. Trev's Silurian manager arrives in Joy Almondo's London hotel room in 2024 with the briefcase, and the Doctor following him.

The briefcase takes control of Joy, and the Doctor opens it, finding a strange device inside. The briefcase is about to disintegrate Joy, when a Doctor from the future arrives from the Time Hotel and gives them an override code. The future Doctor then returns to the Time Hotel with Joy, stranding the current Doctor in 2024. He takes a job working at Joy's hotel, befriending the manager Anita, and awaiting an opportunity to get back to the Time Hotel the following Christmas.

A year later, the Doctor re-enters the Time Hotel, and gives his past self the code (which he'd obtained by the bootstrap paradox), then departs with Joy. They open a door to the distant past, where the Doctor frees Joy from the briefcase by provoking her anger at being unable to be with her dying mother due to COVID-19 lockdown. The briefcase reveals itself to be of Villengard origin, with plans to detonate a "star seed" to use as an energy source, using the hotel's time travel to allow it to grow in the past.

The briefcase is eaten by a Tyrannosaurus rex, and the Doctor and Joy flee. Trev, who connected psychically to Villengard's system before he died, contacts the Doctor through his sonic screwdriver. Trev reveals the briefcase's location, and the Doctor finds it sealed in a shrine. The Doctor is able to open it, but Joy takes the briefcase outside, and lets the star seed enter her. Joy and the other people killed by the seed pilot it into space, where it detonates safely. At various points in time, the star gives hope and comfort to those who see it, including Joy's dying mother and Ruby Sunday. The Doctor sees that that the star was also the Star of Bethlehem.

Production

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Development

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Former Doctor Who showrunner Steven Moffat penned the episode.

Russell T Davies, the Doctor Who showrunner, initially began writing the 2024 Christmas special. Davies had sent a portion of the script to former showrunner Steven Moffat to get his opinion on it. At the time, Davies was in discussions with Moffat to have him write a script for the fifteenth series. When Davies realised he was too busy to complete the script, he shelved it and asked Moffat to write the Christmas episode instead.[1] Moffat considered writing a farce, but decided against it, believing that such an episode would be better suited mid-series.[2] Despite this, he said the episode still had a comedic tone with emotional elements.[3]

Here's the pitch that got me the job. You know in just about every hotel room you've been in there's a locked door? It's weird, but there always is. Okay. We're about to blow apart the truth of that. In the far future there is a place called the Time hotel, and the Time Hotel has realised something brilliant, which is following the discovery of time travel they have an opportunity to sell all the rooms they failed to sell the last time. So they have built extensions into more or less every hotel room in history, and you get access to it occasionally.

— Steven Moffat, "The Joy Bringer", SFX 3 December 2024[3]

Half the script had been completed before Davies informed Moffat that Ruby Sunday wouldn't be in the special.[1] The character of Anita originally only had around ten lines but her presence was increased after the production team became fond of her.[4] Moffat had finished writing the episode by 20 July 2023.[5] Working titles for the episode included "The Time Hotel" and "Christmas, Everywhere All at Once".[6] The story further explores the "Villengard Corporation", a recurring fictional weapons manufacturing company that has been mentioned in a number of Moffat's Doctor Who episodes. The Doctor last confronted Villengard in the fourteenth series episode "Boom" (2024).[7][8] It is the ninth Doctor Who Christmas special to be written by Moffat who once again assumed an executive producer role during production of the episode.[2][9]

Casting

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In November 2023, Nicola Coughlan was announced to be appearing in an undisclosed role of an upcoming Doctor Who episode.[10] It was later revealed that Coughlan would star in the 2024 Christmas episode as the Doctor's one-off companion,[11] Joy Almondo, a guest at a hotel who "gets caught up in [the Doctor's] adventures."[12] Initial reports indicated that Millie Gibson, who portrays the Doctor's current companion Ruby Sunday, would not appear in the special.[13] Gibson however, made a brief cameo appearance near the end of the episode.[14]. Joel Fry was cast to play Trev, an employee at the Time Hotel while Jonathan Aris portrayed the hotel's manager.[12] Steph de Whalley appeared as Anita, the manager of another hotel whom the Doctor spends a year with.[15]

Niamh Marie Smith played Sylvia Trench, a passenger on the Orient Express in 1962, whom Moffat confirmed as the same character as the love interest of James Bond in the films Dr. No (1962) and From Russia with Love (1963).[16][17] Historical figures Edmund Hillary and Tenzing Norgay were depicted, at a 1953 Mount Everest base camp, by Phil Baxter and Samuel Sherpa-Moore, respectively.[18] Sherpa-Moore is Norgay's great-great nephew.[19] Peter Benedict and Julia Watson appeared as Basil and Hilda, guests at the Queen's Hotel in Manchester during World War II.[20] The guest cast also included Ruchi Rai, Joshua Leese, Ell Potter, and Liam Prince-Donnelly.[12]

Filming

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Set design for the episode was underway at Wolf Studios Wales by 11 October 2023. The Mesozoic Era room was built on a gimbal that allowed the set to tilt to give the effect that it was being eaten by a dinosaur. The art department was working on graphic design by 17 October. The graphics team took fifteen 11-hour days to create enough artwork to fill the Doctor's hotel room. Seven different briefcases were purchased by the props department for use in the episode. A team at Millennium FX designed the Silurian prosthetics.[5]

Principal photography began on 23 October, with recording extending into November.[5] "Joy to the World" was directed by Alex Sanjiv Pillai[21] in the first filming block of the fifteenth series.[22] For the Sandringham Hotel, the production team chose to purchase two floors of an actual hotel, but had to build the lobby on a soundstage. The top of the Orient Express set was built in front of a green screen and placed on rubber tyres to allow the special effects team to replicate the look of a moving train. Mika Orasmaa was the episodes director of photography.[4]

Release and reception

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Professional ratings Aggregate scores Source Rating Rotten Tomatoes (Tomatometer) 80%[23] Rotten Tomatoes (Average Score) 7.3/10[23] Review scores Source Rating A.V. Club B–[24] Bleeding Cool 10/10[25] Empire [26] GamesRadar+ [27] The Guardian [28] IGN [29] Radio Times [30] The Telegraph [31]

Broadcast and promotion

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"Joy to the World" was broadcast on BBC One and released on BBC iPlayer on 25 December 2024 at 5:10 PM GMT.[11][32] In the United States the episode was released simultaneously on Disney+ at 9:10 AM PT.[33] Disney also handled international distribution of the episode outside of the United Kingdom and Northern Ireland.[34]

A clip and trailer for the episode was released on 15 November as part of the 2024 Children in Need broadcast.[35] The press screening took place in the week prior to broadcast,[36] which was hosted by Angellica Bell.[37] Promotional posters released by Disney captioned the poster with "Joy to the Worlds", mirroring the title "Joy to the World".[38]

Ratings

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In the UK, Doctor Who was the sixth most-watched programme on Christmas Day, receiving 4.11 million viewers overnight.[39]

Critical response

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On the review aggregator website Rotten Tomatoes, 80% of 15 critics' reviews are positive, with an average rating of 7.3/10.[23]

Writing for The Daily Telegraph, Michael Hogan referred to "Joy to the World" as "the best Christmas adventure for more than a decade." He further elaborated by saying that "there's something here for all generations to enjoy" and praising the guest cast, namely Nicola Coughlan, Steph de Walley, and Joel Fry.[31] Authoring a review for Radio Times, Louise Griffin also praised the guest cast but felt that Coughlan had been underused.[30]

IGN's Robert Anderson wrote that the special "masterfully blends the show's signature whimsy with heartfelt storytelling, delivering a cozy, deeply human tale about the transformative power of friendship" and that "Moffat's excellent script is central to the episode's success."[29] The writing was also applauded by Adi Tantimedh, who writing for Bleeding Cool, said "Moffat pins down the core of what makes Ncuti Gatwa's Doctor different from all his predecessors."[25]

Stephen Robinson with the A.V. Club criticised the Doctor's characterization, saying the "there are key moments in the story that directly contradict the Doctor's former growth" and that "he's a mix of the 'lonely god' from Russell T Davies' first run and Steven Moffat's 'madman in a box,' and the effect is discordant."[24] Emily Murray from GamesRadar+ also criticised a portion of the episode, writing that the "villains quite frankly feel like an afterthought and feel threadbare."[27]

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