As a long-time devotee of the ever-evolving universe of “Doctor Who,” plunging into the era of Ncuti Gatwa’s Fifteenth Doctor has been, to put it mildly, an experience. If we’re counting every appearance – from the “Doctor Who Special 4” introducing his companion Ruby Sunday (Millie Gibson), to the bewildering bi-regeneration alongside the Tenth-turned-Fourteenth Doctor (David Tennant) in “Doctor Who Special 3” – we’re already several episodes deep into this new chapter.
And as is tradition for any seasoned Whovian navigating the regenerative shifts of this iconic series, I find myself in that familiar state of delightful conflict.
It’s never about the actor embodying the Doctor. Ncuti Gatwa is, without question, a captivating force in the role. The real crux of the matter is the bittersweet acceptance that comes with saying goodbye to the previous Doctor – in this case, Jodie Whittaker (special episodes with Tennant notwithstanding). It’s a necessary stage of Whovian grief, a letting go to wholeheartedly embrace the new iteration.
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“Doctor Who,” in its generous spirit, gifts its fanbase with a universe of endless possibilities. Yet, inherent to its premise of a regenerating Time Lord, it demands a unique emotional investment from its audience, perhaps unparalleled in television history.
The very foundation of “Doctor Who” rests on cyclical change. Every few seasons, the individual we’ve connected with, laughed with, and perhaps even shed a tear for, as the Doctor, is poised to transform into someone ostensibly different.
However, this “different” is a fascinating paradox. The core essence remains: still the Doctor, wielding two hearts, piloting the TARDIS, armed with the sonic screwdriver, burdened by Gallifrey’s history, guided by pacifist ideals, and validated by psychic paper. Yet, the surface shifts are palpable – a change in demeanor, sartorial choices, favored catchphrases, and overall temperament.
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“Doctor Who” emerged in 1963, conceived as a family-oriented program designed to both entertain and enlighten. Through the captivating lens of time travel, it aimed to explore the marvels and perils of scientific advancement and pivotal historical moments. William Hartnell inaugurated this journey as the First Doctor. When health challenges arose for Hartnell, the ingenious concept of “renewal,” later refined as “regeneration,” was conceived. This allowed for the seamless transition to Patrick Troughton, who stepped into the role while maintaining the character’s continuity.
My own journey with the Doctor began much later, bypassing the classic era with its eight Doctors spanning 26 years, and aligning with the 2005 resurgence spearheaded by Russell T Davies.
Christopher Eccleston marked Davies’ return as the Ninth Doctor, a tenure that, due to his personal choices, lasted a single season. Then came David Tennant, who, if pressed to choose, remains my Doctor. Even with his quirky fondness for fish fingers and custard, embracing the Eleventh Doctor, Matt Smith, required an adjustment period. Yet, soon enough, Smith’s Doctor, with his bow tie, fez, and boundless energy, became definitively the Doctor. The 50th-anniversary special, a celebratory milestone, ingeniously united Tennant and Smith, while also introducing John Hurt as the War Doctor, and offering a fleeting glimpse of the Doctor to come. Perhaps this multi-Doctor narrative contributed to the initial hesitation I felt before fully accepting the Twelfth Doctor, Peter Capaldi. The companion Clara (Jenna-Louise Coleman) echoed the sentiments of many viewers when, witnessing Smith’s transformation into Capaldi, she exclaimed, “I don’t think I know who the Doctor is anymore.”
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But, of course, she did, and so did we. Just as Capaldi’s Doctor had solidified his place, seemingly eternal, the arrival of Whittaker as the Thirteenth Doctor marked another exhilarating shift.
And let’s not even delve into the constantly evolving tapestry of companions – each one inevitably captivating. I still hold a fondness for Martha (Freema Agyeman), whose performances led me to explore “Law and Order: U.K.”), and the return of Donna (Catherine Tate) in last year’s specials was a welcome delight. Then there’s the ever-shifting persona of the Master (or Mistress – bring back Michelle Gomez!).
For those of us who invest deeply, this constant emotional recalibration is significant. Especially within a medium like television, traditionally built upon the promise of enduring characters and consistent narratives.
Long before “Game of Thrones” and the wave of “prestige” dramas embraced character mortality for shock value and realism, “Doctor Who” has consistently challenged a fundamental tenet of television: cultivating characters that audiences want to welcome into their homes, season after season. While character evolution – aging, facing challenges, growth (or regression) – is expected, the transformative regeneration of the Doctor pushes these boundaries further than most.
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Consider the hypothetical uproar if James Gandolfini’s Tony Soprano was replaced every few seasons. It’s almost unthinkable.
While many contemporary shows strive to blur the lines between television and cinema – with the often-repeated phrase, “It’s like a 10-hour movie” – “Doctor Who” occupies a unique space, straddling television and theatre.
The Doctor transcends being merely a character; he’s an archetype, akin to Hamlet, Willy Loman, Dolly Levi, or the Phantom of the Opera. The role isn’t confined by a single actor’s interpretation but is meant to be inhabited and reinterpreted by a diverse and captivating ensemble of performers. (Unsurprisingly, many of whom boast impressive stage acting backgrounds, given the show’s British roots).
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This inherent change is integral to the show’s enduring magic and appeal. Anticipation and speculation reach fever pitch among fans and media outlets as each Doctor’s era nears its end – who will be next to inherit the mantle?
The successive casting of Whittaker and Gatwa has decisively shattered the long-standing pattern of white, male, and presumed heterosexual Doctors. Predictably, this progressive shift ignited tiresome cries of “wokeness” from certain corners, criticisms rendered even more absurd given the show’s modern history, which has consistently featured diverse companions representing Black, brown, and queer identities.
Nevertheless, Gatwa’s arrival as the first Black and openly queer Doctor is a landmark moment, widely celebrated as ushering in a genuine “new era” for the series. Under the renewed guidance of Russell T Davies, who has returned as showrunner after passing the baton to Steven Moffat in 2009, “Doctor Who” is now a collaborative venture between Disney, the BBC, and Bad Wolf. With a new home on Disney+, the series aims to captivate both established fans and a broader, more diverse audience globally.
This ambition is evident in Gatwa’s Doctor taking the time to meticulously explain Time Lord fundamentals to Ruby, a young woman on a quest to find her birth mother. These explanations include references to the First Doctor and his granddaughter/companion Susan (Carole Ann Ford), who, according to Reddit whispers, might even reappear this season.
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I’m personally holding out hope that Davies will bring back Jenny, the Doctor’s “daughter.” A clone born from the Tenth Doctor’s DNA, Jenny was portrayed by Georgia Moffett. Intriguingly, Moffett, daughter of Fifth Doctor actor Peter Davison, went on to marry David Tennant – a plot twist worthy of the show itself. In “The Doctor’s Daughter,” Jenny seemingly perished, only to revive after the Doctor departed, last seen embarking on her own interstellar adventures.
Pairing the Fifteenth Doctor with a young companion like Ruby is an astute move, and not solely for broader audience appeal. At 19, Ruby not only echoes the modern series’ first companion, Rose Tyler (Billie Piper), but also provides a natural narrative opportunity for the Doctor to be patiently expository – a contrast to Capaldi’s Doctor who initially viewed humans with a degree of alien bemusement.
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This new Doctor also exhibits a heightened self-awareness, readily sharing insights into his past and origins (though, naturally, not his true name), information that previous incarnations guarded more closely. Gatwa’s infectious exuberance makes this approach seamless and serves as a bridge connecting new viewers with the show’s rich history. References to the First Doctor resonate with long-term fans, while the introduction of formidable new adversaries creates a shared point of entry for everyone.
Yet, it remains a change, and change, even when anticipated and part of the inherent appeal, can still be challenging. The Doctor is a paradoxical being – both utterly unique and universally relatable. The Doctor is distinctly him/her/themself, yet simultaneously embodies aspects of all of us, everywhere.
We are all navigating our own adventures through space and time, and we dare to love deeply, knowing that all love, in some form, will eventually face loss. Even so, “Doctor Who” reminds us, every few regenerations, that renewal is always possible.
It will inevitably look different, dress differently, express itself differently than before, but at its core, it remains love, just the same.
