As a long-time devotee of the TARDIS and its endlessly fascinating occupant, diving into the latest season of “Doctor Who,” starring The New Doctor Who, Ncuti Gatwa, has been a characteristically bittersweet experience. Four episodes in, or perhaps five and a half if you’re meticulously counting every special and regeneration scene, and the familiar pang of transition is present. This isn’t a critique of Gatwa, who is, in fact, captivating in the role. Instead, it’s the acknowledgment of that well-trodden path of acceptance that every “Whovian” must navigate when a new Doctor arrives on the scene. We mourn the passing of the previous iteration – in this case, Jodie Whittaker (and briefly, David Tennant’s Fourteenth Doctor) – and prepare to open our hearts to another.
This cycle of renewal is unique to “Doctor Who,” setting it apart from virtually any other television series. The show gifts its audience with rich narratives and imaginative worlds, but it also asks a significant emotional investment. Every few seasons, the beloved persona of the Doctor, a figure who becomes almost like family, is reimagined, embodied by someone entirely new.
Of course, the core essence remains. The Doctor is still the Doctor: a Time Lord with two hearts, a TARDIS, a sonic screwdriver, the weight of Gallifrey’s history, a pacifist spirit, and those ever-reliable psychic papers. Yet, each regeneration brings undeniable shifts – in demeanor, style, catchphrases, and overall temperament. This constant evolution is woven into the very fabric of the show.
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“Doctor Who,” since its inception in 1963, was conceived as a family program, aiming to both entertain and educate. Through the magic of time travel, it explored the wonders and dangers of science and pivotal moments in history. William Hartnell, the First Doctor, eventually had to step down due to health concerns. The ingenious solution was “renewal,” later termed “regeneration,” allowing Patrick Troughton to take over while still maintaining the continuity of the Doctor.
While my personal journey with the Doctor began with the 2005 revival spearheaded by Russell T Davies, the original series, spanning eight Doctors over 26 years, holds a legendary status. Davies’ regeneration of the show brought us Christopher Eccleston as the Ninth Doctor, though his tenure was brief. Then came David Tennant, who for many, including myself, remains the Doctor. Even with his fondness for fish fingers and custard, it took a little time to fully embrace Matt Smith’s Eleventh Doctor. Yet, Smith, with his bow tie and fez, quickly became undeniably the Doctor. The 50th-anniversary special, a brilliant piece of fan service, united Tennant and Smith, even introducing John Hurt as the War Doctor, and offering a fleeting glimpse of the Doctor to come. Perhaps this rapid succession contributed to the initial hesitation in fully accepting Peter Capaldi’s Twelfth Doctor. The companion Clara (Jenna-Louise Coleman) voiced a common sentiment 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. And just as Capaldi seemed to have always been, and always would be, the Doctor, Jodie Whittaker arrived as the Thirteenth, shattering expectations and opening new doors.
And let’s not forget the ever-evolving roster of companions, each one captivating in their own right. Martha (Freema Agyeman), Donna (Catherine Tate), and so many others have left indelible marks on the show’s history. The Master, too, that mischievous Time Lord nemesis, has seen numerous faces, most recently the unforgettable Michelle Gomez as Missy.
For viewers who invest deeply in characters, this constant turnover can be emotionally taxing. Television, at its core, often thrives on familiarity and consistency. “Doctor Who” dares to challenge this norm. Long before “Game of Thrones” made headlines for killing off main characters, “Doctor Who” was already subverting the cardinal rule: creating characters audiences want to welcome into their homes for years. While characters in other shows might evolve subtly, the Doctor undergoes a complete metamorphosis, yet somehow, recognizably remains.
While many modern series strive for cinematic scope, blurring the lines between television and film, “Doctor Who” occupies a unique space, straddling television and theatre. The Doctor transcends any single actor’s portrayal, much like iconic characters like Hamlet or Dolly Levi. It’s a role meant to be inhabited and reinterpreted by a diverse array of performers, many with strong theatrical backgrounds, fittingly given the show’s British roots.
This inherent change is part of “Doctor Who’s” enduring magic. The anticipation and speculation surrounding each Doctor’s departure—who will be next?—fuels fervent fan discussions and media buzz.
The transition from Whittaker to Gatwa marked a significant moment, breaking the long-standing pattern of white, male Doctors. This overdue shift, predictably, triggered tiresome cries of “wokeness” from certain corners, criticisms rendered even more absurd by the show’s inclusive history of diverse companions.
However, the new Doctor Who, embodied by Gatwa as the first Black and openly queer Doctor, is rightfully celebrated for ushering in a truly “new era.” With Russell T Davies back at the helm as showrunner, after Steven Moffat’s successful run, “Doctor Who” is now a collaborative effort between Disney, BBC, and Bad Wolf, finding a new home on Disney+ with aspirations to captivate a wider, global audience.
This ambition is evident in the current season. Gatwa’s Doctor takes the time to patiently explain Time Lord fundamentals to his new companion, Ruby Sunday (Millie Gibson), a young woman searching for her origins. References to the First Doctor and his granddaughter Susan (Carole Ann Ford) resonate with long-time fans, and rumors of Susan’s potential return this season are swirling online.
I personally hope Davies might also bring back Jenny, the Doctor’s “daughter,” a clone from Tennant’s era played by Georgia Moffett. The daughter of Peter Davison (the Fifth Doctor), Moffett’s marriage to Tennant is perhaps the most delightful real-life twist in the franchise’s history. Jenny, seemingly deceased in “The Doctor’s Daughter,” was last seen reviving and embarking on her own spacefaring adventures.
Pairing the new Doctor Who with a young companion like Ruby is a masterstroke, resonating with the dynamic of the modern series’ first companion, Rose Tyler (Billie Piper). Ruby’s youth allows for exposition that feels natural, contrasting with the initially more aloof Twelfth Doctor.
This Fifteenth Doctor also feels remarkably self-aware, readily sharing aspects of his history and origins, information that previous Doctors often guarded closely. Gatwa’s infectious enthusiasm makes this approach work seamlessly, bridging the gap between new viewers and seasoned fans. Nods to the First Doctor provide comfort to the faithful, while the introduction of formidable new adversaries ensures a fresh, shared experience for everyone.
Yet, it remains a change, and change, even when anticipated and enjoyable, can be challenging. The Doctor is a paradoxical figure—both unique and universal, simultaneously him/her/themself and a reflection of all of us navigating space and time.
We all embark on our own adventures through life, daring to love deeply, knowing that loss is an inevitable part of the journey. But as “Doctor Who” reminds us with each regeneration, renewal is always possible. It may look different, dress differently, speak differently, but at its heart, it’s still love, just the same.
