When evaluating a television episode, the challenge lies in harmonizing initial reactions with a broader perspective on its enduring quality. This assessment can be nuanced and complex. In the previous week’s episode, “The Legend of Ruby Sunday,” initial frustration gave way to deeper engagement upon a second viewing, as expectations regarding plot intricacies were set aside in favor of appreciating its overall atmosphere. Conversely, “Empire of Death,” while initially perceived as a thrilling, surprising, and emotionally resonant addition to the Doctor Who narrative, began to raise concerns upon reflection. This inventive season finale, for Season 14 Doctor Who, excels in individual scenes but ultimately falls short of forming a cohesive and impactful whole. This characteristic mirrors the broader experience of the entire season itself.
The primary issues plaguing this season, despite its episodic strengths, stem from time management. With Ruby’s (at least temporary) departure, she and the Doctor conclude their run as the shortest-lived TARDIS duo in the modern era. Paradoxically, rather than tailoring the season to this limited timeframe, it unfolds as if Davies operated under the assumption of limitless narrative space. The concluding scene of “Empire of Death” explicitly clarifies the intended emotional trajectories for both protagonists: Ruby discovers her birth mother and realizes her most significant adventures await her at home, while the Doctor is inspired to contemplate his own family in a fresh light. However, the necessity for such overt exposition underscores the fact that these arcs were not effectively integrated and developed throughout Doctor Who season 14.
The Fifteenth Doctor and Ruby Sunday face an unseen threat in Doctor Who Season 14, Empire of Death, highlighting the duo's intense adventure.
Even the two-part finale of season 14 Doctor Who exhibits an imbalance in its pacing. While the initial scenes depicting London’s widespread destruction, reminiscent of Roland Emmerich’s style infused with Thanos-esque threat levels, are undeniably unsettling, their placement feels misjudged. These sequences might have been more impactful in the preceding episode, enhancing its substance and affording the finale more room for character development. As it stands, the episode’s structure is segmented: the opening act establishes Sutekh as a formidable antagonist, followed by a brief interlude with the Doctor conversing with a mysterious figure, a plot-intensive second act focused on Ruby and the Doctor’s heroic efforts, and a concluding epilogue that abruptly shifts to Ruby’s birth mother. While each of these segments possesses its own compelling qualities in isolation, their accumulation within a single episode—particularly one tasked with concluding a Doctor/companion partnership—proves overwhelming. The narrative feels rushed, and the emotional resonance of Ruby’s departure and the Doctor’s reflection on family are somewhat diluted by the sheer volume of plot events crammed into “Empire of Death,” leaving viewers to ponder the overall effectiveness of Doctor Who season 14’s narrative choices.
