The TARDIS landed right in the heart of Christmas Day with “Joy to the World,” a Doctor Who special that aired on December 25, 2024. This festive episode promised a trip to the intriguing Time Hotel and the introduction of a character named Joy, but did it deliver joy to audiences, or was it more of a mixed bag? Let’s delve into this review to explore the highs and lows of this Doctor Who Christmas special.
Ncuti Gatwa’s Fifteenth Doctor encounters Joy Almondo in the Time Hotel, during the Doctor Who Christmas special “Joy to the World”, exploring themes of festive cheer and temporal paradoxes.
While “Joy to the World” is undeniably entertaining and packed with classic Doctor Who elements, its central character, Joy Almondo, played by Nicola Coughlan, ironically becomes the episode’s weakest link. Coughlan, known for her role in Bridgerton, feels somewhat like a casting choice driven by fandom synergy, a potential attempt by Russell T Davies to tap into the Bridgerton audience. Joy, in her striking red outfit, is certainly visually distinctive, but she struggles to resonate as deeply as the episode’s supporting characters.
The episode introduces two other memorable figures who arguably leave a more lasting impression: Trev, the reluctant companion, and Anita, the Time Hotel clerk. Anita, in particular, is at the heart of the episode’s most emotionally resonant scene. In contrast, Joy spends a significant portion of the episode possessed by a sentient, malevolent briefcase, and her ultimate decision at the episode’s conclusion feels somewhat contrived, seemingly designed solely to facilitate a saccharine “Christmas Star” ending.
To break the briefcase’s hold on Joy, the Fifteenth Doctor is forced to adopt a harsher approach, delivering lines that feel uncharacteristic and even veer into territory that could be uncomfortably interpreted as COVID denialism. While a degree of festive cheese is expected and often welcomed in a Doctor Who Christmas special, Joy’s storyline feels both predictable and underdeveloped, a missed opportunity to create a truly compelling character arc within the episode.
However, beyond the somewhat faltering “Joy” element, “Joy to the World” delivers a fast-paced and inventive adventure within the Time Hotel. Acknowledging the plot holes inherent in time travel narratives, the episode embraces its whimsical premise. The Time Hotel itself, and the machinations of Vilengard, might not stand up to rigorous logical scrutiny. Questions arise, such as how the hotel’s existence doesn’t create timeline pollution that would alarm the Doctor, or the briefcase’s self-destructive nature given its intended purpose.
Yet, these plot inconsistencies are easily forgiven in the spirit of a Christmas special that prioritizes lively pacing and sheer entertainment. The episode throws joke after joke, effect after effect, and clever dialogue at the audience, barely allowing time to dwell on logical inconsistencies. Writer Steven Moffat masterfully revisits classic tropes like “what did I see?”, the TARDIS-like expansiveness of the hotel, and the return of the infamous “CHAIR AGENDA.”
The production design of the Time Hotel is a delight, brimming with playful details. Eagle-eyed viewers will spot a clothing store named after the Mr. Benn time travel cartoon (a nod to UK television history), a door leading to the Shire, and the recurring Moffat motif of interconnected hotel doors concealing secrets, both magical and potentially sinister. The various temporal portals within the hotel lead to amusing vignettes, including a cheese toastie mishap and glimpses of historical figures witnessing the Christmas Star. These include a surprisingly non-New Zealander Sir Hillary on Mount Everest (a humorous historical inaccuracy) and Sylvia Trench, identified in the credits as the first “movie” Bond girl, aboard the Orient Express. Her appearance, and connection to From Russia with Love, is somewhat puzzling, adding to the episode’s quirky, fast-paced nature. These portals also facilitate a bootstrap paradox of considerable scale, arguably more audacious than usual, yet neatly explained (or hand-waved) in the “Theories” section. Moffat also cleverly references the “slow path” concept from “The Girl in the Fireplace,” adding layers for long-time fans.
The “slow path” sequence is undoubtedly a highlight of “Joy to the World.” The Doctor spends an entire year at the Sandringham Hotel, forming a charming friendship with Anita Benn, a perceptive hotel clerk. Anita, portrayed with warmth and subtle depth, clearly develops feelings for the Doctor. This extended montage showcases their burgeoning bond, and through Anita, the Doctor gains a newfound appreciation for everyday objects, even chairs and refrigerators. He eventually recommends her for a position at the Time Hotel. The audience reaction to Anita was overwhelmingly positive, drawing comparisons to the beloved Donna Noble’s initial appearance in “The Runaway Bride,” fueling speculation about Anita’s potential return. The Doctor himself notes that the TARDIS “likes her too,” further hinting at future possibilities. This sequence sparks the imagination with possibilities – envisioning a season where the Doctor, perhaps temporarily separated from the TARDIS, resides at the Time Hotel, embarking on adventures with Anita and other staff through the hotel’s myriad portals. While the unfortunate fate of Trev, tied to the star seed plot, might preclude his inclusion in such scenarios, Anita’s character shines brightly.
The episode revisits Villengard, a recurring antagonistic force this season, and once again, their downfall stems from their own AI technology. Similar to the “Boom” episode, their technology backfires, uploading minds and leading to a system hijacking. This raises the question of whether Joy and the others transformed into the Christmas Star are permanently freed from Villengard’s control. The ending suggests a hopeful resolution, with characters emphasizing hope, Joy’s mother transforming into particles to join her daughter in the sky, and a nod to the birth of Christ. A heartwarming Ruby Sunday cameo further reinforces the optimistic tone. It seems unlikely that the episode intends to conclude with Villengard ultimately achieving their aims, despite appearances.
THEORIES:
The bootstrap paradox at the heart of the episode – how does the Doctor obtain the correct briefcase code without prior knowledge? – is a classic Moffat-esque puzzle. Faced with thousands of potential combinations, the Doctor seemingly “guesses” the precise code. However, the paradox resolves itself when considering the narrative’s fixed points. The Doctor has already witnessed and experienced Joy’s survival. Therefore, any code he provides must be the correct one, as any other outcome would contradict his established experience. The universe, or perhaps the quantum mechanics of the Web of Time, corrects the code to align with the already witnessed reality. If the Doctor were to input an incorrect code, the very circumstances leading him to that point would unravel. He possesses the correct code because, within the established timeline, he must possess it. This self-correcting paradox, while compressed, echoes similar instances in episodes like “Blink” or “After the Flood,” relying on the universe’s inherent resistance to paradox.
VERSIONS:
Intriguingly, Disney+ promotional materials subtly altered the episode title to “Joy to the Worlds,” adding an “s.” This minor change might allude to the Time Hotel’s interconnectedness with various time periods, hinting at the multiple worlds and eras accessible within its walls.
REWATCHABILITY: Medium
“Joy to the World” is packed with inventive concepts and classic Moffat-era cleverness. However, the central “Christmas Star/Joy” storyline is arguably the weakest element of the script. While the episode is entertaining and festive, Joy’s character and arc prevent it from achieving true Christmas special perfection, resulting in a rewatchability factor that leans towards medium rather than high.
