After years of fluctuating reception and a perceived dip in quality, Doctor Who fans held their breath in anticipation for the 2023 specials, particularly “The Star Beast,” marking the return of showrunner Russell T. Davies and beloved stars David Tennant and Catherine Tate. Could this episode revitalize the long-running sci-fi series and recapture the magic of its past? Or would it stumble, weighed down by the issues that plagued recent seasons? “Doctor Who The Star Beast” arrived with a heavy burden of expectation, and while it delivered moments of classic Who brilliance, it also presented some familiar frustrations.
Initial optimism surrounding Russell T. Davies’ return was palpable. Davies is credited with successfully relaunching Doctor Who in 2005, and his subsequent work on critically acclaimed shows like Queer As Folk and It’s A Sin solidified his reputation as a talented and engaging storyteller. For many, his return signaled a potential course correction, a chance to steer the TARDIS away from the controversial narratives and perceived missteps of the previous era. The hope was that Davies would recapture the essence of what made Doctor Who so beloved: compelling stories, memorable characters, and a sense of wonder, while leaving behind some of the more divisive elements that had alienated portions of the fanbase.
“The Star Beast” itself is a largely enjoyable episode. It’s undeniably fun, and the pacing is compelling, drawing viewers into the unfolding mystery. Humor is present, and thankfully, it largely avoids the pitfalls of contemporary, often jarring, comedic styles that can feel out of place in the Doctor Who universe. The narrative, while not without its quirks, manages to hold attention and provides a solid foundation for the special.
One of the standout aspects of “Doctor Who The Star Beast” is the creature design. The aliens are genuinely imaginative and visually striking, offering a refreshing contrast to some of the more generic monsters encountered in recent years. The Meep, in particular, is a triumph of design and CGI. Its deceptively cute appearance, voiced with impressive range by Miriam Margolyes, cleverly misdirects the audience, playing with assumptions about benevolence and malevolence based on visual cues. The CGI used to bring The Meep to life is also notably polished, representing some of the best visual effects seen in the modern era of Doctor Who.
The plot, while containing a somewhat questionable element – a species driven mad by a sentient star – is engaging overall. While the “sentient star” concept feels a little flimsy, it’s a relatively minor narrative bump in the road compared to some of the more convoluted storylines of past seasons. Davies skillfully weaves in elements of his previous Doctor Who tenure, invoking the Shadow Proclamation and re-establishing UNIT as a credible and effective organization, rather than a source of slapstick. The updated time vortex visuals are visually appealing, although a consistent aesthetic for this iconic element of the show would be welcome. The new TARDIS interior is another highlight, boasting a fresh and exciting design.
The return of David Tennant and Catherine Tate as the Doctor and Donna Noble is seamless. They effortlessly slip back into their roles, rekindling the dynamic that made them such fan favorites. Jacqueline King also delivers a pitch-perfect performance as Sylvia Noble, Donna’s mother, maintaining the character’s established personality and adding to the familiar warmth of the Noble family dynamic. However, there’s a subtle sense that something is slightly different with Tennant and Tate, a faint lack of the youthful energy they previously possessed, though it’s a minor observation that doesn’t detract significantly from their performances.
A weaker point in “Doctor Who The Star Beast” is the introduction of Yasmin Finney as Rose Noble, Donna’s daughter. While Finney is a rising star, her performance here feels somewhat underwhelming. Compared to the iconic and instantly captivating portrayal of Rose Tyler by Billie Piper, Finney’s Rose lacks a certain spark and personality in her delivery.
Perhaps the most divisive aspect of “Doctor Who The Star Beast” is the inclusion of what some viewers have termed “gender-woo.” While the episode attempts to integrate themes of identity and metacrisis energy in an interesting way – suggesting the Doctor-Donna metacrisis, born from a male and female Time Lord and human, manifests in Donna’s child with a combination of “maleness” and “femaleness” – the execution feels heavy-handed and distracting for some.
The dialogue, at times, veers into overtly didactic territory. A prime example is the line, “You’re assuming ‘he’ as a pronoun?!” directed at The Meep. This moment, while intended to be progressive, pulls the viewer out of the narrative and feels jarringly contemporary, momentarily shifting the setting from a fantastical sci-fi adventure to a commentary on current social discourse. Similarly, lines like, “It’s a shame you’re not a woman anymore, ’cause she’d’ve understood,” and “Something a male-presenting Time Lord will never understand,” delivered during a crucial scene, inject a dose of perceived sexism into the narrative that feels unnecessary and undermines the immersive quality of the episode. These moments, while perhaps intended to be thought-provoking, ultimately detract from the overall viewing experience for some audience members.
In conclusion, “Doctor Who The Star Beast” is a mixed bag. It showcases many of the elements that make Doctor Who great – imaginative aliens, a compelling plot, and the undeniable chemistry of Tennant and Tate. However, it is also hampered by moments that feel tonally inconsistent and overly focused on contemporary social issues, at the expense of narrative flow and immersion. While far from a disaster, these elements prevent “Doctor Who The Star Beast” from reaching its full potential. If future episodes can minimize these distractions and focus on the core strengths of Doctor Who storytelling, the series may well be on the path to genuine regeneration under Russell T. Davies’ guidance.
