After half a lifetime of waiting, the time has come for Peter Capaldi to finally take on the role he was born to play. But is twenty-first century Who ready for this spiky and unpredictable leading man and his sexy and unhinged mortal enemy? We’re about to find out — but first, let’s take a Deep Breath.
This week, we’re joined by Adam Richard, shrunk to a microscopic size, and sent on a mission consisting mostly of ruthless moral self-examination. Meanwhile, somewhere else completely, a romcom is taking place. It’s Into the Dalek.
This week, Nathan, Richard, Todd and Adrian Phoon leave the peasants of Worksop to their mud-eating and get together to ask themselves the questions Is the Doctor as big a hero as Robin Hood? and Is Robin Hood even real?, only to come up with some very surprising answers. It’s Robot of Sherwood.
This week, we’re joined under the Doctor’s bed by Fiona Tomney, to discuss whether monsters are real or imaginary or both, and to squee repeatedly over the Capaldi performance. It’s Listen.
Nathan, James, Peter and Simon come to in a bare darkened room full of mid-range sound recording equipment with no memory at all of how they got there, only to find — to their horror — that they have agreed to podcast about our next Doctor Who episode, Time Heist.
This week, Pete Lambert and Hannah Cooper join us for a particularly embarrassing Coal Hill School parents’ evening, which goes horribly wrong when a Mechanoid is found roaming the premises. It’s The Caretaker.
This week, Nathan, Brendan, Simon and Colin are trapped in a room with only forty-five minutes to decide whether Kill the Moon is terrible or a towering work of genius. It goes quite well, surprisingly.
This week, a technologically-augmented interdimensional mummy runs amok on a replica of the Orient Express in space under the control of a terrifying alien intelligence or something. It’s a day at the office for Doctor Who, in Mummy on the Orient Express.
This week, we’re doing some judicially-mandated cleaning up around a council estate in Bristol when we make some terrifying discoveries about the source and nature of the graffiti we’re painting over, and some even more terrifying discoveries about our own and our friends’ moral characters. Also, someone left the TARDIS prop from Logopolis Part 3 lying around here somewhere. It’s Flatline.
It’s like the New Forest only newer, as well as more sudden and completely worldwide. But is it here for revenge, or to provide us with some much-needed help? Let’s find out as Mathew Hounsell and Kevin Burnard join us to discuss In the Forest of the Night.
This week, Danny’s death is somehow made up for by the culmination of a season-long arc which finally brings Michelle Gomez properly into the limelight. It’s Dark Water.
It’s happened again: it’s the end of the season, and all our long-dead relatives have come back as Cybermen. Only this time, instead of hanging around the kitchen reeking of tobacco, they’re wandering through graveyards and — well, that’s it really, wandering through graveyards. Fortunately, Missy is here to liven things up a bit. It’s Death in Heaven.
Peter Capaldi’s Doctor might not be sure if he’s a good man, but can Nathan, Todd, Peter and Simon be sure if his first series is a good series? Let’s find out (while determining who to snog, marry and avoid on the way).
It’s Christmas in July, and what could be more Christmassy than having your brains sucked out by predatory alien crabs? Why, Nick Frost as Santa, of course! So welcome, everyone, to your Last Christmas.