Doctor Who: EVERY Fifteenth Doctor Episode Ranked Worst To Best

The Reality War scores low on this list, not because it's a terrible episode, but because it's two episodes crammed into one, poorly. Rarely, while watching an episode of Doctor Who, have we felt a shift in the structure that so clearly highlighted the beginnings of reshoots.

As the series finale, The Reality War had the usual task of wrapping up the overall arc, or at least teasing us with a continuation. Following on from the rather sudden reveal at the end of Wish World, the episode was bogged down with resolving the Rani, Omega, Conrad, Belinda, and then a regeneration - all in a slightly longer-than-usual runtime.

Where the episode succeeds (in particular, check out that scene with the Doctor, Belinda, and Ruby in the TARDIS) is in its character moments. Though Belinda's arc is resolved in a supremely dissatisfying way, nothing truly feels natural. Poppy may be saved, but at what cost? The regeneration serves to distract from all else, as does the uncalled-for connection to Joy To The World (the star, as opposed to the always-welcome Anita), but the sudden appearance of Billie Piper does little to help this outing feel like a satisfying close to Ncuti Gatwa's tenure.

Though his era as the Doctor may have ended on a whimper, the rest of his time was a lot more enjoyable.

Space Babies is a light-hearted romp aboard a space station, featuring, well, babies. In space. It does exactly what it says on the tin. 

The first episode of Gatwa's debut season was a little bit silly, though this felt like a mission statement by the show. The previous incarnations of the Doctor had felt more serious, and their messages a little heavier, as their time went on. While the Fourteenth Doctor was in three specials, he still managed to bring home the thousand-yard stares. 

Space Babies, featuring uncanny valley in the extreme, was actually a fairly fun introduction to the Doctor and Ruby Sunday as a pairing (after their meeting in the Christmas special, of course). That great tease of a Starfleet-inspired crossover may still be a thing of dreams, but at least the Boogeyman turned out to be a sheep in wolf's clothing.

As a season opener, it's easy on the brains of the audience, bears little impact in the overall arc (Poppy-aside, but we've covered that!), and still manages to tease a little of what's to come. 

Wish World has many things going for it, not least of which is Archie Panjabi's scenery-chewing turn as the Rani. Those Bone Beasts were gorgeous, even if they were a tad superfluous. Ncuti Gatwa and Varada Sethu were sublime as Mr and Mrs. Smith, though Millie Gibson shone as Ruby here.

Perhaps the episode's biggest flaw is the exposition dump at the end - though even that is cleverly useful for the episode's arc. Introducing the idea of Omega at the eleventh hour was a little too much on top of everything else - the Rani, Desiderium, Conrad, Bone Beasts, the Stepford London, Ruby's mission - there was a lot going on. 

Rogue's cameo sadly felt more out of place than anything (why was he able to contact the Doctor? Was he really in hell? Was he with Omega? What was going on?), despite how much fun it was to see Jonathan Groff again. Discovering, via Doctor Who Confidential, that he filmed his scene while making Rogue was a bit of an eyebrow-raiser.

Wish World stumbles to stand on its own, though tying it to The Reality War does it little favours. As a penultimate episode, it does raise some stakes and even features a cameo from a popular YouTuber to boot.

Series openers always have a tough job. They must reintroduce the audience, old and new, to the frenetic life of the Doctor. Some, like The Robot Revolution, must also include time for a new character introduction as well. Belinda Chandra, played by the returning Varada Sethu, is a welcome addition to the franchise, even if her series struggled to capitalise on the promise of her first episode.

As the nurse, she is given plenty to do, and it seems as though she will be a great companion to Gatwa's Doctor. The scenes featuring her with Alan, discussing the "Planet Of The Incels", and particularly her insistence to be brought home highlight a companion who doesn't want to be there - something that offered a refreshing spin on the usual trope.

The episode was let down by the first (of that series) examples of Anita Dobson's Mrs. Flood directly addressing the audience which, as of the writing of this article, has yet to receive a satisfying resolution. 

Justice for the cat! 

Steven Moffat's Christmas special gave us Nicola Coughlan's Joy, a positive yet deeply hurt woman, spending time in a hotel at Christmas. She meets Silurians, Tyrannosaurs, and even passes Mr Benn, before she ultimately decides to kill herself to become a star.

As one does.

Despite the muddled message of the episode's climax, Coughlan (pardon the pun) shines as Joy, bringing heart and a devastating maturity to a character who lost the chance to say goodbye to her mother. Though there were rumblings from certain corners of the internet at the episode's direct exposure of political misdeeds during the Covid-19 crisis, Moffat's script isn't too heavy-handed (at that point) and Nicola embues it with such emotion that its hard to feel anything other than empathy with her.

Steph De Whalley was a wonderful addition in the form of hotel manager Anita. Her year with the Doctor seems rife with opportunities to tell stories, and her return helped to raise the overall enjoyment factor of The Reality War (but exactly who is the Boss?!)

The final scene of the special moves beyond 'on the nose' and sits firmly at 'HA, HA, DO YOU GET IT?' which is a little disappointing. We can only hope to see the Time Hotel again in another context, with or without producing religion along the way.

Rylan and his wonderful teeth captured something that had been missing in Doctor Who for a while: modern, knowing, fun! 

Russell T. Davies' first run on Doctor Who was marked with cameos, modernism, and dialogue that aged the second it was spoken. It was, frankly, part of the charm. Moffat and Chibnall's tenures let that aspect fade away, though Rylan's small role (and let's not forget Graham Norton's first official appearance in the franchise) snapped the show back into a timely position. 

However.

The Interstellar Song Contest received criticism for its muddled handling of its message. While the contest was sponsored by an evil corporation, thus allowing the audience to sympathise with the Hellions' plight, Freddie Fox's Kid walked a dangerous line of being too one-note for the audience to engage with. This, coupled with his dastardly plan, resulted in the Doctor's rage - a series first for Gatwa's incarnation - losing the power of that moment in a story that didn't quite seem to know what to do with itself.

And then there's...

One cannot discuss this episode without discussing Carole Anne Ford and Susan Foreman. Returning to the show after 42 years (not counting Dimensions In Time), this appearance should have been a grand sign of things to come. However, at present, Susan did nothing more than call to the Doctor as he floated in space (something they've done several times since the revival) and encourage him not to give up.

After series one teased her return and deliberately didn't deliver, this felt like a moment telegraphed for some time. Surely, surely, it was a sign of more things to come. Well, if the rumours are true and Susan was intended to be a part of The Reality War's finale, this now serves as a symbol of what could have been. 

Carole Ann Ford will always be welcome on our screens as Susan. Someday, she might come back. Yes, someday. 

Empire Of Death is a perfectly fine, middle-of-the-road Doctor Who episode, offering the general big bombastic style that audiences had come to expect from Russell T. Davies. The return of Sutehk was a bit underwhelming, sacrificing any real screen presence for a CGI dog (it was quite a menacing one, to be fair).

The episode tries to handle a little too many plot threads. The reveal of Ruby's mother (with extremely dubious ethical decisions along the way), the casual death of trillions of people, and the reveal that Sutehk had been with the Doctor ever since Pyramids Of Mars all combined to make the episode a busy one. Gabriel Woolfe is a very welcome cameo though!

In truth, the episode's strengths lie with Bonnie Gordon's Mel. Though she doesn't get all of the screen time that she needs, Gordon manages to give Mel strength, heart, and power. It is more than a little shocking when it seems as though Mel has finally met her maker (does anyone really stay dead in this show?). 

Though not perfect, Empire Of Death does score points for how the Doctor defeats Sutehk. Got an antsy dog? Take him for a walk!

Sadly, Mrs. Flood's ominous warning feels tacked on and, thanks to the resolution of her character arc, completely pointless at this stage. 

Do you dream about being an ambulance?!

That line alone makes this episode a camp classic. The resolution of the Susan Triad mystery, to a part, rushes toward the audience as the Doctor and Ruby confront her, before her big speech. The rest of the episode focuses on the mystery of Ruby's parentage (seriously, you've done it before, Doctor, just go back and hide around the corner), the return to UNIT, and Cherry Sunday's unending search for a cup of tea.

Featuring a clever connection to the Third Doctor (time window, anyone?), the episode is a suitably energetic first half, giving the TARDIS a real sense of menace. Genesis Lynea is chilling as Harriet Arbinger (once the mask comes off) and the Vlinx is absolutely pointless, as usual.

Anita Dobson recites a disturbing, retroactively very odd, speech about making war with God. The graphics are on point, Gatwa brings effervescent joy to the part, and Millie Gibson once again manages to shine in the role. 

Janis Goblin is the true breakout star of Doctor Who, and we are extremely excited for her eventual rendition of Duga-Doo. 

That musical genius aside, The Church On Ruby Road was a very welcome return for the Christmas Special to Doctor Who. Ncuti Gatwa's first full episode as the Doctor gave us laughter, tears, and a full kaleidoscope of wardrobes to enjoy. Millie Gibson shines from the opening moments with Davina McCall (her first time on-camera in the franchise, but not the first time her voice has been heard). 

The mystery of Ruby is instantly engaging, even if the eventual reveal was underwhelming. Still, when one sets the stakes so high (there were goblins, airships, and falling snowmen!), it's hard not to be swept up into the excitement. 

This special serves as a mission statement, highlighting the upbeat energy that suits the Doctor so well, plus a companion who feels ready to hold her own. Both actors could sing (a pleasant surprise), and their duet reminded us all that sometimes - silly works just as well as serious.

The Well is the first truly frightening episode of Gatwa's era. It serves as a surprise sequel to the Tenth Doctor story Midnight, walking a fine line between adding to that mythos and creating its own new take on the monster. 

Casting Rose Ayling-Ellis was a blessing for the episode. It was only after casting her that her character was written to be deaf. This raises the threat of the monster, but also helps the audience understand the terror she's had to survive before our heroes get there. The use of BSL is another highlight, adding another nuance to the story without losing the menace.

The Well is a mixture of horror, tragedy, comedy, and action. It succeeds in building tension, then slips a little towards the climax. Visual clues are unnerving (how many people are in that airlock?) and the twist ending is genuinely frightening. 

Anita Dobson's cameo is sadly misplaced, serving mainly to ensure she's in the episode, rather than forwarding the plot in any real sense. Overall, the episode was a strong week for Varada Sethu's Belinda, giving her a chance to show her skills and courage in the horror of it all. 

DON'T MAKE ME LAUGH!

On the one hand, we could say - no problem! There was bugger-all funny about this episode. On the other hand, you won't hear us complaining. Lux was the second series' return to the Pantheon of Gods, inadvertently released by the Fourteenth Doctor and Donna Noble. This God of Light was all about showing off and swallowing people alive.

But oh my, what a marvel he was. 

The animation on Lux, and indeed on the Doctor and Belinda, was so much fun to behold, as well as unsettling to watch. Teased in the trailers for the series, it was hard to predict how and what would happen. The reveal of Lux's godly nature was a real surprise, as was the reveal that the Doctor and Belinda were living in a television show.

That fourth wall break - the break to end all, it would seem - hung on a thread. Had it failed to land, it could easily have been the corniest moment in an already corny (not an insult) show. Instead, the moment that sees the Doctor interacting with fans of the show is full of heart, Easter Eggs, and the reminder that everyone really likes Blink.

Lux was a triumph, even if that laugh did start to grate, as it was intended to do. Mrs. Flood's cameo was less egregious and more engaging, while the spotlight on '50s racism (it was set in Florida, after all) was handled with grace.

The Giggle has the honour of being the first regeneration story to really spend time with both the outgoing and incoming Doctors. While episodes like Deep Breath featured cameos, this was Ncuti Gatwa in a fully (supporting) role, switching the tone of the somewhat dour Fourteenth Doctor and blasting into an existence of joy with his scantily-clad Fifteenth.

A visual bounty, The Giggle abandons any real attempts at horror (the Toymaker's shop aside) before it plunges into zany action. While, yes, being disassembled and trapped, piece by piece, in bouncing balls is fairly horrific, it was all done to the soundtrack of the Spice Girls. Neil Patrick Harris gives it 110%, barely pausing for air.

But - all eyes were on our new incarnation. There was no moping, no confusion, no fear and alarm - the Fifteenth Doctor was here, had always been here, and Bi-generation logic aside, was accepted in a heart(s)beat. 

Does it make a lick of sense? Well, the jury is still out on that. Was it a fun, upbeat, fantastic moment in the show's history? Without a doubt. Ncuti Gatwa, wearing a shirt, his underwear, and some nice shoes, grinned his way into defeating the Toymaker, dancing with Mel, holding the Doctor, and creating a duplicate TARDIS (forgot about that? Don't worry - so did the show, seemingly!)

If Bigeneration still makes your head hurt, that's ok. You wouldn't be alone. But thanks to Ncuti's infectious grin and Murray Gold's soaring theme for his Doctor, it's very hard not to get swept up in the excitement of it all.

Love stories can be difficult to execute in Doctor Who. The audience has travelled with this person through time and space for 60 (Earth) years, so what's their criteria for love? There have been contenders (Rose and Yaz spring to mind) but stand-alone stories tend to do best. 

Consider The Girl In The Fireplace (still one of the best episodes of Doctor Who. This writer will die on this hill), Voyage Of The Damned and literally any episode featuring River Song - winning the Doctor's hearts can take a lot.

So, how does Jonathan Groff manage it in a scant forty minutes or so? Well, being Jonathan Groff certainly helps, but the overall tone and feel of Rogue (oh my Bridgerton!) sells the romance of the piece. 

Ncuti and Jonathan have a natural chemistry together. Though there were some raised eyebrows with this same-sex pairing (when aren't there raised eyebrows when it comes to Doctor Who?), nothing feels forced. The two characters simply work well together. 

There is a more-than-passing similarity to a certain Captain of the past and it feels as though Rogue was being set-up to become a new travelling companion for the Doctor. Despite his cameo in Wish World, it is now unlikely that Groff will return in the foreseeable future. Never say never though - Indira Varma returned and she was in an episode named after the fact they kept killing her. 

Stranger things have happened.

Those repeated notes that Maestro plays on the piano signalled, more directly than Space Babies before it, that the audience was entering a new era of Doctor Who. Walls were broken, music was banished, and gods chuckled once more.

The Devil's Chord lives and dies on the strength of its performers. Jinkx Monsoon soars as the god of music, hell bent on destroying all life in the universe. The Doctor and Ruby stumble into them, casually trying to listen to The Beatles recording in Abby Road (bad news for them. Maestro took the rights to that music away).

The episode contains a number of fourth wall-breaking moments, including jokes about diagetic music, cameos from composers and dancers, and an uproarious sing-along at the end. 

It's certainly one of the more stylised episodes in the latest run of the show, and contains a few plot points that remain unresolved, but The Devil's Chord offered intrigue, pathos, Susan Twist making some damn fine tea, and a peek behind the curtain at the era that birthed the franchise. 

It's also just a lot of bloody fun.

Dot And Bubble is an uncomfortable watch. 

Set in a society that is dominated by social media (sound familiar?), the episode draws the viewer into the daily humdrum of Lindy's life. She gets up, already logged on to her social hub, and narrates her seemingly idyllic existence as she goes. All is well, mind the slug, and don't forget to ignore friend requests from outside your network. 

God forbid you'd have to have an original thought.

Lindy Pepper-Bean has a distinction in the pantheon of Doctor Who characters. She's one of the most universally loathed characters in history - all of which stems from the final act of the story (though the clues were there throughout). Betraying Ricky, directly causing his death, and exposing her racism - all within moments of each other - delivers a vicious gut-punch to the audience, one so used to seeing the Doctor win, or at least lose like a hero.

Here, the Doctor is powerless, confronted by the ignorance and stupidity of racial prejudice. Knowing that the reveal was one of Ncuti's first scenes filmed only serves to highlight how incredible he is in this scene.

This episode is not an easy rewatch but that is the point. 

Steven Moffat's return to Doctor Who gave us Boom, the tight-paced, tense third episode in series one. The Doctor is stuck with his foot on a landmine, there's almost nothing that Ruby can do about it, and doesn't that soldier look a little familiar? Oh, wait, spoilers.

The episode does what Doctor Who is best known for - it makes you think, it holds you until the closing credits, and it drips enough mystery to keep you guessing. It does set up one of the most bonkers lines of the show to date (ambulance, anyone?) but also reintroduces Villengard, an organisation that Moffat invented back in The Empty Child and The Doctor Dances.

Millie Gibson is given plenty to do as she tries to save the Doctor, those soldiers face horrific fates (who hurt you, Steven?), and the climax delivers. Boom is an all-timer for the franchise, as well as a shiny moment in Moffat's impressive C.V.

Jonah Hauer-King looks like the perfect 'good guy.' He has those disarming looks, his smile could melt butter, and Lucky Day seems poised to introduce Conrad Clarke as a recurring love interest for Ruby Sunday.

The reveal that Conrad is a grifter who excels at spreading lies, hate, and fear is executed perfectly. The audience felt for this character, believed him when he said all of the right things to Ruby. So when he comes out as a pathetic person using pain to push their own agenda, we are as shocked as she is. Having spent a season learning to love Ruby, watching her being attacked by this man is foul.

Of course, if it weren't and if none of the shock factor landed, then Lucky Day would have been a bit of a 'message over matter' episode. Peter McTighe used the brief - explore toxic, online hatred and lies - to create a narrative in the modern world. When so much online discourse seemed intent on breaking people down, characters like Conrad seem like the Hydra - chop off one head, two grow in its place.

Lucky Day gives us some truly great moments with Kate Lethbridge-Stewart, some affecting moments with Ruby Sunday, but also gives us the first really Doctor-esque speech from Ncuti's incarnation. Though this version of the Doctor is from a little earlier in the timeline (it is Conrad who informs him about Belinda in the first place), their shared scene in the TARDIS is a stark, grim classic. 

The standard Mrs. Flood cameo does little to dull the toxic shine on Lucky Day. Though Conrad may not have lived up to the promise of this episode when he returned, this was a true Doctor Who villain, armed with a keyboard instead of a gun.

Except for the part where he also had a gun.

It's all about Millie Gibson here and she shines. 73 Yards was the first Doctor-lite episode in this run and, though Ncuti is very much missed, he also isn't - thanks entirely to Gibson's performance here. 

73 Yards is an episode that promises, delivers, and teases quite a lot. Losing the Doctor the way that she does, gaining the mysterious woman, joining (and leaving) the ranks of UNIT - it's a lot, and Ruby careens through it all with a maturity that Gibson nails in every scene.

While the fake-out in the pub is a good slice of comedy, thankfully, the rest of the episode leans into the horror of her situation. Everyone who encounters the woman looks at Ruby with dread, including her own mother. Though she does, of course, use this to her advantage in the future (take THAT, Roger ap Gwilliam), there are so many uncomfortable scenes that one can't help but feel Ruby's struggle through the years.

Though there is a reset button at the end, 73 Yards is a key episode in this new era of Doctor Who. When everything is done correctly, as it is here, Doctor Who can still deliver the finest storytelling this side of the BBC. 

And, speaking of storytelling...

Inua Ellams was a godsend for Doctor Who, and his script for The Story And The Engine is easily the best episode of Ncuti Gatwa's tenure. Everything works. Ncuti is brilliant, Varada is brilliant, the guest cast is superb, and that cameo appearance just felt perfect.

Doctor Who has brought us stories for sixty years and counting and while they may not have arrived every week, they have been as constant and as powerful as anything in popular culture. An episode exploring the power of stories feels so on brand for the franchise, yet finding one that marries that aspect with an exploration of the Doctor's culture, specifically the culture brought to the role by Ncuti Gatwa, will always be one of the truly shining moments in the franchise's history.

History lessons, folklore, comedy, and pain all combine to make the most engaging episode in Ncuti's sophomore year. Would that every episode could stay at this calibre, and there would never be a dud note again.