To mark the tenth anniversary of Doctor Who's return in 2005, Doctor Who TV are polling readers what they believe the best episode of the last 10 years has been. Of course, it should be expected that 2007's Blink will win, because it always does - it's practically a law at this point as it's only once not won (during Doctor Who Magazine's Mighty 50 poll, where it came second to Day of the Doctor) - and because of this, I feel like it's good timing to list episodes which I believe to be the best of the revival. However, rather than rank them in order of 10, I'm instead going to focus on 1/2 episodes per series, to allow every year of the show to have some love instead of 2007 vs Day of the Doctor. The 2009 specials will be counted as their own little run, but the 2012 episodes will be relegated to being a part of Series 7. So starting all the way back in 2005 with...
I'm not going to go into much detail into what I love so much about this episode because you can find out for yourselves in April, but it is an episode which I can watch repeatedly. The dialogue, the direction, and of course Christopher Eccelston's stellar performance. As arguably one of the best Doctors in the show's 52-year run, you can't help but love how he reacts to the "last" Dalek in existence. The clip above proves that.
It has one of the most gripping cliffhangers of the revival years; a menace hidden throughout the first half (leaving plenty of room for satire which remains relevant even if the shows portrayed aren't) and then showing them in full force in the second; an emotional goodbye not only between Rose and the Doctor but also for the Doctor himself. Again, I'll touch upon the story in more detail in June, but it's just amazing.
2006 is filled with good stories, with more than enough love given toGirl in the Fireplaceand School Reunionamongst others, but Tooth and Claw is never one mentioned - somewhat questionably. Whilst it is notable that it allowed newbie David Tennant to use his regular Scottish accent, it also brought about a chilling Werewolf complete with spooky transformation who in turn was scary for child audiences. The effects have dated fairly well, which is also a bonus for these older episodes, and both the music and the cinematography really add to the horror feel of it all. The running gag about Queen Victoria may be a little cringey at times, but it leads to a satisfying conclusion. Plus, monks doing some form of karate. Amazing.
Doctor Who rarely goes onto the topic of religion. Sure, it borrows elements for the likes of Planet of the Spiders and Kinda, but never in the depth that the newer series has browsed through, and none is more notable than this two-parter involving Lucifer himself. Using possessed minions which put you off your bolognese alongside a archaeologist/virgin covered in ancient markings, it comes across as a legitimate threat. You also have a crew with notable character traits and a death scene which stays in your mind. The Doctor is left speechless by what he sees, and Rose (Billie Piper) is given quite a bit to do before she bites the bucket later on in the series. It's a character episode which just so happens to have a great villain involved.
Gridlock
A common line during the Eleventh Doctor era is "Rule 1: The Doctor Lies". There's no episode more evident of that than Gridlock, where the Doctor lies to Martha (Freema Agyeman) about Gallifrey's existence. He has a guilty conscience because of it, and when she's inevitably kidnapped he goes out of his way to rescue her, which in turn causes him to rescue the thousands of people on the Motorway from the Macra - giant crabs not seen since 1967's The Macra Terror - and a final run-in with the Face of Boe in a touching conclusion to the New Earth trilogy. It may be somewhat simpler to what I place it above in a crowded 2007 line-up, but it's because it's the underdog and has little credit that I love it so much - giving it too much praise will push it down because of how grating it is to see it everywhere (*cough* Blink *cough*)
Human Nature/The Family of Blood
Based on the New Adventures book by Paul Cornell (not very often that happens in the show itself), having your lead actor play a completely different character in his character's form is something very few shows can do right, let alone have it with strong reasoning. Again, this is a character piece; not only for Martha Jones, who's grown so much since her introduction in Smith and Jones, but also oddly enough for the Doctor - it's a story which resonated on him until the very end of this incarnation's life. But the most noteworthy thing is the fact that, in the end, the Doctor is portrayed as something of a bad guy. I mean, that line "He was being kind" just shows how ruthless our hero can be, and it's something he doesn't want to be. His punishments to the Family are both creative and devastating.
Midnight
Now this is how you do a scary episode, structured just the way it needs to be for the scares to be genuine. It's easily separated into three segments: the first introduces us to each member of the tourist crew as they travel to the Sapphire Waterfalls; the second brings about the threat (a monster living on an inhabitable planet which is never seen by the audience) as it begins to scare the crew; the third bringing in the scares itself in horrifying fashion. The dark lighting elevates the mood, the performances, especially by Lesley Sharp, are excellent, and the final note is something that stays with you long after the credits roll. It's an episode which I just love.
Turn Left
From companion-lite to Doctor-lite, this Catherine Tate-led vehicle ticks the classic "What-If" storyline off the list in a great way as it brings all the spin-offs and present day storylines together into an alternative timeline. It's rare that we see the other side of the grand storylines seen in any medium (perhaps that's why Agents of S.H.I.E.L.D exists, seeing as it reacts to the main Marvel movies), but here it gets grim. Millions of Americans turned into fat, the entire south east of England under quarantine due to the Titanic crashing...all leading to a final hint to what happens in the grand finale. As a prologue to what's to come and finally ending a story arc about Rose Tyler's return, it's done spectacularly well.
The Waters of Mars
One of the most common criticisms of the Russell T Davies era is that the "Last of the Time Lords" motif was mentioned far too many times - it was refreshing during the Matt Smith era that he mentioned it so few times - but this special feels like a culmination of that arc, rather fittingly too considering he's facing a fixed point in time. There's not much to say that hasn't already been said except that this is a great episode, and the best of the 2009 Specials.
The End of Time
David Tennant's swansong was a big 'un, as he had grown to being considered the greatest Doctor since Tom Baker and his announcement shocked the nation. And what a way to go, as Tennant pulls out all the stops in one of his finest performances - most notably in his duologue with Wilfred (Bernard Cribbins) - whilst balancing a great story and script. The final goodbyes to companions past may drag on a little, but a Masterful plot and a Time Lord return here and there helps bring forward a grand end of an era: not just for Tennant but for the majority of the production team.
Amy's Choice
There are a lot of great episodes in Series 5, so it's interesting that one of the best comes from newbie writer Simon Nye, bringing across the classic "It was all a dream!" storyline in dramatic fashion. Sure, the final twist is a little overbearing, and the actual nature of the Dream Lord (psychic pollen) is a bit of a cop-out, but the journey towards it is certainly great viewing. It also helps that Toby Jones gives off a mesmerising performance as the manipulative Dream Lord, and never fails in entertaining audiences. Please come back Nye!
Vincent and the Doctor
Another episode by a newbie writer (king of rom-com Richard Curtis of all people), Vincent and the Doctor isn't really an episode of Doctor Who. Sure, it features all the right elements - Doctor, TARDIS, time travel, sonic screwdriver and aliens - but it's all about the drama, covering the backlash van Gogh faced when he was alive as he balanced town hatred and his mental illness. The plot flies by, leaving viewers with a teary conclusion as he realises his worth - even if it makes no change to how his life went about.
The Doctor's Wife
Ahhh, The Doctor's Wife - an episode which caused a backlash from classic fans but adoration from new fans for its portrayal of the TARDIS, a crucial element of the show that's rarely explored. Neil Gaiman's first foray into the show is an ambitious one which somehow works, working in turn as a homage to classic stories with its reused corridors and sets and as a character piece for the relationship which carries the entire show - the man and his box. It helps that Surranne Jones and Matt Smith have excellent chemistry, and that Michael Sheen's vocals bring a chilling feel to the air. They even manage to squeeze an Ood into it.
The God Complex
Another forgotten gem, this episode returns to elements previously used in The Curse of Fenric and expands upon them in a story about faith. Not necessarily in terms of religion, but in anything - conspiracy theories, Allah, friends, and so on. It's all done so well, and it's a great pity that so few people comprehend it. It's the best conclusion to Amy and Rory's (Karen Gillan and Arthur Darvill respectively) storyline offered, and more love needs to be given to it.
The Name of the Doctor
It's a bit weird I haven't noted any of Steven Moffat's own stories yet - perhaps just a by-product of him dominating all the polls - but for Series 7 he does take the stage with Name, a lovely prequel to the highly anticipated 50th anniversary special. Whilst the rest of the series was average at best, this was a sweet little ending knowing just when to have the right amount of emotion (the Doctor's reaction to Trenzalore) or humour (Strax (Dan Starkey) before he started to get annoying). It gives a satisfying ending to Clara Oswald's (Jenna Coleman) story arc, and helps lead right in to...
The Day of the Doctor
Well how could I not?! It's an epic celebration of the last 50 years, even if it has a little too much focus on the last 10. Witty dialogue, great chemistry between Doctors, and a conclusion to die for. I can't really expand on what everyone else says on it!
The only episode of Series 8 I feel comfortable placing on this list, Flatline was something which felt original in a run of mediocracy. The main reason for this was because the dynamic of the monsters - titled the Boneless - was just so fresh, having been an idea done badly in 2006's Fear Her. It has a good balance of humour and seriousness, and doesn't play it safe. If it altered the Doctor practically saving the day into something more worthwhile (and get rid of Missy entirely), than this sole Peter Capaldi placement would be more regarded.
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