I've had these sitting around as drafts for a while, but with no stomach to allow the serials the usual final re-visit to check if I've changed my mind, thought I'd just post them as is. Ghost Light is one of the only stories I've only ever seen once. It is the only story I know I will only ever see once.

4 • Ghost Light

God in heaven. Quite what on Earth the people responsible for this disgraceful, shambolic serial were thinking is utterly beyond me, and I suspect it was beyond them too. Along with Chris Chibnall's "Once, Upon Time", Ghost Light is one of the most willfully obscure stories Doctor Who has ever put on screen, but it lacks the one thing that episode has: a purpose. The scripts are hatefully smug, and produce far too many boring characters and insane plot points: Sophie Aldred comes off best, while in this season McCoy has jetissoned all sense of fun and in trying to look serious, just gurns horribly. It isn't scary, or rather, it's scary in the same way as an episode of Most Haunted: the already-converted may gape and gawp at pathetic close-ups on taxidermy birds, but the total idiocy of what's on screen means there's a vacuum of drama and tension. There's not a single reason to watch this self-serving drivel, which either forgets or ignores that as TV it has a duty to entertain the viewers, not just the whims of the script editor. I believe it's the only Doctor Who story with truly nothing to recommend it. It's so offensive that "bad" is too generous. I've had to come up with a new word for it: anti-good. (E-)

3 • Battlefield

Battlefield is bad, but it's a masterclass in coherent storytelling compared to that. It is all over the place though. Much of it is awful—my personal highlight is Mordred taking off his mask and then looking surprised to see Ancelyn, implying he can't see with it on. The story has mixed fortunes: not one but two Brigadiers, Jean Marsh, and the Arthurian myth are all in the pros section. I love Arthur. But the execution of it all leaves everything to be desired (Ace is rubbish, and barely has a line in episode 2), and when Mordred grins "the battle's not over yet!" it seems like an exercise in taunting the audience. McCoy, through no fault of his own, makes for an embarrassing spectacle when shouting and snarling at people. But despite all its shortcomings (the alleged "Destroyer" does precisely nothing except stand around looking stupid) Battlefield might just about pass muster on spectacle alone. Could be worse. Should be better. (D+)

2 • The Curse of Fenric

This one is another story that just doesn't quite do it for me, although it's certainly an improvement. It has a lot going for it. Runes, Haemovores, the Second World War. The serial's biggest success is the changing relationship between the Doctor and Ace—McCoy still struggles with some of the material, but he and Ace share all the best scenes. Maybe my gripe here is that the story is too self-consciously serious and epic. Rather than given time to build tension, the first mention of a Viking curse is weighed down with gloomy music. The fact that the scripts believe themselves to be so clever prevents me from finding any of these episodes particularly enjoyable. Despite shortcomings—the apocalyptic rain is a sprinkler barely hidden off-screen, and the Haemovores' ghostly nails are a very, very poor iteration of the terrifying children from Lost Hearts—The Curse of Fenric is well-made and stylish, with some good design and fluid camera movements. But there's barely a light moment in it, and after an hour or so, the relentless gloom begins to take its toll. (C+)

1 • Survival

An ironic end to the classic series is a bit of a case of what could have been. Yes, in terms of if the show had kept going. But more so to me in terms of how good this final season could have been had it focussed more on telling simple(ish) stories well, and less on the unconvincing "darker Doctor". Rona Munro, a brilliant Doctor Who writer, chooses her theme and attacks it a variety of angles. Part 1 is some of the best dialogue this side of Robert Holmes. Survival benefits from a clear story and some really memorable visuals, as well as some terrific design (the Cheetah People look fantastic)—parts of episode 2 lose me a little with the scenes on their planet, but generally there's no letting up in the pace. Throw in Anthony Ainley's best performance and you've got yourself a deal. If I don't find it as emotional as someone more enamoured with this era of Who, it's nonetheless a rather lovely end. (B)