“Joy to the World,” the latest Doctor Who Christmas special, landed with a thud rather than a festive bang. While Ncuti Gatwa’s Fifteenth Doctor continues to charm, the episode itself is a frustrating mishmash of Moffat-esque tropes and baffling plot contrivances.
The story revolves around Joy, a troubled young woman played by Nicola Coughlan, who stumbles upon the Time Hotel – a seemingly innocuous establishment with rooms that act as portals to different eras. The Doctor, for reasons never fully explained, is also there, and the two team up to thwart a villainous corporation with a convoluted plan involving a psychic briefcase, a baby star, and the destruction of all human history.
The premise, while initially intriguing, quickly unravels into a series of nonsensical events. Why does the hotel manager personally deliver towels to each guest? Why is Joy randomly carrying a hairdryer in her briefcase? These contrived scenarios feel like desperate attempts to force the plot forward, leaving the viewer scratching their head rather than gripped by the narrative.
The special’s “time hotel,” where guests can visit different points in history, is indeed an intriguing concept, but it’s left frustratingly unexplored. The Doctor confronting this exploitative nature of “time tourism” would’ve been more interesting than the actual antagonist. Connecting the time hotel to the mysterious locked doors randomly found in hotel rooms is classic Moffat cleverness that imbues the mundane with the mythic, but ultimately, the place never advances past a plot device—and neither does Joy.
Furthermore, the episode’s heavy-handed inclusion of a trans character feels shoehorned in, sacrificing organic storytelling for the sake of ticking a diversity box. While representation is important, it shouldn’t come at the expense of coherent narrative and believable character development.
The resolution of the central conflict is equally perplexing. The impending explosion that threatens to wipe out humanity is abruptly and inexplicably cancelled, leaving a gaping hole in the narrative logic. This deus ex machina moment feels like a lazy cop-out, robbing the story of any real stakes or tension.
And then there’s the blatant allusion to the Star of Bethlehem. While a nod to the Christmas story might seem fitting for a festive special, it feels forced and unnecessary within the context of Doctor Who. The show has always excelled at blending science fiction with social commentary, but this overt religious symbolism feels out of place and detracts from the episode’s overall impact.
One of the episode’s most glaring flaws is its uneven pacing. The Doctor’s year-long friendship with Anita, the hotel manager, is a highlight, showcasing Gatwa’s ability to portray nuanced relationships. However, the sudden shift to a melodramatic goodbye, complete with romantic implications, feels jarring and unearned. This abrupt tonal shift undermines the quiet bittersweetness that could have made the scene truly resonate.
Similarly, Joy’s emotional outburst, while well-acted by Coughlan, feels forced. The script attempts to inject gravitas by referencing real-world tragedies like the pandemic and Partygate, but these references feel heavy-handed and shoehorned in. The episode fails to adequately build the emotional foundation necessary for such a raw and vulnerable moment, leaving the viewer feeling emotionally manipulated rather than genuinely moved.
The resolution of Joy’s personal storyline is equally problematic. The sudden and unexplained recovery of her mother in the hospital feels tonally dissonant. This plot thread, initially presented as a poignant reflection on grief and loss, is abruptly transformed into a saccharine display of sci-fi magic. While the intention may have been to offer a sense of hope and catharsis, the execution feels clumsy and undermines the episode’s earlier attempts at emotional realism.
Sadly, “Joy to the World” is not an isolated incident. It represents a continuing decline in the quality of Doctor Who’s writing since the departure of Peter Capaldi. While Jodie Whittaker’s era suffered from muddled storylines and preachy dialogue, this latest episode demonstrates that the issues persist even with a new Doctor and showrunner.
It’s important to emphasize that this criticism is not directed at the actors. Gatwa is undeniably charismatic as the Doctor, and Coughlan delivers a solid performance despite the limitations of the script. The problem lies squarely with the writing itself, which lacks the wit, imagination, and emotional depth that once defined Doctor Who.
This decline is particularly disheartening when considering the show’s legacy. Doctor Who has always been a beacon of creativity and intelligence, captivating audiences with its blend of science fiction, adventure, and social commentary. However, recent episodes have traded this legacy for convoluted plots, forced diversity, and a decline in overall writing quality.
“Joy to the World” is a missed opportunity. It had the potential to be a fun and festive adventure, but instead, it’s a reminder of how far Doctor Who has fallen. Hopefully, future episodes will learn from this misstep and recapture the magic that once made the show so beloved. Check out our review of Spyfall for another example of Doctor Who’s recent struggles.