No monster. No effects budget. One room, ten people, and about forty minutes. “Midnight” is the cheapest episode Doctor Who has made in years and it is, without much competition, the most frightening thing the revived series has produced. It is also the nastiest thing it has ever said about human beings, and it says it without raising its voice once.
The planet Midnight is a diamond world drenched in Xtonic radiation, sunlight so hostile that nothing can live on the surface and anything caught in it is destroyed instantly, so the colony survives in sealed leisure palaces under glass. Donna, sensibly, stays by the pool. The Doctor, being the Doctor, books himself onto a four-hour shuttle bus excursion to look at a waterfall. His fellow passengers are a beautifully ordinary bunch: an academic and his weary assistant, a bickering family with a sullen teenage son, a hostess doing her job, and a woman travelling alone after a bad break-up. There’s a moment early on where the entertainment system fails and everyone has to speak to each other, and it’s played as a small social catastrophe. It’s funny, precise, and it does all the character work the rest of the episode will need. Then the shuttle stops in the middle of nowhere, and something knocks on the outside of the hull.
Knock knock
What follows is a masterclass in escalating dread built entirely out of dialogue. Something gets in, it takes Sky Silvestry, the woman travelling alone, and its first symptom is the simplest and most unnerving idea in the episode: she starts repeating what people say. Not after them, but with them, exactly in time, matching every word the instant it’s spoken. Lesley Sharp’s performance is extraordinary and the technical feat of it alone is startling. The reaction of the room is what really sells it, though. The other passengers don’t scream, they get embarrassed. They tell her to stop it, they talk over her more loudly, they try to make it into a joke, and none of it works, and gradually the cabin falls silent as everyone present arrives at the same conclusion: whatever this is, it is not a woman having a breakdown.
Then it escalates in stages, each worse than the last. She stops repeating everyone and repeats only the Doctor. Then she starts speaking in unison with him. Then she starts arriving a fraction of a second early, anticipating him, getting there first, and then, in the moment that genuinely chilled me, she simply takes his voice altogether, leaving him paralysed and mute while she speaks his words back at the room in his rhythm and his phrasing. That’s the cleverest thing about it. The entity is never seen, never named, never explained, and it has no design and no motive we ever learn. What it has is the Doctor’s greatest asset, his ability to talk, and it takes that away from him and uses it against him.
The mob
And here is where “Midnight” stops being a monster story. The passengers are frightened, trapped and out of their depth, and they turn. Not instantly, which is what makes it work. It happens in reasonable-sounding increments: someone suggests the possessed woman should be thrown out of the airlock, someone else objects, someone points out the Doctor is the only stranger here, the one with no name, the one who’s been enjoying this a bit too much, and within minutes a busload of perfectly normal people have talked themselves into murdering a man they’d been sharing biscuits with an hour earlier. They get as far as physically dragging him toward the door.
It’s genuinely horrible to watch, because nobody in that cabin is a villain. They’re a professor protecting his reputation, a mother protecting her son, a man who wants somebody to blame. Every step is understandable and the destination is a lynching. This show has done a lot of monsters, and this is the first time it’s done a mob instead, and it’s far worse than any of them. The specificity is what makes it land, too. Nobody proposes murder outright. They propose getting rid of it. Then they propose taking a vote on it. Then somebody explains that the rules are simply different out here, so far from anywhere. And then they’re holding his arms. The sullen teenager is the only person who keeps objecting and the only person nobody listens to, while the professor, an educated and decent man, supplies the reasoning. That’s the real horror of the sequence: not that these people turn into monsters, but that every one of them remains entirely, recognisably themselves the whole way through it.
The Doctor’s usual armoury is useless here, which is the point. In Forest of the Dead he faced down a swarm that could kill him instantly and won purely by being confident and well documented. Here the same confidence is precisely what condemns him, because he’s clever, he’s foreign, he won’t say his name, and he keeps telling frightened people what to do. Everything that usually saves him is the evidence against him.
The hostess
The resolution belongs to the one person nobody has looked at all episode. The hostess, no name, barely any lines, a woman doing a job, is the only passenger who works out what has actually happened: that the thing is still in Sky, and that it has been playing them. So she grabs hold of her and throws them both out of the airlock into the Xtonic sunlight, and is gone in a flash of light. She saves everyone on that bus, and the episode’s last cruelty is that nobody knows who she was. The Doctor asks. Nobody can tell him. She’s simply the hostess, and now she isn’t anything. The final scene, with a subdued Doctor rejoining Donna and not wanting to talk about it, is one of the quietest endings the show has done, because he doesn’t win this one. He survives it, and only because a stranger died for him.
There’s a small, very effective frame around the whole thing as well. Donna spends the episode by a swimming pool being eminently sensible, and when the Doctor finally comes back she takes one look at him, works out that something is badly wrong, and doesn’t push him about it. After a season of the pair of them cheerfully talking over one another since Partners in Crime, her simply sitting there with him in silence says a great deal about how far they’ve come.
The monster itself goes unexplained start to finish, same as the thing in the pit in The Satan Pit, except this time there’s no mythology to hang it on at all, which is worse. That restraint is the whole trick: this show almost always shows you the creature, and here it simply refuses.
Rating: 5/5. Faultless. A bottle episode that turns its own limitations into its greatest strength, with a career-best guest performance and an idea about people that’s far scarier than anything with tentacles. Something knocked on a door where nothing can live, learned to speak, and took the cleverest man in the universe apart using nothing but his own words, and a woman with no name saved everybody. I’m not sure I want to watch it again. I’m certain it’s brilliant.