Of the specials filling the gap where a full series ought to be, this is the lightest by a distance — a bright, sunny romp with a heist, a double-decker bus and a lot of sand. For about fifty minutes “Planet of the Dead” is content to be a good-natured adventure with no particular weight to it. And then, in its final ninety seconds, it says something that turned my stomach over.
The Number 200 to Nowhere
We open on a heist, and it’s the best-staged sequence in the special: Lady Christina de Souza, aristocrat and professional cat burglar, abseiling through a museum to lift a golden chalice while alarms scream. She makes her escape by leaping onto the number 200 bus, which is exactly the sort of ridiculous swagger the episode is going for.
The Doctor is already aboard, tracking an energy reading. The bus goes through a tunnel, hits a wormhole, and comes out the other side on San Helios — a desert world under three suns, with London and its bewildered passengers several galaxies behind them.
The bus passengers make a decent little ensemble for the runtime they’re given — a young couple bickering, an office worker mainly concerned about whether she’ll be back in time for her shift, and Carmen and Lou, a quiet older pair who turn out to matter a great deal more than anybody expects. It’s a familiar trick by now, the ordinary British public dropped somewhere impossible and responding mostly with mild irritation, and it still works.
Michelle Ryan is good fun as Christina: unflappable, arrogant, extremely competent, and entirely uninterested in apologising for any of it. She and the Doctor spark off each other immediately, and the episode is smart enough to let her be genuinely useful rather than just decorative. She’s the one who gets the crystal, does the climbing, and keeps her nerve.
There’s a running argument between the two of them that’s rather more interesting than the plot surrounding it. Christina steals things because she’s bored and rich and extremely good at it; the Doctor disapproves loudly and then spends the rest of the hour doing very much the same sort of thing for better-sounding reasons. She calls him on it, too. They’re both adrenaline addicts who dress the habit up in principle, and she’s the only one of the pair honest enough to say which she is.
A Planet Eaten
The mystery of San Helios is a decent one. This isn’t a desert planet — it’s a planet that has been made into a desert. A year ago there were a hundred billion people living in cities here, and the sand blowing across the dunes is what’s left of them.
The culprits are a swarm of metallic stingray creatures that strip a world down to grit and then tear open a wormhole to the next one. It’s a simple, effective threat with a nasty implication: they’re not invading, they’re grazing, and Earth is next on the route. The swarm effects have dated a little, but the image of a spiralling cyclone of them rising off the dunes still works.
There’s also a pair of crashed Tritovores — fly-headed scavengers whose ship provides the necessary technology — who exist mostly to be exposition and then die, which is a slight waste of a good design.
Back on Earth, UNIT are holding the wormhole, and Malcolm Taylor is a joy: a bouncing, hero-worshipping Welsh scientist who has named a unit of measurement after himself and nearly weeps when the Doctor says his name. After the prickly, wary UNIT of The Sontaran Stratagem, it’s a nice reminder that the organisation contains people as well as guns.
The Woman He Wouldn’t Take
The bit that matters comes at the end, and it isn’t the monster.
The Doctor gets the bus flying, brings everyone home, and UNIT slams the wormhole shut on the swarm. Job done. And Christina — clever, brave, resourceful, exactly the sort of person who ends up in that blue box — asks to come with him.
He says no.
Not a gentle no, not a “maybe one day.” A flat refusal, and the reason is the whole point of this stretch of the show: he’s lost too many people. Ever since he wiped Donna Noble’s mind and left her on a doorstep at the end of Journey’s End, he has been travelling alone on purpose, and he is not going to risk doing that to somebody else. It’s the same wound that ran through The Next Doctor at Christmas, and he’s no closer to dealing with it.
The trouble is that this Doctor without a companion is a slightly worse person, and the special knows it. Nobody argues with him. Nobody grounds him. He’s charming and effective and just a bit too pleased with himself, and there’s no Donna in the passenger seat to tell him to shut up. Letting Christina fly off in a stolen bus rather than taking her aboard is played as a bittersweet grace note, but it reads more like a man declining to be looked after.
Four Knocks
And then Carmen.
She’s one of the bus passengers — a quiet woman with a small psychic gift, played with beautiful understatement — and as the Doctor turns to leave she stops him and tells him what she can see.
Your song is ending, sir.
That’s the third time. A dying soothsayer in the ruins of The Fires of Pompeii, then Ood Sigma on a snowy hillside in Planet of the Ood, and now a woman on a London bus. Three separate sources, across thousands of years and several galaxies, all telling the same man the same thing.
But Carmen goes further than the others. It is returning, she says. It is returning through the dark. And then he will knock four times.
Four times. A number. After two years of vague, unsettling poetry, the prophecy has suddenly acquired a detail, and it’s the specificity that makes it awful. The Doctor’s face when she says it is the best acting in the special — not fear exactly, but the look of a man who has just been handed a date.
And unlike the previous two warnings, there’s no cosmic distance to hide behind this time. This isn’t an oracle choking in a burning city, or an alien elder standing on a snowfield at the far end of history. It’s a slightly psychic woman off the number 200, standing in an ordinary London street in broad daylight, telling him something she plainly doesn’t understand herself and cannot take back.
What Planet of the Dead Leaves Us With
Slight, sunny, and carrying one enormous payload. Here’s what it plants:
- A proper heist opening. Christina abseiling through a museum is the most stylish thing in the special, and it sets a tone the rest can’t quite maintain.
- A world eaten down to sand. A hundred billion people blowing across the dunes is a genuinely grim image for an Easter special.
- A Doctor who won’t be accompanied. He turns down an ideal companion because he’s frightened of what happens to them, and the episode quietly shows how much worse that makes him.
- Malcolm. An absolute delight, and a warmer face for UNIT than we’ve had in a while.
- Four knocks. The third warning, and the first with a number attached. Whatever’s coming for him now has a shape.
Rating: 3/5 — Amiable, well-paced and entirely disposable, with a plot that never quite justifies its own scale and a supporting alien race who exist to be killed. Worth it for the heist, Malcolm, and a final scene that hangs over everything after it.
A stolen chalice, a bus full of commuters on an alien world, and a woman who told a lonely man exactly how many knocks it takes. He laughed it off. He didn’t mean it.