Empire of Death has weird pacing, a rushed ending for its conflict, and tries to pretend unrelated moments from the season actually reincorporate into the plot. But I didn’t hate watching it. Little sci-fi and fantasy ideas sprinkled throughout are interesting—and I’m glad that the episode finally explains Susan Triad.
“The Legend of Ruby Sunday” is the first part of a two-parter. We spend a lot of time being given mysteries, and then most of them are resolved at the end of the episode, or in the next one titled “The Empire of Death.” It’s not a stand-alone adventure by any stretch.
“Breaking Ground” is another exposition episode, mainly serving to establish a few more pieces of information about the “Protocol” that we’ve heard so much about. This doesn’t make it a bad episode—or even a mediocre one—just that it doesn’t have much in the way of a self-contained story. It doesn’t have the time to build to much tension.
“Rogue” is a fun enough episode that could’ve been better with more time. Or, ideally, being split into a few different episodes. The pacing, storytelling, and character motivations suffer because we need to have four separate stories interlocking with each other.
“Dot and Bubble” is maybe my favorite episode of the new season so far. Yes, it does rely on a tired critique of people overusing cell phones for its whole premise to work, I won’t deny that—but, if you can accept that slightly cringey idea, this is one of the most poignant, emotionally devastating, and interesting episodes we’ve gotten since “Wild Blue Yonder.”
“73 Yards” is a confusing episode. I’ll admit that immediately. I did not fully understand the plot of it. The inclusion of supernatural elements might have something to do with that, but the conclusion and middle section left me uncertain of even the magic’s rules.
“Boom” is an episode that is clearly trying to be as morbid and macabre as possible. The story’s insistence on bleak moments, casual character death, and tragedy is so frequent it’s almost overplayed. I can’t believe I’m calling for the horror to be toned down—but here we are.
“The Devil’s Chord” is too short of an episode. I mean this as a compliment—and a criticism of everything added to the episode that limits chances to tell more of this story. This should’ve been a two-parter. It needed to be a two-parter. It could’ve been a top-ten, all-time episode if only it had been a two-parter.
“Social Stigma” is a great episode that not only entertains by itself but redeems the previous episode “Hard Reset.” I like to think of them as a two-parter now. We get a ton of buildup to that strange Isaac Newton stuff, and then a payoff with an extended conversation.
“Space Babies” doesn’t seem like an episode to start a season with. Doctor Who is no stranger to weirdness, not by a long shot—but this episode is not only weird, it’s also goofy.
“Hard Reset” is a weird, kind-of-bad episode. It’s obvious that it has great plot importance, and the few snippets of context we do get for “The Protocol” are interesting—but for the majority of the listening experience, it’s more befuddling than enjoyable.
“Solo Work” is a fantastic episode. The horror is weird and cosmic. The character work is great, and we get a lot of it—and there’s a cameo that made the ending all the better.
