Doctor Who: Gallifrey Public Radio

Gwen learns of another disturbing aspect of dealing with the Rift, and we all take a blow from Chris Chibnall's ability to write emotionally charged scenes.

No one stopped us the last time, so we're at it again; mixing drinks to pay tribute to our favorite adversaries of the Doctor.

At long last, our enjoyment of the Fourth Doctor era in our rewatch of "classic" Doctor Who stories comes to a close with the final story of the 18th season.

We spin up some oldey-timey footage of circus sideshows and try and determine exactly who the 'Night Travellers' were, why they were doing whatever nefarious things they did in a century ago, and how they were captured in celluloid in the first place.

If you had just one shot (daresay, one opportunity) to catch the attention of a new viewer with a single episode of Doctor Who based only on their preferred TV genre...could you name it?

With more affection for Anthony Ainley than we can reasonably 'master', we collectively praise a well-told and well-executed long-game villain payoff.

Phil Ford is back in the writing credits for one of the strongest humor-horror-high-anxiety stories of the second Torchwood season, but we have a difficult time discerning which categorization best fits.

If our titular Time Lord were winging around the Universe in a capsule or pod craft of some sort, we'd expect scenes on board to take place in one of only a handful of spaces. But the singular premise behind the Type-40 TARDIS is that it is -- say it with us, now -- bigger on the inside. What else is kicking around in there? With a virtually limitless interior space, you'd think we'd see a lot more of the extraneous TARDIS rooms on the program by now. So what might we find? From the functional to the fantastic, we pitch ideas for what other rooms may lie just behind the next door down the hall. There's some concern over questionable use of anti-gravity rooms, some theorizing about breakfast nooks (more for the companions than the Doctor), and a really unusual riff about pocketed knick-knacks and arcade claw machines.

An immensely detailed storyline is condensed into four episodes that confuse us as much as entertain...and in a few of our opinions, more so.

It's the second season story where not-dead Owen is a horrible grief counselor, Martha leaves, and we all agree that one can effectively leave it at that.

We address the current rumor -- and at present, nothing more than one -- about Jodie Whittaker's tenure on the program.

After ten months of waiting, we dip back into the daily doings of the three isolated companions to see how they've fared with their ten months away from the Doctor. We have an answer to the frenetic final moments of Series 12, and all four of us are quite satisfied with the outcome, albeit very, very bittersweet.

Staying in bright holiday spirits, we are visited by a ghost...or rather, The Ghost, the focal point of the Twelfth Doctor's third holiday special (depending on how you count them).

After a bit of friction between writer and script editor on the balance between gothic imagery and science, the story divides our team on what we find interesting, entertaining, or worth the time investment.

Haley's back in the studio at long last, and we didn't even have to use a resurrection glove to make it happen. Hitting the midpoint in Season 2 of Torchwood, we see a recurrence of an episode trait that affected a large swath of the first season: story elements that are enjoyable, but feel underdeveloped.