There is a lot of focus put upon a Doctor’s first story but their second is often underestimated when, in my mind, it’s just as important. An introduction story has to put all the cogs in place for the show to run, so the second story usually functions as a run-of-the-mill adventure so the audience can get an idea of what the incoming era will look like. It’s important to make this story work and ensure audiences don’t lose interest. I thought it would be interesting to rank these stories from worst to best. I won’t be including any story from the Eighth Doctor as he has no proper secondary adventure, and I won’t be including Wild Blue Yonder as the Fourteenth Doctor fits in differently to every other Doctor’s era. Let’s begin!!!
13.) The Ghost Monument (2018) written by Chris Chibnall
The Ghost Monument is by far the weakest of every Doctor’s secondary story by quite a way. It technically does do its job being a very run-of-the-mill story for the era, but that isn’t exactly a compliment given the low quality of the era overall. The darker aspects of Jodie Whittaker’s first episode are cast aside and the cringey humour, overlong and boring exposition and dull and unrealistic characters start to emerge more prominently in a way that plagues the story dramatically. Desolation is a lifeless environment of a planet with no danger, no substance and no development to the planet to add depth. We hear of flesh-eating microbes, but don’t get to see them, which makes their inclusion frustrating and pointless. The SniperBots as a threat are so utterly boring and useless that they might as well not be in the story and the Remnants are a pathetic form of danger and basically amount to floating bits of toilet paper. Jodie Whittaker is very good as the Doctor, but her hypocritical morality, passive nature and the companions' shallow and functional role starts to become very noticeable. You’ve got a story with no plot and no menace with characters wandering hopelessly through the desert in a world with no drama or interesting backstory to it, making the whole thing feel drawn out and pointless.
12.) New Earth (2006) written by Russell T Davies
As the David Tennant era is a continuation of Christopher Eccleston’s Series 1, it does make more sense to do a sequel story to the End of the World than is initially obvious. It was probably an attempt to bake a lot of familiar and recognisable elements into the story but unfortunately, I don’t think it works and it all collapses under its own weight. I do think David Tennant has a tremendous energy and presence and I like the basic idea of these cat nuns doing dubious things for the greater good. It runs its course and runs out of steam fairly quickly and the infected humans simply become an uninteresting obstacle to avoid. Cassandra was an effective villain in her first story but, without much of a central focus as a main villain with no sense of a scheme or plan, her vanity and selfishness becomes overbearing and irritating and she becomes a use for cringey and forced comedic moments. The body swap storyline feels forced in, becomes irksome, and I don’t think there was a good story to tell with Cassandra. They try to make her into a sympathetic character, but it isn’t earnt in the slightest and there is no attempt to give her character any empathy or redeeming features, so you don’t feel anything for her.
11.) Attack of the Cybermen (1985) written by Eric Saward
I think Attack of the Cybermen, as a season opener, does have a slightly different objective, especially considering how the Twin Dilemma had put fans off the Sixth Doctor. The Cybermen were a way of winning audiences back, but I don’t think the story does a very good job. Whilst Colin Baker’s Doctor has mellowed slightly, the relationship between him and Peri is still very toxic and uncomfortable to watch. The true failure of the story, though, is that it puts more focus upon nostalgia, references and rewarding fans than it does on the story itself and kick-starting a new era. There is a time and place for nostalgia and a new Doctor’s second story feels like the wrong time. The story is so linked and tied into Cybermen lore, continuity and backstory in a way which really hinders it as the story centres around preventing the destruction of Mondas. Its ties to its past make it feel like a chore and very unoriginal compared to most stories on this list. The Cryons also hold back and hinder the story a lot. The performances and costumes are utterly ridiculous. I can’t get my head around the motivations and reasonings coming from most of the characters and Lytton’s redemption, whilst strong in concept, has no truth to it and is considerably flawed dramatically.
10.) Space Babies (2024) written by Russell T Davies
It’s at the number 10 spot where we find the most recent addition to this list, and I am disappointed to see it so low. The truth is that, as the second story for a new Doctor and more importantly as a season opener, Space Babies is very poorly judged. It’s a story that is more likely to turn audiences away rather than entice them. Ncuti Gatwa and Millie Gibson are excellent as the Doctor and Ruby and the opening 15 minutes are pleasant enough, but it feels like a bunch of recycled elements from the End of the World put across with far less emotion and meaning. When the central plot kicks into gear and the space babies themselves appear, the whole thing starts to fall apart. Talking space babies is a bit of an absurd concept and it’s executed horribly. The idea is unappealing and has no conviction to it and the end result feels uncomfortable and awkward and the babies feel closer to creepy than adorable. The plot itself has no energy to it and its simplicity causes a lack of overall momentum and threat. The Bogeyman idea fits with the threats of this era, but it loses any credibility when you find out it’s literally made from bogies. The juvenile sensibilities and silliness does not work at all with the emotion of the story and has very mixed results.
9.) Into the Dalek (2014) written by Phil Ford and Steven Moffat
The flaw in Into the Dalek is its lack of originality. If a secondary story is going to function as a run-of-the-mill story for that era, then it feels right for it to not rely on familiar elements and tell us something about what the era itself has to offer the audience. The Daleks also feel a bit run into the ground at this point and needed a rest in order to be a threat. I like the themes of the Doctor questioning his worth as a hero and Peter Capaldi plays the role excellently as a callous but practical lead. The idea of being miniaturised and going inside a Dalek is out of the box in concept, but I think the whole thing falters on execution and runs out of steam. The military characters are incredibly boring and predictable, and the plot has a lot of predictability to it as well. I don’t get why the characters act so surprised when the Dalek turns evil again when they had fixed the very thing that had caused it to turn good. I dislike the implications on the machine of the Dalek being the cause of its evil which heavily lessens their idea and threat and the story becomes a tired retread of past ideas.
8.) Four to Doomsday (1982) written by Terrance Dudley
Unlike many fans, I find a lot of enjoyment in Four to Doomsday and think it's an interesting story, with an intriguing plot, set in a fascinating spaceship environment. That being said, I think as a secondary adventure for the Fifth Doctor it doesn’t do the job it's meant to. Castrovalva already failed at being much of a showcase for Peter Davison and, as the first story he filmed, I think Peter Davison lacks much confidence in the role in his second story and feels very generic. However, I simply adore the idea of this spaceship inhabiting lots of different cultures from across earth history and the great mystery and intrigue that triggers. There are a lot of surprising and satisfying twists across the story. The way the different people have been duped and then turned into androids as slaves to Monarch is really interesting and Bigon makes for a great ally for the Doctor. Persuasion and Enlightenment taking on a human look from the pictures Tegan draws is a really unnerving and sinister image. Monarch is an enjoyable villain as a dominant and incredibly elitist character. He has a charming way of persuading people and seeming reasonable that hides his tyrannous motives and the evil of the oppressive system which serves him. It’s a solid and enjoyable story, but I feel it’s misplaced and something different was needed as a statement of intent for the Fifth Doctor.
7.) Paradise Towers (1987) written by Steven Wyatt
Time and the Rani was definitely still figuring things out, but Paradise Towers feels like a blueprint for the kind of story you would get across the Seventh Doctor era. Paradise Towers is essentially a pantomime comedy but has an unsettling darkness under the surface, which is incredibly disturbing and gives the story a lot of substance and depth. It’s a simplistic story but the kind that every Doctor needs to make a stamp as the lead. You have separate factions all in conflict with one another and a bigger mystery and conspiracy which is going ignored. This adds some captivating layers to the story. Heightened performances with a dotty silliness means the wit and dialogue hits with the intended humour and laugh out loud moments. It has intelligence to it with the uselessness of the Caretakers being glued to the rulebook and the spikiness and horror of Tilda and Tabby appearing as kindly old ladies but planning on eating Mel. Pex’s arc of proving himself as a hero and his sacrifice at the end also gives the story the needed emotional punch and arc. It’s a story about community spirit with just the right blend of silliness and darkness that is reflective of what a lot of the McCoy era would be.
6.) The Beast Below (2010) written by Steven Moffat
I remember the Beast Below wasn’t a well-received story when it came out, but over the years I have certainly warmed to it a lot and think it has a lot of merit, depth, emotion and meaning. I just love the idea of the whole of the UK being strapped onto a spaceship floating through space and looking for a new home. It’s an inspired and creative idea and image that is just wonderful. I like the way we see the story through Amy Pond, and I enjoy the magical Peter Pan vibe of her using the Tardis as a way to escape adulthood. She proves herself effectively as a companion. The conspiracy and mystery of Starship UK has a proper fulfilling darkness to it. I like the sinister image of the Smilers. The disturbing and cruel idea of the government torturing an innocent creature to make the spaceship move has powerful and disturbing mirrors to the British Empire and the exploitation and cruelty Britain has been built upon. There is a powerful emotion and intelligence to the mirrors Amy sees between the Star Whale and the Doctor and it provides a lovely and optimistic way of dealing with the Doctor’s loneliness.
5.) The Highlanders (1966/67) written by Elwyn Jones and Gerry Davis
This is different to a lot of stories on this list in that the Highlanders isn’t meant to be a run of the mill Second Doctor adventure as that gradually developed over time and the production were still figuring things out. Being the last pure historical story, it's a bit of a holdover from the Hartnell era. However, this feels right for the first regeneration to keep familiar parts intact for a while to sell a new Doctor. I think what works about the Highlanders is the way it plays with the familiarity with the pure historical format. It uses it as a way to contrast Patrick Troughton and show how different he is as the Doctor from William Hartnell. The way he disappears into roles and manipulates people is very clever and shows him as a mastermind figure. The Highlanders is a story with a lot of twists and a darkness at the centre of the story which is very enlightening. Seeing Grey, as the villain, abuse his position as a means for profit and slavery is very disturbing. Seeing the story through the McLaren’s, and their struggle and turmoil, gives it an emotion and human perspective. It’s a story that allows the pure historicals to go out with a strong impact with a complexity to the history and a tragedy to the events.
4.) The End of the World (2005) written by Russell T Davies
The End of the World has often been a very underrated story and I’m not sure the 2005 series would have been successful without some of the things it did. Rose established the revival but the emotion which modern Doctor Who is built upon I feel is more set in stone in the End of the World. The relatability and grounded feel of Series 1 becomes clearer and more baked into the approach. You see everything through the eyes of Rose as a relatable teenager; the insanity and strangeness of her experiences, and I like that. I adore the culture shock she experiences being thrust into this world of aliens and how she challenges the Doctor. I think it was incredibly brave to just throw the boldness and strangeness of Doctor Who onto display so early on with the variety of creatures on Platform 1, and it really embraces and displays the silliness and weirdness of the series. Lady Cassandra makes for an excellent villain; she provides a thought-provoking warning on the dangers of the true endpoint of plastic surgery and the cost of high beauty standards. Her capitalist interests and racist mindset also makes her villainous but taps into relatable and relevant ideas. I simply love the way the story deals with the PTSD and shame of the Doctor over the Time War. It ties nicely into the major themes of the death of the earth and how that impacts Rose and the way the Doctor opens up to Rose at the end is truly cathartic for him with a lot of emotional depth.
3.) The Daleks (1963/64) written by Terry Nation
The Daleks, in a lot of ways, is the most influential and important story on this list. It doesn’t just establish and set in stone the tone and direction of the First Doctor era, but the essential storyline which the whole of Doctor Who is based upon. The premise of the Doctor running around time and space helping the oppressed and those in need comes from the Daleks. The tone, morals and the danger are all present. You have a proper adventure story. Each episode has an individual purpose and mission, which helps to bring movement and make the overall story feel very focused. I also really enjoy the world-building, the suspense and tension and the way the characters are put through the wringer and shaped emotionally. The Daleks are a genius creation in design and a terrifying menace. They represent the fears of the time of nuclear war and the cost of mutually assured destruction. They echo Nazi values and the intolerant racism towards those who are different. The lessons from the war on the cost of appeasement and naïve pacifism come from reality and are very poignant and meaningful. You see the Doctor shaped across the story, and come into form, as the values beneath the exterior are unveiled and he becomes someone willing to stand up against oppression and help those in need.
2.) The Ark in Space (1975) written by Robert Holmes
The Ark in Space feels like a proper showcase for the Phillip Hinchcliffe era of Doctor Who and what it would be. What I love about the Ark in Space is the isolated terror and scary feel. You spend the first episode just wandering around the ark discovering things about this future society and uncovering the true danger of everything, which is a vibe I just love. It has this methodical and gradual slow development that is very rewarding as you can just feel the buildup of danger and suspense. The world-building of the future feels baked, developed, believable, and cleverly meaningful to the stakes of the overall situation and story. Harry works very well as a fresh pair of eyes amongst Sarah Jane as a more seasoned character and companion. Tom Baker is a characterful and alien presence, and he has a very dominant role within the main story. I like the nuance and the texture which is given to the ark and the stakes of humanity’s survival and the gravity and state of things is well personified. The Wirrn are a simply excellent and fascinating creation. They have a well-developed biology, sense of instinct and motivation with a simple want for survival. The way it slowly takes over and consumes Noah and rids him of all his humanity and individuality is horribly obscene and terrifying. It’s a story of survival, with two races put against each other with humanly rooted themes and ideas, and succeeds with delight.
1.) The Silurians (1970) written by Malcolm Hulke
There is a good reason I’ve put this story at the top of the list. It simply does the best job of fulfilling the purpose of what a Doctor’s second story should be. The Silurians challenges the limitations of the format and offers something refreshing and rewarding that proves the creativity and grounded depth which can exist inside the new format of the Third Doctor. It’s essential to the Third Doctor era because it demonstrates its intent with a punchiness, meaning and relatability in its politics. It gives you a strong idea of what the era is going to be about thematically. I love the morally grey aspects of the Silurians. The Silurians, as villains, aren’t evil. They are a race made up of different objectives, biases and fears, just like us. The story tackles conflict between different groups with a real truth. The humans and Silurians reflect one another powerfully in their bigoted beliefs, short sighted and fearful attitudes, and inability to understand one another. I also love the Sherlock and Watson dynamic in the relationship between the Doctor and the Brigadier. It exposes and mocks the limitations of the military mind through the Brigadier and the sparring between the Doctor and the Brigadier as characters of different values provides interesting drama. You also have an incredibly dark and unsettling ending with a message behind it and a story that thrives in its complexity, humanity and nuance.
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