Having a strong home Wi-Fi signal that doesn’t drop out on you is crucial for a seamless and productive lifestyle. Whether you're working from home, streaming your favorite shows, or have a small army of smart home devices, a reliable internet connection has become essential to keep it all running. Traditional routers often struggle to cover every corner of your house, especially if your home has thick walls or multiple floors. This is where mesh Wi-Fi routers come to the rescue, offering a robust solution to extend Wi-Fi coverage throughout your entire home.

Mesh Wi-Fi routers work by using multiple nodes placed strategically around your home to create a unified and extensive home network. These systems are designed to ensure that you have a strong Wi-Fi signal in every room, eliminating dead zones and offering consistent performance. We've tested numerous mesh systems for connection reliability, coverage, ease of setup, and additional features like parental controls. To help you decide and take the hassle out of choosing, we've put together a list of the best mesh Wi-Fi systems available today. If you're looking to boost your existing Wi-Fi network and don’t want to invest in a new Wi-Fi system, check out our top picks for the best Wi-Fi extenders instead.

What to look for in a mesh Wi-Fi system

It’s a pretty good time to buy a mesh Wi-Fi system, since Wi-Fi 6E represents a fairly significant leap in the technology. Matt MacPherson, Cisco’s Chief Technology Officer for Wireless, said that Wi-Fi 6E is a substantial “inflection point” and can take advantage of a much broader chunk of the wireless spectrum than its predecessors. “If you’re using that spectrum with a Wi-Fi 6 [device],” he said, “you’re going to get significant gains [in speed.]”

MacPherson added that Wi-Fi 6E will likely “carry you for a long time,” thanks to the fact that its “top throughputs now typically exceed what people can actually connect their home to.” In short, with a top theoretical per-stream speed of 1.2 Gbps, Wi-Fi 6E is fast enough to outrun all but the fastest internet connection. (You may also see talk of Wi-Fi 7 devices, some of which have been released already before the standard is officially launched next year. Given that it will take a generation for all of the devices in your home to be compatible with Wi-Fi 7, it’s not worth thinking about this for several years yet, so a Wi-Fi 6 system will suffice for now.)

Range and speed

All mesh routers boast a theoretical broadcast range in square feet, as well as its theoretical top speed. Given there are so many factors outside of the manufacturer’s control, these numbers don’t really mean much in the real world. Your internet service provider’s (ISP) real speed, the construction materials and layout of your home, amongst other things, will all affect your Wi-Fi coverage. Simply investing in a wireless router or mesh Wi-Fi system isn’t going to offer faster speeds on its own.

It’s worth saying that raw speed isn’t everything, and that for most normal users, you probably need a lot less than you’re paying for. Netflix recommends a minimum speed of just 15 Mbps to stream a 4K video to a single device. Naturally, that’s just for one connection, so you’ll need some more capacity if you’ve got other connected devices all running at the same time. As cool as it is to say you’ve got 100, 200 or 500 Mbps download speed, factors like latency and reliability are way more crucial. And unless you have Gigabit internet that can reach speeds of up to 1Gbps, you won’t need a mesh router that offers these specs.

Backhaul

Mesh Wi-Fi systems work by connecting every hardware node to a single wireless network, letting them all communicate with each other. Imagine four people in a busy, noisy restaurant all trying to order their dinner from a weary staff member, all at once. Now imagine, while this is going on, that four more people at that same table are also trying to tell a funny anecdote. It’s no surprise that it might take a long while for the right information to reach its intended destination.

To combat this, higher-end mesh routers offer dedicated wireless backhaul; a slice of the spectrum for node-to-node communication. So rather than everyone talking at once in the same space, the conversations are essentially separated, reducing the invisible clutter in the air. Because there’s less confusing cross-chatter, everything moves faster, offering a significant performance boost to those systems.

Connectivity

These days, even your washing machine has a wireless connection, but that doesn’t mean you should ignore the joys of wired internet. No matter how fast WiFi is, a hard line will always be faster, and some gear, like Philips’ Hue bridge, still needs an ethernet connection. Plenty of routers can also use these hard connections as backhaul, eliminating further wireless clutter. It’s convenient for spread-out systems and power users, but it will mean running more wires through your home. The most common standard is Cat 5e, or gigabit ethernet which, unsurprisingly, has a top speed of 1 Gigabit per second (Gbps). Since Ethernet cables are backward compatible, you should be able to easily find one that works with your system. However, to make the most out of your mesh routers, it’s worth investing in an Ethernet cable that meets the standard your router uses — if it’s Cat5e, use a Cat5e cable. You can check your router’s specs via the manufacturer’s website to be sure.

Flexibility and scalability

Mesh routers enable you to add (or subtract) modules from your home network to suit your needs. D-Link’s Alan Jones said users should “check how scalable the prospective product is” before you buy. This sense of scale doesn’t just apply to the number of nodes on the network, but how many simultaneous connections it can handle.

Placement

Mesh networks use multiple access points in order to create a bigger network, resulting in better indoor Wi-Fi coverage. You might see the term “whole home coverage”, which is more easily achieved with multiple access points or nodes. Modern mesh routers offer one, two or three (or more) pieces of equipment that are commonly the same hardware inside and out. It normally doesn’t matter which module you make the primary one to connect to your modem, usually over ethernet. You’ll then set up the other, secondary nodes around your home, which is often just a case of adding them to the existing mesh network.

When installing your hardware, remember that every physical obstacle between nodes may hurt your performance. The ideal spot is, at the very least, at waist height on a piece of furniture without too many obstructions. Tables, sideboards, free-standing cupboards, and bookcases make for a good home. The rule of thumb is to place each node no more than two rooms away from the last one.

How we test Wi-Fi routers

My home covers around 2,200 square feet across three stories, with my office on the third floor. It’s relatively long and thin, with the living room at the front of the house, the kitchen at the back and three bedrooms on the second floor. Its age means there are a lot of solid brick walls, old school lathe and plaster, as well as aluminum foil-backed insulation boards to help with energy efficiency. There are two major Wi-Fi dead zones in the house, the bathroom and the bedroom behind it, since there’s lots of old and new pipework in the walls and floors.

For mesh routers that have two nodes, I placed the first in my living room, connected via ethernet to my cable modem, with the second on the first-floor landing in the (ostensible) center of the house. For three-node sets, the third went in my kitchen, which I’ve found is the optimal layout to get the bulk of my house covered in Wi-Fi.

Each mesh is judged on ease of setup, Wi-Fi coverage, reliability, speed and any additional features. I looked at how user-friendly each companion app is from the perspective of a novice, as well. My tests included checking for dead zones, moving from room to room to measure consistency, and streaming multiple videos at once.

Best mesh Wi-Fi systems for 2024

Other mesh Wi-Fi router systems we tested

Amazon Eero 6E

On one hand, Eero Pro 6E does count as an “easy” device, the sort you could hand to a total novice and expect them to thrive with. There’s very little brain work needed to get things set up, and the app has a clean UI with plenty of hand-holding. But — and it’s a big but — the fact so many common management tools aren’t available to me here because they’re paywalled irks me. Amazon and Eero are playing in the same slightly shallow waters as Google / Nest, building a “good enough” mesh product for "everyone;” types who want to set up the hardware and more or less forget about it for several years at a time knowing that everything is in hand. But the fact that the Nest WiFi Pro offers more features for free compared to Eero’s package means that, despite my gripes about Google’s system, it wins out in a straight duel.

Netgear Orbi 960

The Orbi 96T0 (RBKE963) is Netgear’s flagship mesh WiFi product, which the company calls the “world’s most powerful WiFi 6E system.” It’s also one of the most expensive consumer-level kits on the market, setting you back $1,499.99 for a three pack. It's a fantastic piece of gear but it's worth saying that the subset of people who could, would or should buy it remains far smaller than you might expect. Ultimately, I feel that if you’re paying luxury prices, you should expect a luxury product. There were plenty of times during testing that I went looking for a feature that was either only available via the web client, or behind a paywall. While, yes, much of your cash is going to the superlative hardware, but for this sort of money, the fact you have to pay extra for some table-stakes features is insulting. If you’re looking for a new Wi-Fi system and aren’t prepared to spend almost $1,500, it’s worth considering our other top picks for the best Wi-Fi routers and mesh systems.

Wi-Fi

Wi-Fi is governed by the International Standard IEEE 802.11, and every few years the standards evolve. Until 2018, routers were sold under their IEEE designation, leaving consumers to deal with the word soup of products labeled 802.11 b/a/g/n/ac et cetera. Mercifully, wiser heads opted to rebrand the standards with numbers: Wi-Fi 4, Wi-Fi 5 and Wi-Fi 6. We’re presently between two Wi-Fi generations, Wi-Fi 6 and 6E, which relates to the frequencies the standard uses. Wi-Fi 6 covers routers which operate on the 2.4GHz and 5GHz bands, while the latter means it can also use the 6GHz band.

Each Wi-Fi band has tradeoffs, because the slower radio frequencies have greater range but less speed. 2.4GHz signals will travel a long way in your home but aren’t quick, while 6GHz is blisteringly fast, but can be defeated by a sturdy brick wall. A lot of Wi-Fi-enabled gear, like a lot of smart home products, only use 2.4GHz because the range is better and it’s a lot cheaper. But it means that the band is also overcrowded and slow. You can check the speed of your Wi-Fi by using an online speed test like Speedtest by Ookla. This will display your download and upload speeds, offering better insight.

Linksys’ CEO Jonathan Bettino told Engadget why mesh systems are an “advancement in Wi-Fi technology” over buying a single point router. With one transmitter, the signal can degrade the further away from the router you go, or the local environment isn’t ideal. “You can have a small [home], but there’s thick walls [...] or things in the way that just interfere with your wireless signal,” he said.

Historically, the solution to a home’s Wi-Fi dead zone was to buy a Wi-Fi Range Extender but Bettino said the hardware has both a “terrible user experience” and one of the highest return rates of any consumer electronics product. Mesh Wi-Fi, by comparison, offers “multiple nodes that can be placed anywhere in your home,” says Bettino, resulting in “ubiquitous Wi-Fi” that feels as if you have a “router in every room.”

Rather than having one main router in your home, having a “router in every room” is the biggest selling point for mesh Wi-Fi given how reliant we all are on the internet. Each node is in constant contact with each other, broadcasting a single, seamless network to all of your connected devices. There’s no separate network for the 2.4GHz and 5GHz bands, just a single name that you connect to.

You may also see mesh Wi-Fi systems advertised as dual-band or tri-band routers. Dual-band routers typically offer a 2.4GHz and 5GHz band. Wi-Fi 6E tri-band routers, on the other hand, provide a 2.4GHz, a 5GHz and a 6GHz band —or in the case of Wi-Fi 5 or Wi-Fi 6 routers, a 2.4GHz band and two 5GHz bands. Once you’ve got your head wrapped around the concept of dual-band and tri-band, you should also be aware that the width of each band is measured in MHz. The wider the band, the more MHz it can support, typically 20MHz, 40MHz, 80MHz, 160MHz or 320MHz. The wider the channel, the more bandwidth it offers.

The following contains spoilers for “Empire of Death.”

“Empire of Death” is the typical Russell T. Davies series finale: It’s bombastic, dense and totally uninterested in resolving its own story. The episode bounces around for the requisite amount of time before leaping to its climax with an arresting visual of little substance. Because what Davies is really interested in is the scenes afterward, and the all-too-brief moment where Ruby Sunday gets coffee.

Bad Wolf / BBC Studios

At the end of “The Legend of Ruby Sunday,” the Doctor (Ncuti Gatwa) and (classic-series companion) Mel (Bonnie Langford) are face to face with Sutekh’s minion (Susan Twist). Sutekh begins spraying its dust of death, a cloud of dust that turns whoever it touches into a pile of dust themselves. The Doctor and Mel outrun the cloud on Mel’s scooter in an action sequence that feels like it ate the bulk of the episode’s budget.

The pair head back to UNIT HQ to reunite with Ruby at the time window. Sutekh’s dog form is still clutching the TARDIS as a prized possession and wipes out the rest of the UNIT staff, including Kate (Jemma Redgrave), Rose (Yasmin Finney) and Morris (Lenny Rush). (Three deaths you just know won’t last for longer than half an hour.)

Sutekh explains to the Doctor he clung to the TARDIS (at some point) and followed it around on every step of the Doctor’s journey. Every planet the Doctor landed on, he planted a Susan Twist character there, each one lingering both as a trap for the Doctor and to sow Sutekh’s murderous dust. And he used the TARDIS’ perception filter to hide what he was doing. Did you know the filter operates at a distance of 73 yards? It’s a callback!

The Doctor, Ruby and Mel hightail it into the memory window’s TARDIS, which turns out to be the Memory TARDIS (which is just a regular TARDIS). This was a small, cobbled-together set from the 60th anniversary framing series Tales of the TARDIS, in which classic series actors introduced classic series episodes to new viewers. While in flight, the trio see what Sutekh has done to the universe, rendering it cold and empty, and giving Ncuti Gatwa a chance to scream his frustration into the literal void.

It’s now very important to uncover the identity of Ruby Sunday’s mother, especially given that Sutekh is interested in the answer. The trio take the Memory TARDIS on one final voyage to the dystopian future as shown in “73 Yards.” That’s where evil prime minister Roger ap Gwillam has instituted compulsory DNA testing to ensure the UK is a racially-pure nation. (Yes, it is a bit yikes.) But it’ll also give the Doctor the chance to identify who Ruby’s mother is from the records.

Once the information is on screen, they’re all pulled back to UNIT HQ in 2024 by Sutekh who is similarly curious. Sutekh uses his power to pull the Doctor to the floor, threatening his life, unless Ruby shares the information held on the gizmo she’s holding. But as she gets close to the pooch, she smashes the screen with the data on it and clips a piece of smart rope to Sutekh’s collar to ensnare him.

The Doctor then whistles for the TARDIS to come back to him, where he and Ruby clip the other end of the lead to the console and dematerialize. They then take this giant, evil alien dog on a walk through the time vortex which, uh, ah, something something brings everyone back to life. Try not to think too hard about it and enjoy the arresting visual of the TARDIS dragging a giant evil dog through some nice CGI.

There’s then some words about the Doctor having to become a killer in order to stop Sutekh killing. He casts Sutekh into the vortex. Given that’s what he did last time, I’m not sure why it’s more successful now but, as I said, coherence was never the focus of the episode.

Back at UNIT HQ, with everyone revived and eating pizza, they’re able to track down Ruby’s mother. She got pregnant at 15 and gave her daughter up to avoid the reprisals from some sinister stepfather who may have harmed the child. But she never sought to track down her daughter afterward, and didn’t even tell the father of the child that she’d had a baby. As for why Sutekh was interested in Ruby’s mother, the Doctor says it’s because people had invested time and emotion into her. Which feels like Davies chiding the audience for focusing on questions he himself laced into the series for this purpose.

And while I can see what Davies was trying to say, it’s not as if he’s played fair here – pointing a neon sign at Ruby saying that she was important. We don’t know why she can bend reality to her will, or make it snow whenever she thinks about her abandonment. We didn’t obsess over this question because we apply meaning to meaningless things, but because the show and its characters ascribed meaning to them.

The Doctor and Ruby stand outside a coffee shop where Ruby’s mother is now sitting, drinking and staring at her phone. The Doctor suggests that, since her mother never cared enough to look for her, she isn’t interested in connecting. But Ruby is undeterred and walks in, orders a coffee and sits on a big bench across from her mother, so that when the waiter calls her name, her mother looks up.

From there, we see the Sundays catching up. But for all the wonders of the universe the Doctor wishes to see, this apparently joyful reunion isn’t one of them, choosing to leave Ruby there. He says they'll meet again but, given he left his own granddaughter, it’s just as likely he’ll forget all about her. 

And so the TARDIS sets off for pastures new.

Bad Wolf / BBC Studios

I don’t think “Empire of Death” paid off the previous episodes with any degree of satisfaction but I never expected it to, either. Davies's modus operandi is to ignore the mechanics of storytelling in favor of vibes and those brief moments of touching character drama. The whole giant dog in space is weightless compared to the scene where Ruby sits across from her mother. Ironically, it was here that we should have dragged things out — the anticipation of if she would speak up would have been a better use of the show’s time than a lot of what happened last week.

But the ending did make me wonder about who in this world gets the privilege of a happy ending. Davies nearly died of a drug overdose in the mid ‘90s and then lost his partner to a brain tumor in 2018. He’s a cynical, nihilistic writer who feels humanity is only ever one or two missed meals away from the most evil forms of fascism. And yet, it’s rare that he ever plays a minor note at the conclusion of an episode of Doctor Who.

No companion leaves without a parting gift big enough to sooth the pain of being separated from the Doctor. In fact, on two separate occasions, a companion gets their own personal clone of David Tennant. Here, does Ruby get a happy ending by being reunited with her mother, or is it her mother who gets the greatest of absolutions? She never sought her daughter out, never looked to remedy the rupture, yet here she’s welcomed with love.

In fact, this episode provokes plenty of questions for me, including if it’s okay for the people who abandon you to get to live their lives with the comfort of moving on? What about the weird twist that the Doctor kills Sutekh but allows his wave of resurrection to reanimate planets full of evil beings? After all, Telos — one of the Cybermen’s hangouts — gets namechecked as a place that has been saved. Maybe it’s just better to remember that, sometimes, you need to turn your brain off and just feel Doctor Who. See you for the Holiday special.

Mrs Flood Corner

Mrs. Flood is disconnected from Sutekh, breaking the fourth wall at the end of the episode while dressed as a glam rock Mary Poppins. She tells the audience that the Doctor’s ending is on the way and is delighted by the idea, further stoking thoughts that she’s playing a longstanding villain. The obvious guesses — given Mrs. Flood is played by a woman — is that it’ll be some future incarnation of Missy or The Rani. Fine?

Today’s the day you’ve all been waiting for: WWDC 2024 kicks off with Apple’s customary opening keynote. That’s where you’ll catch all the hot news about what the company is cooking up for the next 12 months. Fortunately for you, we’ll have (metaphorical) front-row seats to all the action, so point your browsers to our liveblog to learn all about what’s coming.

— Dan Cooper

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Microsoft moves to resolve privacy concerns over its Recall feature

Making it opt-in defeats the point, but at least you can.

Microsoft thought it would be a good idea to constantly monitor everyone’s desktop activity with its Copilot AI. Now everyone has pointed out the litany of reasons that’s a terrible idea, the Windows maker is backtracking. It has pledged to make Recall opt-in and to lock the information about what you’re doing behind a biometric key via Windows Hello. Is that enough?

Continue Reading.

An all-digital Xbox Series X is coming this holiday season

The yoke to Microsoft’s digital games service just got tighter.

Microsoft

Summer Game Fest was an opportunity for Microsoft to refresh its console lineup with a new disc free Series X. The all-digital model comes in robot white and has 1TB of storage for all those beefy downloads. It’ll set you back $450 but, if you’re already in that territory, surely it’s better to wait for the disc-enabled Series X to go on sale, which it does quite frequently.

Continue Reading.

The following contains spoilers for “Boom.”

It should be a given any new series needs time to find its footing, even when it’s a revival of an already-running hit. The first three episodes of “new” Doctor Who have been fun, but not without their own idiosyncrasies that made them hard to love. Now it’s time for Steven Moffat, the series’ greatest 21st century writer, to show what this new season can do. There’s the usual degree of showboating and cleverness, but it’s hard to deny the man’s genius when he pens the first genuine classic of the Disney+ era. Bloody hell.

“Boom” thrusts the Doctor and Ruby into the smallest corner of a war, and lets it play out in microcosm. This is an angry story about how money, power and cruelty make people inhuman, and is the sort of episode Doctor Who excels at. This story makes no bones about the pointlessness of war and why money is the engine that keeps it going. Its framing may be modern — there’s one too many uses of the word “algorithm” here — but its central thesis is timeless.

Bad Wolf / BBC Studios

In a wasteland battlefield on Kastarian 3, two militarized Anglican clerics are walking back to base. Carson (Majid Mahdizadeh-Valoujerdy) is leading his friend, John Francis Vater (Joe Anderson) who has been blinded in the fighting, an injury that’ll take four weeks to recover from. In the distance, they spot an ambulance but seem afraid of it and look to go the long way around it. Carson loses his footing and slips into a small crater, activating a land mine that instantly obliterates him. The disturbance summons the ambulance, a tank-tracked device with a large screen with an apparently friendly avatar (Susan Twist) which injects its tendrils into Vater, identifying his injury. It decides that four weeks is an unacceptable amount of time for recovery and terminates him instead. His scream is heard by the Doctor, who sprints out of the TARDIS to help but winds up putting one foot on the exact same mine that killed Carson.

Ruby arrives to find the Doctor frozen in place, asking her to describe what he’s standing on: A Villengard mine. It’s an anti-personnel explosive made by a notorious weapons manufacturer that Moffat has referenced several times before. The Doctor asks Ruby to find something heavy for him to hold, so that he can shift his weight and put his foot down without triggering the mine. What she finds is Vater’s compacted remains bolted to an AI canister containing a simulacrum of Vater. The Doctor asks Ruby to throw it to him, but she instead opts to walk within the blast range and hand it over. It affirms the dynamic that as Gatwa’s Doctor has vacated the role of big-chested hero, Ruby has stepped in to fill the void.

The mine is, however, unsure if the Doctor is a viable target, and so remains frozen on the edge of activation. Villengard’s weapons are notoriously vicious and the company has created a warfare algorithm to limit the number of bodies in the battle zone at one time, while also dragging wars on profitably and indefinitely. It gives the company license to slay the wounded rather than spending the cash to cure them.

Bad Wolf / BBC Studios

Before he died, Vater was speaking to his daughter Splice (Caoilnn Springall), who was brought along to the war as there was no-one else to look after her. While her father was on patrol, she had been left in the care of Mundy (Varada Sethu), a lower-ranking soldier in the army. But she slips her minder to reach the last GPS-tagged location of her father. She arrives, triggering the hologram attached to Vater’s remains that delivers his valediction to his daughter.

Soon after, Mundy tracks down her wayward ward and is able to explain the rest of the plot to the TARDIS crew. The Anglicans have been fighting a war for six months against an enemy that’s never seen or heard. Mundy and the Doctor spar on the nature of religion and how faith — in more than just a higher power — helps create willing material for the meat grinder of war. Mundy’s skeptical about the Doctor and Ruby but is quickly convinced when she scans the Doctor to see he’s not just going to explode on the mine. As a complex space-time event, the mine’s activation won’t just kill him but destroy half of the planet. It gets worse: The mine is going to time out and go off anyway after its stuttering activation.

Having detected the fracas, an ambulance arrives and jams its menacing tendrils into the Doctor. Ruby, again refusing to allow anyone else control the narrative, grabs Mundy’s rifle and tries to create a distraction to no effect. Mundy tells Ruby to shoot her using the rife’s lowest setting which would draw the ambulance without being fatal. But, as Ruby takes aim, Canterbury (Bhav Joshi) arrives just in time to misappraise the scene and shoot Ruby to defend his fellow soldier. Ruby, on the edge of death, generates more snow but is fading fast

The Doctor has worked out the problem, which is that there’s no enemy on the planet at all — it’s barren. Villengard's algorithm is sending soldiers out to die with the traps they themselves bought and probably placed. The only solution is to surrender but that’s not something Mundy is willing, or empowered, to do, so the Doctor needs to find proof to show to the senior cleric. He uses the AI of Vater, appealing to his duty as a father and whatever humanity is left inside to search through the military database to find evidence there is no enemy at all.

More ambulances arrive in an attempt to overwhelm the people in the crater, looming down on them all. As Mundy and Canterbury speak, the latter is suddenly minced for reasons that boil down to… we’re in the final few minutes of the episode. In the chaos, it looks as if all is lost, but as the Villengard AI projects a hologram, it’s quickly taken over by Vater, whose love for his daughter has hopefully triggered some sort of feedback loop, ending the war and disabling the mine. As the war is ended, Ruby is resurrected by the ambulance and the four survivors are able to enjoy the beautiful view in the skies over Kastarian 3.

There’s even time for the Doctor to mention a “grumpy old man” who told him once that “what will survive of us is love.” That’s a reference to notoriously acerbic poet Philip Larkin’s work An Arundel Tomb, referencing a long-decayed sculpture of two people lying in state. The Doctor mentions Splice may have a bright future ahead of her, and gets ready to head off to their next adventure.

Bad Wolf / BBC Studios

There’s no good place to address this later, so I’ll add that Varada Sethu has also been cast as a new companion for Doctor Who’s second season. Initial rumors suggested she was replacing Millie Gibson but the BBC said last month the trio would travel together. It’s not uncommon for an actor to play a minor role in one episode and then return as a member of the core cast. Peter Capaldi, Karen Gillan, Freema Agyeman and Colin Baker all played one-off roles before joining as a Doctor or as a companion. I have no idea if Mundy will return, or if Sethu will play a new character, but I’m not sure Mundy was a compelling enough character to warrant a revisit.

Bad Wolf / BBC Studios

“Boom” is a masterclass in perpetually-building tension in a way that Doctor Who has rarely attempted. I wouldn’t want to experience this level of stress every single week, but it’s a wonderful change from the status quo. The one thing that doesn’t quite work with the episode is the uneven pacing. For all the effort put into building the tension, the ending just seems to happen.

I feel like Moffat was straining against the running time, since the last few minutes are just dashed off without as much attention as I’d have liked. Interestingly, the other times Moffat has written stories that are this bleak, like “The Empty Child / The Doctor Dances” and “World Enough and Time / The Doctor Falls,” they were both two-parters. I’m not sure “Boom” needed 90 minutes, but an extra 10 or so might have helped things breathe.

Despite being rooted to one spot for most of the story, Gatwa’s Doctor still commands every frame he occupies. There’s enough chemistry between him and Millie Gibson that the pair’s interactions are entirely believable. The rest of the cast, however, don’t really get as much time to shine, given the limited focus and the stock roles they play in the narrative.

It’s entirely in keeping with Moffat’s style that he’d come back to a show, now equipped with a Disney-sized budget, only to make an episode set in one location. As a writer, he’s always enjoyed tying one hand behind his back and then allowing those restrictions to force him to be better. It was his Swiss watch plotting, smart storylines and snappy dialog that has always ensured his episodes are events. History has also silenced his critics: Last year, Doctor Who Magazine polled readers to rank every episode of the show made. Staggeringly, of the top 10, Moffat was credited with five, knocking Robert Holmes, the show’s greatest writer, off his perch.

And, as I said at the top, “Boom” stands proud as the first bona fide classic of the Disney+ era.

Susan Twist Corner

This week, Susan Twist played the avatar of the sinister Villengard ambulances that roamed the battlefield. Several times, the Doctor appealed to Vater’s AI homunculus on the fact that they are, or were, both fathers. If it isn’t clear, I think the show really wants the audience to know that the Doctor is a father with a child, whereabouts unknown. The hacky premise would be that it’s Susan who has taken the mantle of “The One Who Waits,” or that she’s somehow Ruby. Yeugh.

The following includes spoilers for “The Devil’s Chord.”

For a show about time (and space) travel interwoven with British pop culture since its start in 1963, a trip to visit the Beatles is an obvious premise. So obvious that this is the second time we’ve had a “what if” episode hinging on the Fab Four’s cultural impact. After all, both the Beatles and Doctor Who became global cultural exports as Britain flexed its post-imperial soft power. But while there’s plenty of material to mine in that premise, this isn’t an episode that’s interested in doing that, relegating the Beatles to little more than window dressing.

This has always been a trick in Doctor Who’s toolbox, especially when Russell T. Davies is in charge. He loves dangling an idea, or eye-catching visual, to lure in an audience before moving the focus to something else. I’m reminded of the kung-fu monks from “Tooth and Claw” which looked great in the trailers but had no real impact on the story. It’s “Tooth and Claw” that “The Devil’s Chord” feels similar to — an early season one episode that doesn’t quite work in and of itself, but does spend a lot of its time gesturing to this year’s recurring themes. (FilmStories reported from a recent Q&A, where Davies said that this episode lacked a central plot and was, instead, "Just some subplots.")

James Pardon/Bad Wolf/BBC Studios

But to understand that, and my stance, we’re going to have to take a little look at The Context before we get to examining the meat. You see, during its history, Doctor Who has bent itself to fit the vision of its primary creative figure and Davies is a voracious watcher of TV. He’s obsessed with the form and format of TV as much as its content, and this is reflected in his work. His episodes often develop with news reports, CCTV clips and deeper forms of exposition revealed through screens. “Bad Wolf” is a great example, where the show lands at a TV studio that’s making sci-fi versions of the then-current pantheon of British reality TV.

Davies also trusts his audience to instinctively know the unspoken rules of TV even if they can’t name them. Which is why I think it’s worth looking at “The Devil’s Chord” as an episode that is, for want of a better phrase, collapsing in on itself. When Mrs. Flood talks to the camera at the end of “Church on Ruby Road,” it felt Deliberately Wrong, especially after she was seemingly unaware of the TARDIS earlier in the episode. Here, the numerous fourth wall breaks and lapses in storytelling are similarly an intentional sign of How Wrong Things Are. What starts out as a by-the-numbers celebrity historical quickly collapses into a fever dream like Sam Lowry’s descent into madness at the end of Brazil.

James Pardon/Bad Wolf/BBC Studios

We open in a concert hall in 1925 as a teacher outlines the basics of music theory for a young child. He shows off that he has “discovered” The Devil’s Chord and, by playing it, unleashes Maestro (Jinkx Monsoon), the embodiment of music. Maestro is a godlike elemental force and a child of the Toymaker – featured villain of the 60th Anniversary special episode “The Giggle.” After praising the musician for their genius, Maestro then sucks the music out of their heart and eats it like cotton candy before staring into the camera and playing the show's theme tune on the piano.

When the titles end (notice the theme is playing out of the jukebox) it’s clear Ruby has been on the TARDIS for some time. She asks the Doctor if it would be possible to visit the recording of the Beatles’ first album at the EMI’s studios on Abbey Road. Before they open the doors, she asks if it might be worth them changing into less conspicuously modern clothes and they spring off to sample the delights of the TARDIS wardrobe, complete with a wig for the Doctor.

James Pardon/Bad Wolf/BBC Studios

The pair sneak into George Martin’s producer’s booth but quickly spot something is wrong with the scene in front of them. Rather than playing any of Please Please Me’s big and recognizable hits, they’re turning out mop-top music about animals. The Doctor doesn’t know it yet but Maestro has spent the last few decades swallowing all of the music out of people’s hearts. It’s a genius way to get around the fact that, even with all the cash thrown at Get Back and Disney’s vast bank balance, Doctor Who still can’t readily afford to license Beatles songs.

Next door, (famous British singer / TV presenter / notorious diva) Cilla Black is similarly stricken with a case of the muzaks while a concert orchestra is just about mustering a version of Three Blind Mice. The Doctor and Ruby head to the canteen to corner John and Paul to try and find out what went wrong with history. They then head to the roof with a piano, where Ruby plays a tune she wrote to help a friend get over a breakup. But once the Doctor hears Maestro’s giggle, he sprints away, hiding in a nearby basement.

James Pardon/Bad Wolf/BBC Studios

The Doctor explains that any villain who laughs is tied to the Toymaker and is a sign of the fractured universe. Fighting the Toymaker in “The Giggle” was sufficiently draining and difficult, especially given how powerful these elemental forces are, that he doesn’t want to do it again. Maestro is hunting for them, but the Doctor uses his sonic screwdriver to kill all of the sound in the area. (The Doctor knows just enough about how the form and format of TV works to turn the tables on their opponent.) Maestro works out how to undo the blocking – with some magnificent sound editing — but is then distracted from their pursuit of the Doctor by an older woman Ruby had inspired to play the piano.

The eagle-eyed among you will notice that this is the second time in two episodes that Ruby has inspired another person to be bold to their detriment. Her words were enough to encourage Eric to try and take on the bogeyman single-handed in “Space Babies,” nearly imperiling him. The older woman isn’t so lucky and gets consumed by Maestro

Because of how long Doctor Who has run, it's often its own source material. Ruby, once they’ve escaped, assumes that everything is okay because she recalls listening to music as a child and so therefore Maestro can’t have won. So, in a scene pulled from “Pyramids of Mars,” the Doctor takes her to 2024 in the TARDIS to show the wreckage of the alternate future. Because while she’s protected from the ravages of continuity by the fact she’s traveling through time, the rest of the universe isn’t so lucky.

Natalie Seery/Bad Wolf/BBC Studios

But this flash-forward, in an echo of the meeting with the Toymaker, flips from a visage of a bombed-out London to a stagey set. Maestro arrives behind a white piano to outline their plan to rid the universe of music, leaving just the aeolian tones of the wind brushing against objects. But the Doctor says that a universe without music, unable to express joy or anger through art, turns sour and destroys itself. It's a feeling I can relate to — like when love becomes so painful in its absence that you'd rather disappear into the void than keep going on. Davies is also a nihilist so many of his episodes have revolved around the dark face of humanity that reveals itself when denied Earthly pleasures.

Escaping back to the ‘60s, the Doctor and Ruby meet Maestro and find the walls of reality are collapsing. Murray Gold’s swirling soundtrack isn’t just the background music, it’s bled into the fabric of the show itself. The Doctor and Ruby start trying to find a chord that will bind Maestro with the Mrs. Mills piano, a (real) fixture of Abbey Road’s studio. As they play, the notes are rendered floating over the piano, but the pair fail to identify the final note before Maestro turns up.

Maestro begins attacking, throwing around musical scores as weapons and hurling the piano into the hall. It’s here that the episode’s coherence starts to sag, the scenes get longer and odder, a wonky version of a standard monster-of-the-week TV show conclusion. The tension builds, and all looks lost, until John and Paul stumble upon the piano in the hallway. They’re able to see the notes hanging in the air over the piano and with their, uh, innate musical nous, and complete the chord to bind the villain. But before they’re whisked away, Maestro has time to reveal they aren’t the only one of the Toymaker’s minions coming, and “the one who waits” is lurking in the background.

Out of nowhere, the episode ends with a big musical number that features the cast dancing through the Abbey Road sets, delighted at the return of music. Even the steps of the road crossing light up as the Doctor and Ruby cut a rug across them. I can’t work out if it’s simply an indulgent sequence, or another big sign that the show’s structure is breaking down. That the Doctor and Ruby are blind to the apparent Wrongness of it all hints at the latter, especially given the deeper context of the song’s title — see below.

James Pardon/Bad Wolf/BBC Studios

There are other signs that Doctor Who is collapsing into its own TV series, including the casting decisions. The older woman who plays the piano is June Hudson, the show’s costume designer from 1978 to 1980 — who famously redesigned the fourth Doctor’s costume. The musician at the piano during the dance number is Murray Gold, while the figures the Doctor and Ruby dance with at the end are Strictly Come Dancing stars Shirley Ballas and Johannes Radebe. Maybe the big nemesis haunting the series will be some form that could threaten its existence as a TV show itself.

It’s worth saying that Doctor Who has an uneasy relationship with “big” villain performances which can turn hard into hamminess. But Jinkx Monsoon manages to pitch Maestro as just big and flamboyant enough to steal every scene they’re in, but never too silly. It’s also the right side of charming and magnetic, and while they don’t have anywhere near enough time to properly face off against Ncuti Gatwa’s Doctor, it’s still a great match-up.

The problem of Susan Twist

As much as I don’t want to get into the weeds here, it’s possible this stuff is going to come up later that I need to flag it. Doctor Who has been running for more than 60 years with a revolving door of creative figures who paid little-to-no attention to consistency. A convenient way to justify these is by suggesting time travel, by its very nature, would always mess up your personal history. But, in latter days, the show has often preferred to overlook the thornier parts of its backstory, like the existence of the Doctor’s granddaughter, Susan.

When the show started, the Doctor was joined on his adventures by Susan and a pair of teachers who followed her home one night. Long before any mention of Time Lords or Gallifrey, she was just the kid figure who often wound up needing rescuing. Then, in “The Dalek Invasion of Earth,” the Doctor exiles her to 22nd century Earth because she wants to kiss a boy. His goodbye speech has been long since de-contextualized and made to sound noble. But it is essentially him going “yeah, you’re interested in boys now, so you go make babies (eww babies) and stay here while I go off running around the universe.” Yes, it is a bit yikes.

This ties in with a small body of writing about this trope in children’s literature about the way female characters are treated when reaching adulthood. In combination with a sexual awakening, this is often used as justification to dump them out of the narrative. It’s even called “The Problem of Susan,” albeit named after Neil Gaiman’s rebuttal of what happens to Susan at the end of The Chronicles of Narnia. If you’d like to learn more, you can read Elizabeth Sandifer’s essay on "The Dalek Invasion of Earth" which talks about this in some detail.

Why is this relevant? Because when Davies’ returned to Doctor Who, he cast the same actress in two different episodes. Susan Twist played Mrs. Merridew in "Wild Blue Yonder" and was seen again in "The Church on Ruby Road," which sent keen-eyed fans into a frenzy. She pops up here as a tea lady and, on the roof of Abbey Road; the Doctor even talks about the fact another of his incarnations is living in Shoreditch in 1963 with his granddaughter. That the episode ends with a musical number called “There’s always a Twist at the end” with Ncuti Gatwa winking to camera is as big a neon sign as you could hope for.

Doctor Who fans — never ones to not scour the text, metatext and paratext of each episode — took Twist’s repeated casting as a signpost. They assumed, not unjustifiably, that this series would feature a twist about Susan, and that Davies was subtly signaling this to diehard fans. Given Twist’s appearance here, and that we get a song saying the quiet part out loud, seems to vindicate those theories. Unless, of course, it’s all a triple bluff, but I’m not sure how anyone could game that successfully. The only question that remains, of course, is what Davies' plan is, and how exactly it’ll play out in the next six episodes.

The following includes spoilers for “Space Babies.”

You can’t help but admire Russell T. Davies’ audacity. He plucks the rights to make Doctor Who from the BBC. He gets Disney+ to write an enormous check to bring the show to life in a way never before attempted. Then, with so much money at stake and a months-long promotional campaign, he opens season one and the door to new fans with this.

We kick off at the end of “The Church on Ruby Road,” with the Doctor's latest companion, Ruby Sunday (Millie Gibson), entering the TARDIS for the first time. The Doctor introduces himself and offers a quick run-through of the premise for the folks at home. They’re an alien, adopted by the Time Lords of Gallifrey who were then wiped out. That leaves the Doctor (once again) as the last of their kind; a quasi-immortal time traveler who can go anywhere in the universe.

To set the scene, the pair hop back to prehistoric Wyoming to gaze at a detailed vista of some CGI dinosaurs. This is the show boasting about what it can do even for a throwaway scene with its new bigger budget. And it helps banish the memories of some of the less successful attempts to do a dinosaur episode from way back when.

Ruby is already savvy to the conventions of the time-travel genre and asks about the risks to causality if she steps on a butterfly. The Doctor dismisses this idea out of hand before Ruby does and causes unutterable damage to the timeline. The butterfly is quickly revived and the Doctor nips back into the TARDIS to activate the Butterfly Compensator. Which is as close as this show gets to saying that it has never been a hard sci-fi show and it never will be.

James Pardon/Bad Wolf/BBC Studios

For their next trip, they travel into the far future, landing on a space station that grows babies for colony projects. The bowels of the vessel are being stalked by an eyeless, teeth-heavy monster while the upper deck is crewed by talking babies. Mere seconds after proving the show can do decent-looking dinosaurs, it overreaches and adds an appallingly creepy CGI mouth to a baby. I’ve seen this done in movies, and commercials, and it never works, and please God stop trying.

The Doctor and Ruby encounter the crew, a bunch of babies with the minds of preschoolers and the mouths of adults, or something. They’ve been left to run the station, with pulleys and cables letting them control specific onboard functions, and smart strollers to carry them around. The only other presence on the ship is an AI, NAN-E, which acts as a comforting voice for the kids.

Ruby’s genre-savviness kicks in again here, and she notices there’s almost a storybook quality to the situation. A bunch of kids being menaced by an unwelcome, bogeyman-esque presence below, and the need for a hero to step in and rescue them. The pair give the babies some much-needed cuddles and are then invited to another part of the station by NAN-E.

On the way, the pair discuss origin stories and how Ruby, following on from the events of “The Church on Ruby Road,” wants to use the TARDIS to find out who her parents are. While they talk, snow — the same snow that fell when Ruby was left on the steps of the eponymous church — starts to fall inside the corridor. Ruby’s memories and history are somehow seeping through into the present, or she’s able to do something to alter the universe.

James Pardon/Bad Wolf/BBC Studios

But they can’t focus on that too much, since they’re interrupted by NAN-E, who turns out not to be an AI, but a person. Jocelyn Sancerre (Golda Rosheuvel) is the last adult crew member, who stayed on the station to care for the children when everyone else was ordered to leave. The government of the planet below pulled funding for the stations and ordered the adults to leave, abandoning the children in place. But, because the planet is also anti-abortion, they wouldn’t terminate the as-yet unborn babies, preferring them to slowly die from external factors. Geez, do you think they might be talking about us?

Much as this will be framed as a post-Roe story by US audiences, it’s worth saying the UK’s Conservative Party has taken a similar approach. In 2010, the Labour government had worked to greatly reduce child poverty and homelessness with a number of targeted programs. These were quickly unwound by the incoming Conservatives, not only undoing all of those gains but making the issue a lot worse. So much so that the UN – the UN! – of all people upbraided the nation.

The streak of saying the quiet part out loud continues when, while hatching a plan to save the babies, they opt to take them to another planet in the system. It’s a world that takes in refugees, but you have to turn up on the planet’s doorstep to get any help, because it won’t lift a finger to help rescue people in need from further afield. Again, this is a not-so oblique reference to the UK’s monstrous policy of attempting to block refugees from reaching the country via sea. It is a point of enormous pride for the Prime Minister that he has boasted about his work to prevent boat crossings.

This is made all the more painful as, for a brief moment, the country was reconsidering its approach following the death of Alan Kurdi, a two-year-old boy who drowned while attempting passage to Europe from Syria. The image of his body became a harrowing and defining image of the day, but the press quickly worked to stifle any pro-migrant sentiment, enabling the country to engage in an enormous boondoggle by spending millions of pounds building a detention center in Rwanda to forcibly-relocate people seeking asylum in the UK as a “deterrent.”

James Pardon/Bad Wolf/BBC Studios

The grown ups can’t mull their problems for long as Eric, one of the babies (sorry, space babies) heads down to the lower level to tackle this bogeyman. There’s a telling moment where Ruby sprints out to rescue the child far ahead of the Doctor, continuing a thread from the Christmas special: Ruby Sunday is willing to throw herself head-first into the action rather than waiting for help, steel pipe in hand. Doctor Who has always thrived when the companions — a name we’ve been saddled with since 1963 — are active figures in the narrative. Every one of the show’s sidekicks, bar one, has their ardent fans, but commanding figures like Sarah Jane and Ace are always the most beloved.

Once the baby is rescued by the other babies wielding a gas pipe as a flamethrower, they’re sent back upstairs while the Doctor and Ruby take on the bogeyman. Ruby’s assumptions are proved further right when it turns out the alien is actually a bogey-man, as in made of snot. The station’s malfunctioning systems sought to build an appropriate environment for the kids, and used children’s literature as its template.

Jocelyn works out that she can force the bogeyman toward an airlock while keeping the Doctor and Ruby safe. She then exposes the monster to the void of space, but the Doctor can’t be so cruel to another lonely, misunderstood figure. He makes his way into the airlock room and closes the door to seal them both in to save the bogeyman’s life.

The episode ends with the Doctor realizing that the station can eject its six full years worth of soiled diapers to propel it towards the refugee planet. It’s entirely fair game to resolve a crisis precipitated by rogue bodily fluids with a poop joke.

Crisis averted, he and Ruby walk back to the TARDIS where he gives her a key and welcomes her to the team, before adding that, as much as she may want to, he can’t take her back to the moment she was abandoned. He covertly begins scanning Ruby to work out what exactly is her deal, and why she’s capable of bending the universe. (And yes, there are shades of the Impossible Girl arc in how this is playing out.)

The TARDIS lands back at Ruby’s home, smashing up the kitchen and the Christmas dinner therein.

James Pardon/Bad Wolf/BBC Studios

I imagine it won’t be long after the episode airs that the usual corners of the internet will scream culture war. Davies was always a political writer and feels a duty to be unapologetic about his viewpoint on current-day matters. His original tenure on the show was rooted at the tail-end of the Blair and Brown years, fueled by righteous fury around the invasion of Iraq. This is, again, all the more surprising given it’s being broadcast on Disney+, the model of conservative restraint.

During his first tenure, Davies would begin the production of every episode with a tone meeting which outlined how each episode would maintain a consistent feeling in the writing, acting and direction. By comparison, “Space Babies” lurches wildly: Poop and fart jokes in one scene, unsettling horror in the next, weighty examinations of human morality between. The scenes of Jocelyn’s adult dialog being run through the “nanny filter” is a good source of comedy, it’s just odd that they’re juxtaposed with high drama.

But that’s more or less what makes Doctor Who one of the best shows on TV — its ability to do anything it damn well pleases. If the weirdness of what you’ve just seen appeals then you’ve just become a Doctor Who fan. If it didn’t, then you might find the next episode will serve up what you were looking for.

The following includes spoilers for “The Devil’s Chord.”

For a show about time (and space) travel interwoven with British pop culture since its start in 1963, a trip to visit the Beatles is an obvious premise. So obvious that this is the second time we’ve had a “what if” episode hinging on the Fab Four’s cultural impact. After all, both the Beatles and Doctor Who became global cultural exports as Britain flexed its post-imperial soft power. But while there’s plenty of material to mine in that premise, this isn’t an episode that’s interested in doing that, relegating the Beatles to little more than window dressing.

This has always been a trick in Doctor Who’s toolbox, especially when Russell T. Davies is in charge. He loves dangling an idea, or eye-catching visual, to lure in an audience before moving the focus to something else. I’m reminded of the kung-fu monks from “Tooth and Claw” which looked great in the trailers but had no real impact on the story. It’s “Tooth and Claw” that “The Devil’s Chord” feels similar to — an early season one episode that doesn’t quite work in and of itself, but does spend a lot of its time gesturing to this year’s recurring themes. (FilmStories reported from a recent Q&A, where Davies said that this episode lacked a central plot and was, instead, "Just some subplots.")

James Pardon/Bad Wolf/BBC Studios

But to understand that, and my stance, we’re going to have to take a little look at The Context before we get to examining the meat. You see, during its history, Doctor Who has bent itself to fit the vision of its primary creative figure and Davies is a voracious watcher of TV. He’s obsessed with the form and format of TV as much as its content, and this is reflected in his work. His episodes often develop with news reports, CCTV clips and deeper forms of exposition revealed through screens. “Bad Wolf” is a great example, where the show lands at a TV studio that’s making sci-fi versions of the then-current pantheon of British reality TV.

Davies also trusts his audience to instinctively know the unspoken rules of TV even if they can’t name them. Which is why I think it’s worth looking at “The Devil’s Chord” as an episode that is, for want of a better phrase, collapsing in on itself. When Mrs. Flood talks to the camera at the end of “Church on Ruby Road,” it felt Deliberately Wrong, especially after she was seemingly unaware of the TARDIS earlier in the episode. Here, the numerous fourth wall breaks and lapses in storytelling are similarly an intentional sign of How Wrong Things Are. What starts out as a by-the-numbers celebrity historical quickly collapses into a fever dream like Sam Lowry’s descent into madness at the end of Brazil.

James Pardon/Bad Wolf/BBC Studios

We open in a concert hall in 1925 as a teacher outlines the basics of music theory for a young child. He shows off that he has “discovered” The Devil’s Chord and, by playing it, unleashes Maestro (Jinkx Monsoon), the embodiment of music. Maestro is a godlike elemental force and a child of the Toymaker – featured villain of the 60th Anniversary special episode “The Giggle.” After praising the musician for their genius, Maestro then sucks the music out of their heart and eats it like cotton candy before staring into the camera and playing the show's theme tune on the piano.

When the titles end (notice the theme is playing out of the jukebox) it’s clear Ruby has been on the TARDIS for some time. She asks the Doctor if it would be possible to visit the recording of the Beatles’ first album at the EMI’s studios on Abbey Road. Before they open the doors, she asks if it might be worth them changing into less conspicuously modern clothes and they spring off to sample the delights of the TARDIS wardrobe, complete with a wig for the Doctor.

James Pardon/Bad Wolf/BBC Studios

The pair sneak into George Martin’s producer’s booth but quickly spot something is wrong with the scene in front of them. Rather than playing any of Please Please Me’s big and recognizable hits, they’re turning out mop-top music about animals. The Doctor doesn’t know it yet but Maestro has spent the last few decades swallowing all of the music out of people’s hearts. It’s a genius way to get around the fact that, even with all the cash thrown at Get Back and Disney’s vast bank balance, Doctor Who still can’t readily afford to license Beatles songs.

Next door, (famous British singer / TV presenter / notorious diva) Cilla Black is similarly stricken with a case of the muzaks while a concert orchestra is just about mustering a version of Three Blind Mice. The Doctor and Ruby head to the canteen to corner John and Paul to try and find out what went wrong with history. They then head to the roof with a piano, where Ruby plays a tune she wrote to help a friend get over a breakup. But once the Doctor hears Maestro’s giggle, he sprints away, hiding in a nearby basement.

James Pardon/Bad Wolf/BBC Studios

The Doctor explains that any villain who laughs is tied to the Toymaker and is a sign of the fractured universe. Fighting the Toymaker in “The Giggle” was sufficiently draining and difficult, especially given how powerful these elemental forces are, that he doesn’t want to do it again. Maestro is hunting for them, but the Doctor uses his sonic screwdriver to kill all of the sound in the area. (The Doctor knows just enough about how the form and format of TV works to turn the tables on their opponent.) Maestro works out how to undo the blocking – with some magnificent sound editing — but is then distracted from their pursuit of the Doctor by an older woman Ruby had inspired to play the piano.

The eagle-eyed among you will notice that this is the second time in two episodes that Ruby has inspired another person to be bold to their detriment. Her words were enough to encourage Eric to try and take on the bogeyman single-handed in “Space Babies,” nearly imperiling him. The older woman isn’t so lucky and gets consumed by Maestro

Because of how long Doctor Who has run, it's often its own source material. Ruby, once they’ve escaped, assumes that everything is okay because she recalls listening to music as a child and so therefore Maestro can’t have won. So, in a scene pulled from “Pyramids of Mars,” the Doctor takes her to 2024 in the TARDIS to show the wreckage of the alternate future. Because while she’s protected from the ravages of continuity by the fact she’s traveling through time, the rest of the universe isn’t so lucky.

Natalie Seery/Bad Wolf/BBC Studios

But this flash-forward, in an echo of the meeting with the Toymaker, flips from a visage of a bombed-out London to a stagey set. Maestro arrives behind a white piano to outline their plan to rid the universe of music, leaving just the aeolian tones of the wind brushing against objects. But the Doctor says that a universe without music, unable to express joy or anger through art, turns sour and destroys itself. It's a feeling I can relate to — like when love becomes so painful in its absence that you'd rather disappear into the void than keep going on. Davies is also a nihilist so many of his episodes have revolved around the dark face of humanity that reveals itself when denied Earthly pleasures.

Escaping back to the ‘60s, the Doctor and Ruby meet Maestro and find the walls of reality are collapsing. Murray Gold’s swirling soundtrack isn’t just the background music, it’s bled into the fabric of the show itself. The Doctor and Ruby start trying to find a chord that will bind Maestro with the Mrs. Mills piano, a (real) fixture of Abbey Road’s studio. As they play, the notes are rendered floating over the piano, but the pair fail to identify the final note before Maestro turns up.

Maestro begins attacking, throwing around musical scores as weapons and hurling the piano into the hall. It’s here that the episode’s coherence starts to sag, the scenes get longer and odder, a wonky version of a standard monster-of-the-week TV show conclusion. The tension builds, and all looks lost, until John and Paul stumble upon the piano in the hallway. They’re able to see the notes hanging in the air over the piano and with their, uh, innate musical nous, and complete the chord to bind the villain. But before they’re whisked away, Maestro has time to reveal they aren’t the only one of the Toymaker’s minions coming, and “the one who waits” is lurking in the background.

Out of nowhere, the episode ends with a big musical number that features the cast dancing through the Abbey Road sets, delighted at the return of music. Even the steps of the road crossing light up as the Doctor and Ruby cut a rug across them. I can’t work out if it’s simply an indulgent sequence, or another big sign that the show’s structure is breaking down. That the Doctor and Ruby are blind to the apparent Wrongness of it all hints at the latter, especially given the deeper context of the song’s title — see below.

James Pardon/Bad Wolf/BBC Studios

There are other signs that Doctor Who is collapsing into its own TV series, including the casting decisions. The older woman who plays the piano is June Hudson, the show’s costume designer from 1978 to 1980 — who famously redesigned the fourth Doctor’s costume. The musician at the piano during the dance number is Murray Gold, while the figures the Doctor and Ruby dance with at the end are Strictly Come Dancing stars Shirley Ballas and Johannes Radebe. Maybe the big nemesis haunting the series will be some form that could threaten its existence as a TV show itself.

It’s worth saying that Doctor Who has an uneasy relationship with “big” villain performances which can turn hard into hamminess. But Jinkx Monsoon manages to pitch Maestro as just big and flamboyant enough to steal every scene they’re in, but never too silly. It’s also the right side of charming and magnetic, and while they don’t have anywhere near enough time to properly face off against Ncuti Gatwa’s Doctor, it’s still a great match-up.

The problem of Susan Twist

As much as I don’t want to get into the weeds here, it’s possible this stuff is going to come up later that I need to flag it. Doctor Who has been running for more than 60 years with a revolving door of creative figures who paid little-to-no attention to consistency. A convenient way to justify these is by suggesting time travel, by its very nature, would always mess up your personal history. But, in latter days, the show has often preferred to overlook the thornier parts of its backstory, like the existence of the Doctor’s granddaughter, Susan.

When the show started, the Doctor was joined on his adventures by Susan and a pair of teachers who followed her home one night. Long before any mention of Time Lords or Gallifrey, she was just the kid figure who often wound up needing rescuing. Then, in “The Dalek Invasion of Earth,” the Doctor exiles her to 22nd century Earth because she wants to kiss a boy. His goodbye speech has been long since de-contextualized and made to sound noble. But it is essentially him going “yeah, you’re interested in boys now, so you go make babies (eww babies) and stay here while I go off running around the universe.” Yes, it is a bit yikes.

This ties in with a small body of writing about this trope in children’s literature about the way female characters are treated when reaching adulthood. In combination with a sexual awakening, this is often used as justification to dump them out of the narrative. It’s even called “The Problem of Susan,” albeit named after Neil Gaiman’s rebuttal of what happens to Susan at the end of The Chronicles of Narnia. If you’d like to learn more, you can read Elizabeth Sandifer’s essay on "The Dalek Invasion of Earth" which talks about this in some detail.

Why is this relevant? Because when Davies’ returned to Doctor Who, he cast the same actress in two different episodes. Susan Twist played Mrs. Merridew in "Wild Blue Yonder" and was seen again in "The Church on Ruby Road," which sent keen-eyed fans into a frenzy. She pops up here as a tea lady and, on the roof of Abbey Road; the Doctor even talks about the fact another of his incarnations is living in Shoreditch in 1963 with his granddaughter. That the episode ends with a musical number called “There’s always a Twist at the end” with Ncuti Gatwa winking to camera is as big a neon sign as you could hope for.

Doctor Who fans — never ones to not scour the text, metatext and paratext of each episode — took Twist’s repeated casting as a signpost. They assumed, not unjustifiably, that this series would feature a twist about Susan, and that Davies was subtly signaling this to diehard fans. Given Twist’s appearance here, and that we get a song saying the quiet part out loud, seems to vindicate those theories. Unless, of course, it’s all a triple bluff, but I’m not sure how anyone could game that successfully. The only question that remains, of course, is what Davies' plan is, and how exactly it’ll play out in the next six episodes.

The following includes spoilers for “Space Babies.”

You can’t help but admire Russell T. Davies’ audacity. He plucks the rights to make Doctor Who from the BBC. He gets Disney+ to write an enormous check to bring the show to life in a way never before attempted. Then, with so much money at stake and a months-long promotional campaign, he opens season one and the door to new fans with this.

We kick off at the end of “The Church on Ruby Road,” with the Doctor's latest companion, Ruby Sunday (Millie Gibson), entering the TARDIS for the first time. The Doctor introduces himself and offers a quick run-through of the premise for the folks at home. They’re an alien, adopted by the Time Lords of Gallifrey who were then wiped out. That leaves the Doctor (once again) as the last of their kind; a quasi-immortal time traveler who can go anywhere in the universe.

To set the scene, the pair hop back to prehistoric Wyoming to gaze at a detailed vista of some CGI dinosaurs. This is the show boasting about what it can do even for a throwaway scene with its new bigger budget. And it helps banish the memories of some of the less successful attempts to do a dinosaur episode from way back when.

Ruby is already savvy to the conventions of the time-travel genre and asks about the risks to causality if she steps on a butterfly. The Doctor dismisses this idea out of hand before Ruby does and causes unutterable damage to the timeline. The butterfly is quickly revived and the Doctor nips back into the TARDIS to activate the Butterfly Compensator. Which is as close as this show gets to saying that it has never been a hard sci-fi show and it never will be.

James Pardon/Bad Wolf/BBC Studios

For their next trip, they travel into the far future, landing on a space station that grows babies for colony projects. The bowels of the vessel are being stalked by an eyeless, teeth-heavy monster while the upper deck is crewed by talking babies. Mere seconds after proving the show can do decent-looking dinosaurs, it overreaches and adds an appallingly creepy CGI mouth to a baby. I’ve seen this done in movies, and commercials, and it never works, and please God stop trying.

The Doctor and Ruby encounter the crew, a bunch of babies with the minds of preschoolers and the mouths of adults, or something. They’ve been left to run the station, with pulleys and cables letting them control specific onboard functions, and smart strollers to carry them around. The only other presence on the ship is an AI, NAN-E, which acts as a comforting voice for the kids.

Ruby’s genre-savviness kicks in again here, and she notices there’s almost a storybook quality to the situation. A bunch of kids being menaced by an unwelcome, bogeyman-esque presence below, and the need for a hero to step in and rescue them. The pair give the babies some much-needed cuddles and are then invited to another part of the station by NAN-E.

On the way, the pair discuss origin stories and how Ruby, following on from the events of “The Church on Ruby Road,” wants to use the TARDIS to find out who her parents are. While they talk, snow — the same snow that fell when Ruby was left on the steps of the eponymous church — starts to fall inside the corridor. Ruby’s memories and history are somehow seeping through into the present, or she’s able to do something to alter the universe.

James Pardon/Bad Wolf/BBC Studios

But they can’t focus on that too much, since they’re interrupted by NAN-E, who turns out not to be an AI, but a person. Jocelyn Sancerre (Golda Rosheuvel) is the last adult crew member, who stayed on the station to care for the children when everyone else was ordered to leave. The government of the planet below pulled funding for the stations and ordered the adults to leave, abandoning the children in place. But, because the planet is also anti-abortion, they wouldn’t terminate the as-yet unborn babies, preferring them to slowly die from external factors. Geez, do you think they might be talking about us?

Much as this will be framed as a post-Roe story by US audiences, it’s worth saying the UK’s Conservative Party has taken a similar approach. In 2010, the Labour government had worked to greatly reduce child poverty and homelessness with a number of targeted programs. These were quickly unwound by the incoming Conservatives, not only undoing all of those gains but making the issue a lot worse. So much so that the UN – the UN! – of all people upbraided the nation.

The streak of saying the quiet part out loud continues when, while hatching a plan to save the babies, they opt to take them to another planet in the system. It’s a world that takes in refugees, but you have to turn up on the planet’s doorstep to get any help, because it won’t lift a finger to help rescue people in need from further afield. Again, this is a not-so oblique reference to the UK’s monstrous policy of attempting to block refugees from reaching the country via sea. It is a point of enormous pride for the Prime Minister that he has boasted about his work to prevent boat crossings.

This is made all the more painful as, for a brief moment, the country was reconsidering its approach following the death of Alan Kurdi, a two-year-old boy who drowned while attempting passage to Europe from Syria. The image of his body became a harrowing and defining image of the day, but the press quickly worked to stifle any pro-migrant sentiment, enabling the country to engage in an enormous boondoggle by spending millions of pounds building a detention center in Rwanda to forcibly-relocate people seeking asylum in the UK as a “deterrent.”

James Pardon/Bad Wolf/BBC Studios

The grown ups can’t mull their problems for long as Eric, one of the babies (sorry, space babies) heads down to the lower level to tackle this bogeyman. There’s a telling moment where Ruby sprints out to rescue the child far ahead of the Doctor, continuing a thread from the Christmas special: Ruby Sunday is willing to throw herself head-first into the action rather than waiting for help, steel pipe in hand. Doctor Who has always thrived when the companions — a name we’ve been saddled with since 1963 — are active figures in the narrative. Every one of the show’s sidekicks, bar one, has their ardent fans, but commanding figures like Sarah Jane and Ace are always the most beloved.

Once the baby is rescued by the other babies wielding a gas pipe as a flamethrower, they’re sent back upstairs while the Doctor and Ruby take on the bogeyman. Ruby’s assumptions are proved further right when it turns out the alien is actually a bogey-man, as in made of snot. The station’s malfunctioning systems sought to build an appropriate environment for the kids, and used children’s literature as its template.

Jocelyn works out that she can force the bogeyman toward an airlock while keeping the Doctor and Ruby safe. She then exposes the monster to the void of space, but the Doctor can’t be so cruel to another lonely, misunderstood figure. He makes his way into the airlock room and closes the door to seal them both in to save the bogeyman’s life.

The episode ends with the Doctor realizing that the station can eject its six full years worth of soiled diapers to propel it towards the refugee planet. It’s entirely fair game to resolve a crisis precipitated by rogue bodily fluids with a poop joke.

Crisis averted, he and Ruby walk back to the TARDIS where he gives her a key and welcomes her to the team, before adding that, as much as she may want to, he can’t take her back to the moment she was abandoned. He covertly begins scanning Ruby to work out what exactly is her deal, and why she’s capable of bending the universe. (And yes, there are shades of the Impossible Girl arc in how this is playing out.)

The TARDIS lands back at Ruby’s home, smashing up the kitchen and the Christmas dinner therein.

James Pardon/Bad Wolf/BBC Studios

I imagine it won’t be long after the episode airs that the usual corners of the internet will scream culture war. Davies was always a political writer and feels a duty to be unapologetic about his viewpoint on current-day matters. His original tenure on the show was rooted at the tail-end of the Blair and Brown years, fueled by righteous fury around the invasion of Iraq. This is, again, all the more surprising given it’s being broadcast on Disney+, the model of conservative restraint.

During his first tenure, Davies would begin the production of every episode with a tone meeting which outlined how each episode would maintain a consistent feeling in the writing, acting and direction. By comparison, “Space Babies” lurches wildly: Poop and fart jokes in one scene, unsettling horror in the next, weighty examinations of human morality between. The scenes of Jocelyn’s adult dialog being run through the “nanny filter” is a good source of comedy, it’s just odd that they’re juxtaposed with high drama.

But that’s more or less what makes Doctor Who one of the best shows on TV — its ability to do anything it damn well pleases. If the weirdness of what you’ve just seen appeals then you’ve just become a Doctor Who fan. If it didn’t, then you might find the next episode will serve up what you were looking for.

The following includes spoilers for “The Devil’s Chord.”

For a show about time (and space) travel interwoven with British pop culture since its start in 1963, a trip to visit the Beatles is an obvious premise. So obvious that this is the second time we’ve had a “what if” episode hinging on the Fab Four’s cultural impact. After all, both the Beatles and Doctor Who became global cultural exports as Britain flexed its post-imperial soft power. But while there’s plenty of material to mine in that premise, this isn’t an episode that’s interested in doing that, relegating the Beatles to little more than window dressing.

This has always been a trick in Doctor Who’s toolbox, especially when Russell T. Davies is in charge. He loves dangling an idea, or eye-catching visual, to lure in an audience before moving the focus to something else. I’m reminded of the kung-fu monks from “Tooth and Claw” which looked great in the trailers but had no real impact on the story. It’s “Tooth and Claw” that “The Devil’s Chord” feels similar to — an early season one episode that doesn’t quite work in and of itself, but does spend a lot of its time gesturing to this year’s recurring themes. (FilmStories reported from a recent Q&A, where Davies said that this episode lacked a central plot and was, instead, "Just some subplots.")

James Pardon/Bad Wolf/BBC Studios

But to understand that, and my stance, we’re going to have to take a little look at The Context before we get to examining the meat. You see, during its history, Doctor Who has bent itself to fit the vision of its primary creative figure and Davies is a voracious watcher of TV. He’s obsessed with the form and format of TV as much as its content, and this is reflected in his work. His episodes often develop with news reports, CCTV clips and deeper forms of exposition revealed through screens. “Bad Wolf” is a great example, where the show lands at a TV studio that’s making sci-fi versions of the then-current pantheon of British reality TV.

Davies also trusts his audience to instinctively know the unspoken rules of TV even if they can’t name them. Which is why I think it’s worth looking at “The Devil’s Chord” as an episode that is, for want of a better phrase, collapsing in on itself. When Mrs. Flood talks to the camera at the end of “Church on Ruby Road,” it felt Deliberately Wrong, especially after she was seemingly unaware of the TARDIS earlier in the episode. Here, the numerous fourth wall breaks and lapses in storytelling are similarly an intentional sign of How Wrong Things Are. What starts out as a by-the-numbers celebrity historical quickly collapses into a fever dream like Sam Lowry’s descent into madness at the end of Brazil.

James Pardon/Bad Wolf/BBC Studios

We open in a concert hall in 1925 as a teacher outlines the basics of music theory for a young child. He shows off that he has “discovered” The Devil’s Chord and, by playing it, unleashes Maestro (Jinkx Monsoon), the embodiment of music. Maestro is a godlike elemental force and a child of the Toymaker – featured villain of the 60th Anniversary special episode “The Giggle.” After praising the musician for their genius, Maestro then sucks the music out of their heart and eats it like cotton candy before staring into the camera and playing the show's theme tune on the piano.

When the titles end (notice the theme is playing out of the jukebox) it’s clear Ruby has been on the TARDIS for some time. She asks the Doctor if it would be possible to visit the recording of the Beatles’ first album at the EMI’s studios on Abbey Road. Before they open the doors, she asks if it might be worth them changing into less conspicuously modern clothes and they spring off to sample the delights of the TARDIS wardrobe, complete with a wig for the Doctor.

James Pardon/Bad Wolf/BBC Studios

The pair sneak into George Martin’s producer’s booth but quickly spot something is wrong with the scene in front of them. Rather than playing any of Please Please Me’s big and recognizable hits, they’re turning out mop-top music about animals. The Doctor doesn’t know it yet but Maestro has spent the last few decades swallowing all of the music out of people’s hearts. It’s a genius way to get around the fact that, even with all the cash thrown at Get Back and Disney’s vast bank balance, Doctor Who still can’t readily afford to license Beatles songs.

Next door, (famous British singer / TV presenter / notorious diva) Cilla Black is similarly stricken with a case of the muzaks while a concert orchestra is just about mustering a version of Three Blind Mice. The Doctor and Ruby head to the canteen to corner John and Paul to try and find out what went wrong with history. They then head to the roof with a piano, where Ruby plays a tune she wrote to help a friend get over a breakup. But once the Doctor hears Maestro’s giggle, he sprints away, hiding in a nearby basement.

James Pardon/Bad Wolf/BBC Studios

The Doctor explains that any villain who laughs is tied to the Toymaker and is a sign of the fractured universe. Fighting the Toymaker in “The Giggle” was sufficiently draining and difficult, especially given how powerful these elemental forces are, that he doesn’t want to do it again. Maestro is hunting for them, but the Doctor uses his sonic screwdriver to kill all of the sound in the area. (The Doctor knows just enough about how the form and format of TV works to turn the tables on their opponent.) Maestro works out how to undo the blocking – with some magnificent sound editing — but is then distracted from their pursuit of the Doctor by an older woman Ruby had inspired to play the piano.

The eagle-eyed among you will notice that this is the second time in two episodes that Ruby has inspired another person to be bold to their detriment. Her words were enough to encourage Eric to try and take on the bogeyman single-handed in “Space Babies,” nearly imperiling him. The older woman isn’t so lucky and gets consumed by Maestro

Because of how long Doctor Who has run, it's often its own source material. Ruby, once they’ve escaped, assumes that everything is okay because she recalls listening to music as a child and so therefore Maestro can’t have won. So, in a scene pulled from “Pyramids of Mars,” the Doctor takes her to 2024 in the TARDIS to show the wreckage of the alternate future. Because while she’s protected from the ravages of continuity by the fact she’s traveling through time, the rest of the universe isn’t so lucky.

Natalie Seery/Bad Wolf/BBC Studios

But this flash-forward, in an echo of the meeting with the Toymaker, flips from a visage of a bombed-out London to a stagey set. Maestro arrives behind a white piano to outline their plan to rid the universe of music, leaving just the aeolian tones of the wind brushing against objects. But the Doctor says that a universe without music, unable to express joy or anger through art, turns sour and destroys itself. It's a feeling I can relate to — like when love becomes so painful in its absence that you'd rather disappear into the void than keep going on. Davies is also a nihilist so many of his episodes have revolved around the dark face of humanity that reveals itself when denied Earthly pleasures.

Escaping back to the ‘60s, the Doctor and Ruby meet Maestro and find the walls of reality are collapsing. Murray Gold’s swirling soundtrack isn’t just the background music, it’s bled into the fabric of the show itself. The Doctor and Ruby start trying to find a chord that will bind Maestro with the Mrs. Mills piano, a (real) fixture of Abbey Road’s studio. As they play, the notes are rendered floating over the piano, but the pair fail to identify the final note before Maestro turns up.

Maestro begins attacking, throwing around musical scores as weapons and hurling the piano into the hall. It’s here that the episode’s coherence starts to sag, the scenes get longer and odder, a wonky version of a standard monster-of-the-week TV show conclusion. The tension builds, and all looks lost, until John and Paul stumble upon the piano in the hallway. They’re able to see the notes hanging in the air over the piano and with their, uh, innate musical nous, and complete the chord to bind the villain. But before they’re whisked away, Maestro has time to reveal they aren’t the only one of the Toymaker’s minions coming, and “the one who waits” is lurking in the background.

Out of nowhere, the episode ends with a big musical number that features the cast dancing through the Abbey Road sets, delighted at the return of music. Even the steps of the road crossing light up as the Doctor and Ruby cut a rug across them. I can’t work out if it’s simply an indulgent sequence, or another big sign that the show’s structure is breaking down. That the Doctor and Ruby are blind to the apparent Wrongness of it all hints at the latter, especially given the deeper context of the song’s title — see below.

James Pardon/Bad Wolf/BBC Studios

There are other signs that Doctor Who is collapsing into its own TV series, including the casting decisions. The older woman who plays the piano is June Hudson, the show’s costume designer from 1978 to 1980 — who famously redesigned the fourth Doctor’s costume. The musician at the piano during the dance number is Murray Gold, while the figures the Doctor and Ruby dance with at the end are Strictly Come Dancing stars Shirley Ballas and Johannes Radebe. Maybe the big nemesis haunting the series will be some form that could threaten its existence as a TV show itself.

It’s worth saying that Doctor Who has an uneasy relationship with “big” villain performances which can turn hard into hamminess. But Jinkx Monsoon manages to pitch Maestro as just big and flamboyant enough to steal every scene they’re in, but never too silly. It’s also the right side of charming and magnetic, and while they don’t have anywhere near enough time to properly face off against Ncuti Gatwa’s Doctor, it’s still a great match-up.

The problem of Susan Twist

As much as I don’t want to get into the weeds here, it’s possible this stuff is going to come up later that I need to flag it. Doctor Who has been running for more than 60 years with a revolving door of creative figures who paid little-to-no attention to consistency. A convenient way to justify these is by suggesting time travel, by its very nature, would always mess up your personal history. But, in latter days, the show has often preferred to overlook the thornier parts of its backstory, like the existence of the Doctor’s granddaughter, Susan.

When the show started, the Doctor was joined on his adventures by Susan and a pair of teachers who followed her home one night. Long before any mention of Time Lords or Gallifrey, she was just the kid figure who often wound up needing rescuing. Then, in “The Dalek Invasion of Earth,” the Doctor exiles her to 22nd century Earth because she wants to kiss a boy. His goodbye speech has been long since de-contextualized and made to sound noble. But it is essentially him going “yeah, you’re interested in boys now, so you go make babies (eww babies) and stay here while I go off running around the universe.” Yes, it is a bit yikes.

This ties in with a small body of writing about this trope in children’s literature about the way female characters are treated when reaching adulthood. In combination with a sexual awakening, this is often used as justification to dump them out of the narrative. It’s even called “The Problem of Susan,” albeit named after Neil Gaiman’s rebuttal of what happens to Susan at the end of The Chronicles of Narnia. If you’d like to learn more, you can read Elizabeth Sandifer’s essay on "The Dalek Invasion of Earth" which talks about this in some detail.

Why is this relevant? Because when Davies’ returned to Doctor Who, he cast the same actress in two different episodes. Susan Twist played Mrs. Merridew in "Wild Blue Yonder" and was seen again in "The Church on Ruby Road," which sent keen-eyed fans into a frenzy. She pops up here as a tea lady and, on the roof of Abbey Road; the Doctor even talks about the fact another of his incarnations is living in Shoreditch in 1963 with his granddaughter. That the episode ends with a musical number called “There’s always a Twist at the end” with Ncuti Gatwa winking to camera is as big a neon sign as you could hope for.

Doctor Who fans — never ones to not scour the text, metatext and paratext of each episode — took Twist’s repeated casting as a signpost. They assumed, not unjustifiably, that this series would feature a twist about Susan, and that Davies was subtly signaling this to diehard fans. Given Twist’s appearance here, and that we get a song saying the quiet part out loud, seems to vindicate those theories. Unless, of course, it’s all a triple bluff, but I’m not sure how anyone could game that successfully. The only question that remains, of course, is what Davies' plan is, and how exactly it’ll play out in the next six episodes.

The following includes spoilers for “Space Babies.”

You can’t help but admire Russell T. Davies’ audacity. He plucks the rights to make Doctor Who from the BBC. He gets Disney+ to write an enormous check to bring the show to life in a way never before attempted. Then, with so much money at stake and a months-long promotional campaign, he opens season one and the door to new fans with this.

We kick off at the end of “The Church on Ruby Road,” with the Doctor's latest companion, Ruby Sunday (Millie Gibson), entering the TARDIS for the first time. The Doctor introduces himself and offers a quick run-through of the premise for the folks at home. They’re an alien, adopted by the Time Lords of Gallifrey who were then wiped out. That leaves the Doctor (once again) as the last of their kind; a quasi-immortal time traveler who can go anywhere in the universe.

To set the scene, the pair hop back to prehistoric Wyoming to gaze at a detailed vista of some CGI dinosaurs. This is the show boasting about what it can do even for a throwaway scene with its new bigger budget. And it helps banish the memories of some of the less successful attempts to do a dinosaur episode from way back when.

Ruby is already savvy to the conventions of the time-travel genre and asks about the risks to causality if she steps on a butterfly. The Doctor dismisses this idea out of hand before Ruby does and causes unutterable damage to the timeline. The butterfly is quickly revived and the Doctor nips back into the TARDIS to activate the Butterfly Compensator. Which is as close as this show gets to saying that it has never been a hard sci-fi show and it never will be.

James Pardon/Bad Wolf/BBC Studios

For their next trip, they travel into the far future, landing on a space station that grows babies for colony projects. The bowels of the vessel are being stalked by an eyeless, teeth-heavy monster while the upper deck is crewed by talking babies. Mere seconds after proving the show can do decent-looking dinosaurs, it overreaches and adds an appallingly creepy CGI mouth to a baby. I’ve seen this done in movies, and commercials, and it never works, and please God stop trying.

The Doctor and Ruby encounter the crew, a bunch of babies with the minds of preschoolers and the mouths of adults, or something. They’ve been left to run the station, with pulleys and cables letting them control specific onboard functions, and smart strollers to carry them around. The only other presence on the ship is an AI, NAN-E, which acts as a comforting voice for the kids.

Ruby’s genre-savviness kicks in again here, and she notices there’s almost a storybook quality to the situation. A bunch of kids being menaced by an unwelcome, bogeyman-esque presence below, and the need for a hero to step in and rescue them. The pair give the babies some much-needed cuddles and are then invited to another part of the station by NAN-E.

On the way, the pair discuss origin stories and how Ruby, following on from the events of “The Church on Ruby Road,” wants to use the TARDIS to find out who her parents are. While they talk, snow — the same snow that fell when Ruby was left on the steps of the eponymous church — starts to fall inside the corridor. Ruby’s memories and history are somehow seeping through into the present, or she’s able to do something to alter the universe.

James Pardon/Bad Wolf/BBC Studios

But they can’t focus on that too much, since they’re interrupted by NAN-E, who turns out not to be an AI, but a person. Jocelyn Sancerre (Golda Rosheuvel) is the last adult crew member, who stayed on the station to care for the children when everyone else was ordered to leave. The government of the planet below pulled funding for the stations and ordered the adults to leave, abandoning the children in place. But, because the planet is also anti-abortion, they wouldn’t terminate the as-yet unborn babies, preferring them to slowly die from external factors. Geez, do you think they might be talking about us?

Much as this will be framed as a post-Roe story by US audiences, it’s worth saying the UK’s Conservative Party has taken a similar approach. In 2010, the Labour government had worked to greatly reduce child poverty and homelessness with a number of targeted programs. These were quickly unwound by the incoming Conservatives, not only undoing all of those gains but making the issue a lot worse. So much so that the UN – the UN! – of all people upbraided the nation.

The streak of saying the quiet part out loud continues when, while hatching a plan to save the babies, they opt to take them to another planet in the system. It’s a world that takes in refugees, but you have to turn up on the planet’s doorstep to get any help, because it won’t lift a finger to help rescue people in need from further afield. Again, this is a not-so oblique reference to the UK’s monstrous policy of attempting to block refugees from reaching the country via sea. It is a point of enormous pride for the Prime Minister that he has boasted about his work to prevent boat crossings.

This is made all the more painful as, for a brief moment, the country was reconsidering its approach following the death of Alan Kurdi, a two-year-old boy who drowned while attempting passage to Europe from Syria. The image of his body became a harrowing and defining image of the day, but the press quickly worked to stifle any pro-migrant sentiment, enabling the country to engage in an enormous boondoggle by spending millions of pounds building a detention center in Rwanda to forcibly-relocate people seeking asylum in the UK as a “deterrent.”

James Pardon/Bad Wolf/BBC Studios

The grown ups can’t mull their problems for long as Eric, one of the babies (sorry, space babies) heads down to the lower level to tackle this bogeyman. There’s a telling moment where Ruby sprints out to rescue the child far ahead of the Doctor, continuing a thread from the Christmas special: Ruby Sunday is willing to throw herself head-first into the action rather than waiting for help, steel pipe in hand. Doctor Who has always thrived when the companions — a name we’ve been saddled with since 1963 — are active figures in the narrative. Every one of the show’s sidekicks, bar one, has their ardent fans, but commanding figures like Sarah Jane and Ace are always the most beloved.

Once the baby is rescued by the other babies wielding a gas pipe as a flamethrower, they’re sent back upstairs while the Doctor and Ruby take on the bogeyman. Ruby’s assumptions are proved further right when it turns out the alien is actually a bogey-man, as in made of snot. The station’s malfunctioning systems sought to build an appropriate environment for the kids, and used children’s literature as its template.

Jocelyn works out that she can force the bogeyman toward an airlock while keeping the Doctor and Ruby safe. She then exposes the monster to the void of space, but the Doctor can’t be so cruel to another lonely, misunderstood figure. He makes his way into the airlock room and closes the door to seal them both in to save the bogeyman’s life.

The episode ends with the Doctor realizing that the station can eject its six full years worth of soiled diapers to propel it towards the refugee planet. It’s entirely fair game to resolve a crisis precipitated by rogue bodily fluids with a poop joke.

Crisis averted, he and Ruby walk back to the TARDIS where he gives her a key and welcomes her to the team, before adding that, as much as she may want to, he can’t take her back to the moment she was abandoned. He covertly begins scanning Ruby to work out what exactly is her deal, and why she’s capable of bending the universe. (And yes, there are shades of the Impossible Girl arc in how this is playing out.)

The TARDIS lands back at Ruby’s home, smashing up the kitchen and the Christmas dinner therein.

James Pardon/Bad Wolf/BBC Studios

I imagine it won’t be long after the episode airs that the usual corners of the internet will scream culture war. Davies was always a political writer and feels a duty to be unapologetic about his viewpoint on current-day matters. His original tenure on the show was rooted at the tail-end of the Blair and Brown years, fueled by righteous fury around the invasion of Iraq. This is, again, all the more surprising given it’s being broadcast on Disney+, the model of conservative restraint.

During his first tenure, Davies would begin the production of every episode with a tone meeting which outlined how each episode would maintain a consistent feeling in the writing, acting and direction. By comparison, “Space Babies” lurches wildly: Poop and fart jokes in one scene, unsettling horror in the next, weighty examinations of human morality between. The scenes of Jocelyn’s adult dialog being run through the “nanny filter” is a good source of comedy, it’s just odd that they’re juxtaposed with high drama.

But that’s more or less what makes Doctor Who one of the best shows on TV — its ability to do anything it damn well pleases. If the weirdness of what you’ve just seen appeals then you’ve just become a Doctor Who fan. If it didn’t, then you might find the next episode will serve up what you were looking for.

Ring makes a camera for pretty much every corner of your home but, until now, has never gone near one with a motorized base. That changes today with the Ring Pan-Tilt Indoor Cam that, as the name implies, lets you spin the unit around 360 degrees to keep up with what’s going on. The new unit has a tilt range of 169-degrees and offers color HD video no matter the lighting conditions. You’ll get all of the usual features with a standard indoor cam, including motion alerts and two-walk talk, plus the extras that come with a Ring subscription.

Given the tendency for folks running AirBnBs to covertly film their guests, there’s a built-in hardware kill switch. A mechanical shutter can be slid over the front of the camera, and Ring promises that both the video and audio feeds will be disabled until the cover is moved back. The company is also aware its usual range of colors, or lack of, might cramp your style if you’re buying one for the living room. That’s why this unit will be the first to launch in black and white, but also three new colors: Blush (pink), Charcoal (grey) and Starlight (off-ish white). These new colors will also come to Ring’s standard second-generation indoor camera in due time.

The new Ring Pan-Tilt Indoor Camera is available for pre-order today for $80 and will begin shipping on May 30.

It’s never good to recommend a comedy by saying it makes you weep, but somehow Bluey, a comedy for kids, feels more real and more truthful than anything else on TV. I see so much of myself in Bandit’s triumphs and failures as he tries to parent his two daughters. I nod along to all of his unsuccessful parenting tactics that, I’ll admit, I’ve also tried on my own two kids. And then, at the end of so many episodes, I’ll realize that the front of my t-shirt is wet with tears because I've been crying.

There can’t be many people unfamiliar with Bluey, the biggest kids’ TV series on the planet, if not the biggest series overall. Each seven-minute episode is a slice-of-life sitcom about the Heelers, a family of anthropomorphic dogs living in Brisbane, Australia. Bluey and her younger sister Bingo live with parents Bandit and Chilli. The show started out focused on the playtimes the kids would have with each other or their parents. But it quickly sprawled out to create a rich world in the vein of The Simpsons, with a whole city’s worth of storylines. It can now regularly relegate the Heelers to the background to focus on the show’s deep cast of characters.

It closed out its third season with last Sunday's “The Sign,” a (comparatively) epic 28-minute episode and this week with “Surprise,” a sweet little postscript. The former’s long running time was described as a dry-run for any potential Bluey movie, wrapping up a number of the show’s storylines. It focuses on a wedding taking place at the Heeler’s home in the shadow of the family’s plan to relocate to another city. I won’t spoil too much beyond saying “The Sign” is a story about the bigness of change and how that affects parents and kids alike. Much of it focused on Bandit’s decision to move for a better-paid job and the way that impacted Chilli and the two girls. It’s a complicated issue, especially because it highlights that parents often just want to do what’s best for the kids.

Ludo Studio

“Surprise,” meanwhile, focuses more on the mundane struggle of Bandit trying to play two different games with his daughters at the same time. Much as Bluey wants to be just seven minutes of silly fun, it can’t quite help but be honest about the emotional and physical labor of parenting. All Bandit wants to do is sit down and watch sport on the TV but his daughters won’t allow him that luxury. He’s chased around the house, forced to pretend to teach a tennis ball to ride a bike and then pelted with ping pong balls fired from a toy launcher. (Bluey’s happy to highlight how often Bandit will get hit in the groin as a consequence of whatever game the girls are playing.)

The payoff to all of that effort comes in the final half minute of the episode, which is when I started sobbing. As much as it may be pitched as a palate cleanser after the scale and emotional heft of the previous episode, the final moments offer a real (if pleasant) punch to the gut. I can’t help but feel plenty of parallels in Bluey’s life and that of my own (similarly-aged) daughter, and feel a lot of kinship with Bandit as well. If I’m one one-hundredth as good a parent as this silly cartoon dog who often gets it wrong, then I’ll feel like I’ve done a good job.

There’s been speculation that this third season may be the end for Bluey. Bloomberg reported the uncertainty around creator Joe Brumm’s future with the show, although producer Sam Moor has said it will continue in some form. Any delay would also risk that the child actors – who remain anonymous for their own safety — will age out of being able to play their roles. But in many ways, Bluey can’t not continue given the show is now a multi-billion dollar cash cow for the BBC, which owns a big chunk of the show’s rights.

I don’t want to say goodbye to Bluey and the Heelers, and I’d prefer they kept the cast as-is and let them grow up alongside Bandit and Chilli. That, to me, would be an honest thing to do, rather than indulging in the fakery that dogs so many TV shows which face this problem. But if they have to go, I’ll choose to remember Bluey’s three perfect seasons through the highs and lows of parenting.

ASUS has updated its 16-inch Zephyrus G16 for 2024 with fresher chips and graphics options all the way up to an RTX 4090. There’s a new OLED display with a 240HZ refresh rate and a full size SD card reader for transferring files. But, as much as ASUS is positioning this as a laptop for media makers as well as gamers, we need to know if its promises match its power. If you’re as curious as I am, you’ll have to read Sam Rutherford’s review to find out for yourself.

— Dan Cooper

The biggest stories you might have missed

Media coalition asks the feds to investigate Google’s removal of California news links

TikTok is trying to clean up its For You recommendations

Amazon says a whopping 140 third-party stores in four countries use its Just Walk Out tech

There’s a TV show coming based on Sega’s classic arcade game Golden Axe

Cheaper Evercade retro consoles will arrive in July

Apple renews For All Mankind and announces a spinoff series set in the Soviet Union

TikTok Notes is basically Instagram for your TikTok account

Lorelei and the Laser Eyes, by Sayonara Wild Hearts devs, comes out on May 16

Yars Rising revives a 40-year-old Atari game as a modern metroidvania

Shadow platformer Schim is coming to PC and consoles on July 18

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X’s AI bot is so dumb it can’t tell the difference between a bad game and vandalism

They’re called euphemisms, Elon.

Basketball’s Klay Thompson had a rough time of it at a game, leading X users to suggest he was “throwing bricks.” This is a basketball term meaning he wasn’t throwing well, but if you didn’t know it, don’t worry too much, since neither did Grok, X’s homegrown AI. After reading the messages, it confected a news story suggesting Thompson was vandalizing homes in Sacramento.

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Good riddance, WH-XB910N: Sony’s confusing product names are going away

Sony catches up to the 19th century.

Sony’s always been capable of making a great product, but it’s never quite nailed the knack of naming them. For instance, it makes the best pair of wireless headphones on the market today but saddles them with the name WH-1000XM5. Now, however, the company has pledged to simplify its naming scheme, including renaming its headphone range as Wear.

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Nintendo emulator Delta hits the iOS App Store, no sideloading required

Apple’s relaxation of rules around what it permits on the App Store has seen the arrival of Delta. It’s a Nintendo emulator (and a successor to GBA4iOS) that runs a plethora of older titles from the company’s older consoles. Given its long-running enmity with game emulators and the ease with which it wiped out Yuzu, it can’t be long before Nintendo’s lawyers turn up with a fat stack of cease and desist letters.

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Engadget’s resident laptop expert Devindra Hardawar put the 13- and 15-inch M3 MacBooks Air through their paces. Fundamentally, both are fantastic machines but probably lack some of the gosh-wow factor the M2 Airs had when they debuted in 2022. After all, the M2 heralded a new industrial design and far better internals, while the M3 is more of an iterative update. Think of it like the iPhone S-years, when a dramatic redesign (the iPhone 4, say) was followed by a more refined model (the 4S) the following year.

Consequently, reviewing the M3 is an exercise in spotting the small differences, like the faster Wi-Fi (6E), brighter display and quicker processing speed. Benchmarking saw both machines get out ahead of the M2, but you probably won’t notice if you’re using this machine casually. And Devindra’s clearly getting a kick out of being able to run games like Death Stranding on a fanless ultraportable. You can — and should — read on to find out if the M3 is a must-buy.

— Dan Cooper

The biggest stories you might have missed

Nikon buys high-end cinema camera company RED

You can write long-form articles on X if you pay for Premium+

Leica’s SL3 mirrorless camera offers a 60-megapixel sensor and 8K video

Spotify is mad at the French government and is taking it out on users

Prime Video’s latest Fallout trailer deftly captures the tone of the games

Microsoft’s neural voice tool for people with speech disabilities arrives later this year

Why Jack Dorsey thought Elon Musk could fix Twitter

This luxury handbag is made from the material NASA uses to collect comet dust

SpaceX lawsuit claims repeated instances of gender discrimination and basic safeguarding failures

Microsoft is holding a Surface and Windows AI event on March 21

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Sony A6700 review: The company’s best APS-C camera yet

It’s great for video, less ideal for everything else.

Steve Dent for Engadget

Steve Dent, who knows more about cameras than I know about literally anything, has been using Sony’s A6700 and is now ready to lay down his verdict. He’s never been too much of a fan of Sony’s 6000-series models, which he says aren’t as good looking or usable as Fujifilm’s alternatives. The A6700 is an attempt to remedy this situation, and Steve says it’s a far better camera than its predecessor. But is it good enough for him to want to use it as his daily driver? You’ll have to read on to find out.

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TikTok is encouraging its users to call their representatives about attempts to ban the app

Can the US Government withstand the stan army?

The geopolitical quagmire surrounding TikTok isn’t letting up, which has led the platform to use its secret weapon: its Stan Army. TikTok has started sending push messages to users telling them to speak to their representative lest the immensely addictive platform be shut down. It’s one way to get attention, but it may not endear the company to US lawmakers if it can so easily incite millions of people to start scrutinizing the political process all at once.

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The real fight isn’t Tyson vs. Paul — it’s Netflix vs. its live streaming infrastructure

And the loser will probably be… humanity itself.

Netflix is devolving into the very thing it sought to destroy. It’s been stepping into the live broadcast space for a while and yesterday announced it would air a live punch fight between two people with extensive Controversies and Legal Issues sections on their Wikipedia pages. Given the high-profile nature of the participants and, presumably, people’s desire to see one or both get punched in the face, it should be a massive event. And it’s going to be the sternest test of Netflix’s capacity to use the internet to deliver millions of simultaneous streams of live TV.

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The Tesla Model S shook the industry, but its echo is fading

It upended the EV world in so many ways, at least at the time.

Koren Shadmi for Engadget

Engadget is celebrating its 20th anniversary with a series of articles looking back on the biggest changes in the tech world over that time. The wonderful Tim Stevens is in the spotlight today to talk about the Tesla Model S and his experiences when it debuted. It’s a tale of the car’s innovations, its highs, lows and how the EV industry has changed in the ensuing years.

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The European Union’s Digital Markets Act (DMA) limits the power of big platform holders, but it may have also created a new revenue stream (and some drama) for those same big names. Google has followed Apple’s lead in imposing extra charges on developers who want to circumvent its own app storefront. Companies luring users outside the Play Store will need to pay Google a cut of in-app purchases and subscriptions. I’m sure everyone will treat this as rationally as when Apple announced it too.

At the same time, Apple has once again suspended Epic Games’ developer access, concerned the games giant isn’t going to play by its rules. The iPhone maker pointed to tweets made by (Epic CEO) Tim Sweeney, suggesting a lack of faith in the company’s rules. Apple more or less said out loud it couldn’t trust Epic, especially given its track record of agreeing to work within Apple’s rules and then very publicly breaking those rules.

— Dan Cooper

The biggest stories you might have missed

41 state attorneys general tell Meta to fix its customer support for hacking victims

Rivian R2 specs leak from the automaker’s website

Meta explains how third-party apps will hook into Messenger and WhatsApp

Twitch will overhaul its mobile app for the first time since 2019

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FDA approves the first over-the-counter continuous glucose monitor

You can buy one without a prescription in the summer.

The FDA has approved Dexcom’s Stelo Glucose Biosensor as the first wearable continuous glucose monitor to be sold over the counter. Sales of the device will begin this summer to help people who aren’t using insulin to manage their diabetes and also for more general use. I was surprised to learn these weren’t available to buy already since, in the UK, a startup called Zoe has been selling implantable monitors as part of its weight loss program for ages.

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Microsoft engineer who raised concerns about Copilot image creator pens letter to the FTC

Shane Jones has blown the whistle on AI images before.

Microsoft’s rush to incorporate AI into so many user-facing products has driven whistleblower Shane Jones to the FTC. They wrote to the body, saying Copilot Designer can be used to create inappropriate images and should be removed until better safeguards are in place. The Windows giant and OpenAI have both previously said robust tools exist to steer the model away from creating some of the gruesome images Jones has alleged to have generated.

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Apple today announced Sports, a new iPhone app offering real-time stats for a number of major leagues. Once installed, users can set their favorite team and get a trove of data on their lock screen in the live activities box when the team is playing. Available free starting today in the US, Canada and the UK, the app currently supports basketball, hockey and soccer football. The company added that other sports, including baseball and American football will debut for their upcoming seasons.

There are plenty of reasons you might not be able to watch your team of choice play live. You may have a prior engagement, the game may not be televised, or Todd Boehly has done so much damage to the club you can’t bear to look at it any more. In those situations, push alerts from major sports apps has been a lifeline, but it’s not always entirely reliable.

Now, it has been possible to get this working since iOS 16, if you fancied messing around in the depths of the Apple TV app. And some third-party platforms, like MLB’s homegrown app, would put this data in your lock screen or Dynamic Island. But Apple says that its own setup offers a “simple and fast way to stay up to speed on the teams and leagues they love.” The setup will also sync up with any sports preferences already stored in the Apple TV or Apple News apps.

Of more concern is that Sports will also offer up live betting odds for the games as they’re in play. It’s worth noting it will be possible to deactivate the live odds feature in settings, but it seems like it would have been smarter and less potentially harmful to make that opt-in, rather than opt-out.

Apple Sports is available to download now in English. French and Spanish are supported where available.

There’s a reason smartwatches haven’t replaced clinically validated gear when you visit the hospital — accuracy and reliability are paramount when the data informs medical procedures. Even so, researchers are looking for ways in which these devices can be meaningfully used in a clinical setting. One project in the UK has explored if a Garmin Venu 2 and dedicated companion app could be used to free up doctors and nurses, six minutes at a time.

The Six Minute Walk Test (6MWT) is used to diagnose and monitor a number of cardiovascular maladies. This includes conditions like Pulmonary Hypertension that, if left untreated, are eventually fatal. “[The test has been] a cornerstone of hospital practice and clinical trials for decades all around the world as [...] a marker of how well the heart and lungs are working,” project leader Dr. Joseph Newman told Engadget. While a change in a blood test marker might be clinically relevant, he said “it’s probably more important to someone that they can walk to the shop and back.” 

The test requires a patient walk on a flat, hard surface for six minutes straight, which stresses the heart enough to measure its capacity. A professional tests the patient’s heart rate and blood oxygen levels at the start and end. While it’s simple and reliable, "it’s not perfect,” according to Dr. Newman. “This is why we’ve looked to change it in two important ways," he said, "can we make it shorter [...] and digitize it for remote use?"

After all, six minutes is a lifetime in a clinical setting, and patients dislike having to schlep all the way to their hospital just to walk up and down a corridor. It’s why Newman and Lucy Robertson — both researchers at the Royal Papworth Hospital in Cambridge — began looking for ways to revolutionize the test. They wanted to see if the test could be shortened to a single minute, and also if it could be carried out by a patient at home using a Venu 2. 

The watch was connected to a secure and dedicated clinical trial platform built by Aparito – a Wrexham-based developer – for testing. This was then sent out to patients who were instructed to wear the watch and walk outdoors to complete their own tests. “They’re asked to walk on flat, even, dry, relatively straight roads rather than in laps or circuits,” Dr. Newman said, with patients walking at their own natural pace.

“We carried out a product appraisal early on in the research process and were open-minded as to the brand or model,” said Dr. Newman. “Garmin came out on top for a few reasons; we can access raw data as well as Garmin’s algorithmically-derived variables,” he said. Because the research was being funded by a charity, the British Heart Foundation, the watch had to offer good value for money. It helped that Garmin, with its established health research division, gave the team “confidence in the accuracy of the sensors,” not to mention the fact that Aparito feels that “the Garmin SDK is relatively easy to work with,” he added. 

But while Garmin is in use right now, there’s no reason this setup couldn’t eventually work with a number of other brands. “As long as the technology works, it’s accurate, reliable and patients accept it, then we’re not tied to any brand,” he said.

There are several benefits in giving patients the ability to run the tests at home: it’s more representative of the demands of their actual life, and patients can retake the test at regular intervals, making it easier to track that person’s health over time. “We can see real value in providing patients with pulmonary hypertension with an app and smartwatch to monitor their progress,” Dr. Newman said. “It’s unlikely to ever fully replace the need for in-person hospital reviews, but it will likely reduce their frequency.”

The results of the study right now suggest cutting the test to one minute has no detrimental effect on its outcome or accuracy, and that patients are far more likely to run the test regularly if they’re able to do so at home. “It’s likely that the upfront costs of wearables [to a hospital] may be offset by the longer term reduction in hospital visits,” Dr. Newman said. If that turns out to be right, it means clinicians can better focus their time and efforts where their expertise is more valuable.

There’s a reason smartwatches haven’t replaced clinically validated gear when you visit the hospital — accuracy and reliability are paramount when the data informs medical procedures. Even so, researchers are looking for ways in which these devices can be meaningfully used in a clinical setting. One project in the UK has explored if a Garmin Venu 2 and dedicated companion app could be used to free up doctors and nurses, six minutes at a time.

The Six Minute Walk Test (6MWT) is used to diagnose and monitor a number of cardiovascular maladies. This includes conditions like Pulmonary Hypertension that, if left untreated, are eventually fatal. “[The test has been] a cornerstone of hospital practice and clinical trials for decades all around the world as [...] a marker of how well the heart and lungs are working,” project leader Dr. Joseph Newman told Engadget. While a change in a blood test marker might be clinically relevant, he said “it’s probably more important to someone that they can walk to the shop and back.” 

The test requires a patient walk on a flat, hard surface for six minutes straight, which stresses the heart enough to measure its capacity. A professional tests the patient’s heart rate and blood oxygen levels at the start and end. While it’s simple and reliable, "it’s not perfect,” according to Dr. Newman. “This is why we’ve looked to change it in two important ways," he said, "can we make it shorter [...] and digitize it for remote use?"

After all, six minutes is a lifetime in a clinical setting, and patients dislike having to schlep all the way to their hospital just to walk up and down a corridor. It’s why Newman and Lucy Robertson — both researchers at the Royal Papworth Hospital in Cambridge — began looking for ways to revolutionize the test. They wanted to see if the test could be shortened to a single minute, and also if it could be carried out by a patient at home using a Venu 2. 

The watch was connected to a secure and dedicated clinical trial platform built by Aparito – a Wrexham-based developer – for testing. This was then sent out to patients who were instructed to wear the watch and walk outdoors to complete their own tests. “They’re asked to walk on flat, even, dry, relatively straight roads rather than in laps or circuits,” Dr. Newman said, with patients walking at their own natural pace.

“We carried out a product appraisal early on in the research process and were open-minded as to the brand or model,” said Dr. Newman. “Garmin came out on top for a few reasons; we can access raw data as well as Garmin’s algorithmically-derived variables,” he said. Because the research was being funded by a charity, the British Heart Foundation, the watch had to offer good value for money. It helped that Garmin, with its established health research division, gave the team “confidence in the accuracy of the sensors,” not to mention the fact that Aparito feels that “the Garmin SDK is relatively easy to work with,” he added. 

But while Garmin is in use right now, there’s no reason this setup couldn’t eventually work with a number of other brands. “As long as the technology works, it’s accurate, reliable and patients accept it, then we’re not tied to any brand,” he said.

There are several benefits in giving patients the ability to run the tests at home: it’s more representative of the demands of their actual life, and patients can retake the test at regular intervals, making it easier to track that person’s health over time. “We can see real value in providing patients with pulmonary hypertension with an app and smartwatch to monitor their progress,” Dr. Newman said. “It’s unlikely to ever fully replace the need for in-person hospital reviews, but it will likely reduce their frequency.”

The results of the study right now suggest cutting the test to one minute has no detrimental effect on its outcome or accuracy, and that patients are far more likely to run the test regularly if they’re able to do so at home. “It’s likely that the upfront costs of wearables [to a hospital] may be offset by the longer term reduction in hospital visits,” Dr. Newman said. If that turns out to be right, it means clinicians can better focus their time and efforts where their expertise is more valuable.