By James Pearson on
The backbone of Doctor Who has always been storytelling. Through the genre of science fiction this show gives its viewers unique viewpoints on multiple cultures, time periods and locations from around the world. With the Tardis we as viewers have been transported to Alabama in the 1950s with Rosa Parks, the London Blitz in the 1940s and even 400 AD during the Roman Empire. Exploring the real life stories of our planet’s history, but often with a Sci-fi twist.
‘The Story and the Engine’ is no different, a tale that explores the rich culture of Nigeria as well as exploring the very idea behind stories and the power they hold. In this richly layered episode written by Inua Ellams, a newcomer to the Whoniverse, the Doctor isn’t just unravelling a mystery, he’s battling the very fabric of narrative itself. Set against the backdrop of a mystical Lagos barbershop, this adventure weaves together myth, memory, and reality in a way that’s both poetic and deeply unsettling. But does it strike the perfect balance between abstraction and emotional weight, or does its ambition outpace its execution? Well as always, let’s dive in. Starting with my rating. That being a 7/10.
At its centre, Ncuti Gatwa continues to shine as the Fifteenth Doctor, bringing warmth, urgency, and a sense of emotional permeability that suits an episode built around the power of storytelling. Varada Sethu, as Belinda, settles further into her dynamic with him, grounded, reactive, and quietly funny. And Ariyon Bakare’s Barber is a standout: wounded, charismatic, and just uncanny enough to feel like a proper Doctor Who antagonist.
Some of my favourite moments in this episode really shine! The return of the Fugitive Doctor was surprising and very welcome, adding more depth to her underbaked character and helping tie this new era to the old, not to mention giving Big Finish plenty of new story ideas.
Then there’s the way in which the Doctor destroys the engine, with his life that consists of thousands upon thousands of stories. Despite my grievances with the episode’s ending (getting to that, don’t worry) and once again leaning heavily on the Doctor’s past, I thought it was a strangely vulnerable moment for the Doctor. This episode seemed to cause him to look inwards at his past and remind him that you have to honour that with stories. It was heart warming.
This idea of stories and ones we have forgotten is definitely book-ended with the character of Abby. Or, as we learn her true name, Abena the child of the God Anansi. Yes it’s a slightly worn out trope that we meet someone from the Doctor’s past or future (a trope River Song expertly invented) only to never meet them again or not for many years to come. Despite this, her connection to the Fugitive Doctor gives her more intrigue, and being a God, who doesn’t have a grievance with the Doctor (well, not now anyway), could set her up to be a mighty ally in a coming battle?
But as is the common thread this season, this episode isn’t perfect. It’s close but still has some negatives. But first, let’s focus on what works! Which is plenty!
Lagos isn’t just a backdrop, it’s a character. The barber shop, the community, the rhythm of the place all feel lived‑in and affectionate. Ellams’ writing clearly comes from familiarity and respect, and McPherson’s direction lets the city truly glow. If you told me they filmed on location? I’d believe you! The authenticity of the set really helps you fall into the setting and makes the story even more enthralling.
It’s not just the setting though that’s rich with detail. The episode begins as a revenge tale, then pivots into something stranger and more metaphysical. The reveal of the Engine - a narrative‑hungry force shaping reality - is classic Doctor Who: mythic, slightly bonkers, and thematically ambitious. And fits well into this new Mythical era of Doctor Who.
But now we move to Where It Stumbles. Starting with the final act that runs out of road.
For all its ambition, the episode’s ending arrives too quickly. The Engine’s mythology is introduced with enormous potential, a whole cosmology of stories, power, and creation, but the resolution feels compressed. The ideas deserved more space, maybe even a two‑parter?
Then there’s the Gods. This season’s divine‑scale storyline is one of its most intriguing threads, and The Story & the Engine feels perfectly positioned to deepen it. Instead, it gestures toward those themes - creation, worship, narrative power - without tying them meaningfully into the larger arc. It’s a missed opportunity, especially given the presence of characters like Mrs Flood and the Fugitive Doctor elsewhere in the season, and in this very episode.
Then you have some of the emotional beats. The Barber’s motivations are clear, a man seeking something he once had after being thrown away by a God that he worked so hard for, but the resolution doesn’t hit with the weight the setup promises. The episode wants catharsis; what we get is something closer to a narrative tidy‑up.
And possibly for me the biggest disappointment? Well, we saw the ending! We saw the ‘Spider’, aka the engine, blow up in the trailer. Way to give it away guys!
The Story & the Engine is a good episode with flashes of greatness - imaginative, atmospheric, and anchored by strong performances. Its Lagos setting is one of the season’s highlights, and its central conceit is bold and memorable. But the rushed ending and underdeveloped thematic connections keep it from reaching its full potential.
Still, it’s a compelling entry, and its bait‑and‑switch structure shows a confidence in storytelling that bodes well for the rest of the season. And I’m excited to see how other writers can have fun playing with this new God storyline. Did anyone else catch that cameo by a certain Space Baby captain? Curious, no?
Well, we are on the home stretch now guys. Just three more episodes left, and next week it seems is gonna be full of glitz, glamour, death and… Rylan? That’s right, get your popcorn and glow sticks ready as next week we enter Episode Six, ‘The Interstellar Song Contest.’