The only writer to hop from era to era, and oddly enough, she’s only written for Scottish Doctors too. To say Rona Munro has had the best of luck writing Doctor Who would plainly be false. Writing the final story before the so-called wilderness years, “Survival,” and returning for the penultimate story in “The Eaters of Light,” both aired at the most considerable plunges in popularity of the show’s history. That was until Chibnall came along and drummed up zero interest beyond the first series of Jodie’s run.

Set in Scotland, we get a story of the Picts, pre-Celtic settlers and farmers of the highlands and lowlands who built those small hilltop structures you see at historical locations and all the steles with the Pictish drawings that sometimes look like low-Galifreyian or Prince’s 90s symbol. In fact, the whole thing is a rather Classic-Who story, as the 9th Legion waged war on the farmers for empire. That is something I always hate about Scotland in fiction, as we get in the way of someone’s empire and nothing more. Well, that or some poxy nonsense about romance and obstructing empire, and yes, that’s is a swing at you Diana Gabaldon.

Functionally, Munro’s story of a monster from another world being used by the farmers to conquer the conquerors isn’t bad, but it isn’t great either. Not Clara stepping in front of the Doctor and pressing the button, making him look like a spare erection, but certainly something about it just doesn’t land for the full 10-points in gymnastics. It probably didn’t help to have the PSA that Bill, the first openly gay companion in the show’s history aside from that one bloke that was as straight as a roundabout, is “old-fashioned” and “restrictive” in her view. It might be played for a joke by saying the Romans were bisexual, but it still felt like “punching down” the way Bill and the gay fella are treated.

The Doctor actually being, you know, The Doctor for once is interesting. This is where the older writing style of Who shines through, the line about everyone sounding like children because they are with the oldest among them being 18, that is Doctor Who. I know on some half-wit’s forum or via the Daily Mail comment section, there are remarks on how Russel’s first era onward is “too political,” but that’s what sci-fi is. Look at The Orville, Star Trek (shut up, Bill!), or even classic-era Doctor Who, they all have political themes running through them, and all of them, are very left-wing/progressive. “The Eaters of Light” is no exception.

What I think drags the most is the supporting cast, and maybe this is a personal grievance too. Unlike last time when the spotlight was held by Kingsley’s Catchlove and not passed around, no one seems to grab the light as it were, despite the fact Rebecca Benson and Brian Vernel are in the perfect position to reflect off of each other. The more personal of those issues would be, that even as a Scottish person, I always feel awkward listening to thick Scottish accents. Peter’s is toned down, Tennant’s never was, and Sylvester McCoy is an anomaly as he never sounds threatening. I think it is something to do with the melodrama, similar to my hatred of Americans in Who.

Ultimately, Munro’s second story in Doctor Who isn’t going to light up anyone’s particularly dull day, but unlike the battleship grey skies of Scotland, it doesn’t spoil the day either. Fine, standard, and forgettable are probably the most significant descriptions anyone could paint “The Eaters of Light” with. While the ending does set up for next week’s double-bill finale and brings the star of the show, Michelle Gomez, to the front of the stage, it doesn’t lift an otherwise middle-of-the-road episode. Anyway, next week Sam Tyler shows up for no good reason, and for reasons still to be explained, the Beeb’ decided to announce that beforehand.

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Doctor Who "The Eaters of Light"

6.5

Score

6.5/10

Pros

• Peter actually being the Doctor
• The Classic-Who elements highlighting the "political"
• Michelle Gomez is always a highlight

Cons

• A supporting cast that doesn't shine through