Doctor Who’s latest episode hits all the right notes — literally and figuratively — with “The Interstellar Song Contest,” a dazzling mashup of Eurovision’s campy charm and sci-fi drama that somehow works brilliantly. Set in 2925 at the competition’s 803rd iteration, the show manages to pull off what seemed impossible: making Eurovision even more outrageous while tackling some surprisingly heavy themes.
The inspired choice to wake Rylan Clark from cryogenic sleep (because of course they did) sets up an hour that’s equal parts glitter bomb and gut punch. Three trillion viewers across the cosmos tune in to humanity’s most enduring cultural export — though honestly, who’s counting when the numbers get that big?
But underneath all that sparkle lurks something darker. The episode’s antagonists, Kid and Wynn, emerge from the persecuted Hellion race with a revenge plot that hits uncomfortably close to home. Their plan to kill billions through mass spacing feels particularly chilling, especially given memories of the Manchester Arena tragedy still lingering in viewers’ minds.
When the Doctor and Belinda decide to stick around for the show instead of immediately jumping to Earth 2025… well, that’s gonna come back to haunt them, isn’t it? Classic Doctor Who move, really — can’t resist a good party, even with disaster looming.
The episode drops two massive bombshells that’ll have long-time fans buzzing for weeks. Susan — yes, that Susan, the Doctor’s granddaughter from way back in ’63 — appears in ethereal visions to her grandfather. Seeing Carole Ann Ford reprise the role after all these years… proper goosebump material, that. And then there’s Mrs. Flood revealing herself as the Rani through some fancy “bi-generation” trick. Archie Panjabi promising “absolute terror” might just be the understatement of the century.
Speaking of statements — the Hellion storyline packs a punch. Poor Cora, literally cutting away part of herself just to fit in? That’s the kind of metaphor that sticks with you. Her performance of a Hellian song (and subsequent audience conversion) proves art really can bridge the biggest divides. Sometimes.
The episode never forgets to have fun, though. Those scenes with the Doctor flirting with Mike and Gary? Pure gold. And whoever designed those costumes deserves a raise — they’ve captured that perfect Eurovision sweet spot between “are they serious?” and “this is actually amazing.”
Mind you, cramming all this into 45 minutes feels a bit like trying to stuff a TARDIS into a phone box… wait, hang on. But you get the point. There’s almost too much good stuff here.
That ending, though… The TARDIS refusing to visit May 2025, those exploding doors, that mysterious “sound of May 24th” — it’s proper edge-of-your-seat stuff. Looks like we’re in for one hell of a season finale.
Just don’t think too hard about how they’re measuring those three trillion viewers. Even in 2925, those Nielsen ratings must be a nightmare to compile.
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