That being said, this is probably the episode I was looking forward to the least this season. I have no affection for the Eurovision Song Contest, especially in recent years. And while Rylan and Graham Norton admittedly acquit themselves pretty well here, as with the first Russell T Davies era, the showrunner’s enthusiastic engagement with contemporary TV and British celebrity culture can feel awkward, even slightly cringeworthy. Not only does it instantly date things, but it actually makes it harder to suspend disbelief and engage with the stories – having the likes of Davina McCall doing their familiar schtick puts the show that much closer to our reality, which I find just makes me ask questions I don’t want to be asking.
All that being said, the idea of Rylan being frozen in stasis and unfrozen every year to host the Interstellar Song Contest is… kind of delightful. So, in conclusion, “The Interstellar Song Contest” is a land of contrasts.
Actually, Bart Simpson’s immortal line has rarely felt more apropos. There is a lot going on here, arguably too much. Writer Juno Dawson has said that Davies pitched the concept as ‘Eurovision meets Die Hard’, with disaster movie elements, and the episode broadly fulfils that brief – it’s a perfectly workable concept, and if it had simply been allowed to be that, it might have hung together more cohesively. Ironically enough, the Eurovision / Rylan parts of the episode broadly work.
It’s some of the other elements that unbalance proceedings, and while it’s pointless to speculate about which ideas were Dawson’s and which were imposed by upper management, it’s hard to believe that a guest writer would have been allowed to independently include the first appearance of Carol Anne Ford as Susan Foreman in proper mainline continuity televised Doctor Who since 1983. The Doctor’s sudden, unexplained visions of his long lost granddaughter are an absolutely huge curveball to throw into the episode, and they immediately suck all the oxygen out of the room.
For viewers who know the significance of the character – and the actress, one of the last surviving links to the program’s very first episode, more than half a century go – it’s likely going to be a massive distraction. Why is this suddenly happening, where is she, when will they reunite, and oh yeah, why hasn’t the Doctor ever gone back for her (a continuity scab probably best left unpicked)? Meanwhile, viewers who aren’t familiar with Susan, even accounting for last season’s oblique mentions, are probably just thinking… huh? Presumably she’s going to feature in the two-part finale in some way – her appearance here will be even more confusing if not – but it feels like kind of an unfair requirement to foist on what should be the fun romp before the season’s concluding fireworks.
The other big aspect of the episode that feels jarring is the Doctor’s rage. We’ve seen the character in vengeful mode before, punishing characters in far more baroque and existentially terrifying ways for comparatively less serious crimes. But not only does the Hellions’ plan feel like a gratuitous raising of the stakes that isn’t really earned – surely saving the one hundred thousand people floating in space would have been sufficient – the episode doesn’t really map out a solid trajectory for the Doctor to arrive at the point where he’s enthusiastically torturing Kid.
