Since there is no #DoctorWhoChristmasSpecial….Wrote this in this #YouTube video’s Comments section in November and scheduled it here for today (X-Mas)

Right on time!!!
• I watched #MaryPoppins over the (American) Thanksgiving, and I was like, “Ahh….” I’m stuck on No. 9. The Doctor is supposed to be a hero scientist who acts like Poppins, not the opposite. I love mythology, but #DoctorWho is not a purely mythological show–yes, “full-time fantasy mode.” I mean, #Lux (one of my favorites!) had a #MaryPoppins segment! That’s what I recognized!
• I also agree with No. 10. #NcutiGatwa didn’t spend his entire life wanting to be The Doctor. A young and ambitious man, it’s clear he would have been OK if he had gone with his other request to his agent, #WillyWonka. His becoming a supporting character in his own show was not a problem to me as long as the writing was excellent (#73Yards).
• The re/bi-generation issue is not a big one for me. Agreed that the Rani thing only made sense because it gave her someone with whom to chat. Yeah, lack of a plan…bad mysteries (ex: snow? Why?)
• #RubySunday and #BelindaChandra had no time to develop. Ruby’s family was better developed.
• #Disney didn’t get it and just wanted it to work on its own as a legacy program.
• Fourteenth should have started with #Boom. Like many a #DisneyWho episode, it felt like a bad and discarded #SarahJaneAdventures idea. Once you do episodes like #VincentandtheDoctor and #HellBent / #HeavenSent, you can’t go back and emphasize the goofy parts of say, #TheEndofTheWorld.
• My verdict: too much freedom and confidence are bad for an artist, particularly one wanting to spend a huge budget and get a new audience while trying to serve an old one. But art does require risk, and they were indeed taken. In this case, as was this past season of #StarTrekStrangeNewWorlds, it was too much of, in the words of the Purple One, the immortal #Prince: “Let’s go crazy/Let’s get nuts…”

#DoctorWho #WhoCulture #EllieLittlechild

P.S. DECEMBER 23rd TWEET:

Todd Steven Burroughs
@ToddStevenBurr1

TheWarBetweenTheLandAndTheSea is no #DoctorWhoSeason4 or #DoctorWhoSeason9, but it has made the often-painful excesses of #DisneyWho go down much smoother. Totally worth it! #DoctorWho #WhoCulture

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AI Analysis:

The shift from “NuWho” (2005–2022) to “Disney Who” (2023–present, under RTD2) represents a pivot toward higher-budget fantasy, emotional intensity, and international audience appeal. While both eras under Russell T Davies share similar DNA—focusing on modern-day companions and high-stakes finales—the Disney era introduces a more “fairy tale” tone, increased focus on emotional performance, and a glossy aesthetic. 

Elements of a “Nu Who” Story (2005–2022)

• Sci-Fi/Horror Focus: Often emphasizes “harder” science fiction elements or psychological horror (“Midnight”), with a grittier, more “scrappy” feel.
• The Time War Context: Early NuWho was heavily defined by the emotional weight of being the last of the Time Lords.
• Companion-Driven Emotion: Focused on the domestic life and personal growth of companions (Rose, Donna, Amy, Clara) and their “modern 21st-century girl/boy” perspective.
• “Runaround” Pacing: Fast-paced, often 45-minute episodes that “swing for the fences,” cramming maximum ideas into a single installment.
• Humanity-Focused Adventures: Many stories take place on modern-day Earth or involve humanity’s future, frequently featuring Davies’ signature mix of humor and kitchen-sink drama.
• The “Know-It-All” Doctor: The Doctor is often immediately aware of threats, treating them with a mix of awe and fear. 

Elements of a “Disney Who” Story (2023–Present)

• Fantasy and Magic Over Sci-Fi: The second RTD era has shifted from pure science fiction to embrace “fantasy” and “superstition,” including characters like the Toymaker or goblins.
• Glossy, High-Budget Aesthetics: Stories are visually enhanced by increased production budgets, allowing for cinematic VFX and “magical” realism (e.g., Wild Blue Yonder).
• Emotional & Physical Display: The Doctor (Ncuti Gatwa) often exhibits more overt emotions, with scenes focused on crying, hugging, and high-intensity dramatic acting.
• “Musical” or Theatrical Elements: Inclusion of non-traditional elements like musical numbers (“The Devil’s Chord”) and a more theatrical tone.
• Mystery Box Storytelling: A very deliberate, season-long mystery (e.g., Ruby Sunday’s origins) designed to keep viewers engaged across streaming platforms.
• “Soft Reboot” Approach: Designed to be accessible to a global audience, treating the new era as a fresh starting point (“The Church on Ruby Road”).
• Thematic Focus on Love and Betrayal: While still featuring classic monsters, stories often center on the emotional, personal, and thematic, rather than just the physical threat. 

Key Differences Summary

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JANUARY 24th, 2026 UPDATE: