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It's 24 December 1869, and the Doctor meets his hero, Charles Dickens.

But there is something in the air. The Gelth.

Victorian Britain will never be the same again.

EPISODE THREE REVIEW Spoilers ahead

I hated THE UNQUIET DEAD.

Unfortunately, the series producers have made a regrettable mistake with Mark Gatiss’ com-zom story (‘comedic-zombie” story).

BBC, Why do it?

To schedule this production that sublimely eclipses the most perfect THE END OF THE WORLD hot on its heels.

Two exquisite dramas that zings on the tongue like Space Dust candy, and makes the £126.50 TV Licence worthwhile. Two gems set so closely together that they bedazzle all round them; ROSE looks like a charming 1970s Children Film Foundation, and I’d hate to guess at the mediocrity of ALIENS OF LONDON.

Instantly, THE UNQUIET DEAD is to join the list of ‘classics’, and why not? A truly crafted masterpiece, that ratifies the DOCTOR WHO format and mystery for those who have joined the great unwashed since 26 March. An intelligent historical fantasy, passionately acted, beautifully photographed & designed, supplemented by a spirited score by Murray Gold.

The story is more STAR TREK: THE NEXT GENERATION (the early series) than DOCTOR WHO: THE CLASSIC SERIES, and even adopted the phrasing of ‘a rift’ as opposed of what we (fans) would expect - ‘temporal anomaly’. The Gelth are formless and gaseous entities that exist within the methane filled pipes (attracted to the gas’s carbon content?) used for general household lighting at the time (1869). The aliens having identified a ‘weak point’ in space-time (surprisingly, a funeral parlor in Cardiff), and a ‘beacon’ (as opposed to Breacon) by which they can navigate to a world where salvation can be sought.

Since being a child, Gwyneth (played by a delightful Eve Myles) has had untapped psychic abilities (quaintly called the ‘second sight’) and it is this that attracts the Gelth to planet Earth. With either manipulated design or serendipity, the Gelth’s ‘portal’ to Victorian Earth is located in the funeral parlor’s Morgue. This allows the gas-aliens to re-inhabit and re-energise the ‘dear departed’.

Gatiss has weaved a tale of science (re: osmosis), folklore (re: walking dead), history (re: Charles Dickens) and fantasy (re: Gelth aliens) with such diligence and passion for the DOCTOR WHO brand.

From the moment that the ‘crisp-thurp’ of Rose’s footprint in time (and in snow), expectations by the 16-year hiatus are sated. A beautiful piece of cinematography that sums up, more than reams of dialogue could, her ardent inquisitiveness.

Pure joie de vivre.

The dialogue was poetry.

(INT: TARDIS)
Rose (to the Doctor): “No wonder you never stay still.”

And later:

(INT: Theatre)
DOCTOR WHO (to Charles Dickens): “I’m the Doctor by the way.”
CHARLES DICKENS: “ You look like a navvy.”
DOCTOR WHO (indignant): “What’s wrong with this jumper?”

(INT: Morgue as the Gelth materialise)
DOCTOR WHO: “I think its gone a little bit wrong.”

Even the ‘running gag’ (…Cardiff…) was appropriate unlike the clumsy “…give a man a plastic hand…” from episode one.

Christopher Eccleston continues to match the performances of Hartnell and Troughton, delivering depth that only a consummate professional can. The tetchy rebuttals is the Doctor as are the gawky grimaces - both idiosyncrasies of the Time Lord.

Fandom has commented that this ninth Doctor is too aggressive, unforgiving and patronising, added to that his choice of language (occasionally barking “Shut up!” at others) is far too human. I find this experimentally endearing; brave but how will future incarnations measure-up to what is becoming (even three episodes in) a definitive Doctor characterisation.

Like a Christmas plum pudding, moist and luxuriantly laden with Rum and within is a hidden shiny tit-bit. A sixpence he may not but Simon Callow’s Charles Dickens is just as valuable and eclipses Eccleston performance.

In 1869, Dickens was at his most demoralised, drained and brooding. A lost soul, who thought he had said and written everything.

However, acting against his own Doctor’s advice (following a stroke and an exhaustive reading/lecture schedule), Dickens was back treading the boards (and entertaining the ‘motley’). Could he have imagined that a reading of the eternally ethereal A CHRISTMAS CAROL would conclude with an encounter with gaseous creatures from another place and two strangers from another time?

But has Gatiss made a minor historical error? In 1869, Dickens reading circuit did not go to Wales, and his later dismissive comments about a séance are at odds with true Dickens’ beliefs (he studied and practiced the art of ‘mesmerism’ - hypnotic trances to heal people, including his own family).

With such a strong (and accurate?) historical-educational element, THE UNQUIET DEAD, would have fitted in between THE MUTANTS (aka THE DALEKS) and INSIDE THE SPACESHIP.

If you excuse the wordplay, the dénouement cannot be matched for its simplicity. Not only Dickens’ revelation that his imagination is not as stale as he thought, but Gwyneth’s self-sacrifice that is acknowledged by the words, “I’m sorry”.

Euros Lyn’s direction is striking (and exquisitely lit), resplendent with snow-dressed streets, 70 extras, horse & carriage and police public call box. High crane, panning shots, POVs and close-ups executed within the storytelling skill as opposed to gratuitously fashionable. Everything made sense. A simple statement but how many times have you watched a TV drama and it doesn’t work due to sloppy editing and ‘framing’ of action?

The visual effects, created almost single handily by Chris Tucker (of MillTV), were - I’m finding it hard to find another superlative - immaculate. The combination of CGI and actor’s head shot surreally gave substance to the Gelth. The visual parody of A CHRISTMAS CAROL, as Dickens hurriedly leaves the funeral parlor the Gelth mimic the ghost of Marley as it solidifies across the great brass doorknocker. Another nice touch, Gatiss.

Next script in the post to BBC Wales, Mark?