After the high-stakes horror and emotional intensity of The Doctor Dances, Boom Town shifts gears dramatically, offering something far more introspective. First broadcast on June 4, 2005, and written by Russell T Davies, this episode is an unusual entry in the Doctor Who canon. It forgoes the usual alien invasions and explosive set-pieces in favor of a slower, more character-driven drama. On the surface, it is about the return of Margaret Blaine (Blon Fel-Fotch Passameer-Day Slitheen), the last surviving member of the Slitheen family, but at its heart, Boom Town is an ethical debate—a rare moment where the Doctor is forced to stop running and truly examine the consequences of his actions.
The story finds the Doctor, Rose, and Captain Jack landing in Cardiff, intending to use the energy from the rift to refuel the TARDIS. However, they soon discover that Margaret Blaine, who previously attempted to orchestrate Earth’s destruction in Aliens of London/World War Three, has somehow survived and is now the mayor of Cardiff. She has a new plan: to use a device called the extrapolator to flee the planet, a process that will conveniently destroy Cardiff in the process. But when the Doctor captures her, rather than executing an elaborate escape or fight sequence, the episode pivots—Margaret requests dinner with the Doctor, setting the stage for one of the most unique confrontations in Doctor Who’s revival.
Christopher Eccleston excels in this episode, showing a quieter, more contemplative side of the Ninth Doctor. While he is still sharp and quick-witted, his interactions with Margaret reveal something deeper—a growing awareness of his role as judge, jury, and executioner. The dinner scene between them is one of the most fascinating dialogues in the series, shifting between humor and menace as Margaret tries to manipulate him with appeals to morality and survival instinct. It’s a rare moment where the Doctor is forced to reckon with the fate of a defeated enemy. Does he hand her over to her home planet, where she will certainly be executed? Or does he grant her mercy, despite her crimes?
Annette Badland’s performance as Margaret is a highlight. She is still delightfully villainous, but there is an undercurrent of desperation and even humanity beneath her usual bravado. Her discussion with the Doctor about the morality of his actions—how he claims to be above execution yet often indirectly causes the deaths of his enemies—is a pointed critique of the Doctor’s own methods. While the Doctor often defeats monsters, Boom Town forces him to question whether he is any different from them.
Billie Piper’s Rose and John Barrowman’s Captain Jack play supporting roles in this episode, primarily exploring the complicated relationships that have formed within the TARDIS team. Rose’s rekindled connection with Mickey brings back the ongoing tension of her dual life—she is caught between her past and her present, and Mickey, rightfully, calls her out for the way she has treated him. Their dynamic here is crucial, as it lays the groundwork for future developments in Rose’s character arc. Meanwhile, Jack is mostly there for comedic levity, but his presence reinforces that the TARDIS has become a makeshift family, albeit one with unresolved tensions.
Visually, Boom Town is a much smaller-scale episode than its predecessors, relying heavily on dialogue and performance rather than action sequences. However, Cardiff’s cityscape provides a refreshing change of pace, and the slower pacing allows for a deeper focus on character interactions. The climax, in which the rift unexpectedly opens, is one of the more unexpected resolutions in the series. Instead of executing Margaret, the universe itself intervenes, de-aging her into an egg and giving her a second chance at life. It is a rare case in which an antagonist is quite literally reborn, reinforcing the theme of redemption rather than punishment.
Themes of justice, morality, and second chances run throughout Boom Town. It asks difficult questions: Is it right to kill an enemy who has no means of escape? Can someone truly change, or is evil an inherent trait? These are weighty themes for a series often filled with running, quips, and explosions, and while the episode is not universally loved, it stands out for daring to engage with these questions.
Rewatching Boom Town in 2025, it remains a fascinating, if understated, entry in the Doctor Who revival. While it lacks the adrenaline-fueled spectacle of the surrounding episodes, its quiet contemplation and sharp dialogue make it a rewarding rewatch. More than anything, it serves as a reminder that Doctor Who is not just about battles and adventures—it is also about ideas, about the consequences of actions, and about the fine line between hero and villain. And as the TARDIS team prepares for their next adventure, the tension lingers, hinting at the storm that is about to come.
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