Whovian Charles Brammell remembers….
As a child a would tell what I considered a hilarious joke:
‘Knock knock’
“Who’s there?”
‘Dr’
“Dr Who?”
‘Dr Who on channel 2!’
Later on, at boarding school, straight after dinner the whole of the boarding house, as one man, would sprint, tumble and wrestle our way to the TV room. And compete, sometimes fairly violently, for the best seat to take in The Doctor, 50 or so adolescent boys squeezing into around 20 chairs. I was a tragic, like Little Johnny Howard with cricket. We all were.
But the Doc had something more earnest to say than just sci fi with ridiculously cheap and flimsy sets and costumes (and some would say, plot lines). I never would. It was the highest of all art as far as I were concerned.
But in the 3D tapestry of storytelling (whether Hollywood, Bollywood, literature, music or theatre), there is commonly a motif of… Rescue. Messiah-hood. Sacrifice. Substitution. That is, one suffering the penalty deserved by another, one of the three aspects of the Bible’s main model of the atonement- Penal Substitutionary (PSA).
In much (arguably most) storytelling, these themes resonates mellifluously. Doctor Who, a series rich in ethical complication, is no exception. Each Dr incarnation (think Jesus of Nazareth) offers a unique perspective on sacrifice instead of another echoing the doctrine PSA:
Doctor I (William Hartnell)
Who’s stern demeanor at William’s hands often concealed a profound sense of responsibility rather rights. A highly Biblical motif. In episodes like The Daleks and The Aztecs, he frequently placed himself in harm’s way to take the bullet for others. This illustrates the principle that justice requires a cost- borne by the innocent. Extremely cruciform.
Doctor II (Patrick Troughton)
Patrick’s portrayal introduced a more playful, mischievous and deceptive Doctor. I have no doubt that the various lead actors’ own personalities and choices regarding how to indwell and download the alter ego, shaped their particular Dr’s character.
In The War Games, Troughton orchestrated events to ensure the safety of others, often taking the blame to shield his companions. This reflects PSA’s concept of vicarious suffering: “Vicarious” meaning representative of, in place of. Hence parish clergy’s title of “Vicar” and their home being “The Vicarage”. Also the Pope’s title of “Vicar of Christ”, Messiah’s representative on earth.
Doctor III (Jon Pertwee- my equal fave)
Jon’s Doctor was akin to an action flick protagonist- fast and furious, and gone in 60 seconds (time travel). Targeted and well oriented, an activist. Authoritative and strong.
In The Daemons, he met malevolent forces, often at great personal risk, to protect his fellows (although he was fully alien. This echoes (albeit inadequately and ultimately heretically) Christ’s two natures. It illustrated active engagement with evil, and the willingness to bear its consequences.
Doctor IV (Tom Baker- 2nd equal fave)
Tom’s eccentric hero used humour to mask deep ethical convictions. In Genesis of the Daleks, he faced the moral dilemma of potentially preventing the creation of the Daleks, an option only possible in time travel. This embodied the tension between justice and mercy. And mercy’s triumph over justice at Golgotha.
Doctor V (Peter Davison- equal fave)
Peter’s protagonist emphasised vulnerability and sympathy. Affect, compassion and empathy. In Earthshock, he witnessed a friend’s heartbreaking death, highlighting the personal cost of intervention, and the emotional weight of sacrifice. Jesus to a tee.
Doctor VI (Colin Baker)
Colin’s Who was brash and unyielding. Prickly and impenetrable like the massive heavy duty bumpers at end of a train line. He gave the impression that he was able to stop anything. Superman (also an alien in human form). In The Two Doctors, he faced moral complexities and the consequences of his actions, reflecting the internal struggle inherent in bearing another’s punishment.
Doctor VII (Sylvester McCoy)
Sylvester’s Dr was at times on-the-nose distastefully manipulative. Cunning, shrewd and strategic, but sometimes in a good way. (Viz the shrewd manager in Lk 16:1-13, commended by the master not for his deceit, opportunism, theft, laziness or snobbishness, but for shrewdness. His cunning and strategic thinking:
“Now he said to the disciples, “There was a rich man who received an accusation that his manager was squandering his possessions. So he called the manager in and asked, ‘What is this I hear about you? Give an account of your management, because you can no longer be my manager.’
“Then the manager said to himself, ‘What will I do since my master is taking the management away from me? I’m not strong enough to dig; I’m ashamed to beg. I know what I’ll do so that when I’m removed from management, people will welcome me into their homes.’
“So he summoned each one of his master’s debtors. ‘How much do you owe my master?’ he asked the first one…
… “A hundred measures of olive oil,’ he said.
“‘Take your invoice,’ he told him, ‘sit down quickly, and write fifty.’
“Next he asked another, ‘How much do you owe?’
“‘A hundred measures of wheat,’ he said.
“‘Take your invoice,’ he told him, ‘and write eighty.’…
… “The master praised the unrighteous manager because he had acted shrewdly. For the children of this age are more shrewd than the children of light in dealing with their own people. And I tell you, make friends for yourselves by means of worldly wealth so that when it fails, they may welcome you into eternal dwellings.”
* * * *
In The Curse of Fenric, McCoy’s Dr orchestrated events to ensure the defeat of an ancient evil, often placing himself in peril to protect others, embodying the strategic nature of sacrifice in place of another. Shrewd, cunning, strategic thinking.
Doctor VIII (Paul McGann)
Paul’s Who was compassionate (like the Suffering Servant), and idealistic. In The Night of the Doctor, he chose to regenerate into a warrior to end a war, reflecting the ultimate act of sacrifice in another’s stead.
The War Dr (John Hurt- my 3rd equal fave). He was one of only a handful of Drs who was already a star before they came on the show:
*Pertwee,
*Davison (“All Creatures Great and Small”),
*Eccleston (“Elizabeth”, “The Second Coming”- ironically, as a Christ-figure,
*Capaldi,
*Whittaker (“Broadchurch”- alongside Tennant, “Venus”- with Peter O’Toole,
*Tennant, and
*Gatwa (“Barbie”).
* * * *
Hurt’s War Doctor was ofttimes burdened and bemused by the weight of his impending imminent decisions. In The Day of the Doctor, he chose to destroy Gallifrey to end the Time War, embodying the heavy cost of necessary evil and the concept of bearing the penalty for others.
Doctor VIIII (Christopher Eccleston- my 4th equal fave)
Christopher’s protagonist was haunted by his past, viz Dickens’ “A A Christmas Carol”. In The Parting of the Ways, he faced the Daleks and Cybermen, willing to sacrifice himself to save others, illustrating the openness to bearing the penalty of sin for another.
Doctor X (David Tennant, Incarnation the 1st- my 5th equal fave)
Tennant’s Doctor was charismatic, emotional, and emotive. Tactile almost, visceral. In Doomsday, he separated from his companion Rose to save her, embodying the emotional cost of substitutionary sacrifice.
Doctor XI (Matt Smith- 6th equal fave, though I can’t help but see “The Crown’s” Prince Phillip in him).
Matt’s Dr was eccentric and empathic. In The Time of the Doctor, he faced his own mortality, choosing to protect others even at the cost of his own life, reflecting the self-sacrificial nature of PSA.
Doctor XII (Peter Capaldi- who I find trangely troubling- reminded me of one of Hitchcock’s “Birds”).
Capaldi’s Dr was introspective, and arguably introverted. Almost shy, and morally complex. In Heaven Sent, he endured immense suffering to protect others, illustrating the endurance required in substitutionary atonement.
* * * *
But why does the show keep changing lead actors SO often? That can’t be said of almost any other series.
Forgive me if in your case this is preaching to the converted, but for the sake of the uninitiated-
The frequent changes of lead actor are actually built into the programme’s very concept. For several reasons:
1.The Time Lord’s Biology– The human-seeming Doctor is actually an alien, a “Time Lord”, who has the ability to regenerate when near death. Regeneration completely changes their physical appearance and genetics, including skin colour, height, gender…
… weight, body shape, and accent. (Although it is almost always from some part of the UK😉, with several notable exceptions):
*Jo Martin (Fugitive Dr), who brought a modern, multicultural British accent to the role. While still English, her speech pattern was distinct from the “classic BBC” style of prior Doctors.
*Non-British Accents in Spin-offs, Audio, or Short-Lived Versions:
*In “Big Finish” audio dramas, there have been Time Lords and Doctors with various accents, including American or Australian.
*Alternative universe or “multi-Doctor” stories sometimes feature other accents.
*And a fun fact: The Doctor’s accent is technically flexible. In the show, it’s implied that Time Lords can adjust their voice slightly to fit in with humans, though this isn’t always made explicit.
* * * *
Regeneration almost always changes a Dr’s personality as well. This was originally invented as a clever way to replace the actor when William Hartnell, the First Doctor, became too ill to continue.
2.Storytelling Flexibility– Each regeneration gives writers the chance to reset or refresh the character. It allows different actors to bring their own style, tone, and quirks to the Doctor, keeping the show dynamic for decades (6, and two years, to be exact).
3.Longevity of the Programme– Doctor Who has been running since 1963 (with a hiatus in the late ‘80s). Having a single actor for decades isn’t feasible, and regeneration lets the show survive actor departures, retirements, or even deaths while maintaining continuity.
The closest to this was William Hartnell, the first Doctor, who died in 1975. He had been the protagonist for four years, and became seriously ill during his tenure. This was what first led to the creation of regeneration as a plot device…
… William didn’t die on set, or while actively filming the show, but his declining health forced him to leave the role, and he died several years after leaving the series.
* * * *
4.Audience Engagement– Every new Doctor (especially black or female) brings renewed publicity, excitement, and sometimes controversy, keeping the fanbase talking and engaged.
In short, the frequent actor changes aren’t just behind-the-scenes practicality— they’re a core part of the show’s mythology. It’s one of the few shows where the plot literally explains why the lead looks different every few years.
* * * *
Doctor XIII (Jodie Whittaker)
Jodie’s Who was compassionate and inclusive, a women for her times, reflecting society’s changing mores, ethics and expectations. In The Timeless Children, she uncovered truths about her origins, challenging perceptions of identity and sacrifice, reflecting the inclusive nature of PSA.
Dr XIIII (David Tennant- incarnation the 2nd)
David’s Dr’s second human form embodies resurrection, repentance, and renewal. His return— the same face reborn— evokes the Second Coming: not for conquest but for reconciliation. Haunted by guilt, he becomes a penitent saviour seeking peace.
The “bi-generation” in The Giggle, where he divides into two living selves, echoes Christ’s dual nature— two in one, unbroken. His quiet forgiveness of Donna carries a Eucharistic tenderness: a wordless communion of mercy. His short tenure is a meditation on death, forgiveness, and grace.
Dr the XV (Ncuti Gatwa)
Gatwa’s Dr shifts from resurrection to incarnation. The Church on Ruby Road begins with a Christmas birth, a foundling child, and divine mystery— nativity retold. Gatwa’s Dr is vividly embodied, all warmth, touch, and joy— the “God-with-us” Dr…
… His compassion is incarnate grace: not judgment, but presence. A little like Mama God in “The Shack”. Joy itself becomes theological resistance— rejoicing as an act of hope. His bond with Ruby Sunday suggests new creation, life reborn through love.
Together, Drs XIIII and XV form a Gospel rhythm: death and resurrection, then incarnation and mission. Head Writer Russell T Davies’ imagination remains Catholic at heart— grace breaking through chaos, and love triumphing over judgment. The Doctor stands again as a modern Christ-figure: But this Christ is flawed. But at least He is self-giving, dying and rising in endless compassion…
… Another departure from the Bible- this time Rom 6:10-
“For the death he died, he died to sin once for all time; but the life he lives, he lives to God.”,
And Heb 20:1-14:
“(The law) can never, by the same sacrifices repeated endlessly year after year, make perfect those who draw near to worship. Otherwise, would they not have stopped being offered? For the worshipers would have been cleansed once for all, and would no longer have felt guilty for their sins. But those sacrifices are a reminder of sin. It is impossible for the blood of bulls and goats to take away sins…
… By (God’s) will, we have been made holy through the sacrifice of the body of Jesus Christ ONCE FOR ALL (caps mine).
Day after day every priest stands and performs his religious duties; again and again he offers the same sacrifices, which can never take away sins…
… But when this priest (Jesus) had offered for ALL time ONE sacrifice for sins, He sat down at the right hand of God, and since that time He waits for His enemies to be made His footstool. For by ONE sacrifice he has made perfect forEVER those who are being made holy.”
* * * *
But there are many Gospel motifs woven into the show, even when it seems secular or skeptical:
*Resurrection, grace, and incarnation recur constantly.
The Doctor often functions as a Christ-figure: a rescuer who lays down his life to redeem others, yet insists on mercy and love over violence.
*And many of these threads reflect the background faith of its creative team.
Uniquely, each Doctor, through their personal characteristics and choices, embodies aspects of penal substitutionary atonement. While none can fully encapsulate the depth of Christ’s sacrifice, they serve as reflections of the ultimate act of substitutionary love, justice, and reuniting us with God.
In the Doctor’s willingness to bear the burdens of others, we catch glimpses of the greater truth: that One has borne our sins, all of them. Borne them fully, finally, and freely. Born them forever. That we might live.
Maybe it is because there is actually a whole constellation of Christians associated with Doctor Who: leads, support actors, crew and executives. Quite a few of the programme’s key figures are or have been Christians, or are shaped by the Gospel, both culturally and personally:
*Nicholas Courtney (The Brigadier) was a lifelong Anglican, who served in WWII, and often spoke of duty, virtue, and faith in God as guiding principles.
*Elisabeth Sladen (Sarah Jane Smith), a practising Anglican, by most reports. She attended church regularly with her family, and had a faith often described as quiet but firm.
*Tennant, the son of a Church of Scotland minister, is not a practising believer, but is deeply respectful of Christianity’s moral vision.
He has spoken about growing up in a minister’s household and how it shaped his compassion and conscience. Dad’s memoir, Is There Life Outside the Box? warmly describes their shared faith heritage.
*Capaldi was raised Roman Catholic in Glasgow, and now “lapsed”, but frequently referenced Catholic guilt, confession, and redemption as his imaginative sources. His Doctor often channelled that: “dour grace under guilt.”
*Davison had a culturally and active Anglican upbringing,
and described his ethical outlook as grounded in the decency and modesty of his Christian childhood.
*Whittaker had a church-going Yorkshire upbringing, and is quietly secular, but occasionally references Biblical imagery.
*Karen Gillan (Amy Pond) was raised in the Church of Scotland, and attended Sunday school. She describes herself as “not currently practising but respectful of her Christian roots”.
*Catherine Tate (Donna Noble), was educated by Catholic nuns in London. She speaks affectionately (and humorously) of convent life and its moral clarity.
*John Barrowman (Captain Jack Harkness) was raised Presbyterian, but later distanced himself from organised religion. But he often quotes Scripture positively in interviews.
*Arthur Darvill (Rory Williams)‘s father was a church organist and choir director; Arthur himself sang in a church choir as a boy and has spoken warmly of church music’s influence on him.
*Pearl Mackie (Bill Potts) was raised nominally Christian, and speaks sympathetically about the Christian ethics of compassion, justice, and forgiveness in interviews around her character’s morality.
*Sydney Newman (Creator, 1963), was Jewish, but culturally open to Christian moral frameworks. He was deeply shaped by British Judeo-Christian humanism.
*Russell T Davies (Showrunner) was raised Roman Catholic. Though no longer practising, he has said that the moral imagination and grandeur of Catholic theology shaped his storytelling— particularly themes of sacrifice, incarnation, and resurrection. (The End of Time, Gridlock, Midnight all contain thinly veiled Christian metaphors.)
*Steven Moffat (Showrunner), is the son of a Scottish headmaster and church elder. He grew up in a Church of Scotland environment and knows Scripture well. While personally agnostic, his episodes often wrestle with Christian ideas— guilt, grace, and cosmic justice (Heaven Sent, A Good Man Goes to War, Hell Bent).
*Mark Gatiss (Writer and actor), grew up in a Christian home, and later described himself as a “cultural Anglican.” He is deeply familiar with Biblical language and apocalyptic (viz The Revelation) imagery, which surfaces often in his scripts.
Please pray for the cast and crew of the Dr, and its writers, that God would send Christians into their lives who can lovingly, sensitively, and relationally- contextually, wisely and empathically- introduce them to Jesus.
Prayers:
Our gracious God & loving Heavenly Father,
Praise You for Elisabeth Sladen, most likely a practising Anglican. Thank You that she attended church regularly with her family, and had a faith often described as quiet but firm.
For the sake of Jesus’ firm, church building Name,
Amen.
Dearly heavenly Fagher,
Praise You for Nicholas Courtney, a lifelong Anglican, who served us in WWII. Thank You that he often spoke of duty, virtue, and faith in You as his guiding principles.
For the glory of Jesus’ Servant’s Name,
Amen.
Dear Lord of time,
Praise You for the constellation of Christians and God-fearers associated with Doctor Who: leads, supporting actors, crew, techies, writers and executives. Thank You that many of them have been shaped by the Gospel, both culturally and personally.
In Jesus’ Gospel-granting Name,
Amen
Main Image Credit: Ayesha94 / Goodfon.com