Doctor Who’s "Empire of Death" Finale Is a Meta-Commentary on Star Wars’ Sequels, and It’s Hilariously Awkward
It’s been nearly seven years since The Last Jedi sparked the flames of a culture war Star Wars still finds itself embroiled in, and nearly five since The Rise of Skywalker managed to…well, make things a lot messier beyond that. But never, in all that time, would I ever thought we would continue to be in such a grip that it would end up inspiring a season finale of Doctor Who.
“Empire of Death,” this weekend’s eighth and final episode of Doctor Who’s latest season, finally put an end to the questions behind companion Ruby Sunday’s true parentage—which had been teased and woven throughout the show since last year’s Christmas special as the big mystery subplot of the season, aside from why Susan Twist kept showing up. At last, we got the reveal of Ruby’s birth mother: Louise Miller, a completely ordinary young woman who became pregnant as a teen, fled an abusive home, and left her newborn child on the doorstep of a church on Ruby Road. Doctor Who’s big mystery was that there was no mystery at all. And that also, like a lot of people, showrunner Russell T Davies had some thoughts about the Star Wars sequel trilogy.
“This is kind of my reaction to, bear with me now, the Star Wars films,” Davies said of the reveal about Ruby’s birth mother on an audio commentary track for “Empire of Death” released by the BBC. “I can’t remember their titles but in the last trilogy, [The Last Jedi] said that Daisy Ridley was nothing special. There was nothing special about her parentage. That she just got the Force, and was an ordinary person with the Force. And then in the next one they changed it all so that she was this child of the Emperor… and I really loved the version where she wasn’t special.”
“[Ruby’s] not the daughter of Sutekh. She’s not the daughter of the Time Lords, or Rassilon, or something like that,” Davies continued. “Her mum is Louise Miller, who was 15 years old and pregnant, from a dangerous home, an abusive home, and left her child on the doorstep. That’s my reaction to [The Rise of Skywalker], because I think that’s a better story.”
Let’s put aside for a moment the fateful oddity that the Star Wars sequels created such a moment in culture that, years on from release, we are having a TV show like Doctor Who offer up a response to them—an oddity further complicated and made hilariously weirder by the fact this is now happening in the first year that Doctor Who is, technically, basically a cousin of the Disney family Star Wars is now firmly a part of. But whatever you can say about The Rise of Skywalker (which is a lot! you can say a lot about that movie!), it feels bizarre that what it actually did with the Palpatine reveal—where the reveal wasn’t the actual point, instead it was Rey’s choice to explicitly reject the “special” origin thrust on her by the film and set her own path in spite of it—that Doctor Who’s response to that was to create a mystery box subplot where the mystery was that there wasn’t one at all.
Why even make a mystery in the first place? I guess we just cannot stop talking about Star Wars, no matter where in time and space we actually are.
A Bit of Context, for Those New to the Fandom Wars
For those who haven’t been following this particular saga, let’s break down exactly why Doctor Who creator Russell T. Davies would throw shade at The Rise of Skywalker so specifically.
The Last Jedi, directed by Rian Johnson, took a more subversive approach to the Star Wars universe. It challenged expectations, explored themes of legacy and responsibility, and ultimately landed on a message that protagonists didn’t need to be special or destined to be heroes—that even ordinary people could have extraordinary impacts. This approach was divisive, with some fans praising the film’s boldness and others rejecting it as a betrayal of their favorite franchise.
The Rise of Skywalker, directed by J.J. Abrams, was a direct response to the divisive The Last Jedi. It attempted to course correct, bringing back Emperor Palpatine as a surprise villain, and ultimately undoing many of the narrative choices made in The Last Jedi. This also included reversing the “ordinary” origin of Rey, instead revealing she was the granddaughter of Palpatine himself, echoing the classic “chosen one” narrative structure popular with the franchise.
Davies’ criticism of the Star Wars sequel trilogy seems to be focused on the way The Rise of Skywalker ultimately betrayed the more nuanced and subversive themes explored in The Last Jedi by revealing that Rey’s heritage was special, after all. This resonates with viewers who felt a sense of disappointment at the retcon of Rey’s character arc, and Davies’ decision to embrace a similar narrative choice in Doctor Who is quite frankly, a bold move.
What Does "Empire of Death" Tell Us About Doctor Who’s Return?
Davies’s comments highlight a larger trend in fandom discussions: the relentless fascination with "chosen one" narratives in science fiction. Star Wars itself is built on this premise, with characters like Luke Skywalker and Anakin Skywalker being destined for greatness. While these narratives can be engaging, they can also become formulaic and even limiting.
Davies’ decision to defy expectations and deny Ruby Sunday any sort of grand lineage speaks to his desire to explore more grounded and relatable stories within Doctor Who. He’s clearly unafraid to break from the conventions of the genre. This seems to be a deliberate artistic decision, perhaps even a subversion of the "chosen one" trope that has dominated the Star Wars franchise—a franchise, which, as noted, Doctor Who is now practically a family member of thanks to its Disney affiliation.
It’s fascinating that Davies has chosen to comment on the Star Wars sequels in such a direct way, but it also begs the question: why this particular subplot for Ruby Sunday? Why the need to "explain" her parentage with such an ordinary backstory?
Davies’ own response seems to be a reflection of his artistic philosophy. He seeks to challenge expectations and explore narratives that move away from the classic trope of the chosen one. This is ultimately a nod to the growing fascination with ordinary people doing extraordinary things, and the idea that one doesn’t need to be special to be a hero.
The fact that Davies chose to make this particular choice in the final episode of the season, after building up this mystery all year, only reinforces the bold statement he’s making. Davies’ decision to reveal Ruby’s parentage was more than just a plot twist; it was a deliberate attempt to resonate with the current fandom conversation around the Star Wars sequels.
The Big Question: What Does This Mean for Doctor Who?
This whole Star Wars saga is a meta-commentary on the state of science fiction fandom itself. The Doctor Who episode serves as a reminder that the genre is not just about grand narratives and chosen heroes; it can just as well be about the journey of ordinary people dealing with extraordinary circumstances.
Davies’ return to Doctor Who seems to be a fresh start that is not only reimagining the show’s visuals and tone, but also its approach to storytelling. This move also seems to be a rejection of the more derivative and formulaic aspects of science fiction, even if it means leaning into the discourse around Star Wars. Doctor Who, in its latest iteration, seems intent on reclaiming its legacy as a show that’s unafraid to be different, even when that difference means going toe-to-toe with the biggest franchise in pop culture.
Perhaps Davies’s subtle dig at Star Wars is actually a sign of things to come in Doctor Who? Will we see more pointed commentary on pop culture trends on the show? Or is this just a playful nod to the fandom that it is now, essentially, part of?
This incident speaks to a greater cultural conversation happening within science fiction fandom and media. It’s a reminder that even the most iconic and beloved franchises are subject to criticism, reflection, and, yes, even a little bit of healthy laughter.
As for what it means for the future of Doctor Who? It’s an exciting development to watch, and a testament to the power of science fiction to both embrace and subvert its own conventions. After all, Doctor Who has always been a show about questioning the status quo, and Davies’s latest twist might be just the beginning of a new and fascinating era for the time-traveling Doctor.
