One of many truths of “Physician Who” is that the present has no scarcity of harmful villains, however the Maestro takes issues to the following stage. They arrive on Earth within the Sixties, and by the 2020s, the planet is uninhabitable and destroyed by a nuclear battle. That is the Maestro’s true energy. All of the Toymaker-style goofy antics apart, this villain thrives on destruction, rising stronger on a useless world’s unplayed potential music and the ambient sounds of the wrecked world itself. Their acknowledged objective is to develop highly effective sufficient to steal the music of the spheres, which might inflict this destiny on the whole universe.
Due to such omnicidal ambitions, it is no shock that the Maestro’s theatrical nature masks a ruthless villain who’s closely coded because the fiddle-playing, musical contest-having model of the satan. What’s extra, they will solely be banished by a particular, difficult melody that the Physician (Ncuti Gatwa) is in the end unable to guess by himself.
Nonetheless, even this is not the scariest half in regards to the villain. The actually creepy factor in regards to the Maestro is their aforementioned obvious capacity to interrupt the fourth wall. That is seen after they seize management of the TARDIS by enjoying a tune that features the extremely recognizable opening notes of the “Physician Who” theme. At one level, additionally they reference the traditional Tenth Physician (David Tennant) time period, “timey-wimey,” which they need to haven’t any manner of figuring out. “Physician Who” is no stranger to fourth-wall shenanigans, however the occasional look on the digital camera and different such nods are nigh-exclusively reserved for the Physician and the occasional companion. Seeing a reality-bending antagonist casually accomplish that is chilling and makes the viewer marvel simply how a lot unseen energy the Maestro has in reserve.