Nightmare Fuel / Doctor Who Series 14

• "The Church on Ruby Road"
  • While they definitely have that strong stench of goof, that stops being funny the moment you realise how the goblins actually work.
    • The main one: they eat babies. That's messed up all on its own!
    • And oh no, it gets worse! They're also capable of Time Travel. Which means they can - and do - go back in time to feast on someone while they're still an infant. And that just becomes more terrifying the longer you think of it.
    • To give you a good idea, just look at what happens when they decide to do this to Ruby near the end. The Doctor just turns around and she's gone, without a single trace. A few minutes later and he finds the entire timeline has changed (and not exactly for the better, at least from what we see of it), with the kicker being that nobody even knows who she is, and there's not a single trace of her existence anywhere. Which of course the Doctor knows is a big problem. Luckily it doesn't take him long to piece two and two together, but even still, at this point the only thing preventing Ruby from becoming a Ret-Goner is the Doctor's memory. Long story short, those goblins were this close to zapping Ruby from history harder than the crack in time did to Rory.
  • The Goblin King himself. He looks nothing like the other goblins, who are a little freaky but are too small and cartoonish to be properly scary on their own. He's an oversized Blob Monster that seems to be more of a freaky Slitheen-Jagrafess hybrid. And he's the one actually doing the chomping.
    • How he eats the babies - they are fed to him in baskets on a slowly moving Conveyor Belt o' Doom.
• "Space Babies"
  • The Bogeyman, being a living mass of snot with razor sharp teeth. You can't exactly blame those titular babies for instantly wetting themselves just from hearing the name. Even the Doctor runs away from the Bogeyman before learning that it was designed to be intimidating.
  • This episode reveals that whatever was going on with Ruby's mother, it's much stranger than initially implied. At one point the Doctor thinks back to the moment where he saw Ruby's mother abandoning her... only for his memory of the event to change to now show her mother abruptly spinning to point at the Doctor.
    • And when The Doctor snaps back to the present with Ruby, they both notice that snow is falling in the corridor they're standing in. It's not an illusion, it's real snow from that night. A flake even melts in The Doctor's hand to prove it's real. Whatever it means, The Doctor insists that he and Ruby not visit that night, because he took that sign as a warning. The last show of the episode is snow inside the TARDIS. There's nowhere they can hide.
• "The Devil's Chord"
  • The Maestro is no different from their father in their method of driving the world mad, but they do it by removing music as an outlet for humanity's frustrations, resulting in a Bad Future from a Hopeless War that reduced Earth into a nuclear wasteland. And they don't plan on stopping at Earth, either; feeding on humanity's music is just them gaining enough strength to steal the "music of the spheres", which will result in the entire universe screeching to a halt and being left just as dead and empty as the Earth of this alternate timeline.
    • The Maestro describing the sound of a nuclear winter as "the purest Music of all". Really helps paint them as warped as The Toymaker.
  • The Maestro feeding "off all the songs unsung" making them sound more like a creature of the abstract like The Weeping Angels.
  • The existence of "The One Who Waits", now also seemingly given the moniker of "the Oldest One", whom both the Toymaker and the Maestro fear. Apparently, they were at the place where Ruby was born... and according to the Maestro, "[they're] almost here."
  • Whatever is going on with Ruby's past only gets stranger and more disturbing here. Not only are the strange circumstances surrounding her implied to be tied to the One Who Waits, but when the Maestro attempts to feed on the music inside her, we're met with the same eerie rendition of "Carol of the Bells" that played on the night she was abandoned, with even the Maestro being alarmed at how the song can have so much power.
  • Given that both the Fourteenth and Fifteenth Doctor seemed relatively unscathed, a bigeneration shouldn't be so painful compared to a regeneration, right? Wrong. Fifteen reveals here that the experience quite literally tore his soul in half, and that he wouldn't survive a second one.