Revenge of the Swarm (Big Finish)

Reviewed by Richard Watts

Revenge of the Swarm
Written by Jonathan Morris
Directed by Ken Bentley
Released: Aug 2014 by Big Finish

Both a prequel and a sequel to 1977’s Fourth Doctor story, The Invisible Enemy, the latest adventure for the Seventh Doctor (Sylvester McCoy) and Ace (Sophie Aldred) picks up where 2013’s Afterlife left off. Hex (Philip Olivier), now known as Hector, and in possession of an entirely new set of memories, has re-joined the TARDIS crew, and his relationship with Ace has grown more intimate. Unfortunately, his condition has also left him psychically vulnerable: in the opening minutes of the adventure Hector is infected by The Swarm – a telepathic virus with delusions of grandeur that has lain in wait inside the TARDIS for centuries, having previously been defeated by the Fourth Doctor and Leela.

What follows is a solid but somewhat by-the-numbers story involving return visits to two prominent locations from The Invisible Enemy: Titan Base and the Bi-Al Foundation (aka the Centre for Alien Biomorphology), though at different time periods from the original television story. And just as part three of The Invisible Enemy ventured into a new, albeit derivative location, so too does part three of Revenge of the Swarm. Instead of Bob Baker and Dave Martin’s pastiche of the Sixties SF film Fantastic Voyage, however, writer and stand-in script editor Jonathan Morris references a more recent film, 1982’s Tron, in this audio adventure.

Major scenes in parts three and four of Revenge of the Swarm take place inside the Hypernet: a galaxy-connecting virtual world whose visual representation doesn’t seem to have much evolved beyond William Gibson’s 1984 novel Neuromancer, in which Gibson described cyberspace as: “A graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding.” In Revenge of the Swarm, Morris similarly and somewhat unimaginatively describes the Hypernet through the mouths of Ace and the Doctor as resembling “glowing green lines of numbers in the sky … square buildings and skyscrapers but as outlines… symbolic representations of blocks of memory”.

Morris’ predictable depiction of the Hypernet extends to his plotting as a whole; his attempt to echo the plot beats of The Invisible Enemy results in a story that is serviceable, but rarely exciting; and its appropriation of Eighties’ cultural touchstones such as Tron lack the inventive flourishes that made similar pastiches during the Holmes-Hinchcliffe years so memorable.

Performances too are sometimes lacking, particularly Olivier, who comes across as unnecessarily leaden, almost somnambulistic in the scenes where he is possessed by the Swarm (especially in comparison to Michael Sheard’s vibrant performance as a similarly-possessed Supervisor Lowe in The Invisible Enemy); even McCoy seems a little bored, rolling his R’s constantly as if trying to bring some life to the script. Thankfully John Leeson, returning after 37 years as the Nucleus of the Swarm, brings some much-needed flair to the production. Supporting characters are consistently well presented, especially Phyllida Nash as Professor Oksana Kilbraken, whose invention of a particular cloning technique plays a key role in both The Invisible Enemy and the first two episodes of this new adventure.

Given that Revenge of the Swarm is the first real adventure for this new version of Hex following his introduction in Afterlife, it’s also surprising that the story is one in which he is immediately possessed, a scenario which denies both Morris as writer, and Olivier as performer, the chance to explore more of what makes Hector unique. Nor does this plot device provide the opportunity to flesh out the changed dynamics between Hector, Ace and the Doctor. It remains to be seen whether Hector’s new personality and its ramifications for a TARDIS crew who’ve been traveling together for a decade will be more successfully explored in future audio adventures.

Another problematic aspect of the script highlights issues that current Big Finish writers face with Ace: her cultural touchstones suddenly include films outside her era, such as 1999’s The Matrix, suggesting her character has evolved in the years since Ace was last seen on television. This impression is later contradicted by her curious naiveté concerning the story’s technology (“What exactly does a neural interface helmet do,” she asks in episode three, as if its self-explanatory name would not be obvious to someone who’s travelled with the Doctor as long as Ace has) and especially by her unwavering loyalty to the Doctor, when she tells Hector in the final scenes of Revenge of the Swarm that: “The Doctor’s right; he’s always come through in the end, without fail.” Fans know that McCoy’s manipulative Seventh Doctor has let Ace down before; a conundrum that’s difficult to reconcile with earlier impressions that she’s grown as a character since 1989’s Survival.

On a positive note, the dynamic between Aldred and McCoy is as strong as ever; a scene in which Ace tells the Doctor, as he prepares to enter the Hypernet, that “You don’t think I’m letting you go in there on your own?” has the perfect mix of exasperation and camaraderie; a simple but charmingly effective summation of the well-established bond between these two iconic characters.

The Invisible Enemy memorably introduced a now much-loved new companion to Doctor Who in the form of K9, as well as heralding what was to become a progressively lighter tone to the series in subsequent seasons. It’s unlikely that this by-the-numbers Big Finish adventure will prove to be as significant, in hindsight, in another 37 years’ time.

The Brood of Erys (Big Finish)

Reviewed by Tom Buxton

The Brood Of Erys
Written by Andrew Smith
Directed by Nicholas Briggs
Released: Feb 2014 by Big Finish

The Brood of Erys packs a classic Doctor Who premise – arriving in a star system containing just a single planet and its accompanying moon, as well as an array of radio beacons lining its boundaries, the TARDIS intercepts a mysterious transmission informing its crew that their lives will be in jeopardy should they venture any further. Naturally, the Doctor and Flip (Lisa Greenwood) travel into the metaphorical heart of the danger zone, only to find themselves and their vessel latched onto by a family of “curious” extraterrestrial beings called the Drachee (think the Slitheen, but with subtler and less frequent expressions of gaseous exchange and, mercifully, far less slapstick humour).

There’s something charmingly innocent about the concept of a horde of alien toddlers exploring the deepest recesses of the TARDIS in order to simply learn more of the unknown (not least due to the high-pitched voice of their leader) – and something inherently hilarious about the characteristically melodramatic and agitated reaction offered by Colin Baker’s incarnation of the Doctor – yet as is virtually always the case in narratives taking place within the so-called Whoniverse, the situation turns sour in a matter of moments. Flip is taken hostage by those same individuals who claimed themselves to pose “no danger” whatsoever, while her self-appointed protector is forced to take refuge on a damaged space yacht – and, soon enough, the planet Asphya itself – with an amnesia-prone female humanoid who can’t remember her own name, let alone her dark history or the influence it’ll have on events to come.

In spite of the commendable sense of scale conveyed by these initial eventful set-pieces, Brood’s narrative comes to focus far more on psychological demons than it does physical antagonists, a rare attribute which previously worked to great effect in televised serials such as 42 and Midnight and which certainly doesn’t do the story any harm in terms of building the intrigue surrounding its constructs and the somehow-sentient moon of Erys. Central to writer Andrew Smith’s prolonged investigation of the inner workings of the mind is this notion of an intelligent planetoid and the ramifications its sudden (or gradual) metamorphosis could have for its inhabitants. Of course, as plot elements go, a sentient moon is by no means a completely original addition to the series’ lore (although one might argue that nearly fifty-one years on from November 23rd, 1963, it’s nigh-on impossible for today’s scribes to give birth to wholly unique antagonists) – The Doctor’s Wife’s House comes to mind as a recent example of how such a conceit can be implemented efficiently within the realms of modern science-fiction (and, indeed, modern Who) – so it’s a great relief to see Smith take such a contrasting approach to his predecessors, intertwining the arcs of the aforementioned amnesiac, the Drachee (who offer up an all manner of simultaneously humorous and quasi-philosophical insights into the current predicament facing Erys and the system as a whole) and the spherical landmass which gives this particular audio drama its name to such an extent that one can’t fail to be swept up by the mystery surrounding both of them.

That said, while Smith undoubtedly manages to subvert expectations of the traditional representation of adversaries who attack via the mind rather than through any physical manifestation, Brian Shelley’s voice work as the mental embodiment of Erys isn’t quite so successful in this regard. Sure, there’s genuine enthusiasm and vigour present in Shelley’s portrayal of one of the more abstract (and therefore challenging) forces conceived by the minds of Big Finish in recent years, but when it’s juxtaposed with Michael Sheen’s chilling vocal contribution to Neil Gaiman’s aforementioned 2011 TV story, it’s all but pointless to attempt to argue that the former performance is anywhere near as memorable or layered – instead, it comes off as rather derivative, as if Shelley has dedicated a considerable amount of his spare time to watching psychologically investigative serials like The Brain of Morbius in order to hone his contribution to the ever-expanding world of Doctor Who spin-offs (if such a term can even begin to do justice to the increasingly accomplished and ambitious work of Big Finish and its various writing teams) rather than focusing on putting his own engaging spin on the dialogue afforded to him in the notably generous script (that several scenes rely wholly on his ability to match and / or surpass Lisa Greenwood’s evident enduring passion and conviction doesn’t help matters either).

If Shelley is the play’s weakest link, then Baker and Greenwood are easily the two central components which (in tandem with the near-unparalleled intelligence of Smith’s delicately-structured and thematically subversive storyline) hold it all together. Both of these talented thespians have had more than enough time to develop their portrayals and to tailor them to cater for the preferences of Big Finish’s constantly expanding Doctor Who-orientated fandom and, unsurprisingly, they’ve done so with enviable ease, to the extent that they’re now seemingly able to transform even the most exposition-centric sequences into dramatically engaging exchanges that reward the attentive listener in unexpected ways regardless of whether or not they feed directly into the narrative’s denouement. The sixth Doctor in particular is taken completely and utterly out of his comfort zone as the situation at hand shifts out of his control and unseen forces manipulate proceedings in order to suit their own ends, instantly enabling Baker to flex his performing muscles as his character’s increasingly desperate attempts to rally against his newfound nemeses begin to seem more and more futile.

After months upon months of mediocrity, then, Big Finish’s Doctor Who audio dramas may well have found their footing once again with The Brood of Erys. Andrew Smith – unlike several of his esteemed predecessors - doesn’t rely on the series’ past tropes in order to strengthen the credibility of his tale, nor does he integrate needlessly contrived references to classic or modern serials in a similar vein to those scribes who fear that they’ll lose their listeners’ attention should they neglect to include such call-backs in the mix. There’s still room to improve in future sixth Doctor productions, of course – perhaps it’d be worth Smith becoming more involved with the casting process when it comes to selecting a truly accomplished voice actor to portray his next storyline’s central antagonist, since Brood’s brilliantly subversive script certainly more than warranted such talent – but to paraphrase John Hurt’s already-beloved War Doctor, for now, for this moment, this is the show we’ve come to know and love again.

The Caretaker

Reviewed by Martin Ruddock

Written by Gareth Roberts and Steven Moffat

Directed by Paul Murphy
Starring Peter Capaldi, Jenna Coleman, Samuel Anderson, Ellis George
Premiere 27 September 2014, BBC One

Clara Oswald had been doing a good job of leading a triple life lately, but something had to give.
She was already a teacher of unruly teenagers at Coal Hill, and assistant/carer/conscience to a newly unpredictable Time Lord to start with. As if those two factors weren't enough to contend with, now she's in a new relationship too, with Danny Pink. She's struggling to keep them separate, as she careers breathlessly between adventures and dates. She's eating two dinners in a row, going for a run after running down corridors, fishing seaweed from her hair. She's flagging. The control freak in her is working overtime trying to keep her worlds from overlapping. She seems slightly uncomfortable that the kids all know about her and Danny. She really doesn't want the Doctor and Danny even knowing about each other. So, when a very familiar looking relief Caretaker shows up in the Coal Hill staff room, she's appalled, and Danny instantly suspects that Clara already knows this man...

The Doctor is being proactive again, and has decided to go 'deep cover' to sniff out the threat. His version of deep cover is to basically put on an overcoat. His latest incarnation can't be bothered to try and fit in with the natives, particularly the P.E. Teachers. He makes angry signs, disrupts lessons, and even breezily shows pupil-with-attitude Courtney the TARDIS interior. Imagine if this incarnation had been the one exiled to Earth, he would have gone stir crazy. The Brigadier would probably have had him locked up next to the Master.

The threat is the deadly robotic Skovox Blitzer, drawn to the area by decades-worth of artron energy. It's a curious thing, another lone-gunman, a diminutive metallic soldier awaiting orders - scurrying around like a toy Racnoss. It's certainly very good at blowing things up - and people, like that poor Policeman, who meets a grisly end.

It's not a great villain, and although the design is novel, it's hard to believe that this critter could really take out the entire world. This series is getting quite robot-heavy. That said, this story isn't about the Skovox Blitzer. It's about the Doctor and Danny's relationships with Clara, and how they meet and reluctantly reach a grudging respect for each other, despite this Doctor's pronounced dislike of soldiers, a theme that has been prominent in this series, and looks to continue. 

The Doctor and Danny predictably clash, it's an interesting clash too, as normally when presented with a boyfriend figure it's not so much of a fair fight. Danny, being more of an alpha male, gives as good as he gets. Clara, meanwhile, doesn't end up having to choose between the men in her life, but does blurt out that she loves Danny. This, and Danny's inevitable role in the resolution help his case with the Doctor, who wants to know she's with someone good enough for her. Danny, meanwhile, wants to know Clara is safe. Although all three are at peace at the end of the episode, there's clearly something building, and we're probably due some turbulence and heartbreak soon.

Capaldi, Coleman, and Anderson are all excellent in this. Capaldi gets some zingers from Gareth Roberts and Steven Moffat's very funny script, and also the chance to run the gamut from boredom, rage, and a knowing little moment of vanity when he mistakes another teacher for Clara's boyfriend. His Doctor also gets to bond with the equally bolshy Courtney, who's back next week for a trip to the Moon, where bad things are likely to happen. Jenna Coleman gets better and better every episode, Clara continues to come into her own, and her chemistry with Capaldi is a joy to watch. She's equally good in a quieter way with Anderson, who continues to knock it out of the park with a subtle, well-judged performance.

The only criticism? More threat next time please. Although, looking at the teaser for next week, there's unlikely to be a shortage of that. See you on the Moon.

The Last Of The Colophon (Big Finish)

Reviewed by Ben Breen

Last Of The Colophon
Written by Jonathan Morris
Directed by Nicholas Briggs
Released: May 2014 by Big Finish

The fourth Doctor, accompanied by Leela, lands the TARDIS on a world designated by an orbiting spacecraft’s rather sceptical crew as a “lifeless grey rock”.

On yet another attempt to go for a holiday, they exit the TARDIS, finding nothing but a dry empty landscape, with rather “bracing” temperatures. This, in short, summarises the opening 5 or so minutes of the Last of the Colophon, the fifth episode of season 3 of the Fourth Doctor Adventures range.

Subsequently, a man, identified as Morax, is awoken by a computerised voice, relating the Doctor and Leela’s arrival. Morax also learns of the presence of the orbiting ship, which he orders to be kept under observation.

Leela and the Doctor, after seeing a vapour trail from the planet’s surface, resolve to go and meet the crew of the spaceship, the Time Lord remarking that they could give them a “guided tour” of the desolate ruin that was once a city. The comedic aspects of the Doctor’s character, as well as Leela’s seemingly constant sense of unease, allow for some rather humorous moments here, as well as allowing the occupants of the ship, now seen clearly as a survey vessel, to be introduced.

We meet a robotic nurse by the name of Torvik, seemingly intent on keeping Morax imprisoned while life-forms arrive and leave outside. However, he is not as powerless as he appears, up to now breathing through a respirator and moving via the aid of a wheelchair. He removes the citadels shielding and activates the distress signal, which the survey team manage to pick up, angering the sadistic Nurse Torvik in the process.

The survey team, along with the two Time travellers, are allowed entry to the Citadel by Morax, who is now shown to be far more resourceful than when we first encountered him. Asteroth Morax states that he was a scientist and is the eponymous “last of the Colophon”. Horribly disfigured, with his legs in a state of atrophy, kept in a “half-life for centuries”. This “persuasive case” convinces the Doctor to help, working with deputy surveyor Sutton of the Oligarch.

The story then takes a chilling turn, giving rise to a sequence that is not unlike something from a modern first-person shooter. Ending the first episode on a rather retro-inspired cliff-hanger, with his companion’s life in the balance the doctor must choose wisely if they are to survive.

The second episode does contain some clever writing, with the doctor’s objections to the many misrepresentations of his sonic screwdriver definitely being worthy of note. The familiar sequences of running through corridors are also present. The plotline of the second episode, whilst also being as gripping as the first, seems at first glance to be shorter and rather rushed. But for those readers/listeners in fear of having overpaid for an adventure, things only get more interesting. A few plot threads that were unresolved and unanswered come into their own, with the ending being a very satisfactory conclusion

The writing in this episode is well suited to the era, along with the score, whose suspenseful notes and background presence make the important moments stand out and the chilling ones attain a dark tone. The genius and madness of the villain of the piece is rather similar to that of Davros, although said antagonist does show signs of restraint when faced with a situation that requires cooperation from hostages.

This episode draws parallels to the very first episode of The Sirens of Time, featuring a wheelchair bound prisoner held on a planet that isn’t quite what it seems.

The casting compliments the clever and humorous writing well, with every character having their own comedic lines and moments in equal measure.

To conclude, this story is somewhat of a rollercoaster ride, with twists and turns that you wouldn’t really expect. Additionally, a notable point of this drama is that not only does it feel very authentic to the fourth doctor era, but it also feels longer than previous stories in the range. Whether that is because of the intricately crafted plot, or just the fact that the story is one that draws you in, it is difficult to tell. I would urge anyone who is a fan of the suspenseful classic era of Doctor Who to give this one a look as well as anyone who just wants a good story to listen to.

Doctor Who FAQ

Reviewed by Virginia Cerezo

Doctor Who FAQ
Written by Dave Thompson
Publisher: Applause Theatre Book Publishers
Available from Amazon UK
Available from Amazon USA

As the author states in the introduction, this is not a Doctor Who encyclopaedia, nor a guide, but “the story of all of the Doctor’s adventures,” and that is indeed what one gets to read.

A British ex-pat, Thompson writes a book mostly orientated towards new viewers, people who probably discovered the show by the end of Matt Smith’s tenure, or who just went on board because they were already Peter Capaldi fans. In any case, what this book offers is a detailed story of the show’s history, from its creation to its demise in the 1980s and its reboot in 2005. Of course, there is a detailed account of all the Doctors, the companions and the villains of the show -needless to say, the Daleks have their own chapter.

The funny thing about this introductory book (which also contains plenty of new and useful information for the Doctor Who connoisseurs) is that Thompson is not afraid to share his personal opinion. After all, this is a very intimate book, written by someone who witnessed the birth of the show back in 1963 and who grew up with it. That way, anyone who has never watched Doctor Who and decides to give it a try, will probably feel biased and influenced by Thompson’s own tastes, instantly disliking the Sixth Doctor (and I say dislike in an effort to avoid the word “hate”) and Matt Smith’s Eleventh, as well as companions Rory and Amy, whose stay at the TARDIS he considers “a nest of domestic tedium.” They are not the only ones, though, as he shares his views on every companion (he could not stand Adric, Mel or Peri and does not even consider Grace Holloway as one).

These are Thompson’s memoirs of his life as a Doctor Who fan, so he talks about every companion and Doctor with the knowledge of an expert, one that simply tells you whom he liked and whom he did not, as it is expected. Or maybe I am okay with it because he loves David Tennant’s Tenth and Billie Piper’s Rose Tyler, who happen to be my Doctor and my companion.

The book is written with wit and in a compelling way that allows the reader to learn more about the history of Doctor Who, but it is especially helpful for those who joined the show’s fandom after its comeback in 2005, because it contains an impressive amount of stories and facts from the series’ first stint, information that surely helps understand many thing from the new Doctor Who. Because in the end, 50 years is a lot of time. There are so many episodes, novels, audiobooks, comics... The so-called Whoniverse comprises a huge amount of material than can get lost in the mind of a fan, and that is exactly what Thompson wants to avoid, by collecting all the necessary information a Whovian needs to know.

After all, if each one of us wrote a book about our Doctor Who life experience, it would look pretty much like this one. And that is what makes it a must-read.

(If you want to read more from a Doctor Who fanatic, you can visit my blog )

Time Heist

Reviewed by Martin Hudecek

Time Heist
Written by Steve Thompson and Steven Moffat
Directed by Douglas Mackinnon
Premiere, 20 September 2014, BBC One

The Doctor and Clara are drafted in by a mysterious figure called the 'Architect' to rob the bank of Karabraxos - one of the most secure and dangerous monetary institutions in all the universe. Along with a cyborg /human hybrid named Psi (Broadchurch’s Jonathan Bailey) and a mutant shape-changer called Saibra (The Smoke's Pippa Bennett-Warne) the chase is on to secure something of great value. And just as vitally: to understand why all four of them have had their recent memories erased by their own volition!

Once again events are set in motion by a telephone call made to the Doctor's Tardis. Clara is thinking of her next meeting with Danny, but a normal life with romance is not that simple for someone who assists the Doctor in his adventures.

A clever edit is made to a later point in time, with amnesia being deliberately chosen by the four bank robbers. All of this comes together to form a very snappy and enticing pre credits sequence. Steven Moffat knew this opening would be a cut above the average and has gone on record as saying as much. It would be a real shame were the casual viewer to miss the start time by five minutes and be left to wander what is going on a little too much.

The two 'extra' companions on this mission both are easily distinguished. Psi is a die-hard gamer with a somewhat shaky record in staying on the straight and narrow. Rather endearingly his half-computer status results in his voice being prone to switching to a robotic tone under stress. His record of theft plays into a big crescendo of decision making as the episode really clicks into top gear. And shape shifter Salibra has some back-story she'd rather keep to herself. Despite a kindly persona she is rather unsettling in being so conversant with assuming others' visual identities. All the same, her special ability is crucial in order for the Doctor's party to casually walk into the Bank with their express aim of pulling off the 'heist'.

Alien creatures stand out in this colourful instalments. Memory worms are an unsettling but actually benign 'cameo' monster, whose function is actually to introduce the conceit of a gang of four who must figure out why they are suddenly together. The main alien creature, the Teller is a more important new addition to Doctor Who's huge menagerie, and has something of a minotaur aspect to its design. Although in some ways this foe is similar to the entity from 'The God Complex' it is also very different at the same time. The sequence in which an apparently dodgy businessman pays a heavy price for his misdemeanours relating to the Bank is a very effective 'behind the sofa' sequence. Although little is known about this somewhat unfortunate victim the scene ends up being simultaneously dark satire and sheer horror. There is also an uttering by the Doctor of the word 'soup' which will stick in viewers' minds. Peter Capaldi certainly knows how to make the most mundane sounding sentences have an edge to them.

The Teller's main role as a brain eater is sufficiently scary and memorable. However there is no question that the most malicious and cruel antagonist is villainess Miss Delphox - played by Keeley Hawes (Ashes to Ashes). We are even led to have sympathy for the monster, as it is harnessed to cause damage to enemies of the Bank, by being kept in either chains or in a form of cocoon. Furthermore Delphox manipulates the Teller to dispose of a nuisance individual or two and describes the action as 'account deleted' and generally struts about the Bank giving out orders in a nonchalant way. Evidently the Doctor will have to use his keenest wits to come up with a solution against such an antagonist.. except the finale has a twist where our Time Lord icon gets help from the most unlikely of sources.

Given the title of the episode the actual 'Mission Impossible' material is given suitably sufficient screen time to build up, and then pays off in a fluid and engaging way. The uncertainty over the Architect's identity and whether he is someone to dislike is well done and the eventual twist over his motives is certainly one which may surprise the viewer; although I would imagine a certain number can perhaps be ahead of where Moffat and Thompson had imagined the general viewer to be.

The regulars are once again very enjoyable to watch. Capaldi is still growing from episode to episode, and I sincerely hope he will stay the standard three years in the title role if not substantially longer. He can go from being icy-cold to bubbly and optimistic in a heartbeat, and he is so definitively alien. Even with a cyborg and shape shifter for company, he stands out like a mega-watt light bulb. Many lines of dialogue feel so well-suited to him, and he gets to emphasise why his distinctive eyebrows should afford him 'authority'.

Clara is now somewhat back to traditional companion territory like a number of her episodes in 2013, but still the after-effects of episodes like Deep Breath and Listen are here to stay. The Doctor's expression makes clear that sees her as someone not to talk down to although he very much wants to be the leader and the one to inspire others to greater heights. And yet the emotions conveyed in the Robin Hood episode are also on show - right at the end of the story, as the Twelth Doctor displays a fit of pique and childishness. Overall both leads' performances make clear the various levels upon which The TARDIS crew dynamic works on.

I did think on seeing the name of Steven Thompson that this could be a somewhat flat episode like 'The Curse of the Black Spot' and 'Journey to the Centre of The Tardis' were. Instead this is perfectly solid and engaging and feels just right in its one-part/ 45 minute format. One nitpick I have is that the Doctor tells Clara not to 'think' in a manner reminiscent to combating the Weeping Angels. More importantly the main humanoid villainess just doesn't make a strong impression. Keeley Hawes is a stellar performer normally yet seems to have been landed with a poorly sketched character and doesn't really get out of second gear given her enormous talent. "Intruders are most welcome" is one example of a quip from Delphox - it just would have been good to have an actual story behind her as well as some malicious wit.

But nonetheless there is a very good final confrontation with the Doctor meeting 'the Director'. Belated exposition plays its part, even as the surrounding location becomes a threat in itself. The urgency of the Doctor's assertion of full knowledge - and determination to end the problem - makes this a very well paced and fulfilling final act to the episode. And the revelation behind the Teller is a fine scene, both poignant and logical given the other information from earlier.

Overall then this is a solid joint writing effort from Stephen Thompson and Steven Moffat; with perhaps their prior collaboration on 'Sherlock' allowing for a keen sense of what to bring out from one another. With frenetic action, satire, a surprise twist or two, and good lively direction this episode is to be enjoyed much in the same manner as those that preceded it in Series 8.

The Lost Stories: Lords of the Red Planet

Reviewed by Martin Ruddock

The Lost Stories: Lords of the Red Planet
Written by Brian Hayles
Adapted by John Dorney
Directed by Lisa Bowerman
Released Nov 2013 by Big Finish

Big Finish has long been the hub for Doctor Who's what-ifs and might-have beens, be it filling in enticing gaps left in the TV canon, or giving the eighth Doctor a whole new lease of life on audio. In more recent years, the remit has widened to take in stories for the first three Doctors, with surviving cast members providing narration - first with Companion Chronicles, then The Lost Stories. Lords of the Red Planet takes this idea to new levels - with its expanded cast and lovingly-crafted sound design, it expertly recaptures the late Troughton era in six pacey episodes.

Lords of the Red Planet is based on another unproduced idea by Brian Hayles, and was to be the original follow-up to The Ice Warriors. It was abandoned in favour of The Seeds of Death, quite possibly because it would have used up an entire series worth of budget trying to create three distinct reptilian species and an underground city, mines, and a rocket on Mars!

As with The Queen of Time, Hayles' original storylines have been adapted into scripts for Big Finish, this time by John Dorney, and with the cast again led by Frazer Hines and Wendy Padbury. It's an origin story, a sort of 'Genesis of the Ice Warriors' - which sees the Second Doctor, Jamie, and Zoe arriving on Mars in its distant past, only to be caught up in terrible events that see the fall of one race and the rise of another. Troubled scientist Quendril works around the clock genetically 'sculpting' an army for the cruel dictator Zaadur on pain of death for his people, and the arrival of the TARDIS crew in the subterranean city of Gandor only makes things worse....

The Ice Warriors have traditionally been a bit of a blank slate throughout their history, arguably they've barely been explored beyond The Curse of Peladon's twist of Izlyr and Ssorg being good guys. Some attempt to flesh them out was made more recently by Mark Gatiss in Cold War, but Lords of the Red Planet looks at the bigger picture, and with greater effect.

We meet the reptilian martian race that created the Ice Warriors; the aforementioned Quendril (played by Michael Troughton) as well as the prototype Ice Lord Aslor, and one of Quendril's 'failed' experiments, his assistant Risor - both played by Nick Briggs, also on Ice Warrior duty. Briggs does an excellent job of breathing (hissing?) life into two distinct characters, with the tragic Risor being reminiscent of Condo from The Brain of Morbius. His Ice Lord, Aslor (a dead ringer for Alan Bennion's Ice Lords of the 60s and 70s), bonds with Zoe, and fights against his warlike conditioning, showing great pathos.

Quendril, meanwhile, struggles with the consequences of his work, and is highly distressed at the pain he is forced to put his test subjects through. Michael Troughton excels here, despite the horrific nature of Quendril's work, he comes over as sympathetic, no small feat when you realise he's essentially a Davros figure.

We also get an insight into the society of a dying world dependent on daily doses of 'life drink', with the spoiled, vain, puppet Princess Veltreena, (played by Charlie Hayes, daughter of Wendy Padbury) as its figurehead. Even the villainess of the piece, Zaadur, played by Abigail Thaw, has a brief moment of sympathy, when it's revealed that she too is the product of genetic experimentation and has gone through similar agonies to Aslor and Risor. Thaw is excellent, and gives a very strong performance. Dorney's decision to change Zaadur from male to female is a masterstroke, although, as with The Queen of Time, it does remind you of the Troughton era's lack of female foes.

Hines and Padbury are great as ever, with Hines doubling up again as Jamie and the Doctor. Zoe has a meaty part, acting as Aslor's conscience, and ripping the electrodes from him as he is being agonisingly 'brain-formed' by Quendril's process. Jamie is more involved with the rough stuff, but gets a nice scene with Veltreena, who is clearly flirting with him, despite being unsure of what exactly he is. Hines is as good as ever, and sounds like he's stepped straight out of The War Games. Padbury is excellent as well, but sounds like she's struggling to get Zoe's pitch right at times.

Lastly, Hines' uncannily accurate Second Doctor is present in full effect, and is almost flawless - it's only occasional lines of over-wordy dialogue that don't ring true, but the speech patterns, tone, and attitude are all there, and it's a joy to hear. Lords of the Red Planet is a real treat, and a fine bit of world-building, classic in feel, but quite modern at the same time, with real moral dilemmas nestling alongside sonically perfect hissing Ice Warriors and rumbling tympani straight out of The Seeds of Death.

Even if Big Finish isn't your thing, Troughton fans in particular should snap this up. A triumph.
Sssssssuperb.

New Adventures with The Eleventh Doctor - Issue 2 - The Friendly Place

Reviewed by Martin Hudecek

"And I'm not sulking. It just looks like I'm sulking. It's special Time Lord Meditational .. thinky stuff" - The Doctor to Alice.

No sooner have our heroes had one odd and rapid adventure does another come their way in this new offering from Titan Comics. It similarly tells a whole story in the space of one issue, with a proper resolution to the particular scenario. This time round Al Ewing is the sole author, but the core art team comprising Simon Fraser and Gary Caldwell is unchanged. This story clearly establishes that the Doctor and Alice have made their next trip immediately, following the drama that culminated in Westminster in London. The tone is again predominately light; yet with darker undercurrents. The key story is set on the world Rokhandi and revolves around a brightly coloured yet eerie theme park which has its employees seemingly all made to work under some sort of hypnosis. An unseen entity is at work in the shadows, aiming to convert new people to its philosophy that the planet is a 'friendly place for all'. This may be positive terminology but the looks that the converts have in their eyes suggests something rather more amiss. The Doctor's original intent was to arrive on this special planet somewhat earlier on in its history - in the range of ten to thirty years - but perhaps his inaccuracy will end up doing some good - if the reader knows anything about the Gallifreyan wanderer in time and space.

Having found the pilot issue for these brand new adventures with 'Eleven' and Alice to be ideal for an establishing story - and with a simple enough plot, my hopes were that this next instalment would add a bit more 'meat to the bones'. However it falls a bit short of what I anticipated. Nothing is inherently poor or boring, but the story is overly straightforward and does not have a strong enough twist. Admittedly a particular antagonist knows a lot about both the Doctor and Alice - and a mysterious third party (!) - having met them at an earlier point in his life. Of course the 'timey wimey' themes of Steven Moffat's stories - especially those featured in his work as show runner - are more than appropriate for Doctor Who in other forms of media. However this doesn't mask the neglect of good ensemble characterisation, especially compared to 'Afterlife'. Almost all the secondary characters are portrayed simplistically - admittedly many of them have been subsumed and deprived of their own individuality, but there could have still been some more intriguing hints dropped through the reactions of the Doctor and Alice. Witty dialogue is prevalent and often well-done, but also a bit predictable after a while.

Thankfully the story is still more than redeemed by consistently strong artwork and a characteristically potent speech by the Doctor concerning the desecration of Rokhandi. A once perfect and beautiful planet with amazing flora and fauna, that would be many a person's conception of paradise - it has become soulless and corporate with theme parks and mining complexes predominately occupying the surface area of the globe. However this thematic depth which dominates a handful of pages only serves to highlight how routine other story beats are - especially later on. Colours are well used again in this issue, yet ironically the particular contrast of shades that feature in the latter sections are markedly limited compared to the kaleidoscope that preceded them. This arrangement almost compromises some of the overall impact of this being an engaging comic book experience.

Nonetheless there is no doubt that this is an Eleventh Doctor and he is right at home here displaying his inquisitive nature; Matt Smith would certainly have relished reading the dialogue featured. Companion Alice Obiefune is still well drawn and continues to show much promise for future stories. Her confident and patient approach in the face of a sporadically moody and unsettled Doctor, and his affirmation that she detects accurately the unsettling happiness doctrine and unreal lack of blemish in the theme park is a very good writing decision by Ewing. Just as with Donna Noble - easily one of my favourite companions of the entire television run - Alice is someone who is relatively mature and practical but can use her empathy to cope with the bizarre nature of the alien or paranormal aspects around her. However she does not suffer fools gladly or get intimidated by secondary antagonists; and thus comes across as a real person whose flaws are the flip side of her strengths.

The actual nature of the particular threat - maybe a monster of the month, maybe something more relevant in later stories is ultimately not particularly distinguished. Although the reader looks forward to a confident solution by the Doctor it somehow falls on the side of 'too easy' which weaker episodes of Doctor Who usually manage to resign themselves to. I almost could not help thinking even a rather disappointing outing like 'The Rings of Akhaten' at least made the final moments feel like they matter. Here the Doctor is just a bit too safe and smug, and normally those adjectives apply to more generic or two-dimensional fictional heroes. Also Alice is reduced to a backseat role come the end stages after a brief bit of initiative in trying to help rescue her friend. Two issues in it is worth mentioning that open ends from issue one have been set to one side - despite a reference in the opening prose recap of the mysterious figure that seems to be from the doctor's home world. The villains that could be coming after the Doctor and Alice before long may turn out to be well portrayed and memorable. With any luck the best aspects of these opening pair of issues are utilised and amplified further.

So a qualified success as regards this issue. It moves along well, looks very nice and has its good moments of lead character development and arc building. Just don't expect a story to come back to time and again.

**
On this occasion there is just the one bonus strip featuring a very comedic tone: Marc Ellerby's 'Unexpected Enemy In Bagging Area'. Now I personally loathe the automatic checkouts which supermarkets and department stores favour so much, everywhere one goes. The Doctor is much of the same philosophy and even compares these soulless machines to his most dread adversaries of yesteryear. A nice clear art style and interesting range of colours in the background make this both a funny and memorable extra to the main comic.

The Lost Stories: The Queen of Time (Big Finish)

Reviewed by Martin Ruddock

The Lost Stories: The Queen of Time
Written by Brian Hayles
Adapted by Catherine Harvey
Directed by Lisa Bowerman
Released Oct 2013 by Big Finish

Poor old Brian Hayles. He gave us some great bad guys in the Celestial Toymaker and the Ice Warriors in six (credited) Doctor Who stories between 1966 and 1974 - but he was often heavily rewritten as his ideas overreached what a TV show could manage, especially on a small budget.

His first effort, The Celestial Toymaker, is credited to him, but the final script was rewritten beyond recognition by first Donald Tosh then Gerry Davis. He had a little more luck from here on, but was still frequently sent back to make changes, or subject to rewrites.

A prolific writer, bursting with ideas, Hayles submitted many stories to Doctor Who over the course of around a decade, but most of his ideas were rejected on grounds of suitability or cost. According to Terrance Dicks, who had to rewrite large chunks of The Seeds of Death and The Monster of Peladon himself, Hayles was an affable man, and was very understanding of the required changes, but it must have been a frustration for him.

The Queen of Time, as presented here by Big Finish as a hybrid Lost Story/Companion Chronicle is one of Hayles' rejected efforts, adapted from a 1968 outline into a full script by Catherine Harvey. Frazer Hines and Wendy Padbury take the lead here as Jamie and Zoe, with Hines again on double duty with his uncannily good impression of Patrick Troughton's second Doctor. The cast is completed by Caroline Faber as the eponymous Queen of Time, Hecuba, who gives a great performance - moving effortlessly between flirting and fury. Faber does a great job here, playing Hecuba as a charming yet vicious femme-fatale, playing cat and mouse with the Doctor whilst casually putting Jamie and Zoe through hell. It's a very strong performance, one that reminds you of the lack of strong villainesses in much of the original series. The only slight criticism I have is that there's maybe a little too much of Hecuba's maniacal laughter going on at times. Hines and Padbury are excellent as ever. They occasionally sound older, unavoidable, given the passage of time - but both recapture their characters effortlessly, and the same old chemistry is at work. Hines' take on the second Doctor continues to impress, it's so good that you could easily forget that it isn't Troughton you're listening to.

The Queen of Time begins with Hecuba's beautiful laughing face appearing on the TARDIS scanner, inviting the Doctor to dinner. Hecuba wastes no time in separating the Doctor from his companions, leaving them to complete a variety of sinister trials whilst he squirms over the revolting dinner she provides and tries to find a way out of her realm. This story is surreal, and has some elements in common with The Mind Robber. The sound design is very effective, with inventive use of gramophone records, and ticking clocks. There are also some similarities to Star Trek, with the crew faced against a godlike being capable of terrible things. The story would have been very difficult to pull off in 1968 in this form, being very visual and quite graphic in places - the food really is disgusting, and there are Alice in Wonderland rug-pulls of reality, and slavering dragon creatures. This has the result of making this tale quite narration-heavy, as there's a lot to picture here, and consequently a lot to describe.

Nevertheless, The Queen of Time is great fun, and recaptures the Season Six TARDIS team to great effect. It's also possibly the only Doctor Who story to make a plot point of a thrown brioche.

Listen

Listen
Written by Steven Moffat
Directed by Douglas Mackinnon
Premiere, 13 September 2014, BBC One

Occasionally an episode of Doctor Who comes along that makes you think differently about the show’s parameters: what it can do, what it can be, and what it can mean. Described by Steven Moffat as a “chamber piece”, this looks like a money-saving installment, focusing predominantly on the main cast of regulars, with no guest stars to speak of and no (visible) monsters. On paper, it's an odd idea. In fact, this doesn’t sound much like Doctor Who at all (even if it has a kind of precedent going back to 1964’s ‘The Edge of Destruction’).

Yet 'Listen' is a strong candidate for the most intricately structured 50 minutes of Who ever. Near the episode's beginning we see the Doctor in Clara’s mirror, reflected three times over, and it’s an image that prefigures three journeys into characters’ pasts and futures, along with three fragments of childhood or child-like fear. 'Listen' is rammed full of Moffatisms: there are fairytale rhymes, things you can’t look at but can only sense or glimpse, child characters who are given prominent roles, and non-linear storytelling with timelines jumbling, jumping and stuttering. But 'Listen' is much more than a showrunner’s reprise: it isn’t simply this year’s ‘Blink’, for example. For one thing, it doesn’t (quite) deliver a new monster – instead it questions what monsters do, and what functions they can serve, for those who pursue them. Very often in Doctor Who, monsters represent something; they’re allegories or symbols for a range of anxieties. 'Listen' purifies that strategy, boiling Who’s monsters down to their simplest, starkest essence: an experience of fear and a desire for knowledge.

Of course, it’s tempting to see ‘Listen’ as a meditation on childhood; a piece of pop psychoanalysis where our favourite Time Lord can be understood though a very briefly sketched childhood trauma, and where the child is all too obviously the father of the man. But at its crucial moments, ‘Listen’ isn’t about childhood at all: it’s more about parenting. The Doctor shouts at Clara, ordering her to safety as he prepares to confront his own fear and his own need to know: he asserts tough patriarchal authority, positioning Clara as a child who can't evaluate own best interests. But the ‘impossible girl’ is also given a maternal if not matriarchal role, later informing the Doctor that he must do as he is told (something he recognizes and submits to). 'Listen' is, at least partly, about knowing when to heed authority and when to listen to a parent’s protective voice. It is, finally, not the Doctor who’s given an omniscient voice-over; it's Clara who watches over him, as if parentally, and Clara who ties together the episode’s themes as one culminating object is threaded through two different childhoods and a family inheritance. The same image, the same material artefact, seemingly gives rise to “Dan the soldier man” and the Doctor that we know; each becomes a distorted mirror image of the other. Scared may be "a superpower", but that superpower is both metaphorical and literal in the current Doctor Who universe, refracted in different ways through Danny Pink and the Doctor.

Fear and the unseen monster – the “figure”, as closing credits dub it – are equated; each stands as a sort of constant companion. But there are other equations that are more subtle and even more intriguing. What are the two things that this episode refuses to show us clearly? The monsters that must never be seen… and the young Doctor, reduced to a silhouette and a curl of hair. Neither the monsters nor the child-Doctor can be clearly apprehended. The monster’s power – its hold over the imagination – stems from remaining invisible; it is an empty space, a blank Rorschach test onto which anything can be projected. But the proto-Doctor is equally withheld; for all that this story seems to stretch the show’s boundaries and format, it refuses to convert the unseen Doctor into a prosaic face and figure. Resisting realism and refusing representation, the young Doctor is just as mysterious as the perfectly hidden creatures, and hence he remains just as much a space for projection, imagination and fantasy. The Doctor and the monster: both are rendered dream-like and oneiric, shimmering at the edges of perception.

Douglas Mackinnon directs this evocative material with aplomb, having recently been responsible for half of Line of Duty 2, which itself featured a stellar performance from Keeley Hawes (gracing the ‘Next Time’ trailer here). Jenna Coleman and Samuel Anderson both shine in their Coupling-style flashforwards/flashbackwards romance, with Anderson also convincing in the dual role of Danny/Orson Pink. But for me this episode belongs to Peter Capaldi. He’s mesmerizing when speaking out loud to himself, and looks alarmingly demented at moments, as he seeks to uncover what’s “under your bed”. This is cerebral, provocative Doctor Who at its very finest (where provocative is probably ‘scary’ for deep people). And it features one of the most unusual missions in the series’ long history: this Doctor isn't seeking to overthrow an oppressive regime or repel an alien invasion. No, he wants to engage in the interpretation of dreams, unusually allowing the TARDIS to travel via 'subconscious' means.

To worry about continuity seems to miss all the poetry of this episode. Perhaps some devotees will feel that the Doctor’s early years should have stayed firmly off-screen, or that Clara is being given too much sway over the Doctor’s identity here – she seems to symbolically create “Dan” and the Time Lord: soldiers whose power to protect is rooted in fear. Perhaps others will worry about how the TARDIS can so easily find its way to that barn, and that tearful child. But if 'Listen' plays on certain fan fears (of a Doctor that isn’t quite heroic or mysterious enough), then it does so in order to find new possibilities in the programme’s storytelling engines, and to worry away at fixed images of 'the hero'. In The Inner World of Doctor Who, Iain MacRury and Michael Rustin suggest that the Doctor can often be interpreted as a kind of “inadvertent therapist” (p.290), listening to others and helping them remake and re-order their lives. Here, though, it is the Doctor who is analysed by a script that ranks among the show’s most experimental explorations. What really lurks under the Doctor's bed? This is Doctor Who that demands to be thought about. It’s the programme’s format rewritten and yet perfectly encapsulated at one and the same time. And it leaves us with a beautiful image: the good enough hero as a kind of broken soldier.

The economical, sparse and interlocking structures of 'Listen' – treating continuity as a space for creative play – potentially make this Steven Moffat’s best Who script to date. It’s about striking images rather than spectacular effects; it’s about what it means to be scared, rather than cool and merchandisable monsters; it’s about “real, inter-human” date stuff just as much as the end of time, and it’s about the productive, transformative work that dreaming can sometimes perform. Rupert’s dream which gives rise to his new self may be implanted by the Doctor, in a sense, just as the Doctor’s own 'dream' of himself is seeded by Clara, but these science-fictional suggestions nevertheless stress the importance of our interior lives and dreamscapes. The Doctor’s interest in a seemingly universal dream (and its interpretation) ultimately gives way to dreams of a better self.

On paper, this might not sound quite like Doctor Who. Perhaps this ‘Fear & Monsters’ riff amounts to Moffat’s ‘Love & Monsters’ moment, and may be it’ll prove to be just as divisive. But watch ‘Listen’ without prejudice, and you’ll find series eight of Doctor Who humming with a darkly glittering and serious brilliance. We’re past the fiftieth anniversary, but there are still new things, as raw and energising as childhood fears, to be said and heard through the medium of Who.

There can't really be an 'instant classic': classics take time to settle into fan consensus. But if such an entity existed, and if it could be glimpsed, then 'Listen' would surely deserve the title.

Robot of Sherwood

Reviewed by Martin Hudecek

Robot of Sherwood
Written by Mark Gatiss
Directed by Paul Murphy
Premiere 6 September 2014 BBC One

Back when Robin Hood - Prince of Thieves was bringing in the punters at cinema screens, Doctor Who was looking like a completely finished tv franchise. Few loyal viewers or die-hard fans could imagine it coming back stronger than ever and being confident enough to be more varied in tone and subject matter on a weekly basis than the original run generally aspired to. Time has perhaps not been kind to the blockbuster epic which featured Kevin Costner sound distinctly American, yet the film has also managed to enter the public’s consciousness on quite a deep level. Certainly many adult viewers of this latest episode will almost find it surreally familiar in that special way that Doctor Who can be. Perhaps it is a surprise that our great TV show has never directly featured the heroic outlaw and his ‘merry’ band of men.

This episode from the pen of Mark Gatiss is in some respects refreshingly linear – there is little that requires the viewer to connect the dots on their own initiative, and each scene builds on the next in a straightforward if predictable fashion. Of course there are some revelations as not all is as it appears to be, and notably the Doctor ends up not being proved totally correct, and that is in part due to his rather protective stance towards Clara. A good tribute to the river fight featured in the celebrated story sees the Doctor takes on Robin on a narrow bridge over the river. It is a nice moment that exposes some of the Doctor’s vanity and pride. However much later in the episode it is emulated in a manner that takes away the crucial drama and also feels self-indulgent.

The direction, design, music and acting is mostly solid – although the key role of Robin Hood is just a little under-cooked both in script and performance - if by no means badly done. Although Robin sounds authentic enough, there is perhaps too much obvious effort of him conveying energy and roguish charm, rather than just embodying those qualities. Right from his first appearance where he declares that he has answered the Doctor’s call with a pronounced wink the viewer will not be bored by this Robin, but perhaps will also not focus on what makes him tick either. On the plus side, anytime that Tom Riley interacts with Jenna Coleman, there is a definite sense of chemistry and Robin is more believable. For the most part though he feels like having just one persona of ‘gung ho’, ‘flippant’, ‘romantic’ or ‘agitated’ and there is little complexity that the best guest characters have had in modern Doctor Who.

Peter Capaldi has many of the best lines from Gatiss’ script and at this point in series 8 I have now been able to adjust to his rapid fire diction (that contrasts with Matt Smith's more deliberate manner). He has so many ways to convey emotion and like all strong Doctors has the right bland of humanity and alien detachment. Notably he is somewhat less cold than the preceding week’s adventure with the Daleks but then this story is a decidedly jolly romp and has little pretentions to be something else underneath the surface. There is even some modesty in the early scenes when Clara again reaffirms her belief in the Doctor as the definitive well-meaning person to which he responds that he is just ‘passing the time’ – a nice little pun which is played straight. The Doctor’s cynicism over this forest/castle environment actually being the late 12th century and perhaps something rather more artificial is a brave move and yet just what the new season has been putting forward so far with the lead character. Clearly Steven Moffatt and Peter Capaldi have put a lot of work into making this latest incarnation stand out distinctly from Doctors 10 and 11.

Rather fittingly the gloriously wicked Sheriff of Nottingham also has feelings towards Clara and probably appreciates her more for who she is – a thoroughly capable independent woman who knows her abilities and doesn’t talk around subjects. The way that Ben Miller comes across as a despicable and yet thoroughly charismatic and engaging character is a big plus for this episode, but certainly no surprise given how strong a career this versatile performer has had thus far. The episode also has a very clever variant on the usual background to the Sheriff – his ambitions in general are revealed to be rather bigger than scale than many previous portrayals of the character in yesteryear.The only drawback is that Miller is so strong that when he eventually faces Robin in a key battle towards the end all the attention and excitement seems to centre around him. Of course many villains in film and tv steal the show, but it still feels jarringly lopsided – given how much screen time Robin has as well.

The episode has a lot of snappy elements to enjoy. One of the really funny moments involves a contest to find the best archer in land. The Doctor's marksmanship being top-notch somehow feels right for the Twelfth Doctor, and it is good to see him with a weapon other than sonic screwdriver .. for a few moments anyway. The prize of the golden arrow is tied into plot well, making this sequence not only entertaining but also key to the story. Less positively some dialogue comes off as cod-mediaeval, reminding me of 'The King's Demons' from the early 1980s. Despite the deliberate choice to set the story in the time of King John, I feel that the writer did not mean to pay tribute to a rather mediocre Peter Davison adventure. However the finale to the main story has some sharp dialogue and sharp combat which perhaps ends in a slightly slapstick way but is shot stylishly all the same. The Doctors involvement in final resolution is well done and quite a heart-warming moment that will resonate with many viewers perhaps unused to an older looking Doctor. Following that is a clever coda which pays off the viewer looking for clues over the identity of a supporting character with fairly limited screen time.

The biggest compliment I can give the episode ultimately is that it sets out to achieve its key objectives and it firmly establishes the Doctor/ Clara dynamic as something with a lot of substance. As much as I liked Jenna Coleman’s work from day one, she has really progressed now and Moffatt and his writing team now seem to know how to maximise the character’s effectiveness; something that was not always apparent in episodes like Nightmare of Silver for instance. Also the Doctor's arrogance is skilfully measure by Gatiss and it is also good to see him clearly concerned for Clara's safety having been rather casual about her in the second episode.

Finally -all fans of classic make sure you don't miss the ship's database scene as a clever cameo by one of the early Doctors ties in neatly with the main story.

Revolutions of Terror (Titan Comics)

Reviewed by Martin Hudecek

'New Adventures with the Tenth Doctor' -- Issue 2 - Revolutions of Terror (2)

" I just have a knack of turning up when weird things start happening. That's sort of.. what I do" - The Tenth Doctor

The second instalment of this new run of Tenth Doctor stories continues to be written by Nick Abadzis , visualised by art from Elena Casagrande and enlivened by colours from Arianna Florean . The story picks up directly from the initial 'cliff-hanger' with frenetic action as Gabby and the Doctor are quickly acquainted with each other. As with many opening stories this union ties in with the need for the Doctor to deal with a crisis; namely the threat of monsters that have created havoc with the astral plane and with solid matter in 'real world'.

Initial success is achieved as the demonic entity that threatened the Doctor and his new friend is returned back into its original human form with no lasting ill effects. Perhaps this was through nothing more than just blind chance but it would appear that mirrors are not only useful against the likes of Medusa (!). Later Gabby spies on the Doctor's TARDIS; but only the physical outer 'shell'. She quite logically assumes he is some kind of policeman but as events progress and the duo bond further more is made clear about the kind of deep knowledge the Doctor actually possesses and just how dangerous things really are. The potential crisis is not just local to New York but almost certainly the entire world itself. The Doctor is determined to help the benign Pranavores, who normally benefit the world(s) they inhabit, but whose powers are being distorted to evil designs. As the story reaches its latest agonising pause in action for another month, it becomes apparent that something crucial located back in the Laundromat might provide positive answers.

If part one was slow paced and notably focused on characterisation then this second chapter is a big step up in terms of pace and exposition. The Doctor again is not always present in every panel, but nonetheless there is no mistaking the electric, hyperactive.. and yet quiet and contemplative incarnation which David Tennant portrayed so ably. Gabby is every bit as interesting as Doctor Who fans could wish in this modern age of emotional believability.

It is just as well that Part One did such an efficient job at introducing the immediate people in Gabby's life as there is very little direct focus on them this time. The reader will be able to remember enough and share the anxiety that Gabby has over both her own future and those of her loved ones. There is a good tie-in with her fears over feeling pressured to get more out of life with the cruel abilities of the malignant Cerebravores. The new companion even has some exposition of her own to contribute that reinforces the weighty explanations that the Tenth Doctor provides for much of the middle sections. I certainly feel that the character of Gabriella Gonzalez has plenty of staying power to remain as a lead character in this series of comics, and look forward to more character development for her in forthcoming issues.

Also commendable is Gabby's reticence in actually believing in the weird world of the Doctor and that events that are right before her are even genuine. It would seem that the Doctor is quite conscious of this issue and may not even want to subject another new companion to the intense highs and lows - which was especially poignant in Donna Noble's case.

The artwork is just as good if not better than the last issue, as the story can progress and allow for more exciting emotions to be conveyed. Clearly writer Abadzis - being an artist himself on occasion - absolutely knows what he wants out of his visionary material and Casagrande is comfortable with the eventual translation of the concepts and visual motifs. The story feels well-paced but also has its quiet moments which make the difference between a decent story and a good or outstanding one in any media format and era of Doctor Who's narrative.

Also there is enough of a distinctive comic flavour to make this feel like an authentic and distinct spin on the Doctor Who formula. Dialogue can be a little more exaggerated and yet feel believable given the visuals. The only small nit pick I have with this instalment is the Doctor's explanation of some of the Cerebravores' and Pranavores' influences on one another and the world around them. These gets a little 'technobabbly' and convoluted and slow down the liveliness of this comic book format. Yet a delightful pop culture reference to Ghostbusters - perhaps put in due to the 30th anniversary year for that film - helps make such dialogue choices a minimal concern.


Bonus material for this issue comes in the form of numerous alternative covers in nail thumb sizes for issue one, a promotional offer for Alice X Zhang's collectible cover art replicas, and different cover versions for issue two. The humorous mini strips that were in both opening issues for the Tenth and Eleventh Doctor lines are absent this time but hopefully return soon.

Into The Dalek

Catherine Tate has said that before she joined the series that she thought the Daleks were in every episode of Doctor Who; viewers who have joined the show since the 50th Anniversary might well think the same, as the Doctor's greatest foe return for their third appearance in four episodes! I've never been a great fan of the ranting exterminators so yet another encounter so early in the series was not on my priority list of things to look forward to; it would need a good 'gimmick' to draw me in, which in this case was the Doctor encountering a lone, 'good' Dalek.

The story already has one good thing going for it, of course, Peter Capaldi. His portrayal of this plain-spoken, focussed but also easily side-tracked Doctor never ceases to be fascinating on screen; his coffee-run has a diversion in saving a life, yet having no other interest until there's something less 'boring' to get involved in; his practical but insensitive solution to escaping the Dalek antibodies (not to mention tasteless comments a little later), but then followed by an impassioned argument to regain Rusty's sense of 'goodness' once more; and of course his final 'dismissal' of Journey as a soldier when he departs. Donna had pointed out to the Doctor that he needed someone to temper him over a thousand years before, and this new 'reset' Doctor certainly needs a moral compass to guide him, the job of which of course falls to Clara. This possibly does weigh on his mind, and as the pre-publicity forewarned us, he asks her if he is a good man, to which she replies that she honestly doesn't know. He is aware that he isn't so "feely" as in previous lives, as the (also heavily publicised) "She's my carer - she cares so I don't have to" comment re-iterates. I'm not entirely sure how long this 'alien' Doctor can continue throughout the twelve episodes before a lack of softening becomes mundane to watch, but I somehow suspect that with someone like Capaldi in command of the character this isn't something we need worry about.

So, that 'good' Dalek, what's that all about? It seems that the captured survivor from a battle can see the Daleks for what they really are, and doesn't like what it sees; however, it has also been badly damaged and thus piques the Doctor's interest to help 'heal' it. It was probably pretty obvious that by doing so the Doctor would also restore the its "Dalek Factor", too, but I was sufficiently drawn into the tale not to think of that, beforehand. For a long-term fan such as myself there are the parallels with The Evil of the Daleks to draw upon, and the memory conditioning sits neatly with that former story's realisation - not that this is important to the casual viewer, and it seems the Doctor had forgotten too as he seems to feel vindicated when Rusty reverts to type once repaired. However, this is his prejudice for the Dalek race coming through, and that ultimately bites him on the bum when Rusty perceives and draws upon that hatred as its emotions are re-enabled by Clara.

It's probably safe to say that Rusty is a balanced individual, unlike our previous Dalek-turning-good that was so excellently realised in Dalek back in 2005. In that story the Dalek saw itself as impure and so sought self-destruction; no such sign from Rusty, and as it heads off to rejoin the Dalek fleet it seems very likely that we will see the repurcusions of this 'infiltration' at a later date. There's also the other hark back to that former episode too: there, the (then) lone survivor from the Time War suggests that the Doctor would make a good Dalek; here, Rusty informs the Doctor that he isn't a good Dalek, the Time Lord is himself - maybe Clara won't be the sole source of guidance to the Doctor as he subconsciously struggles out of darkness...

Being this is modern Doctor Who, as well as the 'sci-fi' excitement there's also the back-on-Earth 'domestic' to consider, too. Where would we be without some form of love interest in Doctor Who (shh!), and in this series this takes the form of new teacher at Clara's school, Danny Pink. Being that we only have a few minutes to set-up a new character, so in moments we know he's an ex-soldier whose had a bad encounter that continues to cast a shadow over him, and it's also pretty obvious that this will be a cause of friction with the Doctor after another not-too-subtle signpost from the Doctor's comment to Journey about her profession. Considering his 'crash-entry' into the series, Samuel Anderson does a good job of introducing the conflicted Danny, and it'll be interesting to see how he develops over the next few weeks.

The big Dalek battle at the end was okay, but the plethora of explosions didn't hide their inability to hit targets (maybe they just feel that overwhelming numbers win out extermination-wise rather than being more accurate). The battle cries were fun to hear, though a little frustrating in not being quite the same as those from the classic era they were mimicking (or is that just the memory cheating again?!!). The spaceship crew were pretty unmemorable though, and main girl Journey was herself a bit bland (but why do I get the feeling we haven't seen the last of her, either?). The internals of Rusty were handled well, though I wasn't too sure of the miniturisation scale at times (not to mention them having a handy minituriser to hand, too, shades of The Invisible Enemy come to mind).

Looking at the story as whole, Into The Dalek was a reasonable tale, and certainly more watch-worthy than the ratings juggernaut on ITV, but I think it safely falls into the "average" category of story. Capaldi, excepted!