This Q&A was held by the administrators and members of the Doctor Who Missing Episodes Discussion Group on Facebook. Sue Malden is considered a legend of Doctor Who history. She became the first Television Archive Selector at the BBC in the late 1970's and was responsible for putting an end to the junkings and wipings of Doctor Who (and other programms) tapes. Without her the BBC archive today would hold even less 60's and 70's Doctor Who episodes.

Joe Crammond, Andrew O’Donnell & Calum Corral: What do you believe was your most important rescue for the archives, the recovery you are most proud of, for a) Doctor Who b) general TV? And if you could have saved a single missing episode of Doctor Who, which would it have been?

Sue: I think that just finding any missing Dr Who episode was a tremendous achievement. With regard to other tv programms – the missing Dads Army finds were great and have been shown by the BBC so many times.

Carl Strehlow: What were your impressions on Philip Morris finding most of The Web of Fear and Enemy of the World? And do you think of 'what if' we went to went to search physically in the first place we could have at least had those episodes back and possibly others?

Sue: Phil’s achievements are amazing – a tribute to his determination and tenacity . I agree if we had been able to visit foreign archives in person all that time ago we might have found these and others earlier, but we relied on letter contact with people in these other archives

Grant Wheelwright: What does Sue think happened to Tenth Planet 4 and Daleks Master Plan 4 after their visits to Blue Peter for clip usage?

Sue: This is a mystery I could not get to the bottom of. I am checking details again now
(Note: Sue originally provided the above answer with her partial response. She provided the follow-up answer below at a later point)
Sue: There was a loan record set up for the Master Plan episode it was sent to the BP film editor in October 1973 and it was logged that the print never came back to the Library. The Tenth Planet episode was not originally logged on Infax/FLOL which implies that it was accessed from Enterprises at Villiers House, as with certain other clips that survive from missing episodes of Doctor Who.

Ian Ferrier: Apart from Doctor Who which is your most wanted missing TV show you would like to see recovered?

Sue: Bob Dylan appeared in a play called MadHouse on Castle Street, transmitted in 1963

Mark Backwell: When did you realise just how much material was missing, and were you shocked by the amount or had you expected to find so much missing?

Sue: When I first began working in the BBC library like many others, I presumed that everything that had been broadcast had been put away safely on their shelves. I became the Archive Selector in 1978 against a background of the Asa Briggs report into the BBC Archives and it was then that I realised that not everything had been kept and I was most shocked and needed to find out why programmes had not been kept in the archives. This is when I learned about live transmission, technology issues, re-use value of videotape, contributor rights issues - all of which led to tapes not surviving.

Justin Watson: Many Dr Who fans demonise Pamela Nash for the destruction of overseas duplicates. Given that she he had ordered the creation of many of the film negatives in the first place (without which we may not have many of the episodes now) and that it wasn't her role to keep backups - they were just overseas prints and the BBC's attitude then was that TV was ephemeral - 
Do you have a view of Pam Nash's role back then? Is it right that she should be vilified, or do you think that the situation was more complicated than that?

Sue: I think it quite wrong to vilify Pam Nash. Justin, you are quite right. Her job in BBC Enterprises was to (among other things) organise the copying and distribution of BBC productions for BBC Enterprises clients. As I understand it this involves arranging for duplicating masters from the original BBC masters to be made solely for Enterprises use – to copy from, thus saving wear on the original BBC master . Sometimes this would be a film recording from a 2” tape copy (and sometimes a black and white copy of a colour original). Pam was not aware of what the BBC subsequently chose to do with its masters. She was fulfilling her role meeting Enterprises requirements. Even then the BBC was not a “joined up“ organisation!
As you say – the fact that this BBC Enterprises activity was in operation parallel to the main BBC functions of production and transmission does at least mean that additional copies of programmes were being made and distributed to many countries, which has meant that the chances of at least one copy of a programmes were increased (to later be found).
I found that once Pam understood what had been happening to BBC master tapes she was helpful to our quest, but very clear that she was not responsible for the BBC wipings.

Paul Mitchell: Hi Sue, how are you? Thanks for all your hard work over the years trying to recover Doctor Who, Z Cars and many other programmes. Are you still involved in trying to recover missing episodes?

Sue: Hi Paul, many thanks. I am not directly involved these days, but do like to help out where and when I can.

Brad Phipps: Thanks for the Q&A, Sue. My question is how much of a process was it back in the 1970's to realise there had been a mistake in junking the BBC's archive? Was there apprehension from other departments to abort junking in favour of retaining the status quo (i.e. continuing to junk)? What was the reaction (if any) of the unions when the BBC began retaining material for potential domestic sales?

Sue: The Asa Briggs report on BBC archives in 1978/9 was crucial in highlighting the need to review and bring consistency to the BBC’s retention activities. This report, among other things, recommended the creation of the post of an Archive Selector. When I first began it was so helpful to have this report to refer to if I met any resistance from production managers!

Nigel Peever: Video recorders have been around for decades. When did staff at the BBC first think as a germ of an idea, "in the future people will have these things in their homes and they might want to access these old programmes"? Or did it just suddenly dawn on them just before the Revenge of the Cybermen release?

Sue: I do not know when home video sales first appeared, but I would presume as soon as Enterprises (now Wordwide) became aware of the commercial opportunity. But until then there were no domestic video rights negotiated or paid to the contributors so the back catalogue would need to be re-cleared – another commercial decision. Going forward when a programme was made Enterprises would have to express an interest in it, so that the appropriate rights could be negociated with all the contributors. Eventually these rights were written into most BBC contracts.

Christopher Springate: When you started checking the archive for Doctor Who, were there any records of non-theatrical sales (generally donated to areas like the armed forces etc. ) or was there nothing like that? I believe there were index cards for each DW story held by what is now BBC Worldwide.

Sue: I never found any formal records of non commercial distribution. There were certainly index cards for Enterprises (now Worldwide) holdings and distribution

Stuart Halliday: Was it true, Sue, that the directors or producers of a programme had to sign a form saying that there was no merit in keeping a story on tape? If they said no, it was junked?

Sue: It was certainly a production decision to wipe or keep and I think the wiping sheets may have been signed by the department managers, but I don’t think every individual tape was signed away!

John Fulbrook: Beyond broadcasters, is there a possibility other organisations such as government departments obtaining episodes from the 60's?

Sue: The BFI did; government overseas departements did, but I don’t know on what basis and we did try to get programmes back from remote places such as the Ascension Islands.

William Frame: This is broader than Doctor Who. I hope that's alright. We're told the BBC, and I assume other broadcasters, couldn't keep everything. So was there a specific set of rooms or a building designated for this. Was it running some sort of system where new programs went in one end and the oldest programs went out the other to the skip to make space? I'm making it sound very simplistic, I'm sure it must have been much more complex. Thank you for giving some of your time to answer questions.

Sue: In the early days the VT programme tapes were managed by VT Engineering on behalf of the Production departments who would decide which of their tapes they wanted to retain depending on the significance of their content, the copyright and contractual arrangements for that programme and repeat or sale potential. In the late 1970's the library became responsible for this store and when I was appointed I could override the production decisions to wipe – using the BBC’s section criteria thus taking a wider view of the value of the programme.

Dave Wood: Not limited to Dr Who, but can Sue tell us what to do if fans stumble across BBC material at boot-sales, junk shops etc? I live quite close to London and I often see material that may or may not be of interest, usually on old video formats, or reel-to-reel audio tapes. Is there any value in this material and should we try and get it all back, or are they just junk copies on obsolete formats that have been thrown out by the corporation on purpose as they switch to digital formats? Also what is a fair price for us to pay and would we be reimbursed for expenses by the BBC/BFI if we have to pay out on material that might be of interest to the corporations, but might not be of any immediate interest to us as individuals? I'd be fascinated to have some advice and guidance.

Sue: It is always worth following up on any old tv or radio recordings you come across. Dick Fiddy who organises “Missing Believed Wiped” at the BFI is the best person to contact. In general it is not likely that VHS are worth collecting because the broadcast master probably has been retained. Most interesting would be film recordings and 2 and 1 inch videotapes. All BBC material that is not required was supposed to be wiped first, recycled or sent for landfill, but I know things slipped through this process!
I cannot advise on a fair price to pay or whether it would be reimbursed by the rights owners – but I would hope so. Dick is the best person to check with, especially if possible before buying. I realise this is not so easy at a boot sale.

Simon Luckin & Steve Traves: Were there any countries or types of countries that were difficult to get a response from when asking for old material to be returned? For example, countries like Ethiopia, when it was under a dictatorship, and we know that some Dr Who was sold to Iran. It's obviously rather a difficult place to approach. Do you know if they have been contacted again since the classic "Who in the name of Allah are you talking about" response many years ago?

Sue: I think almost everywhere I contacted responded, mainly because I was contacting people in the libraries. I cannot remember any rejects. Whether they all looked in the relevant stores is another matter. I do not recollect the quote, but certainly an archivist in Iran TV was most helpful some years ago

James A Murray: Do you think there are any more missing episodes out there ?

Sue: Never say never!!! I think it is possible that more will be found – but who knows where!!

Admins: I'd like to ask Sue to tell us a little about her career leading up to becoming the BBC Archive Selector? Also, I’m interested in hearing about what she's been up to since leaving the BBC.

Sue: I did a degree in Economics, specialising in Economic history. My first job after leaving college was for about a year in the library of Birkbeck College London. I enjoyed library work, so I decided to persue this as a career and left Birkbeck to undertake a post grad diploma in Information Management at the Library School of the Polytechnic of North London. This ran for a year from January to December. Whilst I was there the BBC Film library advertised for student holiday relief work and I was a successful applicant. I returned to work there in December when I qualified – as an assistant librarian. I worked in all areas of the library, including intake. In 1975 I was sent to Lime Grove to work as librarian/researcher for the current affairs programme “Midweek”. The position of first Television Archive Selector was advertised in 1978 and I applied.
I went on to work on the BBC’s 50th anniversary celebration, became Assistant head of the Film Library. Following management reorganisation I became head of BBC TV Broadcast Archives covering News, Photos, Music, Grams and later Radio archives. For a short period I was Head of Marketing for BBC Information and Archives. I was Corporate Affairs Manager when I left in 2001. Since then I have been a freelance film researcher working mainly on current affairs productions, but also on the History of Ealing Studios and the Great War repeat. I have worked in a range of countries in the Middle East and Caribbean as a management consultant and training in archive work and research. I am currently chair of FOCAL International and also chair of the media Archive of Central England (MACE).

Anthony Wood: Hi Sue. It's 2015 now, looking back when you started cataloguing and preserving Doctor Who back in the late 1970`s, could you have possible envisaged how your work has brought joy and delight to the legion of Doctor Who fans all over the world with the releases on VHS then DVD, and do you receive much fan mail these days?

Sue: I had no idea what I was taking on when I began investigating Dr Who episodes. I just chose what I thought was an iconic, significant long-running series to investigate, in order to learn about what had happened to programmes in the past. I do not get any fan mail these days!

Stephen Day Freestone: How easy was access to the archives in the 1960's and 1970's - could items have been removed by any producers, editors and simply not returned?

Sue: In the early 1960's the library was based in Ealing studios so it is possible that “physical ” access was easier than when the archive moved to the Brentford site but I don’t know. Anyone working for the BBC with a legitimate production number could borrow from the library – it was unusual to loan a negative or master copy unless to the editor or the labs for transmission. There was also an overdue chasing process to get items back – but not always successfully. In fact the copy lent for the 1973 special did not return, but there was a master in the archive

Matt Fitch: Were copies of programs ever made for persons such as the Royal Family or celebrities to view at their leisure?

Sue: Hi Matt, copies of BBC programmes were made for contributors and others, but I do not know if Dr Who was ever copied for them.

Doctor Who News would like to thank the admins and members of the Doctor Who Missing Episodes Discussion Group on Facebook for providing us with the Q&A. Sue has also very kindly agreed to take some follow up questions. If anybody has some you will have one week to post any such questions in a thread on the Facebook group.

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Reviewed by Thomas Buxton

WRITER - PAUL CORNELL;
ARTIST - NEIL EDWARDS
COLORIST - IVAN NUNES;
LETTERER - RICHARD STARKINGS AND JIMMY BETANCOURT;
DESIGNER - ROB FARMER;
EDITOR - ANDREW JAMES;
ASSISTANT EDITOR - KIRSTEN MURRAY
RELEASED AUGUST 19TH 2015, TITAN COMICS

When last we encountered the Twelfth, Eleventh and Tenth Doctors as well as their newly united array of companions, the former trio had seemingly set a foreboding chain of events in motion by briefly touching hands and in doing so causing the (fictitious but no less intriguing) Blinovitch Limitation Effect to occur. Upon glimpsing the final pages of this audacious mini-series’ potent first issue, eagle-eyed readers might have recalled that this particular Time Vortex-damaging event last took place way back in “Father’s Day” as Rose made physical contact with her toddler self, and just as was the case in 2005, the ruthless Reapers made their return in Issue 1’s delightfully dense final panel to fix the wound caused by the three Time Lords’ near-unprecedented interaction.

Given the rarity of multi-Doctor serials of this ilk (lest we forget, ten years’ worth of interplanetary adventuring separated the broadcasts of “The Three Doctors” and its memorably nostalgic 1983 follow-up), that so much time is dedicated in “Four Doctors”’ second instalment to both the aforementioned Limitation Effect as well as the increasingly tense dynamic burgeoning between Capaldi’s ever-antagonistic incarnation and his former selves should really come as little surprise, especially since half of the reason why “The Day of the Doctor” met with such rapturous applause in 2015 was the fascinating interplay witnessed between Tennant, Smith and Hurt’s versions of the titular time traveller. With that being said, whilst few would likely blame the series’ commander-in-chief, Paul Cornell, for taking a “if it ain’t broke, don’t fix it”-style approach in this instance given the unquestionable need for works of comic-book and televisual entertainment to lure in a sizeable enough audience to make some form of profit, at the same time, that the second appearance of the oft-forgotten extra-terrestrial menaces who essentially caused Pete Tyler’s death acts more as a stalling tactic on the scribe’s part than anything else seems equally beyond dispute.

This initially well-disguised structural shortcoming makes its presence gradually known as Issue 2 nears its climax despite having made virtually no progress with regards to the series’ overall story arc of three morally contrasted Doctors joining forces to investigate the alleged repercussions of their Time War predecessor’s actions (or perhaps lack thereof) on the planet of Marinus. Certainly, we’re offered up some enticing sequences involving a chase through the various TARDIS console rooms which have made their debuts since the show’s revival as well as the continued squabbling provoked by the oldest of our three heroes’ continued rejection of his more spritely selves’ occasional recklessness and vice versa in the case of the Twelfth Doctor’s tendency to place his allies in necessary danger so as to achieve his goals. Yet aside from a few welcome moments wherein Tennant’s incarnation astutely namechecks the version of himself apparently set to rise between his twelfth and final bodies – see “The Trial of a Time Lord” if this description doesn’t ring any bells – and the classic series adversaries who cameoed last issue make their larger intentions transparently clear, it’s tough to shake the sense that either Cornell or those who assisted in his structuring of this much-anticipated Summer event struggled to find a way to keep its momentum up for four issues, hence the handy inclusion of the Reapers as an inspired yet nevertheless clunky means by which to stall for time. Indeed, that even Smith’s Doctor notes at one point how insignificant his pursuers are in terms of the trap apparently being laid for him and his other selves on Marinus does little to weaken this interpretation.

Even if “Four Doctors” doesn’t deploy quite as many satisfying plot twists or game-changing reveals here as was the case with its premiere, however, the number of readers who come away from Issue 2 wholly disappointed will still most likely be impressively minimal. The aforementioned TARDIS-warping set-piece and the frequent moments of verbal sparring between both the titular defenders of galactic justice as well as their companions – the most artistic of whom, the Tenth Doctor’s loyal accomplice Gabby Gonzalez, once again gets to open proceedings with a characteristically simplistic yet effortlessly visually sumptuous diary segment (as was the case in the first year of the Tenth and Gabby’s Titan Comics escapades) drawn wonderfully by Neil Edwards – which form the bulk of this instalment aren’t exactly the most innovative of scenes given that 2013’s “Day” placed a similarly substantial emphasis on such moments, but the inert hilarity of witnessing a variety of disparate heroes (both alien and human) attempt to put aside their differences whilst preparing for a universe-threatening conflict hasn’t waned in the two years since the 50th Anniversary Special first aired. If anything, the concept in question’s appeal has only grown with the releases of ensemble motion pictures like Marvel’s Avengers Assemble and Guardians of the Galaxy, both of which showcased the entertainment value of such encounters and thus likely pre-empted Titan’s thinking in creating this type of event series.

Whilst we’ve already touched upon the gloriously accomplished renditions of images such as Gabby’s diary and indeed Issue 1’s explosive last-minute Reaper reveal, in discussing this second outing’s easily overlooked merits, it’d be downright churlish to wrap up without having reiterated the undeniable power of Edwards’ aesthetic work. Like most works of science-fiction, “Four Doctors”’ fundamentally basic yet sure-to-be timey-wimey storyline requires one to pay no shortage of attention to the dialogue contained within its ever-present speech bubbles, that the Welsh artist responsible for bringing past hits like Justice League United and Arrow Season 2.5 to life through his imagery might leave some wishing the entirety of this four-issue arc could be re-released with only its artwork rather than its dialogue remaining says a lot for how he manages to convey precisely what’s occurring through his crowded but accessible visual depictions of events. Many modern Who strips would leave their readership most likely confounded were they to be robbed of textual accompaniments, yet based on the strength of Edwards’ work on this particular mini-series to date, Titan’s first major crossover storyline may well prove to be the single major exception to the unwritten rule.

Indeed, it’s through Edwards that Issue 2 manages to somehow claw its way back from the jaws of defeat so as to become another memorable addition to the plethora of comic-books based within the so-called Whoniverse. Had this otherwise largely derivative sophomore instalment not found itself an artist with such incredible creative vision, an artist capable of succinctly yet powerfully rendering both the action-led and exposition-heavy moments of “Four Doctors” with equal ease (and more importantly equal success), then there’s no doubt in this reviewer’s mind that this month’s tale – if not the series as a whole – would have suffered immensely as a result, but instead, in him we’ve been graced with someone capable of ensuring that even a more repetitive, arc-lite outing such as this one still brings almost all of the thrills and shocks present in its predecessor, at least from a visual perspective. Better yet, since Cornell’s next move going forwards will surely be to pick up the pace exponentially, chances are that Edwards will receive opportunities aplenty to showcase his seemingly limitless capabilities in issues to come, something which – at least based on the hugely promising evidence presented here – could only serve to benefit the overall reading experience that much more.

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Reviewed by Thomas Buxton

Doctor Who: The Sixth Doctor - The Last Adventure
Written by Simon Barnard, Paul Morris, Alan Barnes, Matt Fitton and Nicholas Briggs
Directed by Nicholas Briggs
Starring: Colin Baker (The Doctor), Trevor Baxter (Litefoot), Christopher Benjamin (Jago), India Fisher (Charley), Lisa Greenwood (Flip), Michael Jayston (The Valeyard), Bonnie Langford (Mel) and Miranda Raison (Constance)
Released by Big Finish Productions - September 2015 ​

“It’s the end…but the moment has been prepared for.”

Regardless of its origin as the ominous yet somehow inertly reassuring final words uttered by Tom Baker prior to his Doctor’s regeneration in “Logopolis”, that fateful line of dialogue has rarely rung truer than with the wholly timely demise of the Sixth Doctor. Not only was Colin Baker’s divisive incarnation robbed of his own on-screen transformation thanks to behind-the-scenes disputes leading to Sylvester McCoy donning an unwieldy blonde wig in “Time and the Rani”, but as was revealed in last month’s edition of DWM (Issue 489, to be precise), Baker himself had until quite recently declined Big Finish’s various offers to send his most famed construct off in proper style. With all of that contextual background taken into account, the mere existence of The Sixth Doctor – The Last Adventure, a near unprecedented audio saga intended to rewrite continuity somewhat so as to give old ‘Sixie’ the denouement he deserves, represents a staggering development in the programme’s history worthy of applause in and of itself.

Of course, although the same could have been stated of the Eighth Doctor’s one and only televised serial, that the TV Movie managed to premiere both in the States and here in Britannia didn’t prevent the one-off, bumper-length special from receiving a far from congratulatory critical reception soon after its debut. Will the so-called Last Adventure (a title which admittedly seems more tenuous by the day given Big Finish’s ongoing plans for Baker’s most iconic persona) go down as another such tragic misfire, then, or as a near-unprecedented triumph on the scale of Russell T. Davies’ much-adored reboot-turned-faithful continuation “Rose”? To discover precisely this truth, let us plunge back into an age of technicoloured jackets, politically corrupt Gallifreyan trials and – most importantly – morally warped future Doctors, evaluating each of the four one-hour tales intended to chronicle the darkest – and by all accounts finest, though we’ll be the judge of that claim – hour of perhaps Theta Sigma’s most controversial regeneration to date.

The End of the Line:

Perhaps it’s this reviewer picking nits for the pure sake of doing so, but if any of the episodes featured on what is undoubtedly one of Big Finish’s more audacious compilations in their eventful history could have been released separately so as to reduce the hefty 420-minute running time awaiting listeners here, it’s this one. Try as they might to connect their largely gripping yarn – which sees ‘Sixie’ and his soon-to-be incumbent assistant Constance Clarke (Miranda Raison) investigate an increasingly mysterious railway train packed to the brim with temporal surprises (think “Mummy on the Orient Express”, albeit with far greater exploration of what lies beyond its primary setting) – to The Last Adventure’s central arc surrounding the Doctor’s inevitably self-destructive series of final confrontations with the ever-sinister, ever-vainglorious Valeyard, writers Simon Barnard and Paul Morris ultimately offer the sense that like 2014’s Trial of the Valeyard (a once-apparently pivotal storyline which receives scarcely even a passing reference here, we might add), The End of the Line could easily have been released as a standalone title, or even in the form of a Short Trips-esque prequel several weeks prior to this box-set’s launch. Indeed, save for a few choice moments which the scribes strategically reserve for End’s denouement as well as a well-guarded cameo from one of the 1980s Doctors’ most persistent adversaries, this largely self-contained opening instalment could easily have come off as unnecessary filler in light of its acting as a Greatest Hits showcase for ‘Sixie’ as opposed to a fitting opener for what had always been pitched as a tightly-woven quartet focusing exclusively on the manner in which the Seventh Doctor truly came to be.

Enter Baker and Raison, both of whom excel at establishing a fresh dynamic of intellectual equality, genuine faith in the titular Time Lord’s ever-risky machinations, and most of all earned respect between Constance and her extra-terrestrial TARDIS crewmate in spite of Big Finish not yet having released the story in which these two great minds meet for the first time (though that’s due next month in the form of the Matt Fitton-penned Second World War thriller Criss-Cross). Without the promisingly assured performances of this enviably talented pair, we’d probably have been left with a primarily lacklustre audio drama, especially given that the turns provided by the likes of Anthony Howell and Maggie Service as the aforementioned track-bound vehicle’s band of waylaid passengers don’t exactly rank among the most memorable additions to Who’s ever-expanding audio ensemble (since, suffice to say, anyone expecting emotional depth from these secondary players on a par with those introduced in “Midnight” will come away severely underwhelmed), barring the moments where Barnard and Morris afford them significant chunks of dialogue so as to haphazardly further the compelling but easily condensable plot powering this intrigue-laden – albeit at times frustratingly inconsequential – initial outing.

The Red House:

Ironically enough, though, whereas it’s the leading pair of voice actors at The End of the Line’s helm who prove to be its handy saving grace rather than its supporting cast members, the opposite is in fact true of Alan Barnes’ The Red House, wherein Michael Jayston’s deliciously exaggerated take on his returning “The Trial of a Time Lord” antagonist the Valeyard – or the Doctor, as he claims he’ll one day become known by the wider cosmos – elevates an otherwise forgettable play centring on a frankly dull dystopian world of part-werewolf, part-humanoid beings; clichéd outsider communities who’ve been shunned by their former colonist allies and, worst of all, hopelessly predictable conflicts entailing reckless rebellions against a false empire. The latter’s presence in proceedings remains so minimal that the audience can’t help but struggle to give anything close to a damn about the war which Baker’s semi-iconic adversary appears absolutely intent on sparking (for reasons that mercifully become far clearer once the bell begins to toll on both versions of the Doctor’s respective character arcs), hence why the focus of all but the most avid fans of Hunger Games-inspired (or Brave New World-inspired; by all means take your pick) worlds without hope or compassion will soon inevitably shift to the aforementioned sub-plot in which Charley Pollard (brought to life with magnificent aplomb once more by India Fisher) faces off against the dark side of the man who she’s seen fit to travel with through time and space on not one but two occasions.

As anyone who persevered with “The Trial of a Time Lord” through to its high-octane denouement will surely attest, there was scarcely ever any reason to fear for the strength of Jayston’s third performance in perhaps his most infamous role, and indeed, despite being forced to dip into the realms of melodrama on occasion here just as he did in the original 1986 adventure, he doesn’t hold back when delivering the manipulative, psychologically assaulting and yet at times somehow subtly charismatic (proof if ever any was needed that the Valeyard hasn’t sacrificed everything in the name of peace and sanity at this point as was the case with John Hurt’s Time War-bound incarnation) dialogue afforded to him both over the course of House’s second half by Barnes as well as in The Last Adventure’s two remaining instalments. Nevertheless, with ‘Sixie’ curiously relegated from the bulk of proceedings despite the moments preceding his demise supposedly being intended to form the crux of this long-awaited set, it would seem that Barnes didn’t quite heed to the collection’s overarching criteria in this regard, something which would be that much more forgivable were it not for the disheartening lack of innovation present in his uninspired setting, a near-fatal flaw which only just fails to cripple The Red House entirely, with its redemption coming only fleetingly in the form of Jayston’s various prolonged (and oh-so-welcome) cameos.

Stage Fright:

For those beginning to question the need for their investment in this hefty £20 or £40 title having reached the halfway point of this review and having read of the considerable shortcomings sported by Red House – as well as to a far lesser extent End of the Line – now’s the time to breathe a hearty sigh of relief. Whilst this reviewer’s overall familiarity with Victorian quasi-detectives Henry Gordon Jago (Christopher Benjamin) and Gordon Litefoot (Trevor Baxter) didn’t extend far beyond his initial viewing of “The Talons of Weng-Chiang” (an entertainingly fast-paced, if at times disbelief-testing, introductory tale first broadcast as part of the Fourth Doctor era in 1977, though this won’t exactly come as news to the characters’ ever-expanding fan-base) when the time came to consume “Stage Fright” in its delightful 60-minute entirety, this lack of knowledge regarding in particular the history of Big Finish’s aptly-named Who spin-off Jago & Litefoot didn’t prevent Last Adventure’s penultimate instalment from easily ranking as the most satisfying entry of the bunch by an immeasurable distance.

There’s a chance this sweeping evaluation might come as a shock to any readers expecting the Sixth Doctor’s swansong to peak in its concluding moments: surely “The Brink of Death” should take the crown as this incarnation’s finest set-piece given its valiant efforts to rewrite the character’s botched demise? Surprisingly, no. That’s not to say the aforementioned serial disappoints – by and large, it’s another winner, as we’ll discuss later, but even so, it’s not dripping with the same level of periodic atmosphere as “Fright” by any stretch of the imagination. Perhaps director Nicholas Briggs (who has in fact seen fit not only to helm all four tales but also to try his hand at penning their finale in the form of “Brink”) and the cruelly underappreciated team behind this masterpiece’s soundtrack deserve the most credit, especially since it’s all too easy for us to forget the incredible work that goes on beyond the confines of the recording studio in order to elevate the studio’s projects higher than most. Even so, however, to deny the influence Benjamin and Baxter have as they reprise their hilarious roles, bringing with them all of the energetic gusto, occasional (but vital) pathos and undying comedic interplay which made both constructs such hits with ‘70s viewers and modern listeners alike, thereby owning both the metaphorical and literal stage in the process.

As if all of that weren’t enough, they’re presented with the chance to converse with Lisa Greenwood’s Flip as she confronts the inherently personal fear which lends this episode its name – a wholly welcome emotional development for a previously shallow character who’s rarely caught this reviewer’s attention until now – and Jayston’s Valeyard as the latter manipulator takes control of the two wannabe investigators’ New Regency Theatre in a bid to gain power through theatrical plays intended to mimic his arch-nemesis’ past lives (or rather deaths) prior to their coming battle. Admittedly the glorious return of these Not-So-Great Detectives can’t quite compensate fully for the predictable manner in which proceedings come to a close, with the necessity of the Valeyard’s survival to fight another day inevitably necessitating his fortunate escape from the City of London’s confines, yet in stark contrast to its immediate predecessor, “Stage Fright” effortlessly negates its minor weaknesses by offering up an atmospheric, perfectly paced hour of entertainment which’ll endure in its listeners’ minds for just as long as “Talons” has, if not longer still.

The Brink of Death:

Whether the same can be said of Briggs’ undeniably bold quest to rewrite what’s easily one of the most loathed moments in Doctor Who’s hardly clear-cut canon will naturally remain a matter of fierce discussion for some time to come, not least since Steven Moffat’s namechecking of Charley et al in “The Night of the Doctor” only further muddied the waters in terms of discussions surrounding whether Big Finish’s audio releases can be considered official chronicles of their inspiration’s (supposedly) previously untold escapades. As disheartening a realisation as this must have been for Briggs at the time of drafting his script for “The Brink of Death”, only one fact is absolutely certain – there could have been no pleasing everyone with this latest endeavour, although in all honesty, given this reviewer’s unashamed disdain for the mere sight of “Time and the Rani”, the chances of the esteemed Dalek voice actor coming anywhere close to producing an inferior effort were always all but second to none.

If the latter admission like a prelude to a largely cynical evaluation, however, then fret not; it’s by no means perfect (few Who serials are, if we’re being brutally truthful here), but “Brink” comes about as close to conceiving the triumphant denouement Baker and Big Finish’s execs must have been hoping for as any budding audio production could. Is the Valeyard’s prolonged arc of darkness and mystery brought to a comprehensive conclusion? Not quite – most will still likely find themselves somewhat bemused as to the character’s precise origins (or rather the true reasoning for them) come the credits, a disappointing turn of events given that we had been promised a transparent resolution in this regard during recent Last Adventure press releases. Does the fate with which ‘Sixie’ meets echo the selfless, stirring demises originally presented to all but Baker’s seemingly doomed-from-the-outset incarnation? Absolutely. In fact, as those fortunate enough to have placed a pre-order for this collection will have already learned, the completely poignant sequence in question still finds a way of keeping “Rani”’s ludicrous but nevertheless (somewhat tragically) canon opening scene intact, albeit while ensuring that the moments preceding the Doctor’s fall from an exercise bike and subsequent collision with the TARDIS’ apparently rock-solid floorboards can be seen as fitting in terms of both his tenure at the ship’s helm and indeed in terms of his oft-overlooked concern for his future selves’ uncertain moral compass, a trait which manifests itself beautifully with both his final line of dialogue and with the first uttered by McCoy here in a similarly touching cameo.

As easy as it would be to elaborate in greater detail about the convoluted nature of the Valeyard’s grandiose final machinations (which takes into account his actions in all of the first three plays, only to then surely leave the vast majority of listeners boggled as to why the scheme took quite so long to plan and thus why this plot required quite such an elaborate set-up), Briggs’ misuse (however intentional) of Bonnie Langford’s almost non-existent Mel or the aforementioned ambiguity continually engulfing the true nature of the Doctor’s alleged future malevolent persona, it’s simpler still to instead end with our much-needed confirmation that, these minor faults in its metaphorical stars aside, “Brink” flourishes where its justifiably despised 1987 TV counterpart fails, bestowing the downfall of Baker’s incarnation with a timely aura of victory over moral corruption, not to mention over the naysayers who constantly seek to ridicule this particular version of the Earth’s longstanding alien protector. It’s little wonder that Baker expressed his disillusionment last month with the fans who ranked him as their least favourite Doctor in the pages of DWM, but on the basis of the mostly haunting “The End of the Line”, the dramatically charged (if oft-convoluted) “The Brink of Death” and especially the marvellously authentic – not to mention downright hilarious – “Stage Fright” (if not the surprisingly dissatisfying “The Red House”, The Last Adventure’s weakest link by far), neither ‘Sixie’ nor the still remarkable thespian portraying him have much left to fear, barring perhaps an overdose of particularly zesty carrot juice.

Believe it or not, after decades of painstaking waiting, this time around Baker's revised exit truly has been prepared for and executed with a commendable degree of success - and based on this legendary actor's recent contemplation of his own incarnation's worth, it would seem this much-needed change has arrived not a moment too soon.

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Reviewed by Martin Hudecek

WRITER - PAUL CORNELL,
ARTIST- NEIL EDWARD,
COLORIST - IVAN NUNES, 
LETTERER - RICHARD STARKINGS/COMICRAFT’S JIMMY BETANCOURT,
DESIGNER- ROB FARMER, 
EDITOR - ANDREW JAMES,
ASSISTANT EDITOR - KIRSTEN MURRAY
RELEASED AUGUST 12TH 2015, TITAN COMICS

During this month and next we are treated to a much awaited big event from the very capable team at Titan Comics. The major factor to note is celebrated author Paul Cornell is the writer of the entire arc, and will add to his impressive resume of TV Doctor Who (Father's Day, Human Nature/Family of Blood which were all Hugo-nominated), classic Doctor Who original novels such as Love and War and Goth Opera.  plus some previous comic book efforts including Wolverine, Action Comics, Demon Knights, Captain Britain and MI:13.

Although this review site will come back to the final works of Titan's year one for the different Doctor lines, this mini-series does not need too much prior knowledge to really be understood, however it will impact on the beginning of 'Year Two'. 

I myself have reasonably high expectation for this big event showpiece from Titan and little to make me think it could end up faltering in some way. Certainly it will be one escapist-fictional ways to warm up a tepid summer (at least on the British isles where I reside).

We start off with another piece of the mystery jigsaw that is the Time War. The War Doctor's lifelong quest to deal with the threat of the Daleks (and eventually the corrupt order of Time Lords led by Rassilon), sees this wonderfully grouchy forgotten incarnation pay a visit to the planet Marinus many years after the quest for the Keys. Now the Doctor Who backstory on the Voord is quite remarkable, as not only were they one of the first monsters on the program, but they also were brought back for a Sixth Doctor comic strip, an audio adventure that began the First Doctor Early Adventures line, and even some barely canonical stories in an annual and (collective) cigarette sweets' cards from the 1960s. Although it remains to be seen how much these creatures will feature in later issues, this new story sees the Voord becoming rather more benign as they evolve into more powerful creatures that help fight the malevolent Dalek forces.  

The starting point for the TV Tardis crew of the Doctor and Clara sees the word 'Marinus' pop up in our favourite Coal Hill school-teacher's head, and this neatly leads to an amusing run of new encounters between normal Earth girls with extraordinary lives, and personality clashes between the different (and yet the same) Time Lords who are responsible for those incredible travels.

As he stated in my earlier interview with him, Paul Cornell is thoughtfully structuring this mini series so that each of the Doctor's trusted assistants will be carrying us through the story in their own distinctive manner. This opener gives Clara the most agency, with the various other Doctors and their companions having to react to her decision to take matters head on. In a piece of neat irony, her best efforts to prevent the multi-Doctor meeting, owing to what may be a massive disaster, only serve to produce the opposite effect.  

Cornell's considerable experience in stories of all sorts of lengths and scale (depending on what medium he employs), means that I am confident he is doing the right thing in starting in a relatively slow manner this issue. Yes we get time and space trotting, and a nice flashback to a jungle world with no official name where Clara does her best Lara Croft impression. However much of the issue is moving the pieces of the three most recent TV doctors into place, and teasing us over the use this time of the wonderful John Hurt version (who made The Day of The Doctor  such electric viewing).

I can happily confirm that the artwork is an absolute treasure trove of convincing character expression, ocularly arresting alien beings and landscapes, and superbly well used colours. Neil Edwards happily unites with Cornell with immediately convincing results, and also has communicated with Ivan Nunes in an effective manner.  So consequently the pacing of the core story is only enhanced by the energy that is projected by the visual. The dialogue is probably the most outstanding component of this story, but would maybe not feel so effortless if the characters' facial subtleties were not as authentic as presented here.

With a cliffhanger taking us cleverly back to Cornell's fine work in the New Series, the set up has been performed and a lot more excitement and surprises are sure to still come.

BONUS HUMOUR STRIP:

The Doctor Shops For Comics in this new bonus piece, and Marc Ellerby has a certain Mr Paul Cornell lend a hand to the story being told. Just the Doctor and a French newspaper vendor are involved in terms of protagonists. That is, unless you count a version of the Doctor who has just been there shopping three minutes earlier than the particular Eleventh Doctor we are reading about. I find it odd having no companions in this for the Doctor to spark off against, but this story tries to do something different, and may be the start of a successful team-up between Cornell and Ellerby for the other four issues to come.

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Reviewed by Thomas Buxton

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

Remember how after making promising progress in terms of their narrative trajectory, recent modern Doctor Who serials such as “Night Terrors” and “Into the Dalek” somehow managed to squander their potential come their respective final acts by making sudden forays into overly sappy territory (if this reviewer never has to endure the sight of the Doctor teaching ex-Kaleds the beauty of the stars again, it’ll be too soon)? Well, much as The Brood of Erys, the second outing in Big Finish’s January – March 2014 trilogy of Sixth Doctor and Flip storylines, does its utmost to maintain a consistently impressive benchmark of quality throughout its four contributory episodes, so too does the 183th chapter in the aforementioned studio’s never-ending range of Who-themed audio dramas lose its way at precisely the wrong moment, thereby threatening to ruin its audience’s perception of what might otherwise have been one of Colin Baker’s finest off-screen hours to date.

More on that momentarily, however – let’s first align our metaphorical TARDIS scanners towards Brood’s strengths, since in spite of its lacklustre denouement, the drama in question can’t possibly fail to hook its listeners during its opening three-quarters. Central to its resounding success in this respect is the pair of increasingly tight-knit travellers currently piloting their Type 42 machine through time and space; although one gets the sense nowadays that Baker’s incarnation – nor the man himself, if his recent revelatory interview with DWM was any indication – will never quite shed his reputation as the version of the Doctor who underwent one of the weakest overall runs in the show’s history, the 72-year old thespian responsible for bringing the character to life during the mid-1980s has rarely been on finer form than he is here. Channelling all of the compassion and bombast he can muster as old ‘Sixie’ and his faithful accomplice explore a sentient moon known as Erys whose emotional motivations become murkier by the second (a fascinating narrative concept which this reviewer couldn’t help but wish writer Andrew Smith had deployed before “The Doctor’s Wife” aired on BBC One in 2011, but there we are), he not only reminds Nathan Turner devotees of the merits of his era but also affords the ever-complacent yet ever-righteous hero an emotional gravity which this incarnation’s haters might have claimed was lacking during his original run.

At the same time, every accomplished – if in this case cruelly unappreciated – Doctor needs a similarly worthy assistant at his side, hence the above reference to not one but both members of the TARDIS crew. When this reviewer came to pass judgement on Antidote to Oblivion last July, Ms. Philippa Jackson (Lisa Greenwood) appeared to represent one of its only notable caveats due to the lack of much in the way of character development afforded to her by scribe Philip Martin, yet just as Matt Fitton recently showcased Flip’s potential by exploiting her fears of performing before an audience and her realisation of her ability to overcome those long-running self-doubts in “Stage Fright” – the penultimate of the four captivating tales contained within Big Finish’s newly-released boxset “The Sixth Doctor: The Last Adventure” – Smith achieves much the same feat here, adding additional layers to Jackson’s personality by having her demonstrate her raw recklessness in a valiant but nonetheless risk-laden effort to reunite herself with the Doctor come Brood’s action-packed (sometimes to the point of its own detriment, as we’ll discuss later) second half, not to mention during the numerous Hammer-riffing body horror sequences where the young adventurer finds herself forced to navigate the depths of the titular living planetoid, encountering an all manner of spectacularly-voiced secondary constructs along the way including the slimy – in every sense of the adjective – Terrill (Chris Overton), the wayward amnesiac Sarra Vanser (Nicola Sian) and best of all the hauntingly omniscient persona of Erys (Brian Shelley) himself.

Indeed, in a similar vein to how Greenwood’s ever-passionate work as Flip has been complemented (and thus strengthened) to no minor extent here by Smith’s beneficially character-led script, the latter trio of supporting cast members each thrive in their respective roles thanks to the layered dialogue that their individual constructs spout out over the course of their extensive airtime. In a weaker science-fiction audio yarn, for instance, Terrill and his band of shameless, ever-troublesome Drachee scavengers would have come off as mindless slaves created for the sole narrative purpose of serving as the frankly dull lackeys of a (mostly) physically formless antagonist, yet far from allowing this to be the case, Smith throws more than one curve-ball into the figurative mixture that ensures the Drachee have just as significant a function to fulfil in the grand scheme of events as the Doctor, Flip or their latest adversary. It’s a true thrill to be able to confirm that as a result, once Brood moves into its fourth and final 25-minute segment, all but the most apathetic of listeners are sure to empathise with every character who they’ve encountered so far, and as such to feel as if they are on tenterhooks with regards to how each construct’s arc will come to an end.

What a crying tragedy it is, then, that after three episodes’ worth of steadily rising tension and intriguingly unravelled mysteries surrounding Sarra’s curiously absent yet vital memories, Smith hurriedly injects a small armada of emotionally vapid – albeit purposefully so – enemies not unlike those described previously here as being the stuff of lacklustre sci-fi efforts so as to add in some physical dangers for his ensemble despite the fact that the psychological toils presented by Erys’ meddling with the minds of ‘Sixie’ et al were more than enough to carry Episode 4 on their own merits. Whereas the scarecrow-styled hordes introduced a little way into “Human Nature / The Family of Blood” back in 2007 at least acted as a decent metaphor for the ceaseless, meaningless slaughter committed over the course of the Great War as they were endlessly gunned down by the students unlucky enough to attend the school which was playing host to one John Smith, the so-called “mud soldiers” who elect to crop up in Brood’s closing quarter hold no such deeper moral implications, instead existing only as a rushed means through which to off one or two supporting characters so as for (Andrew, not John) Smith to rest safe in the knowledge that his serial didn’t conclude without containing a single demise of some kind. Worse still, in subsequently attempting to add some further emotional levity (perhaps realising too late his mistake in abruptly prioritising action at the last second) by lobbing in a hopelessly indulgent throwback to the First Doctor era which doesn’t receive any of the necessary moments of foreshadowing earlier on required to justify its inclusion, the playwright comes cripplingly close to offering the impression that he had little idea whatsoever as to how to call it a day.

Yet to end on such a defeatist assertion would represent an unfair manner in which to resolve this particular assessment, especially given the strength of the ground-work laid during the opening three instalments. Make no mistake, Smith at least structures proceedings in such a way that the thematic discussion of matters such as corporations attempting to lay claim to entire landscapes without any thought of the immediate (or even distant) repercussions, not to mention that of the infuriating global political bureaucracy which can often force individuals to take drastic action for their family and / or community in today’s society, scarcely ever fails to captivate, a rare accomplishment given that many dialogue-led audio pieces can often lose their way by using too much exposition to delve into such themes and not enough in the way of tangible plot developments. As was the case with “Night Terrors” and “Into the Dalek”, though, Brood will forever be remembered as coming within inches of fulfilling its commendably lofty aspirations of centralising psychological drama over action, only to lose its nerve at the last instant and in doing so rank amongst the most notable could-have-beens in Who’s history.

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Reviewed by Martin Hudecek

WRITER: Rob Williams
ARTIST: Warren Pleece, 
COLOURS: Hi-Fi 
LETTERER: Richard Starkings + Comicraft's Jimmy Betancourt
 DESIGNER - Rob Farmer, 
EDITOR - Andrew James
ASSISTANT EDITOR- Kirsten Murray
PUBLISHER: Titan Comics
RELEASE DATE: June 17, 2015 

"The entity with the might of a Cyberman army... an army that now shows you what your heart wants most as they attack. That is... unstoppable. Oh... oh no... They’re going to conquer everything"  The Doctor under a mysterious influence, and seemingly losing hope.

Having done a bit of globe-and-time-and-space trotting in the first instalment, this second and final comic 'episode' now focuses on a singular setting. Thus it can pay full dues so as to make the most of the premise and circumstances that were established. Tension rarely leaves from panel to panel and page-to-page, and some fine dialogue intermingles with well-done action visuals.

Using Romans in Doctor Who has often been very effective, were viewers or fans of any generation to recall watching the Dennis Spooner story in William Hartnell's era, or (brief) sections of Patrick Troughton finale The War Games. So the pedigree is there, in addition to modern Who efforts with Matt Smith and David Tennant, and goes back to almost the dawn of this (happily) never-ending story. Also, the sheer depth of Roman society will continue to offer any number of further settings and hierarchy-society thematic exploration.

By contrast, as much as I love the concept and aesthetics of the Cybermen I must admit their full potential is not always realised. This story does a neat job of making their conversion/ horror theme come to the boil, and yet offer a different actual opponent for the Doctor. The artwork from Warren Pleece also does a fine job of using the sheer height and presence of the Cyber-army, with some moody background imagery and colours to really make them stand out. 

Themes of steadfastness and cowardice come into operation here with the civil war being decided not by conventional battle but by the way the two opposing leaders respond to the threat of the Entity/Cyber-Army. In the end one is shown to pay the ultimate price and in ignominious fashion, and the other, whilst not understanding everything properly has such integrity at his core that he and his followers live to fight another day. There is also that subtle bit of extra depth where we are not forced to believe one was wholly good and the other bad, and the Doctor may have helped someone with a lot of blood on his hands and demons in his head. No mistake should be made that these were brutal times in human history. But the Doctor just does the best he can to achieve the ideal outcome, even if on the surface this Eleventh incarnation is bumbling or lackadaisical at times.

In addition to well-sketched supporting characters. there is enough care and attention from Rob Williams' writing to incorporate some interesting consequences of having a contemporary 21st century Londoner suddenly transposed into the days of the Roman Empire. This is seen when Alice is simplistically referred to as  a 'warrior princess' by one of the feuding Emperors, due to her skin-colour and her assertive manner. Alice has always been given a good deal of focus and development as I have stated in my prior reviews, but this issue is particularly strong for her and without her concerted input the outcome would almost certainly be a different one. We again also have some brief flashbacks to her past which still feel involving and not just treading the same old pathways. I for one now eagerly anticipate her use in the new Four Doctors event that is being released imminently.

Let there be no misunderstanding: the Doctor does have much to do come the end, but for certain moments he is haunted by the mysterious Time Lord that has intermittently popped up since the very first issue. And despite using his ingenuity, he still cannot prevent a game changer that leaves one member of the quartet cut off and seemingly unreachable. The remainder may have to take the long route to find their associate, as problems with the TARDIS continue to persist. Overall this latest multi-parter from the Eleventh Doctor line has presented a neat twist or two, and made proper use of the TARDIS crew. The denouement is perfectly paced and does not veer into the 'easy out' that some of the Matt Smith TV stories were arguably guilty of. 

Bonus Humour Strip:

A typically strong effort from Marc Ellerby with a good plot, fizzy dialogue and a good range of cartoonish facial expressions. That old chestnut of where to go on Summer Wholiday gets a welcome inspection in the humour coda, and again the two page format is totally justified. Out of the River/Doctor and Amy/Rory family set, only one individual gets a properly satisfying vindication of their chosen destination. 

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Reviewed by Thomas Buxton

Written By: James Goss
Read By: Claire Higgins
Released by BBC Audio, 20 August 2015

Finding themselves yanked across the cosmos to a human colony world, the Doctor and his travelling companion are tasked with seemingly their most mundane mission yet: rescue an innocuous young girl’s missing cat. Suffice to say that as premises for a new yarn set in the limitless realms of Doctor Who go, this initial set-up seems neither as thrilling as that of recent TV serials like 42 nor indeed as continuity-shaking as that of The Day of the Doctor, yet it’s precisely the opening scenario which scribe James Goss lays before us with his latest contribution to the show’s mythology, The Gods of Winter.

The first instalment in a four-part series of BBC Audio releases featuring Peter Capaldi’s Twelfth Doctor as well as Jenna Coleman’s Clara Oswald – although only in name, since the studio have recruited the likes of David Schofield to narrate this interlinked quartet – Gods wastes no time in establishing the central plot arc which will bind together these otherwise standalone tales, introducing the aforementioned youth known as Diana Winter as she utilises an ominous "calling card" bestowed upon the Doctor to her ancestors for use on the worst day of each family member’s life. As was the case with Professor River Song back in 2008’s Silence in the Library / Forest of the Dead, however, the increasingly antagonistic Time Lord might well feel the desire to play Michael Buble’s "Haven’t Met You Yet" through the TARDIS’ speakers, since his initial meeting with the Winters clearly hasn’t occurred for him yet (and no doubt will be held back for the final instalment’s launch this December).

Regardless, even if answers regarding precisely why Diana’s family will have such a bearing on their newfound saviour’s life in days to come are a way off, Goss provides more than enough in the way of reasons for listeners to stick around in the meantime. Much as this reviewer jested about the subdued – to say the very least – nature of the quest placed on our time-travelling protagonists’ bigger-on-the-inside doorstep above, the situation involving the colony on which Diana resides and the apparently ruthless invaders plaguing its residents quickly escalates in unexpected ways, with the TARDIS crew forced to consider the origins of the Golhearn, a race whose motivations for serving as Gods’ supposed antagonists might not be all that they seem. Rest assured that we’ve no intent of spoiling any plot details beyond those offered in the audiobook’s précis, but we’ll at least tease that jumps in time, trips to other celestial bodies and commentaries on issues such as the dangers of blind faith and corporate legalities all factor into the piece’s overarching storyline in the seamless, inspired manner which only Goss can manage (as proven by his acclaimed past work on sub-plot laden Who romps including 2007’s The Infinite Quest).

Yet although the case of Diana’s lost feline companion does give way to a more layered, compelling adventure with political undertones aplenty, those hoping that Gods’ overall stakes would simultaneously be raised in the process might come away disappointed. Certainly, later set-pieces involving space shuttle flights across planet surfaces and seemingly abandoned religious temples up the ante in terms of action, placing both the Doctor and Clara – not to mention the first known member of the Winter dynasty – in occasionally grave danger, but if anything, this audiobook’s oft-relaxed tone at times seems far more reminiscent of that of a First Doctor serial (perhaps aptly given the representational similarities between Hartnell and Capaldi’s incarnations) than of one produced since Russell T Davies took the series’ helm just ten short years ago, a trait which could well deter any listener who approached the Twelfth Doctor’s latest audio voyage hoping for an adrenaline-fuelled experience along the lines of Into the Dalek or Death in Heaven. What Gods lacks in the way of substantial threats, however, the soon-to-be released tale compensates for with a hugely intelligent structure that initially lures the audience into wondering why Big Finish didn’t take the project on as one of their Short Trips scripts given the narrative’s supposed brevity, only for Goss to then throw a spanner in the works at the episode’s halfway point which ultimately more than justifies its (approximately) 60-minute running time.

Better yet, in the form of The Night of the Doctor star Claire Higgins (better known to series veterans as the mysterious figure who resurrected the Eighth Doctor shortly before kick-starting his successor’s plunge into the Time War), Goss has scored himself a simply ideal narrator, not least thanks to Higgins’ valiant attempts to distinguish the irritable Scottish tones of Capaldi’s Doctor, the remarkably more compassionate (if infrequently reckless) voice of Coleman’s Impossible Girl as well as the ever-maturing Diana. Whereas some of the previous contributors to BBC Audio’s various audiobook versions of the New Series Adventures novels have arguably tried and failed to capture the essence of either the programme’s current on-screen lead actors or indeed the one-off supporting players who’ve never featured on the TV show, there’s little point in denying that the first of the four thespians enlisted to bring the Winter escapades to life using their only vocal chords excels in both respects, effortlessly holding her audience’s attention as a result during both Gods’ (rare but appreciated) high-octane sequences and its calmer moments.

For a Who storyline which could quite easily have left its listeners baffled as to why BBC Audio didn’t simply transform it into a Sarah Jane Adventures novelisation, then, The Gods of Winter achieves a truly commendable number of feats, utilising its lack of action set-pieces as a means by which to tell a politically (and indeed philosophically) engaging yarn while bringing a hugely accomplished narrator into the fold so as to ensure that its audience never fails to remain captivated by proceedings. As with just about any tale intended largely to set up a broader plot arc, one could reasonably claim that the lack of genuine closure regarding the origins of Diana’s calling card robs Gods of a place amongst the higher echelons of off-screen Who, yet even if that’s indeed the case, this reviewer would gladly wager that the vast majority of those wise enough to pick Goss’ supremely accomplished latest work up will be too busy lapping up its myriad merits (not to mention attempting to predict how the story of Diana’s family tree might develop come October 1st in George Mann’s The House of Winter) to even begin to notice such incredibly minor shortcomings.

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Reviewed by Thomas Buxton

Writer: Robbie Morrison;
Artist: Daniel Indro;
Letterer: Richard Starkings and Jimmy Betancourt;
Colorist: Slamet Mujiono;
Editor: Andrew James;
Gabby's Sketchbook: Arianna Florean with Elena Casagrande;
Designer: Rob Farmer;
Assistant Editor: Kirsten Murray

Perhaps moreso than is the case with any of the show’s other recurring antagonists, finding an inspired new way in which to off the titular menaces of “The Weeping Angels of Mons” must be one of the most unenviable tasks a Doctor Who scribe can encounter. That their creator Steven Moffat has already produced three largely acclaimed serials based around the Deadly Assassins’ antics can’t help matters either, particularly since 2007’s “Blink”, 2010’s “The Time of Angels / Flesh & Stone” and 2012’s “The Angels Take Manhattan” (not to mention Toby Whithouse’s “The God Complex” and Moffat’s “The Time of the Doctor”, wherein the Angels play second fiddle to a more substantial manner yet still make quite the impact in the space of but a few minutes of screen time) each use them to such great effect before resolving the threat they pose to the Tenth and Eleventh Doctors in an equally surprising manner.

No wonder, then, that in bringing the second full arc of Titan Comics’ New Adventures with the Tenth Doctor range to a timely conclusion after four instalments, Robbie Morrison can’t help but seem to struggle to wrap up proceedings without evoking the final moments of beloved episodes gone by. As if Tennant’s Doctor, Gabby Gonzalez and their newfound wartime comrade Jamie Colquhoun’s campaign beneath the trenches to rescue the TARDIS from the Angels’ clutches wasn’t enough of a call-back to their eternal foes’ on-screen history, as the final chapter of his “Mons” narrative grinds to a halt, Morrison moreover goes so far as to stir up memories aplenty of “Human Nature / The Family of Blood” (with the present day-set closing pages owing a particular debt to Paul Cornell’s haunting TV adaptation of his own New Adventures novel), “The Angels Take Manhattan” (via his second investigation into the Angels’ physical shortcomings in as many issues) and even Blackadder Goes Forth’s most poignant shot of all, though one could perhaps forgive the latter allusion in light of the plethora of Great War fiction available for us to experience nowadays. Indeed, add in an dishearteningly abrupt resolution to the romantic sub-plot brewing between Gabby and Jamie that simply reeks of necessity and readers might well start to wonder whether or not the “Mons” arc is as doomed as the waylaid soldiers who stumbled onto battlefields such as the Somme between 1914 and 1918.

As will surely have become clear by now, had this at times derivative mid-season finale (of sorts) persisted with this reliance upon its esteemed predecessors without injecting any original moments of note, then little doubt exists in this reviewer’s mind as to the extent that the “Mons” quartet as a whole would have been rendered as an unsatisfying tale, particularly in light of the number of instances where the words ‘déjà vu’ came to mind as the Angels made their initial appearances amongst the rubble and shadows of the trenches. The truth of the matter is mercifully different, though; thanks in no small part to Morrison’s sustained implementation of the creatures who give this arc its name as a metaphor for the conflict in which “Mons” takes place, the military chaplain who until now had served as little more than a cliché-spouting secondary player becomes of paramount significance at the very last moment, affording Part 4 no shortage of emotional resonance as he justifiably calls into question everything which the Christian faith has taught him in light of the angelic forces of (super)nature assaulting him and his companions from every corner. Better yet, whereas past televised Who serials such as “Tooth and Claw” have seen fit to simply have their antagonists slay these theistic devotees, here we’re presented with an entirely different send-off which leaves that much more of a lasting impression as a result (and one which we therefore shan’t spoil for fear of ruining the scene in question).

Whereas Morrison therefore tows the line between narrative familiarity and symbolic innovation, Arianna Florean, Elena Casagrande and Daniel Indro – the former two of whom open Part 4 with another of Gabby’s rather delightfully whimsical notebook sequences before the latter resumes his work as the series’ resident central artist – collectively give their all in terms of ensuring that from an aesthetic perspective, the Tenth Doctor’s escapades in the early 20th Century remain a joy to see play out from page to page. Even if Part 3’s “Blink”-riffing cliff-hanger didn’t so much shock as doubtless remind many readers of the aforementioned 2007 serial’s “the Angels have the police box” t-shirt, the shot made for one hell of a tour de force of Indro’s visual capabilities, a trait which carries through to this predictably action-packed fourth instalment, wherein the artist in question renders underground skirmishes, 19th Century villages and even stirring Great War memorial gatherings without missing so much as a single crucial opportunity to stimulate the reader’s optic nerves.

In fact, in spite of its occasional missteps into the realms of dependence upon what’s come before, that notion of aiming to keep its onlookers thoroughly engaged throughout its running time seems a fine summary of “The Weeping Angels of Mons”’ overall aspirations. Whether or not Morrison could have ditched some of the early moments of Angel mythology-recapping exposition and derivative set-pieces so as to condense Tennant’s sophomore Titan arc into three instalments as opposed to four is a matter which we could debate until the end of time itself (though this reviewer would personally wager that there’s a strong case to be made in that regard), but that Morrison and the team of apparently infinitely accomplished artists tasked with bringing his monthly narratives to life remained intent on leaving their audience with no option but to turn straight to the next page (or indeed head to the nearest relevant retailer in order to pre-order their copies of subsequent issues) in hindsight seems beyond dispute. It’s an admirable goal too, although as we move out of the blood-soaked battlefields of the early 1900s and back to the streets of New York for the final days of Gabby’s first year alongside a Time Lord who’s running on increasingly borrowed time, those involved with depicting this intriguing new companion’s scribbled writings and actions alike might well consider prioritising further layered moral dilemmas like that of the chaplain’s and in doing so placing less emphasis on the infrequently repetitive action set-pieces which formed the crux of “Mons”, at least if they’re hoping to leave Paul Cornell with a strong foundation upon which to build with his “Four Doctors” crossover event later this year.

Bonus Humour Strip Mini-Review:

Less surprising than Morrison’s success in turning his oft-predictable antagonists into a compelling metaphor for modern conflicts and the harrowing psychological toll they carry for those desperate to cling to their faiths is Rachael Smith’s decision to integrate the Sisters of Plentitude (of “New Earth” and “Gridlock” fame) into the latest gripping chapter of “A Rose By Any Other Name” as Rose – better known to regular readers as the Tenth Doctor’s hastily acquired feline pet – attempts to find her owner a date somewhere in the depths of time and space. Much like an elderly cat on its last legs, it’s difficult not to wonder whether this storyline (or series of narrative-light skits, to put the situation more accurately) has run its course at this point. On the plus side, though, even if that’s indeed the case, with only around half a dozen issues remaining until Cornell temporarily takes the helm of Tennant (as well as Smith, Capaldi and even Hurt)’s comic-book adventures, those who share this reviewer’s growing apathy with this particular line of mini-strips can at least rest safe in the knowledge that Rose’s short-lived tenure aboard the TARDIS will surely go the same way as K-9, Kamelion and Theta Sigma’s other non-human companions soon enough.

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Reviewed by Matthew Kilburn

Changing the Face of Doctor Who
Designed by Colin Brockhurst
Additional illustrations by Steve Andrew
Published August 2015

Last year Colin Brockhurst’s portfolio The Day of Doctor Who was widely acclaimed for its presentation of a fifth anniversary special that might have been. There William Hartnell and Peter Cushing had joined Patrick Troughton in a story which – as the imagined Radio Times cover, listings and even telesnaps suggested – pseudo-anticipated The Day of the Doctor while tying in with 1960s stories from An Unearthly Child to The War Games as well as reconciling (for those who think it necessary) the cinematic and television versions of Doctor Who. The project looked less like something created than it did a series of artefacts which had somehow fallen through a wormhole from another universe, where Doctor Who had proceeded in a different but parallel direction to the one we know.

Colin has now returned with a second set, Changing the Face of Doctor Who, which explores an alternative past where a different succession of actors assumed the role of the Doctor. Again, this is an exercise in counterfactual history which draws on recognisable events, settings and products but shifts them slightly sideways so the audience is engaged with an alternate past just that little more out of reach than the one we know. Geoffrey Bayldon stares out of the Radio Times launch cover Doctor Who never had in 1963. We’d not have had discussions over what kind of hat the second Doctor wore in early photographs had he been wearing Brian Blessed’s bowler. Ron Moody appears on the cover of a Radio Times from the first week of January 1970 being menaced by a Yeti, recalling the photocall which revealed Jon Pertwee’s third Doctor; but opening the brown envelope printed ‘Radio Times listings’ discloses that in Colin’s projected universe the third Doctor’s era began with Mervyn Haisman and Henry Lincoln’s Yeti tale The Laird of McCrimmon. How Ron Moody’s Doctor is exiled to twentieth-century Earth to take on Peter Cushing’s Master the following year in The Spray of Death must remain a subject for speculation. The Radio Times entries, inspired by unproduced tales which were abandoned in early stages of their development by the production office, are especially eerie because their phraseology and layout accurately recaptures the Radio Times of their pretended day. Colin is a master at sourcing and recreating typography from the days of hot metal composition and photogravure as he is at recapturing the house style of more recent periods, as shown by a glance at his material commemorating Rik Mayall’s eighth Doctor. Mayall’s screen life seems to have endured beyond one TV Movie, unlike his counterpart in our universe; I wonder if there is a range of Big Finish audios in Brockhurst-Earth’s mediasphere.

Frustratingly perhaps, this set only covers the first eight Doctors. There is no Radio Times cover featuring Hugh Grant and whichever recent graduate from Casualty or EastEnders was supposedly being considered to play Rose Tyler, no James Nesbitt and Robson Green staring out from opposite sides of a DVD box design, no Paterson Joseph and Aisling Loftus on the cover of Doctor Who Adventures… This decision might be regretted, but one (unhappy) consequence of the decision to end with the eighth Doctor (but not necessarily in 1996) is that most of the actors Colin has chosen as his alternative Doctors are dead, one very recently.  Both this and the set's otherwise very limited engagement with post-2005 Doctor Who (but it is recognised, subtly) means that the set doesn’t risk confusing ongoing careers with what could be misinterpreted as marketing materials.

The nature of this kind of work means that Colin has to manage faces which sometimes do not want to be changed and where the source material to effect the transformation has been difficult to obtain, but ultimately the signatures of his alternative Doctors always overwrite those of the ones we know. His collaborator on some items is Steve Andrew, well-known in many fan circles for his Target book pastiches, who provides the cover illustration for the novelisation of Doctor Who and the Robots and for the badge showing Ron Moody’s Doctor in the style of the 1971 Kellogg’s Sugar Smacks series. Again, one suddenly feels the weight of cereal eaten to acquire it, long ago but elsewhen.

The set is definitely of interest to those who like testing the elasticity of Doctor Who’s past as well as its present and future and who imagine how the story of the Doctor and his companions (there are some alternative casting ideas there too) could have been depicted had different choices been made. Excite the interest and comment of all your friends, as Target Books once had it of their badge, but with Richard O’Brien’s Doctor’s first Doctor Who Magazine cover on your wall. In the meantime, I’m off to watch Ken Campbell’s Doctor in Storm Over Avallion – I’m sure I left the disc somewhere…

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Interviewed by Martin Hudecek

Renowned TV series writer Paul Cornell will be contributing his vivid imagination for the upcoming Four Doctors Titan comics crossover event.

This will be a "weekly event, running through August and September 2015" and features the Tenth, Eleventh and Twelfth Doctors and their companions from the comics, as well as the War Doctor. Neil Edwards will be the artist.

Doctor Who News reviewer Martin Hudecek was given the opportunity to ask Paul some questions in the lead-up to this special crossover event, which launches on Wednesday 12 August.

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Hi Paul, thanks for giving some of your time to talk to us at Doctor Who News.

1) What resulted in you working on this mini-series, apart from your numerous accomplishments in penning other Doctor Who stories over the years?

Titan editor Andrew James asked me, and I couldn't turn it down.

2) You are working with Neil Edwards for the first time I believe. How did this collaboration materialise, and how do your respective visions of DoctorWho align?

Titan asked me to take a look at his work, and I was blown away. He's amazing. He captures not just likenesses, but actor body language too, and his special effects are awesome.

3) Peter Capaldi's incarnation is obviously the current version, and we have many stories of his to come still. Are you following precedent in making him the 'main Doctor' or are you opting for a slightly different path here?

He's the main Doctor, but the other two get just about equal screen time. I think the audience want as much Doctor interaction as possible from a crossover, so they're together almost all the time. Ten doesn't trust Twelve at all, and Twelve can't or won't explain how he can even exist. Eleven tries to moderate between them.

4) Which of the TV multi-doctor stories was the strongest in your view, and was it also the one to influence you the most for coming up with this new story?

The Day of the Doctor is a staggering masterpiece of plotting. So I don't want to be in the shadow of that, and went another way.

5) Having adapted your own New Adventure book 'Human Nature' (which featured the Seventh Doctor) to instead be a Tenth Doctor for TV, could you describe the process of writing for different personalities and in different mediums?

When you've got an artist who can do the body language, that frees up the dialogue so I can keep going with interaction between the three (or more) Doctors. The plot is a bit of a summer blockbuster, in that it's more a timey-wimey rollercoaster, with a few old monsters, but it's all about how the Doctors react to what's being thrown at them. And how their companions react to other Doctors.

6) Is the intent for this summer event to have any long-term impacts on the Twelfth Doctor, or is it more to be enjoyed as a special story on its own terms?

One of the lovely things about working for Titan is that you know what you do will reflect on the titles afterwards. We may well have made some changes. Possibly big ones.

7) What has been the main inspiration for this new story, and how would describe the journey the different Doctors go through/?:

It's about a photograph that could destroy the universe. Clara tries to stop what she calls 'some sort of multi-Doctor...event!' from happening, and tries to talk to Alice and Gabby privately, but fortunately she fails, and the Doctor interaction mayhem ensues. They do come to trust each other, but it's only after a look into the future for all of them. Eleven awards himself a 'most sensible Doctor' badge at one point.

8) With a certain amount of regular characters to juggle, i.e. the various original comic companions as well as Clara Oswald, how do you approach making sure everyone gets a fair go of being involved?

It's just about juggling page time and dramatic content. Clara, Gabby and Alice all get to narrate at least one issue, so it's a good way for new readers to meet them. I want fans of every combination here to feel satisfied.

9) What approach do you take so that the combined team of Doctors have a worthy enough foe?

It's a problem that gradually gets bigger and bigger, with a big bad revealed along the way. We aim to surprise.

10) You made your mark on original Doctor Who stories back when the New Adventures book line was very new, and helped 'keep the flame burning' during the long hiatus for the show. Could you really have believed at the time just how prosperous the Who franchise would become?

It's wonderful, isn't it? Russell and now Steven's vision have made just about anything possible for the show.

Thanks again Paul, and best wishes with all your projects.

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Reviewed by Damian Christie

Written by Eddie Robson
Directed by Barnaby Edwards
Big Finish Productions, 2015
Stars: Peter Davison (The Doctor), Maureen O’Brien (Vicki), Peter Purves (Steven Taylor), Germane Grade (Quintus), Lysette Anthony (Sophia), Giles Watling (Belisarius), Tony Millan (Procopius/Yazid), Tim Wallers (Justinian), Saran Woodward (Theodora)

Doctor Who has had many proud milestones throughout its history, not least its 50th anniversary celebrations two years ago. Last year, Big Finish Productions also celebrated 15 years of producing licensed Doctor Who dramas with its Worlds of Doctor Who release. This year, BF has decided to mark its 200th release in the Doctor Who “main range” with its “locum Doctors” trilogy. It’s a milestone that’s pretty dubious, to be honest, considering BF’s Doctor Who output in the last 15 years truly exceeds 200 releases and does not encompass the Fourth Doctor adventures (with Tom Baker) or the Eighth Doctor adventures (Paul McGann’s Doctor started in the “main range” before getting his own series). By my estimation, coupled with various spin-offs, BF is really celebrating something like its “500th” release, not its 200th! But hey, any excuse for a party ...

The “locum Doctors” concept has already seen the Seventh and Sixth Doctors involuntarily replace the Third and Second Doctors in the 198th and 199th releases The Defectors and Last of the Cybermen. In both tales, each Doctor found himself forced to resolve the situation by directly contradicting the position of his predecessor and by extension threatening to unravel his entire time stream. In The Secret History, the Fifth Doctor (Peter Davison) finds himself transplanted into the First Doctor’s era and reunited with companions Steven Taylor (Peter Purves) and Vicki (Maureen O’Brien) – just in time for the TARDIS to materialise in Italy in the sixth century AD as Byzantine general Belisarius (Giles Watling) begins his conquest of Italy.

Just as The Defectors and Last of the Cybermen were homages to the Pertwee and Troughton eras, so The Secret History also honours the Hartnell era through an historical tale that sees the TARDIS crew interact with characters based on personalities from that period, eg Belisarius, his secretary Procopius (played by Tony Millan, whom the Doctor recognises as the author of the tomes The Wars of Justinian and The Secret History) and the Byzantine Emperor Justinian and his wife Theodora (Tim Wallers and Sarah Woodward). Indeed, the story starts with the tried and trusted Hartnell era formula of the Doctor and his companions arriving in a period setting and then being separated and forced to participate in events against their will. In this instance, Steven is taken prisoner by the invading Roman forces and transported from Italy to the Roman capital Constantinople. The Fifth Doctor and Vicki have little choice but to follow and by the time they arrive in Constantinople, the Doctor is arrested by Justinian on suspicion of being a Persian spy. He subsequently spends much of the second episode in prison and is largely absent from events (not unlike the First Doctor who could also disappear from the odd TV episode whenever William Hartnell took a week’s holiday!). This leaves Vicki to delve deeper into the mystery while Steven is recruited at the Hippodrome – first as a stablehand, then as a painter and finally as a driver in the local chariot races between the (historically accurate) rival green and blue teams as the regular drivers are struck down by the first bout of the Justinian plague. Vicki is particularly a great foil for the brazen Belisarius (“What d’you mean ‘we’?” he blurts out when he realises Vicki has invited herself to accompany him to an audience with the Emperor), continuing a humorous trait of the Hartnell historical – the Doctor and his companions would often provide much needed light relief amongst some of the earnest and unrefined figures they encountered in period settings. Writer Eddie Robson cleverly echoes the same approach.

However, it is from the second episode on that the serial really strays from the traditional Hartnell pure historical tale. Indeed, The Secret History becomes a SF story with a period setting as extra-terrestrial entities not unlike the modern TV series’ Weeping Angels seize control of Justinian and Theodora (and by extension the Roman Empire) and an old adversary of the Doctor’s under the alias of Quintus, aided by his time-sensitive assistant Sophia (Lysette Anthony), finally plays his hand and manoeuvres the Doctor into a trap that imperils his very existence. The final episode could not be more unpredictable from the first three as history (at least as the Doctor knows it) assumes an entirely different course.

The main story aside, Robson is excellent at portraying the politics of the Byzantine era, along with the exuberant, flamboyant personalities that inhabit it. Wallers’ Justinian is pompous, sleazy and paranoid while Watling’s Belisarius is ostentatious, authoritative, dutiful and dry-humoured, making them perfect rivals for the future of the Roman Empire. Woodward’s Theodora is also haughty, with some cutting dialogue for her husband, whom she clearly enjoys antagonising. Millan’s Procopious is unsurprisingly scholarly, a little cowardly and in Belisarius’ words “a complex chap”, given his misogynistic views of the Empress (“Her soul is a cesspool!”) and of women in general (“No man should trust himself around beautiful women!”). Millan also deserves another mention for his gruff, rough diamond performance as Hippodrome proprietor Yazid who is such a complete contrast to the quietly spoken Procopious that it is easy to assume the parts were taken up by separate actors.

Maureen O’Brien and Peter Purves reprise the roles of Vicki and Steven almost effortlessly, as if 50 years haven’t elapsed at all since their time in the TV series. Both actors obviously put a lot of youthful inflection into their performances to convey their younger characters but they never sound too old or unconvincing. Peter Davison, of course, continues to be as excellent as ever as the more “fretful” (in Vicki’s words) Fifth Doctor, displaying the vulnerability that was typical of the character in his era on television and far less of the assuredness and arrogance of his first incarnation. Davison’s expression of fear when his Doctor is presented with a solution that could save a man’s life (and by extension change the course of history altogether) is particularly noteworthy:

Belisarius: Doctor, is he saying that you could save this man’s life?

The Doctor: I’m afraid so.

Belisarius: Afraid? What are you afraid of?

The Doctor: Everything. Don’t you see? It would change everything.

Of course, it is precisely the Fifth Doctor’s character traits that the villainous Quintus exploits to spring his trap. The villain’s true identity (I hesitate to even name the actor who plays the part for fear of giving the character away) will either be a pleasant surprise or an unsatisfactory revelation to the listener (in fact, my suspicions about who might be behind the Doctor’s translocations throughout his time stream proved correct before I even listened to The Secret History, and the cowled figure on the cover sleeve – even though there’s no implication in the story that the villain actually wears a cowl! – did little to allay that suspicion). To this reviewer, it’s not exactly a bold revelation and the villain concerned is wearing a bit thin but nevertheless the actor who plays him (a renowned British comedian that we all would have loved on TV as we grew up in the 1970s – well, at least in Britain and Australia), delivers an excellent performance, offering the right balance of humour, charm, mischief and fervour.

While this trilogy fits with Quintus’ modus operandi (he even gets to fulfil every Doctor Who fan’s wish in the final episode!), I find it deliciously ironic that, given this is the “official” 200th release in the Doctor Who “main range”, the antagonist is driven to usurp and destroy the Doctor out of revenge for events that actually occurred in serials that are not counted by BF as part of the “main range”. Again, this illustrates to me that for all the pomp and ceremony, The Secret History is no more remarkable than any other BF Doctor Who release. “Main range” or not, it’s all Doctor Who!

That said, The Secret History is an entertaining and at times fun tale, with the right blend of drama and humour befitting a Hartnell era historical, and as long-time BF listeners can expect, excellent sound production values and performances. You really do believe that you could be accompanying the Doctor, Steven and Vicki around sixth century Ravenna and Constantinople, and the incidental music and sound effects, including the TARDIS interior noises, also create the impression that you are experiencing a “lost” Hartnell era tale, albeit with Peter Davison as the Doctor!

However, when compared to the rest of the “locum Doctors” trilogy, The Secret History is the weakest link (with The Defectors the highlight of the bunch). This is partly because unlike The Defectors or Last of the Cybermen, The Secret History ceases to be a story in its own right about half-way through and becomes a closing, convoluted chapter to a broader saga. It’s also dependent on whether you feel you get the pay-off that the trilogy promises – it doesn’t necessarily convince nor does the villain impress either, despite the threat he poses to our hero’s survival.

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