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6 March 2015

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start...

Day 795: The Beast Below

Dear diary,

Every so often in this marathon I find myself approaching a story that I just know I’m not going to like. Usually it’s because I’ve seen it before and it’s left a less than favourable taste in my mouth. When these episodes come along (thankfully, it’s a rare occurrence), I find that one of two things happens. Either the episode ends up being even worse than I remembered (as was the case last week with Planet of the Dead, which went from being one I didn’t remember fondly to being one that I really didn’t enjoy), or it swings the other way and ends up being rated probably a little above what it deserves because I’m so taken aback by the fact that I’ve enjoyed it. I’m pleased to say that today’s episode has fallen into the latter of those two categories.

I wasn’t at all expecting to like this one. First time around it felt like crashing back down to Earth after the highs of the previous week’s massively confident start to the new regime. Since then it’s simply occupied a place in my mind filed away with other stories that I never really intended to watch again in a hurry. But actually, there’s quite a decent little story tucked away in here! Oh, sure, it’s not ever going to win prizes as being the greatest episode of Doctor Who ever made, but it’s a perfectly serviceable one to pass 45 minutes, and if we take Series Five as being intended as a new start for an audience unfamiliar with Doctor Who (which is certainly what the production team seem to have been thinking in places), then it provides a crucial tent-pole in that regard.

We’re introduced to the idea that the Doctor is a Time Lord and the last of his kind. There’s none of the mystery built up around it that we had in The End of the World, because it’s not needed - from the point of view of an established audience, we already know what happened (roughly). From a new perspective the description of the Time War as ‘a bad day’ simply fills in enough to keep the conversation moving. The story gets a little less subtle towards the end when trying to about the point about the Doctor and the Star Whale being very similar (they make the point twice in the Tower of London, and then just in case you don’t get it, Amy comes to find the Doctor again and spell it out as plainly as she can), but on the whole it works.

There’s also some rather nice design work in this episode to help set it apart from the tone of Doctor Who from the last few years. One of the things that felt a shame first time around was that this story didn’t feel like it was following the same fresh new look established with The Eleventh Hour, and while it’s certainly true that this is perhaps less honed in places, it certainly does have its own unique style, and it’s really rather lovely. I’d never noticed, for example, the way that the elevators are designed to resemble the London Underground - right down to the tiling on the walls outside them. That’s a nice touch.

And while I’m on the subject of design, I’m going to mention it, because I know I’ll never get around it it otherwise: the new TARDIS. I remember not being all that fussed on the white window frames and shade of blue on the exterior when it was first revealed. I didn’t dis*like it, I just didn’t particularly love it, either. Now, though, I have to confess that I really *do like it. The interior… maybe it’ll grow on me this time around, but I was never that fond of this console room. Something about it just felt that bit too much like a set, in the way that the previous version of the room didn’t. It just doesn’t quite gel with me in the way that the coral did immediately. Not to worry, though, because the greedy Eleventh Doctor gets two console rooms, and his next one is much more up my street…

5 March 2015

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start...

Day 794: The Eleventh Hour

Dear diary,

In the weeks leading up to the broadcast of The Eleventh Hour, I couldn’t have told you the last time I’d been more excited for the start of a series. I’d largely managed to avoid ‘spoilers’ throughout the 2009 filming, so the trailer released after David Tennant’s departure really did a good job of whetting my appetite ready for the new run. But then, in early 2010, I was working on a project which meant I had to be completely up-to-date with Doctor Who, so that the material would still be relevant by the time it hit the shelves. This meant having to do the most exciting thing in the world - go and be locked in a room at the BBC and read some of the scripts, as well as a general outline, for Series Five. All that work avoiding spoilers was for nothing, because this was the ultimate spoiler. I found, in the long run, that it hampered my enjoyment of several episodes on broadcast, because I’d spent months imagining them one way in my head only to be disappointed when they were presented differently on screen.

Largely it’s because I couldn’t have predicted the unique way that matt Smith would play the part, and I don’t think any of us could have predicted the huge shift in tone that the series undergoes from this episode on. Just look at that long shot which looks around Amelia’s garden before leading us to the scared little girl in the house. It’s like a film! And it doesn’t stop there - Adam Smith is one of my favourite Doctor Who directors, and I wish he’d come back to do more than the handful of episodes he was responsible for in this series. The rest of the episode looks completely unlike anything we had in the Russell T Davies era - it properly starts out confident and strong, proclaiming itself to be the start of something new.

Even to this day I can’t decide wether that’s the best thing or not. Everything has changed at this point. New Doctor. New Companion. New Man-In-Charge. New TARDIS interior. New TARDIS exterior. New Sonic Screwdriver… before the series is out we’ll be able to add New Daleks to the list. This is getting on for as bigger a shift in direction as the one between Seasons Seventeen and Eighteen in the ‘classic’ run, and I don’t think we’re a million miles away from the big change of Seasons Six to Seven. In some ways, I like that it’s such a confident casting off of what went before - a programme in a new form which is proud to stand up and be its own thing. On the other, as the original broadcasts played out, I couldn’t help but think it came across as a bit of a middle finger to the five years immediately preceding it, almost as a ‘you did it wrong’. With hindsight, I think it works, and it’s certainly not any kind of disrespect to the things which came before. It’s simply Doctor Who reinventing itself almost totally, which is just what it’s good at.

So, as for The Eleventh Hour as an episode… oh, it’s good, isn’t it? I’d spent so long dying to see what it looked like on screen and then in the run up to the broadcast, I found myself booking a date for the same evening. Even as it was being arranged, there was a little voice in the back of my mind that said ‘You can’t see her that night! That’s the start of the new Doctor Who season!’. Oh we’ve all been there. And what do you do? How do you choose? I went for the simple option - have your cake and eat it. Let’s get pizza at mine and watch the new series of Doctor Who. Yes, that’s romantic. I’m not entirely sure if she was at all keen on Doctor Who by the time the episode had finished (she certainly hadn’t been before hand), and was probably a little put-off by the fact that the date ended early so I could sit and watch the episode again later that night (I know, I know, priorities), but she did return for episodes sporadically throughout the rest of Series Five, so it wasn’t a complete bust!

Oh, but it was good. Immediately after broadcast, the figures of the Eleventh Doctor (in a two-pack with a ‘raggedy’ version) and his new Sonic Screwdriver were released. I’d managed to pick up my figure earlier in the day and took great delight in adding him to the shelf alongside all the other Doctors. Matt Smith had won me over completely, and we were standing at the dawn of an exciting new era. That’s the best feeling in the world…

4 March 2015

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start...

Day 793: The End of Time - Part Two

Dear diary,

I can’t make my mind up as to wether the Tenth Doctor era has gone by quickly or not. I’ve spent more episodes with David Tennant’s Doctor than I have with any other since Peter Davison, but in some ways it feels like this Doctor has only just arrived on the scene. In others, it feels like he’s been around for ages. When I think back to specific episodes - anything from Series Two, for example - it feels like a lifetime ago, and the fact that Tennant physically aged quite a bit in the part makes that feeling all the more pronounced. On the other hand, it doesn’t feel all that long ago since he was promising trips to Barcelona, or bringing down Harriet Jones’ government.

But there’s no denying what an impact the Tenth Doctor made - had the profile of the programme ever been higher? Even now, with the show simulcast around the world to the biggest possible audience, it doesn’t feel like it’s at quite those dizzying heights of around 2007/2008, when you could barely move for Doctor Who. It was on the cover of the Radio Times every other week. The shops were stuffed with products of every kind. There were two sister shows running throughout the time of the year when the main show wasn’t… and everyone, even people who didn’t watch Doctor Who seemed to agree that David Tennant was one of - if not the - best Doctors ever.

And after all that… oh, I still can’t help but think that this finale is just a bit nothing for him. As with yesterday, I’ve found a lot more to enjoy in today’s episode than I was perhaps expecting to, but something about it just doesn’t gel with me. I wasn’t all that connected to the episode while watching, and nothing really spurred any particular excitement in me. I think it’s still the hangover of that feeling in 2009 of being a spectre at the feast, just wanting this Doctor to hurry up and clear off so we could get to the new chap. It certainly didn’t help that immediately after the broadcast of this episode a trailer for the upcoming Series Five appeared on the BBC website, and it was fifty times more exciting than anything which happened in this story.
Something I am pleased about, though, is that I’ve changed my mind about the sequence of the regeneration itself. For years now - ever since broadcast, really - I’ve thought that the Doctor should rage at Wilf, the final words of the Time Lord Victorious. He should scream, and shout, rage against the dying of the light, and then when Wilf tells him to simply go… he should. Okay then. You’re right. My life is more important than yours. See ya! I always thought that he should go and get his reward at that point. Venture off and see all his friends one last time. Martha, Mickey*, Jack, Sarah Jane, Rose… all those shining people who kept the Lonely Angel going. Kept him fighting. And then he should return for Wilf, who’s sad and alone in the booth, tell him that it’s his honour to give his life for such a man, and then we should pick up with the sequence as seen. Largely, I think I’d always thought of that as a better narrative because it means we can have the Doctor regenerate in the box - the Doctor uncurls from that foetal position and it’s Matt Smith! - but watching it today, I’m happy to admit that I was wrong; it works just fine the way it is, and the emotional beats hit at just the right points.

I’ve brought it up a few times in the last couple of weeks, but I can’t let today’s episode pass without giving one final mention… Bernard Cribbins really is wonderful, isn’t he? Can you imagine that there could have been a version of Doctor Who where he only made that on brief cameo appearance in Voyage of the Damned and then that was it? Horrible thought. A real pity that he had to step back into the programme in circumstances where another actor had passed away, but what a tribute to give - one of the best performances the show ever has. I’m so glad that he was given such a prominent role to play in these final episodes of the era, getting to really showcase his range and make you laugh out loud (‘God bless the cactuses!’) and tear up (‘I don’t want you to die!’) in equal measure. He really steals the show from Tennant in his final episodes, and I don’t think anyone could mind.

And now, we’re off into a bold new era! At the time, I found the Matt Smith years (well, the first couple, at least) far less to my liking than the previous few years of Doctor Who had been, and I’ve never really gone back to give them a second chance. With the exception of tomorrow’s Eleventh Hour and the 50th Anniversary special in a few weeks, I’ve never rewetted any of this era, so it’s like seeing it fresh and new, which is a very exciting thought.

It also means that I’m drawing to the very end of this mammoth project, and so I need your help! I need to decide how I’m going to be ending things. The original plan, way back in January 2013 when The 50 Year Diary kicked off was to stop with the 50th Anniversary. Nice and neat - hence the name - to cover every story from the programme’s first half-century. But then Matt Smith went and left just one episode later, so I thought I’d include that one, too, just to round off the era nicely. But now I’m wondering - with Series Nine only a few months away, and having enjoyed Series Eight so much when it was broadcast last year, do I carry on for an extra fortnight and do those episodes, too? That way, I’ll have covered all the episodes of Doctor Who. Let me know which approach you’d rather in the comments; do I finish with Time of the Doctor, or Last Christmas?


*I’m trying not to complain about the things I’m not so keen on in today’s episode, because it’s nice to keep things a bit nicer for a Doctor’s departure, but I have to grumble about the Mickey and Martha pairing. Not because I’ve specifically anything against the two of them getting together, but because it’s just another notch in that belt of Martha’s character being a bit rubbish after Series Three. She first gets engaged to a bloke she met in an alternate timeline for about 24 hours, despite showing very little chemistry with him in the first place, and then suddenly ditches him to marry a bloke she aired only a couple of scenes with in another episode (did Micky and Martha actually speak to each other in the Series Four finale?). It just felt so odd at the time, and it still doesn’t sit right five years on…

3 March 2015

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start...

Day 792: The End of Time - Part One

Dear diary,

At the time, I recall being really disappointed with David Tennant’s exit from Doctor Who. I mused the other day that knowing almost a year in advance who his replacement was going to be and only having a few scattered episodes here and there (of varying quality) meant that by the time this two-part story rolled around I was just ready for the new Doctor. The regeneration was just another thing in the way of getting on with something different, and frankly more exciting. Then this story aired, and I wasn’t keen, and the same was true for almost my entire circle of friends. The general opinion among us was that the brilliant Russell T Davies era had gone out really feebly, and it was a pity after five years which had brought us some really brilliant television.

So I was pleased to find that today, there’s lots that I’ve found to enjoy about this one. The Doctor arriving on the planet of the Ood at the start (still not quite as impressive as the matte shots, but certainly a more interesting area than the basin of ‘snow’ the TARDIS put down in during Series Four), and the fact that he’s spent such a long time running away from his summons (I really wish they’d gone with the suggestion Davies makes in The Writer’s Tale, though, that the Doctor should emerge from the TARDIS with a few flecks of grey in his hair, as though he’d done anything and everything to put off this moment). In fact, everything on the Ood planet is rather nice, and I love the design of the ‘Elder Ood’. it serves as a nice way of bringing the audience up-to-speed with the events of the Master’s last story, too, while making it feel part of the narrative.

For some reason, last time around, I took issue with the Master’s resurrection, but I can’t for the life of me remember why, and I can’t say I’ve got any problem with it here - again it’s something I’ve rather enjoyed. And then there’s everything between the Doctor and Wilf, and that beautiful moment where the Doctor ruminates on the fact that people have had to wait centuries to meet him again, and then Wilf manages it in a single afternoon, as though he’s drawing all the threads together in his own mind…

But not everything is working for me, and I’m perhaps not surprised to find that the same things are bugging me this time around that did last time. The biggest one has to be the Master’s ‘superpowers’, for want of a better word. I just find that they’re taking me out of the narrative every time they crop up. It’s not the skeletal part which bothers me (last time, I know I wasn’t keen on that, but this time around that aspect kind of works for me), it’s the mega jumps which are causing me an issue. It’s most distracting just after an incredibly powerful scene between the Doctor and the Master, in which our hero realises that the drums in his foe’s head are real… and then the Master uses his energy to propel himself into the air like Iron Man. The entire beauty of that scene was completely shattered for me by that final moment. I’ve not even got an issue with the Master going berserk at that point - it’s very in character for this incarnation - but the ‘flight’ just doesn’t work for me at all I’m afraid.

The other thing that I’ve always found so off-putting that I can’t help but look out for it and notice it even worse now if the Vinvocci make-up. For some reason, the green of the faces was added digitally on this occasion instead of as regular make-up, and it doesn’t match with the bits of prosthetic at all. It really stands out like a sore thumb, and it’s a real shame that such a botched experiment occurs in - of all episodes - David Tennant’s final story.

Oh but enough with the whining, because you know what? That moment at the end, with the big speech about the return of the Time Lords, where we pull back from planet Earth and pan round to see the Narrator, catching sight of a Gallifreyan collar only a fraction of a second before he announces who they are… it’s so beautifully executed, and is probably the best cliffhanger of the entire Russell T Davies era. Now that’s one to go out on…

2 March 2015

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start...

Day 791: Dreamland

Dear diary,

Much like The Infinite Quest alongside Series Three, I never really paid all that much attention to Dreamland. Because I’d taken a bit of a step back from Doctor Who in 2009, I’d missed a lot of the build up around it, and I have to confess that the broadcast completely passed me by. I picked up the DVD not long after, intending to give it a watch, but it’s simply sat still in wrapper on the shelf for the last five years. There was something quite exciting about unwrapping it for the marathon today - it’s like finding a missing episode and getting to experience it for the first time.

I’d been warned earlier this week not to expect too much, and especially that the animation in this one was ‘atrocious’, but actually I have to say I’m rather fond of it. Certainly, I prefer it to the style used for The Infinite Quest, and there’s something about the likeness of the Doctor in this one which really works for me. I don’t know if I can claim that it actually looks like David Tennant, but it certainly looks like the character of the Tenth Doctor, and that’s good enough for me. Oh, sure, there’s a few ropey moments scattered throughout - the way that doors open, or any time we get a look at character’s feet while they’re walking, for example - but on the whole I was hooked in enough to not really bother about that.

Which is the real point with this one - the story captured me enough to make me overlook the fact that I was watching an animated Doctor Who episode, and instead just allowed me to enjoy a fairly decent Doctor Who story. I won’t say it caught me right away - the first ten minutes or so proved a struggle, and I did almost think I was just going to give up half way and write about the fact that I was bored. Once things were properly underway, though, I suddenly found myself really captured - and enjoying it!

Oh, sure, the story is a bit simplistic in places (and more than a little bit clichéd), but that kind of works with the style of the whole piece - it’s a little bit of light entertainment before we head off for the Tenth Doctor’s final stand. A good way for him to have a nice simple adventure before the end. Plus it’s ignited an interest in all that ‘UFO’ nonsense again, and I’ve spent the last couple of hours enjoying increasingly outlandish ‘alien’ sightings on the internet, so that’s helped to pass an afternoon when there’s probably real work I could be getting on with.

What’s been most interesting, though, is thinking about the fact that this episode could very easily be made live action these days. In 2009, this likely would have felt a bit large scale to pull off in 45 minutes live-action, but almost all the elements have since turned up in the programme proper. The ‘American outback’ setting (complete with diner), the standard alien based on ‘Greys’… even the giant insect creatures could be pulled off now in more-or-less the same way the robots were created for Dinosaurs on a Spaceship - it’s interesting to look back and see how far we’ve come in such a sort time.

But I can’t put it off any more. Finally, from tomorrow, we’ll be headed for The End of Time itself… 

1 March 2015

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start...

Day 790: The Waters of Mars

Dear diary

Oh, this felt more like it. After my disappointment in Planet of the Dead, I’d sort of drifted out of Doctor Who during the middle months of 2009. Oh, I never packed it in completely, but I rather avoided keeping all that up-to-date with the latest news and trailers. A lot of that had to do with avoiding spoilers for the upcoming Eleventh Doctor era, which began filming in the middle of the year (I failed spectacularly at this, as I’m sure I’ll discuss in a few days). It meant that I didn’t see a trailer for this one until a few days before the broadcast, and if I’m honest, I wasn’t really all that bothered by the prospect of incoming Who. By this point, I sort of just wanted the new Doctor to start already - knowing that Tennant would be leaving and Smith replacing him so far in advance, and without having many episodes to bridge the gap just made it feel like an incredibly long and drawn-out process!

When I did get to see a trailer for The Waters of Mars, though… oh, it looked interesting. It completely piqued my interest and got me excited for broadcast - everything a trailer was supposed to do. And then the episode aired, and I thought it was good. It was very good. I even recall being a bit annoyed with the friend I’d watched it with, because they fell asleep about three minutes int (it had been a long day), but all was forgiven when he caught up with the episode a few days later and text to say how much he’d enjoyed it.

The thing that really gets me - above and beyond the design, or the casting, writing, direction, which I’ll come to in a moment - is the idea at the heart of this one. We’re so used to there being moments in history that the Doctor can’t touch because they’re part of established events - we had one last season in The Fires of Pompeii, for example - but I don’t think we’ve ever had a story quite like this one, where we’re visiting the future, and the Doctor’s unable to do anything because it’s just as fixed as any of those things from our history that we know so well. Something about that idea really chimed with me, and I loved the way that they chose to demonstrate the situation, with the flashing up of news reports. It’s simple, but it’s very effective.

And on top of that, the Doctor goes and flaunts the rules anyway, by making changes to the events! Oh, that’s when The Waters of Mars kicks into gear. Oh sure, there’s lots to really enjoy before then, but once time itself stars fighting back against the Doctor and he simply rages his way through it… that really struck me, and it’s what made the episode for me. I mused a few weeks ago during Utopia that there’s something great about David Tennant’s darker side as the Doctor, and we get to see it properly unleashed here. After which, we get the perfect example of that ‘hubris before the fall’ that I was so keen on finding during Tom Baker’s tenure as the Doctor. The Doctor goes too far. He breaks all the rules. That’s not what does it, though. What makes it all the worse is that he then gloats about it. Look at me! Look how clever I am! And right then, when he’s king of the universe, and teetering dangerously on the brink of tipping over into total darkness… Ood in the snow. What an image. Came as a total surprise to me, and I love it. Such a great way to end it. 

I risk here simply pouring all the praise on those last ten-to-fifteen minutes of the episode because they’re the bits that really make it for me, but I can’t let today’s entry go by without at least touching on the rest of the story. I rather like the Flood - they’re the scariest monsters that the Russell T Davies era creates (take that, Weeping Angels), and probably about as far as you’d dare push it for the programme at that point. These days, with a slightly later time slot and seemingly a different intention at where the show is pitched, perhaps they’d go further, but I look at some of the scenes with these ‘Water Zombies’ (for want of a better phrase), and I’m genuinely surprised they made it through into the show as it was in 2009. And these are the toned down version!

What makes them all the more scarier has to be the direction of the episode. Those first two transformations we see, where the focus is on a character in the front while we don’t quite get to see what’s happening to the other person in the background is ten times more effective than simply showing it happening. We get a great impact when that does happen with the Doctor discovering a ‘conversion’ in progress, but that’s been shot in its own way, and the horror is simply ramped up by the confirmation of what we thought we saw on the two occasions before.

So, on the whole, I think The Waters of Mars is largely made by that last quarter, but there’s plenty of merit to be found in the rest of the story, too. One of the highlights of the Tenth Doctor era for sure - and the perfect way to gear up for the big finale ahead…

1 March 2015

Manufacturer: Big Finish Productions

Writer: Matt Fitton

RRP: £14.99 (CD) / £12.99 (Download)

Release Date: February 2014

Reviewed by: Nick Mellish for Doctor Who Online

“Still looking for a way out of E-Space, the TARDIS crashes to Isenfel - a realm of snow and ice. Snarling beasts stalk the frozen plains, a feisty princess leads the hunt, and a queen in an ice palace rules over her loyal subjects.

But this is no fairytale kingdom, and everyone in Isenfel knows the price of survival. While Nyssa and Tegan uncover deadly secrets hidden in the palace, Turlough flees for his life across the tundra.

And as for the Doctor... he only ever wants to change things for the better. But in a world such as Isenfel, such a hope may not even be possible.


Welcome to Isenfel.  Weather: cold.  Attitudes: frosty.  Population number: frozen.

The second play in this trilogic romp through E-Space, Equilibrium sees the TARDIS land (well, crash-land) in an ice-clad world of regal charm, barren landscapes, and technological disaster, where very quickly the TARDIS crew find themselves welcomed into the icy faux-mediaeval realm, and the Doctor is lusted after for his knowledge of science whereas Turlough is lusted over for his hair.  All is not as well as it would appear though, and the Balancer is soon on the scene, putting meaning behind the story’s title: Equilibrium is required, and the Doctor isn’t going to like that at all.

Matt Fitton, the script’s writer, does a great job in world building here, painting the scenery and atmosphere in but a few lines, and is aided by some lovely sound design and jovial music by Lauren Yason and Richard Fox.  Even the CD cover shows the TARDIS crew looking a bit blue, with Turlough looking like he’s just got for the last biscuit in the pack but found it empty.

I mention Turlough early on here as it’s him that shone brightest of all the regulars for me in this play.  A lot of attention is paid to Nyssa for how much more development her character has been given by Big Finish over the years, but Turlough has also been afforded plenty of dramatic and humorous moments, and Mark Strickson is a fantastic actor who often gets overlooked, in my opinion unfairly.

You have Adric, who gets attention for very different reasons; Nyssa, so beloved of Big Finish; Tegan, so loud and present; Peri, so fleeting and connected to The Caves of Androzani, that most loved tale; and even Kamelion gets attention through being so poorly used.  Poor Turlough often gets ignored, which is an insult to the character and Strickson, so it’s nice to see that addressed here.  He gets a decent slice of the action, a subplot with the equally interesting Inger.  You know how Big Finish often bring characters back with the line “Well, as soon as s/he was in the studio, we knew we wanted them back!” and a wink to the audience? This is one of those rare cases where it would be both completely welcome and potentially exciting.

Nyssa also gets treated very well, especially in Part Four where her relationship with the Doctor in her older guise is better observed than almost any time else since that particular storyline began.  If the show needed a mission statement, then Nyssa’s words of encouragement provide it.

Overall, Fitton’s script is very, very good.  It fits in perfectly with E-Space as Christopher H Bidmead executed it, and indeed it could quite easily fit into Season Eighteen with little difficulty, with its themes of science vs. regality, entropy, isolation and trying-to-escape, as well as the TARDIS being used as much for its technology as for its ability to take our heroes from A to B.

Where it really excels though is in the final episode (the diametric opposite of nigh-on every other Doctor Who story in existence, then) where the pace slows enough to let tragedy, character and atmosphere really shine.  By the time someone has described death as “an absence and a presence”, you know you’re listening to some of the most affecting drama Big Finish has put out in a while, and some of the deepest.  You care about this world, so neatly built in so short a span of time; you care about the characters, fleeting though they may be.  Fitton has pulled off something remarkable here, and the actors are all game.

Indeed, Equilibrium provides us with the best female guest cast Big Finish have had for absolutely ages, with Ella Kenion doing well in the role of Romy, but Annette Badland, and Joanna Kirkland in particular excelling as Queen Karlina and the aforementioned Inger, respectively.  The only criticism I can really pick (and in all honesty I try not to look for things to pick away at) is that Romy as a character is perhaps a bit more predictable than the others (the kitchen servant with a heart of gold and a family to protect!) and Kenion’s voice is at times rather similar to Janet Fielding’s, which makes one of the cliffhangers a tad tricky to decipher first time around.

It’s a minor thing though, and it’s certainly not enough to not warrant a full ten out of ten score for this play.  It builds in quality as it goes along, showing its cards quickly enough to milk the drama but not so quick as to run out of steam, and in its final throes gives us some of the best acting and dialogue the range has ever offered: Queen Karlina is someone you ache for, Inger is someone you want to see back by Turlough’s side, and the Doctor needs Nyssa in a way that makes complete sense, which only makes you think that the next play, The Entropy Plague, will break a heart (or maybe two hearts) come its conclusion.

With a cliffhanger ending leading into the final play of this trilogy, the appetite is truly whet and I’m certainly ready to see what becomes of E-Space this time around, but I would have gladly lingered longer still in Fitton’s beautiful prose and world.  A magnificent play.

1 March 2015

Manufacturer: Big Finish Productions

Writer: Scott Handcock & David Llewellyn

RRP: £14.99 (CD) / £12.99 (Download)

Release Date: February 2015

Reviewed by: Nick Mellish for Doctor Who Online

“Times change…

Romana is approaching her final term of office, and hopes to leave her world in a state of peace and harmony. Narvin is concerned about the implementation of a controversial Precog programme, one that seeks to predict the Time Lords’ future. Ace is an operative for the Celestial Intervention Agency, having learned the art of interference from one of the best…  

And somewhere, across the stars, an ancient force is stirring: one of the Time Lords’ greatest heroes is returning to our universe. But he may also prove to be their greatest threat.

When the history of Earth is threatened, and an ancient conspiracy reaches the heart of Time Lord government, can even Romana’s closest allies truly be trusted?

Time will tell… but by then, it may already be too late.”


Gallifrey.  Ah, Gallifrey.  Much like the planet itself, this is a series that stubbornly refuses to actually die despite us being told it has gone for good: it’s the Hex of the Doctor Who spin-off world.  Series 3 was the end, but then came all the others, years after, and that was definitely the end of it all, and then came this play, with a series announced to follow in 2016.  For a dead series, that’s quite some staying power.  I know of series alive and well that would kill for that longevity and dogged determination for survival.

Let’s not get ahead of ourselves though.  Let us instead look to Intervention Earth, this year’s entry for the series.  Set several years (lifetimes, even) after one of the many conclusions to Gallifrey, this four-part story takes place on Gallifrey itself and features the third incarnation of Romana, Ace and Narvin trying to thwart ne’er-do-wells from bringing Time Lord despot Omega back from the universe of anti-matter and into ‘our’ world.

For the most part, this serves as a really good reboot for the series, giving us a good flavour of the treachery, political bickering, Gallifrey mythology writ large, and action that the series large dealt in with spades.  True, the politics here are slim and largely centred around Narvin wanting more respect in his profession and, true, the treachery is more pantomime villainy than grand betrayal, but it’s a good flavour for aspects we know well.

We’ve had two performances prior to this from Juliet Landau as Romana III and she continues well here, giving us a blend of the haughtiness and confidence of Mary Tamm crossed with the acidic wit and blistering intelligence of Lalla Ward, with her own, reserved and timid but calculated cool.  I am certainly keen to see where she takes the character next, if afforded the opportunity to by Big Finish.

Sophie Aldred here is in her all-grown-up Ace-guise, an agent of the CIA and unsure as to when and how she arrived in that position.  Big Finish have rather flip-flopped around with Ace over the years, initially changing her fate from that which was always planned for her in Season 27 (and indeed changing much of what was planned for Season 27 at all when making that season year later, or at least what purported to be that season at any rate), and then showing us in UNIT: Dominion that, actually, she did end up on Gallifrey after all.  We’ve had whispers that all this is to come since, and now here we are, with Ace a fully-fledged CIA agent, the best of the best by all accounts.  As a glimpse of what’s to come, it’s interesting, I’m just fearful that the journey leading to it will take another six-or-so years whilst Ace’s direction is steered in various directions once again.

Of the guest cast, Stephen Thorne is marvellous as Omega, delivering his lines with a punch and authenticity, as if he only recorded The Three Doctors a couple of weeks ago, but he is sorely underused.  The same can be said of Gyles Brandreth, who puts in a great performance as Rexx and, for me at least, was the star of the show.

As for the script and play itself, it is clear that writers Scott Handcock and David Llewellyn are having fun with it all, but things fall apart in the final episode.  For a start, Omega’s great plan isn’t half as clever or unexpected as the writers seem to think it is, and having the cast repeatedly tell us how clever the plan is doesn’t endear me towards it any further.  Instead, it just makes the regulars look fairly silly, as traitors can be spotted a mile off, the twists likewise.  Where it really scores an own goal is at the very end, which will completely alienate anyone not familiar with the series’ past, thus totally blowing the notion of it being a jumping-on point for new listeners out of the water.  To put it mildly, it’s frustrating.  To be stronger on it, it’s an incredibly bad move.

Added to this is a sound mix which isn’t up to usual standards, with dialogue often sounding muffled and hidden, a fair distance away from Big Finish’s usual high standards.  The music was fine but not the best, going for bombast over any real mood enhancing, but worse than that is that it is overwhelming in the mix, rendering some lines very hard to pick out.

So, it’s not all glowing for Intervention Earth by any stretch.  The ending suggests more to come, though whether this will be what we see come 2016 and the new series of Gallifrey is a mystery at the time of writing this.  Perhaps like Ace’s fate we’ll be waiting a while longer.  I’ll certainly be listening, but hope that some of the flaws from this escapade are gone by the time the future unfolds.  Gallifrey falls no more: let’s just hope it lives up to the glory days of the past.

1 March 2015

Manufacturer: Big Finish Productions

Writer: Justin Richards

RRP: £10.99 (CD) / £8.99 (Download)

Release Date: February 2015

Reviewed by: Nick Mellish for Doctor Who Online

“Cut off from the TARDIS, the Doctor and Leela find themselves stranded on a small island.  But they are not alone.  It is 1907, and members of the Caversham Society have gathered on the hundredth anniversary of the death of Mannering Caversham, the greatest Magic Lanternist who ever lived.

But Caversham was also a supernaturalist who claimed to have conjured up a demon from the depths of hell. As people start to die, the Doctor begins to wonder if Caversham’s story might have more than a grain of truth in it. Can the Doctor and Leela discover what really happened to Caversham a century ago?  And if they do, will they live to tell the tale..?”


Audio can be a tricky medium to get right.  Often cited as a very visual medium despite the absence of picture, it conjures up images through sound and description alone, uninhibited by budget limitations and limited only by the mind.  That’s not to say that it comes without problems: lack of visuals means a more descriptive approach to storytelling at times, and that in turn can be problematic, leading to dialogue which sounds very unnatural (“Oh! Look! That green door is half-open with a broken handle! How strange!”)

Credit where credit is due, Big Finish is usually very good at avoiding this sort of thing.  Big Finish is also very brave with what it tries to do with its plays, and on paper, a play about lanterns casting shadows and the danger that entails seems an odd beast for audio, but Justin Richards has given it his best shot here all the same.

The first episode of The Darkness of Glass is easily the strongest, setting up an isolated group of illusionists and enthusiasts in a house with the Doctor and Leela whilst the rain falls down, the wind batters all, and there’s something wicked in the glass.  It loses points for explicitly drawing parallels with Fang Rock by having Leela nod to it in such a way you can almost hear her winking to the imaginary camera, but that’s a minor point in an otherwise near-flawless opening.  Richards has a gift for distinctive voices, which is never more apparent than it is here, and Nicholas Briggs’s direction helps milk the tension for all its worth.

Sadly, it undoes a lot of this in Part Two, or more specifically, with the finale.  I mentioned at the start that audio can sometimes fall into the trap of being unnaturally over-descriptive, and to some extent it can probably never escape that, but here it felt so much so that I found myself increasingly disappointed that the resolution wasn’t so reliant upon people telling us exactly what is going on with various props, though I appreciate also that doing that in sound alone would have been impossible.

Maybe, though, that suggests that it wasn’t the best story, or ending at least, to be committed to sound.  I don’t know for sure as the first episode is so very strong, but it took this listener out of the moment at least, which was a shame.

There is a lot to celebrate still though.  The setting, though familiar, is fun and executed well, and the cast is universally good.  (The extras for this release show Baker and Briggs to be especially playful and happy throughout proceedings, and that certainly seeps through into the finished product.)

A special mention should definitely go to Jamie Robertson, whose soundtrack is brilliantly evocative of the original Fourth Doctor/Leela era and perfectly suited to the script, too.  One thing which Big Finish really excel at with these plays is music that fits like a glove, so often done that it is overlooked a lot of the time, so I hope flagging it up here goes some way to rectify this on my part.

Another thing I want to highlight here is how much better the two-part format is fitting the Fourth Doctor this year.  Pacing, story and plot this series all fit well in a way they never have done before now, as if someone at Big Finish has sat down and worked out how to really make this Doctor fit in with the format they’ve given him, rather than giving him a format and trying to make it fit as has been the feeling previously.  It marks a big leap forward in quality for the series and is the first time I have been genuinely excited to hear what happens next month on month.  

Though not perfect, The Darkness of Glass is a fun and interesting play nonetheless and I am certainly of the mindset now, perhaps for the very first time, that the Fourth Doctor Adventures not only can carry on as strong as this, but hopefully will carry on as strong as this.

It may have taken a while, but the Fourth Doctor finally feels at home at Big Finish, and that’s something worth celebrating. 

28 February 2015

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start...

Day 789: The Wedding of Sarah Jane Smith

Dear diary,

I’m sure I must have mentioned it at some point before now, but I really enjoyed The Sarah Jane Adventures. For a long time, I would say that the average quality across the show had a better ‘hit-rate’ than Doctor Who did - there’s no episodes of this show that I think would rate below about a 5. For a long time, I seriously considered the idea of watching all of The Sarah Jane Adventures in tandem with modern Doctor Who, slipping it into the gaps between seasons as it was originally broadcast, and watching how everything ties up (for example, there’s a story just a few episodes before the one I’ve done today which serves as a follow up to Dreamland, which I’ll be watching in a few day’s time), but then I’d feel like I’d have to include Torchwood in the marathon, too, and it all just gets a bit messy. As such, I decided to limit myself to just doing the two stories in which the Doctor himself makes an appearance in Sarah Jane’s world.

What’s impressive is that despite the sheer presence of David Tennant, he never manages to overpower or steal the show. This is very much an episode of The Sarah Jane Adventures which the Doctor happens to appear in, rather than a Doctor Who episode that’s been misplaced over to its spin off show. And yet, there’s still something that feels so right about having the Doctor pop up in this corner of his fictional universe - especially in the year where Doctor Who was so massively absent from TV screens. When the programme tried it again a year later, bringing the Eleventh Doctor into Sarah Jane’s world (and with Jo Grant, to boot), it just didn’t have the same impact that we have here, and that’s a pity. I’m sure I’ll look into that more in a few weeks, as I’ll be including Death of the Doctor after Series Five of the ‘parent’ show.

One of the things that this story does especially well is in pairing the Doctor largely with the young cast of the programme - Luke, Clyde, and Rani. It’s always a thrill to see the Doctor and Sarah Jane reunited, but there’s something extra special about seeing these new characters become a part of his world. Oh, sure, he got to speak to Luke on a screen during the last season finale, but there’s something jus that little bit extra special about seeing him trapped with the three of them in a single second of time. It also means that something different is being done with the idea of the Doctor and Sarah meeting up again, and it avoids simply becoming a rehash of their other recent reunions.

That doesn’t mean that Sarah Jane is left out of the story, though, and watching this episode back now I’m really floored by Elisabeth Sladen. When she pops up in Doctor Who during this period, she absolutely shines, but she’s really just one of many. Especially by the time we reach The Stolen Earth, she’s fighting for presence against so many other characters. This programme, though, is absolutely justified by the performance she gives here. Oh, there’s something beautiful about watching her and Peter fall in love. I remember complaining at the time that we should have seen those dates (or at least the secrecy aspect to them) played out more in the four episodes preceding these two, but watching it again now I’m happy to say that I was wrong on that. It’s written - and performed - so neatly that I completely buy the pair falling for each other. A large amount of the credit for that has to go to Sladen, because she sells it all so well, even when watching Sarah Jane fall in love isn’s perhaps something we’re used to seeing.

It doesn’t hurt, of course, that they only go and get Nigel Havers in to play her hubby-to-be! Doctor Who has never been afraid of going for big names in the casting - especially at this point in its history - but I love the fact that the entire Who franchise had such stature by 2009 that you could get actors of this calibre to appear in a couple of episodes for CBBC! I’ve not really said an awful lot about these two episodes in particular - rather spent my time simply praising The Sarah Jane Adventures as a show - but I’m not sorry about that, because I’m just glad to have an opportunity to rave about it. If you’ve not indulged in this part of the Who universe before, please give it a go - some of the strongest material ever is tucked away across these five seasons…

27 February 2015

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start...

Day 788: Planet of the Dead

Dear diary,

The ‘gap year’ of Doctor Who in 2009 felt like the worst thing in the world at the time, didn’t it? We’d become so accustomed to having a full thirteen-week run from around Easter that the thought of only having a few episodes scattered across the year (and, really, months apart, with only this episode at Easter and then nothing more until November!) was devastating. It did mean, however, that when the weekend of this episode approached it felt all that more special. It wasn’t just the start of a new run of Who, it was the only island of Who, and it needed to be savoured. It made it, as the name suggested, a special episode.

Which then made it all the more disappointing when the end credits rolled and I sort of went away thinking ‘eh’. I don’t think I’d thought it was bad, just that it hadn’t been great either, and when there’s not another episode along seven days later which might be more to your tastes, that makes it stick out even more as being a bit of a let down. I’d planned to give it another watch, once all the anticipation had died down and we were back into the longest drought of Who for several years, but I just never really found the enthusiasm for it. Over the years, this has sat in my head as just a bit of a ‘nothing’ episode - not great, but not awful either.

Today, though, I have to admit that it hasn’t captured me at all. There was a period (from about the time Christina jumped into the… um… I don’t know, ‘hole in the spaceship’ to the bus flying back through the wormhole where I completely tuned out. I was looking at the episode, and although I picked up on a few bits, it wasn’t really going in. I was going to skip back and re-watch those minutes over again, but just as with last time, I couldn’t really summon up the enthusiasm.

I’m not even entirely sure why that’s a problem here, because there’s plenty to keep you both engaged and entertained. There’s UNIT, for a start. Gorgeous locations in the desert (more on which in a moment). Plenty of threat. Some rather nice aliens in the form of the stingrays, and a nice idea behind what those creatures are and how they operate… and yet. something falls completely flat for me, and while all the right pieces are on the table, they’re just not moving in the right direction for me.

I’ll get onto the things I liked about this one in a moment, because contrary to the way I sound above I didn’t hate the episode, and there are some rather good bits, but first I’ll have to single out something which really let the episode down for me - and it’s Michelle Ryan. Something about her performance just comes across as wrong to my mind, almost like she’s focussing so hard on maintaining the right voice for the character that she’s forgetting to do more than blandly deliver some of the lines. I try to not criticise people’s acting skills if I can avoid it (and she’s a million miles away from the worst performance in Doctor Who which is still to come in a few week’s time), but she felt so out of place with the rest of the cast here that I simply couldn’t avoid it.

In contrast, you’ve got Lee Evans’ turn as UNIT’s Scientific Advisor Malcolm. I have to admit that I’ve never really been a fan of Evans’ comedy shows (I think it’s that old thing of so many people telling me how funny he is means that I simply can’t see it), so I wasn’t particularly thrilled when he was announced as one of the guest characters for the episode, but I can’t help but absolutely love him. The performance, the character… oh, everything. I’d love to see him pop up again at some point - I think he’d play nicely off Peter Capaldi’s Doctor, who would probably serve as a great counterbalance to Malcolm’s enthusiasm.

And then there’s the Dubai filming in the desert! It does look good, doesn’t it? There was a moment, when the camera pulled back from the doors of the bus to show the landscape of this world when I half pondered how beautiful it looked, and half wondered if it could have simply been done in the UK with some lovely matte painting (I've already praised the way the production team do those recently, and I think I’m right in saying that this shot has been beefed up with one?), but then later on when you get to watch the Doctor and Christina exploring the sand dunes, you really get a sense of why the programme went so far for these vistas, because they are gorgeous. 

27 February 2015

We Are Colony has released Emily, the provocative short film debut of renowned producer Caroline Harvey, starring Oscar-nominee Felicity Jones (The Theory Of Everything) and Emmy-winner, BAFTA-nominee Christopher Eccleston (Thor: The Dark WorldDoctor Who).

Harvey was formerly Head of Development at Mirage Entertainment, the company run by the late Anthony Minghella and Sydney Pollack, where she produced the acclaimed short film Love Me More, directed by Sam Taylor-Johnson. The two remained close after Love You More, with Taylor-Johnson donating some of her Palme D'Or prize money to fund Harvey's directorial debut, Emily


Director, Caroline Harvey says:

"Emily comes from a place of frustration: about the form of short film, the fashion for them to be silent, to be genre driven, to be bleak, to have an obvious twist in the tail. It also comes from an irritation with the way in which women are portrayed on screen. Female characters are usually rigorously pinned to a narrative by a mass of explanation and consequence: ‘she’s that way because of this and now she’ll suffer…’ - a falsehood"


"The film is about gender roles, desire, control, frustration, the lust inherent in sorrow, the lies we tell ourselves and each other, the peculiarities of being English", she continues. "I wanted to write about a sexual encounter in which no-one is attacked, hurt, contracts a disease, gets pregnant, arrested or dies. Rather, the opposite: certain encounters allow us to learn about ourselves, our limitations, what we want and need. That these experiences are as capable of healing as they are of damaging us."


Felicity Jones plays a young woman who meets a man in a coffee bar (Christopher Eccleston). The two are soon chatting about snogging, smoked salmon blinis and sexual stirrings involving fingers in ears. "I wanted to do something unexpected," Jones has said.  She also produced the film, alongside Jack Sidey and Nicholas Hatton. The film premiered at the Palm Springs International Film Festival and was nominated for Best British Short Film at Raindance Film Festival.


We Are Colony is a new global video-on-demand platform connecting passionate fans with great films, and their favorite filmmakers and talent.  We Are Colony releases exclusive special edition bundles of deleted scenes, cast interviews, making-of documentaries, production stills, scripts, storyboards, teasers and so much more. Get behind-the-scenes now at www.wearecolony.com

+ Check out the special features for 'Emily' on the We Are Colony website.

[Source: We Are Colony]

26 February 2015

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start...

Day 787: The Next Doctor

Dear diary,

The speculation this caused at the time! David Tennant announced as departing the programme, followed by a story entitled The Next Doctor, and with David Morrissey - a potential Doctor candidate - cast in the part! I’m not sure if I ever thought that he could be Tennant’s replacement or not… I don’t think so, though.

The mystery of who this mysterious other Doctor is has to be the very heart of this episode for me. That first half of the story, in which the Doctor slowly pieces things together while we’re given glimpses into the strange versions of familiar objects that this Doctor uses (the hot-air balloon TARDIS is great, but I really love the joke about his screwdriver being sonic), culminating in a beautiful moment when we discover the truth about him, and why he’s been acting as a Time Lord from Gallifrey. If I’m honest, I quite liked all of that. Couldn’t put my finger on why I remembered this episode being so poor, because there were several really rather nice moments to enjoy.

But then, once the ‘reveal’ is out of the way it all got really boring. I love the Cybermen, they’ve always been my favourite Doctor Who monsters, and yet I just couldn’t find the effort to care about them here. They stomp around and talk about the construction of the Cyber-King… and even when that arrives on screen - a great big Cyberman-type robot powered by coal and steam and stomping its way across London… I was still bored. By the time we get the reveal that Jackson Lake lost not only his wife the night the Cybermen attacked, but his son too, I simply didn’t care one jolt. It didn’t help that his son is left standing like an idiot while all the other children are hurried from the building. It simply felt like an excuse to have the Doctor do a big stunt at that point of the episode, to keep the action going a bit.

Somewhere along the way, this story feels like it was split in two, with the emotional, human story of Jackson Lake, and the mystery of ‘The Doctor’ being consigned to the first half (along with the one bit of Cybermen action that I can claim to have enjoyed in this one; the attack on the graveyard), while the second half was made up of a rather rubbish Cyberman story. I’d say this is the absolute definition of ‘average’ Doctor Who.

A description I fear is going to be applied to a few stories coming up this week. From this point on, there’s only two stories (The Eleventh Hour and The Day of the Doctor) which I’ve seen more than once, and on both occasions that re-watch came within a few days of the original broadcast. I can remember thinking that Planet of the Dead was rather weak, The Waters of Mars was rather brilliant, and The End of Time was rather lacking as the end to such a fine Doctor. As for my thoughts on things after that… well, we’ll get there soon enough.

So, a brief note on how I’m going to be tackling the ‘Specials’ over the next week or so. I’ll be moving - as is traditional - onto Planet of the Dead tomorrow, dipping out the day afterwards to visit Ealing for The Wedding of Sarah Jane Smith (I’ll be cheating a little and doing both episodes on the same day, since the Doctor only really shows up in the second half), then The Waters of Mars, a quick trip to the US for Dreamland (which I’m particularly looking forward to, as it’s the last bit of Tennant-Who I’ve never seen), and then finishing off with two days of The End of Time. It’s almost the end, but the moment is being prepared for!

25 February 2015

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start...

Day 786: Journey’s End

Dear diary,

At the start of this year, during my discussions about the Daleks for Dalek, and the Bad Wolf two-parter, I made several references to the fact that the Daleks in ‘new’ Who were never again as ruthless as they are in those stories. Frankly, I was wrong! I was a bit surprised when they turned up again for Doomsday and got to do their fair share of being rather scary and powerful, but here they’re well away! Certainly, they’ve lost a few of the ‘special features’ they had in Series One (the likes of a revolving mid-section, and the whole ‘being able to stop bullets’ thing - which I almost thought they’d brought back today before it turned out to be the result of a time-lock built around the Hub.

But the Daleks here are cold. They shoot Jack without a second thought (and while we know that he’ll be springing back up again in a few minutes, we get to experience the shock of the moment through Rose, who doesn’t know that she’s made that man immortal), and then you’ve got the way that the Supreme Dalek taunts the Doctor while Donna is left to burn in the heart of their Crucible. If I’m honest, the Daleks don’t really do a whole lot else in this one - they mull around and look menacing while really acting as pets to Davros - but those few moments really make them worthwhile, and I’m pleased to see how wrong I was about them losing their touch after that first year.

Not that I’m complaining about Davros, though! Oh, certainly, he means that the Daleks don’t really get an awful lot to do here because he’s the focal point for much of the episodes’ villainy, but let’s be honest, Julian Bleech is simply perfect in the part, isn’t he? My God he’s good. There’s something so wonderful about the way he slips from being the calm, collected, in control version of the character to the crazed, half-mad, ready-to-end-the-universe version. I think, on reflection, Bleech is my favourite of all the Davros incarnations (Davroses? Davrii?). And if the Daleks’ presence is justified by the few moments in which they’re ruthless and hurtful, then Davros’ presence is brought into the light by the moment he sees Sarah Jane after so long. ‘You were there on Skaro,’ he muses, and suddenly it’s never felt more right that Sarah should have stumbled back into the Doctor’s life. Oh, there’s something just magical about the fact that after all these years, Sarah Jane (and Elisabeth Sladen) is back in the Doctor’s life again, fighting the good fight alongside her best friend.

I can’t discuss Journey’s End without bringing up the… um… well, the ‘journey’s end’. In The Writer’s Tale, Russell T Davies wonders about the departure he’s given Donna here, and wether children will be able to connect with it in the same way they can the other companion departures. Rose gets sealed off in another universe and can’t get back. Fine. Martha chooses to stay behind and care for her family. Also fine. Donna has her world taken away from her, and simply forgets. It’s perhaps not quite as relatable as the other two departures, but it is wonderful.

And I think that it’s the right ending for Donna - it was this or death for her, I think, because not a lot else would have stopped this woman from standing at the Doctor’s side. The sense of loss through the whole situation is easy to feel, if not from Donna, then from the characters all around her. The Doctor is heartbroken, and Wilf, who I’ve said has made me want to cry every time he pops up on screen, is absolutely broken. It’s terrible, and beautiful, and such a moving way for Donna to go.

There’s one thing that’s always bothered me about it, though, and watching through the series again this last couple of weeks has really flared it up as a bugbear in my mind. Once Donna has ‘activated’, the Doctor comments;


The Doctor Donna. Just like the Ood said, remember? They saw it coming. The Doctor Donna. 

But surely, in Planet of the Ood, the Ood call the pair ‘DoctorDonna’ because that’s how the Doctor introduced themselves? Frantically, then they thought they were going to be attacked, repeated over and over again;


Doctor, Donna, friends. 

I always took it to be that the Ood went on to call them ‘Doctor Donna’ because that’s the name they’d been given. Yeah, yeah, I know that you could argue that the Ood were seeing more than that, and that they were seeing the Metacrisis, but it’s always sat ill with me…

We also need to make another stop today on my journey of ‘foreshadowing the regeneration’, because a lot of the dialogue here would go on to have greater significance once The End of Time came along. The Doctor muses that the timelines were all drawing together - getting Donna, then her granddad, then meeting Donna again… - because they were closing in on the moment that Donna and the Doctor became one. But actually, you can take Caan’s comment that ‘one will still die’ to mean not Donna in the sense of losing her memories, but to mean The Doctor, because we know now that the Doctor meeting Donna wasn’t simply fate - he claims that Wilf was ‘always’ going to be the way he dies. I’m really enjoying uncovering these extra little things buried in scripts where they were almost certainly never meant to be signposts of what was to come, but work beautifully as such in retrospect…

25 February 2015

Check out the fantastic range of jewellery and gifts from our friends over at Nerdtastic.

They have a truly fantastic selection of geeky charm bracelets and necklaces, and even have some Doctor Who themed pieces for you to check out!

Other fandoms include Harry Potter, The Flash, Xena, Supernatural & The Avengers!

Most items in the store are made-to-order and can take 5-7 business days before shipping (unless otherwise noted). 

[Source: Nerdtastic]

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