Yesterday, we were shocked and saddened to hear the news that Big Finish Production Assistant and Producer, Paul Spragg had died.

Paul had worked at Big Finish for over 5 years, and as well as his behind-the-scenes work, Paul provided customers and website owners and bloggers with the most fantastic service and upbeat attitude to his work which he clearly loved.

Big Finish posted a news item on their site, stating:

"Paul had worked with us for over five years and had become an essential member of the team. We will remember him for his tireless diligence, his total dedication to his job, his cheery nature, his hilarious sense of humour and his kindness and friendship.

He had relatively recently become editor of Vortex magazine (a promotion he was given 'live' on a podcast).

His work behind the scenes on contracts, script distribution, proof-reading, cover layout, studio management, CD Extra interviews, the website and so much more made him vital to the company's operations." 

Doctor Who Magazine Editor and friend of Paul since he was 11, Tom Spilsbury, posted a poignant and heartfelt tribute on his blog, here. 

On a personal level, Paul was the guy who provided DWO with all our Big Finish covers for our site reviews and merchandise guide. From the many emails we have bounced back and forth over the years, he had a great sense of humour and was one of the fastest email repliers out there!

Paul's partner, Natalie Hayden, issued a statement on Facebook, yesterday.

"To all of you that I didn't manage to text yesterday (I couldn't get round to everyone): there is sad news that Paul died yesterday suddenly. He'd been unwell for a few weeks, and was due to go to the GPs yesterday. But he was too breathless to be able to make it in to the surgery, so they phoned him instead. They arranged for a non-emergency ambulance to come and take him to hospital so he could be monitored. When they arrived, he was talking to them normally, and then had a seizure. He came out of that one, then had another seizure, during which his heart stopped and he stopped breathing. The ambulance crew tried to resuscitate him for two hours at home, and then took him to hospital where they tried for a further half an hour, but couldn't bring him round."

DWO would like to pass on our condolences to the Paul's friends and family, as well as the Big Finish family.

[Source: Big Finish]

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

Day 494: Underworld, Episode Four

Dear diary,

Confession time: I’ve never actually sat through an entire Star Wars movie. I know, I know, that’s something tantamount to blasphemy within the sci-fi world… but I’ve never really thought of myself as a science fiction fan. I love Doctor Who, in all its many varied forms. I’ll happily sit and watch other bits of sci-fi, or fantasy, but I’ve never been one for really delving into them. I’ve simply never had all that much of an interest. The only time that this wasn’t quite true was during 2005, when people were gearing up for the release of the final Star Wars. I can’t remember where I saw it, but there was a short feature about the way in which the film had been largely shot against green-screen, and speculating that this was the way all films would be made in the future - who needed to spend time building the scenery when you can simply add it in later, making changes as you go. The thought of that absolutely captivated me (although these days, I’m not so fond of the idea), and I love that there’s a clear ancestor to that kind of production here in Underworld.

It’s fitting, in a way, because this serial was in production when the first of the Star Wars films reached the UK. I’ve spent some time tonight catching up with the special features on the DVD of this story, and Anthony Read confirms that he went - along with Graham Williams and Tom Baker - to see a preview screening of this soon-to-be-seminal film. There’s some discussion on the effect the film had towards the models’ budget for this serial (and I still think that the spaceship shots are one of the very best bits of the entire story), and I think it’s also telling with the way that the series is moving in this latter-half of the Baker years. It’s becoming more ‘spacey’: we’re going to be spending a lot more time away from Earth in the next few seasons (and I think I’m right in saying that this incarnation of the Doctor won’t be venturing into Earth’s history again for the rest of his tenure), and we’ve even got a cute robot sidekick along for the ride.

While I’m briefly touching on the subject, I do have to praise the special features on this DVD. The Doctor Who range as a whole has been ridiculously well-served over the last 15 years or so, and I think it’s fair to say that no other series - archive or not - has been given the love, care, and attention that this one has. By the standards of some discs in the range, this release is positively stripped-down, but what we do get is fascinating. There’s a thirty minute documentary about the production of the serial, looking at the parallels with the tale of Jason and the Argonauts before moving on to the actual in-studio problems, and then there’s an additional 20 minutes or so of narrated footage from the various studio days. It gives a brilliant insight into the way this programme was put together, and really highlights how hard everyone worked to even get the story to screen in the first place.

So how’s it fared on the whole? This was ranked in Doctor Who Online’s story poll last year as being the worst story of the 1970s - and by quite some margin. Well… I’m pleased to say that I’ve not actually found that to be the case for me. I’ve been updating my friend Nick on this fact as I’ve moved along and, bless him, he’s tried to understand. I think the biggest problem for me is that the story has simply fallen a bit flat. I’ve already spoken at length about the face that the plot isn’t really anything new or interesting, but the expectation of the story being terrible has had a negative effect on it. I’ve not found it to be as bad as everyone says, but it’s hardy one of the best either. It’s sort of stuck in a purgatory, and its average score of exactly 6/10 across the four episodes puts it just about right. Slightly above average in places, but not breaking out that much.

Indeed, from the 1970s, I’ve rated four stories lower than this one (The Sontaran Experiment, Revenge of the Cybermen, The Android Invasion, and Image of the Fendahl) and several others have come in with the same average score - including that supposed classic The Deadly Assassin! That’ll probably duffel a few feathers!

I’m glad that I’ve enjoyed the story more than people usually do, and there’s something nice about knowing that I’ve liked it more than several stories that I’ve already been through. It leaves me with a sense that there’s always things to enjoy within Doctor Who - even when they’re supposed to have very few redeeming features at all…

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

Day 493: Underworld, Episode Three

Dear diary,

Whenever I buy a new issue of Doctor Who Magazine, I have a strict way of reading it. An order that I always take. Well, I say ‘strict’. Effectively, I turn to the ‘Production Notes’ section, read that first, and then read the rest of the issue in any old random order that I want. It’s been this way for as long as I can remember, and I can tell you why that is: I love the way Russell T Davies writes his column. And Steven Moffat after him. It’s not about grabbing little bits of production information for me, it’s about enjoying two story-tellers tell a story. There’s been so many of the columns now (well over 100), and they don’t all stick in my mind. There’s one or two, though, that for some reason I always remember.

There’s one, for example, from early 2008, which is very pertinent to the watching of this story here and now. In it, Russell finds a VHS copy of Underworld in the back of a cupboard, in the middle of the night, and decides to pop it in for a watch. He admits that he’s seen it twice before, and didn’t care for it on either occasion. But then, as Cardiff Bay wake up around him (much as it has done for me this morning - I’ve got a busy day ahead so I’m watching this episode at an ungodly hour), he finds himself changing his mind…

“We’re way past Part One now! The script has moments of elegance: ‘The Tree at the End of the World is guarded by Invisible Dragons.’ There’s a Blackpool joke. There’s a pacifier ray, which makes Leela smile like a baby! There’s a villainous, arch supercomputer which actually sounds both villainous and arch in the right quantities. Better still, the villainous, arch supercomputer then realises, a second before death, how very wrong she has been. It’s actually rather moving. And, d’you know what? Sometimes, just sometimes, you can see these CSO shots as they were meant to be. The odd fleeting image has some depth, and shadow, and promise. The potential of Underworld is still there, buried under the tape”

He goes on to wonder about the design of the decedents in the story, too, deciding that if you mentally block out the ‘nose’ from the gold helmet design, then they’re actually not bad creatures. There’s definitely something alien and different about them. Mostly, I’m just surprised to find that the design of the helmet (or… mask? head?) only surfaces at this point of the story - almost three-quarters of the way through! You’d think they’d want to get their money’s worth out of the costumes, but they’ve hidden them under a black hood for the majority of the tale!

Russell picks out a number of things to enjoy about this story, and he’s right with all of them. The design isn’t all that bad, and the nose does somewhat throw it off. All that talk about invisible dragons is lovely (and leads to the Doctor being more ‘Doctory’ than I’ve seen in a while, when he sets off to find them), and whereas Russell says that some of the CSO shots work, sometimes, I’m willing to say that for me, they mostly work! Maybe I’m metally blocking out the worst offenders (the ‘falling’ sequence, for example, but then that would have been of a similar quality wether they had regular sets to hand or not), but I’m not having any problems with them.

My main issue with this one is still that it’s ‘generic science fiction’. It’s a story which feels familiar because we had a variation on it only a season ago (Doctor and friends head into a mythical temple which turns out to be a lost space vessel with a faulty computer), and no one is really giving it anything more than a basic performance. The guest cast are plodding through the script, Tom is over-doing things in an attempt to make up for other failings, and Leela has a sudden lust for revolution following her recent trip to Pluto. I still maintain that there’s a lot to be enjoyed in ‘Underworld’, and it’s still far from being deserving of the ridiculously low score it’s often saddled with… but it’s certainly one of the weaker stories, there’s no denying it. 

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

492: Underworld, Episode Two

Dear diary,

I know how this works. You lot. You’ll laugh, you’ll point. You’ll hunt me down with knives and pitchforks. You’ll revoke my Who card and make me surrender my DVD collection. But you know what? I’m going to say it anyway: Underworld isn’t that bad. And on top of that… the CSO actually kind of works.

Oh, believe me, I’m as stunned as you are. I was really dreading making it out of the ship today and into the the green-screen tunnels. It just seemed like such a bad idea. There’s several places where - no - it really doesn’t work: moments when characters are able to walk in front of things that they shouldn’t be able to, or when the smoke starts to fill the cavern at the end of the episode (although points for trying…), but equally there’s a lot of places where it looked good enough to me.

It’s worth bearing in mind that I’m saying this after a single episode of CSO shenanigans. By the time I’ve finished the next two episodes, I’ll probably have grown somewhat sick of it. I think the biggest shame is that while this world well enough to tell the story, it can’t ever compete with being out in real caves on location somewhere. It just lacks the kind of depth that you get when they film in locations like those used for The Mutants. This seems even more of a pressing shame coming right after The Sun Makers: a story in which to corridors and tunnels looked especially nice for being proper locations.

The other thing that seems to be happening - and especially in Tom Baker’s case - is that people are compensating for the fact it’s being shot so much on CSO by over-acting. When the Doctor and Leela first step out into the cave system, we get a few shots of him as things are explained. It’s all pretty standard stuff for a Doctor Who episode, and it’s the kind of thing that Baker could usually rattle off in his sleep.

He’s really going for it, though, and delivering a version of the Doctor that I’ve not seen him give before. He’s more ‘boggly’ than ever before. In some ways, it reminds me of that bit in the Whose Doctor Who documentary, where he describes Jon Pertwee as being like a big lightbulb. Playing up for the cameras. It’s not needed in this instance, though, and it sticks out more than any of the CSO backgrounds are.

The other issue I’m having is that… I don’t really care. Yesterday’s episode gave us a lot of sci-fi nonsense with dying civilisations, and pacifier rays, and rede banks, but as soon as we switch today to some men in hoods banging on about sacrifice, I just really thought very clearly ‘I don’t care’. It doesn’t feel rooted in reality: it’s just the kind of thing you could find in any old sci-fi. That’s not a fault particularly of Underworld (indeed, several Doctor Who episodes fall into the same trap), but it is a let down. I’m starting to wonder if the story’s poor reputation may actually be deserved - in the past I’ve only ever heard people say it’s rubbish because of the CSO effect… I’ve never actually heard anyone talk about the story…

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

Day 491: Underworld, Episode One

Things everyone knows about Underworld number one: due to crippling lack of budget, it was mostly shot in the studio against CSO backgrounds.

Things everyone knows about Underworld number two: the factory in Coronation Street was named after it because writers on the soap were huge fans of Doctor Who.

Things everyone knows about Underworld number three: it’s not very good. In fact, it’s terrible. When Doctor Who Online ran a poll last year to get readers to rank every Doctor Who story, it placed in position 234 (out of a total 239) with an average rating of 43.45%. It was the lowest-ranking story of the 1970s (by quite some margin - the next lowest was The Monster of Peladon, in position 217 with a score of 52.46 - almost 10% higher!). It’s hardly a glowing advertisement for this tale, is it?

Things Will didn’t know about Underworld: this first episode is brilliant. Like, genuinely, fantastic. That was a surprise!

As I’ve said above, Underworld has something of a reputation within Doctor Who. I remember when it came out on DVD (in a box set along with two other less-than-well-received stories), people weren’t exactly rushing to purchase it. It didn’t help that it was one of the first box set releases of that style, grouping various stories together with a tenuous linking theme, and had a rather high price tag attached. I wouldn’t say that I’ve been dreading getting to this point, but I’ve certainly not been relishing it. I’ve been through enough stories by now to know that when the bad ones come along, you just have to grit your teeth and bear them.

Imagine my surprise, then, when this episode started and I found myself completely captivated by it! We open with that love space vista, panning into a screen of blackness for the TARDIS to fly across. I was ready to say what a shame it was that the TARDIS couldn’t have been flying through that beautiful space shot… but then it’s part of the story that we’ve got a blank screen! And then a few minutes later, a beautiful model spaceship comes flying past us, too. I complained during The Sun Makers that the model of the city was far from being the best shot of the decade - but the various shots of this ship (both in flight and when it’s being turned into the core of a planet) are probably fairly good contenders. They look brilliant.

And then there’s that set! No wonder they ran out of money to build all the sets they’d need for later episodes (or to venture out onto location), because it’s all been sunk into creating this bridge! It’s massive which is always a good sign when they’re trying to impress you on this show, and it’s so nicely detailed. There’s a lovely shot when we first see the set, as the camera pulls forward to show us everything and it simply looks stunning. The one slight disappointment is that they seem to have forgotten to CSO in the images behind the view screens in a few shots (I assume, at least, that it’s the reason we get green windows from time to time).

If all that wasn’t good enough, you’ve got Tom Baker and Louise Jameson on fine form as ever. I love they was they joke and banter - the Doctor’s description of them being the first intelligent, and semi-intelligent, life to witness the spiral nebula is a real highlight and elicited a good laugh from me.

I worry that Underworld is already cursed, though. I’m fully expecting it to all go to pot once we start venturing outside the ship (I know most of the CSO sequences are set in caves, so I’m guessing that’s where we’re heading), which means that the story could fall into one of two categories. Either, the next three episodes will really work for me, be better than expected and earn an unexpected high score… or they’ll be so bad that they let down everything I’ve loved about this first episode. Frankly, I’m looking forward to finding out… 

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

Day 490: The Sun Makers, Episode Four

Dear diary,

People often mourn the loss of the ‘Pure Historical’ format from the programme’s style after about Season Four (one of two exemptions not withstanding), but I think it’s a style which lives on throughout several other tales. Take this story, for instance. Sure, it’s set in the far future of Pluto, and the ‘big bad’ turns out to be a kind of alien squiddy creature (although you never actually see him in anything other than human form), but really it’s a story about oppression and revolution. You could take much of what we see in these four episodes and only apply a few small changes to set it at any point in Earth’s history. You don’t see anything that looks alien, and aside from references to other planets, it really could be set anywhere.

I think I quite like that. Over time I’ve found myself enjoying the appearances of monsters in Doctor Who, but I rather like having these stories come along every so often which don’t really conform to the usual ‘man in a rubber suit’ style. It seems to be the direction in which the series is heading, too. During Season Thirteen (to pick a random, recent example) monsters were the flavour of the day. Be it Zygons, or Sutekh and his Mummies, the Kraals, the Anti-matter creature… monsters were undoubtably a focus of the series. But then compare that to Season Fifteen so far. In The Horror of Fang Rock, The Invisible Enemy and Image of the Fendahl, the monster doesn’t turn up until at least the end of that third Episode. Oh, its presence is felt throughout the story up to that point - we might even get the odd glimpse of it - but it isn’t remotely the focus of the tale. In this story, it never even arrives. It’s an interesting change of pace, and one which I think I’m rather enjoying.

Especially when it means that we get villains and creatures like the Collector in this story. I’ve held off mentioning him up to now, simply because I didn’t know what to say about him. At times, he’s reminded me of Sheldon Cooper from The Big Bang Theory (both in mannerisms and speech patterns), but mostly I think I’m just a bit… put off by him. I mean that in a good way - I find him a little bit revolting, and it’s almost difficult to watch his scenes without a sense of just being uncomfortable.

Henry Woolf gives a wonderful performance, and he’s quite unlike anything else we’ve seen in the programme before. You can see - during their confrontation in this episode - that Tom Baker raises his game in order to go toe-to-toe with the man. It feels like some time since a guest has had such an effect on our Time Lord, and that’s always a good thing to see happening. Indeed, I think the only thing I’ve found to be a let down about the Collector is that his motorised transport doesn’t quite work. As the head of ‘the Company’, I’d expect him to have the latest model of wheels… but even K9 can get around more efficiently!

On the whole, The Sun Makers has been a really pleasant surprise. I entered into the story really not knowing what to expect, and my opinion has shifted a little bit all over the place in the last few days. I’ve ended up thinking that it’s something of a success. Does everything work perfectly? Well, no. But then, that’s always the case with Doctor Who. That’s the case with life in general, probably! A nice surprise in the middle of the season, though. And tomorrow I move onto Underworld: another tale I know very little about… but I’m well aware that it’s not regarded at the best the series has ever produced…

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

Day 489: The Sun Makers, Episode Three

Dear diary,

I’m finding The Sun Makers to be a bit of an odd one, truth be told. Not in a bad way, simply in the sense that it seems to be getting a good deal better as it goes along. In my entry for Episode One, I complained that the direction wasn’t quite as interesting as I’d like it to be, and that you don’t get a real sense of the location when we’re out on the rooftops because there’s no model shots to help us along. Today, though, it’s like they’ve taken all that criticism on board!

The cliffhanger reprise has that lovely shot as the camera pans around the corner where Leela and her comrades are hiding, and you get to see the real length of the corridor behind her. I can’t say that I really picked up on just how nice this moment is, but I’m glad that I’ve noticed it today because the rest of that scene goes on to give us some really - really - nice shots. Use of selective focus when looking at K9 (there’s one moment when we get a real close up on his ‘nose’, and another where we watch his tail dip) and on Leela as she lies wounded on the floor feel almost filmic in nature, and they’re really rather great. It helps that they’re being shot on film, and that’s always a sure-fire winner with me.

We’ve then even got a shot of the city as a model! It’s hardly the best model that Doctor Who has ever given us (indeed, it’s far from the best model this decade), but it does help to give a scale to the world we’re inhabiting. There’s something oddly retro about it - that sense of ‘this is what the future will look like as decreed in the 1950s and 1960s - with all the skyscrapers and connecting beams, and I rather like that. I’m wondering now if there might have been a shot of this during that first episode that I simply missed, because it seems strange to build the model and then only show it at this late stage.

The only thing I am coming away from the episode feeling a little down-hearted at is some of the sets. Now that I seem to have ‘switched on’ to the direction being used here (it’s not as though they saw the work in the early episodes and then changed the way it was done, because it would have all been filmed in one big ‘block’, although I suppose they could have changed between locations), I’m really loving the use of the various locations. They give the underworld of the city a real industrial feel, and I completely believe that this world exists under those enormous tower blocks. I love the concrete tunnels as much as I love the sterile while corridors way overhead, and I love the sense of realism that it gives the story.

But then you enter sets like the control room above the steamer, or the correction centre. They’re all bloody peach! They don’t look like the kinds of technology that I expect to find in this world at all. I grew up on a farm, though it had long ceased operating as one by the time I was born. Right at the back of the main yard there’s an enormous barn. The roof has half caved in, and it’s reached a point now where the structure is so covered with Ivy that you can’t see a single inch of the brickwork below. Truth be told, it looks a bit like a Krynoid looming over the other outbuildings.

When I was young, I used to be fascinated by this place. It was a forbidden world of adventure and exploration. I wasn’t allowed in because of the roof being in such a precarious state (frankly, I’m surprised it’s still holding up now in places. I imagine that’s the work of the ivy), but I could peer through the cracks in the big, metal doors. It was full of old decommissioned farm machinery. Great big vats, three or four meters tall. Bits of equipment that had stood in this place for ten, twenty, even fifty years in some cases. By the time I was a teenager and old enough to decide that of course I was going in, I realised that if you worked your way around the back, there was a great big opening in the wall. Finally, I made it in there to look at all this stuff up close.

I know what you’re thinking - I’m supposed to be talking to you about The Sun Makers. But I am! Because all this equipment is exactly what I expect to find in this ‘control centre’. Rusting, and ancient. Crumbling away in places. You’ve got plenty of dials and readouts in this one, but they feel false. They’re too comically overrides and made out of numerous pastel colours. I want real dials. Little readouts behind panels of glass (cracked, of course), and little switches and levers to control all the operations. In short, I want this area to look as out-dated and industrial as the rest of the city does. It’s the only thing which is taking me right out of the story.

By contrast, the more I see it, the more I love the Gatherer’s office. It’s an odd kind of corridor that leads you in (something like a rib-cage, but it works!), and the whole thing feels like a set… but that’s just right for it. It’s supposed to feel different to the rest of the city. I also can’t help but like the hideout of the rebels deep down in the under city. It’s very stripped down and minimal, but those ‘pipes’ which lead up and out look fantastic, and I can really believe that they connect to the locations we’ve seen above. I don’t think that we’re going to be seeing many (if any) new locations in the final episode, but I’m hoping that if we do, they’ll be falling into the category of things I love rather than the things that feel like they’re letting me down.

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

Day 488: The Sunmakers, Episode Two

Dear diary,

I don’t know if I was simply having a bad day when watching Episode One of this story, but I’ve found this episode far more agreeable. Lots of the things that I was complaining about before either don’t seem to bother me so much now, or are simply better. The direction, for example, is much better here than it was during the first part, and there’s some lovely shots both down in the tunnels as the Doctor heads back to the under city, and when Leela and her new party of revolutionaries are making their way through the long, white tunnels upstairs.

Leela herself is yet another highlight. Anyone who follows The 50 Year Diary on a regular basis will be more than aware how much I’ve come to love the character over the last month or so, and she’s as brilliant here as she ever is. It’s another one of those instances where both the character and the actress really come together to create something… well… something perfect. Every choice Louise Jameson makes with her performance is fantastic - just watch here as she tells one of the rebels that they have have no pride, or courage, or manhood, and tell me that it isn’t one of the best performances a companion has ever given in Doctor Who.

Leela is simply brilliant in herself, though. She doesn’t even see the Doctor in this episode - they don’t once share the screen - but you never feel like she’s left running around as a spare part. She actively goes looking for her friend, and in the process starts to build up supporters for a revolution. I can only assume that this plot thread is going to keep building in the next half of the story, and we’ll have a rill-scale revolt on our hands by the end of Part Four.

Even K9 is acting as a great part of it, being sent to stun the gourd and giving Leela and Cordo a chance to proceed with their plans. By the time that the little robot pooch was removed from the programme during Season Eighteen, people often claim that he’d become too much of a useful tool, eliminating any really danger or tension in a lot of instances. I think I can see that already beginning here, but it’s still fresh and news, so I really enjoy it. We’ve never had a companion like Leela before - one who would be so willing to head off armed with a knife and a robot dog - and seeing them paired up like this is simply fun.

That said… oh my God K9 is loud! I don’t know if it’s a peculiar side effect of the types of tunnels they’re filming in this week, but I can’t say that I noticed his motors quite so obviously during The Invisible Enemy! It makes it sound really rather strange when he trundles up to the guard, and his mechanics are drowned out by the incidental music! The Doctor spent some time in the last story upgrading the dog’s systems - let’s hope he’s aiming to make him quieter! If I’m honest, I’m not entirely sure how K9 was able to sneak up on the guard like that! 

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

Day 487: The Sunmakers, Episode One

Dear diary,

Every so often I seem to tell you how this is ‘another one of those stories’ that I know very little about, and every time I’m convinced that it’s the last one I don’t know very much about. I genuinely do find myself surprised when another one comes up, especially on a day like today - when I’m expecting to pop in the DVD of Underworld only to remember that this tale exists before I reach that one! When it comes to The Sunmakers, I know it’s set on Pluto… I know that it’s a story about a population crippled under the weight of enormous taxation… I presume there’s something about people making suns in there? Basically - oh look! it’s ‘another one of those stories’.

It’s also one of those episodes that Emma has joined me for. She’s dipped in and out occasionally and seems to enjoy touching in on the Doctor’s adventures from time to time. In todays episode, she’s very taken with Leela, not keen on K9 by any stretch of the imagination, and somewhat indifferent to the rest of the story (although she likes the Gatherer’s hat).

For me… well… I’m not really sure yet. The Sunmakers is odd in that - I believe - there’s no monsters or anything like that in there. This isn’t a case of ‘mysterious deaths with a green slug arriving in the last third’, and as such I’m sort of left wondering when things are really going to get moving. Much of today’s episode is incredibly ‘talky’, and spent setting up the world into which we’ve found ourselves. It’s really the locations of the story which work the best for me - being so striking and different as to really make an impact. They’re cold, and grey, and utilitarian. They’re bleak, and large, and the kind of shapes (and sizes) you just don’t find in a BBC tv studio.

Sadly, they’re being shot in a particularly bland way. These settings call for the strange direction of George Spenton-Foster, or even the keen filmic eye of Douglas Camfield. That never-ending round corridor, with the concrete pattern built into the walls could look so dynamic and interesting, but it comes across as simply flat. Maybe that’s the point - this is supposed to be a crippled and cloudless society after all - but it feels like a real missed opportunity.

I’m also longing for the kind of model shots which were used to such good effect during The Robots of Death - cleverly masking in a shot with a model to give the scene some scale. When we watch the Doctor and Leela look out from the roof of a building ‘thousands’ of meters high, You want an impression of that size. Instead - again - it’s just flat. Even some shots slightly from below, looking up to them, would help to sell the idea that bit better for me.

Mostly, though, I think I’m interested to see how they use K9 in the plot. I rather liked him during The Invisible Enemy (and despite the Doctor’s assertion at the end of yesterday’s episode, I like that here he’s very much Leela’s pet again), but this is the first chance we’ve really got to see him being integral to a story away from his origins. I love that he’s setting out on his own to explore (even if he is followed by CCTV and leads thee ‘baddies’ to the Doctor), and I can’t wait to see where he goes from here… 

Ex-Doctor Who actor Matt Smith has been cast in the new Terminator movie trilogy, Paramount Pictures confirmed today.

Below is from today's official press release:

Paramount Pictures and Skydance Productions announced today that “Doctor Who” star Matt Smith will join the cast of the upcoming “TERMINATOR” reboot.

Smith will play a new character with a strong connection to John Connor, alongside Arnold Schwarzenegger, Jason Clarke, Emilia Clarke, Jai Courtney, J.K. Simmons, Dayo Okeniyi and Byung Hun Lee.

Alan Taylor is directing the film from a screenplay by Laeta Kalogridis and Patrick Lussier. David Ellison and Dana Goldberg of Skydance Productions are producing. Skydance’s Paul Schwake, Annapurna Pictures’ Megan Ellison, Kalogridis and Lussier are executive producing.

Smith is best known for playing The Doctor on the popular “Doctor Who” television series during the 2011-2103 seasons. His other television credits include “Christopher and His Kind,” “Moses Jones,” and “The Street.” He can be seen next on the big screen in “LOST RIVER,” directed by Ryan Gosling, alongside Christina Hendricks, Saoirse Ronan and Eva Mendes.

He is represented by United Talent Agency and Michael Duff at Troika.

The “TERMINATOR” franchise launched in 1984 with Schwarzenegger as the title character and spanned three subsequent films, which have earned more than $1 billion at the worldwide box office.

+  Terminator: Genesis will distribute worldwide on 1st July 2015.

[Source: Deadline]

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

Day 486: Image of the Fendahl, Episode Four

Dear diary,

Nope, I’m sorry to say that I still just don’t get it. I’m simply stumped by the entire concept of the Fendahl. I get that the Doctor says there needs to be a certain number of creatures plus the ‘core’ in order to form this mythical being (is Golden Thea the core?), but then if they’ve killed one, and another has killed itself… how is the creature going to form the full being? Take over the Doctor or a companion, I guess… but then didn’t Golden Thea turn into one of these Fendahleen at one point? And why are some tiny and some huge? Do they grow quickly? Or is it absorbing energy? And how come some are created by people turning into them, while the first one we saw was apparently formed from simply absorbing energy?

Oh, I’m sorry. I’m trying very hard to like this one, and there’s a lot in here that I do like, but it just… it’s lost me somewhere along the way, and didn’t manage to grab me back into it I’m afraid.

Still - let’s focus on the positives in this episode, and the story as a whole, yeah? For a start, I really love the design of the Fendahleen. Although you never lose sight of the fact that it’s a person in a monster costume (it’s that problem I’ve complained about a few times since the Giant Maggots saga - it needs to look slimier…), it’s far more effective than your average shuffling alien costume. It has a presence that really impacts on screen - and it helps that you rarely see the full creature in shot. You almost get the idea that it’s too large to fit entirely in the frame.

Again this is an example of where George Spenton-Foster’s direction far outstrips what I’m accustomed to in Doctor Who. There’s lots of very competent directors working on the programme at this point (more, I’d argue, than at any time before in the series’ history), but these four episodes have really stood out as something special. I’ve complained once or twice that his unique style has made it harder for me to ‘read’ what’s happening in the narrative… but maybe that’s more to do with the story itself, and the fact that it’s coincided with this suddenly very different style is purely chance.

Then you have that final scene in the TARDIS. It’s a bit of an odd one (and everyone back at the cottage must assume that the Doctor and Leela have perished in the fire at the house, since they don’t appear to drop in and say their goodbyes! Somewhere in the back of my mind, UNIT will arrive before long and will take down the Tyler’s report that ‘the Doctor’ and his assistant vanished when the house went up. That’ll keep the paperwork going for a while!), but it shows just how comfortable Tom and Louise are in the show at this point. I’ve heard it said several times over the years that Louise never really felt welcomed by Tom during her time on the show, and that they only really became friends in later years. If that’s the case, then they hide it incredibly well, because this relationship is at least as fond as the one he shared with Lis Sladen and Sarah Jane.

On the whole? An oddity. Something of a half-way house between the old style of the programme and the new style, and it just hasn’t worked for me. Certainly another one for me to add to the ‘must rematch’ list for when this marathon is over…