Manufacturer: Big Finish Productions

Written By: Gerry Davis (adapted by John Dorney)

RRP: £14.99 (CD) / £12.99 (Download)

Release Date: March 2021

Reviewed by: Robert Emlyn Slater for Doctor Who Online

"The Doctor, Sarah Jane Smith and Harry Sullivan return to Space Station Nerva in search of the TARDIS. Instead they find peril, disease, and… Cybermen!

These cybernetic monsters have devised a plan to eliminate the greatest threat to their existence. And if the Doctor and his human compatriots do not play their part in this scheme, they are to be destroyed." 

WARNING: The following review contains spoilers. You have been warned!

Written by Gerry Davis, co-creator of the metal monsters from Mondas, and adapted by John Dorney, Return of the Cybermen is the story that never was. Initially intended to be made as part of the show’s 12th season back in 1975, Davis’ script was heavily rewritten by then-script editor, Robert Holmes. The reworked adventure aired as Revenge of the Cybermen in the end, and Davis’ original story was lost in time — until now. 

Thanks to Big Finish, Return of the Cybermen finally gives us a chance to see how Davis’ version of the story could have turned out if it hadn’t been so heavily changed 47 years ago. Bringing back the ever-popular TARDIS crew of the Fourth Doctor, Harry Sullivan, and Sarah-Jane Smith, Return of the Cybermen gives us an interesting and exciting side-step into an alternate Doctor Who universe, where we get a glimpse at what could have been in April 1975.

In short, this audio drama is about the Doctor, Sarah-Jane, and Harry returning to Space Station Nerva in search of the TARDIS. However, a deadly plague has swept throughout the station, killing most of the crew. When Cybermats attack the TARDIS team, the Doctor must face down his old enemies, the Cybermen, and make sure that they don’t get what they want. To smash the space station into an inhabited asteroid that is rich in gold. 

Return of the Cybermen is also significant in the fact that it sees the debut of Sadie Miller as Sarah-Jane Smith and Christopher Naylor as Harry Sullivan. With Elisabeth Sladen and Ian Marter sadly no longer with us, it’s down to Naylor and Miller to make us believe that they are the characters that we know and love already. It’s safe to say that they absolutely succeed in doing that. 

Sadie Miller, Elisabeth Sladen’s real-life daughter, undoubtedly has a tough job here in being asked to recreate the character her mother bought to life so beautifully, but I’m very happy to say that she is more than up to the task. Nicholas Briggs says it best in the behind-the-scenes feature at the end of the play. Whilst Miller may not sound exactly like Elisabeth Sladen, there are definitely moments during the story where the vocal resemblance is almost uncanny. It does take some getting used to, but Sarah-Jane is definitely in there, and that’s all that really matters. 

It’s a shame, however, that for a significant portion of the story, Sarah-Jane is out of action due to falling victim to the Cybermen’s plague. It almost reduces her to a damsel in distress, which is something I would expect more from some of the stories from the 60s, rather than from the mid-70s. 

Christopher Naylor also does an excellent job of capturing the voice and spirit of Harry Sullivan in this piece, and his banter with Sadie Miller’s Sarah-Jane is a joy to listen to. 

And, of course, Tom Baker is, as he always is, on top form, bringing a lighter, perhaps even sillier version of his Doctor to proceedings here. Hearing this TARDIS team back together again after so long was a wonderful experience, and one that I hope happens again in the not-too-distant future. 

The story rattled along at a nice pace, and I never found my attention drifting or waning. The first half of the story is a game of hide-and-seek of sorts, with the Doctor and Harry searching for the Cybermen aboard the station, whilst the latter half of the play is a race against time as everyone tries to thwart the metal monster’s plans. 

A particular highlight for me was the scene in the oxygen tanks, which was claustrophobic, creepy, and had me on the edge of my seat. The Cybermen advancing on the Doctor and Harry in the enclosed space, and the rising panic as they tried to escape was brilliant. And the reveal of the Cyber Leader smashing through the wall and revealing his plan gave me chills. He was menacing and sounded unstoppable, and that’s all down to Nicholas Briggs’ fantastic performance. 

Listening to the behind-the-scenes feature after the play, it was obvious how much of a passion project this release actually was for Briggs, with him acting, script editing, and doing the sound design too. 

I was particularly impressed with the sound design (again, the oxygen tank scene being a highlight), and the music seemed to have been dragged straight from the 1970s. Briggs well and truly knocked it out of the park with this one. 

Return of the Cybermen is an enjoyable, interesting look at what could have been, with great performances from the whole cast, Tom Baker, Sadie Miller, and Christopher Naylor in particular. Briggs’ Cybermen were a menacing presence throughout, and Kellman (Nickolas Grace) was a great villain for the Doctor to come up against. 

I for one would love to see some more alternate takes on classic stories if they’re going to be anything like this one. I’m also hoping for more adventures with the Fourth Doctor, Miller’s Sarah-Jane, and Naylor’s Harry Sullivan in the near future. The sixth series of The Lost Stories is definitely off to a good start! 

+ Return Of The Cybermen is OUT NOW, priced £14.99 (CD) / £12.99 (Download).

+ ORDER this title on Amazon!

BBC Studios has announced that it will be introducing a range of standard packaging releases to its popular Doctor Who: The Collection series of box-sets. The first titles to join this standard packaging range will be Season 12 and Season 19, which are available to pre-order now.

Doctor Who: The Collection offers fans the opportunity to build their own home archive of classic content, and has proved hugely popular with collectors and fans of the TV series. The new standard packaging range is being introduced in response to this success, offering fans a second opportunity to fill gaps in their collection, and enjoy the classic era of Doctor Who.

New releases within the Collection range will be marketed as Doctor Who: The Collection Limited Edition Packaging, with the standard edition range marketed as Doctor Who: The Collection.

Releases within the Doctor Who: The Collection Limited Edition Packaging range will continue to offer fans bespoke, premium packaging featuring a beautifully presented box containing the discs and a full-length, premium-printed booklet which includes illustrations and in-depth, behind the scenes insight.  

Releases within the new, standard packaging Doctor Who: The Collection range will feature a standard, plastic Blu-ray case inside a slipcase, with a condensed, standard-printed 12-page booklet featuring disc-breakdowns and selected illustrations. The new range will include all of the watchable content and special features included in the Limited Edition Packaging release, and will be available ongoing.

Season 12 sees Tom Baker’s first outing as the Doctor, and features five stories over 20 episodes, including The Ark in Space and Genesis of the Daleks. The Doctor is accompanied by Sarah Jane Smith (Elisabeth Sladen) and Harry Sullivan (Ian Marter) and was first broadcast on the BBC between December 1974 and May 1975.

Season 19 introduces fans to Peter Davison’s first series as the Fifth Doctor, and sees the Doctor and his companions Tegan (Janet Fielding), Nyssa (Sarah Sutton) and Adric (Matthew Waterhouse) face off against The Master, the terrifying Mara, the Terileptils, the Plasmatons, Monarch and the revamped Cybermen, in seven stories across 26 episodes.

+ The Collection - Season 12 is released on 31st May 2021, RRP: £51.05. 
+ PREORDER this title from Amazon.co.uk for just £37.99!

+ The Collection - Season 19 is released on 31st May 2021, RRP: £51.05. 
+ PREORDER this title from Amazon.co.uk for just £37.99!  

[Source: BBC Studios]

In 2015, Doctor Who aired an episode penned by Mark Gatiss called 'Sleep No More', which featured the very first transgender actor in the series' long history. The character of 474 was played perfectly by the very lovely Bethany Black and marked an incredibly poignant moment in TV history. It was important not only for including a transgender woman for the first time on British TV, but for the fact the show did it in a matter-of-fact, "so what?" style.

A couple of years prior to this, a friend of mine called me to tell me that they were in fact transgender, and as a matter of openness and honesty, felt they wanted me to know. I remember thinking at the time how brave this person was to choose to tell me, and what they must have been going through, not only in their own struggle, but also in the decision to include me in their news.

In 2018, Channel 4 aired a TV drama series called 'Butterfly', which focused on 11-year-old Maxine, who realises she is a transgender girl. The three-part series was an eye-opening window on what it means to be transgender and how it not only affects the individual, but those around them too. My heart literally sank at the thought of the struggles that so many brave boys, girls, men and women must be going through the world over. It had a profound affect on me and my own understanding, and I felt helpless not knowing what I could do to make some small difference.

Collectively, these three separate moments helped me to understand a much bigger picture that not only affects society as a whole, but much closer to home in Doctor Who fandom itself.

It became apparent that Doctor Who - this TV show we all have such a wonderful connection to - can also be a platform to highlight issues, themes and causes in our real world, whilst still delivering our weekly slice of SciFi. Since Jodie's casting as The Doctor (perhaps moreso than ever), racial discrimination, LGBT+ and environmental issues have been covered, and whilst a select few (namely a small pool of middle-aged white men) took issue of climate change being "thrown down their throat", the broader messages the show is teaching our children - and indeed us older fans - is incredibly powerful.

The fact the Doctor is now a woman (after 50 years of being a man) is, in a way, the best possible way of showing the TV-watching public the power of acceptance and change. Change, after all, is at the beating hearts of the show. Now I'm not suggesting the Doctor is transgender, but I am saying that whoever they become, like all the many incarnations prior, can just be accepted - no questions asked. Isn't that such a fantastic concept? Isn't it the best lesson for us all to take stock from? Be accepting of each other - understanding of each other, and, as Doctor Who fandom can be so brilliant at; supportive of each other.

Doctor Who's fandom in 2021 is wider and more diverse now than at any point over the past 58 years it has been on our screens. As many of you reading this will know, we have an active Twitter channel with a good number of followers and over the past few years, we have watched a number of transgender fans embrace their true selves. The love and support those fans have received from the Doctor Who community has been a testament to how amazing this fandom can be.

We at DWO are by no means experts on transgender issues, but we are in full support of this wonderful section of fandom, and whilst we are still learning and educating ourselves, please know that whoever you are or whoever you want to be, we and many others like us are here for you and that this is a safe space in fandom for you.

- Sebastian J. Brook; Site Editor

Below are a few organisations providing help and support for the transgender community:

+  TransUnite: https://www.transunite.co.uk
+  Mermaids UK: https://mermaidsuk.org.uk
+  Glaad (USA): https://www.glaad.org/transgender/resources
+  National Center For Transgender Equality (USA): https://transequality.org

[Source: DWO]
 

Publisher: Austin Macauley Publishers

Written By: J.L. Haynes

RRP: £6.07 / $9.74 (Paperback) | £2.80 / $4.86 (Kindle)

Reviewed by: Sebastian J. Brook

Review Posted: 16th March 2021

We love a good space fantasy and J.L. Haynes' 'Zara Hanson And The Mystery Of The Painted Symbol' ticks all the right boxes.

The story centres on the titular Zara Hanson - kind of an interstellar Scully from The X Files with a dash of James Bond and Indiana Jones - but with superhuman powers. There's actually a scene in the story that will have fans of 'Moonraker' smiling and punching the air!

We live in a time where we are finally getting to see more and more strong female characters (we've seen it happen in Doctor Who, with a female lead for the first time in the show's 58-year history), and it's great to see it here in a space fantasy adventure. She has purpose, drive and strength, but balanced with the vulnerability of her own sense of self.

Zara Hanson And The Mystery Of The Painted Symbol is very much a story with mystery at its heart; not just for the mission our protagonist goes on, but for her own journey of self-discovery. One of our favourite parts involves the pyramid in Alaska - the whole section just grabs you as a reader before catapulting you into other worlds, dangers and mysteries. It's fantastically fresh and diverse, and with every turn your attention is held throughout.

This is a very different beast to similar titles we've reviewed recently; at times the narrative almost feels like an academic observation of our universe, and you'd be forgiven for being swept away believing what you are reading as fact. Such is the skill of the author, that the level of detail and language used, thrusts you head first into this galactic yarn.

At just 244 pages in length, it's relatively short and perfectly manageable for a weekend read, but despite this length, it's a story that will stay with you for some time. It is heavily layered with philosophical, comical, and, at times, religious brush strokes, and the reader will come away with their own questions about the world and indeed universe around us. 

It definitely feels like the beginning of a much wider saga, and look forward to where Haynes will take the story next. Read it - you'll feel surprisingly smarter by the final page turn!

+  Zara Hanson And The Mystery Of The Painted Symbol is Out Now!
+  Buy this book from Amazon.co.uk!
+  Buy this book from Amazon.com!
+  Follow @JLHaynes4 (J.L. Haynes) on Twitter.

Manufacturer: Big Finish Productions

Written By: James Kettle

RRP: £14.99 (CD) / £12.99 (Download)

Release Date: February 2021

Reviewed by: Nick Mellish for Doctor Who Online

"The TARDIS brings the Doctor and Turlough to a high-tech scientific installation on the planet Testament in the distant future. The human race have become intergalactic buccaneers, thanks to their ability to generate vast amounts of power for long-distance travel. Testament is the source of that power – and the Doctor has never quite understood how it works.

But experiments are underway on Testament - experiments with potentially explosive and devastating consequences. And even the Doctor may be too late to stop it.

With politicians and bureaucrats getting in the way, the race is on. Not to stop a disaster - but to save as many people as possible.."

WARNING: The following review contains spoilers. You have been warned!

There’s a line in The Blazing Hour delivered in an off-the-cuff manner: “Trust is for children and acrobats.”  I heard the line, smiled a little, and did that silent laugh you do when hearing something amusing.

Days later I’m reflecting upon it. Why? Because that line is the single best line of dialogue in any Big Finish play for a while now. (The last to stick in my mind before this is the Fifth Doctor talking about The Great British Bake Off in Time Apart: perhaps it’s a Davison thing?)

This line here isn’t trying to pay tribute to a past victory or imitate another writer, or flat-out copy something previously said on screen, all three of which crop up time and again nowadays in these plays. It’s just an original, and memorable line of dialogue.

The rest of James Kettle’s script likewise has an air of freshness to it. Maybe it’s because it’s his first full story for the monthly range, or maybe it’s because Kettle is a relatively new writer to the Big Finish fold, not yet ground to exhaustion by writing dozens of scripts across dozens of ranges. Whatever the case, there’s a sense across The Blazing Hour that Kettle is relishing the opportunity to write for the Doctor and Turlough.

The plot for this one is simple; the Doctor and Turlough land on a scientific installation and are mistaken for tourists, which is good fortune as the Doctor is suspicious of Testament, an incredible source of power in operation here, and sets out to investigate. Before too long, Turlough is in a gift shop, managers are forcing their staff into dangerous and regrettable actions, and politicians are desperate to keep their hands clean and their profits high. The guest cast is very good, with Raj Ghatak and Rakie Ayola putting in memorable performances. You’ll hate them both, their greed and selfishness almost tangible and perfectly thematically suited to the story unfolding. There’s some especially nice, cringey political spin about economic downturns and the adverse productivity of grief from Ayola’s character Violet Hardaker that works really well and makes you root for our heroes.

Speaking of, Turlough in particular gets a meaty role in this one. Mark Strickson is up for the challenge, reminding us once again just how good an actor he really is. People can level whatever pot shots they wish against Doctor Who in the 1980s, but they cast the regulars really well, with the much-maligned Adric shining nowadays on audio and Mel getting a serious reappraisal, too.

The 1980s cast a long shadow over this play as a whole. Corporations running their workers into the ground, greed over sense and underhand political maneuvering feel very much in that era’s wheelhouse. The Fifth Doctor doesn’t ever quite feel true to the TV iteration of him, but that’s true of his plays as a whole, ditto the Fourth and perhaps even Tenth Doctors, too. It’s a wider Big Finish thing than any fault of the script here. Less successful is the self-sacrifice of Violet near the end, which doesn’t quite ring true despite the script trying to explain it away (always a sign that something’s not entirely working, when the script goes out of its way to defend it), and I’m never comfortable about rendering regular cast members disabled only to magically restore it later on (see Turlough here. Much like the Twelfth Doctor’s temporary blindness on screen, it never sits right with me).

Whatever quibbles I may have though are put to rest elsewhere. Whether intentional or not, the first three Big Finish releases in the monthly range of plays were a multi-Doctor story, one featuring the Fifth Doctor, and then one featuring the Sixth. We’ve gone in reverse order here, with the Sixth Doctor last month, the Fifth Doctor this month, and a multi-Doctor story to finish things off.

I’ve said it before, but right now there is a sense of effort and a willingness to shake formulas up in these monthly plays that’s worked well. It is perhaps too little too late for a range at its end that’s been gasping for air for ages now, but it’s welcome all the same, and this play, aptly, is testament to that.

+ The Blazing Hour is OUT NOW, priced £14.99 (CD) / £12.99 (Download).

+ ORDER this title on Amazon!

TARDISMonkey's Torchwood Diary - watching Torchwood an episode a week from the start...

3.4: Children Of Eath - Day Four

It was bound to happen in this review; we have now reached “that” episode in this series of Torchwood. Grab the tissues, this one is going to be incredibly emotional.

Things are not looking great as Captain Jack realises the implication of his actions by sending the kids to the aliens. Clement, in a frenzy of fury towards Jack, shoots him dead on the spot. Gwen really comes into her own here as Rhys says, “The man is dangerous,” but really, he is just terrified by the whole situation and Gwen can immediately see this. It’s a nice character development as even through all the sci-fi wonders in the show, she still has to rely upon her police instinct to sort situations and keep the peace. Jack reveals the reason why Clement was specifically chosen to be sent to the aliens, was due to the fact they wouldn’t be missed by anyone. It’s a real emotional twist revealing Jack’s reasoning and logic to fighting an unknown menace when The Doctor isn’t around - something Torchwood has become very adept at, explaining the consequences of actions in the Doctor Who universe. 

The 456 also clarifies the situation as to why it wants the children of Earth. In this very harrowing scene, it allows one person to enter the poisonous tank revealing a child hooked up in an entanglement of wires to the 456 itself; it’s a scene that could have been taken straight out of the movie “Alien.” It’s pure Torchwood sci-fi horror that makes your skin crawl and Peter Capaldi reacting to the news, really hits hard as you can see the pain, horror and anguish in his eyes. The final threat is made when the 456 says they have to hand over the children or the whole of the human race will be destroyed. It’s the impossible choice that has become the pinnacle theme of Torchwood through the series. 

There’s a touching scene between Ianto and Jack, as Ianto realises he doesn’t know the man he fell in love with and works with, at all. Ianto claims he’s only just scratched the surface of the truth behind his long life, to which Jack opens up, revealing he has a daughter and grandson who are captured at this moment. The scene really shows that Jack keeps a lot of secrets and acts as if the situation is under control  so as to not panic the people he loves, but it always comes at a cost later down the line. This is very heavy foreshadowing for future events that, when re-watching Torchwood, you realise how many clues are left for the audiences to pick up on and that’s down to some incredible writing by Russell T. Davies.

This is when everything starts to unravel with the world. The Government starts to seriously consider how many children per country as a “camouflageable donation,” otherwise known as people who they feel aren’t important, to give to the 456. Torchwood as a series, really reveals how through manipulation and exploitation, how the Government in their cowardice, try and resolve a situation. It always reminds me of the quote ‘The Doctor must look on this World in shame’ and in these situations you can see why. In a surprise role the wonderful Nicholas Briggs plays the not so wonderful character of Rick Yates. With some kind of reasoning, he convinces the Prime Minister that losing 10% of children per country would do the world good for its resources. Russell T. Davies always does a wonderful representation of realism in sci-fi when it appears any situation can be resolved by putting a monetary value on things. Lois Habiba, recording the whole conversation for Torchwood, makes them immediately aware of the situation and they know action needs to be taken without delay.

Now for Lois Habiba, the Torchwood agent that never was, this is her moment of heroism as she stands up in front of the whole board and announces with such confidence, Torchwood had been recording everything that had been said. It’s the pure, punch in the air moment, that really turns the tides of fate for a moment as they try and regain control of the situation. The music, the fast-paced editing, Jack sauntering into Thames House, we’ve gone straight back to the stylistic themes of Torchwood series 1 and 2 and it feels like home.

And here we are, we have reached the final chapter in Ianto’s adventures with Torchwood. Jack and Ianto enter the room where the 456 is currently being held. Jack appears to come to a revelation after their conversation in the warehouse that this time, the 456 will not be getting the demands it requires. There’s no holding back in the argument as Jack and Ianto take the final stance and ultimately again have to face the consequences of being a hero once more. The 456 not giving up so easily, release a virus into Thames House that will kill everything within it. 

Ianto’s death is one of the most shocking and brilliantly performed scenes in Torchwood. For Jack and for the fans of the show, Ianto was that anchor that kept everyone stable while the whole world seemed to change with every episode. Ianto was always the hidden hero in the background and in the toughest moments he always knew he would die for his service. It’s a brave choice to make to kill off such an iconic and long-standing character, however it shows that the world and Torchwood is an unpredictable place and no one is safe.

Tomorrow is the final day of the most heart breaking and intense week the Torchwood team has ever had to face. What will happen next? Well, we’ll soon find out.

Ellie (TARDISMonkey) 

 

+ Follow @Tardis_Monkey on Twitter!
+ Follow @DrWhoOnline on Twitter!

[Source: DWO]

Publisher: Gate Key Publishing

Written By: J.G. Blodgett

RRP: £7.17 / $9.99 (Paperback) | £2.16 / $2.99 (Kindle)

Reviewed by: Sebastian J. Brook

Review Posted: 9th March 2021

For fans of epic fantasy, J.G. Blodgett's 'The Dark Light' (Book 1 in The Gate Key Chronicles) delivers a gripping, well-thought-out saga, that will have kids, teens and adults alike captivated.

It focuses on Jimmy Mankins and Amelia Miller; childhood friends who share a mysterious secret that opens the way to a dark threat from another world.

The book begins with the prologue and a mystery; Jimmy (simply known as 'Boy'), wakes up at the edge of a field with a hazy memory of who and where he is. He quickly discovers Amelia, and with the help of both their Father's, they return to a place of warmth and safety. As the prologue draws to a close, however, questions are left unanswered - tantalising the reader by wanting to know more.

We are then properly introduced to Jimmy and Amelia, and the next few chapters beautifully captures the beginning of their special friendship, as well as, despite some differences, touching on the many parallels between their lives.

There is a wonderful scene in Chapter Three that juxtaposes Jimmy and Amelia's home environment - but, like with most of their relationship, there's something that connects them. Rather perfectly, (and sure this may sound odd), it's reflected in broccoli; Jimmy's dinner is a humble one with sausages, mashed potato (out of a packet) and broccoli - whereas Amelia is tucking into a steak dinner, with broccoli as her accompaniment. It was so poetically written, and I don't think I've ever seen a vegetable used in such a meaningful way!

As the story unfolds, Amelia entrusts her own secret to Jimmy, and we discover how everything is connected and why their world's are fatefully thrown together. The author uses time to dip back and forth in the narrative to fill in some gaps along the way. It acts as a nice break in the story-telling, whilst fleshing out our protagonist's backstories.

There is, of course, a lingering threat throughout The Dark Light (as the title suggest). Something that you know is coming, but not entirely sure of what form it will take. Be it school bullies, dark creatures, or an oncoming storm, you feel protective of our protagonists and want nothing bad to happen to them.

The relatively small cast of characters are incredibly well-rounded and layered. Jimmy's father (Donald), for example, is someone you don't necessarily like, but one simple line a few chapters in: "time in the Vietnam War" - instantly gives you a small sense of sympathy and understanding for him. Amelia also sees Donald's redeemable qualities; "he was capable of being the father he once was".

As a reader, I was unaware of just how much emotion there could be in the story. The rich relationships between the characters, between father and son, father and daughter. The way in which loss is dealt with (or not), and how faith is something that can drive you through even the toughest situations. Yes it's a fantasy, but it's one with a surprisingly grounded heart that makes you simply feel every word on the page.

If there was a comparison, I'd say it was Stranger Things meets The Neverending Story. It's simply screaming out to be made into a Netflix series.! You can almost feel the natural cliffhangers to each episode and with more books to come, there's a lot of mileage, here. 

I am so pleased and feel privileged to have read The Dark Light. It was so much more than I had hoped for (hence the length of this review), and whilst I have no idea what form Book 2 will take, believe me when I say that I will be hounding the author for it's release, as it can't come soon enough!

+  The Gate Key Chronicles: The Dark Light is Out Now!
+  Buy this book from Amazon.co.uk!
+  Buy this book from Amazon.com!
+  Follow @JGBlodgett on Twitter.

Our friends over at Zavvi have been in touch with details of their exciting new range of exclusive Doctor Who clothing, which launches today.

The range, which includes Tees, Sweaters, Hoodies and Jackets, features brand new designs and is now available to purchase from the Zavvi website.

Below is Zavvi's official description for the range:

ZAVVI HAS TAKEN THE TARDIS AND IS TAKING THIS RANGE BACK THROUGH THE YEARS

All the way to 1963 where Doctor Who begun and became a significant part of British pop culture. Celebrating all the generations from the 1st Doctor to the 12th this apparel range focus' on the Doctors, their companions and iconic monsters from their time.

Do you remember the beginning with William Hartnell, Patrick Troughton, Jon Pertwee, Tom Baker, Peter Davison, Colin Baker, Syltvester Mcoy or is your Doctor from the 21st century played by Christopher Eccleston, David Tennant, Matt Smith, Peter Capaldi or the first female Doctor Jodie Whittaker. Show your love for your favourite Doctor and his companion with Zavvi's exclusive Doctor Who range.

Zavvi have given DWO visitors and followers a generous 20% off clothing with the 'DWO20' code, and 10% off site-wide with 'DWO10' code. Unfortunately the codes exclude this collection as well as Preorders, Bundles, Tech, LEGO, Subscriptions, Collections and Sale items.

+ Check out the range using our exclusive link, here!

[Source: Zavvi]

The team from Terraqueous have been in touch with details of their latest, fantastic (unofficial) Doctor Who Annual, and they need help from budding artists to help complete it. 

For those unfamiliar with Terraqueous, they have been putting together Doctor Who Annuals to fill in the gaps since they stopped in 1986. Last year saw the release of the The Dr Who Annual 1987, and other releases include The Dr Who Annual 1972 and The Master Annual. They feature full-colour artwork and stories, in keeping with the long history of the range.

The latest annual - The Dr Who Annual 1988, is currently being compiled and the team are looking for Doctor Who fans (who also happen to be artists), to help. If you would like to be considered, please email them directly, with a sample of your work to: doctorwhoannual@aol.co.uk.

You can watch a teaser for The Dr Who Annual 1988 in the player below:

[Source: Anthony Garnon]

TARDISMonkey's Torchwood Diary - watching Torchwood an episode a week from the start...

3.3: Children Of Eath - Day Three

So we’ve finally hit the half way point through this most epic week of episodes and episode three  changes the pace of the series in a way that shows how the team are really bonding together again.

Hiding away in Torchwood One, Jack, Gwen, Ianto and Owen become the master criminals; they’re being treated as such to re-establish the old equilibrium of the team. Using stolen technology, Torchwood quickly delve into what the Government are hiding and why they’re so desperate to kill them all. This feels like a slightly slower paced style of episode, but it’s done in an ideal way, as there is a lot of information that is gathered in this part to really build up the dramatic tension of the last couple of episodes.

The Torchwood team work out Frobisher has a huge part in the whole 456 coming to Earth and that’s where the amazing Lois Habiba also comes into her own. Gwen gives Lois contact lenses which can read lips and because she’s built up such a strong relationship with Frobisher and Bridget Spears, it’s no guess that Lois becomes a key part to infiltrating the whole mystery behind what’s going on. The plan is all falling neatly into place for the team.

With how fast paced the previous episodes have been, it’s nice that we get a moment of calm and reflection about the whole situation. This is very apparent during the scene between Jack and Ianto, where the sudden realisation hits, that Jack will keep going even after Ianto has died of old age. It’s that moment of foreboding, that once you rewatch the episode, really pulls at your heart strings, knowing they will never have the life they were expecting to live. This is the curse of working for Torchwood.

While all this is going on, Jack’s daughter makes the mistake of trying to find out what happened to him after the explosion and inevitably gets kidnapped, just to add more heart breaking developments for Jack.

With all the kids pointing towards the sky, the 456 makes its grand entrance in London as it decends into a poison gas chamber which the government has created. The orchestral music, mixed in with the alarms blasting through the building, make this scene a pivotal changing moment, however all of a sudden it goes quiet. It really adds gravitas to the situation as the world has changed in a blink on an eye. The silence is gripping, as it is suddenly disturbed by acidic slime being thrown against the glass. It’s true Torchwood gross humour and creepiness that the series does so well.

Frobisher trying to do what’s right, has the whole world against him. Jack confronts him on the situation and reveals the fact that he knows the 456 has been here before. Clement McDonald is living proof of this, as with a sudden revelation he recognises Jack from 1965, when the first group of children were handed over to the 456. It’s a moment of reflection, as just like The Doctor, Jack has a dark and dangerous history that he continually hides from his team. It creates a great moment when Jack and Frobisher talk, as Jack can give his experience on the situation. However that’s not how the Government see it.

The whole story is tied into a truly impactful cliffhanger, as the 456 demands they hand over 10% of the children of earth. This most dramatic and brutal style of the 456 has revealed its face at last, but to keep everyone gripped, the reason still remains a mystery.

Ellie (TARDISMonkey) 

 

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[Source: DWO]