Takeover Ad
Takeover Ad
Roderick Donald

Welcome to the News & Reviews section here at Doctor Who Online! This is where you will find all the latest Doctor Who related news and reviews split up into easy to use sections - each section is colour coded for your convenience. The latest items can be found at the top, and older items follow down the page.

Archived news and reviews can be accessed by clicking on the relevant area on the News / Reviews Key panels to the right.

E-Mail NewsE-Mail Reviews
1 April 2021

Manufacturer: Big Finish Productions

Written By: Robert Valentine

RRP: £14.99 (CD) / £12.99 (Download)

Release Date: March 2021

Reviewed by: Nick Mellish for Doctor Who Online


"The Universe is in a state of crisis, facing destruction from the results of a strange spatio-temporal event. And the Doctor is involved in three different incarnations - each caught up in a deadly adventure, scattered across time and space.

The whole of creation is threatened - and someone is hunting the Doctor. The three incarnations of the Doctor must join together to confront their implacable pursuer - but in doing so will they unleash a still greater threat?"

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

I remember the launch of Big Finish Production’s Doctor Who plays vividly, listening to Talking ‘Bout My Regeneration while playing Super Mario 64 and being pretty intrigued as I died yet again in the bloody sinking sand. I was treated to The Sirens of Time on CD by my dad and copied it to an audio cassette to listen to in the car while being driven up to Coventry for Battlefield 3, a Doctor Who convention I attended with an old school friend. I couldn’t resist sneaking a quick listen the night before though, just a couple of scenes with Peter Davison. It all felt so exciting: new Who, at last!

It was years later that I had money of my own to spend and I eagerly jumped into the Big Finish fray. Paul McGann became one of my very favourite actors to play the role; writers such as Jacqueline Rayner and Robert Shearman blew me away; Dalek Empire was incredible; and companions like Evelyn and Charley intrigued me. Of course, for every high there were lows that hit rock bottom hard, as anyone who’s endured Dreamtime can attest to. Broadly speaking though, it all felt very fresh and exciting, bursting full of energy and new ideas and monsters and concepts.

Let’s be fair, Big Finish was never going to keep that momentum up, especially not 275 releases into its monthly range, but even so, it’s curious to see how Big Finish has changed with time. Gone is the newness that once was, replaced by releases crammed with old enemies or planets or characters. Gone is the sense of special brevity, replaced by spin-off series all over the place. Gone is the wide pool of writers, increasingly narrowed down to the same people time and again. Frankly, gone is a lot of the magic that made Big Finish so brilliant.

Here we are then with The End of the Beginning, the final play in the monthly range; a play which tries to claw back some of the range’s past glories and does, in part, succeed in doing so.

Robert Valentine has written a play here consciously structured in part like Sirens was all those years ago: a sole Doctor in parts One to Three and then all of them united at the end. Valentine previously wrote The Lovecraft Invasion for the monthly range (very good until they added in some ‘damage control’ scenes, which rank up there with the worst thing Big Finish have ever done to kill a release dead) and so he undoubtedly feels like a slightly odd shout for the man to handle the final outing, though at the same time it’s rather nice that a less familiar voice is handling it. It makes it that bit more unexpected, and of course outside of the inner reaches of fandom Nicholas Briggs wasn’t a huge name when he launched the range with the first play all those years ago. No, Valentine is a fine choice to be ending things with.

We begin with the Fifth Doctor and Turlough in the desert, with what was probably my favourite episode of the bunch. Peter Davison and Mark Strickson give it their all and the guest characters are sketched out well.  Next up it’s time for the Sixth Doctor and Constance Clarke. I wonder if Flip was originally meant to be along for the ride but then they couldn’t secure her for one reason or another? Either way, she is rendered out for the count in a coma and instead our heroes are joined by Calypso Jonze from Valentine’s aforementioned The Lovecraft Invasion. I’m mixed on this. When reviewing that play, I said that I wouldn’t mind seeing Calypso back but I fear I was wrong with that assertion. Here, Calypso felt tired and done; the joke and character beats worn thin. Also, for a release winding up a range of 275 plays, chucking in a character that’s only been in one play and expecting everyone to keep up feels a bit strange and maybe a bit self-indulgent on Valentine’s part. Perhaps it was always the intention to have her in and Flip out but it sticks out for me, and not in an especially good way.

After this, we’re onto the Eighth Doctor and Charley in an adventure set in 1999 (see what they did there?) Do you remember the days when the Eighth Doctor was in the monthly range of plays and not relegated to box sets only? It’s been a while. Big Finish + Vampires mostly makes me think of the Seventh Doctor and the Forge, though I suppose Vampire Science worked well for the Eighth Doctor and this episode is certainly enjoyable enough, largely as India Fisher is, as always, brilliant. Paul McGann meanwhile sounds a bit like he’s stuck in a submarine, his microphone quality feeling decidedly sub-par compared to everybody else’s.  There’s a rather touching scene at the end though between him and Tim Faulkner’s character Highgate, which works really well. Two small performances in a big world that winds up being utterly touching. Ah McGann, there’s a reason you and Fisher were two of my favourites.

Throughout these episodes, we’ve had mysterious artefacts slowly being collected, a teacher from the Doctor’s past, Gostak, popping in, and a sinister character, Vakrass, last of the Death Lords of Keffa, making appearances. Things are all tied up in the final episode and, oh lordy lou, if the twist with Vakrass isn’t one of the best things Big Finish have given us in bloody ages then I don’t know what is. Genuinely, I laughed and felt utterly surprised and there, just for a moment, I was flung back to the very early days.

Gostak of course turns out to not be the wise teacher the Doctors remember but his evil plan (something to do with time), its unravelling (something to do with trickery) and its eventual disposal (something to do with… something) are pretty forgettable.  It’s been 72 hours and I’m genuinely drawing a blank, despite remembering other plot points really clearly.  I’m not sure it needs to be otherwise though, as the highlight here is meant to be the Doctors all joining forces. Valentine handles this well enough, though the companions feel like spare parts. Sylvester McCoy jumps into the fray here briefly, too, and I mean briefly. The play would have been far better served to neither mention his name in the cast list or feature his image on the CD cover, as it simultaneously raises your expectations for him to be in it in a substantial role (he isn’t) and ruins what would have been a rather nice surprise cameo.

We end things with some nod-nod-wink dialogue that has bypassed subtlety completely, being less about the Doctor going off on more adventures and more about Big Finish’s ranges continuing. Colin Baker gets the final word, which is amusingly apt, and that’s that.

How does it fare as a play? It’s okay. Not the best, far from the worst. It gets by though, and everyone seems game. How does it fare as an end to the range? Less well. It’s in a weird halfway house between being a celebration and nothing out of the ordinary. That’s entirely Big Finish’s own fault though. They’ve played around increasingly with multi-Doctor outings to the point where it’s just not special anymore. There is nothing about the various Doctors uniting here that feels celebratory or special. It just feels like more of the same from Big Finish... and that’s a crying shame. It shouldn’t be the case; it should feel special. But it doesn’t, at all.

Maybe that’s in The End of the Beginning’s favour? Maybe by robbing it of an air of being special, it means there’s less pressure to feel the weight of importance and more time to just take it for what it is. Maybe. The jury remains out.

What The End of the Beginning is, is an enjoyable enough way to kill a couple of hours with a couple of nice moments, one brilliantly unexpected character beat, and some questionable elements which totally fail to land. I’ll take it.

While a good title, The End of the Beginning does not really sum up Big Finish: that beginning died a long time ago; things are very different now. In many ways the monthly range is unrecognisable to what it once was, and so it’s set to shift again. What will the future hold? We’ll know before too long.  It won’t be me reviewing it; I’m hanging my hat up here and letting someone else get on with the business of listening to all things Big Finish from now on. I wish them luck though, and hope beyond hope that, a teensy bit of that past magic rears its head once again. Now that would be something worth celebrating.


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

+ ORDER this title on Amazon!


** This was Nick's final review for us at Doctor Who Online and we'd like to take this opportunity to thank him for all his many years of content for us. Nick joined DWO on 23rd September 2013 for his first review for 'Fanfare For The Commen Men', and has provided reviews every month without fail.

He will be sorely missed by us all at DWO, and we would like to wish him well in his future projects. Please do take a minute to check out Nick's blog here!

- Seb 


1 April 2021

Manufacturer: Big Finish Productions

Written By: John Lloyd (adapted by Nev Fountain)

RRP: £14.99 (CD) / £12.99 (Download)

Release Date: March 2021

Reviewed by: Robert Emlyn Slater for Doctor Who Online


"Earth - a small, insignificant planet. Entirely devoid of intelligent life. 

At least, that’s according to the legal documents. The Doctor, Romana, and K9 find themselves at the centre of the most unusual trial. 

An intergalactic corporation wants to bulldoze the planet for a development project. Only a previous court’s preservation document is standing in their way. The Doctor has been summoned as an expert witness. If he can prove Earth contains intelligent life, the whole world will be saved. 

But with a fortune at stake, it was never going to be that simple."

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

As a huge Hitchhiker’s Guide to the Galaxy fan, when I heard that this lost adventure by Hitchhiker’s partial co-writer John Lloyd, featuring one of my favourite classic TARDIS teams, was coming to Big Finish audios, it’s safe to say that I was very excited. Reading this month’s Doctor Who Magazine interview with Lloyd and finding out what was in store just increased my anticipation further, so I went into this play with very high hopes indeed. 

The Doomsday Contract was originally developed by TV comedy producer John Lloyd to be made as part of the show’s seventeenth season back in 1979. However, after being asked to rewrite it one too many times, Lloyd decided to give up on it and go to work on Not the Nine O’Clock News instead. Script editor Douglas Adams passed on the story to Allan Prior, however, his version of the story was also ultimately rejected, and eventually, after a stint spent in development hell, the story was cancelled and forgotten about. Until now, that is. 

Adapted by Nev Fountain, The Doomsday Contract is about the Doctor, Romana, and K-9’s holiday being cut short by a court summons. The case? To prove that the Earth does in fact contain intelligent life. If the Doctor fails, the planet will be bulldozed by an intergalactic corporation in the name of a development project, a plot point that is, of course, very reminiscent of a certain radio series by a certain Douglas Adams

However, in true Doctor Who style, things start to go a bit pear-shaped, and what was originally a simple courtroom drama quickly turns into a lot of running down corridors being chased by killer children, giant slugs, and what seem to be medieval peasants. Yes, you did read all of that correctly. 

As you would most likely expect, this is a very funny story. It is essentially Doctor Who meets Hitchhiker’s and is full of plot points, characters, and ridiculous anecdotes that you would find within the pages of a Douglas Adams novel. You can tell that John Lloyd was going for a Hitchhiker’s vibe with this adventure, and I’m glad to say it absolutely works. 

Although I found the first part of the story to be a little too slow for my liking, things definitely start to pick up a bit when the Children of Pyxis turn up, and never really let up until the court’s final judgement has been passed. 

As discussed in the behind-the-scenes feature (and in Lloyd’s interview with DWM) the Children of Pyxis were one of the elements that had to be dropped from his initial storyline due to the production team being less than keen to depict children with weapons on prime-time television. However, in this new version of the adventure, the juvenile assassins are reinstated as part of the story and make for menacing little baddies. There really isn’t anything creepier than killer children in my eyes. Especially killer children who don’t realise that what they’re doing is wrong. 

I did find it slightly disappointing at how easily dispatched the Children of Pyxis were by the Doctor, Romana, and K-9 though. I’m not a huge fan of the ‘sonic screwdriver saves the day’ trope the modern series seems to have popularised, so it was a bit of a letdown seeing that aspect of the show turn up in this otherwise fantastic audio drama. 

There were a couple of other instances where the characters were given an overly easy get-out-of-jail-free card too. One instance was when Romana and Kovaks (Spencer Banks) were trapped in a wine cellar hiding from killer slugs, and the other was when the Wadifalayeen turned up to kill the Doctor, only for us to find out that they owe him a blood debt from an unseen previous adventure. Whilst these ‘lucky’ coincidences and escapes for the Doctor and his friends did border on overly-convenient, for the most part, they didn’t affect my overall enjoyment of the story. 

The guest cast for this drama was also excellent. I particularly enjoyed Richard Laing’s snide, almost cheerfully evil villain, Skorpios, and was a big fan of Nicholas Briggs’ Foreman of the Lost Jury. Both characters could easily have been plucked straight from an adventure in the Hitchhikers’ universe and dropped into the world of Doctor Who

Jeany Spark and Julian Wadham were also welcome additions to the cast and definitely played a role in making this story as enjoyable as it was. 

This TARDIS team, consisting of Romana, the Fourth Doctor, and K-9, is, as I said, easily one of my all-time favourites, and I had a great time listening to them bounce off each other once more. The Doctor and K-9’s little jaunt into the Witness Protection Micro-verse was a big highlight for me, whilst Romana’s heist plot was also just as enjoyable.  

Overall, I was very impressed with this story and loved how silly, funny, and downright ridiculous it was at times. Tom Baker is clearly having a lot of fun with the material that he’s been given, and the absurdity and comedy of the story definitely satisfied my Hitchhikers cravings for sure. 

If you are a fan of when Doctor Who is a bit sillier than usual and doesn't take itself too seriously, or if you’re just a fan of The Hitchhiker’s Guide to the Galaxy in general, then you won’t be disappointed with this story in the slightest! 


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

+ ORDER this title on Amazon!


25 March 2021

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!


24 March 2021

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]

17 March 2021

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]
 

16 March 2021

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. Hayneson Twitter.

12 March 2021

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!


10 March 2021

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]

9 March 2021

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.

3 March 2021

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]

3 March 2021

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]

2 March 2021

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) 

 

 

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

[Source:
DWO]

22 February 2021

Publisher: Self Published

Written By: Nathan Burton

RRP: £4.00 / $5.25 (Paperback) | £2.00 / $2.51 (Kindle)

Reviewed by: Sebastian J. Brook

Review Posted: 22nd February 2021

From the stunning cover, you'd be forgiven for thinking that Tales Of The Starmen: Volume 1, by Nathan Burton was a graphic novel, but this is in fact a short but punchy space saga.

The story focuses on two brothers; Helion and Eckron, who, despite their disparity, must fulfil their royal duties.

There is a great variety of pacing here; we go from a vicious space fight to a street race in Kingson, Jamaica. Both these scenes act as stark metaphors for the differences between the two brothers. One just wants to win a race (Helion) and the other wants to ascend the Nova Throne (Eckron). That being said, there are more to the characters than their differences - particularly Eckron. Sure, he is unlikeable and power hungry, but, rather geniusly, there's a redeemable side to him that you discover near the end of the book. One particular line we loved from Eckron near the end, was as follows:

‘He said he wanted to be like me. Perhaps I should make some effort to be more like him.’

For a story so short, there's actually some decent character development, and whilst the cast of characters are relatively small, each have purpose and place within the narrative. We also love the diversity; this is very much a black-centric royal family and outside of the likes of Black Panther or Coming To America, its fantastic to have a black royal family represented in literary form for us Science Fiction fans.

It is clear that the author is a SciFi fan - and a well-seasoned one at that. There are hints of Star Wars and even The Fifth Element here, but Burton makes Tales Of The Starmen very much his own.

Whilst this is Volume 1 of a proposed series, it also acts as a satisfying conclusion. For those who hate cliffhangers, you can rest assured of a stress-free ending. Whenever Volume 2 does come out, it will mark a new chapter in this fun, gripping, pleasantly manageable saga.

+  Tales Of The Starmen: Volume 1 is Out Now!
+  Buy this book from Amazon.co.uk!
+  Buy this book from Amazon.com!
+  Follow @Nattybe96 (Nathan Burton) on Twitter.

19 February 2021

Publisher: Self Published

Written By: Jodi Bowersox

RRP: £10.13 / $7.14 (Paperback) | £3.05 / $4.26 (Kindle)

Reviewed by: Sebastian J. Brook

Review Posted: 19th February 2021

Mars Madness is book 1 in a 3 book series by author, Jodi Bowersox. It's self-titled as an 'out of this world romantic adventure' and boy does it deliver on that promise! What was left out of that headliner, however, is just how funny it is, too. 

We follow divorced mum of one, Katrina McKenna as she reluctantly buys a lottery ticket (on her daughter's insistence) for a luxury, two-year Mars adventure. The chances of wining are astronomical  to say the least (if you pardon the pun), but chance finds its way to Kat and before she knows it, she finds herself, begrudgingly on her way to Mars.

Thing is... her ex husband, who works for the company sending her to Mars, is also going to Mars, and he will be bringing their daughter along for the ride. All isn't as straightforward as one would think, though, and half of the fun we have is just getting to Mars. Hell, even leaving Earth has its fair share of setbacks with errant robotic maids, stowaway daughters and... an Israeli terrorist?!

We love the dialogue between Kat and her husband Doug; they really do reflect a real life ex-couple - complete with all the fallout (bad and good) that comes with it. Their daughter, Francesca is the magnet that has kept them in each others lives, and whilst you can see why they have gone their separate ways, there's this underlying feeling of wishing they could work things out.

Bowersox is a wizard in the way she sets up the situations our characters find themselves in. They present themselves as quietly comic (and not so quietly in some places) playlets, and whilst there are undoubtedly predictable outcomes that you relish as a reader, the author also takes you in unexpected directions.

It's tricky not to spoil things, but we will say that the ending wasn't at all what we were expecting, and it is absolutely a better story as a result. It sets up book 2 perfectly, and there's even a little sneak peek at the prologue for the sequel (Beware The Eyes Of Mars) at the very end.

There is a wonderful phrase that states; "The fun is in the journey", and nowhere is this more present than in Mars Madness. A fun read that has heart and soul!

+  Mars Madness is Out Now!
+  Buy this book from Amazon.co.uk!
+  Buy this book from Amazon.com!
+  Follow @JodiBowersox on Twitter.

9 February 2021

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

3.2: Children Of Eath - Day Two

There really is no letting up for the Torchwood team. With Captain Jack now seemingly killed in the blast that ripped through Cardiff Bay, Ianto and Gwen make a daring escape from it as as well as the assassins on their trail. Gwen really comes into her own this story as a fake paramedic tries to kill her, Gwen really shows she has things to lose now, especially with her recently finding out she’s pregnant.

 

While all of this is happening in Wales, we shoot back to the unfortunate Frobisher who finally gets the details of the message being transmitted through the children, which is in fact being broadcast through the 456 frequency. The prime minister seemingly washing his hands of the situation, makes him a person not to be anyones best friend. I do feel for Frobisher’s character as he appears to be a man who just wants to do his job well, but has some horrible influences contradicting him at every turn.

 

Ianto brings his life more into the foreground, as he talks to his sister about the events circling around his life, from his dad pushing him too hard and Ianto just wanting to protect his family at all costs. This is something that becomes very apparent later on in the series.

 

Gwen and Rhys flee from Cardiff as soon a possible, heading for London. They stow away in a lorry full of potatoes, which provides the perfect location for Gwen to pluck up the courage to announce her pregnancy to Rhys. They all seem remarkably happy about it, including Gwen, almost making the whole Owen and Gwen affair from the last two series, completely forgotten about. However this does throw a few curve balls into the team dynamic, as there is more of a sense of risk not only to Gwen, but to her future baby.

 

You can’t have Torchwood without some good old body horror gore can you? They find Jack, well most of him, and it is some of the most toe curling stuff in the shows history. The people out to kill Torchwood, place his remains in a vault in a secret location, which seems extreme until Jack’s remains start glueing themselves back together in the body bag. John Barrowman really plays Jack coming back to life so well, as you can hear and feel the pain through the television screen. When you think all is well, to stop him from talking yet again, the assassins then pour concrete over Jack to silence him once more.

 

While all of this is taking place, for Lois Habiba her second day has been, well she has definitely thrown herself into the deep end. With her curiosity surrounding the happenings with the 456 and Torchwood itself, it appears she has now become a vital member for the Torchwood team. In a dodgy cafe, over a pie and chips, Lois meets Gwen and Rhys for a vital talk.

 

We then swiftly move onto the big breakout plan for Jack, which in true Torchwood style, has Ianto in a forklift truck throwing the big block of cement that Jack is encased in, over a cliff edge. Cliffhanger ending, anyone? Jack, like many other times, brushes the whole situation off as the Torchwood team finally reunite to fight their unknown foe.

 

The vital moments in this episode, are primarily what happened in 1965? What does the 456 want from Earth? Mr Dekker seems to be awfully calm about the whole situation and that creates a sense of being highly uncomfortable. 24 hours is all they have, but how bad can it possibly get?


Ellie (TARDISMonkey) 


 

 

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

[Source:
DWO]

E-Mail NewsE-Mail Reviews
Christina Moss
RSS Feed
News Key
News Home
General
The New Series
The Classic Series
Spinoffs
Merchandise
Site
Blog Entries
Reviews Key
Reviews Home
Books / Magazines
DVD / Blu-ray
Audio
Toys / Other
TV Episodes
Search
Advertisements
Retro Tees