Written by Chris Chibnall
Directed by Lee Haven Jones
Executive producers: Matt Strevens and Chris Chibnall

Starring Jodie Whittaker
Bradley Walsh, Tosin Cole, Mandip Gill
Sacha Dhawan, Lenny Henry
Sylvie Briggs, Aurora Marion
Shobna Gulati, Ravin J Ganatra, Bavnisha Parmar
Mark Dexter, Blanche Williams, Struan Rodger

A BBC Studios production for BBC One
First broadcast on BBC One, Sunday 5 January 2020
Running time: 61 minutes (source: BBC iPlayer)

Spyfall Part Two was comfort Doctor Who for trying times. It appealed to a folk memory of Doctor Who, and the twenty-first century series in particular, while injecting the episode with several concerns peculiar to the Jodie Whittaker era. Women's achievement is obvious, but also present is an acknowledgement of contemporary culture and the need to express ownership of it in some form, however small, in the face of corporate behemoths. The localised 'radical helplessness' (as one review dubbed it) of Kerblam! was embedded in a time-traversing tale of selective interventionism.

Timey-wimey stuff

Having distanced himself from Steven Moffat's interpretation of Doctor Who in his first year, Chris Chibnall now presents something of a homage to Moffat's Doctor Who complete with locale-leaping narratives and aliens among us for centuries. The Doctor's recorded message to her friends as they are trapped on the plunging plane is probably one of the most accessible borrowings, recalling so fondly admired an episode as Blink. It helps confirm to long-term viewers that the Doctor is still the Doctor, and anticipates the temporal origami of the remainder of the episode. There's a more direct reference to a much earlier period of the programme too, as the Paris sequence surely acknowledges City of Death as a precedent for an alien conspiracy across time periods.

More important, though, is what's new. The fam of four are split up for most of the episode. While the Doctor improvises short cuts through human history, Graham, Ryan and Yaz become the three investigators, running through scenarios at extremes of the comedic and the morbid. The Bondian flavour of Jamie Magnus Stone's first episode had largely evaporated, with new director Lee Haven Jones, perhaps, treating the gadgets which were part one's legacy as the source of cartoonish slapstick. That the security officers couldn't be mown down by Graham's laser shoes underlined the problem of arming the Doctor's close friends and making them aim their weapons at other people. The scene was designed to be played for a laugh, but could not deliver on the carnage these hi-tech absurd action movie gadgets would seem to promise. The call was the right one, however, as within the narrative, carnage has been established as the Master's way, and despicable; the tonal balance of the episode also demands that the three friends’ quest is largely presented as light relief to the Doctor’s, often literally given how evocatively the episode realises the dark rooms of nineteenth-century London and especially the dust and fog of wartime Paris.

Light and dark

The coding of light and dark works too as an illustration of the Doctor’s outer and inner lives. Jodie Whittaker’s Doctor is cut off from the three people through whom the audience has seen her and instead we have to see her reshape her identity as the Doctor of hope. Chibnall ‘apparates’ the Doctor amidst a meeting of experimental philosophers displaying their inventions, a gathering which echoes that intended for sabotage in The Mark of the Rani written by his supposed bêtes-noirs Pip and Jane Baker, but which has at least one earlier Doctor Who precedent in 1976’s The Masque of Mandragora. In Spyfall, fetishisation of technological progress is secondary to the Doctor’s recovery of hope through human creativity. Not all the inventions are benign. Ada’s deployment against the Master of a device probably inspired by Jacob Perkins’s steam machine gun emphasises Ada's independence of character, but perhaps anticipates the devastation which she is about to visit in the Paris of 1943. This is historical Doctor Who for the internet age, which assumes that viewers will be on their phones looking up not only Ada Lovelace and Charles Babbage but also the Adelaide Gallery and the inventions exhibited there. (Deeper digging and they might find that Ada was known publicly before her marriage as Miss Ada Byron or Miss Ada Noel-Byron - I’ve not found an example of her being Miss Gordon yet outside this episode’s script...) Perhaps this is intended to encourage viewers to think that the restoration of the Doctor’s hope comes with awareness of its price. The steam gun was supposedly rejected by the British army’s commander-in-chief, the duke of Wellington, for its destructiveness. The Doctor is enthused by and proud to ally with Noor Inayat Khan, but that pride would be lessened if she tried to prevent her capture and death.

These are inferences rather than a description of a cohesive argument, but there’s something about Chris Chibnall’s goals for Doctor Who here. The Doctor becoming a godlike figure who wants to walk the world with the lightest footstep, whose bonhomie conceals an unwillingness to reveal very much about her background and abilities. In this series, perhaps, rather like the Ninth Doctor in much of Series One, the Doctor will be primarily an enabler and encourager of others and will lead only in extremis. There’s more than a touch of the Tenth Doctor’s ruthless compassion in the wiping of Noor’s and Ada’s memories of the Doctor after they have been trained up to be her assistants; the Doctor talks as if she is restoring Ada’s agency and doesn’t give Ada the chance to disagree. Where the Twelfth Doctor’s liberal paternalism was put in its place by Clara and Bill, the Thirteenth has rediscovered it without awareness of irony. This seems a conservative remodelling of the twenty-first century series, but not necessarily one which has yet proved its worth.

A possible difference between the Tennant and Whittaker Doctors is that where the Tenth always had delusions of godhood, the Thirteenth instead acts on the cracks of light glimpsed even in the darkest moments of cruelty, human or otherwise. I enjoyed the double subversion of the Silver Lady, Babbage’s symbol of the beauty of natural philosophy, first as conduit for the Kasaavin and then as their nemesis. Nevertheless, I felt we didn’t see enough of the prop itself, both to underline its importance to the climax and a symbol of imagination’s defeat of uniformity, whether that uniformity is the light-forms of the Kasaavin or the erased genomes of humanity.

The Master

To many viewers, though, the most tantalising prospect for this episode would have been further exposure to Sacha Dhawan’s Master. His performance didn’t disappoint, from brooding red-lit demon restless at what should have been his moment of triumph, to screaming defeated prisoner in the Kasaavin’s universe. In-between and after were a variety of notes which suggest a clear vision for the character, someone who needs to feel dominance but is less happy that they also require pity. The sequence at the Adelaide Gallery, where the Master compels the Doctor to kneel and call him Master, only for him to end up on the floor too, set this up well. The demonstration of the Tissue Compression Eliminator and the curious reference at the Eiffel Tower to ‘Jodrell Bank’ (we presume we know the story that we are meant to think of, but of course the Doctor and the Master have never been seen to meet at Jodrell Bank…) suggest a Master who is ‘doing classic’, but despite the absence of overt references, there are through lines to the twenty-first century too. The outfit in which the Master recorded his message to the Doctor is promoted outside the narrative with photographs which suggest that this purple-jacketed look is now his definitive costume. Its colours and texture owe a lot to Missy’s wardrobe. However, the contemporary resonance is more important, the cut of the trousers is reminiscent of the Doctor’s culottes and something about the whole mirrors the Doctor’s clothes in general. Whether this larger-than-life, very emotional outfit enhances or diminishes the visual impact of the Master as a threat remains to be seen.

The Master’s appearance in the Second World War perpetuated the idea of him as a chameleon who can prosper malevolently in a range of environments, reintroduced in the previous episode. His embedding in the Nazi regime, however, raised questions of false equivalence - is it too easy and lazy a shorthand to present the Master as a Nazi? - and led to the unnecessary decision for the Doctor to use the race ideology of the Nazis against him. I am with the commentators who think that the Doctor using the Master’s appearance against him was a misjudgement, and undermines the Paris segment’s force.

Blowing up the world (again)

The travels of Graham, Ryan and Yaz - plain-speaking, practical and a team, and worth watching as a group - serve adequately to keep the Daniel Barton half of the conspiracy in focus. Any warmth towards Barton generated by Lenny Henry’s psychopathic-millionaire-next-door performance is demolished by his callous murder of his mother; Barton is far less personally needy than the Master, and potentially the more challenging villain. More important for the episode, and the series going forward, must be the three friends’ re-evaluation of their relationship with the Doctor. How far something needs to be repaired after the Doctor’s part-explanation of where she comes from, without the Master’s revelation about Gallifrey’s destruction at his hands and his reasons for doing so, will be something for subsequent episodes. Destroying Gallifrey again can be defended in terms of restoring the essence of Doctor Who in folk memory terms; the audience who grew up watching the series this century presumably remember Gallifrey as being absent and so a familiar scenario is brought back. However, this storyline risks Doctor Who seeming to run backwards. Nevertheless, the telling of the story was well-planned with rich visuals of a ruined Capitol and depressive TARDIS interior. If this indeed sets up a Timeless Child arc for this series - and it would be strange if it didn’t, though audiences were wrongfooted last year - then the decision to destroy Gallifrey (less totally than seemed in 2005-13, admittedly, though the presumably radioactive shell of a city is a nod towards the Hiroshima which indirectly followed Paris) will be justified by how successfully this arc plays out, and by what follows it.

Spyfall Part Two works by pace and suggestion. It’s less breakneck than Part One, assembling a series of set pieces which largely impress, but they also encourage a reflective mood which the episode doesn't entirely reward. The Doctor's statements of faith in hope and humanity might convince less in dark places, though this surely wasn't the intention. However unlikely the idea of using humanity as cloud storage (leaving aside whether this notion is scientifically feasible, surely all life on Earth could have been used in this way instead, just to increase the apocalyptic stakes), the episode still calls for people to be like Ada and Noor and be more aware of how they use technology, and not to do evil when they do unlike Daniel Barton. It’s a conscience-raising homily for complicated and unhappy worlds, both ours and the fictional inner life of the troubled Doctor.

Written by Chris Chibnall
Directed by Jamie Magnus Stone
Executive producers: Matt Strevens and Chris Chibnall

Starring Jodie Whittaker
Bradley Walsh, Tosin Cole, Mandip Gill
Sacha Dhawan, Lenny Henry, Stephen Fry
Shobna Gulati, Ravin J Ganatra 
Bavnisha Parmar, Buom Tihngang
Sacharissa Claxton, William Ely, Darron Meyer
Dominique Maher, Struan Rodger

A BBC Studios production for BBC One
First broadcast on BBC One, Wednesday 1 January 2020
Running time: 59 minutes 45 seconds (source: BBC iPlayer)
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So, Chibnall-Strevens-Whittaker Phase Two begins, and the initial signs suggest that those of us who wondered whether Chris Chibnall and team were playing a longer storytelling game than we were used to might have been on to something. This episode is presented as part one of a two-part story, but the change of setting and director next episode suggest an opening out rather than a wrapping-up. Spyfall: Part One ostentatiously reconnects Doctor Who with its mythology, while keeping faith with the viewers the 2018 run hoped to engage through its minimal engagement with its pastIt’s presumptuous to make such a statement, of course, but part one of Spyfall might be looked back on as a transitional episode, bridging a lighthearted, uncomplicated, even disengaged Doctor Who with a series where the stakes are apocalyptically greater. This might seem a little unfair; after all, the fate of the universe was brought into question in The Battle of Ranskoor av Kolos. In that case, though, the threat to the fabric of reality was incidental to the villain’s plan; T’zim-Sha wanted revenge on Earth, while this episode’s villains - if we can take them on trust, which is questionable - want to conquer the universe. Our reality is being deliberately overwhelmed by external forces (the Kasaavin? Or is this an individual being’s name? The cast list is unclear and the episode gives us no guidance) which we can’t see unless they choose, which feels comfortingly and old-fashionedly subversive in its blend of spycraft, optical technology and magic.

It would be misleading to exaggerate the differences between Spyfall Part One and Series Eleven. Spyfall demonstrates Chris Chibnall’s commitment to presenting the Doctor as part of an ensemble of characters. If we assume the audience’s eyes to be those of her friends, then the Doctor is reintroduced as the quirkily mysterious one - the young unorthodox inspector, if we take this as a police procedural - who is responsible for odd happenings. She indulges her own affectations like repairing the TARDIS in an MOT garage as if it were a car, a saccharine note which made me wince. For old hands like (I expect) most of the readers of this review, the Doctor’s declaration that she isn’t remote-controlling the MI6 car seems superfluous - lots of entities in the universe of Doctor Who could have done so. Graham, Ryan and Yaz have by that point been reintroduced with the slightly obvious tooling of the skilled craftsman. Their backgrounds are expanded a little in a manner which was missing from the last series. However, even after several tours with the Doctor, they still seem slightly naïve travellers, as if the Doctor has played too much to the conceit that she is always in control of their environment, putting on a show as an expanded, interactive version of the illustrated lecture at the end of Rosa. 

In response, Spyfall returned to one of the mantras of the Russell T Davies era - the Doctor can’t necessarily keep you safe, and if you travel with them you need to look to your own resources. The Doctor sending Yaz and Ryan on an espionage mission has something of the school exercise about it.  At least one of the pair lacked confidence in their abilities, and their conversations during their nighttime raid on Daniel Barton’s office as they respond to their predicament in contrasting ways lend their characters some weight. Developments to come will tell whether they can convert loan into purchase. Both of them, and the Doctor, are out of their depths in a way not seen in this period of the series so far. Ryan performs best in the Barton raid, even though it goes badly wrong, because he is most conscious of his underpreparedness; the Doctor ends up worst in the episode because her assumptions about her role as seen in the last series don’t prepare her for this. The Australian security agent who told the Doctor to go and do her job and let the agents do theirs also anticipated the worst in a way the Doctor does not. The episode convincingly leads the Doctor of hope into a position of isolation and despair.

Both outside the narrative and within it, Spyfall was an episode of homages, and this made perfect sense. Revisiting old plot devices and images drew both on Chibnall’s precedent for revisiting old Doctor Who ideas in new contexts - such as the shrunken planets held in status in The Battle of Ranskoor av Kolos, which didn’t hide its debt to The Pirate Planet - but in hindsight might have suggested to the audience that there was an author of a story within the story who wanted their genius to be recognized. O seemed to be a calmer version of the in-universe security service Doctor fan, but one who sublimated his obsession behind professional cool. Once the plot was revealed as a set-up, I enjoyed explaining the episode to myself as an elaborate piece of fan fiction, with its nods to The Invasion and Tobias Vaughn, the gradual materialization of the Vardans in The Invasion of Time and the Cybermen in Army of Ghosts, with Barton’s backstory perhaps being a comparable fiction to the successful creation of a history for Harold Saxon in The Sound of Drums. As a creation of the Doctor’s greatest admirer, O himself is a studied hybrid of several people we’ve met before. As well as fitting into a tradition of UNIT operatives like Malcolm and Osgood, he offered to give Graham a tour of his files on the Doctor much as Clive gave Rose. James Bond exists in the Doctor's universe (cited, to my immediate recollection, in Robot) and the Master has surely been reading Ian Fleming or watching the films, as the Doctor and friends are led into the Bondian locale of the casino - or, appropriately for the story’s artificiality, a house party pretending to be a casino - before a chase scene across an exotic locale. (Yes, I think I’d assume I was playing Snap too, and the Doctor would deliberately do so out of sheer love of the childlike frame of mind.) I’m told there are nods to John Le Carré too, and X-Files fans were charmed and alerted by O’s borrowings from Fox Mulder. 

As I’ve mentioned the character now, O of course turned out to be a persona performed by the Master, and playing the Master was Sacha Dhawan - carefully edited from prepublicity pictures and missing from cast lists. I suspect that on further viewing, I’ll enjoy Dhawan playing the Master as an actor within his own scenario in this episode, as much as I enjoyed Dhawan’s O. Dhawan has a very expressive face and he moved from starry-eyed innocence to hellish malevolence with shocking ease, while filling all the levels of ambivalence in-between as we saw both the Doctor’s prize correspondence course pupil whom she wanted to indulge, and hints of unsavouriness and narcissism within - “Oh, God,” indeed. Dhawan was in those final moments a huge contrast with Lenny Henry's compelling but laid-back everyman millionaire villain Barton. I was reminded somehow of this era’s most vindictive and possessive fan critics too, rejecting this version of the series as false Doctor Who just as the Master insists everything the Doctor knows is a lie.

Cinematography seems to have lifted again this series, with some stunning composition throughout, not only on Earthly locations but in the studio-based unplace to which first Yaz and then the Doctor are transported. The imagery helps tease an expansion of Doctor Who’s cosmology. With the audience familiarized with multiple realities by His Dark Materials, it might be time to explore parallel worlds again and find new stories to tell. The Master is an unreliable narrator, but at the end of the episode he’s the nearest to an authority we have, and he is telling the Doctor that everything she - and we - know is a lie. How deep do the foundations go, and what use are they if built on shifting sands? Just how many narratives has the Master built up over time, so that there are always several traps sprung for successive versions of the Doctor? For previous Doctors, a helpful shop assistant working through Clara (The Bells of Saint John, Death in Heaven); for this, a best WhatsApp friend. This Tissue Compression Eliminator-using Master harks back to elements of the twentieth-century Masters not seen before in the twenty-first century, and while Jodie Whittaker’s delivery of “You can’t be” can be heard as someone struggling to accept that the work of their previous life was for nothing, I’m not surprised that many speculate that the Dhawan Master is from an earlier point in the Master’s personal history than any Master we have seen so far since 2005. 

At the cliffhanger, the Doctor is presented as trapped in an alien environment which is at once brain, computer, engine, forest, metafictional Stranger Things-like Upside Down and C.S. Lewis’s Wood Between the Worlds from The Magician’s Nephew, with something of Doctor Who’s own Matrix. The question is, of course, not whether she will escape, but how quickly and how interestingly. Both the questions the Master poses and the many possible meanings of this otherworld offer a host of avenues for the inevitable escape. Spyfall Part One repeated many familiar devices and routes, but reliability is not to be scorned. As the episode’s dedicatee (and how fitting was the use of Futura in the captions) once told an audience, clichés are clichés because they work. It’s how you use them that matters, and the episode acquitted itself capably.

Writer: Jody Houser
Artist: Roberta Ingranata
Colourist: Enrica Eren Angiolini

49 Pages

Published by Titan Comics -  November 2019

Christmas Specials may no longer be a major part of the TV series, but Doctor Who can't completely escape the holiday. Titan Comics has decided to fill the void by offering up its own holiday story featuring the Thirteenth Doctor and her cohorts.

The gang is plotting their next trip, but when they discuss the possibility of a carnival or amusement park, they recount the last time they made such a trip, but their memories don't line up at all. They each have their own version of what happened on a certain trip, and the Doctor needs to know why.  So they head off to investigate.  It takes them to a planet they don't recognize but based on their encounter with a being from that planet they had been there before.  And this leads them to a castle with Santa Claus who has nutcracker robots or something.  They are jailed for calling him Santa though. 

It's only the first half of the story, with the second half to be resolved in the next issue.  It's a fine set up, but Santa Claus has certainly been covered in Who of Christmas past (both on TV and in the comics of yesteryear). While it is nice for those missing the Christmas Special to have something, even a comic, to fill the hole...I can't say I am terribly bothered by the loss of the Christmas special.  I always enjoyed them, but the show was clearly scraping the bottom of the barrel when it came to Christmas themed episodes. They did 13 of them, and I think the theme had run its course. The Doctor can't always bump into an adventure with killer Christmas Trees, Robot Santas, evil Snowmen...or just get lazy with it and call the town Christmas just to get it out of the way.  I'm fine with the show moving on.

That all said, this is so far a decent start to the story, and I am hopeful that for once this team manages to end a story and not rush to the ending. 

Writer: Jody Houser
Artist: Rachel Stott
Colourist: Enrica Eren Angiolini

30 Pages

Published by Titan Comics Septembet 2019

The Cosair storyline wraps up in Issue Twelve of Titan’s Thirteenth Doctor comic book. I can’t say I’ve been enamored with this story. The Cosair has felt like such a cliche. And while there was some interesting ties to earlier stories with the re-introduction of the Hoarder...it all wraps up so fast it felt rather lame. I will spoil the ending, so read no further if that worries you...but my main recommendation is that this story isn’t worth it.

The Doctor and the Cosair are in a cell discussing their predicament and their life choices. After a heart to heart, the Doctor frees them with the sonic (she waits until the heart t heart is over to admit she can do it). They then rescue the companions, who seem to be hanging in a birdcage below the Cloud City from “The Empire Strikes Back.” Then just call up the Time Agents from earlier stories who arrest the Hoarder. That it. He is arrested and the Cosair sails off in her Space Sailboat.

It feels like they have some intriguing set ups in the Thirteenth Doctor book, but the endings always feel rushed and underwhelming. This story has felt especially underwhelming. It’s a shame because they’ve got great art and the voices of these characters nailed...but the storytelling has left something to be desired.

Writer: Guy Adams, Gemma Arrowsmith, & Dan Starkey

Director: Ken Bentley

 

Featuring: Neve McIntosh, Catrin Stewart, & Dan Starkey

Big Finish Release (United Kingdom)

Released October 2019

Running Time: 4 hours

The Paternoster Gang returns for their second boxset, titled Heritage 2. So far I’ve not really latched onto any real theme or links between the boxsets or even any episodes, so why they’ve subtitled it Heritage, and even gone so far as act as if this is a sequel to the first set, I have no idea. They don’t need to be linked, just release a boxset of random adventures, who really cares?

This set I overall found less interesting than the first. The opening story (Dining with Death) was especially drab. It felt so bog standard. A couple of warring alien races who despise each other trying to find some sort of diplomatic solution, and somehow Madame Vastra becomes their mediator. The two races feel vastly different about everything! What one finds mormal the other finds appalling...how will they find common ground. I’ve forgotten most of the details already.

The second story, The Screaming Ceiling, I found to be the best of the set. It has a creepy old house that may be alive and eating people. Not too far from feeling like fairly standard Who fare, but it was well executed at the very least.

The set concluded with a story about the legend of the titular Spring-Heeled Jack. A man or creature from British lore that had batwings, spit blue fire, red glowing eyes, and could leap higher than most men. It’s exactly the sort of legend you expect Who to explore. In fact it has in and Eighth Doctor comic from Doctor Who Magazine. I’m surprised the show proper has yet to dive in to it. That said I have been indifferent to both takes on it so far, so maybe it is better left alone.

Overall, I wasn’t that impressed with this set. When the first set came around, I worried I’d find it uninteresting, but the characters were so charming it earned my recommendation. This second set has done the opposite. I went in expecting charming characters that would hold my interest, and came away completely indifferent. Also, why they are pretending there is some arc with the boxset’s subtitle is beyond me.

Written By: Lou Morgan
Directed By: Lisa Bowerman

Featuring: Naoko Mori (Toshiko Sato), Hugh Skinner (Sebastian Vaughn), Lucy Robinson (Madeline Vaughn), Alex Lowe (Roderick)

Released by Big Finish Productions - September 2019
Order from Amazon UK

“Are you willing to die for Torchwood, Ms. Sato?”

It is a truth universally acknowledged, that every single Torchwood story in possession of common sense must be in want of a good Toshiko Sato. 2016 saw Zone 10 showcasing the intrepid scientist’s wilder side on a Russian-bound spy mission, followed by 2017’s Cascade testing her hacking prowess to its breaking point, 2018’s Believe delivering one of Naoko Mori’s most disturbing adult sequences and that year’s Instant Karma subsequently plunging her headfirst into the unnerving world of populist political entitlement. As such, this reviewer’s expectations heading into The Vigil, Big Finish’s thirty-first Main Range entry and Mori’s third solo outing, were always going to ascend higher than most releases.

Returning Torchwood writer Lou Morgan’s narrative premise certainly sounded like a winner too: flash back to Toshiko’s early days at the agency, even before Gwen Cooper’s arrival on the scene in “Everything Changes”, to depict the defining moments which drove her to realise her true potential and become amongst the TV show’s most adored protagonists. And the catalyst for this transformative epiphany? One Sebastian Vaughn, a hitherto unknown teammate of hers whose attitude towards his colleagues, work-life balance and social privileges soon came to define Toshiko’s own career – both during his mortal lifespan and, as will become apparent from the play’s opening moments, beyond his untimely demise.

For a play whose immensely accomplished lead star and intriguing set-up hold so much premise, the end product’s more of a mixed bag than hoped, largely due to issues with structural and tonal familiarity that we’ll discuss in a bit. Let’s stick with The Vigil’s merits first and foremost, though, since – as ever with Torchwood’s Big Finish output – plenty of praiseworthy elements rear their heads here. Least surprising of the bunch is Mori’s trademark sterling work as Toshiko, whose journey from a conscientious worker whose self-doubt gets the better of her (particularly with Vaughn’s arrogant, oft-prejudice dismissal of her dedication) to the kernels of her heroic latter self is played out in elegant form via the script and her performance alike. The subtlety with which Mori has her beloved character dejectedly brush off Vaughn’s racist / sexist asides; the gradual transition from compassion for Vaughn’s grieving mother at their family home to disdain for her feeding Sebastian’s self-righteousness; the brutal severity with which she’s forced to distinguish humanity and inhumanity as events crescendo – all flourishes which the Humans and Patrick Melrose thespian takes in her stride to remarkable extents.

What’s more, The Vigil heralds a reunion for Mori not with one of her co-stars from the original series, but instead a fellow member of the jam-packed Mamma Mia! Here We Go Again ensemble (wherein she starred as Yumiko last year). Fresh off his always scene-stealing work as Fleabag’s hapless ex-boyfriend Harry, Hugh Skinner makes his evidently long-overdue Torchwood debut here as young Sebastian. Director Lisa Bowerman chortles in the audio’s behind-the-scenes tracks when recalling how she insisted to casting agents that the search for a “mansplainy, just horrendous” performance was “no reflection on [their] client[s]”, yet Skinner doesn’t half sell the façade. He’s by turns brazenly impatient towards Toshiko’s pre-mission preparations at one point, oblivious as to the circumstances which bring about homelessness at another, painfully unapologetic in his medieval cultural stereotypes and only remotely vulnerable when anyone dares question his worldview, with Skinner’s conviction in each aspect fully enshrining Vaughn as the epitome of toxic masculinity.

Yet Eurythmics’ old saying goes that “behind every great man, there has to be a great woman”. It’s a sentiment which rings inversely true for Sebastian (a man as far from greatness as they come)’s relationship with his similarly flawed mother Madeline, so blinded by notions of patriotism, familial duty and societal superiority that it takes her son’s death to see their emotional fissure and how their egos, not Torchwood, sealed his fate. Just as Skinner hilariously depicts Vaughn’s egotism to toe-curling effect for the listener, so too does Robinson’s portrayal of Madeline succeed in revealing her numerous scarred dimensions, her voice initially channelling complacency and acceptance of Sebastian’s destined place in the Vaughn crypt, only for her all-too-belated yearning for a second chance with him to seep to the fore with pitiful desperation once proceedings inevitably go south.

For this reviewer, the operative word in the previous sentence was “inevitably”. Many of the best plays in the theatrical medium succeed thanks to dramatic irony, forecasting their respective endgames as early as the opening lines of dialogue (see Romeo & Juliet, Blood Brothers or more recently Hamilton for all of the necessary evidence), so perhaps that iconic technique prompted Morgan to render the Vaughn debacle in such a manner that listeners could predict Sebastian’s key mistakes, Madeline’s deceptive apathy and their overall trajectories from the outset. If that’s the case, though, with the aim being to convey a simple tale of how destructive familial and societal nepotism will only breed tragedy, then The Vigil might’ve been better suited to a collection of Torchwood 30-minute vignettes along the lines of Big Finish’s Doctor Who: Short Trips range, since the narrative doesn’t seem to have a great deal to say beyond showcasing the aforementioned damage wrought by such self-serving behaviour while the likes of Toshiko strive to be better. Such issues undeniably warrant discussion across all mediums in 2019, especially in the form of tragedies, but shows like The Good Place and BoJack Horseman are going further right now wrestling with the complexities of morally abhorrent individuals still existing within our lives. Vigil, on the other hand, seems content to put a clear footnote on a far more enduring social challenge.

Maybe that’s simply down to the Main Range format more than anything else – there’s only so much any writer can achieve in a single hour of audio drama, not least when Torchwood by its nature demands the integration of sci-fi elements like the alien leeches which plague Toshiko and Sebastian on their missions together here. All the same, past solo instalments like Uncanny Valley, The Last Beacon or indeed Cascade skilfully blended their more outlandish elements – clones, underground alien signals and sentient viruses – with intricate themes of identity, childhood nostalgia and the shades of grey involved in digital spheres, each packing enough twists to ensure their central message didn’t render the storyline as a whole too predictable. But if The Vigil represents even a stepping stone on Morgan’s path to the Big Finish Hall of Fame, then that she and Bowerman rounded up such a superb set of lead performers to delve into a challenging subject matter bodes promisingly indeed for her oncoming Torchwood output. Who knows - someday it may become a truth universally acknowleged that every Toshiko-led release must be in want of Lou Morgan...