The Lives of Captain Jack Volume 3 (Big Finish)Bookmark and Share

Sunday, 21 June 2020 - Reviewed by Tom Buxton
The Lives of Captain Jack: Volume 3 (Credit: Big Finish)
Written By: Guy Adams, Tim Foley and James Goss
Directed By: Scott Handcock
Starring: John Barrowman (Captain Jack Harkness), Alex Kingston (River Song), Camille Coduri (Jackie Tyler), Jacob Dudman (Snorvlast), Paul Clayton (Pilot), Samantha Béart (Passenger), Jonny Green (Passenger)

Released by Big Finish Productions - March 2020
Order from Amazon UK

Try as they might to mine all of Captain Jack Harkness’ infinite timeline across their various Torchwood ranges, Big Finish have in reality barely scratched his impeccably chiselled surface over the past five years since 2015's The Conspiracy. Therein lies the thrill of their three-strong The Lives of Captain Jack range, though – shifting their focus away from his ongoing exploits (and surrounding cast ensemble) in Cardiff / Victorian London affords them ample opportunity to explore Jack’s other unseen life experience, be it during his early stint in the Time Agency, his centuries spent on Earth awaiting the Doctor’s return, or even his donning another Doctor’s rainbow coat instead. The possibilities for fresh stories are quite literally endless, albeit their frequency governed by John Barrowman’s ever-densifying work schedule.

This time around we’re privy to three delightfully eclectic adventures in the good Captain’s eternal lifespan, each of which showcases the fleeting but treasured friendships which he ignites with undervalued mothers, overexaggerated fiends of myth and an unlikely equal alike. True, there’s still plenty of ground for Big Finish to cover beyond what Volume 3 achieves in the space of three hours (and indeed what its two predecessors cumulatively managed in six); as will become apparent below, though, its riveting contents can surely offer copious escapist entertainment to while away some lockdown time – a welcome prospect indeed given how our global predicament has justifiably limited other means of escapism of late…


“There are other people on the Estate, some of them call themselves friends. But you wanna know how to be really invisible? Be a widow, be single, be alone – people hate that.”

Amongst Big Finish’s greatest strengths as storytellers in the Doctor Who universe has always been their ability to transform lesser-seen characters from the TV shows into well-rounded protagonists (or antagonists) with every ounce as much psychological depth as the Doctor, his companions or most notorious rogues. Take Jackie Tyler: although Russell T. Davies wisely found time in Rose’s Earth-bound storylines to glimpse her mother’s loneliness sans Pete and growing fears over her daughter’s survival amongst the stars, the relatively fleeting nature of her screen-time meant that we as viewers only formed so much of a lasting attachment before zipping back into the TARDIS to other places and times.

Enter Volume 1’s more introspective entry “Wednesday for Beginners”, which simultaneously afforded us far greater insight into Jackie’s social isolation (now all the more topical for us as listeners, of course!) while revealing that she and Jack struck up something of an electric rapport in Rose’s absence from the Powell Estate. That storyline naturally opened the door for future NSFW romps between the pair, so it’s a wholly welcome development to see Guy Adams kicking off Volume 3 with one such reunion, albeit in a rather different setting. Whereas previously Jackie hosted Jack at her Estate, now she’s joined him for an intergalactic luxury cruise…only to instead find herself aboard a tightly-packed replacement bus, rife with murders and passengers who’ll glare down anyone making a single noise.

If this discomforting public transport experience sounds at all familiar, then the aptly-named “Crush” and its scathing (anti-)social satire should lie right up your metaphorical street. Presumably Adams himself must’ve stood in one too many claustrophobic, headphoneless-tablet-laden, kindness-devoid carriages prior to pitching his latest Big Finish script, since this often depressingly realistic outing perfectly captures the constrained huddling, torturous suspense as to who’ll emit the next sound and yearning for oft-absent human connection – all sensations felt by the passengers and drivers alike, in fact. Indeed, his script takes remarkable pains to ensure our empathy with each apathetic party aboard the vessel, forcing listeners to question their own assumptions regarding fellow travellers’ mindsets (e.g. their religious beliefs or mental welfare) in a way that many other less confident playwrights mightn’t dare broach.

Anyone who’s heard Paul Clayton’s work at Big Finish to date will already attest him as an ideal frontman for such a biting social commentary’s supporting cast. Better known to us as Mr. Colchester in the post-Miracle Day Torchwood audios, Clayton gets to put his trademark sardonic wit to altogether different use here as the bus’s altogether indifferent robot driver, pitching him as constantly a deadpan automaton to marvellous (or perhaps Marvin-lous for Hitchhiker’s Guide fans) effect whatever the character’s dialogue. Keep an eye (or ear in this case) out too for cameos from some other Torchwood audio regulars like Samantha Béart and Jonny Green, whose voices you might just hear among the passengers as they start to pipe up later on in the narrative.

But by far the most effective aspect of “Crush” – ironically for a Lives of Captain Jack yarn – is how effectively it validates Jackie’s return to the franchise. As ever, Camille Coduri effortlessly recaptures her character’s ludicrously inappropriate humour, brash ignorance of social etiquette and volatile temper 1.5 decades on from her TV debut. And more impressively still, she’s fully embracing of the more vulnerable direction in which Adams strives to take Jackie as the hour progresses – her charmingly bubby delivery seems in many ways a façade to mask the still-painful trauma wrought by losing Pete to death, her daughter to the Doctor and her friends to their inability to comprehend widowhood. By striking this extremely taut balance between her long-running construct’s brazen exterior and the all-too-familiar self-doubt lying just beneath the surface of his psyche, Coduri crafts a truly engrossing performance, one sure to impact the average socially-distancing commuter just as much as it does a listener struggling with their own personal challenges.

All of this isn’t to say that Adams’ instalment lacks any scope for improvement whatsoever; certain sound effects might’ve benefitted from more focus to ensure our full immersion – for instance, distinguishing a set of near-silent deadly projectiles regularly fired at passengers from the vessel’s general hubbub often proves easier said than done. Yet as is so often the case with Big Finish’s productions, those qualms seem borderline irrelevant when put into the wider context of a thoroughly compelling first instalment like “Crush”, hence it’s still earning our full endorsement.

“Mighty and Despair”:

“Okay Persis – if you’re not about to kill me…”

“Never, your majesty!”

“Then the stories better be true. Let’s find this hidden planet – let’s find this Captain Jack.”

A lot of our experiences with the aforementioned Captain to date have admittedly taken the form of 19th-21st century narratives – primarily since the Torchwood Institute only started life in Victorian times and its eponymous Doctor Who spin-off centred on his team’s present-day missions. But Tim Foley’s ambitious contribution to Volume 3, in stark contrast to its 2000s space bus-based predecessor and timeline-hopping successor, plunges headfirst into uncharted territory, instead jumping forward to confirm that Jack’s fears (as expressed in “Last of the Time Lords”) of someday exhibiting “the odd grey hair” were wholly warranted. There will come a moment when this aesthetic bastion’s age starts to show, his boisterously fun-loving lifestyle gives way to that of a reclusive hermit and his (literally) undying capacity for hope fades into bitter resentment after losing everyone dear to him. It’d take a miraculous series of events involving warring royal siblings, unrequited romance or festive hijinks to restore our hero to his former glory – and even then that mightn’t prove enough.

What better moment could there be, then, for a deposed vampiric queen and her faithful servant to crash-land near Jack’s extraterrestrial temple in the hope of finding salvation, not to mention for us to hit Play amidst our already-demoralising real-world challenges? Thankfully there’s much more in the way of inspiration and solace than moroseness here for lockdown listeners, Foley’s uplifting tale quickly demonstrating how our bonds with friends, family and strangers alike will ultimately give us the strength, compassion and determination to see out any challenge. This rather timely notion manifests with particular poignancy via a brilliantly-paced Christmas montage in Act 2; over the course of decades, we gradually see Jack (whose voice Barrowman imbues with touching self-pity, misplaced venom towards vampires and world-wearied wisdom), said monarch Carla (whose resounded defeat Jessica Hayles subtly transitions into long-forgotten warmth) and her aide-turned-admirer Persis (portrayed with earnest yet defiant aplomb by Joanna Van Kampen) ease their joint exile by rediscovering the joyful spirit, generosity and love inspired by December 25th. “Halfway out of the dark” indeed.

If anything, “Mighty and Despair” would’ve thus easily justified Volume 3 releasing around the festive season last year (rather than a mere two months ago), although its clear message of hope’s triumph over near-endless adversity equally couldn’t have come at a much better instance than the current global circumstances.


“Dearly beloved, we are gathered together in front of the Holy Modem to witness the union of Captain Jack Harkness and River Song.”

So it’s finally time. Time for the titanic crossover which fans have demanded ever since both iconic characters made their debut in modern Who. Fighting in the left corner: the Boeshane Peninsula’s most renowned Time Agent recruit. In the right corner, newly resurrected: Klom’s most renowned entity-consumer, the Abzorbaloff hims-

What’s that? Only this reviewer craved such an epic confrontation, whilst everyone else yearned for Jack to cross paths with the Doctor’s wife instead? Fair enough, then – fortunately Volume 3’s final chapter centres on precisely that collision course, with James Goss doing justice to the long-awaited event in a manner only possible for a scribe of his immense calibre. Most crossovers are usually content to simply provide a zany caper for their subjects to blaze through, all the while carrying no lasting effects for their respective character arcs; Goss’ stupendous “R&J”, however, takes quite the opposite approach, exploring events from throughout the two near-eternals’ Who timelines where we’d never have previously guessed the pair would clash. From Jack’s earliest encounters with the Ninth Doctor to River’s regular dates with his successors, from the Torchwood Three leader’s darkest hours to Melody Pond’s desperate stabs at happiness and agency in a chaotic pre-determined timeline, virtually no stone is left unturned over the course of the hour.

Of course, as satisfying as these call-backs might be and as vividly as the various worlds (from lively markets to hauntingly silent wastelands) are rendered by the sound design team, a mere greatest hits tour would likely start growing old fast. Yet our assured playwright abundantly recognises that risk from the outset, hence his remarkable endeavour to turn each chance encounter between our (anti)heroes into a key cog in their joint character study. For every madcap prehistoric race atop dinosaurs, there’s a personal discussion of immortality’s shortcomings (as Jack espoused in “Mighty and Despair” too); for every war over the Doctor’s affections (or his survival amidst River’s attempted assassinations), a more grounded debate over whether his reckless lifestyle of “never looking back” is a healthier match for River than the (comparative) normality offered by a romance with someone living day-to-day-to-century like Mr. Harkness. Such is the profound emotional resonance and relatability struck up between these oft-outrageous constructs here that you might genuinely find repeat viewings of the “R&J” coupling’s respective TV outings informed, nay enhanced by the extra context; that’s something which can rarely be said of the more high-octane crossover events in comics or any medium, regardless of whether or not they’re “the most ambitious of all-time”.

As for our esteemed leading performers, from the outset you can tell that John Barrowman and Alex Kingston - effectively gifted a two-hander to do with as they so please a la “Heaven Sent” - must have had an absolute riot with this one in their respective recording studios (though goodness knows how Jacob Dudman kept a straight face on supporting duties, since the behind-the-scenes tracks reveal that he read Alex’s lines whilst working alongside Barrowman!). Bringing their undisputed charisma to hilarious standoffs with scorned lovers and each other alike, the pair equally evoke pathos aplenty in their honest deliveries of grief amidst loss (striking a chord all too poignant in these times), yearning for true requited love and contemplation of roads not taken as millennia pass them by. Doubtless both will continue to appear in their own Big Finish ranges going forward, as well as making cameos elsewhere on occasion, but were this to mark their final collaboration, then these two rightly-adored thespians – not to mention Goss – could still rest assured that it’s among their finest work to date, as indeed is Volume 3 for everyone involved with this spectacular audio trilogy.

Doctor Who: Shadow of the Sun - The Fourth Doctor Adventures - Big FinishBookmark and Share

Saturday, 13 June 2020 - Reviewed by Matt Tiley
Doctor Who: Shadow of the Sun  (Credit: Big Finish)
Tom Baker - The Doctor; Louise Jameson - Leela
John Leeson - K9
Barnaby Edwards - First Officer Hix/ Autopilot
Paul Herzberg - Dr Zorn; Glen McCready - Captain Brandis
Fenella Woolgar - Lady Mailina Rigel-Smythe
Cover Artist - Simon Holub; Director - Nicholas Briggs
Music - Jamie Robertson; Sound - Toby Hrycel-Robinson
Written by Robert Valentine

Danger, Mistress. Danger!


After an accident, the TARDIS lands on a luxury star-liner. Leaving their ship to repair itself, the Doctor, Leela and K9 find themselves facing a great terror: mingling at a cocktail party.

Something seems awry behind the pleasantries, however. Guests are going missing, and equipment is breaking down. When the Doctor investigates further he discovers that the star-liner is literally on course for disaster.

But no-one seems surprised by this information, still less troubled. What’s going on? And can the Doctor and his friends save everyone... when nobody wants to be saved?


Doctor Who: Shadow of the Sun is another little gem that has been born out of the nastiness that is Covid 19. The story was originally planned to be released in 2024, but was brought forward and recorded entirely in lockdown - which goes to show that even if you are working for Big Finish, you can still work from home. It also raises the question of exactly just how many Tom Baker recordings are in the can already? A fair few I'd wager.


The story is classic Who. The TARDIS is out of action, and we find the Doctor, Leela and K9 on a luxury star-liner, where everything is cocktails and civility, or at least that’s how things seem…..but scratch the surface and you will discover a cult with a death wish. Everyone onboard believes that at the heart of the sun is a tranquil paradise. The star-liner is on a course for our sun, and the passengers and crew are blindly hurtling towards certain death. It is of course, down to the Doctor, to try to talk some sense into them all.


I'm delighted to say that although he may now be working in solitude for this, Tom Baker is on absolute top form. It never ceases to amaze me that after all of these years,  he still owns this role. I'm always thankful to Big Finish for keeping this national treasure gainfully employed. Louise Jameson and John Leeson play the companions to perfection, and are both given plenty to do as the narrative unfolds. An honourable mention must go to the Dalek operator and voice actor Barnaby Edwards, who actually plays two roles in this story, the most memorable being the delightfully sinister, yet chirpy star-liner autopilot. 


As mentioned before, the story is classic Doctor Who. Writer Robert Valentine embraces the fourth Doctor's era with gusto, and has created a fast paced two part story, which, with its cult undertones would have fitted well in Philip Hinchcliffe's tenure on the show. 


For me, Shadow of the Sun was an instant classic. go listen to it now. 

Doctor Who: Shadow of the Sun is available from Big Finish HERE.

The First Doctor Adventures - Volume 4 (Big FInish)Bookmark and Share

Friday, 8 May 2020 - Reviewed by Ken Scheck
First Doctor Adventures volume four (Credit: Big Finish)

Written By: Andrew Smith, Jonathan Barnes
Directed By: Ken Bentley


David Bradley (The Doctor), Claudia Grant (Susan), Jemma Powell (Barbara Wright), & Jamie Glover (Ian Chesterton)

There is something so lovely about the David Bradley-led First Doctor Adventures.  Big Finish has perfectly captured that era.  The pacing is perfect, the tone of the episodes, the music, down to David Bradley’s cadence as the Doctor…it all just oozes the earliest days of the series.  In this latest installment we get two four part tales. The first is a direct sequel to the first Dalek story called Return to Skaro.  The second, The Last of the Romanovs, lands the TARDIS in another pure historical, this time in Russia in the lead up to the Bolsheviks killing the Royal Family and taking over.  

It is an odd thing when Big Finish only has two stories in a set, as is the norm for the Bradley First Doctor series, because they have to choose between leading with their big draw episode, or leading with the more low key historical episode.  They seem to continually choose to start off with the big episode, this time featuring the Daleks, and then ending with the Russian adventure.  As much as it may be harder to draw in listeners with a slower paced historical story, it seems like ending with the big Dalek tale might make more sense. But then again, with only two stories, you can’t have much filler and building a set is a different beast entirely.  I suppose I am just used to the slow build-ups of longer sets.  

That all said the draw of the set is, of course, the Daleks.  And it is a solid adventure that feels like it could definitely be an adventure with the villains set in between the first and second television stories. It is definitely the better of the two adventures in this set.  The second story is decent, and I have a certain fascination with the beginning of the Soviet Union, but it is a classic historical in every sense: it is somewhat slow and forgettable.  It does end on a cliffhanger, with the TARDIS seemingly dead and unable to move on.  

David Bradley’s performance is something I can barely wrap my head around. He doesn’t actually sound anything like William Hatnell.  He also isn’t trying to do an outright impression, but his own interpretation of the role. Yet he nails it.  He just captures the essence of  Hartnell.  He isn’t like The Five Doctor’s Richard Hurndall, who while not awful mostly captured the cantankerous side of the First Doctor.  But Bradley has that spark that made Hartnell so beloved by the children of the 60s. The actors playing the companions also do a fairly good job recapturing their 1960s counterparts (though something always feels slightly off about Susan for me).  

Bottom line: if you love the earliest era of the show, and you have enjoyed the recasted adventures thus far, then you will no doubt enjoy this one too.  

At Childhood's End (BBC Audiobook)Bookmark and Share

Saturday, 25 April 2020 - Reviewed by Ken Scheck
At Childhood's End (Credit: BBC)
Written by Sophie Aldred
Read By Sophie Aldred
Released by BBC Worldwide - February 2020
Available from Amazon UK

It is always interesting when an actor writes a story based on the character they are so famous for.  It can be very revealing about the actor. When Colin Baker wrote a comic about the Sixth Doctor in the 90s, his Doctor was not the cranky know-it-all jerk he was on TV, he was far more reserved and kind...clearly the Doctor Baker always wanted to play was on those pages. William Shatner wrote a series of novels (with the help of ghostwriters) in which his Captain Kirk is written as the greatest guy in the universe who comes back from the dead and can beat up Data.

Sophie Aldred has now returned to the world of Doctor Who with her novel, At Childhood’s End, and it pretty much shows she just gets it.  She sees what worked about her character back in the late 80s, but is not afraid to give her character a ton of growth and maturity (as she is an older version here). Aldred recently made a brief return to the role of Ace in a specially made trailer for Season 26’s Blu-ray release, reflecting on her time with the Doctor while standing in her office for “A Charitable Earth,” her successful charity organization (first mentioned in the RTD penned Sarah Jane Adventures story Death of the Doctor)...and now she has dug deeper into that version of an older Ace, in which Ace gets a chance to reunite with the Doctor, albeit with the latest version.  

Aldred not only knows Ace (and how she would be as a middle-aged woman), but she also seems to be steeped in the confusing expanded universe lore involving the character. Ace is arguably the first of the modern companions, the first to have a real unfolding storyline.  When Doctor Who was put into hiatus following the 1989 season, Ace was still with the Doctor...her story left unfinished. The character then took on a new life in the comic strip, then the Virgin New Adventures novel series really let the character change and grow (becoming some kind of space mercenary), then the comics retconned everything and killed her off, meanwhile, the audio adventures at Big Finish have had their own life and development for over 20 years.  If you dig too deep you find a lot of conflicting ideas of where Ace ended up. She is either a space bad-ass, a spy for Gallifrey, dead, a perpetual teenager, or running a charity on Earth. It’s confusing.  

This story doesn’t dwell on rectifying all of that, and it is better for that, but it does feature Ace (in flashback) with the Seventh Doctor using a machine that shows a variety of these outcomes for her possible futures.  I also feel like there are some deep-cut references to audios or novels thrown in her. I get the feeling Aldred kept up, at least a bit, with the novels or comics that followed her and Sylvester McCoy’s exit from the show. She certainly was involved in the audio stuff. Luckily, while it feels like her story fits in nicely with (or at least compliments) the variety of adventures Ace had in spin-off material, it still stands on its own.  

It is extremely weird to pit Ace against the Thirteenth Doctor.  The thirteenth is so light and happy and utterly different to the Seventh.  He became so restrained, serious, and mysterious...and his little games certainly began to rub Ace the wrong way. All of Ace’s baggage for that version of the Doctor is carried over to a woman who is so utterly different, and it is odd.  But that odd nature is in the book. Ace is weary of the Doctor at all times and clearly is put off by her newer bubbly personality.  


Aldred’s audiobook is extremely well-read. Beyond being able to perform as Ace again, she puts on a variety of voices to keep things interesting.  She nails her performances as the Thirteenth Doctor and her three companions, really capturing their voices. The story is not nearly as interesting as all the character development for Ace...but that development is really good and the closure this story brings to Ace is welcome and makes it all worthwhile. 

Torchwood - Dissected (Big Finish)Bookmark and Share

Monday, 20 April 2020 - Reviewed by Tom Buxton
Torchwood: Dissected  (Credit: Big Finish)

Written By: Tim Foley
Directed By: Scott Handcock
Starring: Freema Agyeman (Martha Jones), Eve Myles (Gwen Cooper)

Released by Big Finish Productions – February 2020
Order from Amazon UK

“There’s due diligence and then there’s…I dunno, the UNIT way.”

“Yeah, whereas you bung a body into the boot of your car, drive all the way to Hereford, ask a friend to do an autopsy on the sly. That’s what – the Torchwood way?”

For the legions of Doctor Who fans who’ve long been craving Freema Agyeman’s maiden Big Finish voyage, their main question was less whether she’d ever frequent the company’s hallowed studios than when her crammed schedule would afford any opportunity to do so. And yet – with the benefit of hindsight – even that might’ve been the wrong dilemma for everyone to contemplate; instead our focus should’ve been on which audio range would play host to her “voice of a Nightingale” first, not least given her beloved modern Who character’s appearance in both the main show and one of its modern spin-off series. Indeed, rather than returning directly into the world of the Doctor (as still seems inevitable), for now Martha Jones is long overdue a reunion with another familiar face from her time-and-space-travelling past – the emotionally-fraught results of which prove utterly spectacular.

Admittedly an initial glance at Torchwood: Dissected’s plot synopsis, with its detail-lite teasing of Gwen Cooper dragging an enigmatic corpse to Martha’s UNIT lab for a late-night autopsy, might lead unsuspecting viewers to expect nought more than a continuity box-ticking fest. Surely writer Tim Foley’s decision to set what should be a landmark Main Range entry amidst Martha’s post-“A Day in the Death”, pre-“The End of Time” days limits his scope, creating clear narrative boundaries in which his script must fit lest it displease the Gods of Canon? Quite to the contrary, though, like any of Big Finish’s most accomplished writers today, Foley unmistakeably perceives the piece’s in-between-quel nature as a creative opportunity rather than a constraint, as evidenced by his script’s cunning transition from a nostalgic retrospective for fans to something far more personal and pivotal for his dual protagonists.

At the heart of our wright’s supreme success in this regard lies his decision to parallel Gwen and Martha’s seemingly short-lived professional friendship with those of anyone who’s vowed to maintain such ties even after moving onto other workplaces. Naturally in the early days you’re intent on keeping in touch via catch-up phone calls, pub sessions and the like, but one missed event here, a handful of other accidentally-ignored voicemails there and before too long, both parties find they’ve moved on in juxtaposing life directions. It’s a wholly resonant social situation which Foley clearly comprehends profoundly; the unspoken remorse and resentment peppered into Martha and Gwen’s dialogue as they examine their deceased subject’s remains starts subtle, only manifesting in offhand apologies for skipped parties or unacknowledged passings at Torchwood Three at first, yet tangibly escalates over time as their now-divergent respective work ethics threaten to destroy any remaining goodwill between the pair. Without going into spoilerific detail, perhaps the most brilliantly apt sequence has our ideologically-bipolar heroines questioning whether their friends haven’t been swapped with alien duplicates prior to this encounter – a cunning moment of dramatic irony given their past identity crises as well as tragicomedy for listeners recalling their similarly overblown reckonings with past workmates.

So there’s all the more pressure on Agyeman and her more Big Finish-savvy co-star Eve Myles, then, to do this poignant extended metaphor of a storyline justice, not least since Foley structures Dissected solely as a two-hander; think “Heaven Sent” but with a more talkative foil for Agyeman than Peter Capaldi’s in 2015. Whether as a result of this pressure or Myles’ format familiarity emboldening them, luckily there’s no sign of doubt whatsoever in either performance. At first the pair seamlessly recapture their characters’ old selves, Myles’ Gwen as ferociously energetic and brazenly commanding as ever and Agyeman’s Martha sternly regimented under her UNIT guise but prone to bouts of earnest sorrow whenever referring to Torchwood’s recent collateral damages. Once the play progresses into the aforementioned more adversarial territory, though, they’re equally capable of running the requisite emotional gamut, the former’s bravado fading to reveal recent events’ psychological damage and the latter’s job-mandated objectivity amidst autopsies in reality a front for her passion and longing to return to her world-saving days. Witnessing this evolution from a bittersweet reunion of old friends to two flawed but determined heroines finding paths forward consequently makes for fascinating listening, easily as compelling as Torchwood’s more high-stakes explosive affairs – if not considerably moreso!

Does the praise-heaping nature of this verdict so far mean that Foley and company have completely sidestepped the chasm-wide trap of filling continuity gaps for gap-filling’s sake that we discussed earlier? Not quite – certainly a key sequence in the tale’s latter stages seems primarily intended to help pave the way for where we find Martha come her “End of Time” cameo, as do some love life references scattered here and there to sate fans wondering what became of her ex-fiancée Tom Milligan in the interim. But it’d be downright churlish to begrudge Foley’s innocuous efforts towards tying up the odd loose end in canon here; much of the joy involved with Big Finish’s Doctor Who franchise output over the years has, after all, come from their freedom to right past missteps like the Sixth Doctor’s regeneration or explore uncharted territory such as the Time War’s infinite battlegrounds. To be fair, so long as said continuity-alignment continues to only supplement releases with such innovative story approaches, universally-resonant messages (amidst their universal conflicts) and deeply intimate, personal performances as those found in Dissected, then frankly that’s an ideal state of affairs which this reviewer can wholeheartedly endorse.

Oh, and notice too Martha’s forceful insistence that Gwen washes her hands thoroughly whilst in the midst of their not-so-delicate autopsy. Yet another didactic message of which every listener would do well to take heed (regardless of their scientific or otherwise profession) in these troubling times of globally-shared strife. Stay safe to that end everyone!

Doctor Who - The Maze of Doom – By David Solomons – BBC BooksBookmark and Share

Saturday, 18 April 2020 - Reviewed by Matt Tiley
Maze of Doom, by David Solomons (Credit: BBC Books)
By David Solomons!
Available from Amazon UK
“I am driver Graham O’Brien of the Stage Coach Sheffield Squadron. I hereby invoke Six – Three – Three – Bravo – Two – Zero – Broadsword.”

An ancient artefact buried deep within the TARDIS leads the Doctor back to London, where a deadly predator prowls the tunnels beneath the city. As the Time Lord and her friends investigate, they uncover a mystery that will take them from a secret mountain base to the depths of the ocean - and if they cannot solve it, one of them will perish.


In order to save her friend, the Doctor must solve the riddle of ... the Maze of Doom!

The Maze of Doom is a new story by David Solomons, author of the award winning My Brother is a Superhero. The suggested age range for this book is seven and up, although it reads very much like a Target novelisation from back in the day.
After finding an ancient artefact in a bag of mouldy jelly babies (guess whose old coat pocket they were found - here’s a clue, a long scarf was on the same hook in the TARDIS wardrobe), the twelfth Doctor, Graham, Ryan and Yaz are thrust into a new adventure that takes in ancient Greece, contemporary London, a Bond like villains layer in Switzerland and the Aegean Sea.
The book is stacked in Greek mythology, that is actually quite educational. Imagine if the legend of the Minotaur had the labyrinth based still in Crete, but on a crashed Nimon ship. There are some great ideas here that are for the most part, very well executed. Stand out pieces include Daedalus telling his son Icarus that “they should get him out of the sun.” (which made me chuckle). There is also a frantic chase in London’s underground that involves a moving (quite fast) giant bronze Nimon statue and our ‘Fam’ that was very reminiscent of The Web of Fear, there is also a massive finale set on a Nimon ship, deep in the Aegean sea.
The book is very well written, engaging and at 288 pages, fast moving. The key characterisations are pretty much pitch perfect – which all results a rather enjoyable read. If I had anything slightly negative to say about the story is that the book can come across as quite continuity heavy. I counted eight references to the classic show in quite a small amount of the book. This is great for us rabid fans, but may put off newer inductees.
The Maze of Doom is available from various outlets from 30th April 2020.