This review contains plot spoilers.

A few weeks ago, 'Kill the Moon' sparked debates about whether Doctor Who needed to get its science right: was it science fiction or fantasy? This week there seems little room for debate: this is surely outright fantasy, from its fairytale roots through to its magical branches and leaves. Rather than gothic monsters there are glowing motes of sentience; in the place of technobabble there are “voices” that children can hear. Writer Frank Cottrell-Boyce is, of course, not only a Carnegie Medal winner for children’s fiction, he was also the writer of the 2012 Olympics Opening Ceremony, where a gigantic tree was uprooted in order to symbolize the industrial revolution’s onset. In short, Cottrell-Boyce is no stranger to the dense symbolism of trees, woods and forests, and here again he tackles nature versus technology, with the Doctor and his sonic screwdriver appearing powerless to turn back an invasion of the trees.

Almost lifting his title from a William Blake poem, Cottrell-Boyce is clearly committed to Doctor Who as an educational show. Indeed, writing in The Telegraph on Saturday August 23rd he also compared the many Doctors of the show’s history to Philip Larkin’s poem ‘The Trees’:

Perhaps part of the show’s deep appeal is that it offers this possibility of renewal, of starting again. The Doctors are like the trees in Philip Larkin’s poem, which “die too” but whose “yearly trick of looking new / Is written down in rings of grain”. “Last year is dead, they seem to say / Begin afresh, afresh, afresh."

And there’s certainly a freshness to this rather unusual Who. The episode fizzes with ideas, especially when Cottrell-Boyce comes up with his own explanation of “bigger on the inside”. It’s a moment that’s sold wonderfully by Sheree Folkson’s direction. Rarely has the TARDIS console room felt as awe-inspiring as when Folkson has the camera track Peter Capaldi’s walk up the stairs and around the outer wall, effectively seeing it all through the dazzled eyes of young Maebh (Abigail Eames).

There’s also more than a touch of Malcolm Hulke’s old-school storytelling to this adventure, with the Doctor and humankind confronting a power that’s always been there – though these ‘tree devils’ aren’t quite what they seem. Meanwhile, the beautifully unsettling image of a green earth hits home with an ecological message that’s far from subtle. This authorial vision of Doctor Who is probably the closest thing to James Lovelock’s Gaia theory that TV drama has ever sustained, even edging out the classic BBC thriller, Edge of Darkness.

In some ways, though, this is anti-Doctor Who: the Doctor and Clara are ultimately on-lookers, and Missy is similarly reduced to doing little more than watching the outcome of events, albeit with surprise. The Doctor’s role in the story is definitely trimmed back: although he works out what’s going on, and helps Maebh get word out to the authorities, he still ultimately watches the trees in action with a degree of uncertainty. In contrast, Danny Pink gets much more to do than usual, showing his mettle as a leader; Cottrell-Boyce perhaps wants to demonstrate ‘ordinary’ human powers at work, whilst minimizing or cutting back on the conventional fantasy-hero’s role. And what John Tulloch and Manuel Alvarado, writing in The Unfolding Text, call one “of the recurrent motifs of Doctor Who” (p.94) is also inverted. In place of “organic” nature threatened by bad or mad scientists, science is alternatively trumped by nature’s fantastical potency. These trees run rings around both Time Lord and humankind.

But Doctor Who reimagined with a type of fairytale ambience – far more so than ever before in the Moffat era, despite previous attempts to position the show in these terms – also has certain limits. The script is sometimes in danger of becoming a touch twee, and its ending is arguably slightly weak. The brief final scene feels forced and tacked-on – there simply because another moment of emotional closure is needed. For a screenplay that has otherwise refused to play by a number of Doctor Who’s ‘rules’, this final capitulation to yet another happy ending doesn’t quite ring true.

'In the Forest of the Night' wants to revalue fairytales at the same time as reinforcing its ecological thesis. At one point, it’s suggested that forests represent a primal symbol of fear (“the forest is mankind’s nightmare”, says the Doctor), and it would have been interesting if the episode had taken more time to tease out and develop this possibility. But psycho-drama is rapidly displaced by eco-lecture. And so instead forgetting is identified as “the human superpower” (did Moffat’s ‘Listen’ riff on Cottrell-Boyce’s ‘Forest’, or was this an arboreal coincidence?). Fairy stories are shown to be less strange than the episode’s 'real' events. In this reversal, fairytales are an echo of magical reality and not just a mode of childhood fiction. Despite appearances, 'In the Forest of the Night' doesn’t merely reference fairytale archetypes; it’s an argument for the uses of enchantment and the values of the fairytale, not just in terms of making readers and audiences feel safely thrilled, but in reminding us – children and adults – of the strangeness and wonders that can exist all around us, before us and after us.

Having a Carnegie-winning writer of children’s fiction contribute to series eight was undoubtedly a press release-worthy event. But following two impressive episodes from Jamie Mathieson, especially the visually stunning and tightly coherent 'Flatline', 'In the Forest of the Night' doesn’t stand out quite as much as may have been anticipated. It is very much ‘Frank Cottrell-Boyce does Doctor Who’, and as such has a far stronger authorial voice than the show sometimes permits guest writers. Yet by reducing Clara, the Doctor and Missy to spectators gazing with wonder at a global spectacle, this story felt more reminiscent of the London 2012 Opening Ceremony than I would ever have imagined.

Tom Baker's Doctor has had something of a renaissance on audio since he belatedly signed up with Big Finish. The Fourth Doctor and Leela's relationship has flourished over a growing series of adventures designed to bridge Seasons Fourteen and Fifteen and evoke the spirit of '77.

Now, Philip Hinchcliffe, the producer that brought them together returns with a box set of two stories that recapture the feel of the tail-end of his era. Hinchcliffe's ideas are adapted here by Ghost Light and prolific BF scribe Marc Platt, stepping in to the shoes of Robert Holmes, evoking that era whilst bringing his own ideas to the party.

The first, The Ghosts of Gralstead is a triumph. It starts off in Victorian London, but not the familiar gaslit Ripper-in-the-fog setting that Doctor Who still does to this day - this has serious scope, and unfolds beautifully over six episodes. This goes off in different directions including Africa and back - a tale of the dead rising and dimensions opening, with faith healers, tribal warriors, grave-robbers, warring brothers, a ghost-whispering child-woman, and a grotesque 'elephant woman' with some very unsavoury appetites.

The cast is excellent. Baker is on fine, imperious form, and Jameson Leela gets not only a love interest in African hunter Abasi, but a villain she truly fears in Carolyn Seymour's deliciously evil Mordrega. Louise Jameson's performance is spot-on, the only criticism here is that her relationship with Abasi is too well-matched, considering we know she eventually chooses boring, wet Andred as a mate for no apparent reason!

The Devil's Armada is somehow less impressive. Putting the Doctor and Leela in Elizabethan times against the backdrop of the Spanish Armada, with a fanatical witchfinder, and a race of imp-like creatures stirring up the conflict.

It's a good idea, with some good dialog and performances, but it feels a little flat after Gralstead. Tom Baker is a bit more of a mixed bag here - his yokel impression in the first episode is a bit too glib and broad, but minutes later he's perhaps more furious than we ever saw him on TV and the effect is slightly jarring - Tom turned up to eleven. He's excellent when the Doctor realises he could lose the TARDIS though.

Overall, Philip Hinchcliffe Presents is a worthy experiment, here's hoping Mr Hinchcliffe has some more ideas up his sleeve.

This review contains plot spoilers.

Nine weeks in, and it's time for a 'Doctor-lite' episode, as Clara Oswald's journey continues. Last week, in Mummy on the Orient Express, we saw her consider her role as the Doctor's companion post-wobble. This week, she's had a shock promotion - it's her turn to be the Doctor.

Arriving on present-day Earth, we're immediately in uncharted territory for Doctor Who - Bristol. They should have taken the time to look up Chris Parsons, and see if he moved back to the area after all that business with Skagra and that sphere in Cambridge. Hopefully he'd live in the nicer part of Bristol, which we don't see here. The TARDIS arrives on a wasteground, and the first place Clara visits after that is a dingy underpass. Other locations include a warehouse and a railway tunnel. It's not doing Bristol's tourism industry any favours.

After a brief, creepy teaser, the story quickly gets down to business - the TARDIS is rapidly shrinking with the Doctor trapped inside, and lunch with Danny Pink is off. Clara is left to investigate, with the trapped Doctor as backseat driver - giving her the sonic, an earpiece and hacking her optic nerve.

Clara soon happens upon a Community Service team led by nasty-piece-of-work Fenton (Christopher Fairbank), and teams up with one of the group - Rigsy (Joivan Wade), a likeable young man with a penchant for street art. From the start Rigsy is portrayed as a good sort, while Fenton is an unrepentant bigot and bully throughout, and nearly gets everyone killed. Even the Doctor's moved to say that not all the right people were saved at the end.

Fenton's crew are tasked with painting over murals that have appeared alongside tributes to recently disappeared locals. The murals are of people with their backs turned. It soon transpires that they're not murals. A sinister alien force is at work - one that exists only in two dimensions. It's dissecting and analysing us, a slow-dawning realisation that hits when the Doctor twigs that the strange decor on the walls of the flat of one of the missing people is actually a flattened out human nervous system.

The alien threat is unnamed, doesn't speak, and has unknowable, yet nasty motives. We never learn anything about it - even whether it's a single entity or a race - but its theft of our dimensions, and our image is a disturbing concept. The concept of people turning into drawings was of course done way back in Fear Her, but there's no upbeat reversal of the situation here. The Doctor is briefly given pause to ponder whether the aliens' (or alien's - we don't know for sure) M.O. isn't necessarily bad, but his mind is made up by the end, and his fury is something to behold. The stop-motion-styled flowing effect as people are absorbed into the walls and floors is creepy, as is the jerky, misshapen movement of the painted figures chasing down the railway tunnel. Once upon a time Doctor Who made kids afraid of shop window dummies, telephone flexes, and statues. It recently branched out to bedsheets. Now it's moved on to walls, and floors.

Douglas MacKinnon does an excellent job of directing as ever, all long shadows and atmosphere, with some excellent camera trickery and physical comedy - as the Doctor's hands and face portrude impossibly from the shrunken TARDIS. Clara even pulls a sledgehammer from her handbag. Jamie Mathieson delivers his second cracking episode in a row - more from him please.

Danny Pink appears again, in another cameo - the third in a row since his last full appearance in The Caretaker. It's hard to see where his character is going from this, and Samuel Anderson's a bit wasted here - hopefully his story will finally pay off in the next few weeks.

For a Doctor-lite episode, the Doctor is much more present than usual, albeit trapped in an ever-diminishing TARDIS. Capaldi and Coleman continue to impress. Both get some great lines, and the Doctor and Clara's relationship is now in a very interesting place. She's thoroughly pleased with herself about how well she handled standing in for the Doctor. She wants his approval. He eventually compliments her, but seems a little troubled at how well she did at 'being' him, and also at how easily she lies to Danny about still travelling with him. Perhaps his influence isn't healthy, and he seems to acknowledge this.

We end by cutting to Missy, watching Clara (somehow - how does she do that?) on her white iPad, remarking how glad she was to have chosen her. We'll find out what for in a fortnight, but it's unlikely to end well.

“What’s more, as these [phonographs] become more popular, there might be a market for selling copies of the best acts ... Ha ha! Obviously those more suited to an auditory experience, dramatic recitations or even full cast drama – all delivered through the medium of sound!”


A year after Doctor Who triumphantly celebrated its golden anniversary, Big Finish (BF) is celebrating a milestone of its own – 15 years of entertaining fans with Doctor Who audio dramas. When BF first acquired the rights to producing audio Who in 1999, the TV program was on ice and its revival still another six years away. In that time, the company’s Doctor Who output now numbers hundreds of titles (well above the 190-plus releases in the so-called “main” range, if you add the Fourth and Eighth Doctor adventures, Companion Chronicles, Lost Stories and other special releases). In addition to producing numerous Doctor Who spin-offs that have explored popular and even obscure parts of the Whoniverse – eg Gallifrey, Jago & Litefoot, Counter-Measures, Dalek Empire, I, Davros, Iris Wyldthyme, Professor Bernice Summerfield and Vienna – the company has had the confidence to also secure the rights to other cult franchises and maintain a high level of quality and consistency that comes out of the deep affection, passion and dedication that the writers, producers, directors and performers have for their material.

Like its 50th anniversary counterpart The Light at the End last year, The Worlds of Doctor Who anthology is effectively Big Finish’s self-congratulatory pat on the back – as well as a gesture to the fans for their support over 15 years. Unfortunately, like The Light at the End, Worlds isn’t the most original or audacious of Doctor Who releases. Certainly there is an ambition to tell a broad story that threads its way through the rich, diverse tapestry of the Whoniverse, it’s just a great pity that the threat/villain of Worlds is so underwhelming and that the stories are for the most part so bland.

The villainous Rees, a Victorian era magician and hypnotist who subsequently defies human nature, is one-dimensional, both as a linking concept and as an antagonist. Without giving away too many spoilers, it’s tempting to say the character is a carbon copy of Dr Walter Simeon in the Doctor Who episode The Snowmen, even down to having a remote and brooding childhood and developing paranormal powers that take on a life of their own. Rees’s motives, particularly in the initial Jago & Litefoot instalment Mind Games are over-simplistic and sadistic. Indeed, because you are aware that the villain appears in all four instalments of the anthology, it practically removes all mystery and intrigue in the later stories. The Reesinger Process, the second instalment featuring the Counter-Measures Intrusion Group characters, provides some conjecture and conundrums in the course of the plot but little surprise at the climax. The title of the third serial - The Screaming Skull - is itself virtually a dead giveaway (pun intended!), although it is the most action-packed, entertaining and well written of this lot of serials. The final instalment Second Sight provides us with some insights into Rees’s back story and why he has become so powerful but aside from being a malevolent presence, the character remains grossly underdeveloped and unsophisticated. That said, Jamie Glover (who portrayed William Russell/Ian Chesterton in last year’s An Adventure in Space and Time) gives Rees charisma and authority for such a sketchy adversary.

Given Big Finish has set out to market its wares through this special release, then it will take some solace that it may lure in some curious listeners. The Jago & Litefoot and Counter-Measures instalments are virtual advertisements for those respective series, although you thankfully do not have to be an avid listener of them to enjoy Mind Games and The Reesinger Process. Justin Richards, who pens both episodes, makes them generic enough from the boxsets that you won’t be raising your eyebrows at allusions to other episodes (although no doubt if there are any, they are a payoff for avid listeners). You only need, of course, to be familiar with the characters from classic Who serials The Talons of Weng-Chiang and Remembrance of the Daleks (and even for modern series fans who won’t have seen them, those serials are readily accessible on DVD). Certainly Christopher Benjamin (Henry Gordon Jago) and Trevor Baxter (Professor George Litefoot) bring the memories flooding back with flawless portrayals of their very popular characters, and some of their dialogue, banter and comic timing is extremely well written by Justin Richards (Litefoot to Ellie Higson: “Then I shall be delighted to chaperone such a charming and refined companion!” Jago: “Oh, thank you Professor ¬─ and we’ll let Ellie come along too!”) It is just a pity that the episode in its own right is so weak.

The Counter-Measures team also scrub up well, considering that their characters in Remembrance of the Daleks were even less developed than those of Jago and Litefoot. Pamela Salem (Rachel Jensen), Simon Williams (Group Captain Gilmore) and Karen Gledhill (Alison Williams) reprise their roles effortlessly and Richards does an admirable job of fleshing out their characters and in particular their civil servant supervisor Sir Toby Kinsella (superbly played by Hugh Ross ─ “Rachel Jensen, you know I don’t do smug!”). Again, though, The Reesinger Process is little more than a framing device for this anthology and the big guest star names in Sinead Keenan (familiar to fans from appearances in modern Doctor Who and Only Human) and her real life brother Rory Keenan are wasted in their roles as sister and brother team Stephanie and James Wilton, the heads of the “mysterious” Reesinger Institute. Even The Screaming Skull is probably designed to encourage listeners to try out BF’s Doctor Who Companion Chronicles range, given that Jonathan Morris’ tale is partly a sequel to his offerings Tales from the Vault and Mastermind with American UNIT officers Ruth Matheson and Charlie Sato (the 1996 TV movie’s Daphne Ashbrook and Yee Jee Tso respectively). Having been compromised by the Master in their previous appearance, the two UNIT officers are given the opportunity to redeem themselves by returning to the Vault that stores extraterrestrial and supernatural artifacts recovered by the paramilitary organisation. Ashbrook and Tso’s enthusiasm for Doctor Who, despite their brief association with the program, is apparent not only in their performances but also in the “Behind the Scenes” CD in which they discuss their encounters with fans at Doctor Who’s 50th anniversary celebrations last year and their gratitude for being able to bring Matheson and Sato’s characters to life. Indeed, while Sato’s fanboy character in Mastermind irked this writer, his cheek in the face of danger in The Screaming Skull is memorable. Sato’s dialogue with the disembodied Rees, in which he goads the villain into revealing his plans before realising he is to go under the knife, is priceless and Tso injects plenty of humour into this exchange.

The Screaming Skull also nicely references Mind Games and The Reesinger Process and while this episode is a marked improvement on those chapters, this is down more to Morris’ strong writing, characterisation and tongue-in-cheek humour. Even then, the story is not without at least one irritant – the Terravore which stalks Matheson and Sato in the corridors of the Vault is a cross between a Dalek and the Skovox Blitzer which recently appeared on television in The Caretaker! (The Terravores debuted in the 2011 Sixth Doctor adventure The Crimes of Thomas Brewster.)

In another twist, The Screaming Skull also prominently features a reinstated Captain Mike Yates (Richard Franklin) who subsequently fills the “Brigadier” role when he recalls the Doctor (“ol’ Sixie” Colin Baker) to Earth for the final chapter Second Sight, written again by Richards in conjunction with Nick Wallace. While this tale also features Gallifrey regulars President Romana and Leela (Lalla Ward and Louise Jameson), it is more of a Sixth Doctor adventure than a Gallifrey tale and therefore unlikely to motivate casual listeners to investigate BF’s Gallifrey range. While they are as solid as you would expect, Ward and Jameson are horribly underused and Franklin is also rather superfluous to this instalment as Yates (he fares much better in The Screaming Skull). You could even argue the role of “ol’ Sixie” in this tale is symbolic – BF, after all, is largely credited with restoring the fortunes of the much maligned, lamented Sixth Doctor and the popularity of Colin Baker himself in the eyes of long-time Who fans. Certainly, the Sixth Doctor that we meet in Second Sight is Baker’s mellower, more likeable portrayal over the past 15 years and not the abrupt, impolite persona who graced our TV screens in 1984-85.

Although Second Sight explores the villain’s origins and how a character that starts as a common garden Victorian serial killer becomes a powerful menace to the wider cosmos, the final chapter is very dialogue-heavy and expository. Considering events in this serial should be drawing to a dramatic conclusion, the resolution is, if anything, dull and underwhelming. By establishing such a potent threat, Richards and Wallace set themselves up for a fall – they’re not able to devise a climax that is dramatic and nail-biting. At no point in this story do you feel that the Earth and the human race are truly under threat from the Rees malevolence. Not even the prospect that the malevolence could potentially infiltrate every aspect of our daily lives is as unsettling as it ought to be. You come away from this boxset feeling as if the story still requires closure.

Indeed, given the ambiguous ending to Second Sight and the anthology as a whole, it’s disappointing that popular archaeologist companion Bernice Summerfield was not included in the boxset to confront Rees in the 26th century, perhaps alongside Miles Richardson’s brilliant Irving Braxiatel. After all, as Lisa Bowerman points out in the CD extras, her involvement with BF stretches back to the inception of Bernice’s audio adventures ─ a year before the company obtained the Doctor Who licence. Nevertheless, Bowerman makes a dual contribution to The Worlds of Doctor Who - she is a director of the plays alongside Ken Bentley and she also plays cockney barmaid Ellie Higson, Jago and Litefoot’s impulsive, loyal friend.

As a cross-media promotion, The Worlds of Doctor Who may appeal to listeners who would like to sample the greater Doctor Who audio range and its numerous spin-offs. In turn, it’s a nice gesture for the company to be able to celebrate its output and pay back fans for their long term dedication and emotional and financial investment in its products. However, if you’re looking for something original, exciting and innovative, with substance and intrigue to boot, The Worlds of Doctor Who sadly isn’t it. You will get better examples by delving deeper into BF’s back catalogue.

This review contains plot spoilers.

"You know Doctor, I can't tell if you are a genius or incredibly arrogant',.. "On a good day I'm both". - Perkins to the Doctor

What a romp and what a showcase for Capaldi. This was always the breed of story I hoped to get when Steven Moffat was first confirmed as showrunner. It has the heart of Doctor Who's golden period from 1974 to 1977 when Tom Baker was at his peak but also slots in very comfortably with a 2014 autumn schedule on a Saturday night. Doctor Who has often borrowed its own past successes and done something new, often to great effect. Thanks to a very capable director in Paul Wilmshurst (who continues to impress after 'Kill the Moon') and a more than competent script this is definitely one of those winners.

The story is remarkably simple without being too predictable. Various passengers from all walks of life on the Orient Express are being targeted by a remorseless creature that only they can see and feel. Despite their understandable panic there is only confusion from the people around them and nothing can be done within the span of Sixty-Six Seconds. And the Doctor realises that he is facing a stern test of his ability to come up with a solution. This is not a murder mystery for a Poirot or Marple and not everyone is playing by the rules..

The haunting killer of classic Who's 'Mind of Evil' is subtly referenced in the threat the Mummy presents - only the victims can see it . The way that it can move anywhere and not be stopped by physical items like bullets or locked doors is a perfect way to scare the junior members of the audience. The gimmick of having there be a visible counter remorselessly marking the moment of demise on-screen is somewhat odd but does come off - at least until Gallifrey's favourite son pulls off a beautiful trick (which doubles as an homage to Moffat's very first televised story).

The Orient Express is one of many in the cosmos and history, but this particular one rattles through the vacuum of space relentlessly, caring little for its appearance compared to other vessels that normally occupy this zone. It also used to be a tour through an area of the galaxy that had many a remarkable planet. However although this appears to be just another one of many journeys, there is a real twist when the whole vehicle is shown up as nothing more than a laboratory for testing a sample group. Although it is perhaps not totally watertight as the TARDIS has clearly broken into the environment!

What is clever is that quite a few of the victims are not all that likeable, or perhaps we catch them on a bad day. This is very welcome as it means that what normally is just monster fodder is something else and links in smoothly with the whole amoral presentation of this new Doctor which has fascinated many viewers since the season premiere. Also commendable is how the Doctor gets caught out several times - once when he casually mentions knowing a particularly memorable planet, now long-gone. This is put to effect later with an impact on the overall drama when the psychic paper turns out as not a simple plot short cut after all. The Doctor is realistically challenged, but such is his ego he will have none of it, and as bodies pile up his hubris and ruthlessness only seem to magnify.

When it comes to actually saving the day, it turns out to be a pyrrhic victory. A good number of people get back home unscratched. Some of the apparently threatened passengers were only hard light holograms and so were never really at risk. But lives are lost and not just to the sinister bandaged antagonist. Other carriages with real living people are broken into and the bodies are left to float in space, most likely forever. And this is a direct consequence of the Doctor's efforts: he does get the right end result, but only after a fatal trial-and-error procedure. The Twelfth Doctor may not react too overtly to this disturbing turn of events but he surely knows he could have done something different.

Guest stars are all up to the standards the better episodes have set previously, with a welcome cameo from talented singer Foxes and a nicely balanced guest role for Frank Skinner as Perkins. When he first appears there is ever so slightly an element of creepiness as appears rather indifferent to an old woman's death; but then perhaps he didn't take kindly to being looked down upon as was implied by what little we saw of her. I won't claim Skinner is as good an actor as he is a comedian but he still fits the particular role quite handily. Having Capaldi around certainly helps too as he effectively assumes the role of guest companion. His eventual moment in the TARDIS is also wonderful. The sheer exuberance that someone experiences from seeing dimensional transcendence is a trope I will never tire of. Meanwhile Clara is forced into another section of the train and interacts quite significantly with Maisie - herself a fine one-off character that very much needs saving by the Doctor.

Yes, she did not storm off after all, despite all the signs being there. Clara perhaps more predictably is the voice of morality again; with her friend admitting he could not do anything until he had all the facts at hand. That they are still together is a result of their deeply held admiration and respect. Purely liking one another as most platonic friends doesn't come into it, but then how many friends are there who are come from different planets and have such contrasting life spans?

Danny once again takes a backseat role the second week running, but the arc is still being explored in interesting ways. His seeming acceptance of Clara's hectic lifestyle and how the Doctor really cares on some level despite all his harmlessness is interesting if perhaps a little forced. I do welcome character development for this year's new star of Doctor Who and I am being won over gradually. However in all honesty I still find Samuel Anderson somewhat underwhelming in relative terms, especially if I were to compare him to Arthur Darvill who was rather similar in function.

Although the resolution sees the doctor disable the Foretold and use part of its core to save everyone remaining on the train, there is still no sign of the real threat who caused the crisis in the first place. This is a good idea and knowing Moffat there is as much chance that the answers come next season as they do by the closing twelfth episode of this present run of episodes. So we are left with a rock solid story that can stand up on its own and reward many a viewer's time, but also is well-woven into Series 8. I eagerly await the next Jamie Mathieson effort; conveniently enough it is scheduled for next Saturday evening.

Story – Rob Williams, Artist – Simon Fraser, Colorist – Gary Caldwell

It is 1931 in Mississippi and something very strange indeed is at work. Some previously unseen characters are aware of The Doctor - who is in the control of a hypnotic force that ensnares the local community. Events look to be coming to a head and it is left to Alice and newcomer John Jones - who resembles a young David Bowie - to somehow seize control and get the Doctor out of a pickle. The sinister ‘SERVEYOUinc’ corporation are again at play and looking to make life difficult for the people who inhabit the Bayou location – and their big star Robert Johnson.

Matt Smiths portrayal is still relatively fresh in many sci fi/fantasy fanatics’ minds, and many will want further material for such a well-conceived and well-realised incarnation. This series has the potential to take Doctor Eleven down some interesting avenues and so far the overall arc is at least promising something quite good. But the actual stories since Issue 1 do not seem to require the most dynamic side of the doctor: last time also had him captured early. Also lacking was a chance for him to alter events around him before the final confrontation, and his personality did not show the kaleidoscopic range of a good TV episode. This time round it is perhaps even more of an issue, as he is initially presented as possessed, before the story jumps to the initial events chronologically. Although he is restored to normal by the close of this issue he still needs other’s support especially that of a significant new supporting character. This brings back memories of the 9th doctor having others help him save the day; yet that seemed less of an issue due to all the wonderful angst that he held over destroying both his race and the Daleks. But Doctor 11 while perhaps clownish on the surface is very good at assessing problems and getting a solution, so I really hope the creative team get him to be a bit more hands on as the overall arc continues to unfold.
John Jones is an interesting experiment by the creative team in that he is seen to start at the bottom rungs of the career ladder of music. He is a bit daft, a bit precocious as well and somehow is the pineapple topping to go on top of a pizza – clashing but actually a good blend in this adventure. How he gets aboard the TARDIS in the first place though is a bit unrealistic and shows off the normal crew to be rather irresponsible.
As regards other characters – the one off villain in this issue is a triumph of good art portraying a sinister opponent, with his lines most likely being deliberately generic as he is a spokesman for ‘SERVEYOUinc’. But still something about the corporation built up now in two installments just doesn’t feel terribly impressive. I want a real scene stealing villain to be behind the problems the Doctor is facing, rather than some poor man’s Morgus from ‘The Caves of Androzani’. Still, there is time for the stories to get that part fixed.

Robert Johnson is a fun enough character who probably would work very well on-screen. Yet there is a pre-existing relationship between the Doctor and him which could have been perhaps built up to a little better. The other locals of the Mississippi are just making up the numbers but at least do not have any bad dialogue to make them memorable for the wrong reasons. Still for me the best element of the comic is Alice herself. She has more to share with the Doctor over her poor situation back home on Earth, but doesn’t let poor events get in the way of real excitement over the opportunities that time travel grants her. 1980s TV companion Tegan Jovanka is certainly not in her sphere of influence it would appear!
As I await the next stories, I feel something a bit more substantial needs to happen and this particular Doctor needs to be shown off to his best effect. I believe the team can improve their results but they must change the formula a bit.
**

The first bonus strip is a very funny one panel story by David Leach and AJ concerning a classic game for children that the Doctor wants to try out.
The second tag-along is another winner from Marc Ellerby and denoted as ‘Sonic Sleuth’. The absent-minded professor Doctor is at his most incapable, and Amy needs to help him out. Another great insight into the strains of being an odd-time-travelling couple.