as a fan of buffy, i loved this story

I like this story a lot, but I have some mixed feelings. It's remarkable that it fits so many things into this story without it feeling crammed, but the narrative kinda lost me in the back third.

B. Maybe A.

Such a fun exciting story concluding the arc started in the beginning and having all 3 romanas perfection

I checked out Quinnis as I started getting into more of Susan's arc with the Eighth Doctor. The importance of this to that story is very minimal at best, as Quinnis almost completely stands on its own, although listeners will note a very direct reference in the introduction to An Earthly Child. This story fills in the details of a random line Susan has in The Edge of Destruction from the classic TV series, and Quinnis sets up the events that would lead to the pilot episode of Doctor Who, An Unearthly Child. The TARDIS' chameleon circuit even works here, which I found very fun as a detail.

All that is pretty cool. Even more interesting is the idea of the setting, the world of Quinnis in the Fourth Universe. This is a pretty cool setting that should lead to imaginative content. Unfortunately, the Fourth Universe doesn't really feel all that different from an alien world in our universe. I really wish the actual plot was more creative, because the production itself is rock solid. The special effects and music do a great job at establishing mood. Quinnis is a jungle world and I feel like production did a good job with that. Susan is great, Carole Ann Ford bringing a retroactive life to her character that gets to be more dynamic and active than she ever was in the show. Carole also does a pretty good impression of the First Doctor. It's also neat because Ford's daughter is performing with her here, and they work well together, even if Tara-Louise Kaye's character left a lot to be desired.

It's an interesting audio in that the weakest element is by far the writing but everything else is good enough it is at least worth listening to once. I was most entertained by the bonus interview where Ford and her daughter just got to talk about this stuff and their perspective on the story and Doctor Who as a whole, more than the actual story of Quinnis, which is an unfortunate sign if there ever was one.

New Who Review #130

The Husbands of River Song ❄️

This Story was mid. I didn't really like it or get entertained by it. This being rivers final on screen appearance feels wasted by the fact she doesn't know who the doctor is for the most of it. So you don't really get the feel that you should knowing that she's about to go to her death after this. King Hydroflax is an interesting villain but is done too comically which doesn't quite work. It's nice to have a chill lay back story after the stress Fest that was series 9. I really like Nardole and love that this is his debut story. He will be a full time companion in series 10. The Singing towers scene was brilliant. We finally see river getting the sonic that was in the Library. We see the singing towers and at that point we realise that this is her final adventure which is sad. In 2015 I really thought this was the final doctor who story because it ended on what seemed to be a final goodbye to the show backed up by a gap year so I really thought it was over. I was so glad to see a trailer for series 10 in end of 2016 though. Overall an ok story that Wraps up rivers story and gives us a nice Christmas treat. 6/10

I've never seen a bigger glow-down than Eldrad going from pretty rock lady to angry rock man. Sarah Jane's departure is easily one of the best companion departures and her dungarees are adorable. Goodbye Sarah Jane you will be missed.

I was ready to expect at best a fine story, at worst a forgettable one, but to my Surprise, I thought this one was actually excellent! While I can see why some wouldn't think much of it, to me, it clicks all the right Buttons

5 and Nyssa have such an intriguing Chemistry here, their Conversations are for me, easily the Highlight of the Story. I also quite liked what they did with the Thals here, I must admit ever since the original Daleks Story and Genesis, I don't really think much interesting has been done with the Thals, so this one was a delightful surprise to me. And while I am big Fan for the Daleks in general (I just think they are great), I appreciate it quite a lot how they handle them here, in particular when the Emperor asks 5 for his Help was something I didn't expect but quite enjoyed. Now, is that the most original Thing ever you can do with the Daleks? Of course not. But I liked it.

I will say I couldn't care less for the Mystery Aspect of this Release and I thought Episode 4 kinda lost me a bit, but I genuinely thought the first 3 Episodes were quite engaging and a pretty good Dalek Story!

New Who Review #129

Hell Bent

This story was alright. It's the weakest from this three parter but it Wraps up Clara's death nicely. I like how the doctor can't let go even bringing himself to killing a timelord and triggering their regeneration. It was weird seeing the doctor choose violence because that isn't who he is but I like how it shows how much he cares about Clara. Having the Sisterhood of Karn here felt odd I don't know why they were here but sure I guess. The design of the Sliders were creepy almost giving off a vibe of spooky to them and the fact they just lurk about in the depths just adds to that. I thought it was sad that the doctor had to forget clara and who she is and Clara's ending was nice. Overall a good three part story that sees my favourite companion off and brings back the timelords & Gallifrey. 7/10

an okay comic i liked the little robot guy the doctor was with this story

I must admit I was a bit unsure what to make of this one, I barely hear much good from this book, but like I mentioned with my Thoughts about Birthright, I actually found myself enjoying this one quite a bit.
Is it a bit safe at times? I would argue so, but safe doesn’t have to be always bad, sure safe can be quite uninspiring at times, but I’d argue while it does have some of the ambition of its precursors, it knows what it is, that being, in my Opinion, a pretty enjoyable short Book. I don’t think it ever outstays its welcome and if it was longer, I might be more incline to agree that this one is a weak one, but no I do think what it sets out to do is done quite well.

While at first a bit confusing, I think having the second Doctor and some of his Companions here was a delightful surprise to me. Similarly to our main Tardis Duo, I think all of them got a good Characterization, which you do think shouldn’t be mentioned, but after the first Entry of the Timewyrm Saga is something I will highlight whenever I can.

While yes, it doesn’t hold much merit in its Arc of the Timewyrm, I honestly don’t mind, so far the Arc hasn’t really gripped me, so I really don’t mind personally speaking that it basically is almost ‘forgotten’ here.

im a greek mythology nerd so i was heavily into this ep

Boring as hell. Sixie and Evelyn were lovely, so was the brigadier.

That's it

This goes hard

I cannot get over the many ways the writers got court politics completely wrong in this serial. Whilst I understand the scheming power hungry uncle and the noble hearted-but-naive heir is a common trope, largely from hamlet, what this serial (and many other adaptations) gets wrong is the way that these people would have been required to interact with the larger scale of court politics. For example we are supposed to believe that both Frederico and Giuliano gave the doge of Venice (aka the most important guy in Venice at the time) the cold shoulder, and multiple members of the nobility were killed in a party held in their castle, and these actions would hold zero political repercussions. However the story itself is engaging and the visual effects are effective.

I was vibing with this story. I think I am just a sucker for settings developed like the Moulin Rouge getting crossed over with Daleks. The atmosphere was very well done and I agree with another review that it feels like we're getting back to more of the distinctive Eighth Doctor we know that was a bit missing last two sets. Liv also continues to getting more character development and be more fun than she was the previous two stories. I had a good time, even as it turned out the Dalek Time Controller was behind everything. The return of the Master does feel a little old hat at this point though.

Oh damnthisgot dark wow I love it

Psychedelic lovely

On the Starship Future, 10 thousand people lie in status travelling to their new home, a skeleton crew is keeping things running, and a dead alien has been discovered…

It is a nice start, people being woken up to to relieve or replace staff. An unfortunate event that killed a security officer. There’s a bit of mystery when one of the revived people doesn’t remember the person lying next to him. Not to mention the Dalek that’s been found.

It takes over fifteen minutes for the Doctor to enter the story. I do feel its worth mentioning as sometimes you’re left wondering what’s going on - Love and Monsters springs to mind.

The Dalek that’s been discovered isn’t as dead as is first believed. The fact is that this story is a pretty typical example of lone Dalek needing to rebuild the race using whatever resources available. Its just rehashing bits of other Dalek stories, Revelation of the Daleks, Resolution of the Daleks etc. Its not doing anything new and its a little disappointing.

The other plot strand, is that people have been replaced before the ship left earth, but this is kind of in the background as the Dalek theme takes precedence. It feels that there wasn’t enough space for both plots to be played out. Meaning that neither is as developed as much as they could have been.

I was going to say that this could be just any fourth Doctor adventure, however about three quarters of the way through a Dalek gets chatty and references ‘Timelord Victorious” and the previous audio, Mutually Assured Destruction. It does feel shoehorned in, as if they suddenly realised it needs to tie in in with the arc and better mention it. The Daleks are not known for their small talk, and it comes out of the blue.

Not sure what this does to the TLV arc, I gather it led into the escape room event. But you can enjoy it on its own without needing the rest.

Its an Ok story.

Thworping through time and space, one adventure at a time!

“THE MACRA TERROR – A CREEPY CRAWLY CONSPIRACY IN COLOURFUL DYSTOPIA”

With The Macra Terror, the Second Doctor finally gets his own title sequence—and what a strange debut it is for Pat's ghostly visage, peering out at us with eerie intensity! It's a fittingly uncanny prelude to one of Doctor Who’s more chilling and atmospheric lost stories, now lovingly restored in the form of a vibrant 2019 animation. Reimagined in colour, this dark tale of totalitarian control and monstrous manipulation emerges with new life—while retaining its uncanny tension and 1960s paranoia.

AN ANIMATED GEM

Right off the bat, let’s talk about that animation. As one of the more recent restorations, this version of The Macra Terror boasts gorgeous production values. The colours are bold and psychedelic, the movements slick and expressive, and the emotive faces bring a new dimension to the classic performances. The set designs remain true to the original but also gain fresh depth with added visual detail. A black-and-white option is available for purists, but the colour animation enhances the surrealism and unease of the story and is highly recommended.

A DYSTOPIAN DELIGHT

Ian Stuart Black returns for his third Doctor Who outing (after The Savages and The War Machines) and turns in what might be his finest script. The colony world he creates is a classic dystopia—cheerful on the surface, with forced happiness and regulation masking a sinister truth. The upbeat music, cheerleading chants, omnipresent surveillance, and hypnotic brainwashing broadcasts create an environment somewhere between Orwell and The Hunger Games. The jolly jingles that precede the Controller’s ominous announcements are particularly chilling.

The Macra themselves—the story’s central mystery—are built up expertly, with glimpses and shadows used sparingly to ramp up the tension. The cliffhanger to Part 1, with a crab-like claw emerging from the darkness, is a superb example of how to do monster horror on a budget. And in the animation, these moments are realised with striking style: glowing eyes, looming claws, and eerie movement.

A SOCIETY UNDER SIEGE

This is a story about control—both political and psychological. Every colonist is subliminally conditioned while they sleep. The Controller’s face (just a still image with a booming voice, powerfully delivered by Graham Leaman) looms over the society like a digital dictator. And beneath it all lies the big twist: the colony’s entire infrastructure is being run for the benefit of the Macra, who survive on the gas the colonists unknowingly help produce.

The story becomes especially compelling in Part 2, when the Doctor realises the truth and the stakes become clear. His alliance with Medok—the paranoid outcast who alone sees through the colony’s lies—is one of the best early examples of the Second Doctor’s cunning. Troughton is on top form here, delighting in subtle rebellion, clever manipulation, and quiet defiance. His scheming persona starts to take real shape.

COMPANION CONFLICTS AND CHARACTER GROWTH

One of the most interesting dynamics in the story comes from Ben’s brainwashing. Watching a loyal companion become an agent of the enemy, especially against Polly, adds real emotional weight. Her scenes fleeing from Ben in the darkened corridors are especially harrowing—reminiscent of The Invasion of the Body Snatchers. Jamie, still a new addition to the TARDIS team, gets to shine as the one unaffected by the brainwashing, standing by the Doctor and cementing their growing bond.

Ben’s eventual redemption—saving Polly and the others from gas poisoning—is earned, and not rushed. It’s one of the stronger character arcs from this era, and it gives him more complexity than many 60s companions ever get.

Jamie, meanwhile, starts to feel more integrated. He gets his own solo moments, including the bizarre but memorable dance sequence with the colony’s cheer squad in Part 4—a surreal moment of comedy that’s both hilarious and disquieting. “Rah, rah, rah!” indeed.

MONSTERS, MINES, AND MALICE

The Macra themselves are surprisingly effective. The animation replaces the famously clunky crab props from the original production with creatures that feel genuinely dangerous. Their movement, menace, and the grotesque concept of giant intelligent crabs controlling a human colony through mind control and gas poisoning makes them one of the more unique Classic Who monsters.

Part 3 slows things down a little, with the companions forced into gas-mining slave labour while the Doctor indulges in some low-key sabotage. It’s fairly standard for the era but is elevated by some intense scenes, particularly when Polly is attacked and nearly dragged away by a Macra—until Ben intervenes violently. The animation makes this moment especially gripping.

Meanwhile, the presence of Security Chief Ola adds an extra layer of tension. Played with relish by Gertan Klauber (returning from The Romans), Ola is the very model of an officious, power-hungry bureaucrat—blindly enforcing the rules without ever questioning their origin. He’s the first in a long line of sadistic security types in the Troughton era and sets the template well. His refusal to listen to reason and unwavering loyalty to the system makes him an infuriating but effective antagonist—though not quite as insidious as Milton Johns in The Enemy of the World.

The Pilot, by contrast, is far more sympathetic—a man caught between duty and morality who eventually sees through the Macra's illusion and helps bring about their downfall. He’s a rare example of a colony leader who sides with the truth over power.

A BRIGHTLY LIT NIGHTMARE

Perhaps the most effective horror in The Macra Terror comes not from the monsters, but the atmosphere. From the first moments—arriving in a brightly lit, music-filled colony that’s all too welcoming—it’s clear that something is off. The smiles are fake, the joy enforced, and the sense of creeping dread grows with each scene.

Medok is an excellent supporting character—unhinged but likeable—and his early alliance with the Doctor sets the tone. The brainwashing sequences are some of the most unsettling scenes in the story, and the idea of psychological conditioning during sleep is still a potent one.

Even the Macra’s high-pitched, almost comically light voices add to the unease. Their panicked chatter as the system fails is weirdly humanising—but only in a way that makes them seem more grotesque.

A CLASSIC LOST NO LONGER

Thanks to the brilliant animation, The Macra Terror is no longer one of the lost treasures of the Troughton era—it’s a vibrant, psychedelic nightmare that can be enjoyed afresh. Between its haunting visuals, creepy sound design (including one of Dudley Simpson’s best scores), and thought-provoking themes, it stands out as one of the best uses of the Earth colony dystopia in Doctor Who’s early years.

It may falter slightly in its middle episode, and the companions aren’t all equally well served, but overall, this is a thoughtful and terrifying tale that makes excellent use of its format and cast.

📝VERDICT: 90/100

THE MACRA TERROR is a classic slice of dystopian Doctor Who, blending psychological horror, social commentary, and monstrous menace into one of the Troughton era’s most effective stories. Gertan Klauber’s officious Security Chief Ola adds bureaucratic menace, while the vivid 2019 animation enhances the mood with creepy visuals and rich detail. Though a little uneven in places, it remains one of the strongest animated reconstructions and a prime example of how unsettling Classic Who could be—even when the monsters are giant crabs.

On a damaged ship the Emperor Dalek and Dalek Strategist are at odds, their situation is not helped by the Doctor being on board.

In the last audio things had got moving: a race who could change the timelines of planets, and mentions of the Dark Times. I had, perhaps naively, thought that this episode would see the Doctor going back to the Dark Times, so I was a little put off balance when that wasn’t the case.

As far as the Timelord Victorious series goes, I played the VR game about 2 years ago, but didn’t really take a lot of notice of the plot. The Daleks! animated series on YouTube, seems to take place around here so I watched that. And it did give me some insight the the Emperor and Strategist, but in all honesty I’m not much the wiser with the overall plot. Having started this, stopped to see if I could make out where this was placed in the Timelord Victorious ‘timeline’. Watched the Daleks! animated series, and realised that unless I took in all the other media I probably wasn’t going to ‘get’ the story. I lost interest. (Retrospectivly, you have to read the novels, the Eighth Doctor turns up there in the Dark Times. The missing bit is there, that leads into this).

There are a couple of prisoners on board or ‘cargo’ as the Daleks call them - the last of their race. A nod to what’s to come for the Doctor. It did start fairly promisingly, The Dalek ship, battle worn,  and the Doctor needing to use his cunning to get back to the TARDIS and there are a couple of clever things the Doctor does to win the day.

This is probably quite a good adventure, but without the rest of the arc, its a little out of nowhere, and it was that feeling I’ve missed something, that kept me from enjoying it. I can’t help feeling a ‘the story so far…’ bit at the beginning, would’ve helped a lot, especially as some of the differing media is, or will, no longer be available. (I have since found most of it, barring the live events, and it would have been a much better pay off to have done all the TLV series in a proper order.).

Thworping through time and space, one adventure at a time!

“SINGULARITY – TIMEY-WIMEY TECH-BABBLE AND A COLD WAR THAT NEVER HEATS UP”

James Swallow’s first contribution to the Big Finish Doctor Who Main Range, Singularity, is a bold swing into heavy sci-fi territory—but unfortunately, it never quite connects. Featuring the Fifth Doctor and Turlough in a near-future Moscow, the story wants to deliver a heady mix of time-bending conspiracy, dark future prophecy, and philosophical techno-horror. Instead, it ends up tangled in its own ambitious ideas, weighed down by exposition, meandering characters, and a narrative that never quite finds its footing.

COLD WAR, COLDER STORYTELLING

Set in a snow-covered Moscow of the not-too-distant future, Singularity is at least aiming for a distinct flavour. Unfortunately, outside of constant name-drops of landmarks and references to the chill in the air, the setting fails to make much of an impression. The Russian atmosphere never fully comes to life; it could just as easily be any generic sci-fi metropolis, and the thick accents among the supporting cast only further distract rather than immerse. The audio format can make unfamiliar settings rich and textured with the right sound design—but here, it feels flat and geographically anonymous.

THE DOCTOR AND TURLOUGH IN TURMOIL

Peter Davison gives a typically committed performance as the Fifth Doctor, but even he seems a little lost amid the techno-jargon and heavy exposition. There are hints of the morally concerned, melancholic Doctor—especially when he reflects on humanity’s grim future—but these moments are fleeting. Mark Strickson’s Turlough is largely underused, mostly tagging along and providing questions for exposition dumps, though he does get a few moments of independent agency.

Their main ally, Lena Korolev, and her companion Alexi fail to leave much of an impression. Despite a personal tragedy that forms the emotional core of the plot, they’re so burdened by dry exposition and grim stoicism that it's hard to connect with their journey. The story wants us to care about their loss, their choices, and their resistance—but they never come alive enough to anchor the narrative.

SOMNUS FOUNDATION: BIG IDEAS, SMALL IMPACT

At the heart of the story is the Somnus Foundation, a shady organisation promising godlike evolution for humanity via a trans-temporal hive mind called the Singularity. It’s a promising concept, with shades of The Bells of Saint John, The Next Doctor, and even The Invasion of Time—but Swallow never quite makes it land. The Foundation’s leaders are suitably sinister in tone, but are relegated to a lot of grandstanding and cryptic declarations until the final act. They know the Doctor, know of the Time Lords, and manipulate events from the shadows—but they lack the presence or menace to make them truly memorable.

The most effective idea in the script comes in Part Four: the revelation that the villains are the last remnants of a future human race abandoned by the Time Lords, trying to rewrite history by invading their own past. That’s a great science fiction twist on the invasion trope, and it gives the villains’ actions some emotional weight and a genuine grudge. Their desperation adds depth, and the connection to the TARDIS—being hijacked and tortured to link with the Time Vortex—is an evocative and unsettling concept.

SOUND AND FURY, SIGNIFYING… WHAT, EXACTLY?

Much of Singularity is marred by an overwhelming soundscape that tries to simulate collapsing timelines and unstable realities but mostly results in a disorienting mess. Audio drama thrives on clarity, even when the plot is complex, but this production too often resorts to noise and shouting instead of tension and stakes. The climactic confrontation in Part Four—packed with cries, crashes, warbles, and whines—feels like chaos without consequence.

There are also far too many stretches of dialogue that feel like extended infodumps. Even when the ideas being delivered are interesting, the delivery feels like a chore rather than a revelation. Temporal rifts, paradoxes, mind-links, future wars—it all blurs together without ever generating a meaningful emotional response.

NOT QUITE A SINGULAR SENSATION

To its credit, Singularity does try to tap into the grim, speculative tone of late Davison-era serials like Frontios or Resurrection of the Daleks. There’s a cold, clinical view of the future, a universe where idealism has curdled into techno-fascism, and a Doctor increasingly burdened by moral consequence. But unlike those stories, Singularity forgets to build characters we care about or a world that feels real. The thematic material is there—but the human connection is lacking.

📝VERDICT: 41/100

SINGULARITY wants to be a hard-hitting, emotionally complex sci-fi thriller—but instead becomes a confused, overstuffed, and emotionally distant story. While it contains a few compelling ideas (especially the Part Four twist involving the future of humanity and the tortured TARDIS), it ultimately falters under the weight of its own exposition and noise. Davison and Strickson do their best, but with forgettable supporting characters, murky antagonists, and an underwhelming sense of place, this chilly tale never really heats up. A misfire, albeit an ambitious one.

I'm still giving this a 3.5*, as I have done for the rest of the series so far, but holy hell am I conflicted. Everything about Apex here is red flags, and as flawed a person as Cleo is I find it hard to believe that she'd suddenly go from calling Apex a trafficker to falling for him, especially as her best friends are warning her. I know they've fallen out somewhat but this just makes Cleo pretty unlikeable to me. It's a shame cause I do think Craggs is a great actress in the role and I love having a trans main character where transness is key to her story. But it's just hard for me to understand, relate or like her when she's choosing a man she literally didn't trust 5 minutes ago over her besties, just cause he showed her space. (Even if that's 100% the point, and she's definitely intended to be flawed)

But on the other hand, the idea of an interdimensional brokers to avoid real estate prices is awesome, and I am really really invested in the Shawna and Abby storyline.

In the end, the 3* that comes from my issues with Apex and Cleo, and the 4* that comes from my love of the Shawna and Abby storyline average out to a 3.5*.

A perfect epilogue to The Sarah Jane Adventures, and Sarah Jane herself, providing such a beautiful testament to a wonderful companion and wonderful actress in a touching and poignant way. Absolutely devastating, but so touching at the same time. So wonderful!

Not even k9 can save this story

I’m upset that this is Sharon’s exit story I feel I needed more time with herhowever what a fun concept to this story I wish it explored it a tiny bit more different dreams etc but oh well