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"BLOODTIDE – DARWIN MEETS DINOSAURS (AND EVIL SCIENCE)"

Jonathan Morris’s Bloodtide from the Big Finish Main Range is a curious blend of atmospheric pseudohistorical, ethical sci-fi, and monster movie melodrama. Intended as a reintroduction of the Silurians to the Big Finish line-up, the story brings together the Sixth Doctor, Evelyn Smythe, and none other than Charles Darwin in an ambitious if uneven tale of science, morality, and lizard conspiracies.

EVOLUTIONARY BEGINNINGS

Part One is admirably moody, drawing immediate parallels between a Silurian scientist punished for tampering with genetics and a brutal human captain doling out punishment to a crewmember. These mirrored scenes establish the story’s interest in power, scientific responsibility, and evolutionary destiny. The TARDIS’s arrival on the Galápagos Islands during Darwin’s 1835 voyage smartly sets up both the historical anchor and thematic thrust of the story—this is about the origins of humanity and the ghosts that lurk beneath them, both literally and philosophically.

The Silurians, reintroduced here, are in an isolated hibernation colony with no knowledge of their kin elsewhere—a clever narrative trick that makes Bloodtide both a sequel and prequel to Doctor Who and the Silurians (1970). While they’re rendered in slightly more villainous shades than some other interpretations, they’re not flatly evil. Morris’s writing imbues them with a real sense of identity and internal conflict, especially when it comes to their history with humanity.

DARWIN AND DIALOGUE

Miles Richardson’s Darwin is thoughtful and believable, caught between rationality and awe. The story makes good use of his scientific curiosity, especially in conversations with Evelyn, who indirectly inspires parts of his evolutionary theory. Evelyn’s own role is a highlight—Maggie Stables gives a luminous performance, all warmth and inquisitiveness, her compassion and groundedness acting as a perfect counterpoint to both the Silurians’ cold calculations and the Doctor’s righteous fury.

Colin Baker, meanwhile, is in strong form throughout—commanding, curious, and just as morally outraged as you’d want when humanity’s fate is at stake. His confrontation with the Silurian scientist is classic Baker: unflinching and eloquent.

DINOSAURS, DEBATE, AND DOLDRUMS

While the setting—the Galápagos Islands—is evocative and novel for a Doctor Who story, the plot does take its time getting off the ground. The first half is dialogue-heavy and slow-paced, prioritising philosophical musing and ethical exposition over incident. This isn’t necessarily a problem, especially with such strong performances, but listeners hoping for fast-paced action may find themselves yearning for something more kinetic.

Thankfully, Part Four injects a much-needed dose of peril and tension as the climax unfolds. The stakes rise. The Doctor takes charge. There’s a real sense of urgency. However, it’s telling that much of the story’s dramatic punch comes only at the end. While the philosophical and scientific debates are compelling, the surrounding plot struggles to generate sustained excitement.

What Bloodtide does offer is a unique conceptual thread: the Silurians might have helped shape early human evolution. It's a bold idea, laced with unsettling implications, and it elevates the story's thematic weight. That said, while the ideas are strong, their execution doesn’t always match their ambition.

📝THE BOTTOM LINE: 6/10

Bloodtide is a thoughtful, well-acted historical-science hybrid that reintroduces the Silurians in a morally complex light and offers a compelling (if underplayed) glimpse into Darwin’s formative years. With excellent turns from Colin Baker and Maggie Stables, plus solid atmosphere and weighty ideas, it’s a worthy listen. But a sluggish pace, a meandering midsection, and a lack of real narrative propulsion prevent it from evolving into something truly special.