Phantasmagoria is exactly the kind of story Big Finish needed early on—confident, atmospheric, and just the right amount of bonkers. Set in the spooky, candlelit world of 1702 London, it’s all ghostly whispers, vanishing gamblers, and mysterious gaming houses. Mark Gatiss leans hard into the gothic horror vibe and absolutely knows what he’s doing: this is a bold, campy romp that doesn’t pretend to be anything deeper than a good time, and it totally works.

David Ryall chews the scenery delightfully as Sir Nicholas Valentine, and Davison feels like he’s never been away. Turlough’s maybe a little more muted than on TV, but he’s given more to do than usual, and there’s a great little turn from a pre-fame David Walliams, who’s clearly having a ball. The plot does wander a bit in the middle, but just when you think it’s losing steam,that brilliant twist with Major Lovemore lands and it’s back in business.

What I loved most, though, is how unapologetically gothic it all is. Gatiss leans into the horror, the camp, and the historical setting, and it feels like a statement of intent for what Big Finish would become. It’s not perfect, but it doesn’t need to be: it’s fun, it’s spooky, and it reminds you just how flexible and weirdly wonderful Doctor Who can be.