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

“PIER PRESSURE – BRIGHTON ROCKS, BUT THE STORY DOESN’T”

Pier Pressure kicks off in characterful fashion, with the Sixth Doctor in a foul mood and Evelyn determined to drag him out of the TARDIS for some fresh air and distraction. Their dynamic, as ever, is a joy—Evelyn’s mixture of warmth and exasperation is the perfect foil to Six’s bluster, and the story begins with one of their more grounded and intimate conversations. But this isn’t Blackpool in the 1980s as the Doctor assumes; it's actually Brighton in the 1930s, and something far more sinister than a malfunctioning time rotor is waiting in the wings.

GHOST STORIES AND STAGE LIGHTS

At first, things unfold with a familiar Doctor Who rhythm: strange voices in the night, vanishing people, and a spooky seaside atmosphere. There’s even a ghost—Professor Talbot, reportedly long dead, who appears very much alive (and conflicted) when the Doctor investigates. Talbot quickly becomes the central mystery, hosting within him an evil force that is beginning to awaken and extend its control across Brighton.

Part 1 and much of Part 2, however, are more interested in giving Max Miller the spotlight. Played by the legendary Roy Hudd—long-time fan and Max Miller aficionado—Miller is brought to life with gusto, warmth and energy. His rapport with Evelyn is delightful, and his scenes add a touch of variety to the narrative, though it becomes increasingly obvious that Big Finish cast Hudd primarily to showcase his talents rather than serve the story’s momentum.

POSSESSED PROFESSORS AND PLEASANT POLITENESS

Tension does finally begin to mount toward the end of Part 2, with Talbot’s split personality taking a darker turn. He warns the Doctor to leave while he still can, all the while struggling internally against the force that's consuming him. But the resulting possession sequences—especially when Emily falls under the same influence—don’t quite land. Despite the intended threat, the scenes mostly involve characters standing around discussing the situation while Talbot mumbles ominously to himself.

The story flirts with the tropes of a genteel zombie invasion but never fully embraces or develops them. It’s more talk than terror, and despite the solid atmosphere created by seagulls, crashing waves and Dudley-esque incidental music, it struggles to generate real suspense or stakes.

TO THE SEA! AND THEN... AN EXPOSITION DUMP

The end of Part 3 gives us a rare pulse of excitement, with the Doctor, Evelyn, and Max boarding a boat to track down the alien presence offshore. The atmosphere becomes tenser, especially as Evelyn and Max start to fall under the same corrupting influence. But just when things get going, Part 4 kills the pace with an extended monologue from Talbot, explaining everything we’ve already guessed in laborious detail.

It all wraps up in underwhelming fashion. The dual-voiced Talbot—channeling his inner Gollum—never escalates beyond vague menace. The final confrontation is oddly limp, with the evil presence being defeated without much resistance or consequence. There’s no emotional punch, no lasting impact. Just a polite, quiet fade into the audio equivalent of the end credits.

MAX MILLER STEALS THE SPOTLIGHT

Roy Hudd’s Max Miller is the highlight of the production. His enthusiasm is infectious, and he brings a genuine charisma to a story that too often flounders. His banter with the Doctor and Evelyn gives the piece its heart, and while he occasionally threatens to outstay his welcome, he remains an affable and valuable part of the team. It’s clear that Pier Pressure is a love letter to music hall comedy, even if the plot doesn’t always support the weight of its tribute.

VERDICT: 💙💙💙💙💙💙🤍🤍🤍🤍

PIER PRESSURE begins with promise, giving us a moody Sixth Doctor, a compassionate Evelyn, and a genuinely intriguing set-up. But despite its eerie setting and ambitious ideas, it never quite delivers. The central villain is all talk and no teeth, the pacing is uneven, and the final act is an exposition-heavy fizzle.

Roy Hudd’s spirited portrayal of Max Miller offers some sparkle, and the Doctor/Evelyn relationship is as strong as ever, but this seaside stroll turns out to be more of a damp squib than a ghost train ride. A curious diversion rather than a standout entry in the range.