Bear with me, because this is an audio I have far too many thoughts about.

I think I should get out of the way the fact that I didn't enjoy this audio much the first time I listened to it...but that was because I hadn't been paying attention, or listening to it while multitasking, and I think this is a story that really demands the listeners full attention.

I was a huge fan of the POV switches in this between Steven and Sara. Whilst it could have became quickly repetitive, I didn't find this to be the case, instead, I really enjoyed hearing those inner thoughts and feelings when things played out, and how they differed between them both. It should be noted here too just how impressive that, between Jean and Peter, it felt as though you were listening to a full-cast audio with how they diversified their performances for the supporting characters.

Whilst the first parts of this story worked really well in keeping the listener hooked, and more importantly, curious as to the ultimate resolution, the real reason for my five stars comes from the latter half - when Steven and Sara arrive in Berlin, during the time of the Berlin Wall. This had such an excellent build up of tension through it, and listening to it for the second, third, or fourth times (if you're like me), you can clearly see where the threads are beginning to unravel in the lead up to that reveal.

When discussing that reveal, and why it makes 'The Anachronauts' so brilliant, it's impossible to avoid this idea inserted in by Big Finish in these adventures filling the gap in 'The Dalek's Masterplan' of the romantic tension between Steven and Sara (which is arguably most explicit here). I absolutely adore this writing decision, and I think it is a positive for both characters. Steven's interactions with romance are brought from simple comments on attractiveness (Galaxy 4 comes to mind) to a far more fully developed concept, in which he is conscious of his feelings for Sara, but is unable to believe that they are reciprocated. No matter how you choose to interpret Sara's feelings on the matter, the topic being brought up in respect of her leads to some excellent introspective character development (especially the moment where she talks about needing Steven to not feel like a monster in light of Bret's death).

The reveal that Steven's mind has created this prison of Berlin brings every loose end together. Every moment where Sara seemed out of character, or something didn't quite add up is explained by the tragic scene in which he confronts this created 'Sara', leading to that awful gut-twisting conclusion ('and...she doesn't love me'.) There is no joke to be made of Steven's feelings here, as other pieces of media featuring him have relied on. This is pure heartwrenching tragedy.