The Fearmonger is an early Big Finish triumph that proves the range wasn’t just interested in nostalgia—it had something to say. Set in a world of rising extremism, populist politics, and media manipulation, the story finds the Seventh Doctor and Ace caught in a chillingly believable web of paranoia. The titular creature is never quite seen, never clearly defined, and that’s exactly the point: it thrives on fear itself, spreading through anger, division, and the stories people tell. Twenty years later, that feels less like science fiction and more like prophecy.

What makes The Fearmonger work so well is how sharply it understands the Doctor’s role in a world on the edge. Sylvester McCoy is in his element here—subtle, manipulative, but deeply moral—and his chemistry with Sophie Aldred’s Ace is effortlessly strong. Ace in particular shines, pushed to the limit as her own instincts about injustice are tested. Writer Jonathan Blum uses the audio format cleverly, keeping the threat unseen and the tension internalised, with just enough action to keep the pace tight. The use of radio broadcasts and political speeches makes the whole thing feel grimly plausible.

More than two decades after release, The Fearmonger still resonates. It’s not perfect—the final resolution is a touch rushed, and some of the supporting performances are a bit arch—but it’s an ambitious, intelligent story that punches well above its weight. It’s a Doctor Who story that understands that monsters don’t always have claws… sometimes they have microphones. Essential listening for fans of the darker, more political side of the show.