After picking up where we left off with *Lazarus*, this one just gets right into the juicy Character Drama, where the Doctor and Evelyn quickly find themselves on Opposite Side. This Decision is just great, and really the Heart of this Story is the Character Drama between Evelyn and the Doctor. Both played yet again superb by both Colin and Maggie. Especially, Evelyn gets a lot of great Material here.
As for the Story outside the Character Drama between our TARDIS Team, I do think it works. What starts out to seem like a political driven Story turns out to be mainly a love story, that while written very well, doesn't sadly get me as much as I would hope. Don't get me wrong, everybody here plays their Part with the most Confidence and doesn't disappoint, yet I do find myself sadly not connecting as much as I would like to. But then again, I can be quite hard to be pleased with a romantic Story in any kind of Media, so this isn't totally surprising.
Still, the writing certainly doesn't disappoint and offers some great World Building on top of that. And that ending is just *chef's kiss* good!
Really had a good Time with this Story!

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

“ARRANGEMENTS FOR WAR: LOVE, LOSS, AND POLITICS COLLIDE”

Arrangements for War picks up immediately after the harrowing events of Project: Lazarus, exploring the emotional aftermath of the Doctor’s choices. Evelyn, furious and disillusioned, demands to be left on a world where she can avoid getting involved, needing time to process what she perceives as the Doctor’s moral failings.

Doctor Who rarely delves into the emotional consequences of the Doctor’s actions on their companions, but this story places that dynamic front and centre. Evelyn’s core beliefs clash with the Doctor’s decisions, and she needs space to reflect. From the outset, the mood is set with sombre music and Evelyn’s exasperation as she forces the Doctor to listen to her grievances.

A WORLD ON THE BRINK OF PEACE… OR WAR

The Doctor takes Evelyn to Világ (Hungarian for “world”), a planet embroiled in a bitter conflict between two ruling families. A political marriage is being arranged to unite them and prevent an impending invasion, and the Doctor believes this is the perfect place for Evelyn to observe without interfering. However, as soon as they arrive, it becomes clear that their presence is disrupting events rather than simply witnessing them.

Much of the story is dedicated to building this world—its intense political climate, the emotional turmoil of Princess Krisztina, and the sense that the peace efforts may be in vain. The setting itself is vividly realised, with its tropical heat, singing flora, and distinct culture giving it a unique identity.

A SLOW-BURNING POLITICAL DRAMA

The pacing is deliberately slow and contemplative, with an emphasis on politics and war strategy. At times, it’s difficult to keep track of the shifting allegiances, and the story’s tone remains oddly low-key despite the stakes. The Doctor and Evelyn find themselves forming personal bonds with the locals, engaging in leisurely activities and deep conversations, almost as if they are on a rare, peaceful holiday. The underlying tension of the plot—a forbidden romance, political scheming, and the looming invasion—remains somewhat muted, lacking the dramatic urgency one might expect.

However, the narrative cleverly positions the Doctor and Evelyn on opposing sides, with Evelyn advising one family while the Doctor aligns with the other. This reflects their own fractured relationship, as the Doctor tries to reach out to Evelyn, only to be repeatedly ignored. Evelyn, in turn, wrestles with her understanding of the Doctor’s nature, contemplating the man he truly is beneath the surface.

WHEN EVERYTHING FALLS APART

As the story progresses, tensions rise, particularly with Governor Rossitor pressuring Evelyn to leave the Doctor and marry him. Meanwhile, Evelyn pushes her side towards war while the Doctor fights for a ceasefire, knowing that time is running out before the inevitable invasion begins.

It’s in Part 4 that the story finally erupts into chaos. The invasion is depicted with an impressive sense of scale and urgency, bringing with it tragedy and destruction. A particularly gut-wrenching death shakes the Doctor to his core, leading to a rare moment of vulnerability as he snaps, desperate to undo the loss. This moment, however, also marks the turning point in his relationship with Evelyn, drawing them back together. The emotional weight of the climax is significant, even if it doesn’t quite achieve the full impact it strives for. What stands out is how both characters grow from the experience, emerging stronger than before.

A SOFTER SIDE TO SIXIE

If anyone still doubts that the Sixth Doctor can be mellow, compassionate, and deeply affected by loss, Arrangements for War should put that to rest. Colin Baker delivers one of his most likeable performances as Sixie, portraying a Doctor who is more introspective and emotionally available than usual. Maggie Stables, as always, is phenomenal as Evelyn, torn between her knowledge of the future and her conflicted feelings about the Doctor. Her discussions about her heart condition and her deeply emotional scenes with Rossitor in the final moments are particularly moving.

The guest cast is solid, even if the characters themselves don’t leave a lasting impression. The standout is the legendary Gabriel Woolf, returning to Doctor Who as Governor Rossitor with a commanding presence. Philip Brotherton as Suskind and Katarina Olsson as Princess Krisztina (named after writer Paul Sutton’s Hungarian wife) also deliver strong performances.

📝VERDICT: 6/10

Arrangements for War is an introspective, slow-burning character piece that focuses on the fractured relationship between the Doctor and Evelyn. While the political intrigue sometimes lacks urgency, the emotional beats—particularly in the final act—hit hard. Colin Baker and Maggie Stables shine, and the story offers a rare exploration of the Doctor’s softer side. It may not be the most gripping tale, but it’s a fascinating study of character, consequence, and the cost of war.

We have Arrangements for War and the first story I've reviewed to feature my favourite Sixth Doctor companion, Dr Evelyn Smythe (voiced by the late Maggie Stables). A history lecturer at a university who joins the Sixth Doctor to see history in the making. Big Finish’s first original companion and a key element towards the Sixth Doctor’s redemption and change in character as Evelyn acted as a perfect counterweight to Six’s arrogant nature and is one of the few companions to call the Doctor out on his nonsense. In-universe this had the effect of evolving the Sixth Doctor into a kinder and more outwardly caring individual, whole still carrying some of his original arrogance but without coming off as a mean a-hole.

Evelyn is a far cry from almost every other companion, being elderly, an expert on history, not someone to have a war of words with and suffered from a heart condition that was slowly killing her but kept secret from the Doctor. Arrangements for War marks a major chapter in Six’s life and his travels with Evelyn as it follows a personal story arc carried over from all the way back in 2001. In an audio called Project Twilight, the Doctor and Evelyn come across a casino in London that’s apparently being run by vampires (or people experimented to become vampires) and are being hunted by their half-vampire creator Nimrod, the leader of the Forge. A secret British military organisation that hunts down and imprisons/kills aliens “for king and country”. Basically Russel T. Davies looked at the Forge and said “I wanna do that!”. During this adventure, Evelyn made close friends with one of the casino workers named Cassie (Cassandra Schofield), a young woman who unknowingly took a job at the casino so she could earn enough money to go home and raise her little Tommy, but unfortunately she gets infected and becomes a vampire herself. At the end of the story the Doctor drops her off in Norway promising to come back with a cure.
A couple years later in 2003 we got the sequel Project Lazarus, where the Doctor has finally finished making the cure and the two go to find Cassie, only to discover she’s been recruited by the Forge and brainwashed into being a hardened killer. While the Doctor is captured by Nimrod and almost tortured to death in an effort to force a regeneration for the Forge to harness the energies, Evelyn brakes through Cassie’s brainwashing and she rescues the Doctor in the nick of time. But unfortunately, Nimrod kills Cassie before she can escape with the Doctor, the Doctor’s alien reaction to Cassie’s death causes a fallout between him and Evelyn who’s become tired of his alien and almost unfeeling manner.

This leads into Arrangements for War where the two agree to go somewhere that Evelyn can take a break from him, somewhere with no imminent danger where they don’t have to get involved. The place being the planet Vilag on the cusp of a golden age where two of the three major countries are about to end their long and bloody war in a union of an arranged marriage. In a few months time a race called the Killorans will invade but on this occasion the Doctor’s help will not be necessary as the united planet will kick the invading force back into space. That is of course until the Doctor accidentally convinces a young guard named Marcus to pursue his love interest, who just so happens to be the princess set to be married, who also loves him in return. And if they’re love affair is discovered, the arranged marriage will be called off, the war will recommence and the Killorans will tear the planet apart. Meanwhile Evelyn becomes close with the governor of the third mediating country, Rossiter, and feels that this may be the end of her travels with the Doctor.

Yes, that was quite a lot to unpack, it’s one of those stories that’s stronger going in with the prior context of the Doctor and Evelyn’s relationship and everything that’s led them to this moment. It’s very heavy on drama than action with most of the story taken up by the Doctor and Evelyn separately integrating themselves into the planet’s political system so they can keep things on track before the Killorans invade. All the while, the two of them become attached to the people they work alongside.

Which leads into the ending and oh what an ending this is, without going into spoilers, though you can probably guess anyway, the two people the Doctor becomes attached to over the course of the story are both killed and after all the death the Doctor’s experienced throughout his lives he finally reaches his emotional breaking point, and so goes back to the TARDIS to try and change history. What follows is hands down my favourite Sixth Doctor scene where he’s at his most emotionally vulnerable and Evelyn has to bring him back to reality. It really showcases just how important Evelyn is to the Doctor and what separates her from almost every other companion. It’s basically the ending of Waters of Mars but better (and I love the ending of Waters of Mars).

One of the more cerebral and slow paced story. No bad thing, you don't want every story to go a million miles a second. I did expect to feel a bit more of a connection with them covering such monumental themes (I.e. Evelyn's health). I usually am in love with the 6th Doctor and Evelyn but here, whilst being enjoyable, the story bordered on melodrama.

I enjoyed the beginning, with the forbidden love and politics of two nations. But as it got into the nitty gritty of the particular politics of the nations it was a tad boring.

This is part of a series of reviews of Doctor Who in chronological timeline order.

Previous Story: Project: Lazarus

This is the perfect culmination to everything that's been building up in the past few stories. As much as I despised Project: Lazarus that definitely provided the status quo for the beginning of the story; Evelyn has stormed out of the TARDIS because she's upset at the way the Doctor regards death. This is such an obvious angle to explore for a companion that I'm surprised it doesn't seem to be brought up often. The only other character I can think of who left (or attempted to leave, in this case) because of the constant death and tragedy around them was Tegan but even then she didn't seem particularly fussed about how to Doctor coped with it.

It also builds on the revelation that Evelyn is dying of a heart condition from the last story. It's a central theme of this story, accepting mortality of both yourself and those around you. Not only is this story a brilliant tragedy akin to Romeo and Juliet, it's also an exciting political thriller. I especially love how the Doctor and Evelyn visit purely to observe but end up both seperately being appointed in government. The first half of this story is a bit slow-paced, but not by any means in a bad way. It really builds up the relationships between the characters and there's always that looming sense that it's all going to go wrong which keeps you on the edge of your seat throughout.

I think the real tragedy of this story is that the Doctor, in trying to help two people in love ends up getting them killed. It leads to what I think is the best piece of acting Colin Baker has done for Doctor Who (from what I've listened to so far). In fact, the entire cast were outstanding here. Maggie Stables has absolutely proved herself as one of the all-time great companions, her slow acceptance of her mortality was possibly my favourite part of this story. I think it was the conversation at the end,between the Doctor and Evelyn that cemented this story as one of my favourites though, one of the most sincere and touching moments in all of Who.

Next Story: Medicinal Purposes

The Monthly Adventures #057 - “Arrangements for War" by Paul Sutton

Doctor Who can be many things; it can be funny; it can be clever; it can be fun. It can pastiche cheap 1950s monster movies and crime capers and pulpy horror novels, but very rarely can it emulate something such as prestige TV. Arrangements from War is a madly brilliant little story from the gap between seasons of the Divergent Arc that feels straight out of a new, unseen HBO show, with all the scope, bloodshed and character drama to warrant a run on prime time TV. A world at war leads to a script unlike anything we’ve gotten before and, unfortunately, probably unlike anything we’ll ever have again.

Determined to take some time away from the Doctor, Evelyn convinces her travelling companion to land somewhere interesting and free of some great foe they need to defeat. The Doctor chooses Világ, a planet fresh out of war that will remain peaceful for weeks to come. But when the Doctor accidentally causes the collapse of a vital peace treaty, the whole world begins to slip into the throws of armageddon.

(CONTAINS SPOILERS)

Can I begin with saying that this audio is bizarre to me? Doctor Who is a good show, it’s an amazing show, but its best episodes are always the conceptual, the brilliant, the clever, never a small-scale political love story. Arrangements for War is pulled straight from a different show and I couldn’t be happier. It is a ridiculously expansive script, portraying an entire world at war, without visuals, in the space of 120 minutes. Astonishing. In such little time, Sutton is able to create the entirely believable, interesting and well-constructed world of Világ and for that I can only praise him. On top of that, the story is a utterly fantastic whirlwind of political espionage and forbidden romance. The political backstabbing, plots, threats and shenanigans here are incredibly entertaining and despite being somebody who usually turns their nose up at classic romances, Sutton writes such likeable, realistic characters that I’m just absorbed by their dynamic, not even thanks to the brilliant performances. And I mean brilliant, Arrangements for War could very well have the greatest cast in a Doctor Who project. Ever. Not only do Colin Baker and Maggie Stables deliver what is undoubtedly their best performance, we have Gabriel Woolf as the caring and sympathetic Rossiter, who acts a fantastic romantic interest for our very own Dr. Smythe, but we also have the intoxicatingly endearing Krysta and Marcus, who sell the main dynamic with their chemistry alone, and the duplicitous, slimy Plenipotentiary Suskind, who acts as a brilliant two faced villain that’s far more complex than just your average, tyrannous, power-hungry politician. And the story is a masterpiece too; despite dealing with wars, invasions and espionage, it’s really a real low-key story about a young couple in love, and how it affects the Doctor and Evelyn. It is expertly told, spanning months but being cut down to a couple hours without feeling rushed; this could take up a whole miniseries but by skipping over the right moments and giving just enough exposition, Sutton manages to compellingly tell his story in a tenth of the time. Plus, this story uses sound expertly to tell a narrative, making the whole thing feel undeniably dynamic in how it builds soundscapes and distance; you can picture the scene and camera movements of what an episode would look like (though a story of this size would never make it onto screen). And of course, after the long dreaded invasion of Part 4, we get perhaps the most heartbreaking end to an episode of Doctor Who ever. Both Marcus and Krysta are shot down in the invasion, leaving the Doctor, having finally given into grief, to try and go back in time and save them. In the end, he is stopped by Evelyn, and they simply watch the couple, happy and unknowing as the travellers finally overcome the differences they’d been having in the story. Arrangements from War takes place directly after Project: Lazarus and, unlike any lesser story, does not sideline this conflict for the sake of the plot, instead having the Doctor and Evelyn’s argument central to the whole story and finally resolving in this scene, as the Doctor talks to Evelyn about grief and the two consider what the right thing to do when somebody you love dies is. It’s a stunningly beautiful, shocking and all together staggering ending that leaves me with no words every time I hear it. Paul Sutton is an incredible writer and here it shows unlike any other story.

However, I do have one major problem and that’s that I dislike Part 4 far more than the rest of the story. Detailing the Killoran invasion that the last hour and half had been building up to, it really doesn’t do justice to its set piece, despite the last three parts so effortlessly building a whole world. It’s over too soon and we see very little of it, making the supposedly blood thirsty Killorans somewhat of a non-entity (I know they’re in the Benny range, but I haven’t listened to that) and the invasion is ambiguously defeated. And if I was really nitpicking, I’d say the secondary antagonist - the bloodthirsty Commander Pokol - was leagues below the rest of the characters. Surprisingly one note and really a walking, talking plot convenience; his final appearance of suddenly returning from being supposedly dead, shooting Krysta and then immediately getting killed was an awkward way of achieving that conclusion, however poignant it ended up being. He’s a weird stain on an otherwise pretty perfect story.

And that’s just what Arrangement for War is: pretty perfect. It’s of unknown quality for even Big Finish, taking an untold direction for Doctor Who, with not a single bug eyed monster or tin dog in sight. It’s a stunningly poignant love story under the guise of a political thriller that does some absolute wonders for what might be the best TARDIS team; Jubilee be damned, for specifically the characters of the Doctor and Evelyn, this is their best story. Arrangements for War is a uniquely brilliant time, and one that deserves to be far more talked about than it is.

10/10

Pros:

+ Insanely expansive, impressive audio

+ Incredible world building

+ All around brilliant performances

+ Wonderful political espionage

+ Earth-shattering ending

+ All time great cast of characters

+ Expertly paced and cut down

+ Fantastic sound design

+ The perfect exploration of one of Who’s best TARDIS teams

Cons:

- The final Killoran invasion is very underbaked

- Pokol was an odd secondary antagonist

MR 057: Arrangements for War

Who is this newcomer who just comes out of nowhere and knocks it out of the park with a political thriller on the first try? Project: Lazarus, take notes. This is how you do grief. I said in that review that a better author could do something really interesting with the idea of Cassie dying, and they have. I definitely see what Doctor Who and the Pirates and Project Lazarus were doing to lead into this one, but Doctor Who and the Pirates and Arrangements for War did it way better.

After losing two young people that Evelyn cared very much about in Pirates and Lazarus, she needs a break. Not a break, exactly, but more time away from the Doctor to think and reflect. She wants to go somewhere they don't have to get involved in any way. Somewhere they can just sit for a few moments. The way the Doctor just brushed off Cassie's death really bothered Evelyn. He tries to make it better. He offers her chocolate cake and asks where to go next, but Evelyn can't just move on like that.

This was one of the reasons why Pirates was so much better than Lazarus. Pirates had the Doctor taking the time to allow Evelyn to grieve. Indeed, that was the entire point of that story. The Doctor recognizes Evelyn's grief and they go back to her school to allow her to take the time she needs. Project Lazarus allows no such time. The Doctor is ready to move on almost immediately. He substitutes the earlier setting aside time to grieve for offering a slice of chocolate cake.

Arrangements for War, now, is the Doctor setting aside that time in the same way he did in Pirates. They arrive on the planet Világ. The Doctor chooses this planet because there's a celebration going on. There are three countries on one landmass. Two of those countries are at constant war while one is neutral. The two countries at war: Galen and Malendia are about to ally with each other because of an arranged marriage between their monarchies. Kozepén, the neutral country, is a republic and is just here to support the other two. There will be an invasion later on from an offworld species called the Killorans, but by that time the alliance will be strong enough to repel the invasion. For now, the Doctor and Evelyn can just enjoy the celebrations, wander around, and don't have to get involved in anything. Sounds lovely.

Only, of course they're going to get involved. Evelyn goes off on her own leaving the Doctor to wander by himself and who else do they bump into? Princess Krisztina of Galen and Governor Rossiter of Kozepén. Obviously! Evelyn quickly makes friends with both of them while the Doctor bumps into a soldier, corporal Reid. (As an aside, I love how the Doctor calls him a "geologists' nightmare" because he throws stones back into the water after they've taken years to get onto the shore.) Corporal Reid seems conflicted. He wants to confess his love to someone, but knows he can't, for some reason. The Doctor encourages him to confess, asking if he can live with the consequences of his inaction. He agrees and so vows to confess his love... to Princess Krisztina! Uh oh. Looks like the Doctor has interrupted the arranged marriage. Wah wah.

The Doctor ultimately agrees to help them maintain their affair in secret, but there's a problem. The official from Malendia, Plenipotentiary Suskind, is against this alliance and is trying to undermine it. He has the Doctor bugged and followed and so finds out about the affair. This is the fuel he needs to undermine the alliance and hostility begins again, the war starts anew.

Meanwhile, Evelyn has become a "special advisor" to Governor Rossiter. She has no official title or anything, they just enjoy spending time together. This is where we get a lot of the character development for the story. Evelyn was recently reminded of her own impending death when she fell to the ground in front of the Princess, presumably of a heart attack. And she talks with Rossiter on the beach about how she felt losing her two young friends and what that meant for her. Rossiter relates to her when he talks about losing his wife. I love this conversation so much where Rossiter says that the Doctor does grieve, in his own way, maybe he just doesn't show it all the time. Evelyn agrees but feels like he can be so cold sometimes. Maybe that's just how he grieves. He wants to move on. He doesn't want to dwell on it and so it feels cold to her. It's just a question of whether she can accept that about him. The background sounds of the waves crashing and the wind howling are so good for this conversation. It makes it feel so genuine, I think.

When hostilities continue, though, both the Doctor and Evelyn get arrested. They're seen as political conspirators, helping the Princess to have an affair. The Doctor puts it into Suskind's mind that a military alliance might be a good thing. He can't completely tell him about the invasion, of course, revealing knowledge of the future, but he plants the seed. Meanwhile Evelyn tries to get Rossiter to ally with one country or the other as a bulwark against the impending invasion that she can't tell him about. Galen tries to get Evelyn extradited. Rossiter can't stop it and so she gets arrested, taken on a train. But she JUMPS FROM THE TRAIN! (!!!!???!!)

Of course she ends up in a hospital and here she confesses what we, the audience, know but the Doctor doesn't. She tells Rossiter that she's dying of a heart condition. But he fell in love with her and he doesn't mind, he still loves her. Yet again we have a fantastic conversation here. She realizes that this is probably why the Doctor's reaction has bothered her so much and why she doesn't want to tell him about her heart condition. If he can brush off Cassie's death with a cup of tea and a slice of cake, how would he feel to see her die? Surely he'd just move on very quickly. Even confronting her own mortality and the Doctor's reaction to death, Evelyn knows that she's not going to leave him, despite Rossiter asking her to stay.

It's a huge step for Doctor Who to talk about this. Classic Who's companion exists are usually fairly arbitrary low key. There's no real time to grieve losing a companion, we just find another one and move on. Yet here we are, in this story, talking about what that really means. We did this quite well in Scherzo as well. Losing a companion has to hurt the Doctor a lot. You can't spend so much time with this person, thinking of them as your friend, only to just nonchalantly forget them the moment they leave. New Who is the way that it is because of these audio stories. We've spent a long time in the wilderness years actually acknowledging that pain of losing a companion and what it must mean and how we can't just move on from it. I love that so much.

Meanwhile, the Princess goes to the jail and helps break the Doctor out after a brief confrontation with Suskind's minion: Pokol. They finally find a place where the Doctor can contact Minister Mortund of Galen, but it's too late. The Killoran invasion has begun. Suskind is absolutely open to an alliance now, of course. The Doctor was right. The alliance was important to repel the invasion. Instead, now, the invasion is brutal. In the process, Reid and Krisztina actually get killed in each other's arms, a classic Shakespearean love story.

This time, though, it's the Doctor's turn to respond angrily. He can't accept this. He won't accept this. He's gotten to know these two and has worked so hard to keep them together. He won't let them die. This time the Doctor sees himself as directly responsible for their deaths. If he hadn't gotten them together, the alliance wouldn't have fallen apart and the invasion wouldn't have killed them. He wants to go back in time to prevent them from getting together so that they don't die. He's so overcome with rage and grief that he forgets about Evelyn. He would have left her there, but she comes in with him and changes the coordinates.

Instead they end up five years ago when Krisztina and Reid first fell in love. Before Reid left to join the military because he didn't think they could ever be together. Evelyn convinces him to leave it. They died, but they died together. If he changes it, they wouldn't get to be together. They would live out their lives probably grieving their lost love.

This final conversation is the heart of this story. I even feel bad summarizing it because it's so powerful when you hear it. The Doctor and Evelyn sit together and watch the two of them play in this park. "Tears from the depth of some divine despair rise in the heart and gather to the eyes looking on the happy autumn fields and thinking of the days that are no more."

The Doctor tells her that he doesn't just switch his emotions on and off. As much as it may seem like it. It hurts him to lose someone but sometimes he doesn't show it because that's just who he is. He can't change. I LOVE that Evelyn acknowledges this and says that she wouldn't want him to change. She likes him just the way he is. Which is honestly beautiful. She's ready to move on even though she'll miss Rossiter. The Doctor tells her that it's a challenge to be with her. He's loved every one of his companions ("It's not just anyone I let into the TARDIS." "And it's not just anyone who could put up with your mood swings." "Indeed."), but they're usually very young. Evelyn is more well rounded, more experienced. The Doctor usually has the upper hand, but with Evelyn not so much. Other companions would have accepted the Doctor's response and moved on, but for Evelyn it triggered a crisis of faith.

The Doctor talks about how Evelyn was able to control the TARDIS and how Evelyn must mean a lot to the TARDIS as well for her to allow Evelyn to mess about with the controls like that. It's very like this Doctor to end this incredibly emotional and passionate conversation with "Your boots need a bit of a clean don't you think." And then immediately we jump to the ending theme. I swear, I was really emotional and tearing up at this conversation and then he says that and I rolled my eyes and chuckled. That's my Doctor and I love him for it.

This is absolutely fantastic from start to finish. This story does a fantastic job of really diving deep and examining the emotion of grief. Not only the grief that you feel in someone's passing, but how everyone grieves differently. Even if the way you grieve doesn't match someone else, it doesn't mean that they're unemotional or a stone. Maybe they just don't feel it the same way you do and that's ok.

Not only is this a great emotionally introspective story, it's a very fun political thriller as well. The Doctor and Evelyn getting involved in the political situation on this planet, when they were not trying to, feels very natural and organic. They become intricately a part of it almost by accident. Suskind's continued attempts to undermine the alliance are quite fun as well, until they work and we see the consequences. The beginning and the halfway point are framed by news broadcasts as well which I found fun.

This story is expertly performed by Colin and Maggie, of course. They are the dream team for a reason. Maggie Stables brings an emotional maturity and groundedness to Evelyn that is so rare and so adult in a Doctor Who companion. While Colin absolutely expresses his full range here. He's comical, lighthearted, serious, careless, and ultimately shows how much he cares about the people around him. His outburst of grief at the end feels like such a natural outpouring of this story as Evelyn gets to see what happens when he doesn't bury his grief deep down for once. Evelyn's relationship with Rossiter, too, feels so natural and organic as they start to develop feelings for one another.

Ultimately, this is an extremely powerful story that develops so naturally those feelings of heartbreak and grief that were addressed all too rarely in classic who. Stories like this one and Scherzo were immensely influential on tv who after this point and for very good reason.

I love, so much, how this story has Evelyn confronting how she feels about the Doctor. His flippancy and nonchalance. His avoidance of serious topics. How he kind of moved on after Cassie died. And she doesn't know if she can accept him. But she comes to the conclusion at the end that she can accept him. Even when the Doctor says he can't change Evelyn says "I wouldn't want you to. I like YOU."
That's so powerful. I accept you for who you are. That's how you know they love and respect each other. Because she's willing to accept the Doctor for who he is. Not just for who she wishes he was.

That's so powerful, for the Sixth Doctor. Because it's a lot of the traits that were most pronounced in their worst forms in the show that made everyone hate him. And Evelyn has helped mellow them out. They're absolutely still there and I wouldn't want them to not be there. But here she is saying that she accepts those things in him. She still loves him for who he is even though it's all those things that the audience hated about him. It's like the writer telling us that we can accept him too, just like Evelyn accepts him.

21.07.2023

Mid. The very conflict that was supposed to prompt the story is pushed aside and forgotten. Then the very conflict that was to prompt the story (a different one) is pushed aside and forgotten.

The story itself is very procedural, with most scenes either developing bland surface-level relationships or going through the plot motions. The deaths of two central characters are comical. The Doctor's outburst at the end feels out of character, I'd rather expect it of someone's first time.

Evelyn's acceptance of her own mortality is interesting though. 2/5

Far and away one of my favourite Sixth Doctor stories in any medium, straight after finishing it. We were honestly blessed to ever get Maggie Stables and Colin Baker in leading roles. Outstanding performances from them, and the guest stars, across the board.

This is a fantastic culmination of the arc started over the past few stories, and ultimately a lower stakes character piece first, political drama second, and everything else just background. And goddamn is it good character drama.

Honestly a perfect story, with a heartbreaking opening and ending scene, and potentially the best Doctor/companion dynamic of all time.

This is a beautiful and touching audio, exploring themes of grief and the consequences of actions. The plot is strong and compelling and the characters are interesting. I can't recommend it enough.