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“MUST-SEE TV: GAY NEIGHBOURS, ALIEN SCREENS, AND A TOUCH OF TORCHWOOD”

 A charming, character-led sci-fi breather that blends The Idiot’s Lantern with Queer as Folk... and a hint of Torchwood secrecy.

After the emotionally bruising Wild Animals, Lisa McMullin’s Must-See TV shifts the tone of Stranded back towards something lighter, quirkier, and more overtly sci-fi. It’s still grounded firmly in Baker Street, still steeped in character relationships, but now the narrative is carried by a playful techno-mystery involving sentient televisions, clandestine Torchwood dealings, and neighbours who might just be too fabulous for their own good.

The setup is pure Doctor Who comfort food: a piece of seemingly mundane technology starts acting oddly—this time, TVs displaying strange messages—and our team of stranded time travellers are drawn into the mystery. Think The Idiot’s Lantern (2006), only with more character banter, and you’re in the right ballpark.

THE TORCHWOOD TWIST

The most substantial narrative hook here is the slow unravelling of Tania Bell’s deeper affiliations. She’s not just the charming, awkward love interest of Liv Chenka—she’s also working with Torchwood. McMullin smartly makes this part of the drama rather than the drama itself, using the tension between secrecy and honesty to drive some of the episode’s best character scenes.

Liv and Tania’s relationship continues to be one of the set’s strongest elements. Their connection deepens naturally here, bolstered by McMullin’s warm, realistic writing. These aren’t melodramatic romantic beats—they’re sweet, awkward, lived-in moments that shine with authenticity. In fact, their romance is one of Big Finish’s most organic and respectful depictions of a queer relationship to date, helped along by Nicola Walker and Rebecca Root’s effortless chemistry.

There’s also a lovely throughline involving Andy Davidson—still wonderfully played by Tom Price—desperately trying to keep the Doctor in the dark about Torchwood’s involvement. It’s a great reminder that Stranded is, in a way, a collision point for multiple Doctor Who spin-off energies: not just the Eighth Doctor and his companions, but echoes of Torchwood and The Sarah Jane Adventures too.

RON, TONY, AND THE SITCOM SIDE OF STRANDED

The lighter tone allows the supporting cast of Baker Street to come into sharper focus, particularly the delightful gay couple Ron and Tony. They’re unapologetically funny, full of snark and affection, and get some of the episode’s best lines. They’ve occasionally felt like set dressing in earlier episodes, but here they properly come to life.

Still, not every side character fares as well. One of the story’s recurring flaws—shared with Lost Property—is that a few supporting roles feel like they’re just “there” to pad the world out. While that does help make Baker Street feel lived-in, it also dilutes the dramatic focus.

SCI-FI MYSTERY OR SLIGHT DIVERSION?

On the science fiction front, Must-See TV introduces a mysterious character named Mr Bird and a series of otherworldly TV phenomena that never quite coalesce into a satisfying climax. The concept is intriguing—alien interference via something as domestic and universal as television—but the actual explanation, like the story’s conclusion, is vague and underdeveloped.

Pacing-wise, McMullin keeps things brisk and breezy. The snappy dialogue and low-stakes vibe help the simple plot stretch across the runtime, though it still feels like the story just… ends. There’s no real resolution, no cathartic reveal, and not even a proper cliffhanger—just a sudden cut to credits that leaves you blinking at the speakers.

That said, the episode’s strength isn’t in its plot—it’s in the characters. By this point in the set, the residents of Baker Street are becoming people we care about, and Must-See TV leans into that beautifully. The sci-fi mystery may be lightweight, but the emotional layering is anything but.

A COMIC PAUSE WITH DEPTH

What McMullin does bring is tonal variation. Must-See TV is a breather, but not a filler. The humour is sharp without undercutting the sincerity, and the character work adds subtle new dimensions to Tania, Liv, and even the Doctor, who spends much of this story on the periphery—curious, slightly suspicious, and very much out of the loop. It’s a rare case where the Doctor being sidelined makes perfect sense: this isn’t his story, and that’s the point.

📝VERDICT: 8/10

Must-See TV is the lightest entry in Stranded 1, but that doesn’t make it the weakest. Lisa McMullin balances sci-fi quirk, romantic development, and community comedy with flair, offering a charming and character-driven detour that strengthens the emotional core of the set—even if its plot fizzles out before it finds a proper ending.

More sweet than substantial, more romcom than riddle, Must-See TV may not stick the landing, but it keeps the Stranded train rolling with warmth, humour, and one of the best slow-burn romances Big Finish has ever done.

I like how we are slowly getting to know all of the characters in this house before these sci-fi elements start trickling back in. This world feels so real and lived in. I'm really loving this series.

A+.

Finally bringing in the Torchwood connections that made me start this set!

Once again the dynamic between Liv and Tania is a brilliant centerpiece to this story, just as they're starting to figure out their relationship, Andy drops in to check up on Tania's Torchwood business, throwing a wrench into their dynamic. Andy is brilliant as always, and his dynamic here with Liv and especially with Tania is great. I also love Eight's interactions with Tania here, especially him making her promise not to hurt Liv, how protective he is of his companions is great.

The main plot here is a little weaker unfortunately, I can see that it's going somewhere, but it doesn't exactly get the biggest hook on you. Stranded is at its best when the plot is mostly driven by the characters, and here while you do get some lovely moments of the characters because of what's going on, especially nice getting a bit more of the other tenants, it doesn't seem to affect the main characters as much to pull you into it.

That all said, the character stuff here continues to be done so well that the 'main' plot honestly barely matters for me at the moment.