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

“THE CARS THAT ATE LONDON: VICTORIAN VEHICLES AND ROBOTIC RAMPAGE”

The Cars That Ate London opens the Heritage saga for the Paternoster Gang with the same eccentric blend of chaos, wit and Victorian mystery that made this trio fan favourites during the Moffat era. Madame Vastra, the ever-composed Silurian detective, returns alongside her energetic human wife Jenny Flint and the hilariously bellicose Strax, forming a dynamic that’s as charming as ever. Whether they’re dissecting the political failings of the human race, enthusiastically serving tea, or preparing for all-out war with traffic signs, the chemistry is undeniable – and it’s what carries this enjoyable but slightly well-worn adventure.

ELECTRIC DREAMS AND AUTOMOTIVE NIGHTMARES

Set in smoggy, bustling Victorian London, the story kicks off with a mystery involving driverless automobiles that seem to be… exploding. This surprisingly modern dilemma is traced back to the city's first electrical power plant, where a peculiar Austrian visionary named Professor Solac is working on renewable energy. He’s an inventor with the mind of Tesla and the ambition of Davros – a self-styled genius who believes he can save the world from its future mistakes, even if it means accelerating a mechanical revolution about a hundred years ahead of schedule.

As the trio begin poking around Solac’s factory, they uncover more than just eccentric engineering. The facility is filled with conveyor belts, surveillance systems, and creepy robots that would be more at home in a post-war sci-fi serial than the gaslit streets of Queen Victoria’s empire. The sense of steampunk intrusion is thick in the air – and the contrast between horse-drawn carriages and ravenous, autonomous vehicles is deliciously absurd.

THE STRENGTH OF CHARACTER

Vastra once again shines as the intellectual centre of the group, blending her cold Silurian logic with a surprisingly nuanced understanding of humanity’s recurring mistakes. Jenny, ever the moral heart, provides spirited support while keeping everyone grounded – and more importantly, making sure Strax doesn’t accidentally declare war on a fireplace. Strax, for his part, continues to be a well of comic energy. Whether it’s leading factory workers in an impromptu strike or hoping to duel with a tram, he remains a glorious caricature of martial madness. But there’s always a hint of sincerity beneath the silliness, and his dynamic with the others keeps things bouncing along at a snappy pace.

The highlight might just be a brilliantly absurd horse chariot chase that feels like it leapt out of a comic book – complete with galloping tension, explosions, and genuinely thrilling momentum, all brought vividly to life through Big Finish’s reliable sound design and pulpy score.

OF POSSESSION AND PREDICTABILITY

Alan Cox is excellent as Professor Solac, delivering the right blend of manic conviction and unsettling calm. His motivations – wanting to save humanity from itself by fast-tracking technological development – are noble on paper, but executed through increasingly sinister means. It’s revealed that Solac isn’t just ahead of his time, but also not quite himself. He’s been possessed by an alien intelligence from another era, intent on launching a robot-fuelled takeover of Earth.

Admittedly, this final twist feels a tad familiar. Doctor Who, especially on audio, has no shortage of “possessed genius with world-conquering ambitions” stories. But what helps The Cars That Ate London stand out is its playful engagement with the factory setting and the social dynamics of the time. The narrative cleverly ties the robot uprising to labour unrest, automation anxiety, and Victorian industrial revolution anxieties – with just enough satire to keep it all feeling fresh.

The climax – Solac fully overtaken, his assistant Madeleine electrocuted, and an army of robotic cars charging through the streets of London – is gloriously over-the-top. It’s a chaotic finale where things genuinely feel dire, and the Paternoster Gang are forced to rally every skill, sword and spanner they’ve got to avert a metallic apocalypse. The tension is high, and the stakes real – even if the ultimate resolution leans on familiar tropes.

A LIGHT TOUCH AND A LIVELY RIDE

What The Cars That Ate London lacks in emotional weight or dramatic depth, it makes up for in sheer entertainment value. The comedy hits the right tone – never too broad, but always affectionate – and the plot moves at a brisk clip. Though not quite groundbreaking, it’s a strong showcase for this trio’s rapport, and a promising opening to a wider series.

📝VERDICT: 8/10

The Cars That Ate London is a rollicking return for the Paternoster Gang, delivering a Victorian adventure that mixes steampunk energy with socio-political commentary, horse chases, robot uprisings, and lashings of comic banter. It’s not the most original tale in the Whoniverse, and the alien-possession twist feels a bit shopworn, but the execution – from strong performances to snappy dialogue – makes it a delight. If you’re here for Vastra’s gravitas, Jenny’s gumption and Strax’s gleeful bloodlust, you won’t be disappointed.

Aight so, first episode of the Paternoster Gang. This means that this episode has to establish it for me as something distinct.

Good news: it's certainly distinct. Bad news: I'm not yet completely covinced of the series merits. This is certainly an entertaining listen, but it is not a whole package of an episode, with the tone mostly humorous. It sometimes feels like it wants to be serious as well, like how Jago and Litefoot balanced seriousness and coziness, but it fails so far.

This is mostly because the main characters don't seem to have any trouble figuring things out. The most engaging bits are at the end, when the trio has to escape from the moving factory, but that also gets bogged down with technobabble. So far the series wants to have everything explained, not always to its merit.

The music is good, as are the sound effects. The main theme is not as good as a main theme as it is as a nice little tune though.

All in all entertaining enough but as an opener it could be better.

I will continue listening though, as more Strax is always better.