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“SHARPER THAN A SERPENT’S TOOTH: MYTH, CLONES, AND ANCIENT CHINA”

Picking up directly from Breakfast at Tyranny’s, Sharper Than a Serpent’s Tooth sees the Tenth Doctor, Gabby, and Noobis chasing the Red TARDIS to Ancient China in an attempt to rescue Cindy. What sets this story apart is its inventive framing device: the events are narrated by a village elder as a traditional Chinese tale, with the Doctor reimagined as the wise man Xian and his companions as devoted pupils seeking to save their lost friend from an ominous stranger.

The mysterious Red Jade General, Cindy’s captor, looms over the story with an eerie presence, filling the Red TARDIS with an army of cloned Cindys. It’s a bizarre yet compelling premise, and when the General finally steps into the light in Issue 2, his sharp-toothed menace does not disappoint.

A TWIST ON THE NESTENE CONSCIOUSNESS

One of the most intriguing elements here is the nature of the villain. The Red Jade General is revealed to be a Nestene from another reality—one that doesn’t create living plastic but instead produces higher organic forms of clones. This concept adds an interesting layer to the Cindy duplicates, all assigned designations rather than names. The Doctor argues that despite their intended perfection, individuality always shines through—highlighted in small details like variations in hairstyles among the clones.

This theme of identity is reinforced when Gabby discovers that one of the clones, dubbed No-Name, has developed independent thought. The story celebrates self-expression and resisting external control, making for a thoughtful character-driven subplot.

SHOWDOWN AND STORYTELLING

The climax sets up an epic battle between the Doctor and the Red Jade General, though this chapter only offers a taste of what’s to come. The Doctor’s ability to turn his enemy’s own tactics against them is a classic move, though the real confrontation is yet to unfold.

The story does an excellent job of weaving Chinese cultural elements into the narrative, from the village elder’s perspective to the Doctor’s interactions with a wise old ally who recognises him from past visits. The TARDIS team’s era-appropriate clothing is a nice touch—especially the Doctor’s outfit, which is essentially a Chinese-styled version of his usual attire.

Gabby and Noobis also get to showcase their unique skills as they work together to mount a rescue operation. However, one notable letdown is the defeat of the elemental guardians, which is only briefly described in the elder’s narration rather than shown in a fully visualised sequence. Given their intriguing setup, a more dramatic battle would have been a welcome addition.

ART AND ATMOSPHERE

The artwork is fairly basic, but the large panels allow for rich depictions of the setting. The occasional shift into a more traditional Chinese art style adds an extra layer of immersion, reinforcing the story’s mythological framing.

📝VERDICT: 7/10

Sharper Than a Serpent’s Tooth blends a classic Doctor Who adventure with Chinese storytelling traditions, crafting a unique and engaging rescue tale. The Nestene twist, Cindy clones, and themes of individuality provide strong narrative hooks, even if some elements—like the elemental guardians—are underdeveloped. The atmospheric setting and cultural details shine, and with a larger battle looming, this story sets up an exciting conflict to come.

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

“DALEK WAR 1: A CONFLICT ON TWO FRONTS”

The Dalek Empire saga continues with Dalek War, a five-part series picking up six years after the events of Series 1. Given the complexity of the previous instalment, Part 1 wisely begins with a much-needed recap before diving straight into the ongoing war between two Dalek factions. One side is led by Kalendorf and his allies, who are now deeply entrenched in the struggle.

Kalendorf takes charge, guided by the enigmatic Mentor computer, while Alby and Mirana hold key positions in the war effort—though Alby is still reeling from the apparent loss of Suz. Much of this opening chapter revolves around strategic discussions and war room manoeuvres, with much of the action unfolding through monitors, computers, and distress signals. However, things shift when one such signal leads to the shocking discovery of Suz, setting the stage for major revelations.

A SLOW START, BUT A PROMISING PREMISE

Dropping us into the conflict years after the last season’s climax, Dalek War demands patience as it establishes new character positions and fills in the narrative gaps. Initially, it struggles to find its footing, bogged down in reorienting the audience. Kalendorf remains a strong presence, Mirana steps up as a commanding fleet captain, and Alby is somewhat sidelined in the grand scheme of things.

However, the series finds its momentum once Suz re-enters the picture. Having been in cryogenic sleep for six years, her reawakening provides a fresh perspective, aligning the audience with her as we uncover the current state of the war. Her return also brings forth the most intriguing plot element—the revelation that the Dalek Emperor hid his consciousness within her, making her a highly valuable asset for both factions.

DALEK VS. DALEK: AN UNEXPECTED TWIST

The war itself presents an intriguing twist: the prime-universe Daleks are now facing off against a superior breed from another universe. These Daleks, created through Project Infinity—an experiment designed to find the ultimate, universe-conquering version of the Daleks—prove to be an unexpected challenge. For once, the Daleks find themselves outmatched, and the concept of them being overwhelmed by their own kind is a fascinating development.

Adding to the complexity, these new Daleks, with their lighter voices and origins tied to the Mentor, come across as more reasonable—or at least, less outwardly monstrous. This leads Kalendorf and his allies to side with them against the prime Daleks, only to discover that their version of "peace" is just as fanatical and oppressive as the regular Daleks’ obsession with conquest.

THE WAR’S HUMAN COST

Suz's return also highlights the personal cost of this war. She is no longer just a soldier or a survivor—she has become a weapon, a living key to the Dalek Emperor’s survival. As both factions seek to control her, it’s clear that her role in this conflict will only grow more significant.

📝VERDICT: 6/10

Dalek War gets off to a slow but intriguing start, re-establishing characters and setting the stage for a complex conflict. The idea of a Dalek-on-Dalek war is fresh, and the introduction of the Mentor’s Daleks adds an unexpected layer to the usual extermination-fuelled chaos. While the story initially struggles with pacing, it picks up once Suz returns and the stakes become clearer. With political manoeuvring, shifting alliances, and the looming threat of the Dalek Emperor’s hidden consciousness, this is a war with far more than just survival at stake.

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.

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

“CAERDROIA: A MAZE OF MINDS AND MULTIPLE DOCTORS”

Caerdroia is a standout entry in the Divergent Universe arc, finally pushing the Doctor closer to the answers he’s been chasing. With a surreal setting, a labyrinthine plot, and Paul McGann delivering a multi-layered performance, this adventure is as mind-bending as it is entertaining.

The long-awaited confrontation between the Doctor and the Kro’ka delivers immediate tension. After spending multiple stories as a cryptic manipulator, the Kro’ka is now backed into a corner, pressured by his masters and struggling to maintain control. The battle of wits between McGann’s Doctor and Stephen Perring’s Kro’ka is electric, with sharp dialogue and superb performances. There’s something deeply satisfying about watching the Doctor finally put his adversary on edge.

THE THREE DOCTORS – A BIZARRE BUT BRILLIANT TWIST

Once the narrative shifts to Caerdroia, the adventure takes a turn for the bizarre—in the best possible way. The Doctor is split into three distinct versions of himself: his usual self, an irritable and impatient incarnation, and a playful, childlike persona. This allows McGann to showcase his versatility, making each version of the Doctor distinct while still feeling like facets of the same man.

The splitting of the Doctor creates fresh dynamics with Charley and C’rizz. The Fun Doctor is erratic and unfocused, forcing C’rizz into the unusual role of being the responsible one. Meanwhile, the Irritable Doctor and Charley are at constant odds, making for a more tense and unpredictable pairing than usual. These altered dynamics add energy to the story, ensuring that the companion roles feel just as crucial as the Doctor’s.

A LABYRINTH OF STRANGE SETTINGS

The setting of Caerdroia itself is as varied as its versions of the Doctor. Each storyline unfolds in a different surreal location:

The Normal Doctor finds himself trapped in an endless, bureaucratic nightmare, navigating an office filled with pointless sections and unhelpful secretaries—a biting satire of corporate culture.

Charley and the Irritable Doctor struggle through a deadly cuckoo clock environment, where their lack of teamwork puts them in constant danger.

C’rizz and the Fun Doctor explore a bizarre park filled with the flora and fauna of their home worlds while being pursued by a Minotaur.

This constant variety keeps the story engaging, shifting tones and challenges while still driving toward the same central mystery. The maze-like nature of the planet is brought to life through creative sound design and imaginative concepts, making it feel like a true puzzle box of a world.

A FINAL SHOWDOWN AND A PLAYFUL FINALE

As the Doctors converge in Part 3, the pieces start to fall into place. The reveal that they’re inside a circular pyramid adds another layer to the mystery, and the looming presence of the Minotaur keeps the stakes high.

Part 4, however, wobbles slightly as the focus shifts to a lengthy “door game” sequence—reminiscent of the Fourteenth Doctor and Donna’s puzzle in The Giggle. While this slows the pacing, it allows for some much-needed character moments. The banter between the reunited characters feels more natural than ever, and there’s a genuine sense that Charley and C’rizz have finally bonded as true friends.

Ultimately, the episode’s greatest strengths lie in its strong character dynamics and inventive storytelling. The final confrontation between the Doctor and the Kro’ka bookends the adventure with the same intensity that it began with, providing one of the best exchanges between these two characters in the arc so far.

📝VERDICT: 8/10

Caerdroia is a clever, layered adventure that takes full advantage of the Doctor Who format’s ability to be surreal, comedic, and unsettling all at once. Paul McGann delivers a phenomenal performance across three versions of the Doctor, and the shifting dynamics between the characters keep the story fresh throughout.

A mind-bending maze, a Minotaur on the hunt, and three Doctors for the price of one—this is Big Finish at its most experimental and entertaining.

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

“GENESIS OF THE CYBERMEN; A DARKLY TRAGIC ORIGIN STORY”

Genesis of the Cybermen kicks off Big Finish’s ninth series of Lost Stories in spectacular fashion, adapting Gerry Davis’s original vision for the Cybermen’s origins. While the concept was eventually vetoed in favour of Earthshock, its influence can be seen in Spare Parts and World Enough and Time. Now, finally realised as an audio drama, this story offers a bleak, Shakespearean tragedy that makes the Cybermen more horrifyingly human than ever before.

A WORLD ON THE BRINK

David K. Barnes’ adaptation takes an unusual approach, initially setting the story in a kingdom where medieval aesthetics are juxtaposed with advanced technology. A dying king clings to life through artificial means, while his two sons—one devoted to art, the other to science—vie for control. It’s an intriguing setup that echoes The Androids of Tara but soon takes a far darker turn.

Hints of the planet’s inevitable downfall are woven in from the start. The people are suffering from declining lifespans, and their world is slowly spiralling into its sun. The reveal that this is Mondas—home of the Cybermen—shifts the story into high gear, and from that moment, the horror steadily escalates.

When the Doctor, his companions, and Prince Sylvan are transported to Mondas’ future, they witness a crumbling society on the edge of desperation. The new ruler, Dega, has embraced cybernetic augmentation, and the population is being driven towards a horrifying “solution.” The creeping inevitability of the Cybermen’s creation makes for a tense and foreboding atmosphere.

A FUTURE THAT CANNOT BE CHANGED

The story cleverly plays with the knowledge that the Doctor and his companions are powerless to stop history from unfolding. This is particularly heartbreaking for Nyssa, who desperately tries to change Mondas’ fate but only succeeds in accelerating its downfall. Her belief that technology can be used for good is brutally twisted, as her well-intentioned actions inadvertently inspire the very thing she hoped to prevent. Her realisation—that she, not the Doctor, may be responsible for the Cybermen’s creation—is a devastating moment.

Adric’s arc follows a similar trajectory, as he is forced to use his mathematical skills to help the Cybermen escape Mondas, sacrificing his ideals to protect his friends. Tegan, though slightly sidelined, adds emotional weight to the courtly intrigue, while the Fifth Doctor remains an unwavering presence, watching helplessly as events unfold.

A CYBERMEN ORIGIN LIKE NO OTHER

Unlike the emotionless Cybermen of later eras, these early versions still retain some semblance of humanity, making them all the more unsettling. The script vividly conveys the trauma of conversion—both physical and psychological—adding a tragic weight to their existence. The moment Dega willingly transforms himself into the first Cyber Controller, stripping away his emotions, is one of the most chilling moments in Big Finish history.

There’s an almost operatic grandeur to the conflict between Sylvan and Dega, two brothers torn apart by their ideologies. Their fractured relationship is the heart of the story, with Sylvan fighting to save what little remains of his people while Dega embraces cold logic and power. Meanwhile, Queen Meta’s arc—from seeming madness to tragic heroism—adds another layer of depth.

TECHNICAL EXCELLENCE AND ATMOSPHERIC POWER

Big Finish delivers a masterclass in sound design here. The synthesised 80s-style music sets a distinct tone, different from their usual offerings, and the eerie soundscape of Mondas enhances the story’s oppressive atmosphere. The decision to have the Cybermen speak in their 80s voices rather than The Tenth Planet style is a curious choice but doesn’t detract from their presence.

The Part 2 cliffhanger, in which the Doctor is prepared for conversion to force Sylvan’s hand, is a standout moment—one of the most harrowing in Big Finish’s catalogue.

📝VERDICT: 9/10

Genesis of the Cybermen is a dark, tragic masterpiece that stands alongside Spare Parts as one of the most compelling Cybermen origin stories. With its Shakespearean family conflict, gripping emotional stakes, and a suffocating sense of inevitability, it’s an unforgettable tale that leaves a lasting impact.

A hauntingly brilliant exploration of the Cybermen’s birth, this lost story would have been an instant classic had it made it to screen.

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“EYE OF THE GORGON: A MONSTROUS MYTH WITH A HEARTFELT TWIST” 

Eye of the Gorgon sees The Sarah Jane Adventures dip into Doctor Who’s long-standing tradition of spooky, folklore-inspired storytelling. Set against the eerie backdrop of a manor house and a convent, this two-parter mixes action, mystery, and character drama into a compelling, well-balanced tale.

Though the premise hints at a full-on ghost story—what with the talk of haunted nuns and supernatural forces—the episode leans more into adventure than outright horror. There’s plenty of tension, but the real strength of the story lies in its characters and emotional depth.

MARIA TAKES CENTRE STAGE

Interestingly, Eye of the Gorgon devotes a significant amount of time to Maria’s home life, almost more than the alien plot itself. Her fractured relationship with her mother, Chrissie, is explored in greater detail, adding another layer of emotional weight. Yasmin Paige delivers a strong performance, portraying Maria’s frustration and hurt in a way that feels authentic. Chrissie, meanwhile, is a force to be reckoned with—overbearing, dramatic, and frustratingly present despite her separation from Maria’s father. It’s easy to see why Alan divorced her, yet there’s also an underlying affection that makes her more than just a caricature.

Elsewhere, Luke and Clyde take a more active role in investigating the nuns’ eerie abbey. Clyde, in particular, starts to come into his own, showing his strengths as he and Luke sneak through corridors, dodging the sinister sisters. His dynamic with both Sarah Jane and Luke is warming up, and Daniel Anthony’s performance feels more natural here than in Revenge of the Slitheen.

THE GORGON AND ITS LOYAL FOLLOWERS

The Gorgon itself is a genuinely effective villain—a spectral, Dementor-like creature with chilling sound design that enhances its presence. While its design is simple, it works well within the story’s Gothic atmosphere. The petrified victims, scattered like statues, are reminiscent of The Lion, The Witch, and the Wardrobe, reinforcing the fairy tale horror elements at play.

Sister Helena, played with a quiet yet terrifying conviction by frequent Big Finish actor Beth Goddard, is one of the series’ more effective villains so far. Unlike the over-the-top Slitheen, she is calm, sinister, and utterly devoted to her cause. Her belief that the Gorgons bring “salvation” makes her all the more unsettling—she’s not just scheming; she truly believes in her mission.

While Doctor Who often puts its own twist on mythology, this story sticks close to the classic legend of the Gorgon, even using the original myth’s method of defeating it. The final showdown is a little underwhelming—it’s over before it really gets going—but the journey there is engaging enough that it doesn’t hurt the overall impact.

EMOTIONAL STAKES AND A TOUCHING FAREWELL

The subplot involving Bea, an elderly woman suffering from Alzheimer’s, adds unexpected emotional weight to the episode. Her connection to the Gorgon, her knowledge of Sontarans, and her late husband’s past create a touching mystery. The moment Sarah Jane realises Bea is speaking the truth is a particularly satisfying moment for long-time fans.

The story’s final moments, where Maria returns Bea’s talisman, allowing her some peace, are genuinely heartfelt. It’s a poignant, bittersweet ending that elevates Eye of the Gorgon beyond just a monster-of-the-week adventure.

📝VERDICT: 7/10

Eye of the Gorgon is a well-rounded episode that successfully blends action, mythology, and emotional storytelling. With strong character moments, an eerie setting, and a compelling villain, it proves SJA can tackle mature themes while remaining accessible to a younger audience.

A mythic menace, a spooky convent, and a surprisingly touching conclusion—this is SJA on a roll.

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“REVENGE OF THE SLITHEEN: A FART-FUELLED SCHOOL INVASION”

The Sarah Jane Adventures officially kicks off with Revenge of the Slitheen, a two-part story that serves as both a sequel to the Slitheen’s Doctor Who appearances in Series 1 and an introduction to the show’s ongoing format. With Sarah Jane guiding a team of young companions, the series leans into the familiar Doctor Who dynamic—only with children taking centre stage.

The return of the Slitheen means a mix of grotesque horror and childish humour, and while their skin-shedding reveal remains as effective as ever, their over-the-top antics can be a bit much. This time, the invaders are disguised as school staff, setting up a classic “something’s not right with the teachers” mystery that gets the kids—and Sarah Jane—investigating.

A BALANCED TEAM, BUT SOME AWKWARD DYNAMICS

The episode does a great job of establishing the everyday lives of Maria, Luke, and Clyde. Their struggles with school, friendships, and home life make them feel real, and the domestic scenes between Maria and her father, Alan, are particularly strong, grounding the story in relatable emotion. It’s also nice to see Sarah Jane interact more with Alan, showing that she’s not entirely isolated from the world of adults.

Luke’s struggles with fitting in are a major theme, though his habit of spouting facts and figures is a bit more grating here. Meanwhile, Clyde’s introduction is a bit rocky—Daniel Anthony’s performance is uneven, and his cheeky, too-cool attitude is initially more irritating than charming. However, by the end of the story, he shows promise as a solid addition to the team. Maria, unfortunately, feels sidelined, which is a shame given how central she was in Invasion of the Bane.

THE SLITHEEN: CAMPY, CREEPY, AND KIND OF RIDICULOUS

The Slitheen remain as silly as ever, with their grotesque, fart-fuelled disguises and pantomime villainy. Their motivations are clear enough, but their over-the-top performances make them feel even more ridiculous than they did in Doctor Who. Martyn Ellis, in particular, hams it up as the Slitheen-possessed school headmaster, making it hard to take them seriously as a threat.

However, the introduction of a Slitheen child adds an interesting new wrinkle, giving Sarah Jane a more complex moral dilemma. While the Slitheen’s plot—draining Earth’s energy for profit—feels abstract and underdeveloped, the episode does a decent job of fleshing out their backstory.

A DECENT START, BUT A WEAKER CLIMAX

Part 1 builds up slowly, mostly setting the stage rather than delivering real stakes, but it does end on a strong cliffhanger. The Slitheen chase is fun, and their transformation scenes are still unsettling, but the real action doesn’t kick in until Part 2.

When the story does pick up, the kids play a more active role, and Sarah Jane firmly establishes herself as their leader and protector. However, the climax doesn’t land as effectively as Invasion of the Bane, feeling a bit messy and rushed.

📝VERDICT: 6/10

Revenge of the Slitheen is a serviceable start to SJA’s episodic format, reintroducing a familiar foe while further developing Sarah Jane’s young team. The school setting works well, and there are some great character moments, particularly for Maria and Luke. However, the Slitheen’s exaggerated performances, Clyde’s shaky introduction, and a slightly underwhelming finale keep this from being a standout.

A fun but flawed series opener that doesn’t quite outshine its blobby green villains.

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

“BREAKFAST AT TYRANNY’S: A BRAIN-BENDING BEGINNING TO YEAR THREE”

Breakfast at Tyranny’s launches the third year of Titan’s Tenth Doctor comics, kicking off the Facing Fate arc with a story that is, unfortunately, more bewildering than compelling. The premise—Ten, Gabby, and Cindy returning home only to find reality drastically altered—is intriguing, but the execution is a jumble of shifting settings, illusionary traps, and heavy techno-babble that muddies rather than enhances the mystery.

The idea of the characters being trapped in a make-believe world should create a gripping, psychological thriller. However, instead of gradually peeling back layers of the deception, the comic drowns in its own complexity, making it frustrating rather than engaging. The explanation that finally arrives towards the end is underwhelming, reducing the eerie wraith-like monsters responsible for everything to just another race that mimics prey by trapping them in illusionary loops. For such a strong visual design, the villains leave little impact, and the story fizzles out with a lacklustre cliffhanger.

WASTED CHARACTER POTENTIAL

One of the biggest missteps is how it handles the Doctor’s companions. Cindy, who had been developing in interesting ways before this arc, is effectively reset, with no meaningful exploration of her character. Meanwhile, Gabby—already a character who sometimes struggled to stand out—remains disappointingly underdeveloped, making it hard to invest in her journey.

Then there’s Noobis, the newly resurrected Anubis, who joins the TARDIS team. His presence is certainly unique—psychic abilities and force beams make him one of the more over-the-top companions—but it’s unclear whether he truly fits the dynamic. So far, his inclusion feels more like a novelty than an organic addition to the team.

📝VERDICT: 4/10

Breakfast at Tyranny’s aims for a mind-bending narrative but instead becomes a tangled mess of confusing illusions and underwhelming reveals. With sidelined character arcs, a weak payoff, and a frustrating lack of clarity, this isn’t the strongest way to start Facing Fate.

A promising concept lost in its own labyrinth—more frustrating than fascinating.

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

“DANCE TILL YOU DROP: A TRIPPY BUT SHALLOW COMIC DETOUR”

Dance Till You Drop is a six-page Doctor Who Magazine comic strip featuring a solo Fifteenth Doctor adventure set in 1970s New York. Accompanied by a talking, hypnotising cat, the Doctor must outdance a group of one-eyed, yellow, dance-inducing giant potato aliens in order to save the world. If that premise sounds bizarre, that’s because it absolutely is.

The story’s main gimmick is that both the cat and the aliens were designed by children as part of a magazine contest. While this is a fun idea in principle, it results in characters that feel incredibly one-note, with little in the way of depth or development. The short format doesn’t help, leaving no room to explore them beyond their initial quirks.

A TALKING CAT AND MINION-LIKE ALIENS

Doctor Who has had its fair share of memorable talking animals—Frobisher the shape-shifting penguin being one of the most beloved—but this hypnotic cat fails to reach the same heights. It feels like a weaker version of the Cheshire Cat, all self-confidence and smug remarks but without much else to make it stand out. Meanwhile, the potato-like aliens are an odd mix of goofy and unsettling, coming across as off-putting rather than entertaining. Their design evokes comparisons to the Minions, but without the same level of charm.

A TRIPPY BUT DISJOINTED EXPERIENCE

The story itself is as wild as its premise suggests, but it doesn’t quite come together. The art is serviceable, capturing the psychedelic, disco-infused setting well enough, but the dialogue is stilted and doesn’t quite capture the essence of Ncuti Gatwa’s Doctor. His usual energy and charm don’t translate well onto the page, making his characterisation feel slightly off. The New York setting is also largely wasted, serving as little more than a vague backdrop rather than a fully realised environment.

📝VERDICT: 4/10

While Dance Till You Drop is an amusingly surreal concept, it ultimately feels too shallow and disjointed to be truly memorable. The characters lack depth, the story never fully embraces its potential, and the Doctor himself doesn’t quite feel like himself. A fun but forgettable detour in Doctor Who Magazine’s comic lineup.

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“INVASION OF THE BANE: A STRONG START FOR SARAH JANE'S NEW ERA”

With Torchwood catering to an adult audience, The Sarah Jane Adventures is Doctor Who’s answer for younger viewers. Spinning out of the events of School Reunion, this series brings back Elisabeth Sladen as the beloved investigative journalist Sarah Jane Smith, now living on Bannerman Road and dedicating her life to uncovering alien mysteries. While she still has K9 by her side, the show introduces a new team of young companions, with Sarah Jane taking on a mentor role rather than being the sidekick she once was.

The series kicks off with the hour-long special Invasion of the Bane, a well-paced introduction that balances world-building, character development, and an engaging alien invasion plot. The episode takes its time establishing Sarah Jane’s world, her new neighbours, and the eerie Bubble Shock factory, where something sinister lurks beneath the surface. The tension builds gradually, allowing for a solid introduction to the show’s central elements—including Maria, the inquisitive girl who stumbles upon Sarah Jane’s secret life, and the mysterious boy known as the Archetype, later named Luke Smith.

A STRONG CAST AND WELL-DEFINED CHARACTERS

Elisabeth Sladen proves she is more than capable of leading her own show, portraying an older, wiser Sarah Jane who has lost none of her charm, determination, or investigative spirit. This version of Sarah Jane is fiercely independent but also deeply compassionate, and her evolution from a lonely figure into a mentor is handled beautifully.

The child actors are surprisingly strong, making their characters feel natural and relatable. Yasmin Page stands out as Maria, whose journey from an uncertain newcomer to a brave and determined ally is well-developed. Tommy Knight, as Luke, brings an interesting dynamic to the group—his sharp intellect and lack of basic human experiences make him both amusing and compelling. Samantha Bond is a delightfully campy villain as Mrs Wormwood, balancing menace with theatrical flair, while Jamie Davis as Davey feels slightly off-key compared to the rest of the cast.

The story also cleverly explains K9’s absence. In-universe, Sarah Jane has him stationed elsewhere, maintaining a black hole, while behind the scenes, his creator Bob Baker was attempting to launch a K9 spin-off (which eventually resulted in the ill-fated Australian K9 series).

A WELL-CONSTRUCTED STORY WITH STRONG VISUALS

Invasion of the Bane benefits from a well-paced structure, using its extended runtime effectively to set up the series while delivering a compelling standalone adventure. The Bane—a monstrous, tentacled alien species—are a great concept, and the main creature is effectively designed, feeling both threatening and visually striking. The scene where the Bane attacks the children in Sarah Jane’s home is a standout moment, blending action and suspense brilliantly.

What’s particularly refreshing is that, despite being a children’s show, The Sarah Jane Adventures never feels cheap. The production values are solid, with visual effects on par with contemporary Doctor Who, fitting music, and dynamic cinematography that enhances the tension. The domestic approach—rooting the story in Maria’s family struggles and her discovery of Sarah Jane as a mysterious next-door neighbour—grounds the series in a relatable way, reminiscent of Doctor Who’s RTD era.

A STRONG START WITH A MEMORABLE FINALE

The episode builds towards an exciting climax, with Sarah Jane and Maria facing off against Mrs Wormwood and her plan to use Bubble Shock to convert humanity into Bane. The final confrontation, culminating in a dramatic explosion, provides a satisfying conclusion and sets the tone for the series to follow.

Overall, Invasion of the Bane is a confident and engaging debut, successfully establishing The Sarah Jane Adventures as a worthy Doctor Who spin-off. It respects its younger audience without talking down to them, delivering a fun, action-packed, and meaningful story.

📝VERDICT: 8/10

A well-crafted introduction to The Sarah Jane Adventures, Invasion of the Bane is never childish but always engaging. With a strong cast, solid production values, and a mix of action, humour, and heart, it sets up the series beautifully while delivering an entertaining adventure in its own right.