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

“THINGS SHE THOUGHT WHILE FALLING: A MOMENT OF REGENERATION IN FREEFALL”

Originally published on the official Doctor Who website before being collected in Adventures in Lockdown, Things She Thought While Falling offers a unique perspective on the immediate aftermath of the Twelfth Doctor’s regeneration into the Thirteenth. As the title suggests, the story unfolds in the space of mere seconds, during the Doctor’s chaotic descent from the TARDIS to Sheffield, seamlessly bridging Twice Upon a Time and The Woman Who Fell to Earth.

Written by Chris Chibnall himself, the story is presented in a snappy, fast-paced style that perfectly captures the racing thoughts of a Time Lord in mid-regeneration crisis. The fragmented sentences and erratic thought process reflect the usual post-regeneration instability, making for an engaging and immersive read.

CHAOS, HUMOUR, AND INSIGHT

Despite its brevity, this short story packs in a wealth of detail. The Doctor’s inner monologue bounces between self-arguments, deduction, past memories, and future plans—all while plummeting at terminal velocity. She debates her survival strategy, reminisces about a recent alien encounter, notices something amiss on the train below, and even grapples with her shifting pronouns as her new identity settles in.

This rapid-fire mix of logic, whimsy, and existential contemplation makes the story both amusing and deeply insightful. Unlike previous incarnations who had time to stabilise post-regeneration (The Christmas Invasion, The Eleventh Hour, Deep Breath), Thirteen is thrown straight into peril, leaving her no space for reflection. Chibnall captures this perfectly, showing how she processes the change on the fly—quite literally.

A FUN COMPANION PIECE TO THE EPISODES

Much like Born Again (the 2005 Children in Need minisode bridging The Parting of the Ways and The Christmas Invasion), this short story adds an extra dimension to the Thirteenth Doctor’s first moments. While not essential, it enriches her introduction, offering a deeper understanding of her mindset before she crashes into her first full adventure.

The story is also accompanied by a striking illustration of the Doctor mid-fall, an effective visual that reinforces her situation and helps set the tone for those unfamiliar with the episode.

📝VERDICT: 9/10

A brief but wonderfully immersive glimpse into the Thirteenth Doctor’s mind at the moment of her rebirth, Things She Thought While Falling is a witty and well-written addition to her era. Chibnall’s writing captures the frantic energy of regeneration, making it both a fun and insightful read. While not a must-read for casual fans, it’s a great companion piece for those wanting a little more depth to Thirteen’s chaotic arrival.

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

“THE MANY LIVES OF DOCTOR WHO: A VISUAL REGENERATION”

The Many Lives of Doctor Who is the framing story of Titan Comics’ collection of the same name, offering a unique perspective on the Twelfth Doctor’s regeneration into the Thirteenth. Set during the very moment of transition seen in Twice Upon a Time, the comic adds a layer of internal monologue, providing a glimpse into the Doctor’s thoughts as they bid farewell to their past selves and embrace an uncertain future.

The story is interwoven throughout the collection, appearing between short adventures featuring the Doctor’s previous twelve incarnations. As the regeneration unfolds, the Doctor’s mind wanders through past selves, reminiscing on old battles, friends, and defining moments. It’s a clever way to tie the Thirteenth Doctor’s arrival to the character’s long history while maintaining the structure of an anthology.

A VISUAL MASTERPIECE

What stands out most about The Many Lives of Doctor Who is its artwork. The comic’s photorealistic style perfectly captures the visuals of Twice Upon a Time, making it feel like a seamless extension of the episode. The attention to detail, from the lighting effects of the regeneration to the expressive faces of the Doctor, is stunning. Each panel is beautifully crafted, offering a cinematic feel that enhances the weight of the moment.

A SIMPLE BUT EFFECTIVE TRANSITION

Narratively, the comic doesn’t introduce anything groundbreaking. The regeneration itself plays out just as it did on-screen, with the added dialogue boxes simply giving voice to the Doctor’s internal reflections. The thoughts feel authentic, blending nostalgia for the past with excitement and trepidation for the future. There’s a distinct sense of optimism, reinforcing the idea that, no matter the change in face, the Doctor remains the Doctor.

However, for those expecting a deep psychological exploration of regeneration or a mindscape-style adventure, this story won’t quite deliver. It’s more of a poetic reflection than a plot-driven tale.

📝VERDICT: 7/10

A visually stunning but straightforward framing device, The Many Lives of Doctor Who provides a contemplative look at the Twelfth Doctor’s final moments. While it doesn’t offer a deep dive into regeneration mechanics or an entirely new perspective, it serves as a respectful and nostalgic bridge to the Thirteenth Doctor’s era. A pleasant addition for fans, but not an essential read unless you’re a completist.

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

“TWICE UPON A TIME: TWO DOCTORS, ONE FAREWELL”

Twice Upon a Time marks the end of an era, serving as both Peter Capaldi’s swansong and Steven Moffat’s final script as Doctor Who showrunner after steering the ship since 2010. Originally broadcast on Christmas Day 2017, this special also functions as a multi-Doctor story, taking place in the final moments of The Tenth Planet (1966). The First Doctor—played here by David Bradley, who previously portrayed William Hartnell in An Adventure in Space and Time (2013) and later took on the role of the First Doctor in Big Finish audio dramas—finds himself on a final adventure with his future self, as both struggle to accept their impending regenerations.

The cold open is a fantastic hook, seamlessly blending clips from The Tenth Planet with a modern reimagining of its final moments. This effectively introduces the idea that, much like Twelve, the First Doctor initially resists regeneration, buying himself some extra time with one last adventure between leaving the Snowcap Base and returning to the TARDIS. It’s a clever use of a narrative gap—very much in the style of Big Finish—to slot in an untold story without contradicting existing continuity.

A MEETING OF MINDS (AND EGO)

Time itself is unravelling at the South Pole, freezing snowfall in mid-air while a First World War officer, Captain Archibald Hamish Lethbridge-Stewart, is inexplicably pulled from the trenches. Mark Gatiss gives a strong performance in the role, though the later reveal that he’s the Brigadier’s grandfather edges into fan service territory. His presence mostly serves as comic relief, playing the bewildered third wheel to two Doctors bickering over who’s in charge.

The interplay between One and Twelve is a highlight of the episode. Though vastly different in demeanour, they share a core stubbornness, each reluctant to acknowledge the other as their future self. Their back-and-forth banter is reminiscent of the best multi-Doctor stories, filled with playful jabs and one-upmanship. Yet beneath the humour, there’s genuine poignancy as they slowly come to terms with their fates.

THE TESTIMONY – A FRAGMENTED THREAT

The episode’s central mystery revolves around the Testimony, a crystalline race from the far future that harvests the memories of the dying, preserving them in digital afterlife form. It’s an eerie and intriguing concept, tying neatly into the special’s meditation on death and remembrance. However, the Testimony ultimately feel underdeveloped, taking a backseat for much of the runtime. Their role in the narrative is overshadowed by an obligatory Dalek detour that, while visually striking, doesn’t add much beyond padding the episode’s length.

A more successful emotional thread comes with the return of Pearl Mackie’s Bill Potts. Though technically a construct of the Testimony rather than the original Bill, her presence is instrumental in guiding both Doctors towards accepting their destinies. The story also revisits the Christmas Truce of 1914, a rare moment of peace in wartime that thematically reinforces the Doctor’s ethos of hope and reconciliation.

THE BRADLEY DEBATE – A QUESTIONABLE CHARACTERISATION

David Bradley is a fine actor, and his take on the First Doctor works in broad strokes. However, his portrayal deviates noticeably from William Hartnell’s original, coming across as overly gruff and anachronistically chauvinistic. While The Tenth Planet did depict One as a bit crotchety, he had mellowed significantly by that point—certainly not to the extent of making outdated comments about Polly cleaning the TARDIS. It feels like an exaggerated caricature designed to highlight how much the character has evolved, but it does a disservice to Hartnell’s legacy.

That being said, One’s criticism of Twelve’s reliance on technology—echoing the War Doctor’s jabs at Ten and Eleven’s “sonic screwdrivers” in The Day of the Doctor (2013)—is a nice touch, showcasing how much the Doctor has changed across regenerations.

A CINEMATIC SEND-OFF

Visually, Twice Upon a Time is stunning. The icy South Pole landscape, the eerie halls of the Testimony ship, and the war-torn ruins of Villengard are beautifully realised. Rachel Talalay’s direction ensures a grand, cinematic feel, fitting for Capaldi’s final bow.

The episode also serves as a bookend to the Twelfth Doctor’s journey, with echoes of his earliest episodes and the resolution of his unfinished business with Bill. His farewell scene, where he briefly recalls Clara, mirrors Eleven’s emotional send-off in The Time of the Doctor (2013).

Capaldi’s final monologue inside the TARDIS is heartfelt, though it does linger a little too long. Then, in an explosive regeneration scene reminiscent of The End of Time (2010), we get our first glimpse of Jodie Whittaker’s Thirteenth Doctor—just in time for her to be unceremoniously thrown from the TARDIS, ending the Capaldi era on a literal cliffhanger.

📝VERDICT: 8/10

A sentimental and reflective send-off, Twice Upon a Time succeeds as an emotional farewell to Peter Capaldi, even if its plot is somewhat meandering. The interplay between One and Twelve is engaging, and the Christmas Truce provides a fittingly hopeful note to end on. However, the Testimony feel underused, the Dalek sequence adds little, and Bradley’s First Doctor is an exaggerated take that may irk long-time fans. Visually stunning and thematically rich, but a bit uneven in execution.

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

“THE YEARN: A WORLD AT WAR, A LOVE IN BLOOM”

The Yearn drops Eleven and Valarie onto Medrüth, a world under siege, where its people hide in underground bunkers from an unknown threat. The mysterious invaders, known only as the Yearn, lurk in the shadows, their motives unclear, their presence a constant danger. With the Doctor determined to uncover the truth and Valarie using her cybernetic expertise to fight back, they might just be the Medrüthians’ last hope—if they can prove they aren’t part of the enemy forces themselves.

Originally intended as Valarie’s first trip in the TARDIS, this episode has all the hallmarks of a classic Doctor Who initiation story: an unfamiliar world at war, a wary population, and the Doctor arriving to set things right. However, its later placement in the series allows for a deeper focus on Valarie’s character, particularly in how she interacts with the people she meets—most notably, Roanna.

A CLASSIC DOCTOR WHO PREMISE

At its core, The Yearn follows a familiar structure: a world torn apart by a seemingly endless conflict, the Doctor caught in the middle trying to find a peaceful resolution, and the locals immediately suspecting the newcomers of being enemy agents. The added complication of the Yearn being an unknown force means that paranoia runs high, forcing the Doctor and Valarie to tread carefully as they work to uncover the truth.

While the Doctor takes on his usual role as the grand strategist, it’s Valarie who gets to shine in the action-heavy moments. Her cybernetic expertise is put to good use, as she designs traps to help the Medrüthians fight back against the Yearn, proving herself as more than just a companion but an essential problem-solver in her own right.

INTRODUCING ROANNA – LOVE AMIDST WAR

The most significant addition to the Doctor Who mythos here is Roanna, a Medrüthian who quickly forms a deep bond with Valarie. Their relationship develops at an accelerated pace, moving from first impressions to a full-fledged romance within a single episode. While the speed of their connection feels slightly jarring, the performances from Ingaar and Mia Tomlinson sell the emotional beats, making their chemistry feel genuine.

Unlike many companion love interests, Roanna doesn’t immediately board the TARDIS at the story’s end. Instead, Valarie gives her contact details, allowing them to keep in touch and leaving the door open for future encounters. This feels like a more natural and mature approach, letting their relationship develop organically rather than being rushed into a “travel together or never meet again” scenario.

THE YEARN – AN EXISTENTIAL THREAT

The reveal of the Yearn’s true nature is one of the story’s strongest elements. Rather than being a simple conquering force, they are a strange, eerie collective entity that exists without physical form, desperate to inhabit physical bodies to experience existence in a tangible way. Their motivations aren’t strictly evil, but their actions—taking over people’s bodies without consent—raise clear ethical dilemmas.

This idea taps into classic Doctor Who themes of body autonomy and identity, adding layers to the standard “mysterious alien menace” trope. When the Yearn begin targeting Valarie, the stakes are raised significantly, leading to a thrilling final act where she must think quickly to outmanoeuvre them.

📝VERDICT: 7/10

The Yearn is a solid, well-structured adventure that balances action, mystery, and character development effectively. While the romance between Valarie and Roanna moves at an almost breakneck pace, the emotional beats land well, and the episode successfully sets up future potential for their relationship. The Yearn themselves make for an unsettling and thought-provoking threat, adding depth to the story’s central conflict.

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

“ALL OF TIME AND SPACE: THE DOCTOR WHO STORY THAT SHOULDN’T EXIST”

All of Time and Space picks up directly from The End’s explosive cliffhanger, throwing us into a surreal, meta-textual adventure where storytelling itself becomes the battlefield. At the heart of the narrative is Elery Quest, a playwright determined to bring his grand vision to life—a stage play about a man travelling across time and space with his best friend, righting wrongs. He calls it Doctor Who. But his ambition is thwarted at every turn by the ominous and inflexible Mr Darling, who seems hell-bent on ensuring the production never sees the light of day.

This isn’t just an ordinary adventure for Eleven and Valarie; Big Finish takes things to an entirely new level, crafting a story that is as much about Doctor Who as it is an episode of Doctor Who.

A STORY ABOUT A STORY ABOUT A STORY

The meta-narrative is the driving force behind this episode, with Quest’s pitch for Doctor Who unfolding in parallel to the Doctor and Valarie’s struggle to escape from within the very concept of storytelling. Their adventure is constantly interrupted by Mr Darling’s objections—his complaints about plot choices and story logic mirroring real-world BBC executives who once doubted the show’s viability.

Things spiral further into madness when Quest realises that the characters he believes he has created—Eleven and Valarie—are very real, trapped within the confines of his imagination and the various media that tell their stories. The Doctor and Valarie, communicating through mediums like sock puppets and newspaper comics, are forced to work with Quest to break free, while Quest must outmanoeuvre Mr Darling and his army of duplicates.

This premise is wildly creative, making for the most fun and inventive story in this run yet. The way it plays with different storytelling formats is reminiscent of Titan’s Twelfth Doctor comics, which also toyed with the idea of the Doctor being trapped within fictional realities.

A VILLAIN WITHOUT A MOTIVE—OR A PURPOSE?

Mr Darling is a deliberately one-dimensional villain, a walking personification of creative suppression. His ability to duplicate himself means he can be everywhere at once, a constant barrier to Quest’s ambitions. But his lack of a clear motive makes him more of an obstacle than a true antagonist—he is, after all, a creation of Quest’s own imagination, existing only to stifle his creative vision.

This makes for an interesting thematic conflict but does mean the story is carried almost entirely by Elery Quest himself. Thankfully, Leroy Bonsu delivers a fantastic performance, making Quest a compelling, conflicted protagonist. His journey from self-doubt to self-realisation is the emotional core of the episode.

A NARRATIVE MAZE OF IDEAS AND EXISTENCE

The final third takes things even deeper, layering the story with almost Inception-like levels of reality and fiction. The narrative explores the power of stories, the emotional bonds we form with them, and the blurred lines between what is real and what is imagined. The revelation that the Doctor and Valarie have been trapped inside a biography about the Doctor—a book he himself tried to erase to maintain his anonymity—adds another fascinating wrinkle to the plot.

The resolution is particularly clever, with Valarie helping Quest write his own heroic escape as it happens, effectively rewriting reality itself. But this raises painful questions for her: if stories can be rewritten, why can’t she rewrite her own past? Why can’t she bring back her loved ones? This moment of existential frustration drives a wedge between her and the Doctor, setting up some compelling drama for future stories.

📝VERDICT: 9/10

All of Time and Space is a wildly inventive, mind-bending episode that fully embraces the possibilities of meta-storytelling. It’s packed with clever ideas, humorous satire, and poignant moments of existential reflection. While it does run a bit long and can be overwhelming with its layers of complexity, it remains an impressive and unique entry in the Doctor Who audio canon.

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

“DALEK WAR: CHAPTER 4: A QUIET END TO A GRAND CONFLICT”

Dalek War concludes with Chapter 4, taking an interesting narrative approach by presenting much of the story through a framing device set thousands of years after the events themselves. This perspective, centred on the legends surrounding Kalendorf’s final stand against the Daleks, offers a unique way to explore the fallout of the war. However, despite this intriguing setup, the finale itself is surprisingly understated, focusing more on character-driven resolutions than on the large-scale spectacle one might expect from the conclusion of such an ambitious arc.

A DIFFERENT PERSPECTIVE ON THE WAR

Rather than diving straight into the events of the final battle, the story unfolds through the lens of future generations on Velyshaa, who recount the catastrophe that ended the Dalek War. This allows for a sense of mythmaking, as we dip into key moments from the past to witness how Kalendorf, Suz, and Alby played their final roles in the conflict. It’s an interesting way to structure the story, adding a layer of historical perspective to the narrative.

That said, if you haven’t been deeply engaged with the Dalek War arc throughout, this approach might feel somewhat detached. Since I hadn’t kept close track of all the details leading up to this finale, I found myself struggling to recall some of the finer points—something that suggests the story, as a whole, may not have been as gripping or memorable as it should have been.

A LACK OF ACTION AND A CHARACTER-FOCUSED ENDING

Surprisingly, this final chapter dials back the action significantly. The Daleks themselves take a step back, leaving much of the plot to unfold through conversations—particularly between Kalendorf and what remains of the Mentor, as well as his exchanges with the Dalek Emperor, now fully inhabiting Suz’s body. The decision to make the conclusion more introspective rather than explosive is an intriguing one, and while it does allow for some strong character moments, it also means the story never reaches the dramatic heights one might have hoped for.

Instead of a grand, cinematic showdown, the conflict is resolved in a relatively subdued manner, tying up loose ends without much fanfare. Given the weight of the preceding episodes, it feels like Dalek War should have built up to something bigger—a final confrontation that left a lasting impact. Instead, it quietly concludes, leaving me feeling more indifferent than satisfied.

A PROMISING PREMISE THAT NEVER QUITE DELIVERS

From the beginning, Dalek War had an exciting premise, but as the story unfolded, it struggled to maintain its momentum. What started with great potential gradually lost its energy, never quite reaching the heights it aimed for. While this final chapter does offer a fitting end in terms of character arcs, it lacks the intensity and payoff that a saga of this scale truly needed.

📝 VERDICT: 6/10

While Dalek War: Chapter 4 attempts a unique storytelling approach with its framing device and character-driven focus, it ultimately feels like an underwhelming conclusion. The lack of action, combined with a finale that fizzles out rather than ignites, makes it difficult to feel truly satisfied. The arc had so much potential, but it never fully capitalised on its premise, leaving this ending feeling more like a quiet whimper than a triumphant crescendo.

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

“THE SMUGGLERS: A DECENT NOVELISATION WITH A SLOW BURN”

Terrance Dicks’ 1988 novelisation of The Smugglers does an admirable job of setting the scene and bridging the gap between this story and its predecessor, The War Machines. Unlike some Target novelisations that rely too heavily on prior knowledge of the TV serial, this one stands well enough on its own, making it accessible even to those unfamiliar with the original adventure. However, while it benefits from a strong introduction and some solid character work, it struggles to bring its setting to life and ultimately feels somewhat sluggish.

A STRONG OPENING, BUT A SLOW NARRATIVE

The novelisation excels in its opening chapters, particularly in how it introduces Ben and Polly to the world of time travel. Their initial reactions to the TARDIS and their growing bond with the Doctor are well handled, making them feel like proper companions rather than just accidental stowaways. Dicks also ensures that the transition from The War Machines is smooth, adding context that enhances the story for readers unfamiliar with the preceding serial.

However, once the plot gets going, the novelisation struggles to maintain momentum. The narrative moves at a snail’s pace, often bogged down by lengthy conversations between various pirate and smuggler characters. While figures like Captain Pike and Cherub are prominent, they fail to leave a lasting impression, making it difficult to stay engaged.

A STORY THAT NEEDS VISUALS

One of the biggest issues with The Smugglers as a novel is its inability to fully capture the atmosphere of 17th-century Cornwall. The lack of strong descriptive writing makes the setting feel flat, and without the visual aid of costumes, locations, and action sequences, much of the story blends together. The original TV serial, while missing from the archives, at least had some surviving photos and clips to give a sense of place—something the novelisation doesn’t quite replicate.

Additionally, with so many secondary characters introduced throughout the story, it becomes difficult to keep track of who’s who. On screen, distinct costumes and performances might have helped differentiate them, but here, they blur into one another, making it easy to lose interest.

AN ENGAGING AUDIOBOOK PERFORMANCE

For those looking for an alternative way to experience The Smugglers, the 2020 audiobook edition offers a pleasant listen. Anneke Wills, who played Polly in the TV series, narrates with enthusiasm, bringing some much-needed energy to the story. Her rendition of Polly is naturally spot on, her Ben is passable, and her First Doctor is serviceable. Where she truly shines is in voicing the various pirate and smuggler characters, giving them distinct, rugged personalities that add some colour to the tale.

📝 VERDICT: 4/10

While The Smugglers novelisation benefits from a strong opening and a good grasp of its lead characters, it ultimately suffers from a sluggish pace and an uninspired depiction of its historical setting. Without the visual elements that a TV production provides, the story feels flat, and the characters struggle to stand out. The audiobook version, bolstered by Anneke Wills’ performance, helps inject some energy into the tale, but overall, this remains one of the less engaging Target novelisations.

Changing everything, one mission at a time!

“THEY KEEP KILLING SUZIE: A GHOST FROM TORCHWOOD'S PAST”

Returning to the themes of life, death, and responsibility, They Keep Killing Suzie resurrects OG Torchwood member Suzie Costello for unfinished business. This episode leans into the show's ongoing exploration of moral consequences, forcing the team to confront the ramifications of their own actions—particularly regarding the Retcon amnesia pill and the Resurrection Gauntlet. While it doesn’t quite capitalise on its full dramatic potential, it remains a solid, introspective entry that reinforces Torchwood’s flawed humanity.

SUZIE RETURNS—BUT AT WHAT COST?

When a series of murders linked to Torchwood draws their attention, the team is forced to use the Resurrection Gauntlet to bring back Suzie Costello—despite her being long dead. It’s an intriguing premise, as Suzie’s resurrection is not just a one-off conversation but an extended revival, causing deep unease within the team. The episode cleverly plays on this discomfort, showing the awkwardness of someone returning to a group that has moved on without them.

Indira Varma delivers a fantastic performance as Suzie, balancing her shock at being revived with a deeply buried resentment towards Torchwood. Her presence stirs the pot, particularly for Gwen, who realises how little the team knew about Suzie’s personal life. This fuels Gwen’s sympathy for her, setting up a tense dynamic as Suzie’s true motives begin to surface.

A STRIPPED-BACK, CHARACTER-FOCUSED INVESTIGATION

Unlike some of Torchwood’s more outlandish outings, this is a more grounded episode, relying less on spectacle and more on character drama. The team dynamics return to a more balanced setup, with Jack leading the charge and Gwen taking the emotional approach, while Owen, Tosh, and Ianto offer support without standing out too much. Owen is notably less abrasive than usual, while Jack remains as guarded as ever, deflecting personal questions even in moments of crisis.

There’s something refreshing about seeing the team working through a mystery in a relatively traditional investigative manner. While the stakes are personal, the episode isn’t trying to be overly grandiose—it’s more about the lingering consequences of Torchwood’s actions and the moral weight they bear.

MISSED OPPORTUNITIES FOR STRONGER DRAMA

For a story about bringing back the dead, They Keep Killing Suzie surprisingly lacks a strong emotional gut punch. The final revelation—that Suzie has been slowly draining Gwen’s life to permanently resurrect herself—should be a harrowing, high-stakes moment, but it doesn’t land with as much weight as it could. Similarly, while there are hints of deeper tensions within the team, the episode never fully explores them, keeping most of the conflict at surface level.

Given the potential of its premise, this could have been an opportunity for bigger emotional confrontations, particularly between Jack and Suzie, or even more insight into Torchwood’s handling of their fallen members. Instead, it remains a solid but somewhat restrained story

📝VERDICT: 7/10

They Keep Killing Suzie is an intriguing, continuity-rich episode that builds on past events to tell a smaller, more introspective tale. While it doesn’t fully lean into its potential for high drama, it succeeds in reinforcing the moral ambiguity of Torchwood’s work and the weight of their decisions. Suzie’s return offers a compelling—if underdeveloped—look at a former team member left behind, while the episode as a whole highlights Torchwood’s ongoing struggle with the consequences of their own actions.

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

“MR RING-A-DING: A CHEERFUL INTRODUCTION WITH A SINISTER SECRET?”

The Doctor Who Magazine comic strip Mr Ring-a-Ding is a short, whimsical introduction to the character ahead of his on-screen debut in Lux. Designed to lull readers into a false sense of security, this bright and cheery one-page story presents him as a tap-dancing, rhyming do-gooder—without a hint of the sinister undertones that likely await us in the television episode.

A TAP-DANCING DO-GOODER?

The plot is as simple as it gets: Mr Ring-a-Ding joyfully sings and dances to wake up the Easter Bunny, ensuring they deliver the eggs on time. There’s an old-fashioned charm to it, embracing a cartoony, almost Looney Tunes energy that feels deliberately exaggerated. Given that Lux is set in 1950s America, this stylised, larger-than-life introduction could well be foreshadowing the aesthetic and tone of the episode.

What’s most interesting is how Mr Ring-a-Ding is portrayed as an outright hero here. There’s no villainous intent, no creeping menace—just pure, unfiltered joy. This is almost certainly a deliberate misdirection, allowing his true nature to remain a mystery until Lux reveals the reality. If he maintains this rhyming, sing-song manner on-screen, he could be a memorably theatrical villain—or an insufferable one, depending on how well it’s handled.

SUNSHINE SALLY – LOVE INTEREST OR SIDEKICK?

The strip also introduces Sunshine Sally, whose role remains ambiguous. She could be a love interest, a next-door neighbour, or simply a supporting character unique to the comic. Whether she will appear in Lux is unclear, but her inclusion adds another layer to Mr Ring-a-Ding’s world, reinforcing the idea that this is his natural domain before something—possibly some malevolent influence—twists him into the villain we’ll see on-screen.

A NOD TO CLASSIC COMICS

The vibrant, nostalgic art style evokes classic newspaper comic strips, reinforcing the period aesthetic of Lux. It’s a clever touch, subtly aligning this brief adventure with the tone of the upcoming episode. If Lux leans into the era’s pop culture and animation influences, this comic could serve as a thematic prologue, giving us a glimpse into the fictional world Mr Ring-a-Ding originates from before things take a darker turn.

📝VERDICT 6/10

As a standalone comic strip, Mr Ring-a-Ding is a light, inconsequential read, but its true value lies in how it sets up expectations for Lux. The cheerful, heroic portrayal of its title character suggests we may be in for a stark contrast when he makes his on-screen debut, with his friendly persona possibly masking something far more sinister.

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

“MEDICINAL PURPOSES: A DARK DOSE OF HISTORY”

Medicinal Purposes takes us deep into the grim and murky streets of 1827 Edinburgh, where bodysnatchers William Burke and William Hare are on a murderous spree, selling fresh corpses to the enigmatic Dr Robert Knox. Against this chilling backdrop, the Sixth Doctor and Evelyn find themselves entangled in a historical tragedy that cannot be rewritten—one that soon takes a sinister turn when the Doctor realises that Knox may not be as bound by time as he first appears.

With its brooding atmosphere, historical intrigue, and an unsettling moral dilemma at its core, Medicinal Purposes delivers an eerie, if somewhat uneven, exploration of medical ethics, exploitation, and the weight of history.

AN UNEASY START IN A CITY OF SHADOWS

The story gradually sets the scene, unfolding through the drinking and debauchery of Burke and Hare, their harassment of Daft Jamie, and the shadowy dealings that fuel Edinburgh’s illicit cadaver trade. Meanwhile, the Doctor and Evelyn materialise beneath the city in its underground catacombs, slowly piecing together where—and when—they are.

Writer Robert Ross chooses to drip-feed the historical context through a series of hints and teases from the Doctor, but this ends up dragging the pacing. The Doctor’s cryptic approach to revealing the setting is more frustrating than mysterious, especially for Evelyn, who is left playing catch-up for longer than necessary. The first episode builds a foreboding atmosphere, but it culminates in a fairly weak cliffhanger, with the Doctor simply meeting Burke, Hare, and Jamie in a pub.

The first half of the story unfolds in a fairly straightforward manner—Burke and Hare work to conceal their true activities, while Dr Knox gradually makes his presence felt. It’s a grim and dirty period in history, and while the setting is well-realised, the script doesn’t always maximise its potential. The tension builds only in fits and starts, with characters often rehashing the same conversations rather than propelling the plot forward.

KNOX, TIME, AND A TWISTED EXPERIMENT

The story’s greatest strength lies in its handling of Dr Robert Knox, played with a mix of charm and menace by Leslie Phillips. Initially appearing as a historical figure conducting dubious medical research, Knox quickly emerges as something far more sinister. When it’s revealed that he owns a Type 70 TARDIS—purchased, rather than stolen—it suddenly shifts the story’s scope. This isn’t just about bodysnatchers and unethical anatomy lessons; it’s about a man from the future exploiting time itself for personal and scientific gain.

Knox’s parallels with Doctor Who’s classic villains are intriguing—his scientific ambition and disregard for human life evoke Dr Frankenstein, while his time-traveling meddling has echoes of Magnus Greel from The Talons of Weng-Chiang. He is, in essence, a historical figure warped by the possibilities of time travel, using his knowledge of future medicine to manipulate the past for his own ends.

One particularly clever moment comes when Knox subtly tests Evelyn’s knowledge by mentioning Dr Jekyll and Mr Hyde—a book that wouldn’t be written for another 60 years. When she acknowledges the reference, Knox immediately realises she and the Doctor are time travellers, adding another layer of intrigue to his character.

Despite his compelling premise, Knox isn’t used to his full potential. His confrontations with the Doctor are intriguing but not as tense as they could be, and after the initial shock of his TARDIS reveal, the story struggles to escalate the threat he poses.

DAFT JAMIE – A TRAGIC STANDOUT

The most emotionally resonant figure in the story is Daft Jamie, voiced by David Tennant in his final Big Finish role before stepping into the Tenth Doctor’s shoes on television. Jamie is portrayed as a mentally and physically challenged young man, whose kindness and guilelessness make him an easy target for those around him. Tennant’s performance is committed and affecting, though modern audiences might find the characterisation somewhat outdated in its depiction of neurodiversity.

Jamie’s importance to the plot lies in his unique perspective—he notices details that others overlook, making him an invaluable source of information for the Doctor. The Doctor, in turn, treats Jamie with genuine care and respect, even briefly adopting him as a companion of sorts. Their dynamic is a highlight, with the Doctor recognising Jamie’s worth and intelligence in a way that those around him do not.

However, the final moments of Jamie’s story are devastating. Despite his crucial role in helping the Doctor, history demands that Jamie must die—murdered by Burke and Hare to ensure that his name goes down in history. The Doctor and Evelyn are forced to return him to his fate, knowing they cannot save him without rewriting a fixed point in time. It’s a chilling reminder of the limits of the Doctor’s interference, and the story’s most powerful moment.

THE DOCTOR AND EVELYN – A FRACTURED DYNAMIC

After their recent tensions, the Doctor and Evelyn are back on more stable footing here, though their dynamic feels slightly off. Evelyn, usually one of the Doctor’s sharpest companions, is written as overly inquisitive, asking constant questions and appearing a step behind for much of the story. She’s also noticeably dismissive towards Jamie, which feels out of character for someone usually so compassionate.

Meanwhile, the Doctor himself swings back towards his more brash and confrontational tendencies, after his recent mellowing. While this fits the setting—a grim period of history where injustice is rife—it does make their interactions a little more stilted than usual.

Evelyn ultimately doesn’t have a great deal to do, which is a shame given how well she usually complements the Sixth Doctor’s personality. Their partnership remains compelling, but the story doesn’t give them many moments to truly shine.

A DARK ATMOSPHERE WITH UNEVEN PACING

The production successfully creates a sense of foreboding, with ominous music and a bleak tone that underscores the horror of the real-life events being depicted. The atmosphere is strong, immersing the listener in Edinburgh’s grim underbelly.

However, the pacing is inconsistent. Much of the first half feels repetitive, with characters discussing the same information without much progression. Part 3 finally injects some much-needed urgency, particularly with the Doctor’s confrontation with Knox, but this momentum isn’t fully sustained. The climax, while thematically strong, doesn’t feel as dramatic as it could have been. Knox’s final confrontation with the Doctor fizzles out rather than delivering a truly memorable showdown.

The final gut-punch, however, comes with Jamie’s fate. Just as the Doctor and Evelyn seem to have resolved the main conflict, they are forced to return Jamie to his inevitable death—a stark reminder that history cannot always be rewritten.

📝VERDICT: 6.7/10

Medicinal Purposes has an intriguing premise and a strong atmosphere but struggles with pacing and underused elements. The historical setting is well-realised, and Knox’s reveal as a time-travelling scientist adds an interesting twist, but the story never fully capitalises on its potential.

David Tennant’s performance as Daft Jamie is both compelling and uncomfortable, adding a layer of tragic depth to the narrative. His fate provides the story’s most powerful moment, underscoring the Doctor’s limitations in the face of fixed history.

Despite its shortcomings, Medicinal Purposes remains an engaging listen, particularly for those interested in Doctor Who’s historical horror stories. It just never quite reaches the heights it aspires to.