Tuesday, 4 February 2020

Articles Welcome to Issue 77 WATNOW: COE: Day Four



Content Guide

About Us
Tiziana joins the Team

Articles
Where Are They Now Cast? Day 4
By DJ Forrest

Big Finish Reviews+
Warzone/Conversion
The Moons of Vulpana
by Matt Rabjohns
Short Trips: The Best Laid Plans
Peace in Our Time
Main Range:
Blood on Santa’s Claw
Fourth Doctor Series 9 Part 1
The Robots Box Set 1
Lost Stories: Nightmare Country
By Tony J Fyler

Who Reviews
Dragonfire
The Greatest Show in the Galaxy
The Happiness Patrol
Spyfall 1 & 2
Orphan 55
Nikola Tesla’s Night of Terror
Fugitive of the Judoon
By Matt Rabjohns
Doctor Who Movie
by Alex Wylie
End of the World
The Unquiet Dead
By Tony J Fyler

The Mothership
Jon Pertwee by Matt Rabjohns

Fans Fiction
The New Adventures of Lady C – The Early Years by S. Florence

TW Reviews
Expectant
Fortitude
By Tony J Fyler

The Whoniverse Round-Up
February 2020
Paul Kasey
Julie Barclay
Simon Fisher-Becker
Steven Savile


Editor’s Note

It’s funny how with the best intentions in the world, you still manage to find yourself cramming everything in at the last minute. This month has been a bumper review time for us all. With the return of the Doctor on New Year’s Day, and a host of episodes following shortly after it, we’ve had fun watching and rewatching episodes, and some on a loop, especially Fugitive of the Judoon. I for one am ecstatic to see Captain Jack Harkness back on the telly, juuuust wish it was for a much longer scene.


There’s been a host of programmes to catch up and binge watch over on iPlayer, and some really great shows I’ve still as yet to catch up on.

Over Christmas period we set a competition for a lucky person to win a signed copy of Frank Cottrell-Boyce’s children’s novel ‘Sputnik’s Guide to Life on Earth’, and our lucky winner is @brinatello over on Twitter. Frank set the question and chose the winner at random. And we thank him from the bottom of our hearts. 

As we said earlier, we have a host of Who reviews, a couple of TW reviews and our usual WATNOW cast catch ups. Also, this month is the start of another Lady Christina de Souza story, taking things back to the early years of her life, penned by S. Florence. Do please spare some time reading the Fans Fiction page.

We’ve been catching up with Paul Kasey and Julie Barclay this month for our Whoniverse Round-Up. Check out what they’ve been up to and what they will be up to later on this year.

Matt has been sharing his love of Who with a small biography of Jon Pertwee, an actor with whom I grew up watching from an early age from Who to Worzel, and those hilarious, tongue in cheek Carry On Films. There are some things I never knew about the actor, it might surprise even you.

We welcome into the team a new graphic artist for our front covers. Tiziana DF. You can find out more about her on our About Us link in Contents Guide. Her Redbubble site is a must see and I wouldn’t mind purchasing a few t-shirts of TW, if only to stop Ianto nicking mine.

Now without further ado. Welcome to Issue 77 WATNOW: COE: Day Four.

Djak


Articles Where Are They Now - Day Four Cast?



When Lois interrupted the meeting in Downing Street, she expected Torchwood to send the 456 packing. but sometimes when you go into things like Flynn, you wind up making the biggest mistake of your life. Not every alien creature is going to run and hide because you utter the word TORCHWOOD. Perhaps if the 456 had heard of the name The Doctor, it might have considered the consequences of its actions. Except, the Doctor never turns up in Torchwood, does he?  

When Jack and Ianto reached the 'penthouse suite' in Thames House, harbouring the 456 in its gas chamber, they weren't expecting the tables to suddenly turn and for them to face death along with the office staff currently clamouring at the exits, desperate to escape.

So, how many children are we giving up to this alien threat?


Deborah Findlay


‘Denise Riley’

'Now look, on the one hand you've got the good schools. And I don't just mean those producing graduates, I mean the pupils who will go on to staff our hospitals, our offices, our factories. The workforce of the future. We need them. Accepted, yes? So, set against that you've got the failing schools, full of the less able, the less socially useful. Those destined to spend a lifetime on benefits, occupying places on the dole queue and, frankly, the prisons. Now look, should we treat them equally? God knows, we've tried, and we've failed. And now the time has come to choose. And if we can't identify the lowest achieving ten percent of this country's children, then what are the school league tables for?'

A member of the government, Denise was quite vocal regarding the 456 and Prime Minister Green's approach to it. She came into herself more in the 5th episode, and surprised us all with her clear insight into the way Green had handled the situation, putting Frobisher into the firing line and thus ending his own life and that of his family. But nevertheless, as a politician, she sat at that table and discussed, with all of them, which children they could afford to give up to an alien race.

Since Torchwood, Findlay has played Miss Tomkinson in Cranford from 2007 - 2009, Mary Carter and Gemma King in Silent Witness from 2003 - 2010, Rowena Drake in Poirot in 2010. Was the voice of Sophia Tolstoy in The Trouble with Tolstoy in 2011. Played Philippa Pawlowski in Holby City a year later. Played Vanessa in Leaving in the same year. In Coriolanus for National Theatre Live played Volumnia in 2014.


Played Lorna Soane and Hilary Richards in Midsomer Murders from 2000 - 2015. Was Pauline in Lady in the Van in 2015. More recently played Eleanor Shaw in Collateral in 2018, and is currently in The Split as Ruth from 2018 - 2020.


Nicholas Briggs


‘Rick Yates’

'I'm just saying, if we need to spin this to the public, and God knows, at the moment, spin is all we can do, then in an age when we're terrified by the planet's dwindling resources, a reduction in the population could possibly, just possibly, if presented in the right way, be seen as good. Sir.'


Yates is another member of the current government. No family. No kids and no worries about sending a bunch of children off to their fate. 

It would be exceptionally difficult to list all of Briggs' credits, given that they are mostly if not all, connected in some way to Doctor Who and Torchwood, through the BBC and Big Finish. As you already know, Briggs is the voice behind the Daleks, Cybermen and Judoon. He has lent his voice to video games from Doctor Who to Lego Dimensions as the characters he vocally portrays on the telly.

If we were to list every single role and character that Briggs has played and voiced since he took up the reins of Dalek voice etc, it would be like listing Captain Jack's back catalogue of relationships. We'd be here till the sun explodes!!!


So instead, we can categorically say that Briggs has been involved in the Whoniverse from acting, directing, producing and composing since 1998 and is still going strong now, with Big Finish and the new series of Doctor Who, voicing Dalek's, Judoon and Cybermen for the 13th Doctor seasons.

We had the opportunity of interviewing Nicholas Briggs a couple of years ago and you can find it in our Interview section.


Patrice Naiambana


‘Defence Secretary’

'If the criteria we use is demonstrably fair and entirely random, then at least we could defend ourselves.'

He rallied the 'troops' around the political table to secure the figures for how many children would be sacrificed to the 456.


Since Torchwood, Patrice has voiced characters for Tinga Tinga Tales for 37 episodes from 2011 - 2012, played George Maynard and Tony in Casualty from 2005 - 2010. Been the voice of Luke the Sight Neuron for Nina and the Neurons in 2013 - 2015. Was the voice of King Pancake in 101 Dalmation Street in 2019.


Sophie Hunter


‘Venessa’

'According to our alien friends, in four months time, the virus will mutate. It's a brand new strain of Indonesian Flu. They claim it could kill up to twenty five million people. All our research seems to back up their figures. In 1918, the Spanish Flu outbreak killed something like five percent of the human race.'


One of the 1965 military who was assassinated by the government many years later, to hide the details pertaining to the 456. Venessa gave Jack Harkness the job of finding and offering up 12 children to the 456 for an antidote for the Indonesian Flu.

Hunter’s acting credits appear to fizzle out on IMDB after 2010, leaving a huge gap in her acting career. Yet after much research and some interesting discoveries, Sophie is not just an actress, but an English avant-garde theatre, opera director and playwright. After 2010, it seems her acting career took a step behind the camera.

Hunter began her acting credits in the two episodes of Children of Earth in 2009. Since then she went on to play roles in Short Films, from Woman in the Meadow in 2010, a Witch in the Great Performances play Macbeth and Maria in another short again in 2010.

Hunter co-founded the Lacuna Theatre Company and was associate director for the Royal Court Theatre in the West End of London and the Broadhurst Theatre in Broadway for the play Enron in 2010. Hunter has directed and performed in theatres across Europe, the Middle East and North America. She has directed experimental plays such as 69 degrees South in 2013, a New York City play called Lucretia in 2011 and the 2010 revival of Henrik Ibsen's Ghosts.

As well as directing, Hunter has also been involved in music, recording a French language music album called The Isis Project with Guy Chambers in 2005, releasing an English Language EP called Songs for a Boy, again with Chambers, six years later. In 2010, Hunter worked with Armin van Buuren for the song 'Virtual Friend' which was added to Buuren's 2010 Mirage album.

Was artistic director for Tesla in New York, a concert performance in 2013.


The most interesting piece of research was to discover that Sophie Hunter married Sherlock star Benedict Cumberbatch on 14th February, 2015 at St Peter and St Paul Church on the Isle of Wight. They have two children, Christopher Carlton born June 2015 and Hal Auden born March 2017.

In that same year, Hunter was producer of Megan Hunter's dystopian novel 'The End We Start From' with her husband and Adam Ackland's production company Sunnymarch, along with Liza Marshall's Hera Productions.


Alan Bond


(Uncredited) ‘UNIT Soldier’

Bond’s acting credits also begin with Torchwood COE episodes for Days 4 & 5. Since then he has played various uncredited and credited roles including 5 episodes of The Bill from 1996 - 2010, George in Paco's Men from 2008 - 2010, for 10 episodes. Was a plain clothed policeman in Law & Order: UK from 2009 - 2013. Was a parent at the Swimming Gala in Bad Education in 2013. Played several different characters for Casualty from 2008 - 2013.


Played another parent in Outnumbered in 2014. In 2015 played a Defendant's Solicitor uncredited in Broadchurch. Played Yann's solicitor in Marcella in 2016. Played a Presenter for Bond's Millions from 2012 - 2017 for 10 episodes. In 2018, played a Golf Course Manager for Rosamunde Pilcher television series.

For films was an uncredited German Officer for The Monuments Men in 2014.

The Whoniverse Round-Up February 2020



February 2020


Paul Kasey

We caught up with Paul Kasey recently and we were excited to discover that he was back in Doctor Who’s latest season in two roles. Kasey explained that it was his first time on Doctor Who without a mask. He played Harold Green in Nikola Tesla’s Night of Terror episode. He was sporting red eyes, which I took to be contact lenses but was informed that this was a visual effect that was added later.


Kasey also appeared in the episode Fugitive of the Judoon on the 26th January, as Ko Sho Blo. I hope he returns for more Who soon.


Julie Barclay


Julie Barclay is currently busy working on a new project that will be out sometime later this year. It’s an Indie film for the BFI, called Martyrs Lane, directed by Ruth Platt and stars Denise Gough (Stella), Steven Cree (TW: Uncanny Valley), Anastasia Hille (Keeping Faith), Hannah Rae (Broadchurch) and Kiera Thompson (Three More Sleeps).

Hannah and Kiera play sisters in the story.

Julie plays Janet ‘a lonely isolated woman struggling to care for her elderly mother’ in this ghost horror story.

Martyrs Lane Facebook Page gives an insight into the filming and worth a follow, guys. 



Simon Fisher-Becker

My Dalek Has Another Puncture is the second in Simon’s autobiographical trilogy, full of accounts of his life after Doctor Who, from auditions, castings, filming and recordings. It’s an interesting read and should ideally adorn everyone’s bookshelf.


It’s available now in paperback for £9.99 on Amazon. It’s also available to purchase in Kindle format.



Steven Savile

On the topic of new books to read. Steven Savile has a new book out. In eBook form only at the moment but one that looks like my kind of read. Tell me you’re not just a little bit tempted?


Scavenger Summer.

The summer of 1986. A summer of beachcombing and skinny dipping, of amusement arcades, karate games and Penny Falls, of first loves, fumbled experiences, excitement and possibilities. A summer where anything could happen. Those teenage days truly were the best ones of my life. Right up until the moment I found my mother’s body washed up on the beach.



If you have any news you would like to share with us. Something that we can post up in our Round Up. Do please get in touch.

See you in March.




Big Finish Reviews+ Blood On Santa's Claw & Other Stories by Tony J Fyler



Ho ho holy cow! says Tony

When writing a review of a sort-of Christmas Special collection from Big Finish, you would not believe how tempting it is to fall back on cliché. Yadda yadda Christmas cracker, yadda yadda better than a snog under the mistletoe, yadda yadda all the Christmas presents you could wish for in a multi-coloured tasteless sack, etc etc etc. You get the (snow! Sorry, it’s compulsive…) drift.

Having at least acknowledged that, let’s try and get through the rest of the review without obvious Christmas references and poorly-judged puns, shall we?

Settle down at the back, this is a serious review.

Except it’s tricky, because the first story here, Blood On Santa’s Claw by Alan Terigo, is a festive pun in its own right, a play on the Tigon Pictures horror movie and subsequent Bafflegab audio drama, Blood On Satan’s Claw. It’s also absolutely accurate – Santa’s in this story. He has claws. There’s blood on them. Hoorah. Well done, Mr Terigo, please feel free to draw your salary.

Santa also gets sleighed, or if you prefer, Slade, early on in the episode, which forms a central strand of the mystery the Doctor, Peri and Joe, Peri’s partner, have to investigate.

What?

Oh, yeah, sorry – Peri has a partner. His name’s Joe. Bit of a dick, frankly. Worked in the music industry before all this time and space malarkey. Picked her up after an episode of Top Of the Pops she attended. The in-jokes here are huge, given that Nev Fountain, who writes the topper to this set, is the real-life partner of Nicola Bryant, so making the in-universe partner of Peri a bit of a dick is a bold move by Terigo. Also, there’s footage out there of Nicola Bryant actually at a filming of TOTP, so, yeah – funny. Also, your reaction to the idea of Peri having a partner (which we assume means everything we’re supposed to think it means) will depend on whether you fall into the ‘Eww, space-time boinking!’ camp or whether you were a teenage heterosexual boy in the 1980s.

Either way, you’re likely to want to pass Peri a subtle note, or, given Fugitive Of The Judoon, a poorly iced cake, to remind her that while you understand that all of space and time can be a lonely address and of course, a girl has needs, she can do so much better than this guy (It’s…probably best not to focus on the idea that in the TV canon at least, she ended up marrying King Yrcanos when you grab your piping bag though).

They discover the dead Santa on the world of Naxios, where animals talk and live in fear of being run over by Mr Toad, and Shakespearean-named characters act as constructs for particular slices of human emotion or endeavour. There’s a lot of world-building needed to make Naxios work, including religions attached to fictional constructs (hence the talking animals) and the idea that irrespective of such religious observances, there’s mining work to be done or a price to pay. Needless to say, it’s all more or less an afternoon’s work for the Doctor and Peri to topple a dictatorial regime, find out who killed Santa and set the talking animal-people free. Meanwhile, Joe wimps out of going down a tunnel and ends up having quite a nice tea. He’s both useless and a pillock, and it’s to the credit of Luke Allen-Gale that while we understand all this, we never stop listening to what he says, and we actually even give him some credit for his objections, his ability to puncture the adrenalin-junkie bubble that the Doctor and Peri, he alleges, have fallen into, throwing themselves between the victimised and their oppressors without a second thought. Allen-Gale balances his performance between useless pillock and rational bubble-burster with significant aplomb (There’s a line for the cuttings file!), at least in the first story, where we’re open to mixed impressions of this new Joe of whom we’ve never heard.

The second story in the collection, The Baby Awakes by Susan Dennom, is rather less of a romp, and in it, Joe is significantly less likeable. The story will appeal to anyone who likes, for instance, Nev Fountain’s Peri and the Piscon Paradox or Joseph Lidster’s The Reaping. Anyone, in fact, who likes to hear Nicola Bryant get a chance to tackle heavy powerful, all-engaging emotions, like disappointment and loss (Not for nothing, if that’s you, check out the audiobook of Fountain’s novel, Pain Killer – it’s something like nine hours of Nicola Bryant playing a character put almost perpetually through both the physical and the emotional wringer. With extra swearing). We’re dropped into an undercover operation here, to investigate the Ishtar Institute, a place which can show you, by the use of technology, what your children would look like, act like and be like at any age you choose, allowing you to try before you buy their particular lives, designing the final ‘product’ down to your finest specification before they’re made for you and you get to take them home.

Ultimate genetic psycho-social convenience, or monstrous abuse of the power of creation and timelines? You decide. There’s a degree to which the answer probably depends on your ability to keep your emotions from spilling over, and keep your bonding instincts in check. But then if you can do both of those things, it’s arguable you’re not the best person to be choosing the traits of your children. (Designer parents now – that might be a thing. Retro-actively choose the parents you feel you deserve, and feel the timelines and your personality change accordingly…)

Peri and Joe are there with the Doctor on a tip-off from one such designed child who, when rejected by their prospective parents was sold like used kitchen grease to the military, so they could do what they wanted – implant all kinds of weapons systems in them and send them off to fight. The investigation is supposed to discover whether their information is true or not, but while Joe is detached from the whole process, once she’s interacted with her three potential children they’re absolutely real to Peri – which makes it perhaps more tricky even than usual when they turn into monstrous hairy savage beasts in their teens (the satire may not be subtle here, but it does raise a smile). Obviously, something deeply amiss is going on at the Ishtar Institute, and when they find out what it is, there’s hell to pay for everyone – even the Doctor and Joe.

The Baby Awakes is a poignant emotional message wrapped in a science-fiction scandal of technologically-advanced amorality. Which is never a bad thing. Dennom balances her story well between the rush of sci-fi ideas and the shuddering impact they have, not only on the babies made and never accepted, but on Peri as our window into the impact of having a baby, or even the imagined future of a baby when it’s growing inside you, and then having that taken from you by time or circumstance when you really wanted to keep it. It’s a heart-rending performance from Nicola Bryant and it’s a story that punches above its run-time in terms of pain. You’ll remember this one for a good long while once you finish the release.

I Wish It Could Be Christmas Every Day by Andrew Lias, and Brightly Shone The Moon That Night by Nev Fountain are an unofficial two-part story, taking place for the most part on the most effective version of Hell on Earth we’ve yet encountered – a never-ending Christmas party. Robot waiters serve perpetual drinks and canapes, but whatever you do, don’t mess with the mistletoe. While Lias gives the Doctor, Peri and Joe an initial mystery to work out – whose party is this, why are they at it, why has it been going on as long as it has, even though it’s categorically no longer anywhere near the Christmas period, and if it’s not just a Christmas party doomed never to end, like Mawdryn Undead in naff paper hats and the hell of perpetual Slade, then what the hell is it for? Lias answers most of this, but also pushes the story to a breaking-point cliffhanger, which allows Nev Fountain to focus on expanding the answers into something bigger than you’ll ever see coming. Something that lives in myth and legend, and apparently not only on our own planet. There are fairly demented consequences in Fountain’s finale – for Peri, for Joe, for the Doctor, but also just possibly for the web of time and the universe as a whole as the Doctor falls into a convoluted time trap, and it’s only once you get to the end that you realise the extent of the emotional journey Blood On Santa’s Claw, and other stories has taken you – from the dark, satirically whimsical fun of the eponymous first story, through the heart-punch of the second, to the Christmas party from Hell, ramping up to the mad, all-inclusive climax of Brightly Shone The Moon That Night. It’s quite the Christmas trip.

Overall then, Blood On Santa’s Claw, and other stories is surprising, affecting, odd-in-a-good-way and ends on a high of ‘Wait, what-now?’ not unlike Fugitive Of The Judoon – adding to the legends of space and time we think we know in a way which’ll make you blink, and nod, and want to hear more in future releases. In some ways it’s a necessarily standalone collection, but the issues it raises have the potential to stay with you long after you finish it. In other words, Blood On Santa’s Claw, and other stories is for life – not just for Christmas.

(Damn!)

Big Finish Reviews+ Nightmare Country by Tony J Fyler



Welcome to Nightmare Country, says Tony.

Stephen Gallagher’s history with on-screen Doctor Who extends to just two stories.
Nightmare Country is story number three.

He’s on record – not least in the Behind The Scenes material on this release – as saying that he wasn’t especially happy with the way his first script for the show, Warriors’ Gate, turned out. He’d done a great deal of work on the script, and quite a lot of it proved unusable within the timescales, and more importantly the budgets of the early-Eighties BBC (at least according to then-script editor, Christopher H Bidmead), leaving Warriors’ Gate a fairly high-concept script rendered into BBC being by quiiiiite a lot of nothing, some great models and effects shots, some less-great scenic images and a cast of good actors trying gamely to make the strides the script demanded of them and not really getting there.

Gallagher, he says, had a bit of a moan about it to then-producer John Nathan-Turner. Nathan-Turner’s response was to commission Gallagher to write his second script, Terminus. There were some similarities in the material – a shipful of malcontents in a troubled situation, a hugely tall animal biped who saves people after being treated badly, and a beloved companion being somewhat hastily written out at the end (Romana in Warriors’ Gate, Nyssa in Terminus).

Nightmare Country was Gallagher’s pitch for Season 21 – the season which started with the chronically overlit return of the Silurians and Sea Devils, and got better as it went on, culminating in Peter Davison’s swansong, The Caves of Anrozani, before effectively jumping off a cliff with the first Sixth Doctor story, The Twin Dilemma. The one, if you recall, which featured a giant slug as the villain, despite it looking like a roll of dodgy Student Union carpet after Freshers’ Week with a pair of Elton John’s spare glasses stuck on top.

You’ve sent us another million-dollar movie and we just can’t do them’ read the note Gallagher received from the Doctor Who production office in response to his Nightmare Country pitch.

To be fair, if they couldn’t manage a bipedal slug, they may have had a point.
Now, thanks to the power of audio and the determination of Big Finish to meet demand from fans that every nook and cranny of potential storytelling be explored, Nightmare Country has finally seen the light of day. And certainly, the audio medium is its friend, because as an experience, it’s the least esoteric, most down-to-earth of Gallagher’s three Davison-era scripts.

That’s not at any point to claim it’s not hellishly complex, because it is, certainly as far as its core ideas are concerned – the Doctor has agreed to help a race called the Volos…do something complicated, involving a small team of…well, mental terraformers, essentially, to build a world out of pure firmament and their conscious thoughts. Planet-building, to order, by the power of a small collective of minds in a shared consciousness matrix, while their bodies remain in the conventional material universe. The tricky thing about which is that anyone who goes into the semi-comatose state necessary to do the job wakes up in the virtual space of planet-creation without the slightest idea of how they got there. Which you might think – and spoiler alert, you’d be right – makes the whole planet-building thing a touch on the tricky side. Especially when it turns out the mindspace looks like a world of relics and old bones, and there’s a horrifying enemy in situ to hamper proceedings – a species called the Vodyani.

With it so far?

Introduce some scientific skulduggery and the accidental inclusion of a history of war, and we’re off to the races – the Doctor, who doesn’t know he’s the Doctor, must help the strangers he encounters, who are suspicious of him, to escape the clutches of the Vodyani, do…something they can’t quite remember, and if at all possible, get out of the mindspace they don’t know is a mindspace by walking through a very particular door.

Still with it? Anyone weeping for the straightforward impossibilities of Warriors’ Gate yet?
Relax a little. The great mantra of creative writing is ‘Show, don’t tell.’ Which is why Nightmare Country works a great deal better as an experience than it’s ever going to do in explanations on a page. While the Doctor’s quest for enlightenment and the emergency exit goes on inside the mindspace, Tegan and Turlough each have a strand of activity to keep them busy – Tegan becomes a volunteer to go and bring the Doctor back, while Turlough tackles the skulduggery that has at least in part led to the whole ‘conscious planet-building’ thing going spectacularly wrong.

Turlough comes out of Nightmare Country with honours – which would have been consistent with the development of his character-arc (such as it was) in Season 21, away from desperate exile-turns-would-be-killer and into something more genuinely helpful and at ease with his knowledge. On-screen, there would have been a greater treat for viewers too, because there are scenes in this story set in the secondary control room, that great old wood-panelled version of a Tardis console room that had paved the way for experimental console room design and took the show away from the necessity of a brightly lit, mostly white Tardis interior. Turlough flips all manner of necessary switches in that old room here to help defeat a cunning opponent in a game of Zero Room hide and seek, showing himself to be clever, resourceful and even, when it absolutely comes to it and there’s no more slimy alternative, rather merciful.

That said, Tegan’s journey in this story shows what could have been (with a tweak here and there), a much more satisfying departure story for her character than was actually delivered on-screen in the last handful of heartbeats of Resurrection of the Daleks (Come on, this is the writer who got rid of Romana, K9 and Nyssa, you know you want to pop into the alternative universe where he got to write out Tegan too). Tegan here shows not so much what she’s learned from the quietly heroic Fifth Doctor, but what was latent in her from the very beginning – a desire to help people, and to facilitate their lives through the actions of her own. It would have been a much stronger, nobler, less what-the-hell ending for the mouth on legs, and it works beautifully well within the confines of this story too. There’s even, and whisper this because no-one can believe it, hugging between Tegan and the Doctor before everything goes staggeringly wrong. Again.

That’s a thing that certainly feels developed in Nightmare Country on audio – the pacing’s good, the cliff-hangers are strong enough to give you the necessary moment of shock, and the flipping of the script between episodes 3 and 4 really takes the energy of the whole thing up another couple of notches, as ideally it should do as you power on towards the climax of the story. Stephen Gallagher here, under Guy Adams as script editor and Ken Bentley’s direction, manages to both eat his cake and have it, delivering a script that’s at least as packed with mind-bending ideas as either of his two on-screen stories, but where the relationships between characters are for the most part less fraught, and therefore less hard work for listeners, and the threats become clearer and more concrete as each episode progresses.

The script and the main cast are significantly bolstered in delivering Gallagher’s vision in an engaging way by the presence of two Big Finish stalwarts in the cast – Tracy Wiles, who’s approaching her thirtieth Big Finish release, and Beth Chalmers, whose number’s nearly double that. New and exciting voices should of course always be used where possible, but when the ideas are complex (building planets by conscious thought-matrices, remember?), there’s something about having a couple of familiar voices alongside the Tardis team that helps the medicine go down in a most delightful way.

If you’re a fan of Warriors’ Gate and Terminus, you’re going to need to listen to this to hear what might have been, had Eighties Doctor Who had 2020 Doctor Who’s budget. If you’re not a particular fan of Stephen Gallagher’s on-screen Who, give this a listen anyway – it might well convince you that the things you’re not keen on were more a product of the spit-and-sawdust budgets of the Eighties production than of the scripts themselves, because on audio, where the listener brings the world to life by the power of their imagination, Nightmare Country’s a bit of a dream come true.