Showing posts with label Issue 38. Show all posts
Showing posts with label Issue 38. Show all posts

Sunday, 31 July 2016

Articles Welcome to Issue 38 Miracle Day: The New World




Contents Guide

Articles
Miracle Day Episode Breakdown

Beyond the TARDIS
Dad’s Army

Big Finish Reviews+
By Tony J Fyler
A Life of Crime
Counter Measures 1
Counter Measures 2
Robophobia
Survivors 1
Survivors 2
The Pursuit of History

Locations
U.S. Locations by Steven Barber
The New World

Torchwood Reviews
Broken
Issue 1 Comic Book Review

Who Reviews
Army of Ghosts/Doomsday



Editor’s Note

Hi Guys! As ever the weeks have rolled in pretty fast. I’ve been busy with a lot more than writing articles – I’ve been planning my week long trip to the city of Cardiff, and the meet up with a few fantastic friends, and truly can’t wait. The Weevil has been suitably checked for all known diseases, and let’s just say, Dr Owen Harper was thorough!!!

Joshua will be staying with family and friends, and I won’t be staying anywhere near them. He in fact, may not return with us on the journey back given where his accommodation will be for the entire week!!!!

July has been a busy month for reviews however, Tony, especially has been reviewing a considerable amount of Big Finish audios to give you his valid opinion about whether they’re a good investment and let’s face it, they nearly always are.

Who Reviews were a little thin, given that over the years, we’ve covered a large majority of them, so only one to read.
Torchwood on the other hand has been exceptionally busy, what with Big Finish, and Titan, releasing their first NEW Torchwood comic book written by John and Carole Barrowman. Now that’s something worth subscribing too.

We are so happy to have Steven Barber on our team, covering locations in the US of A, for our Miracle Day series. Steven keeps a blog of his journeys around the world which you can find on the Locations Page this month. Known as The Thumbnail Traveler, you’ll definitely want to bookmark his site for future readings.

We also get to review the title of our Issue, Miracle Day: The New World. I have to say it was a rare treat returning to Series 4 and watching the episode all over again. Familiarising myself with the cast and picking up where we left off. I do however, miss the Hub, and the old team, but it’s nice to watch the series, and we hope you’ll follow it with us.

Now, before we go, this trip to Cardiff is something rather special for us, as a writing team, and it will be exciting to finally meet up. I do aim to document this in an article next month. We will be hoping to meet up with a Doctor Who/Torchwood actor and spend a day out with them, but where we’re going and what we’re planning on doing, are still in the planning stages. We will be visiting the Ianto Shrine – and we will be leaving something behind. Something we hope you guys will take a selfie beside and post up on our Facebook Page.

The last time I visited Cardiff, Children of Earth hadn’t aired, and this particular Shrine did not exist. So for me, this is an experience I am extremely looking forward to visiting. Maybe I’ll see you there.

Enjoy Issue 38 as much as we enjoyed putting it together. And if you do happen to see Joshua and his many relatives in Cardiff – do give them a wide berth, and please don’t encourage him with chocolate!

~Jack~





Articles Torchwood: Miracle Day - The New World By DJ Forrest


It has to be said that after ‘Children of Earth’ the return of Torchwood with a new format and a new location, received a lot of mixed reviews. Not everyone was happy with the story line, nor where it was set – no longer the streets of Cardiff, but across the pond to the US of A. It had a different theme tune and it just felt very new. And most of all, no matter how many people Jack would be seen with, nobody was going to be a patch on Ianto Jones.

That being said, Miracle Day allowed us to see more Jack time that probably wouldn’t have been allowed back in 2006. Plus, a lot more action with car chases, scenery and outside filming than we saw in the first three seasons. And with a larger cast list of well-known actors from the world of film, not just of television. I mean Bill ‘Independence Day’ Pullman, as well as the guy from Star Trek and the unfortunate guy from Jurassic Park, who I used to also like in Dirty Dancing. (Brian Friedkin)

So let’s catch up with Jack and Gwen and the story thus far:

It’s been over a year since the 456 and the destruction of the Torchwood Hub in Cardiff. Gwen and her husband Rhys along with daughter Anwen – (remember, Gwen was pregnant at the start of Children of Earth), are living in the remotest part of the Gower Peninsula, in a house overlooking the vast beach. Still wary that at any time they could be facing off an enemy from air, sea or land, both adults are armed and ready when two presumed hikers knock on the door asking for directions. Shocked by her own reaction, gun behind her back, Gwen fears for the moment when she might just fire at the wrong person, and bring the might of the world to their own doorstep. That’s Torchwood for you.

Across the pond, convicted paedophile, Oswald Danes is facing death by injection at 6am at the Montrose Hill State Penitentiary, in the state of Kentucky. The mother of the dead child Susie Cabina watches. Everything appears to go as planned, except as the poison is released into Danes’ body, he begins to jerk violently. So violently in fact that he tears the wrist restraints from the bed. Guards rush in and the curtain is pulled around.



Esther Drummond, Watch Analyst to the CIA is on the phone to her boss, Rex Matheson, who is currently driving in the pouring rain, somewhere in Washington DC. It’s a lousy night.
She asks him if he’s ever heard of Torchwood, as the name has been emailed to every single East coast section chief, completely bypassing security. Noah, and Charlotte, two other analysts are also following the trail as the screen in front of them, and all screens across the room begin to flicker, and everything to do with Torchwood, vanishes.

Rex isn’t interested in Torchwood. It’s a British thing. It would be too much hassle to try and unravel the administration behind the Institute. The truck ahead of him slams on its brakes and a loose steel pipe flies off the back of the truck and harpoons him.


In Wales, Gwen awakens from a nightmare.

Rex, despite his severe injury which would have seen any normal man die, is still alive. But then according to Dr Juarez, so are all her other patients. For some, their injuries were life threatening, but yet, nobody has died, and the morgue staff are having a party, as let’s face it, no body means, no work, and hey, an early night!!!!

Of course, by now we know something is going on, and if this is Torchwood then we know it’s not something of this world, but what on earth could it be?  

Flying over the farmhouse, a helicopter disturbs Gwen. Out in the remotest part of the countryside, where cars need to park a distance away, where there are no trains and transport could mean across the sea, Gwen finds the helicopter a distraction too far. Rhys however, fears nothing. What could possibly harm then now?

When they receive the knock on the door from those two hikers I mentioned earlier, Gwen goes into Torchwood mode. Of course, in her mind, her sane mind, where babies and living in a quite remote area of Wales, without ever having to think of Torchwood and her life on the run during the 456, how could two middle aged people dressed in hiking gear be anything more than civilians?



Esther sits in the hospital in Washington DC at 3 in the morning, when Vera Juarez comes to see her. She knows Rex quite intimately but at this point, we don’t know that. Expecting the worst, Esther prepares herself, but Vera surprises her with news that he’s going to make it. Of course, everyone who is wheeled in from an ambulance is going to make it, from gunshot victims to car crashes to suicides. Nobody has died, nobody in 24 hours. Vera had phoned her ex-husband in Cedarbrook, and her friend in London at the Royal Free Hospital, and since the start of their shift, nobody had died.

News reporters across the state are declaring that after Oswald Danes survived his execution, and reports coming in from hospitals that all patients on the critical list hadn’t died either, that this was in fact, a Miracle Day.

So, the question remains, what do you do with a convicted paedophile who survived his execution? Ideally you’d prefer he remained incarcerated because let’s face it, the charge of paedophilia still remains. He still murdered Susie Cabina. And nobody will ever let him forget it. His infamous quote at the trial – ‘She should have run faster’ will sit in everyone’s craw for many years to come. But what do you do with him. He has after all served his time.

Danes, an educated man, underneath it all, runs rings around the representative from the governor’s office, Alexander Peterssen. Quoting the Fifth Amendment that no person could be subject for the same offence twice, Danes threatens Peterssen that for every second he remains incarcerated, his lawyers would sue the governor to high heaven, if he were not released.

Esther is not going to give up on Torchwood. When you have a bee in your bonnet, you want to get to the bottom of it. When every search engine draws a blank on the name Torchwood, Noah finds it odd, and Esther knows that although much of the world is digital these days, there will be paper copies somewhere. Noah advises her to drop the search, as every person who worked for Torchwood died young.

Rex, awake is bored out of his mind. A nurse breaks this by telling him that his survival was not an isolated case. So flicking through the channels he finds much more of the same thing. People across the world, not just the US of A, but Asia, Africa, Europe, the story is the same. Nobody has died.

People who should be dead, who were dead, are now sitting up in their hospital bed. It’s freaking nurses and doctors out and many refuse to treat them. It’s unnatural. Which if you think about it, would be pretty freaky.

In Wales, during a spot of DIY, Gwen’s phone rings. It’s Andy with news of her Dad, who is sick. I think at this point I felt that if they’re not going to kill off the main cast, then family members were easy pickings. She has to return; this is her family after all.

At the Archives building, the archives manager explains to Esther that Friedkin has removed all the Torchwood files but Esther knows as does anyone, that there will always be some files somewhere that haven’t been lifted, and to convince him, she’s there to check. And so she does. Up ladders and on her knees, she goes through a series of references till she finds the one she requires. Listed under JF3238, she finds the 456 file. Opening the folder, she finds newspaper cuttings about the Children of Earth, photographs of the old team, and one of Gwen Cooper. Distracted for a moment she glances up to see a shadowy figure wearing a long great coat, at the end of the aisle. He instructs her to come with him, but spooked by his appearance she runs.
She finds the archive manager dead at his desk and turns in time to see Jack Harkness in front of her with a gun in his hand. He yells for her to get down and opens fire on a man with the machine gun behind her.
Not a field operative, Esther is notably scared. As she ventures up to the injured man on the floor, she worries that he may die. Jack informs her that ‘nobody dies these days’ to which the man on the ground opens his jacket to reveal C4 explosives. Jack and Esther leave through the upstairs window, into an ornamental fountain several floors below, as the building explodes.



Esther’s first meeting with Captain Jack Harkness gives her the information about the Institute, about when and why it was set up and who were still alive. But what it couldn’t answer, was why someone had been searching about Torchwood in the first place. Unfortunately for Esther, she would never remember any of the information, as good old Jack Harkness, true to his Torchwood form, had slipped her Retcon in her drinking water. What bothers Jack however, is not so much that someone had been looking for Torchwood, in order to bring him back onto the scene, for him to release malware to destroy all hard copies of the Torchwood files, but that he had received injuries after the fall, that were not healing, least not as fast as they should.     

Jack visits the hospital where the gunman lies in the autopsy room. There has to be a point when a life can be severed, but when the surgeon detaches the bits connecting the skull to the torso and the man is still alive, something is horrifically wrong. Jack has to find out who is behind this.

Gwen discovers that her Dad has had a mild heart attack. Andy makes light of the situation, joking that he picked the right day to have it. Of course, living off the grid, Gwen has no idea what Andy is talking about. So a little catch up on the hospital computer puts her in the picture. With her Torchwood senses pricking up, she wants to find out more, but Rhys is not too keen on this, and voices his concerns later when she points this out in a quiet corridor.

When Esther wakes up, she’s surprised to find herself back in her room, and equally surprised to find a huge bruise on her body. Jack is equally surprised at the size of the bruise on his body. This shouldn’t be happening. He should have healed by now.

Back in work, Esther is given the last remaining Torchwood file from Noah and puts it in her drawer.
Rex is curious about the mortality rates in every single hospital in the world and asks Esther if there’s a database correlating the figures. She mentions that Torchwood files have gone to Friedkin. She feels the whole Miracle Day scenario is somehow connected to Torchwood but doesn’t know how. Rex recalls the first email with Torchwood and suddenly he sees the connection.

The last deaths in Shanghai and Washington DC had been reported in pretty much the same time, given the time difference. Rex was excited, Torchwood was the key to the whole thing. He instructs Esther to give him all the details of Torchwood while he pulls on his clothes, albeit awkwardly. Popping pills and borrowing a crutch, Matheson makes his way out of the hospital, despite Vera’s insistence that he remains in bed.
He tells Esther to get him a Requisition 15. He is going to the UK to find Torchwood and maybe solve the biggest case of his life.

His housekeeper meets him at the airport with his passport. Unable to get a gun onto the plane he instructs Esther to get him a handgun from UK security.
Once on board the plane, he keeps his phone attached to his ear, and demands to know from Esther, everything she has on Torchwood, and Gwen Cooper.  When he doesn’t put his phone away at the bequest of the flight attendant, the passenger beside him snatches his phone away before Esther can get his passcode to get into the database.



On the ground finally, Rex is given a handgun. He gives Esther his password and hires a car. Esther gives him the information as he drives to Wales.
Reaching the remote farmhouse, Rex pulls out his gun as Gwen meets him at the door. His shirt is red with blood from the open wound. He’s sweating profusely and before he’s even got chance to say all he needs to say, he collapses.

In Kentucky, Oswald Danes is released from prison, against a backlash of disgust from people who think he should have remained in prison.

Rhys is hopeless at tying knots unless it’s for wrapping presents. Rex is able to unravel the knots securing him to the radiator in the spare room. Rhys and Gwen are hurriedly packing when they hear the helicopter again. As Rex enters the hallway, spouting off about his injury, about how he should be dead but isn’t he really wishes he could hear himself speak above the noise of the helicopter. It’s at that point a bazooka fires through the window. Fortunately, it goes straight through the back window, striking the mountain in a ball of flame. Gwen with baby in arms, wearing furry ear muffs, opens fire on the helicopter as it flies to a safe position. She hits the would be assassin who falls back into the helicopter.



It’s time to leave and quickly. Piling out of the house, they run to the car but the helicopter fires off a series of rounds across the grass.
Another hail of gunfire throws the helicopter back and Gwen sees that it’s good old Captain Jack, standing on top of a Land Rover 90.
‘Can’t leave you alone for a minute.’ He calls over, resting the gun against his shoulder, smiling.
Rex stares in disbelief. It’s the man who sat beside him on the aeroplane, the man who snatched the phone out of his hand.

One of the best scenes I’ve seen in a long time is the ‘copter chase across the beach. Jack bombing down the sand driving the Land Rover, Rhys holding Anwen, and Rex finally helping them out by firing a machine gun at the black helicopter as it chases after them. This to me is Torchwood at its finest, and Gwen shows absolutely no fear at firing back at the helicopter with a bazooka.



After watching the ‘Behind the Scenes’ of the chopper crash, it still amazes me that they made it look so real, that the cast were staring in the direction of the ‘crashed chopper’. I loved that scene, especially where Jack smiles broadly. The old team, back together.

When they reach the Roald Dahl Plass later in the evening, the team discuss Anwen’s childcare, what equipment they still have from Torchwood, and Jack’s cuts that are not healing. When Rex who finds the whole conversation less than stimulating between Gwen and Jack, is told to get his injury seen to, Rex can’t believe the timing. His ride has arrived, along with the might of the UK police force. All weapons  pointing at Torchwood. There’s nowhere to run.
Rhys is informed that Rex isn’t arresting them. This is a rendition. Quoting the 456 amendments to US code 3184, Rex is taking the Torchwood team to the US of A.



Whatever you might think of Miracle Day. It still happened. It brought our team together, and hopefully, Torchwood will remain as popular as Doctor Who, if not more, and will continue to be so for a very, very long time.

Next Month - Rendition






Beyond The TARDIS Dad's Army Film Review by DJ Forrest



Who do you think you are kidding, Mr Nighy!


Dad’s Army is one of those television programmes from the 70s that you can recall the theme tune without even really trying. It’s the programme that introduced us to the Home Guard from Walmington on Sea, run by bank manager, Captain Mainwaring, who may have seen conflict in the First World War, and wanted to do his bit for this one. He was a pompous character and he often got his comeuppance during the episode and was played by Arthur Lowe who was a familiar face back in the 60s and 70s.
My favourite characters of the series were Pike who was the youngest of the Home Guard and was unable to join up as he had flat feet. Walker, the spiv, and Godfrey, the gentle gentleman who was always concerned about being caught short, and Jones, the butcher played by Clive Dunn.  
Dad’s Army was an iconic, classic comedy series which ran from 31 July 1968 to 13th November 1977, and made household names of all the cast.
The only surviving members of the cast are Ian Lavender and Frank Williams.

When the trailer came out for the new film, I wasn’t entirely sure about it. I didn’t think it had enough of a punch to pick up a new generation of fans, and sadly, I was right.

Hats off to the team however, for scouring the actors to play the characters of Godfrey, Mainwaring, Pike, Walker, Wilson, and Laurie’s ‘We’re Doomed’ character, plus awesome to see Ian Lavender playing the General and fantastic to see the same old vicar from the television series. But who the hell thought that Bill Nighy fitted the bill to play Wilson?

John Le Mesurier could play Wilson with such style and flair that you positively loved him, as either your Uncle or your lover. He was a charming man, and played a charming role.

Nighy failed to ignite the passion of Wilson. He looked completely bored and it really showed on film. I know he has the hang dog look, which works in other films and television shows he’s appeared in, but for the role of Wilson, once played so eloquently by Mesurier, Nighy failed to capture that essence. How anyone could feel as if they could fall in love with this man’s role, I do not know.
And before any Nighy fans lynch me, I do not hate the man. His role in Harry Potter, in Pirates of the Caribbean, and Love Actually, and his appearance in Doctor Who as the Art Gallery guy, couldn’t fault him. But sorry, as Wilson, no.

Perhaps there does come a time when so many films adapted from a television series are doomed to failure. Perhaps some people found the film entertaining and were thankful that there were no more car chases, steamy sex scenes, and no high explosive action and shoot ‘em up scenes. It was very British, but was it the best of British. Perhaps not!

If it had been a remake of the television series, as a series of misadventures by the little platoon of Walmington-on-Sea, perhaps it wouldn’t have mattered that there were so many mishaps, and so much tongue in cheek behaviour. It was after all, war time. But made into a film, the story was a little flimsy and didn’t hold the interest long enough for me to feel I needed to see the ending. I fell asleep twice during the film, and my son left 20 minutes into it.

Although there were plenty of familiar and recognisable Who cast, their roles were not enough to keep me entertained enough to care who won or who lost at the end, which is sad, when you think about it.

I loved the television series. The sing along theme tune by Flanagan and Allen, the intro where the soldiers are on patrol, edgy with their trigger fingers, or smoking a cigarette, or smiling like it’s a jolly walk in the countryside. Sadly, however, this film didn’t tick enough boxes to keep an old fan newly entertained.

Locations Miracle Day: The New World Episode 1 Los Angeles Locations by Steven Barber



The fourth series of Torchwood brought the cast and crew to a whole New World: North America. As part of the production deal with STARZ, much of Torchwood Miracle Day would take place in the United States, China, South America as well as the United Kingdom, creating an international scope and scale to the production.

Much of the show was shot in and around Los Angeles, in areas ranging from downtown LA, to Venice Beach and the area of LA known as San Pedro.

The opening episode of the series takes place in Cardiff, London, LA and Washington, DC.

The following are the LA-area locations used for Torchwood Miracle Day: The New World.


City Hall

An iconic structure known worldwide for its appearance in numerous TV shows and movies, Los Angeles City Hall was for years the tallest structure in Los Angeles. Known best around the SciFi community as being blasted to pieces by Martians in George Pal's 1950 classic WAR OF THE WORLDS, City Hall was used by the Torchwood Miracle Day: The New World production company for the external scenes in which Esther arrives at the Central Intelligence Agency archive.


Directions
City Hall is located downtown on Spring Street, between Temple and 1st. It is a block away from the 101 (Hollywood) Freeway.

While getting to City Hall is relatively easy, finding parking is not. Particularly during the work week. My suggestion is to visit the site on the weekends, but be aware of the rather large and sometimes aggressive homeless population in the area, particularly in the park south of City Hall.


City Hall East

The second addition to LA City Hall (there are three main buildings on the campus), City Hall East features a large plaza and backdrop used by production companies over the years for scenes involving protests and events at an official-looking building. Torchwood Miracle Day: The New World was no exception, filming the scene in which Jack Harkness describes Torchwood to Esther (for the first time) in the courtyard section of the CH East complex.


Directions
As with City Hall proper, finding City Hall East is relatively easy. It's the large building across the street on the east side of City Hall. But visitors unfamiliar with LA should exercise reasonable caution due to the large and sometimes aggressive homeless population in the area.


Linda Vista Hospital

Like many older buildings in LA, The Linda Vista Hospital, used for hospitals sets in both Cardiff and LA story lines in Torchwood Miracle Day: The New World, has subsequently been repurposed into low income housing.


Directions
Located at 610 S St Louis Ave in the East LA neighborhood of Boyle Heights, the site is easily accessed from several freeways. From the 5 Freeway coming up from Long Beach and Orange County you'll want the Soto Street exit. From the 101 Freeway from downtown and Hollywood take the 4th Street offramp. Best to use GPS to avoid wandering too far afield.

There is a large well-maintained park, Hollenbeck Regional, located directly across the street which features an unusual view of downtown. Caution is recommended during evening and night-time hours.


650 S Spring St

A former Bank of America branch, 650 S Spring Street is in an area of Downtown LA undergoing significant gentrification. Boarded-up storefronts sit adjacent to expensive security apartments and crowded Starbuck's. The scenes filmed at this location served as stand-ins for the CIA archive.



Directions
650 S Spring is relatively easy to find, but parking can be problematic depending upon the planned length of your stay. Metered street slots are a rare commodity, and there is a relatively inexpensive parking lot just north of the building. Spring is one-way, as are most streets downtown. It runs southbound, so 650 S Spring is best approached on 6th Street. Summer 2016 saw much of the street torn up for construction.


Sybil Brand Institute  

Unlike the other buildings on this list The Sybil Brand Institute is locked away (you see what I did there?) from public view.



A former prison for women, it's now part of the greater Sheriff's Department compound a few miles east of Downtown Los Angeles. Closed to the public, it's in constant use as a prison shooting stage for numerous television and film productions. The site was used in Torchwood Miracle Day: The New World for scenes of Oswald Danes' incarceration and prison.




Footnote 

Steven is a travel writer, whose fabulous travels can be found here: http://thumbnailtraveler.blogspot.com


All photos courtesy of Steven Barber

Big Finish Reviews+ The Pursuit of History by Tony J Fyler


Tony embraces, life, liberty and the pursuit of history.

The Cuthbert stories have always been a take-them-or-leave-them affair for Big Finish, despite having almost everything conceivable going for them. Firstly of course, they star the entirely peerless David Warner as Cuthbert. There is a universal law that states that if a project involves David Warner it is inherently made better than the combination of two projects that don’t involve David Warner. The original Cuthbert stories included Tom Baker, Mary Tamm and Daleks as well, but still…

They were alright, certainly, but given everything they had going for them, they never especially smashed it out of the park. They seemed to suffer from Eminence Syndrome – Big Finish pushing ever so hard to establish new Grand Villains, and succeeding with diminishing returns each time they were used.
Now though, a lot of time has gone by, a lot of water has flowed under bridges, and we’ve sadly lost Mary Tamm along the way. Now we’re in the era of Second Romana stories, and Cuthbert’s back.

There have been a couple of tweaks along the way that make The Pursuit of History rather more fun than the original Cuthbert stories. Firstly, the script, by Nick Briggs, seems to let Cuthbert off the leash a little more, allowing him to be almost Masterly in his dancing delight in besting the Doctor. There are some genuinely funny lines for Warner’s Cuthbert here, and he delivers them with a Northern dryness that adds significantly to their impact, Cuthbert this time around having even more of the Northern sarcasm and sharp-spiked wit for which he was originally known. It helps that for part of the story, he’s back in the 19th century in England, pulling a bit of a Mark of the Rani with added train robbery, and that for other sections of the story he’s Mr Urbane Businessman, swanning in with an almost Trumpian self-confidence and far more charm to arrange a deal with politicians that will leave them in hock to his conglomerate for their very survival. It allows Warner to show a range of colours in his performance, from the ‘greater than all this’ contempt for his fellow train robbers to the ‘I could crush your planet like a bug’ undertone of his business dealings, all delivered with a dancing tone and a sprinkle of Northern sugar.

Secondly, Briggs has freed Toby Hadoke’s Mr Dorrick a little from his slavish devotion to Cuthbert. As might be expected, the almost Dickensian lickspittle, when allowed a project of his own to head up, is something of a nasty little sadist, and rather more of an unpleasant grinder of the faces of the poor than his playful master ever liked to openly be. Hadoke, when given his head, makes a thoroughly effective villain, as he’s proved before now in the Jago & Litefoot series, and here too he adds more light and shade to proceedings than the scripts previously allowed him, meaning you get more value for your storytelling money out of Hadoke this time around.

It's true though that The Pursuit of History feels like exactly what it is – part 1 of a two-part story, while also being a continuation of a story that began a long time ago. As such, there are parts of The Pursuit of History that feel like world-building, and parts that feel like character filler. There’s a part with a talking, possibly non-existent parrot, too. Because why the hell not, that’s why.

But just when you think maybe the whole point of The Pursuit of History is to move your idea of who Cuthbert and Mr Dorrick really are along a little way, things get really interesting. To some extent, they get interesting when we see Cuthbert at work brokering deals, because he always felt in the original stories to some extent like words on a page – “CEO of the biggest conglomeration in the galaxy” is easy to write, and much harder to become or render in an audio play. Here though, we hear him doing it, with that delicious Warner lightness that hides a pretty hefty chunk of sharpened steel under its sugar coating. But actually it’s towards the end that things get really, really interesting, as people turn out not to be who we – and probably they – thought they were, but something far more insidious instead. It makes a particularly satisfying kind of sense that the reveal of this episode should be what it is. In fact, it makes sense of something that goes all the way back to the Baker-Ward era on TV, and it certainly whets the appetite for the next episode, Casualties of Time. That promises to bring Cuthbert’s story into a whole new focus, while satisfying fans of the Fourth Doctor-Romana pairing with a storyline you might not have particularly realised you were missing, but which, when it’s complete, will fill an unusual gap in your life.

So is The Pursuit of History one to get?

Yes, because however on the fence you were about the original Cuthbert stories, this one is better by virtue of Nicholas Briggs having another few years of writing under his belt, and equally, Tom Baker having a couple more years to settle back into playing the Doctor on audio, and growing from giving it a go to absolutely loving it – a sense that has been woven through at least the last couple of series of Fourth Doctor adventures. David Warner’s having fun being snarky, Toby Hadoke’s having fun stepping out of the shadows, and while it would be stretching it say Jane Slavin’s Laan are having fun, it’s fitting that where Cuthbert goes, the Laan go with him, and here we get far more of a sense of a reason for their interconnectedness than we got in previous stories. John Leeson steals quite a few scenes here, both as K9 in somewhat exhausted mode, (his intonations on the simple ‘Yes, Master’ providing above-average laughs in this episode), and as a whole new range of big blue furry time-sensitives – imagine Sully from Monsters, Inc, and give him the power to see through time, and you’re not too far from Leeson’s character here. As the episode comes to a close, it’s another cast-member entirely though who provides the delicious surprises that absolutely nail The Pursuit of History in place as one you’re going to want to pick up, and give us more than a hint about Cuthbert’s true nature and his place in a cosmic game of cat-and-mouse that’s been going on for longer than anyone truly appreciates.

Pick up The Pursuit of History for all these reasons – Briggs, Baker, Warner, Hadoke, Slavin and Leeson – and pick it up because the ending promises to put this two-parter among the most memorable Fourth Doctor adventures in your audio collection. 

Big Finish Reviews+ Survivors Series 2 by Tony J Fyler


Tony Fyler wanders about in the 70s.

Survivors, Series 1 was one of the big hits of last year from Big Finish. By reinventing only the scope and the terror of the original 1970s version of Terry Nation’s post-apocalyptic dystopia, the company brought the fear of a cataclysmic plague with an effectiveness that sometimes bordered on the genuinely uncomfortable – and sometimes went right ahead and crossed the border. It was a superb four hours of work, and we reviewed it here.

So – no pressure for Series 2 then.

To be fair to Series 2, let’s do some expectation-management: the further and further you go away from the original action of the plague killing the vast majority of people on Earth, the less inherently dynamic is your threat across the arc of your series. To stand any chance of reaching or surpassing those initial horrors, you’re going to need to focus on the worst in humanity, as well as the worst in the way of post-apocalyptic natural accidents.

Survivors Series 2 knows this, and delivers, though if you’re wondering whether it’s of the same overall coherent-horror quality as Series 1, you’re probably going to come away just a little nonplussed, for those reasons of distance from the original cataclysm of the premise.
Breaking the second series down into four threats is a seemingly straightforward exercise, especially when episodes 2 and 3 cover the same time period, but in all honesty the quality is a little more variable in Series 2 than Series 1. The threat of the first episode, largely befalling Jackie (Louise Jameson) and Daniel (John Banks) amounts to a combination of rural oafishness and meteorological misfortune, and amounts to something of a damper squib than you might be hoping, especially from long-experienced Big Finish director, but new writer Ken Bentley. There’s a sense of futility, a ‘so-what?’ vibe that would render any death in this episode a little pointless, though there are certainly lessons for Greg and Abby here about how far each of them is prepared to go in their new, relatively lawless world to get the results they want. But most particularly, if you’re going to introduce a surprisingly unrecognisable Bernard Holley (Axon Man, for the Who fans) as a recurring character, his actions here feel surprisingly slight and lightweight, especially when seen in the light of what happens when his character, Ridley, is reintroduced later in the series.

Episode 2, Mother’s Courage by Louise Jameson, stretching her Who-writing repertoire into new territory, is by far the best, strongest and most allegorical of the episodes of this series. While the title and maybe a line or two feels a little hippyish, there’s some serious meat in this story, dealing with rape, sex slavery, the threat of violence, the destabilising influence of men on any peaceful community and a shocking inversion of the usual media take on a woman’s right to choose what happens to her body, particularly in the case of pregnancy. The interesting thing is that the horror revealed here about ‘the State’ and its decisions about what can happen and what can’t when a woman has a child is a blank inversion of a situation already happening, though often in reverse, in our real, pre-apocalyptic world today. From politicians, priests and imams demanding women dress a certain way that offends them because otherwise they’re ‘asking’ to be raped, to nations where babies of one sex are inherently less valued and encouraged than those of another. The conclusions Mother’s Courage comes to are interesting and deep, even if they’re not perhaps as biting as they could be. In our world, just as in Jackie Burchall’s, biting leads to nothing that’s good, so perhaps the way of Mother’s Courage, and its author, who is growing into a distinctive voice in Big Finish, is best.

Still, the episode packs the biggest punch of the four, by virtue of being absolutely about something, which is more than can really be said of episodes 1 or 3.

Episode 3, to be absolutely fair, is about something – just something that doesn’t make a whole lot of sense. The premise is that there’s an escaped wild animal occasionally slaughtering survivors, and there’s also a survivalist – in the strictly Bear Grylls, Ray Mears style, rather than the stockpiling weapons and canned food waiting for the government to come and take their guns style. Our band of men go off in search of the survivalist and attempt to hunt the animal, while the women are encountering the camp in which they spend Episode 2. Episode 3 involves a lot of tramping around the forest on this two-pronged quest, which is fine if you’re into that kind of thing, but engaging audio drama it sadly doesn’t make.
It does lead naturally into Episode 4 though, and a vibe not far removed from some classic shlock horror movies. At the risk of spoilering listeners, we’re in cannibal country, but what stops this being just a case of ‘Let’s throw some cannibalism into the mix, that’ll shock ’em’ territory is that there is a fundamental Survivors question at the heart of Matt Fitton’s episode – how far is too far to go in a world gone made and mostly dead. Would you eat human meat if you had to? If it meant your survival?

What about if you didn’t have to, but had discovered you quite liked it? Would you let the morals of a society that no longer existed shackle you? Where on the scale of your birth, life and education do your moral chips fall? Is there such a thing as absolute good and evil, right and wrong? It’s strong stuff, and it bring back Bernard Holley for a gritty showdown with Ian McCulloch, playing Greg.

What Survivors Series 2 delivers is four episodes exploring what life would probably be like in the aftermath of a grand cataclysm. Episode 2 by Louise Jameson is the best and most intriguing as an hour of drama, with Fitton’s Episode 4 coming second, and Ken Bentley’s episodes, 1 and 3 sadly lacking a narrative focus – sadly because Bentley’s a great Big Finish director, and you wish him well every minute of both episodes, even though they don’t deliver the same punch as Jameson and Fitton’s. At the end of it though, what Survivors Series 2 doesn’t feel like it delivers is much in the way of progress – our core gang have tackled rapists, a society of women, an escaped wild animal and a cannibal cult, but in terms of Abby’s search for Peter, they’re no further on, and of the two potential new joiners they encounter, one doesn’t pan, though it does give some rich characterisation along the way, Tim Treloar impressing as Russell, and the other, a seriously damaged young woman, Molly, is highly traumatised. Daniel too is a heavily changed young man by the end of Episode 4, so overall, Series 2 feels like our band of survivors have taken two steps forward, and three or four back.

That said, there’s something inherently irresistible about Terry Nation’s concept, and the Big Finish series builds faithfully on the original, so the answers to the two questions you want to know are simple – yes, you should buy this one, and yes, of course you’ll be back when Series 3 comes out in November. Oh, and just a heads-up on that – Chase Masterson is in the cast list, we assume reprising her kickass role as Maddie Price from Series 1. 

Take a listen to Survivors, Series 2 today, and keep up to date with what’s what in the post-plague world.