Showing posts with label Issue 40. Show all posts
Showing posts with label Issue 40. Show all posts

Saturday, 1 October 2016

Articles Welcome to Issue 40 - Dead of Night October 2016



Articles
Episode Breakdown: Dead of Night

Big Finish Reviews+
By Tony J Fyler
The Reaping
Davros
The New Adventures of Bernice Summerfield 3

Who Reviews
By Tony J Fyler
Battlefield
Horror at Fang Rock

The Coffee Shop
Happy 10th Birthday Torchwood

The Whoniverse Round-Up
Daniele Favilli – Jack and Angelo
The Anoraks
Cavan Scott
Jâms Thomas
John R Walker
Ian Edginton


Editor’s Note

Please check out our Whoniverse Round up to find out what is happening in October and beyond. We still have our Pinned Post on Twitter regarding Daniele Favilli’s Torchwood film, so please, keep posting your votes on this. Yes, or No. If you wish to write more than that, please write below on our Whoniverse Post. We’ve a fair few posts on our Whoniverse article this month. If you’re a fan of Cavan Scott, Ian Edginton, Jâms Thomas, Nathan Sussex, Anoraks or John R Walker, then check out where to find them in October and the near future.

This month sees BBC Torchwood celebrating its 10th birthday. Wow! Time sure flies! We asked the fans on our Facebook page what their favourite episodes were and all manner of Torchwood questions. It’s an open thread so if you want to add to it, please do. It will be on the page somewhere.

Joshua Weevil is back with us. Not sure what he got up to but he needed a bloody good soaking in hot soapy bubbles. Strawberry scented! What? Yes, believe it or not. Sometimes, in the office we do appreciate a slightly less pungent aroma of Eau de Sewer.

So, I guess I should end this now, before it becomes a stand-alone article. We hope you enjoy this Issue, and we’re sorry it’s not ram jam packed as usual but with the added impact of Issue 39 to complete, I’m sure there will be plenty for everyone. Everyone that likes Doctor Who and Torchwood that is.

Welcome to Issue 40: Dead of Night

~Jack~

Articles Episode Breakdown: Miracle Day: Dead of Night by DJ Forrest


‘They call themselves The Soulless.
Apparently, everlasting life has robbed mankind of their souls.’

Oswald Danes is in yet another interview, and this time he’s not talking about his past crimes but sees himself as a voice of the people. Since the Miracle Day has given him a new lease of life, he’s saying exactly what the citizens of the US of A want to hear.

As the interviewer asks him why people accept him as an expert on the Miracle. He revels in the fact that, scientists are saying nothing. They have no answers for what is happening to the world at present. But knows that, nobody is looking at the profits made by drug companies at the moment. He insists that as more people are living, that they’re going to need more drugs, and potions and it should be given to the people for FREE. There should be free access, free health care, free drugs for all.

Friedkin, come down the stairs in his dressing gown after hearing his television come on. He’s certain he switched it off along with locking all his exterior doors, so nobody should be downstairs, raging about being set up and pressing the cold hard barrel of a pistol against his skull.  
Matheson is pissed. Someone has set him up, and Friedkin would be the only one with access to the files. He demands to know who he’s working for, and presses the gun against several parts of Friedkin’s skull that contain memories, personality and the part of the brain that controls bodily functions such as the bladder. Crying like the baby he is, Friedkin begs for his life, swearing to Matheson that he has no idea of the people he works for. He’s never met them. They contact him on one telephone number.

Sitting in the Getaway vehicle, Captain Jack Harkness insists Rex gets the number and insists he hurries the hell up, as the alarm button that signifies Police or emergency services has most definitely been pressed. Esther confirms that a unit on Fifth is heading for Riverdale. Gwen is ready and waiting with the spike.

Rex swipes the phone from the desk. Friedkin informs him that he’ll never find them. He never did. ‘They’re everywhere. They know everything.’
Hoping that Friedkin doesn’t go deaf, Rex fires the gun close to his ear and heads out to Jack, waiting impatiently. As the police car screams towards them, Gwen casts the spike and jumps into the back of the car.

In Washington DC, as Gwen heads back with supplies, a procession of mask wearing individuals carrying candles, walk silently through the streets. When Gwen returns she dishes out the bags. Esther informs her that her family have been moved to a safe house, location unknown, under the custody of Sergeant Andy Davidson. Gwen asks Jack if he’s called Andy. When she doesn’t receive the answer she’d been hoping for, she undermines his authority and demands he finds it pretty quickly, given that it’s her family, so it’s more important than looking up whatever Jack is looking up on the internet. For now, Jack lets it slide, but you can’t wait for that blow out. You know it’s going to come.
Courtesy of Jack’s cashpoint card, gathering interest since 1906, Gwen dishes out some new clothes for the team, and food, which Esther corrects her on the American terms over the British. Gwen insists Esther remain by her side. She gives each of them a new mobile phone, and informs them of a new cult on the street. The Soulless.
Esther informs them that Friedkin was telling the truth about his handset. There was only ever one number on it. But when she traced it, it hit a vine. Rex explains to Gwen that a vine is when you trace a number back but the trail branches out again and again, so instead of chasing one number you’re chasing five hundred thousand.
On the small tv screen, Oswald Danes is talking about the drugs issue. It piques Jack’s interest as the man is on every network. He discovers through Rex who the man is.
Rex, snaps at Esther as he watches her put numbers into her new phone. He embarrasses her in front of the team. Esther defends herself but as a timid little mouse, it’s going to be some time before she gains the confidence to ‘roar’.
Gwen and Jack stand up for her against Rex. Rex naturally questions Jack’s authority, and is quickly put in his place by Harkness who informs him that he’s now a member of Torchwood whether he likes it or not. As the team settle down again, Jack questions the theory of the morphic fields, because with his knowledge of all things Torchwood, this is the only thing that would make any sense.

   ‘It's like there's some sort of energy behind this. A will, a drive, a consciousness, because this miracle, it's more than people just surviving. They are so alive. You saw Lyn, that woman at the airport. She should have been paralysed but she just kept on going. And I've seen bodies at the morgue, burnt and broken, still alive, staring right at me. They weren't even allowed to be unconscious. It's as if something is willing them to go on, each and every individual forced into life.’

It forces Rex realise that this was him. He should ideally have been killed but here he is, going through the pain of living with the fact he should be dead, and dealing with the damage of the spike through his heart. Sobering thought.
When Esther asks Jack about his findings, he admits that he wasn’t the only person thinking the same thing. Each morphic field search got 10 million results. As a Watch Analyst with the CIA, this to Esther is a routine job for her.

Rex also informs them that Friedkin had cockblocked the ATF, when Gwen asks for that in English, Esther informs her that the ATF is the Bureau of Alcohol, Tobacco, Firearms and Explosives. The ATF had asked about information regarding a warehouse in Washington but the request had been forwarded onto ancillary three times. Still vague, Rex explains to her that it’s a paper chase, a guaranteed way of losing something in the system.
Esther begins to realise that the warehouse could be holding something of interest that Friedkin has paid someone to protect, which prompts Rex to take the lead and rally the team into stealing a new car. Jack informs him that Torchwood are in charge and relays Matheson’s instructions, with a grin.

It’s still night time when they venture out into the street, and while the rest of the team try car door handles, Gwen uses her initiative, finds a handy rock at the side of the road because there’s always a handy rock available and breaks a window.
A bit of friendly banter while Rex changes into the dry cleaned clothes in the back of the car, Gwen drives them as close to the warehouse as possible, often on the wrong side of the road. With the security profile at their disposal, Esther relays that the guards clock in every fifteen minutes starting on the hour. With a plan in place, Esther drives the car up to the guard, while Gwen sits in the back with a map and a face of pure innocence.
With the gullible guard knocked out, Esther remains on look out in the car, while Gwen disables the alarm enough to trick it into booting up for the day. It does however mean that when they enter the warehouse, all the lights and computer systems will be on.

Inside the building, they discover rows upon rows of drug filled cardboard boxes that have been stockpiled for at least a year. Rex opens up double doors to discover a room that’s ‘bigger on the inside’ (where have we heard that saying?)
He’s astounded by the level of stockpiling.
   ‘They were ready for the Miracle. Phicorp knew it was coming.’

Vera Juarez is frustrated that the husband of the woman lying in the bed with a bruised neck can’t be tried for murder. But as the police officer explains to her, they can’t even call it murder any more. Before Vera can say much else, a nurse informs her that she’s late for a panel.

In City Hall, clever men are arguing over issues that affect the world, but bicker like children in a playground, and more so, bicker about contraceptives in the water supply that force you to think ‘did Torchwood have anything to do with this?’
Vera wants more facilities to deal with the problems arising from the walking dead. It makes me realise while I’m reviewing this episode that, it was her idea for the camps.
Outside City Hall, Vera takes a well-earned break and draws on her cigarette. A few minutes behind her, Jilly Kitzinger drops by for a chat, and encourages her to join Phicorp, promising her that she won’t regret it.

Back in the hideout, Jack, Esther and Gwen plan a deep search on Phicorp and uncover their secrets. Unhappy with this plan, especially if they find something and don’t intend to act upon it, Rex decides to see his senior instructor at Langley, who he’s pretty sure will give him a chance. Despite Jack’s reservations, Rex sets up the meet.
Across the road from the Freeville Hotel, Rex watches as police cars screech to a halt outside the building and several armed officers storm inside. Annoyed at being let down by the very people he thought he could trust, he doubts very much that Torchwood can do much better pointing out that Torchwood are dead and buried, and hitting Jack where it hurts, points out that Jack got all his staff killed.

Walking back to the hideout after Rex bails on them, Esther, Gwen and Jack observe the world around them. Jack, having not been mortal for a very long time, experiences things only another mortal man would understand. An itchy arm, a worry that it could be infected, and an urge to get drunk and perhaps enjoy the trappings of a one-night stand, Gwen can do little to stop him.  
Jack crosses the road to the Golden Gopher bar, expressing his opinion that he’s a mortal man who has mortal needs.

Inside the Golden Gopher, Jack meets barman Brad, who takes an exceptional interest in the coat he wears, so much so that he tells Jack not to damage the coat, or he’s jumping over the bar to protect it.

In Danes’ Motel room, a talk show discusses yet again the Miracle and news that The Supreme Court has agreed to hear a case asking for adjustments to the life sentences of convicted criminals. It worries Danes, who switches off the tv and goes out for some ice. Although it’s a ruse to put a distance between himself and the motel.
In Mabel’s Diner he sits and eats a meal in silence until he’s recognised across the aisle by two young diners. On the television, a preacher gets up on his podium spouting religious clap trap.

Vera comes home to a dark house and begins to undress. Removing her shoes, she jumps out of her skin when she hears a voice close by. Switching on the light she sees a sick Rex Matheson who insists she redresses his wound, before collapsing. A short while later, he’s fixed up and resting on her bed. He asks her for help with medicine and care, until he’s able to clear his name. He wins her around with a little blackmail. It’s enough for her to comply with his wishes, but despite protesting that she’s too exhausted, they kiss, long and slow.

In Brad’s apartment, Jack insists that Brad uses protection. It’s a lifetime of regrets if he doesn’t.
   ‘Fine. You’re calling the shots.’ Jack nods and pushes Brad to his knees.
There are many scenes in this episode but this is one of my favourite, and a little bit racier than we’re used to in Torchwood.

After an initial yelp of pain from his wound, distracting him, Rex passionately draws Vera back into the game.

The television evangelist recites the fifteenth chapter of Paul’s letter to the Corinthians to a less than interested audience in the diner. Danes finishes up his meal and leaves. The young couple who recognised him, follow him out and berate him over his killing of Susie Cabina. When he runs, they give chase.  Unfortunately, two officers on a break are to be his saviours for a short time, suggesting the young couple go home. Agreeing to run Danes home, they take the long route back, via a quiet back road, where nobody will hear his muffled cries, as they beat him up.

Lying beside him, Vera is shocked to learn that Phicorp knew about the Miracle. She feels guilty about her mother, wishing she’d done more to keep her alive a little longer. When she mentions to Rex about Kitzinger, he insists she has to go and find out more, when she refuses, he insists a little more forcefully, pointing out that she’d let her mother die. A sure fire way of ruining a perfect relationship.

Meanwhile on the other side of town, Brad is worn out and Jack is a little drunk. He’s on the phone to Gwen, back at the hideout. The goalposts have changed. With Gwen now immortal, and Jack mortal, it’s given him clarity. He misses her. He misses the whole Torchwood feel that they had. A good team is hard to find and he knows that if Ianto had been with them, if things had been different….
As he continues down the inebriated road, Gwen is interrupted by Esther. She’s found an uplink, bouncing a signal off Paraguay, she’s able to hook up to the safe house and a chance to talk with her husband and daughter. Suddenly, Jack is old news, and while he laments about the good times, and how much they don’t need Rex or anyone else, Gwen’s eyes are only on Rhys and their daughter.
Rhys informs her that with police supervision they can move back to Swansea.

Jilly Kitzinger watches as the patrol car drops off its passenger before driving off. Danes looks up from the pavement. Kitzinger has a very important meeting for them to go to. He can get cleaned up on the plane to Dulles. Danes’ curiosity is piqued.
   ‘These are the times that make men.’ Jilly tells him. ‘So it’s your choice. Stay where you are, or stand up tall and stride across the skin of the world. Which is it?’

Sitting on a bench outside the Garfield Building, Rex receives the news he’s been hoping for. Vera accepts the task.

Suffering from a hangover from hell, Jack returns to the hideout to find Rex learning about the Torchwood contact lenses, currently being modelled by Gwen. Jack tells them they came from a ‘distant moon of a distant star’. Restating it when Rex doesn’t believe him. Enjoying his new lease of mortality, Jack is enjoying the hangover. Reaching for the pills to cure the headache, Rex dislikes Jack taking his pills, explaining that they’re for legitimate pain.
   ‘I need them too.’
   ‘You weren’t impaled.’
   ‘Ha. You should have seen the other guy. Oh that face. Rex doesn’t like his jokes too gay.’
   ‘No. Rex doesn’t like men in their forties acting like they’re twenty.’
Rex is impressed with the software, more so when he learns that the camera inside the lens can also communicate with the user. Impressed even further, he can’t wait to try them out when he goes to the meeting with Vera. Disappointed however when he discovers that the contact lenses are isomorphic and only work for Gwen. Of course, we know otherwise, as do the rest of the team. Rex on the other hand doesn’t need to know…. just yet.

When Vera opens the door to the meeting at Phicorp, she’s surprised to find Gwen waiting to enter and not Rex. Unperturbed, Gwen instructs her to return to the meeting hall and keep Kitzinger there for as long as possible.

As Gwen, dressed professionally walks up the stairs towards Kitzinger’s office, Oswald Danes walks down the stairs with his new PA, Kitzinger. Viewing the images from back at the hideout, Jack insists Gwen follows Oswald while Rex insists she continue with the mission.
Esther adds to Jack’s interest of Oswald Danes that the man chose the right day to be executed but that he has nothing to do with what they’re looking for. Jack on the other hand, feels that he does.  Danes tells the interviewer that he has been forgiven by the public. He can feel it in his heart and guts. He feels blessed and thinks of the forgiveness as a cure.

In the Meeting Hall, Morganthall opens the meeting by introducing himself then goes into the speech about the drugs that Phicorp are cashing in on. Gwen locates Jilly’s office and enters after picking the lock. She then hacks into the desktop computer. Vera phones Rex as Jilly leaves to return to her office. With seconds to spare, Gwen is given a heads up through the Eye5 software and presses herself against the side of the bookcase as Kitzinger enters her office. A phone call from Vera soon brings her back downstairs. Gwen removes the flash drive that had been downloading the info they need and quickly leaves.
  
Commending Gwen over the data retrieved, Rex and Esther are surprised when the phone rings. However, the call hasn’t come from any of their phones, but the one stolen from Friedkin. A few hesitant moments, and Rex picks up the phone as Esther begins the trace. But as they suspected, it hits a vine and spans out. Rex is smiling after the call though. It’s time to leave, before the place is swarming with CIA agents and police. Rex begins packing up the gear, while wondering where Jack got to.

Climbing in through the window of the hotel room, Jack is surprised by Oswald’s sudden appearance. Danes none the wiser assumes Jack is connected to the interview he will be giving shortly. But when Jack pulls his gun on the convicted child killer, Danes had a feeling a man like Jack wouldn’t be too far away.

Jack doesn’t care about Danes, only about Phicorp and whether they’d mentioned his name. But as Danes speaks, Jack realises that the man is more involved than they gave him credit for. All the things that he did to the young girl. He was robbed of an execution.
Having recorded Oswald Danes’ response to the killing of Susie Cabina, Jack intends on broadcasting it. But Danes is one step ahead and calls in the goons looking after him, courtesy of Phicorp. Poor Jack is dealt a few hefty blows in the guts, but ‘not the face.’
As Danes goes into the interview, Jack is beaten up before being tossed out onto the streets. People watching outside the studio stare at him on the ground, one woman comes up to him asking if he touched Oswald. Jack stares at the television screens where a crowd gather. Danes’ words become a kind of sermon, and he’s the preacher delivering the good word.
   ‘I’m asking you to join with me in this great enterprise. As we walk across the fragile skin of this wide world together. The future is now endless and it’s terrifying. I’m offering you my hand to walk on this long journey together. Walk with me. That’s all I ask. Walk with me.’

Unlike the previous episode, this one brought more of the characters together. Esther never considered Oswald Danes to be a key figure in the whole story but as we’re seeing, Danes is as important as Phicorp, as important as Torchwood seeing this through and as important as Rex and Esther, and the story unfolding.

I’m looking forward to the next episode, if only because the story begins to hot up.





The Coffee Shop Happy 10th Birthday Torchwood

Penblwydd Hapus Torchwood 22nd October

Of course, we’re a little early with our celebrations, but as ever, we wanted to take the opportunity before, as always, life got in the way.
Torchwood appeared on our television screens on the 22nd October 2006. It came with a whole host of actors, of which some we’d never met before and others, we were sure we’d seen in Doctor Who, Jack Harkness being the obvious. Toshiko Sato, appearing in the episode with the Pig Pilot, and of course Gwyneth Cooper, Gwen’s family relation who was possessed by the Gelth, desperate in their bid to enter our world through the Rift.

We all have our favourite episodes, some more than others. Memories of those episodes’ spark moments in our life, when we can relate them to where we were when they came on, what we were doing, and who we were doing them with. Torchwood opened our eyes to the creatures that lurked just beyond the shadows. That corner of the eye stuff. It introduced us to a world of magical creatures, mystical, plain bloody bonkers and Captain John Hart. It brought us closer than Doctor Who to the creatures that walk amongst us. Creatures living in sewers, and creatures living in Cardiff. Yes, Cardiff my friends. And quite right too!

We asked the fans a good many questions on what they felt about Torchwood since it’s humble beginnings. What were their favourite episodes and so on? So please, if you feel you want to add your twopenneth, please post below.

Ianto Tarrant Best episodes, Captain Jack Harkness, Out of Time, Adrift, to The Last Man. Losing both Tosh and Owen cut the heart out of the show, losing Ianto, the Cardiff back stories, hub etc. took away its soul. Hated season four, it wasn't Torchwood. Thank God for Big Finish.

Claudia Lindner Though I was sad about the deaths of Owen, Tosh and Ianto, it was good, all four series, and I still hope for more. Exodus Code would make a good miniseries, or the new comic, picking up from it, wherever the story leads us. :) I hope the Big Finish audios are going to be set in the presence more, atm, too much stuck in the past for me, although I enjoyed them.

Becky Zertuche I love Torchwood, but it needed to remain in Cardiff. What they did in Miracle Day, was pepper Jack and Gwen here and there. It was not Torchwood. I loved the 1st and 2nd seasons best and my favorite episode is Captain Jack Harkness.

Diane Phillipa The death of Ianto Jones was the end for me. The Radio plays are awesome but unless they bring back real TW ie in Cardiff that’s it for me. I don't think I can ever forgive RTD for making one of most abhorrent characters’ immortal it was an insult to all true TW fans.

The Whoniverse Round-Up October 2016


 October 2016

Happy Birthday Torchwood

October sees not only Halloween at the end of the month, but also the 10th Birthday of BBC Torchwood on 22nd. Spanning 4 series’ plus comic books and novels and now Big Finish, Torchwood doesn’t look set to disappear from our lives any time soon. And why should it?
Torchwood is as much a household name as good old Doctor Who. It’s more for the grown ups, than it is for the kids, and as the seasons progress, and the cast list begins to dwindle, we do hope Torchwood builds on its team members and enlists a few more to replace those who have gone on to the realms far beyond our reach…. for now. Although we do love to hear from Toshiko, Owen, Ianto and Suzie in the audios. Perhaps I’m being a tad cynical, but I’d like to hear the newer stories from Torchwood, that tell of the story so far, with the Miracle Day behind us, just what is Jack up to and where is Gwen and Rhys? Or if it’s true that Eve has hung up her Gwen costume for good, then we can only hope that Jack will continue to fly the Torchwood flag for as long as is humanely possible.

Now keeping on the Torchwood theme a while longer. We asked our Torchwood fans if they would like to see a Torchwood film featuring Jack and Angelo. It was a unanimous YES. If, however, the filming and locations were in the UK for some, but most were happy if we at least saw more Torchwood, and as many had loved the scenes between Jack and Angelo, albeit short lived, many classed it as romantic as those between Jack and Ianto.  
So fingers crossed Daniele.

In other news.

Ian Edginton was signing today (1st October) at Infinity and Beyond Comics in Shrewsbury. Next week sees the launch of his Assassins Creed: Locus series, and from November 5th-6th you’ll find him and his illustrator D’Israeli at the New Dock Hall, for the Thought Bubble Festival at table 49. Doors open to the public from 10am-5pm. If you’re a comic book fan you’ll want to get to this convention in Leeds.
http://thoughtbubblefestival.com/new-dock-hall-floor-plan/ This link will give you more details on their website, from floor plan to guest list.

Jâms Thomas is joining the touring company of the National Theatre’s Curious Incident of the Dog in the Night Time in January 2017. He’s currently filming Series 8 of Gwaith/Cartref for S4C.

Nathan Sussex has two short films coming out soon which will be seen on BBC Wales. Ludo for It’s My Shout where he plays Shane. In the Iris prize winning film D-Ice and Pansy he plays Ioan. So look out for these.

Cavan Scott has a new Doctor Who story coming out on BBC Audio called The Lost Angel and stars the 12th Doctor. It’s due out in January 2017. This is the fantastic new cover released by the BBC to whet our appetite. So many months to wait!



John R Walker is finally relaxing in the hot tub after being extremely busy with his projects of late. His Amityville theatre has a nationwide release in the Philippines. His new film Ouijageist is with the editor. As an extra, he’s in the film ‘Girl With All The Gifts.’ John is also currently writing a new Extras Memoir book. He was also 1st AD on the current DVD movie Cry Wolf which both he and his wife also have roles in. So while also enjoying parenthood with their 20 month old baby and juggling the ‘real’ job, John has definitely earned the long hot soak.

It’s also the 50th anniversary of the Cybermen plus the very first regeneration of our dear old Doctor.

Credit -  Ed Sinclair

September saw the trailer release of the Anoraks new online 5 minute drama series featuring three fans of the Classic Who, or as they’re also known as – ‘Men Behaving Sadly’. In 10 episodes lasting five minutes each, the story features mainly around one of the characters – Damien and his girlfriend Rachel. There are plans for further characters in later episodes with the final episode planned to be around 20 minutes long with a guest star and extras. These will be crowdfunded, so watch out for the links on our social networking pages.

Anoraks is Three Middle Aged Doctor Who fans. The politics. The Obsessions and the In jokes. To find out more, visit their website.




Big Finish Reviews+ Davros by Tony J Fyler


Tony examines the great dictator.

When Steven Moffatt launched Series 9 of on-screen Doctor Who with a two-part story that involved a philosophical discussion of Davros, his origins, his nature and the possibility of his redemption in a universe where definitions of good and evil are no longer rigid, not only was it seen as a staggeringly original move, but the showrunner was careful to frame his story and its discussion so as not to disturb a single thread of the Big Finish four-story epic that was I, Davros, which had shown us, in as much detail as I, Claudius, the youth, the steps along the path to the dark side and the eventual apotheosis of Davros, creator of the Daleks. I, Davros was a masterwork, released in 2006, the year after Doctor Who made its triumphant return to the screen, and it gave eighties TV Davros Terry Molloy the chance to put flesh on Davros’ psychological bones.

But three years earlier, and before the show returned to TV, Molloy faced off against Sixth Doctor Colin Baker in a story simply entitled Davros, one of three unconnected stories challenged to take a deeper look at key villains in the show’s history from a different angle.
The set-up is simple – Davros has been thought ‘dead’ for over a hundred years. Humanity’s perspective on the Daleks and their creator has shifted somewhat, especially given the fact that the impetuous pepperpots of death immediately turned on their creator almost every time they worked together, and Davros spent a lot of time in between those engagements in suspended animation, entirely unable to influence their development. Now, humanity is filling up the galaxy and needs a genius du jour to help them develop the technology to cross intergalactic space, and especially to solve the problem of galactic famine.
Humanity needs a hero. Davros could be it. He’s offered the chance for ‘redemption,’ and, encouraged by the idea of humanity’s aspiration to greatness and in particular by one woman’s interest in what made him the man he is, he seems enthusiastic to take it.
The Sixth Doctor, always something of a hothead, argues passionately that ‘Daleks can’t change their bumps,’ that Davros is the way he is because he’s made his choices, because he’s a scorched-Skaro philosopher who cannot accept the idea that his bleak view of the universe can be wrong. He’s evil because he’s evil, essentially, and for Davros there can be no such thing as redemption, because he cannot envisage any higher authority that could grant him such a thing.

Davros was written by Lance Parkin, and it mostly takes the form of a series of conversations between Molloy’s Davros and other characters – Baker’s scornful, spiteful Sixth Doctor;  Bernard Horsfall’s businessman, Arnold Baynes, who offers Davros his redemption in the eyes of humanity by virtue of humanitarian action; Wendy Padbury’s Lorraine Baynes, Arnold’s wife and the pro-Davros historian who wants the story of his life straight from his age-blackened lips; and Eddie de Oliveira’s Willis, an anarcho-syndicalist journalist who’s come to pen a destructo-piece on Baynes and gets way more than he bargained for. In between the conversations though, which rehearse the arguments of Davros’ youth on a planet at total war, we get glimpses, snatches of his memories, played out for us by a full cast, and the Parkin vision of Davros’ youth plays directly into I, Davros three years later – in fact, we had to double-check the release dates to make sure the dream sequences were not simply re-used recordings from the I, Davros series. Whether they were in production at the same time and the four-episode Davros biography was simply released at a later point or whether the I, Davros scripts were in development and were available for use for Davros, we’re not sure, but what’s certain is that the memories Davros replays for us in this release go forward to form part of his ‘official’ biography – including the shocking truth about the real genesis of the Daleks, and what Davros did to the only woman to ever threaten his psychopathic self-isolation. We also learn a lot about what it’s like to be Davros from Parkin’s script. We learn of the physical pain, which torments his every moment and drives him endlessly, relentlessly to survive, not to let himself be beaten by it, and not to take the easy way out, whatever that means – the simplicity of death or the complexity of a cloned, pain-free body to replace the eternal life sentence in which his genius is trapped - and we learn his psychology, that has that scientific, black-and-white ruthlessness and applies it to every living thing in the universe, including himself, for all he skews the ruthlessness in his favour by virtue of his ego. There can only be one supreme scientist of Skaro, and it will be him. There can be only one supreme power in the universe, and it will be him, but within that paradigm, he’s quite capable of analysing himself, his strengths and frailties with psychopathic clarity – the same clarity with which he judges the universe of his inferiors.

The tragedy framed in Lance Parkin’s script is that redemption could have been a possibility for Davros if he’d only encountered a different Doctor at this point in his life – he honestly admits to considering it, to hoping for it even, and maybe the Fifth Doctor, or the Seventh, or the Eighth, might have given him the benefit of enough doubt to allow him to take the small steps of trust in a new direction that could have led Davros onto a new path (a motif used in The Magician’s Apprentice/The Witch’s Familiar, where the Twelfth Doctor’s compassion leads him to give Davros the benefit of that doubt). But it’s the Sixth Doctor, his judgment, his scorn, his certainty that Davros, alone among all organic creatures in the universe cannot change, cannot ever make atonement for what he’s done to the universe, that acts like the devil on Davros’ shoulder, that convinces him that he is in fact what the Doctor says he is, that he is incapable of change. And, as in Genesis of the Daleks, when Davros makes his move in this story, without a Dalek anywhere to be seen, it’s still ghastly and breath-taking and pulse-pounding. Even after everything we learn about Davros in this audio, and that’s a lot, when he makes his move to achieve power here, it’s still shocking. We still don’t entirely see it coming, and there’s a brutality to it that punches us in the face. Parkin cleverly lulls us into Davros’ confidence, shows us the young Davros, unscarred, unmutilated, a Davros flirting with the idea of love, and then slams us against the wall of expectation with the reality of Davros now, a Davros for whom other people are nothing but pawns and players, pieces on the board of his game of universal domination. It’s clever writing, because when a villain has returned time and time again, it’s tempting to think we know how things will go when they appear, so by subverting all those expectations and letting us into the world of the younger Davros, and indeed, the older Davros considering mending his ways, to be punched in the face with the sheer brutality of his ultimate nature makes him a fresh evil again, making Davros, the story, something that will remain special as the decades roll on. It’s also something that plugs directly into on-screen Davros and the future development of the character at Big Finish – we learn here about the way in which Kaleds were fed in their cities and bunkers, and how Davros, faced with the intellectual problem of galactic hunger, could have devised his Great Healer plan from Revelation of the Daleks. There’s mention made here of the beginnings of a sensory illusion that makes its presence felt in The Davros Mission and in Terror Firma. There’s even a plan outlined here that eventually surfaces as a crucial plot element in The Curse of Davros.

Clearly, from the names we’ve already mentioned, there’s some top flight Who talent in Davros – Molloy and Baker are on blistering form, their conversations very much a precursor to The Magician’s Apprentice/The Witch’s Familiar’s intimacies between the Time Lord and the Kaled. Bernard Horsfall is in full command of his performance here, convincing as a man who rules his own empire, but one who’s not stupid enough to be unnecessarily dogmatic or rigid. Padbury turns in a very different performance to her usual Zoe, part corrupted historian, part schoolgirl crush. It makes for a closed-in, claustrophobic environment, in which the mesmeric personality of Davros can work its magic, poisoning everything it touches with its shocking reasonablenesss.

Davros is a very special audio story. If it’s in your collection, play it again today. If not, it’s the best £2.99 you could spend. Get it now.

Big Finish Reviews+ The Reaping by Tony J Fyler


Tony’s sharpening his scythe.

The Reaping is the Sixth Doctor’s entry in to a loose trilogy of Big Finish stories charged with doing something unusual with a companion, and something remarkable with the Cybermen.
When you consider that it was released shortly after the Tenth Doctor’s first series aired, along with its re-vamp of the Cybermen for a whole new generation, there’s so much that’s revolutionary and archetypal about the Cybermen in The Reaping it will fairly blow your hair back when you listen to it.

Here we find Cybermen using controlled human slaves not by any cumbersome headsets as in Classic Who, but by the simple application of earpieces, as was seen in The Rise of the Cybermen/The Age of Steel just that year. Here we find Cybermen remembering who they were as humans, as seen in Army of Ghosts/Doomsday. But, perhaps most significantly, here we see Cybermen who can (at least in theory) convert via one simple needle, rather than all the bulky equipment of Attack of the Cybermen – it’s barely a Cyber-step to imagine the needle being full of Cybermites or even Cyber-Pollen. And here too, we find the Cybermen having moved on (again, at least in theory) from converting living humans into weaponising the dead. We have Cybermen from ‘the future’ arriving in 1984, putting a community under siege in their own homes, so as to be more effectively upgraded, (the ‘reaping’ of the title). It’s all very New Who, and some of it’s definitely prophetic of what was to come in the Cyber-future.

In a very unusual move for Big Finish, since Nick Briggs reportedly dislikes them, this story also gives us a rare appearance by proper eighties Cybermen. Perhaps reflecting the dislike, there’s less on-the-nail clarity about the voices of these Cybermen than that of some other variants to appear in Big Finish audios, but arguably that’s because the eighties Cybermen, and Cyber Leaders particularly, were the first in many years to have a distinctive vocal performance through the talents of David Banks, and so it’s harder to precisely recapture them than it is to bring to life any previous version of the metal monsters from Mondas.
In terms of Cyber-evolution though, despite all these prophetic advancements to Cyber-kind made by writer Joseph Lidster, as a Cyberman story, Dan Abnett’s The Harvest probably just steals the pennant.

But in terms of companion drama, Lidster runs away with it, The Reaping and his own The Gathering beating each other to a pulp to see which can make us cry harder. While The Gathering might steal it in a photo finish because, as the only Tegan Big Finish story Janet Fielding planned to ever do at the time, it gives the mouthy Australian some razor-sharp things to say to the Fifth Doctor, and an appalling, everyday destiny to confront, refusing any alien techno-shenanigans to help her evade it, The Reaping is no slouch in the punch-packing department.

Imagine you had a daughter and she walked off one day. And you never saw her again – no note, no postcard, nothing. That’s the fate of Janine Foster, Peri’s mother. She accuses Howard of killing her daughter, goes into mourning, and helps her friends to get over their loss, growing into a kind of surrogate family unit around the gap that is Peri. Then, years in her relative future but only four months later as far as Janine’s concerned, Peri turns up out of the blue to attend the funeral of her best friend’s father. Questions and recriminations follow, flying in both directions, as both women feel the rawness of grief for their family friend, Anthony Chambers.

Sadly, it turns out for Chambers (Stuart Milligan) that he’s less dead than he should be, and soon the confused Cyberman is stomping around, terrifying his children, Nate (an ex-flame of Peri’s) and Kathy (her best friend), while the Doctor is befriending the homeless man who’s been charged with his murder, and almost poisoned by the Cyber-controlled cops of Baltimore. In terms of the Cyber-story, again, there are prophetic elements here – it bears more than a little resemblance to the underlying plot that would go on to become Victory of the Daleks, a last desperate throw of the dice involving the Doctor and his Tardis to re-invigorate a dying race of universal supervillains. But the real punch of The Reaping is in Peri, her friends and family – it gives us the chance to see Peri in her natural, pre-Doctor environment, her friend, the boy she liked, the family and the family friends that made the life of Perpugilliam Brown what it was when she first met the Doctor. Nicola Bryant revels in the chance to play Peri in these surroundings, but of course she’s a very different Peri to the one that fitted into this world. She leads a patrol against the Cybermen, bringing the Doctor up to speed while he attempts to do the same to her – a sign of their equality of instinct now in the universe. It’s a beautifully understated, natural performance from Bryant, and it makes The Reaping punch above its weight. Claudia Christian as Janine too is well pitched, confrontational through habit, self-protecting through grief, she mellows as the story goes on and the truth of what’s happened to her little girl is brought home to her.

As a Cyber-story, The Reaping has plenty of solid scary elements – Cybermen from the grave, a potentially time-twisting Cyber-plot, the like of which is still fresh today (witness some version of the same idea being used by Cavan Scott and George Mann in 2016 as the backbone of their comic-book event, Supremacy of the Cybermen), and the idea of instant conversion in your coffin are all big additions to the idea-pool of what Cybermen can and should be able to do.

But really, it’s the human drama of The Reaping – the return of Peri to face the consequences of her flit into time and space with the Doctor – that really punches hardest. We rarely get to see such a thing (or at least we rarely did before the soapification of New Who), so there’s something thrilling about hearing a Classic companion going home to face her mother. But of course where there are Cybermen, there will be a body-count, and while it sneaks up on us, the body-count of The Reaping is actually very high: by the very end of it, Peri has nowhere to go home to, no-one left to understand her back home, and her only real refuge in the universe is with the man in the multi-coloured coat. Colin Baker’s Sixth Doctor, at the end of the story, shows a very much softer side to Peri than he habitually did on-screen, and we gain an appreciation of quite how and why they work together, quite why she stays with him, and quite why they need each other.

The Reaping is a great story, with plenty of Cyber-creepiness, but even more companion action and drama. Pick it up today and marvel at its emotional scope, and the future destiny it mapped out for the Cybermen.

Big Finish Reviews+ The New Adventures of Bernice Summerfield Vol. 3 - by Tony J Fyler


‘Ugh, it’s like a lazy Susan with you lot these days. Which one are you?’
‘Oh you’re fun. Which one am I? The wrong one.’

Tony’s not where he expected to be.

Big Finish has always created Doctor Who stories for existing fans of the show, rather than the new young audience that’s key to the success of the TV version.

The third Benny new adventures box set takes place in a space and time defined by the power of fandom squared, pairing a character who came to life in a Virgin New Adventures novel and Big Finish audios with a Doctor who exists solely in a separate audio universe, entirely conjured up to play with hypothetical scenarios contrary to the TV version of Doctor Who. 

What do you need to know? Well, first, it’s Bernice Summerfield, played by Lisa Bowerman, so there’ll be fizz and snap, realism, banter and a craving for shiny things, all given a signature spin by Bowerman that keeps the listener moving forward while keeping them engaged, waiting for the next thing out of Benny’s mouth. More than Paul Cornell’s original, it’s the power of Bowerman’s performance that means we’re still getting Bernice Summerfield releases in 2016. While Bowerman’s Summerfield is in the universe – any universe – there’s joy, there’s compassion, there’s fun, there’s glorious crossness and there’s by no means being born yesterday. More from Bowerman’s Benny is always a good thing, so we should probably stop writing now and you should go away and get it, and treat your lugholes to four hours they’ll thank you for.

Alright, fine, you want more than Bowerman’s Benny? This time out she’s not just in the Unbound Universe, she’s in the chunk of it ruled by David ‘Makes Everything Three Times Better Just By Turning Up’ Warner, as an alternative Third Doctor. He appeared in two of the Unbound stories, Sympathy For The Devil and Masters of War, as ‘The Cautious Doctor.’ This box set explores what happens when a cautious Doctor meets the irrepressible enthusiasm and clout of Bernice Summerfield. The Unbound Universe is never going to be the same again.

There’s a blend of Classic and New Who in the four stories of this set – each of them is technically an alternative take on a Classic story, but you’ll be forgiven for spotting similarities to New Who stories too. We won’t spoil the game for you here, because the box set is not about the riffs on previous stories. They’re just there for your Easter Egg enjoyment.

James Goss kicks us off with The Library In The Body, giving us an uncomplicated pre-credits whisk of Benny into the Unbound Universe and a story set in the last library in creation. The universe is dying and the only currency is knowledge, so naturally enough, anyone left alive flocks there, including some number-singing space nuns (who come complete with space guns and fixations with a long-dead party saint and cups of tea), led by their Mother Superior, played by another ‘Makes Everything Better’ actress, Rowena Cooper. Other Librarygoers include the last Cyborg-King, the cleverest man in the universe (no, apparently, not the Doctor), played by Guy Adams, annnnnd oh yes, a race called the Kareem who believe knowledge is the root of all evil.

It’s fairly safe to say they aim to misbehave.
When people start dying, it’s a race to find out who’s killing whom and why, and by the end of the story, what seemed senseless and creepy is rendered sensible. Still creepy, but sensible. It’s Benny who works it out in this story, again underlining her power and her personality, and what’s more, under her influence, the Cautious Doctor begins to engage with his universe-saving instincts more than ever before – he begins to become more like the Doctors our Benny is used to, across a story that’s as mad as anything that ever happened on Peladon, but with that special Benny banter to power it on.

‘The planetary equivalent of cabbage. Of course we should go there.’

Planet X, written by Guy Adams, is a more ‘Let’s go somewhere and have adventures’ story, the Tardis showing just three planets it can reach, and Benny insisting on her choice – Planet X, which the Doctor claims will probably kill them with sheer boredom.
Adams takes a couple of premises – the mid-70s disappointment at boring subsidiary species of the week (*cough, cough, Exxilons, cough) and something distinctly Seventh Doctorish included – and extends them to their logical conclusion. Planet X is officially the Planet of the Dull People, whether the people want it to be or not. It’s a standard ‘dictatorship for the good of the people,’ but there’s lots of extra bite in the way the situation on Planet X is maintained. While the Doctor busies himself threatening the planet’s Prime Minister and being just a little bit tortured, Bernice finds herself thrust into the role of protector of the scared and the innocently interesting, helping at least one of the planet’s little people to escape the greyness of its regime. Here the action feels more equally distributed, Warner channelling some Capaldi scorn into his Doctor, and Bowerman showing us Benny as the favourite aunt of the helpless, who leads them into trouble, but then protects them all the way through to the other side. There’s an altogether obvious note about Adams’ script, a sense of ‘why has no one thought of this before?’ that brings a certain horrifying inevitability to the action, but Planet X is one you won’t forget in a hurry – its premise and its grimness, swirled through with comedy, won’t let you.

 ‘There’s no time to lose. Summerfield, follow that unicorn!’

The Very Dark Thing, by Una McCormack, is where things get extremely funny, and simultaneously, extremely…erm…well, dark. It’s important to understand that there has been a vast and terrible war in the Unbound Universe – not a Time War, because the Daleks aren’t all they’re cracked up to be in this universe, but a Reality War, between a vast and powerful empire and essentially everyone else. There are dark and terrible weapons in a war like that, and one of them was used on Tramatz, heart of the vast and powerful empire. It’s had cataclysmic consequences across the universe, but here on Tramatz, everyone’s away with the fairies – and whatever you do, you shouldn’t joke about the unicorns. Warhammer meets My Little Pony, McCormack’s script is trippy, but it’s also, in the best Who traditions, a dark satire on the willingness of humans to be distracted from the terrible things they’ve done by any available fairy tale. Even this Doctor, himself no stranger to terrible things, is lulled into the illusions of Tramatz, leaving Benny to get volcano-cross, snap him out of it and again to lead the innocent to the end of the world they know to find a better tomorrow.

Ultimately, it’s Benny’s actions, and those of her charge, Megatz (played with heartbreaking innocence by Kerry Gooderson), that bring peace and a kind of pricy resolution after a devastating war.

‘That’s religion for you; it’s not all singing psalms and turning the other cheek.’

The set is brought to a suitably grandiose conclusion with Emporium At The End, written by Emma Reeves. It’s the end of everything and the Emporium at the End Of The Universe is offering everything you could wish for – including a ticket out of the universe.
But there’s a price. A price that could make you forget the things you never should. Memory for survival – which would you choose?

Bringing the welcome return of Sam Kisgart (ahem), starring here as The Manager, Emporium At The End is a romp, with gorgeously over-the-top schemes, cybernetic sub-plots, heartbreak, a little seduction, much wine, the return of the singing nuns of St Beedlix and some top-form dastardliness, but more than any of that, there’s a defining moment for the Cautious Doctor – a moment that helps explain at least some of why he is the way he is, and what his life has cost him. What there isn’t is any distinct resolution. Benny ends the box set still in the Unbound Universe, still with the Warner Doctor. The extras (you’re going to want to listen to all of the extras) make it clear that the go-ahead’s been given for more Benny stories in the Unbound Universe, but that the next set will be very different. Perhaps it will give some of the other Unbound Doctors a chance to experience the Bernice Summerfield magic for themselves.

Volume 3 combines the brilliance of Benny with the bonkersness of the Unbound Universe, but played for drama, so the threats matter, the people’s lives are hard and the evil goatee-wearing gits are bluntly cynical.

Bernice Summerfield can make a difference to worlds like that – whichever universe they’re in.