Showing posts with label July 2016. Show all posts
Showing posts with label July 2016. Show all posts

Friday, 1 July 2016

Articles Welcome to Issue 37 - The End of Time, Part 2





 Content Guide


Articles
Not Another Episode Breakdown!!! By DJ Forrest

Connections
Happy Valley by DJ Forrest

Torchwood Reviews
Moving Target by Tony J Fyler

Big Finish Reviews+
The Trouble with Drax by Tony J Fyler
The Two Masters Tony J Fyler

Who Reviews
Turn Left by Tony J Fyler
The Lodger by Tony J Fyler
The Impossible Planet/The Satan Pit by Tony J Fyler
Daemons by Jeffrey Zyra
Midnight by Tony J Fyler
Forest of the Dead by DJ Forrest


Editor’s Note

It’s been a busy old month, what with one thing or another. Joshua’s appetite for anything strawberry has found him banned from local allotments up and down the vale and hardware stores where he seems to think that black cable is licorice!!!

We’ve been busy in the old Review Pages this month, with Who, Torchwood and the Big Finish articles, plus, Connections brings you – Happy Valley, one of the best British dramas from the BBC in a long time. Oh, of course, Torchwood and Doctor Who are still ranked as our favourites, but we’ve been seriously addicted to life in Happy Valley for a while, and really need another fix!

In other news, Whoniverse Round up is quiet. The Doctor has vanished so no more locations for a while. We’re hoping for his return soon.

Next month we’re back with a bang, and a whole new set of Episode Breakdowns, although it has to be said, we do need a better system for writing them up. Out of all our articles, this particular one, takes up to two days to prepare and a serious amount of editing. Which is probably why it’s always the last one to write up – should really try and get it done first.

We hope you enjoy reading our reviews this month. Sadly, no interviews, but ever hopeful that next month will produce fruit.
Have a great month, don’t forget to read our back copies, lots of enjoyable reviews, articles, interviews and much much more.
Incidentally, if any of you fancy writing some fan fiction, we’re looking for a Captain Jack/Malcolm Merlyn cross over. So get your thinking caps on, we love to read, and we love to share.

So, without further ado, Welcome to Issue 37 – The End of Time, part 2

~Jack~





Articles Not Another Episode Breakdown - Doctor Who: The End of Time, Part 2


Not Another Episode Breakdown!

Written by Russell T Davies
Broadcast 1st January 2010

Doctor Who episode – The End of Time Part 2, brings us a glimpse of our ex Time Agent, Captain Jack Harkness, drinking away his sorrows in what can only be described as the cantina from Star Wars, with a glittering array of characters you probably would fare better against in a fight. Well some. Probably!

End of Time was also the last ever (at that time) series of Doctor Who that we would see the 10th Doctor appear. However, as we all know, despite the distance of the Specials, we were to meet him one more time in 2013. But we’re getting ahead of ourselves.

In the years that brought us Rose Tyler, Martha Jones and Donna Noble, we had the best of storylines, the best twists and the funniest of moments, and the end of seasons when you weren’t entirely sure what the Doctor was going to do next, but after the announcement that Tennant would be stepping down as the Doctor and handing back his sonic screwdriver, you knew that, he would be going out with a ‘bang and not a whimper’.
The End of Time signified the end of the 10th Doctor. It filled in some missing pages of what the rest of the characters were up to. It brought yet another pang of tears and lump in throat, when 10th wishes that Wilfred Mott had been his dad. 

Catch up time…

During the last visit to the Ood planet, the Doctor learns that his ‘song’ is about to end. So of course, for the latter part of the series, the Doctor is going to make absolutely sure he’s going to A: enjoy himself and B: stay the hell away from any impending doom scenarios. However, when an Ood he meets with on the Ood planet, informs him in their group session that the Master is returning, and will herald ‘the end of time itself.’ The Doctor knows he has to return to Earth and somehow stop this from happening.

Back on Earth, Wormtail and his bunch of Death Eaters are setting about resurrecting Voldemort…..oh…wait, no….
Back on Earth, the cult of The Master is setting about resurrecting the rogue Time Lord using the imprisoned Lucy Saxon, but good old Lucy, who eventually saw through the Master’s plans, after The Last of the Time Lords episode, sabotages the plans, and in doing so, brings back a dying rogue Time Lord with a voracious appetite that cannot be controlled. In the explosion, Lucy and the cult are killed, but the Master, now even stronger and with powers far greater than before, escapes.

When the Doctor tracks down the Master on wastelands outside London, he learns that the constant drumming inside the Master’s head is not a part of his insanity but something implanted from outside. Trouble is, before he can do anything more about it, armed troops drop out of the sky, take the Master and him hostage and place him in custody of the billionaire Joshua Naismith. Naismith is in possession of an ‘immortality Gate’ an object acquired after the fall of the Torchwood Institute. He wanted to use it to make his daughter, Abigail, immortal but instead the Master used it to make exact copies of himself, right across the world, from the Man on the street, to the President of the United States of America. Every single person in the world, except the Doctor, Wilfred, and Donna!

Now prior to these events, Wilfred Mott receives apparition visits by a woman called Bloom who advises him to take arms to protect the Doctor. Being the old soldier, Mott does just that, before joining the Doctor in the TARDIS.

Also prior to this, two aliens of the Vinvocci species are working on the medical device brought from their own planet that Naismith believes will make his daughter immortal.
However, as we know, the Master fixes the device and uses it to create his own ‘master race’.

Just before the credits, in part one, Timothy Dalton, who plays Rassilon, the Lord President of the Time Lords, continues the narration of the episode, noting that the Master’s act against humanity is only the beginning of far greater events. He addresses the vast chamber of Time Lords in all their regalia that it is “the day the Time Lords returned. For Gallifrey! For Victory! For the end of time itself!”


End of Time Part 2.

Bound and gagged still, the Doctor can only look on in horror at what is happening around the world, from the television screens in Naismith’s mansion. The Doctor and Wilf escape further madness from the Master by taking refuge on the Vinvocci ship just outside of the Earth’s atmosphere, after a Vinvocci knocks out the Master and escapes down a flight of stairs with Wilf and the Doctor. Scuppering any plans for the Vinvocci to escape, the Doctor shuts down the ships engines with a blast of his sonic screwdriver. For old soldier Wilfred, it’s a view of a life time, staring down at the Earth from space, and he points out the places he visited during his time in the War, as a young man. During a moment of personal chit chat, the Doctor reveals how different in ages they really are, old Wilf surprised at just how much of an age gap there is between the younger man and himself.
   ‘We must look like insects to you.’ Wilf says to the Doctor. He passes over the pistol he’d collected up when they escaped from the Naismith’s mansion, but the Doctor refuses it. He’s not a man of weapons, just a man of words, and the more Wilf impresses upon him, the more he refuses.
When the Doctor tells Wilf that he would have been proud if Wilf had been his Dad, the tears pricked my eyes.

Across the Universe, on the planet Gallifrey, during a meeting with the Lord President Rassilon, a message was sent to Earth.
   ‘A star fell from the sky.’ The Master’s voice echoes through the ship. ‘Don’t you want to know where from? Because now it makes sense, Doctor. The whole of my life. My destiny. The star was a diamond. And the diamond is a white point star.’ This intrigues the Doctor, as there’s no other planet that would contain such a gem. ‘And I have worked all night dissecting my new gift. Now the star is mine. I can increase the signal. And use it as a life line. Do you get it now? Do you see? Keep watching, Doctor. This should be spectacular. Over and out.’

Scrambling to his feet, the Doctor knew exactly what that would mean. The Time Lords were returning, and Earth was their destination. Which meant, that the Doctor HAD to return to Earth, and more significantly, Naismith’s mansion and end what he’d started back on Gallifrey.
Bringing the ship back to life, he mans the controls, which lights up the radar like a Christmas tree. Missiles are sent after him, but with two gunners in control, Wilfred and the Vinvocci soon make shrift work of them.

With no way to actually teleport into the mansion, there’s only one thing left that the Doctor can do. Armed with Wilfred’s pistol, the Doctor glances at Wilf before hauling himself out of the ship and freefalls through the glass dome directly in front of the Immortality Gate. His clothes ripped to shreds from the glass, and the sharp stop on the tiles, the Doctor slowly and painfully sits up.

In front of him at the Immortality gate are those who have teleported down from Gallifrey, the planet so close to Earth that it terrifies the human population below.
Determined not to leave the Doctor at the hands of the Master, Wilfred insists that Addams, the female Vinvocci lands the ship.

In all his madness, the Master fails to grasp that all along, the Time Lords were looking at a way to come back. Desperate to join them, he begs them to take him, but Rassilon looks upon the Master with disgust. As the Doctor deliberates between shooting Rassilon or the Master, he looks towards the woman hiding her face, the woman Bloom, who he recognises, but if she is who we think she is, why must she hide her face, and is she really what we think she is?
Turning the gun on the Master, he fires at the white point star, sending the Time Lords back to Gallifrey, and with them, the Master, firing all his anger back at Rassilon.

With the world back as it should be, doppelganger template snapped, returning all humans back to their original state, the Doctor wakes up. He’s surprised. He should be dead – if the prophecy is correct. The four knocks would have signified the Master. He laughs at how lucky he is, until he hears it, and the laughter turns to a gut wrenching sickness. Locked in the radiation chamber, Wilfred knocks four times.
Disappointed, the Doctor erupts in anger, dashing papers from the desk. Of all the people. Unable to grasp what it signified until it was too late, Wilf begs the Doctor to not step inside the other chamber which would release him. But it’s the Doctor, and he would never forgive himself if he just walked away and left old Wilf to die.

Taking in the radiation from the isolation chamber into his system, the Doctor knows that his time is short. Taking Wilfred back home, he tells him that it won’t be the last time he sees him, and true to his word, he returns on the day of Donna’s wedding to give Wilfred and Sylvia Noble a lottery ticket he had bought for Donna with money from her long since departed Dad, which would set her up for life. Distraught that it would be the last time Wilfred would ever meet the Doctor, he salutes the Time Lord before the Doctor returns to the TARDIS.

The Doctor, wanders back down memory lane, saving Martha Jones and Mickey Smith who are now married, from a Sontaran attack. He rescues Luke Smith from a near fatal car accident after he steps into the road, while talking on his phone, and waves a fond farewell to Sarah Jane Smith. At an alien cantina, with Adipose, Hath and Judoon to name but a few creatures socialising, he introduces Captain Jack Harkness to Midshipman Alonso Frame. Which means that, perhaps he really did know about the 456 and the sacrifices that had cost Jack his family and lover.
He visits Verity Newman’s book signing and asks if Joan was happy, when she informs him that she was, he smiles enigmatically. After Wilf’s final meeting he visits Rose Tyler three months before she meets the 9th Doctor and informs her that she’ll have “a really great year.”
And as he staggers across the snow covered ground, Ood Sigma appears and tells him that the Universe will sing him to sleep and that “this song is ending, but the story never ends.”

   “I don’t want to go.”

As regenerations go, the whole body changing also brought an end to the coral struts of the TARDIS, including blowing the hexagonal lights and setting fire to the console. Soon it was goodbye 10th and hello 11th, and the gangly legs of Matt Smith checking to see if he were ginger yet, before realising that, oh yeah, they were crashing. Grabbing the controls, he screams his trademark catchphrase:
‘Geronimo!’



Big Finish Reviews+ The Two Masters by Tony J Fyler


Tony Fyler grows a pointy beard and laughs maniacally.

‘Gosh, this is all needlessly complicated, isn’t it?’
‘In that incarnation? You can talk.’


Fact 1: If you call a story The Two Masters, you’re going to raise a tsunami of squee from fans both young and old.

Fact 2: If you call a story The Two Masters, you’re going to have to deliver at a level at least equal to every fan’s imagination of what such a story could be, or there will be Muttering about you forever more.

Fact 3: John Dorney’s The Two Masters delivers above expectations. Buy it now.

The Two Masters trilogy has been an exercise in tension-building, and has staked a claim to the title of ‘Best Big Finish of 2016’ – And You Will Obey Me gave Geoffrey Beevers a chance to stretch muscles that his Master rarely gets a chance to use, and Vampire of the Mind let Alex Macqueen notch up another Doctor and play his dancing mad Master up against the ‘circus clown’ Sixth Doctor, with joyful, explosive results.

But we all know that as good as the first two instalments were, it’s this one we’ve been waiting for, slavering for, positively hungry for. We’ve known what multi-Doctor stories have been like for decades, but a multi-Master story? Oh to the absolute ever-loving hellyeah.
What’s more, in Beevers and Macqueen, we have two absolutely stunning incarnations to play with, each with a very distinct personality – a fact that Dorney toys with openly throughout The Two Masters.

That said, right from the off, the Beevers Master here seems enlivened, excited, much more like his future self than he usually gets the chance to be. With a voice like his, it’s a delight to hear Beevers get the chance to let rip a little, and it shows the conscious decisions he makes about his Master in any given script.

Macqueen’s the future Master? Are we sure of that, in the Master’s convoluted timeline? Well, yes. While never entirely giving anything as dull as a straight answer, The Two Masters does essentially establish that the Macqueen Master is at least a later version than the Beevers incarnation. And then there are shenanigans to account for the Master’s recent issues, both in terms of the Tardis damage that delivered the pretext for And You Will Obey Me, and the personal knowledge-gaps he was suffering in Vampire of the Mind. Along the way, it’ll make you want to listen to both of those stories again, to see if you can spot the shenanigans at work.

Telling you too much about the actual plot of The Two Masters would absolutely spoil it for you – there are delicate webs of storytelling in Dorney’s script, and if you twang the wrong thread, the whole thing lights up like a Christmas tree. But there’s some solid mythos-invention here that will make you want to know more, much more, about someone called The Heretic and his breadth of imagination. If you remember the first time you heard the name Omega and thought ‘Oh, he could really be something,’ prepare for that same ripple of pleasure down the spine, because that’s the territory you’re in. There are joyful notes of recent self-mining too – it’s a spoiler, but not an important one, to tell you that episode one involves the Rocket Men. They’re not central to the plot, but they’re a lovely nod to the recent past of both the Beevers Master and the Doctor.

Beevers, as we’ve mentioned, is absolutely on fire in this story, perhaps conscious of its power – the very idea of two Masters being aware of each other and first battling against one another and then teaming up to conquer the universe is such an irresistible fanboy concept that you have to go above and beyond to deliver it with the right power, or it feels, like The Two Doctors did, like a potentially great story idea wasted. Beevers is not about to let that happen, and listening to him in this story – well, let’s say this. Geoffrey Beevers has become one of the most iconic Masters, through the power of stories like Dust Breeding, Master and Mastermind. This performance and this story is absolutely up there on that level.
I mentioned the whole ‘buy it now’ thing, right?

Macqueen too has more than carved his niche into the Master’s legend, and while at the beginning of this story, he’s a little more restrained than usual – a conscious bringing together of the two Masters’ personalities, Beevers more playful, Macqueen more straight – this is one of Macqueen’s finest outings in the role too, up there with UNIT: Dominion and some of the better Dark Eyes storylines.

Of course if you’re going to have two Masters, and an actual plot, rather than just a lot of bickering, something’s got to give, and it’s absolutely spot on that in this story, what gives is the Doctor – McCoy’s Doctor is very much a buzzing fly in the Master’s life in this story, and there’s a conscious flipping of the focus. As the Beevers Master actually says here, ‘You flatter yourself that you’re my nemesis, the Moriarty to my Holmes.’ That sense of the Master being the hero of his own life is adhered to strongly, with the Doctor turning up at the start because the Master engineers his arrival, and at the end because he’s the great villain, interfering with the Master’s plans at the last possible moment. It’s a beautiful conceit, and it works absolutely, shifting the focus from our quirky saver of universes to the master of evil as its prime mover.

Dorney’s gift for dialogue is positively turbo-charged throughout this story, and there are moments not to listen to if you’re eating or drinking. Having the Master describe the Fifth Doctor as ‘the drippy blond one, dresses like no-one who ever played cricket, ever,’ is just a sublime sample. Dorney has the courage to make the Master puncture some of the ‘tawdry quirks’ that we as fans have always just accepted as part of the Doctor’s personality, and it’s both sublime and right that he should have the power to do that, the power to see the Doctor not through the rose-tinted glasses of fandom, but as a tedious inevitability in the universe. Nor does he let his other self go unskewered, which honours the spirit of multi-Doctor stories while delighting long-term Master fans.

‘Am I going to be stuck ruling a new universe with you? Why couldn’t I have had Mr Velveteen or the snake or something?’

One word of warning: you’ll want to keep your wits about you listening to this story. As the Doctor remarks at one point, it all gets ‘needlessly’ complicated, and there’s almost a game of ‘Find The Master’ going on through the mid-section, when things are very unlikely to be what they seem, but the ‘needless’ complexity is actually what makes sense of not only this story, but the whole trilogy, and once you’ve twisted your brain through a couple of corkscrew revolutions, it becomes a deeply satisfying driver of the plot.

Bottom line – there are some Big Finish stories you absolutely need to own. If you’re a Master fan (and who isn’t?), they include Dust Breeding, Master, Mastermind, UNIT: Dominion – and now The Two Masters. It’s a superb story that perks up your brain and makes you realise the quality of the actors we currently have portraying our audio Masters, and in John Dorney, the quality of the writers we have telling their stories too. 

Big Finish Reviews+ The Trouble with Drax by Tony J Fyler


Tony’s Fyler’s in trouble.


‘Ah, a businessman! I should have guessed from the spouting of the nonsensical drivel.’

John Dorney’s having a good time with Big Finish right now. The man charged with uniting two of the finest Masters in a single adventure also gets both the enormous privilege and, from the sound of it, the enormous fun, of bringing back Drax for a long-delayed second encounter with the Doctor.

The tone for this story is ‘caper,’ in the sense of the great sixties clever crime stories like Ocean’s Eleven and Gambit, or the great ITC TV shows like Danger Man and Man In A Suitcase – there’s a pace that suits the image of characters running while backgrounds change around them, and there are distinct musical cues that evoke the period throughout this story.

In terms of plotting, it has very much that vibe of Ocean’s Eleven, Gambit or The Thomas Crown Affair: trust nothing, trust no-one, there’s more going on than you can possibly imagine. As a vehicle for the character of Drax, it’s utterly successful, evolving the character somewhat from the slightly luckless loveable rogue played by Barry Jackson in The Armageddon Factor.

What makes the story a little bittersweet is that Jackson was enthusiastic to reprise his role as the Time Lord con-man and genius engineer, but sadly died before recording could begin.
If you were looking for a perfect replacement for the cockney-accented Time Lord though, you couldn’t do better than Ray Brooks, familiar to Brit-geeks of a certain age as the voice of Mr Benn and King Rollo, and to Brit-geeks of the same age slightly later on as poker-addict Robbie Box from Big Deal. Brooks has just the kind of cheeky chappie twinkle in his voice you need to deliver Drax, and it could have worked as a direct replacement for Barry Jackson’s original. But the joy of playing a Time Lord of course is there’s no need to disrespect the original to any degree, so Brooks plays the Third Drax in a way that’s similar to Jackson’s original, but with enough of a twist to make the character his own.

The story is very much rooted in those sixties clever crime movies – Drax is about to pull off a heist of some specialised information from Altrazar, which Romana helpfully describes as a ‘temporal Atlantis,’ a kind of mythical, and quite possibly non-existent planet which has a Douglas Adams ring about it. It’s a place that ‘literally doesn’t exist,’ which has become a dumping ground for all the secrets the ultra-rich don’t want discovered.

Ultra-rich businessman Charles Kirland, played with an upper-class heartlessness by Hugh Ross (Captain Hastings in TV’s Poirot, and more recently President of the Terran Federation in the Big Finish Blake’s 7 adventures), wants them discovered very badly, and discovered by him as a way of safeguarding his own business interests and ruining his arch-rival, Galdron Cabot (played by John ‘also the tin dog’ Leeson). Sadly, only time-sensitives can even tell that Altrazar is even there, so he hires Drax to collect the secrets for him – and Drax in turn ropes in the Doctor.

So far, so fun. But this is Drax we’re talking about – and Dorney does solid service to the character by giving the wily Time Lord a trick or two, or three, or even four up his sleeves, meaning the heist quickly becomes something else entirely, and by the end of the story has metamorphosed into something else again. It’s a clever crime caper – as committed by Time Lords. If you loved Time Heist on TV, you’ll love The Trouble With Drax. Perhaps perversely, if you hated Time Heist on TV, you’ll probably love The Trouble With Drax even more, because not to put too fine a point on it, Dorney brings more imagination to bear than Stephen Thompson did, delivering a puzzle within a puzzle within a puzzle that, like those classic crime capers, continues to deliver surprises right to the end. Granted, after a while, you start to get into the groove of the storytelling, so you start to think ‘What you need now is for This to happen,’ just before it does, but in some ways, that’s part of the delight because the joy of those crime capers is that the thieves are usually clever enough to get away with it, and long before the end, we want them to, we side with them because they’re clever enough to get away with it. You certainly want Drax to get away with it by the end of this story. Whether he does or not…

Well, that would be telling, now wouldn’t it?

In addition to Tom Baker and Lalla Ward on good form, Ward’s Romana coming across early in the story as almost exhausted with the Doctor’s irresponsibility, the technical baddies include Brooks as Drax and Fraser as Kirkland, but like the sixties movies, there’s quality all the way down the cast list here, showing the serious clout of the Big Finish contact book, and the Big Finish reputation. John Challis, Scorby from The Seeds of Doom and later Boycie in Only Fools And Horses, returns to the world of Who as Rosser, Kirkland’s muscle, and Sixth Doctor companion-actress Miranda Raison here swaps Bakers to take on the role of Inspector Fleur McCormick, the force of law who’s hell bent on bringing Drax to justice. 

Quality, quality, quality.

Dorney’s script gives them all plenty to do, and gives each of them a twist which spins the drama, escalating what starts out as a simple heist story into something far more Time Lord and much more fun. From Dorney’s barking but glorious script to the performances by all the named actors to the sound design that evokes the period and the genre, the Trouble With Drax – like an impressive number of releases in this season of Fourth Doctor stories – will be one you’ll happily listen to time and time again, for its polished pleasures and its sheer knockabout fun. Go get into trouble with Drax today. 

Connections Happy Valley by DJ Forrest


Happy Valley began in 2014, and told the story of Catherine Cawood, her life with her grandson and sister and her life in the Police Force in Yorkshire. The first series dealt with the kidnapping of the daughter of Nevison Gallagher, and the death of a police woman. Catherine Cawood lost her daughter to suicide after she had been raped by Tommy Lee Royce, leaving behind a baby boy, the product of the rape. Years later, still haunted by the death of her daughter, the search for Tommy Lee Royce continues. Spotting him outside a Chinese take away, the hunt is on, along with the death of a young Police woman and the abduction of Nevison Gallagher's daughter, which takes the story right up to the final episode and the showdown between Catherine and Tommy Royce.

In the second series, (2016) when young Ryan is a little bit older, his Dad Tommy wants to connect with him again, despite on their last contact, he'd been doused in petrol, with the intention of being set alight.

Happy Valley is anything but happy, but the tension keeps you glued to the screen until the very last episode. I hope we see another series of this fantastic programme. Sarah Lancashire is an absolutely brilliant actress and plays Catherine superbly. She plays each and every role convincingly. I loved her Miss Foster in Doctor Who.

As with many of the programmes run by the BBC you will see a fair few cast from Doctor Who, Sarah Jane and Torchwood from time to time, so it was with no real surprise that Happy Valley ticks a few of these boxes.

We've listed below the cast and crew who have connections with our Whoniverse series'. We've done the research so you don't have to.


Series Directed by

Euros Lyn was director of 3 episodes in 2014. Was director for 12 episodes of Doctor Who from 2005 - 2010, and director of 5 episodes of Torchwood in 2009. He was director of Doctor Who at the Proms segment 'Music of the Spheres' in the same year. Plus, the Doctor Who tv short: Music of the Spheres a year previous. He appeared in 10 episodes of Doctor Who Confidential as himself from 2005 - 2010. He appeared in the Torchwood Declassified Children of Earth episode in 2009 and Totally Doctor Who episode #1.12 in 2006 as himself. He provided the commentary on the Doctor Who DVD boxset (The Complete First Series episode: The Unquiet Dead in 2005.

Series Cast 

Sarah Lancashire played Catherine Cawood for all 12 episodes from 2014-2016. Played Miss Foster in Doctor Who: Partners in Crime in 2008. Appeared as herself in the Doctor Who Confidential episode: A Noble Return in the same year. And as Miss Foster for the Doctor Who Greatest Moments episode: The Doctor in 2009.



George Costigan played Nevison Gallagher for 9 episodes from 2014-2016. Played Max Capricorn in Doctor Who Special: Voyage of the Damned in 2007.
Appeared in tv mini series documentary, Doctor Who Greatest Moments as Max Capricorn in the episode: The Doctor, in 2009.
Plus, Doctor Who Confidential in the episode Kylie Meets the Doctor where he appeared as himself in 2007.



Steve Pemberton played Kevin Weatherill for 6 episodes in 2014. Played Strackman Lux in Doctor Who two parter - Silence in the Library and Forest of the Dead in 2008. Was uncredited for his role as Strackman Lux in The Destinations of Doctor Who in 2012.



Derek Riddell played Richard Cawood for 6 episodes in 2014. Played Sir Robert in Doctor Who episode: Tooth and Claw in 2006. Was uncredited as this role in Journey's End 2008. Appeared as Sir Robert in the episode The Doctor for Doctor Who Greatest Moments in 2009.



Shirley Henderson played Frances Drummond (6 episodes, 2016). Played Ursula Blake in Doctor Who: Love and Monsters in 2006. Also performed the track 'Don't Bring Me Down, and Brand New Key, but was uncredited for this in the episode Love and Monsters. Appeared as Ursula Blake in Journey's End but was uncredited, in 2008. Appeared in Doctor Who Confidential as Ursula Blake in the episode The New World of Who in 2006.



Mina Anwar played Mrs. Mukherjee for 3 episodes in 2014. Played Gita Chandra in SJA for 18 episodes from 2008 - 2011.



Angela Pleasence played Winnie for 2 episodes in 2016. Played Mystic Mags in SJA episode: The Curse of Clyde Langer part 2 in 2011.
Played Queen Elizabeth to Tennant's 10th Doctor in The Shakespeare Code in 2007.



Paul Courtenay Hyu played Mickey Yip for 1 episode in 2014. Played Deep-Ando in Doctor Who: Sleep No More in 2015



Darren Morfitt played Bar Manager for 1 episode in 2016. Played Marco in Doctor Who: The Time of Angels and Flesh and Stone in 2010.



Brett Allen played Personal Officer for 1 episode in 2016. Played Taylor in Torchwood: A Day in the Death in 2008.



Richard Price played a Detention Officer (uncredited) for 1 episode in 2016. Uncredited in all four roles, was a Wedding Guest in Doctor Who episode, The Runaway Bride in 2006, a Guest in The Lazarus Experiment in 2007, A passer-by in Partners in Crime in 2008 and a Takran Soldier in The Doctor's Daughter in the same year.
Was an uncredited passer-by in SJA: The Mark of the Berserker parts 1 & 2 in 2008.

Series Music by

Ben Foster was composer for 12 episodes, 2014-2016. Was orchestrator for 44 episodes of Doctor Who from 2005 - 2014, was conductor for 42 episodes from 2005 - 2014. Did the incidental music for 11 episodes of Torchwood in 2008. Was music arranger for Doctor Who: The Infinite Quest in 2007. Was co-composer for 13 episodes of Torchwood in 2008, was composer for 16 episodes from 2006 - 2009. Was uncredited for performing the soundtrack: Daleks in Manhattan in 2007 "Evolution of the Daleks".
Was conductor at Doctor Who at the Proms in 2013. Has been conductor at the Proms also in 2010, as well as Orchestrator. (Prom 10: )
Appeared in 3 episodes of Doctor Who Confidential from 2006 - 2010.
Appeared in the Torchwood Declassified episode #2.10 in 2008.
Check out our interview with Ben here:



Series Film Editing by

Richard Cox was editor for 5 episodes from 2014-2016. Was editor for Doctor Who episode: The Next Doctor in 2008.

Jamie Pearson was editor for 3 episodes in 2014. Was editor for The Five(ish) Doctors Reboot in 2013.

Sarah Davies was first assistant director for 2 episodes in 2016. Was third assistant director for 29 episodes of Doctor Who from 2006 - 2009, was first assistant director for 3 episodes from 2011 - 2015.
Was third assistant director for 4 episodes of SJA, the Eye of the Gorgon part 1 she was uncredited for in 2007.
Between 2005-2006 was production runner for 4 episodes of Doctor Who.

Series Sound Department

Patrick O'Boyle was boom operator for 6 episodes in 2016. Was boom operator for Doctor Who: The Next Doctor in 2008.

Series Special Effects by

Danny Hargreaves was special effects supervisor for 1 episode in 2014. Was special effects supervisor for 42 episodes of Doctor Who from 2007 to 2014, and special effects technician for 13 episodes from 2006 - 2007. He was special effects supervisor for 1 episode of The Sarah Jane Adventures - Invasion of the Bane in 2007. As an acting role he appeared in The Five(ish) Doctors Reboot but was uncredited, in 2013.
Appeared in 6 episodes of Doctor Who Extra from 2014 - 2015.



Scott McIntyre was special effects supervisor (unknown episodes). Was supervising armourer for Doctor Who: The Day of the Doctor in 2013, but uncredited. Was special effects supervisor for one episode of Talking Who - The Torchwood Specials part 2 in 2011. Appeared in 31 episodes of Doctor Who Confidential from 2006 - 2011, on Torchwood Declassified for Children of Earth ini 2009, and Sleepless in Cardiff episode in 2008, and appeared in 3 Totally Doctor Who episodes from 2006 - 2007.

Series Visual Effects by

Rick Bovill was digital compositor uncredited for Doctor Who episode The Power of Three in 2012. In the same year and same role for A Town called Mercy, and visual effects, but uncredited for The Doctor, the Widow and the Wardrobe in 2011.

Gary Kelly was digital compositor for 6 episodes in 2016. Was compositor for Doctor Who: The Power of Three in 2012 (Space Digital) but uncredited. And uncredited for visual effects in The Doctor, the Widow and the Wardrobe in 2011.

Series Stunts

Crispin Layfield was stunt coordinator for 6 episodes in 2014. Crispin has been a stunt co-ordinator for 60 episodes of Doctor Who from 2007 - 2015, and a stunt performer for 1 episode in 2005. He is best known by Torchwood fans as the mugger in the episode Kiss Kiss Bang Bang in 2008.
He appeared in 12 episodes of Doctor Who Confidential from 2007 - 2011, and Totally Doctor Who episode #2.9 in 2007.



Belinda McGinley was stunt performer for 4 episodes 2014. Was stunt performer for 4 episodes of Doctor Who - Amy's Choice in 2010, The Girl Who Waited in 2011. Deep Breath in 2014 and The Husbands of River Song in 2015.

Chris Pollard was stunt performer for 2 episodes in 2014. Was stunt performer for Doctor Who: Robot of Sherwood in 2014.

Dani Biernat was stunt coordinator 1 episode 2014. Was stunt performer for 9 episodes of Doctor Who from 2005 - e2013, and stunt co-ordinator for 4 episodes from 2014 - 2015.

Stephanie Carey was stunt performer for 1 episode in 2014. Was stunt performer for 6 episodes of Doctor Who plus stunts for 1 episode in 2010. Appeared in the Doctor Who Confidential episode Ship Ahoy in 2011.

Rob Jarman was stunt performer for 1 episode in 2014. Was stunt performer for 2 episodes of Doctor Who - The Husbands of River Song in 2015 and Deep Breath in 2014

Andy Merchant was stunt performer for 1 episode in 2014. Was stunt performer for 2 episodes of Doctor Who - Into the Dalek in 2014 and The Wedding of River Song in 2011.

Andy Smart was stunt performer for 1 episode in 2014. Was Stunt performer for 4 episodes of Doctor Who, credited as Andy J. Smart. From 2007 - 2015.
Appeared on Doctor Who Confidential for the episode River Runs Wild in 2011.

Series Camera and Electrical Department

Tom Williams was director of photography: second unit / first assistant camera: "a" camera / additional camera operator / camera operator: "b" camera: dailies / additional camera operator: dailies for 9 episodes from 2014-2016.
Was first assistant camera for Doctor Who: Let's Kill Hitler in 2011, but was uncredited.

Owen Charnley was grip assistant: dailies for 6 episodes in 2014. Was assistant grip for 27 episodes of Doctor Who from 2011 - 2013, and additional grip for 1 episode in 2013.


Reviews Moving Target by Tony J Fyler


Tony Fyler takes aim.

‘I’m the target?’
‘Obviously.’
‘Why?!’
‘Why not?’
‘I haven’t done anything!’
‘No, but I’m sure you’ll be terrifically entertaining soon enough.’

The joy of the Torchwood audios from Big Finish so far is that they’ve had their cake and eaten it. Yes, there’s some sort of overarching plot with a Big Bad called The Committee, but beyond that, the stories we’ve encountered have felt free to bounce us all the way around the Torchwood universe of time and space – back to the days of Yvonne Hartman of Torchwood One, back before Ianto died, so he could plummet to the ground in a rocket while on an insurance sales call, back even to the early days of Torchwood with Jack shepherding Queen Victoria around London and out of the path of a time-sucking alien slobber-beast. They’ve even gone forward, beyond the realms of TV Torchwood to investigate extraordinary creepiness at an old people’s home. What this gives us is both the thrill of trying to piece together a conspiracy theory plot in terms of The Committee and the excitement of freedom – if there’s a good enough story from any point in Torchwood history, it can be told.

Which is presumably why Suzie Costello, first of the Torchwood Cardiff team to die on-screen, is back from the dead (again) in Torchwood: Moving Target by Guy Adams.
Indira Varma, who played Costello in two TV stories, gets the chance here to do something that’s never been seen before – she shows us ‘Normal Suzie.’ Before she began plotting and breaking too many rules and becoming at least a notional baddie, this is Suzie Costello in the Torchwood world we’ve never really seen before, the pre-Gwen Cooper era when Suzie was one of the Hub’s main agents.

Adams and Varma together create a Normal Suzie who’s likeably everywoman – we can’t help but agree with her immediate sentiments when her alarm clock goes off at the start of the day (though arguably, ‘lead character wakes up’ is one of the great clichés all new writers are told to avoid). And as Moving Target rolls along, we get a sense of her as a woman who’s friendly-by-Torchwood-agent-standards, but flawed down a faultline that will eventually lead to the Suzie we know from the screen.

The plot is very simple, Adams generally preferring to keep his event-structures fairly uncluttered to allow the characters to fill in the majority of the action: alien fat-cats have paid to go on a hunt, like a bunch of American dentists who go to shoot lions. Earth has been designated a hunting ground, but all non-prey have been frozen in time so they remain unaware of the incursion. In fact, there’s only one prey-animal on this hunt, a young woman named Alex, whom Naomi McDonald invests with a curious combination of adorable verbal diarrhoea and annoying lack of consequence, like a young, doe-eyed, pre-Doctor Donna Noble.

Fortunately, for complex reasons explained late in the day and largely to do with Suzie’s predilection for (*cough, cough*) borrowing unauthorised bits of Torchwood kit, Alex is not left alone on a planet full of dickless alien dentists who like to shoot small squealing things. Suzie steps in almost instinctively to the role of protector in what is, to all intents and purposes, the plot of Predator, only British, and funnier, and with a gloriously arch and snippy robot from the corporate hunt organisers to fill in the exposition-gaps.
Is it the most intense episode of Torchwood you’ve ever experienced? No, it wouldn’t even get out of bed to enter such a competition. But what it does is deliver a fairly straightforward ‘hunting is bad’ lesson (also previously delivered in Star Trek DS9’s Captive Pursuit episode) to get our heroes running, while really being a lesson in Suzie’s character and priorities.
There are developments later in the story that we’d love to tell you about, but aren’t going to, because they’d ruin the start for you – suffice it to say that the snippy robot, voiced with a highly effective Hitch-Hiker’s Guide tone by Nicholas Burns, not only makes us question our species’ sophistication and right to a place in the universe, it makes us question our own individual place in the universe, as well as the realities behind the softening fictions we tell ourselves to inflate our own worth and keep putting one foot in front of another.

‘You fight wars because imaginary friends in the sky tell you to. Frankly, I’m surprised you can dress yourselves.’

There are moments towards the end where Adams’ script becomes tough listening if you happen to be inflicted with anything so terrifying as a sunny disposition, and certainly, the choice that’s left to Suzie as to where her priorities lie – and the decision to which she comes – is startlingly bleak. But there’s a certain creeping bleakness even before that, as Suzie and Alex get drunk on vodka while killing alien hunters, and the honesty of these two flawed women trying to make themselves matter in the world is barbed and shocking when they turn it on each other. It’s enough to make you swallow down the humour of their interactions and look for a moment at the reality of most human lives – the bare, naked drives and needs that push us on to do the things we do, and the cold swash of anaesthetising optimism we need to make us ignore the nakedness of those drives in ourselves and others. When Suzie is faced with a seemingly impossible choice, the very nature of its impossibility makes her options clear, and she makes an unexpected move to fulfil her own needs. There’s an element in our optimism that makes us whine at that point that the ‘right thing’ to happen would be for the unending fleet of violent alien dentists to realise our importance as sentient beings and stop their cull, but you only need to look around the world with honest eyes to know that’s not what happens. In the same way that rich idiots continue to pay insane amounts of money for the pleasure of killing impressive (but as far as we know, not sentient) creatures – and in Adams’ script, the metaphor of consequence is extended to meat-eaters who don’t stop eating meat despite the inhumane treatment of animals en route to the roasting tray – so the threat of an army of fairly pathetic aliens who want to bag a human is not going away just because we want it to. Adams makes it clear that to pin your hopes on such an outcome is to be a chicken wishing really quite hard not to become a McNugget.
And so Suzie Costello makes a move that not only meets her own psychological needs but has the added bonus of restarting time in the world. She makes a decision that seems impossible, and we learn that that’s essentially who Suzie Costello is – a saver of worlds and a maker of hard choices, inspired by her need to make a difference, to be special, to be good at what she does.

Guy Adams is a writer who lures you in with normality and character comedy, and more often than not, delivers a stunning rabbit-punch to the face before he lets you go. Moving Target is another impressive entry in his growing Torchwood resume. Where to place it in the inevitable fan-ranking of stories is a tricky call, but probably right alongside another of his face-punchers, More Than This, would be its natural home.

The return of Suzie Costello to the Torchwood universe is a very welcome development, and Varma gives her a capability and a charm that makes return engagements a thrilling prospect. Moving Target finally teaches us enough about Suzie Costello to make her inclusion in the Torchwood team make sense, as well as bedding in the flaws that eventually lead to her death.

Give Moving Target a spin today – you’ll think you’re in for a fun hour, and you are, but be aware, the fun comes with a price.