Who Reviews The Time Monster by Matt Rabjohns

"Welcome! Welcome to your new Master!"

The Doctor is having the grandmother of all nightmares as we join this story, The Time Monster. Volcanoes and earthquakes rage on in a very very strong opening scene. These then dissolve away into a picture of the Doctor slumped on a sofa, besides a massive glowing trident shaped crystal. A flash of lightning and the Doctor, played suavely and amazingly by Jon Pertwee, awakes, seriousness and horror etched on his features. Then he looks up to see the Master, as ever sublimely portrayed by Roger Delgado who utters these commanding words. Then the Doctor wakes up. Wow, what a brilliant opening scene. I remember thinking this scene was truly filmic when I first watched it as a kid!

What follows on from this memorable opening scene is a story packed with some extremely strong ideas, only slightly hampered by some not quite so brilliant effects. But the story is definitely ambitious, and has a massive epic quality to the storytelling none the less. The Time Monster wonderfully weaves some of the best-known Greek myths together in a very satisfying cake that is brilliant to watch from the get go.

First let's talk about the cast of this story. It is extremely strong. Ingrid Pitt for beginners stuns and impresses as the Atlantean Queen Galleia. Her scenes together with Roger Delgado are absolutely priceless scenes. I love scenes where the Master is using his suave charm to bend people to his will. Ingrid is superb in this role, and her final scene of looking on as Kronos the Chronovore reduces her city to rubble makes for a very powerful final image of the ancient city of Atlantis.

George Cormack is superb as King Darius, and his scenes where he talks with the Doctor are just as good as Roger's with Ingrid. George gives so much realism and pathos to the doomed King, and his final scene is touching and deeply moving indeed.

I dont think one will see many people ever dwell on the character of Lakis, portrayed incredibly wonderful by Susan Penhaligon. I absolutely love her character and how she instantly strikes up such a strong and firm rapport with Katy Manning's Jo. I love the scenes of them creeping about Atlantis spying on the Queen. I only wish that she had been in more stories. This unassuming yet brave girl deserved even to become a companion if you ask. Oh well, I suppose one has to be glad of them being in one episode I suppose.

Its brilliant beholding the sublime costume and makeup of the wonderful Dave Prowse as the Minotaur. In fact, I would state he portrays one of the very best Minotaur's I've ever seen in any film or TV programme. The makeup is fantastic. His Bull head is absolutely exquisitely designed. Its again such a shame he didn’t get a few more scenes!

Wanda Moore and Ian Collier are absolutely a class double act as Ruth Ingram and Stewart. I love that Ruth is absolutely a feminist, and one loves some of the one liners she has throughout this story. They make a memorable couple of scientists and Ian is particularly superb when in his aged form, he gives a superb performance when he sees his old man face in the mirror.

John Wyse is wonderful as the easily controlled and manipulated Dr Percival. His scenes with Roger Delgado are amazingly good.

This story is also a very strong one for both John Levene's Benton and Richard Franklin's Mike Yates. In fact, this story yet again has an extremely fine cliff-hanger to part three where the Master drops the WW2 doodlebug on the UNIT troops transporting the TARDIS through the woods. This is a superb scene indeed and one that stayed in my mind a long time after watching.

It's a shame that the make up of Kronos doesn't work so well as the rest of the story does. The strange helmeted bird fails to ever really be convincing. And the much better adopted form of Ingrid Bower as the female face of Kronos in the final scene is let down because of this being her only scene in the role, so she doesn't really have much at all to work with, and this is a shame as she still manages to steal the scene.

However, one slight oddity is that at the end of the scene Roger Delgado perhaps gives a somewhat starkly uncharacteristic grovelling scene to the Doctor which fails to convince, it’s totally at odds with his otherwise superb performance throughout the rest of the story. But it’s the only time I thought Roger could have done it a bit better, otherwise in every story he was utterly formidable in the role of the Master.

And the Doctor's daisiest daisy scene would rank high up as one of the Third Doctor's defining moments. There is no way Jon Pertwee could have delivered the scene any better than he did either. It's a sublime scene and so beautifully performed indeed.

The Time Monster is a thoroughly excellent six parter. However, there is just one other slight annoyance with this story. This story for some reason, is a lot more jarring between its studio scenes and film scenes. In this story the filmed sequences are extremely effective, and when paired with the studio scenes this time it's a little distracting at times. I think this story would have benefited greatly in being shot completely on film.

This is only a minor niggle though. This story is imaginative, creative and with the the abbreviation TOMTIT highly amusing indeed. The whole concept of Time Ram too is a bonkers little addition to the mix. This makes the Time Monster a very strong, if slightly flawed entry to the Doctor Who canon.

And, oh yes, how can one end this review without a mention of John Levene's intense embarrassment as the now grown up Benton in nothing more than a nappy to close the story on a very very memorable way?! Priceless stuff.

Big Finish Reviews+ Master by Tony J Fyler

Call me John Smith, says Tony Fyler.

There are some villains so singular, they’ve earned themselves a special place in the Doctor Who mythos. In 2003, Big Finish gave three of these powerful personalities single-shots at a very different kind of story – stories that wouldn’t necessarily fit into any timeline, stories that unburdened the Doctor of companions to get into peril, and so freed themselves of the narrative need for traditional storytelling techniques, so they could delve deeper into the unique psychologies of Davros, Omega and the Master in turn, also looking into their relationship with the Doctor outside of a frantic battle of good versus evil.

Sylvester McCoy drew the Master, and it was Joseph Lidster who wrote what would turn out to be one of the strongest stories in the whole Big Finish range.

The scenario borrowed heavily from elements that had worked on screen. The Seventh Doctor interrupts an assassin about to kill a hugely popular figure, bamboozling him and making him a deal. ‘Let me tell you a story,’ he says. ‘If, once you’ve heard my story, you still want to pull your trigger, you can.’ It’s a slight but effective twist on the scene in The Happiness Patrol where the Seventh Doctor chills us to the bone, talking a guard out of killing him.

And so to the story proper. Many years ago, on an alien world, Perfugium, modeled on the society of Edwardian England – very prim, very proper, very hypocritical - a large house, with a man and his maid, was expecting visitors. The man’s best friends in all the world, the local police chief and his silly, pretentious but charitably aristocratic wife arrive.

The man? Doctor John Smith, a man with no past beyond the ten years he’s spent in Perfugium, quietly healing the sick, raising tomatoes and making exquisite wine. A man with no memory of his life before. But a man who carries a past on his face, a face that is hideously scarred and burned. A man who wouldn’t hurt a fly, whose voice is soft and whose heart is softer, but with a searing intellect and a need to know the secrets of his face and its past.

The police chief, Inspector Schaefer (voiced by the ever-wonderful Philip Madoc), tells of a series of hideous murders in the town – prostitutes with their throats cut, and their hearts cut out.

Nobody suspects the mild-mannered Doctor Smith of any crime so violent, but Smith himself is troubled. He’s begun to hear voices in his house. In his head. A terrible, violent, evil voice claiming to be him.

Then, in the grand traditions of Edwardian melodrama, a mysterious stranger arrives in a storm. He calls himself Doctor Smi- Doctor Sutton. A strange, small, quiet, Scottish-accented man, with an intellect, says Smith, almost as great as his own.

With Sutton’s arrival, Doctor Smith begins seriously to question who he is, what he is, and whether such a thing as pure, motiveless evil truly exists. By the end of the night, he will have his answers, though he might heartily wish he had not dared to ask.

What Master gives us is a definitive, pre-new Who version of the Master’s creation, his duality with the Doctor, and a pre-Professor Yana look at what the Master might be if he were not driven by death and power to be the creature he is. It seeds many of the ideas that have defined his and her portrayal in 21^st century Who, though it gives a different (and if we’re absolutely honest, a better) explanation of what drove the Master mad. When you have Philip Madoc on supporting actor duties, and two leads who make it right that he should be in such a role, you know you’re listening to something special, and McCoy and Geoffrey Beevers dance through the script in what feels like a friendly duel of ideas, McCoy’s Doctor probing the façade of John Smith, looking for the enemy underneath, Beevers’ Smith earnestly looking with him, unafraid of the exploration if it’s an intellectual honesty that tells him more about himself. McCoy is on superb form here – he’s always on great form when you stick him in a Victorian or Edwardian house and allow him to do his An Inspector Calls thing, being mysterious and cryptic, but driving the action along with a surging undercurrent of passion. Beevers has become a truly definitive Master in his time at Big Finish, more than he ever got the chance to be in The Keeper of Traken (though go back and watch that if you can, it’s much better than you might remember), and Beevers himself is clearly one of those people who’s almost unbelievably nice and thoughtful, and in Master he gets the chance to play a character closer to his true nature, though with a pulse of something powerfully dark he cannot grasp beneath the surface.

Master poses hard questions – does evil, stripped of motive, exist? Is it a part of one’s nature, rather than a combination of the nurture one receives? Or is it all simply a question of what happens to an individual, what sets them on a path, what doesn’t steer them clear? There are nods to the ideas of A Christmas Carol here, but there’s also a highly powerful narrative of nurture. McCoy has had the chance to do at Big Finish what perhaps no Doctor since Pertwee had done before him (and which both Tennant and Simm and Capaldi and Gomez have subsequently done on-screen) – to re-establish the history of friendship between the Doctor and the Master, the boys who ran together, played together, dreamed of escaping their world together. He does it to some extent with Alexander McQueen’s version of the Master in UNIT: Dominion, and here he plays the relationship again, but very differently, with Beevers’ more sibilant, more strictly rational and intellectual version of the character – and the man the character could have been. And just when you begin to think it’s over, it reveals a hammerblow twist that will make you see their relationship in a whole new light. A light that will explain and change how you think of their relationship forever.

Master is way, way up there on the Big Finish awesome-ometer. It’s up there Spare Parts, Chimes of Midnight, Embrace The Darkness stratosphere of greatness. But it’s the Master as you’ve never seen or heard him before, and the Seventh Doctor having to confront a truth that goes beyond the easy labels of madness and evil, to truly put himself in the Master’s shoes and contemplate the reasons why he does the things he does. It’s a lesson the Western World could do with learning right about now, and what’s more, the download is a piffling £2.99 from the Big Finish website. You have no excuse not to do this, and every incentive in the world to get this story now – your whole take on the Doctor-Master dynamic might just be about to undergo a quantum shift.