Connections Good Omens by DJ Forrest

Good Omens, is a comedy/fantasy television mini-series which stars David Tennant who plays Crowley, a demon, and Michael Sheen who plays Aziraphale, an angel, who is trying to prevent the Apocalypse. The series is adapted from Pratchett and Gaiman's novel Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch.

It's due to be released on Amazon Prime in 2019 with 6 x 1 hour episodes, followed by a broadcast on BBC 2, which is great for all those who don't have Amazon Prime!

We've done the research so you don't have to.

Director

Douglas Mackinnon directed 6 episodes from 2018-2019. He directed 8 episodes of Doctor Who from 2008 - 2015, appearing in Doctor Who Extra and Confidential for 2 episodes a piece, from 2008 - 2014. Check out our interview with Douglas on our Interviews Page.

Cast

David Tennant played Crowley for 6 episodes from 2018-2019. For once David is ginger and isn’t the Doctor!!! Hands up if you remember which Doctor he played? Of course, David played 10th Doctor from 2005 - 2010 returning to reprise the role of Ten in The Day of the Doctor. He was also the voice of Doctor Who in the Family Guy episode Inside Family Guy in 2016. He played himself in The Five(ish) Doctors Reboot in 2013 and was the voice of the Doctor in Doctor Who: Dreamland in 2009 for 6 episodes.

Was the Doctor in SJA double episode The Wedding of Sarah Jane Smith in 2009, plus alsp appeared albeit uncredited in most Secrets of the Stars part 1 in 2008, The Mad Woman in the Attic part 2 in 2009, Death of the Doctor Part 1 (credited) in 2010 and Part 2 uncredited.

From 2005 - 2008 appeared as The Doctor for the 3 Children In Need episodes. Played the Doctor in Music of the Spheres in 2008, was the voice of yes, you've guessed it, the Doctor again for The Infinite Quest animated series in 2007, and the video game Attack of the Graske (which was a fun video to play) in 2005. Was the voice of the Caretaker in Scream of the Shalka episode #1.5 in 2003.

Directed the Doctor Who Confidential episode Do You Remember the First Time? in 2007. Was uncredited as appearing as the 10th Doctor in 9 episodes of the series from 2009 - 2017. To be fair, in anything relating to Doctor Who, Tennant was somewhere in amongst them all. And 'quite right too'.

Ariyon Bakare played Duke of Hell Ligur for 1 episode in 2019. Played Leandro in Doctor Who episode The Woman Who Lived in 2015.

Mark Gatiss played Harmony for 1 episode in 2019. Played Lazarus in the Doctor Who episode The Lazarus Experiment in 2007, was the voice of Danny Boy for 2 episodes from 2010 - 2011, uncredited, played Gantok credited as Rondo Haxton in The Wedding of River Song in 2011 and The Captain in Twice Upon a Time in 2017. Wrote 9 Doctor Who episodes from 2005 - 2017. Wrote An Adventure in Space and Time in 2013. Was executive producer of William Hartnell: The Original television short documentary in the same year.

Derek Jacobi played Metatron for 1 episode in 2019. Played Professor Yana (You Are Not Alone) in Doctor Who episode Utopia in 2007, and ironically played the voice of The Master in Doctor Who mini series Scream of the Shalka for 5 episodes in 2003.

Paul Kaye played Horace for 1 episode in 2019. Played Prentis in Doctor Who two parter Under the Lake and Before the Flood in 2015.

Doon Mackichan played Archangel Michael for 1 episode in 2019. Played Louise Marlowe in SJA episode The Nightmare Man: part 2 in 2010.

Daniel Mays played Arthur Young for 1 episode in 2019. Played Alex in Doctor Who episode Night Terrors in 2011.

Steve Pemberton played Glozier for 1 episode in 2019. Played Strackman Lux in Doctor Who two parter Silence in the Library and Forest of the Dead in 2008.

Reece Shearsmith played William Shakespeare for 1 episode in 2019. Played Patrick Troughton in  An Adventure in Space and Time in 2013.

Nina Sosanya played Sister Mary Loquacious for 1 episode in 2019. Played Trish in Doctor Who episode Fear Her in 2006.

Tim Wallers played a British Agent for 1 episode in 2019. Played Childers in Doctor Who episode Victory of the Daleks in 2010.

Jill Winternitz played Harriet Dowling for 1 episode in 2019. Played Lisa (Drone Op) in The Zygon Invasion in 2015.

Rowan Polonski played a Waiter for 1 episode in 2018. Played Flemming in Doctor Who episode The Husbands of River Song in 2015. 

Producers

Neil Gaiman was executive producer of unknown episodes. Was executive producer of Doctor Who episode Rain Gods in 2013 and wrote The Doctor's Wife in 2011 and Nightmare in Silver in 2013.

Caroline Skinner was executive producer for unknown episodes. Was executive producer for William Hartnell: The Original, a television short documentary in 2013, executive producer for An Adventure in Space and Time and Doctor Who: The Doctors Revisited for 7 episodes in the same year. Was also executive producer on Doctor Who series for 15 episodes from 2011 - 2013. Appeared in both Doctor Who: The Companions documentary and The Doctors Revisited as herself in 2013.

Editors

William Oswald was editor for 1 episode in 2019. Was editor for 32 episodes of Doctor Who from 2007 - 2017. Was editor for 16 episodes of SJA from 2008 - 2010, and 2 episodes of Torchwood: COE - Day One & Day Four in 2009. Plus Tardisodes episode Prelude to Tooth and Claw in 2006.

Makeup Department

Chris Lyons was special effects teeth for 1 episode in 2019. Was special effects teeth for 8 episodes of SJA from 2009 - 2010.

Special Effects

Dominic Allan was special effects technician for 1 episode in 2019. Was special effects technician for 6 episodes of Doctor Who from 2012 - 2013 and special effects for 1 episode in 2013.

Dave Kneath was special effects technician for 1 episode in 2019. Was special effects technician for 16 episodes of Doctor Who from 2014 - 2015.

Visual Effects

Ceylan Hassan was photogrammetry for 1 episode in 2019. Was animator for 9 episodes of Doctor Who. Was matchmove for 2 episodes of Who in 2017, photogrammetry for 2 episodes and rigging for 1 episode in the same year. Ceylan Hassan was animator for 1 episode in 2019.

Stunts

Andrew Burford was stunt performer for 1 episode in 2019. Was stunt performer for 3 episodes of Doctor Who in 2017.

Andrius Davidenas was stunt performer for 1 episode in 2019. Was stunt performer for Doctor Who episode World Enough and Time in 2017.

Rick English was stunt double: Jack Whitehall for 1 episode in 2019. Was stunt performer for Doctor Who episode Tooth and Claw in 2006.

Cristian Knight was stunt performer for 1 episode in 2019. Was stunt performer for Doctor Who episode The Day of the Doctor in 2013.

Camera and Electrical Department

Vince McGahon was camera operator "b" camera: Cape Town / steadicam operator: Cape Town for 6 episodes from 2018-2019. Was steadicam operator for Doctor Who episodes The Vampires of Venice and Vincent and the Doctor in 2010, both uncredited.

Steve Rees was first assistant camera for 3 episodes from 2018-2019. Was focus puller for 75 episodes of Doctor Who from 2006 - 2015 and first assistant camera for 2 episodes in 2006.

Was first assistant camera for 26 episodes of SJA from 2007 - 2011 and focus puller for 9 episodes from 2007 - 2008.  and was focus puller for all 5 episodes of Torchwood: Children of Earth in 2009.

For the SJA Comic Relief Special was also first assistant camera in 2009. Appeared in the Doctor Who Confidential episodes Eyes Wide Open in 2010 and What Dreams May Come in 2011 as both focus puller and as himself.

Leon Lotz was b camera loader for 1 episode in 2019. Was b camera loader for 2 episodes of Doctor Who in 2018.

Sebastian Marczewski was second assistant camera: dailies for 1 episode in 2019. Was additional camera trainee in 2013 for An Adventure in Space and Time.

Animation Department

Chris Hutchison was animator for 1 episode in 2019. Was animator for Doctor Who episode Twice Upon a Time in 2017.

Editorial Department

Cat Gregory was first assistant editor for 1 episode in 2019. Was assistant editor for 5 episodes of Doctor Who in 2010 and was visual effects editor for 22 episodes from 2010 - 2011.

Miscellaneous crew

David Robbins was financial controller for 1 episode in 2019. Was production accountant for An Adventure in Space and Time in 2013.

Who Reviews Nightmare in Silver by Tony J Fyler

Tony Fyler rides the Spacey Zoomer.

Written by Neil Gaiman

Broadcast 11^th May 2011

The Cybermen have, over the course of their 49 years of Doctor Who history, not been treated well in terms of story. For creatures supposedly governed solely by logic, some of their stories have been tortuously over-complicated, and in others, particularly in recent years, there has been more of a focus on their visual, stompy-monster threat than their philosophical underpinnings or their actual reason for being.

As such, it’s a bit of a mystery why, of all the Cyber-stories in recent years, many fans find Nightmare in Silver to be something of a let-down.

In the first instance, it’s actually about something that matters to the Cybermen – rebirth, the relaunch of their race as a power in the universe, some long while after defeat in a massive Cyber-war. For contrast, this is essentially the same basic premise as Revenge of the Cybermen, with its handful of almost glam-rock-shiny, seventies Cyber-groovers. But Nightmare in Silver actually addresses the fundamental nature of what the Cybermen are, and what they are reported to do, but have seldom ever actually been shown doing – upgrading, evolving, adapting to new circumstances by patching in new abilities, new realities about themselves. This, if anything, is the reason Cybermen want to make more of themselves – they exist to defy death, ageing and disease, and they want to make more of themselves because they honestly believe that they are better than everything else. If they’re going to be based on logic, and they’re going to believe they’re better than everything else, there has to be a reason why they believe that. The reason is that nothing should phase them. Very little should kill them. And every stratagem of those resisting their inevitable supremacy should be counteracted by a rapid evolution.

There are of course very good practical storytelling reasons why this has never been shown on screen before – if you have a creature with the potential that the Cybermen have, you have very little story: you have a marching army of Cybermen, you have their enemies trying to resist, you have their enemies’ resistance failing, and you have the Cyber-army growing. Or, conceivably, you have their enemies left with no alternative but to blow up the planet on which they happen to be standing. This is what the Cybermen should be – but it does make for fairly monotonous storytelling.

But since it’s never been shown on screen in 48 years of Cyber-history, you have to give props to Neil Gaiman (and who, after all, doesn’t give props to Neil Gaiman for one reason or another) for deciding, just once, to really show what the Cybermen genuinely are.

It’s true, there’s a hint of a sixties Doctor Who annual about the beginnings of the story: The Doctor and Clara taking her two young ‘wards’ on a jolly whizzo space adventure – including the Spacey Zoomer! – but this sense quickly drops away once they’ve bounced about a bit in zero gravity and the Doctor has noticed the strange insects and night falls. All the jolly fun drops down to dark shadows and forebodings as the children are packed off to bed and, inevitably, Angie goes wandering off to investigate the punishment platoon.

It’s also true that there seems to be no particularly good or logical reason why the punishment platoon should have been sent to this particular space-rock, other than to provide the handy expedient of a bunch of soldiers to fight the Cybermen, and a really big bomb. But in its core elements, Nightmare In Silver makes significantly more sense than most other Cyber-stories in the show’s history. They have been there on this insignificant planet, quietly rebuilding their numbers by stealing the children who used to visit and turning them into their new recruits, their new army, just waiting for the right brain to become their Cyber-Planner. And with the arrival of new children, the time has come. The Doctor’s strange insects start scuttling, and the Cybermites do their work.

The Cybermites are a creation of genius – synthesising the idea of the Cybermat as a servant-creature and the idea of nanobots as tiny repair or conversion droids – we imagine the new Cybermen have a system full of Cybermites to perform the upgrades of which they speak, and to begin the conversion process in organic humanoids they encounter. The idea of fast Cybermen is so obvious it’s frankly amazing it’s never been shown before, so Gaiman gives it to us – if you were a creature that was an organic brain in a constantly evolving metal body, why would you choose a slow, noisy one? No, you’d be as fast as possible, as efficient as possible. Likewise with the scenes which many fans thought made the Cybermen too jokey in this episode – the detached body parts used as decoys. But again, this is what the Cybermen are, or should be: since the re-statement of them in New Who as an organic brain in a body mainly made of metal (with, we assume, most of the rest of the inefficient organic body jettisoned), the head should be able to function independently, and there’s no reason why, given a coherent program matrix of Cybermites, individual limbs shouldn’t be able to function strategically and separately too. This is the Cybermen functioning logically for once in their on-screen career.

When the first of the upgraded Cybermen makes its appearance and steals the children, the resurrection of the Cybermen can be put into operation rapidly – but then a better plan immediately suggests itself, and the Cybermen switch tack. They don’t need the children to be their Cyber-Planner: not when there’s a Time Lord brain available.

The Eleventh Doctor’s frantic and massively camp battle with the Cyberiad trying to rewrite his brain and bring him into the system as the new Cyber-Planner (that’s Mr Clever to you) has been seen by some fans as antithetical to the idea of emotionless, logically-driven creatures, but this misses the point quite spectacularly. The Cybermen respect the brain, and they have learned to make use of its creativity, its organic impulsiveness – but within reason, and only in their Cyber-Planners. Possibly they’re assimilated details of the Dalek-Movellan conflict and appreciated the need for an organic work-around for pure logic in strategic situations. The battle is also played out in a way specific to the Eleventh Doctor – every Doctor would have had a similar battle, but the specifics would have been different, because the personalities would have been different. Ultimately, we see the cunning of the Cyberiad, trying to manipulate Clara, and succeeding to some extent. With millions of revived and upgraded Cybermen on the march, the Doctor and the Cyberiad play a logic game for control of his brain – and the Doctor once again teaches the Cybermen the value of that organic intuition, by cheating (which is ultimately a way of working around the rules). But still, in the final analysis, when you have a foe as dynamic and unstoppable as the Cybermen should be, blowing them up with love should not be an option. Blowing them up with a massive, massive bomb – yes. And ultimately, there’s no alternative at the end of Nightmare in Silver – it’s the only way to beat a foe that just keeps on coming and assimilates your soldiers.

Nightmare in Silver is an example of the kind of storytelling you cannot do too often. But it’s an example of absolutely what the Cybermen should occasionally be seen to be like – implacable, unstoppable, evolving round every obstacle and leaving you nowhere to go. In the history of the show, they’ve been killed with everything from gravity to radiation, gold dust to cleaning fluid, their own self-realisation, and *ahem* love. Nightmare In Silver stands alone in painting them as an galactic threat, and admitting that what you need to defeat them is not cleverness, because they can think their way around cleverness faster than you can create it. Some threats, some bullies, you have to beat with a show of brute force, and if you’re human, rather than a super-intelligent Time Lord who aims to be better, your only real option is to hit them, hard, before they can lay a Cybermite-infested fist on you. There are elements of the storytelling that are questionable, and that make it seem like it’s aimed at younger fans, but in terms of the representation of the Cybermen as a real, logical, implacable threat, the show has never done better.Dark Water and Death In Heaven brought the threat closer to home, but in a way, the Cybermen were weakened by Missy's control and not being their own power.

Nightmare in Silver is the apotheosis of that thrill in Tomb of the Cybermen when they wake up en masse. It’s why the Invasion resurrection thrills. Why the sight of all those reviving Cybermen in Earthshock sends chills down your spine – it’s the ultimate on-screen realisation of the idea that when the Cybermen march, you cannot run and you cannot hide. You cannot reason and you can’t out-think. You can only kill or be killed: that is the true nature of the nightmare in silver.