I just wanted to thank any new readers that have recently found this meager blog and taken the time to comment, like a post, suggest something or anything similar. I hope to see all the cool stuff you guys are doing, and appreciate the support!
While not an official Big Finish release, I decided to go ahead and listen to this short mini-drama starring Sylvester McCoy as the Doctor. This drama was originally released for free bundled with issue 300 of Doctor Who Magazine. I managed to check it out due to the fact that it was split up and released via Big Finish’s weekly podcast back in 2009. According to Wikipedia this was originally a story called Vilgreth, released by a small company called Audio Visuals a long time ago. These guys were amateur audio drama / Video producers that eventually moved on to be part of Big Finish and BBV Productions.
Synopsis: Once again, the TARDIS displays its preference for the grimy, the odious and the dangerous – and, finding himself lost and alone in the dark heart of a gigantic spacecraft, the Doctor has no way of knowing that a cosmic catastrophe is waiting to happen…
Due to the limited run-time of the piece, and the fact that it was intended to be a free pack-in, I tried not to listen to this audio drama too harshly, but it still sticks out as one of my least favorite things that Big Finish has done. It’s not that the drama is written poorly, or that the production is bad, it’s just that I don’t like the main narrative device that is used – It’s from The Doctor’s perspective. I don’t mind hearing the Doctor talk to himself, or rationalize out loud, but having the whole thing in first person is not my cup of tea. If the character is to be mysterious, sometimes irrational, and full of questionable alien morality, hearing his inner thoughts sort of kills the whole thing. This structure also lends itself to a situation where the whole production reminds me of a children’s book. I’m not sure why exactly, but despite the dark nature of the story, the whole thing seemed immature.
Last of the Titans does what it was set out to do very well, although it is leagues below the quality of its “big brothers” in the main Doctor Who line. If anything, all this drama made me want to do is check out the stuff that Audio Visuals did “way back in the day” as I was unaware of their existence until I read up on it.
Hot on the Heels of my last Big Finish audio review, we have yet another Paul McGann /India Fisher Eighth Doctor audio drama to take a look at. This time we have the return of one of my favorite villains of all time – the Cybermen. This play actually marks the very first time we see Cybermen appear in one of these plays, and this is a good thing. After having a ton of these already star the Daleks, it’s good to see other classic villains get sprinkled in.
Here is a synopsis:
“The human race is locked in deadly combat with the ‘Android Hordes’ in the Orion System. Light years from the front line, the Doctor and Charley arrive to sample the dubious delights of a galactic backwater, little suspecting that the consequences of the Orion War might reach them there. But High Command’s lust for victory knows no bounds.
Trapped aboard a mysterious derelict star destroyer, the Doctor and Charley find themselves facing summary execution. But this is only the beginning of their troubles. The real danger has yet to awaken.
Until, somewhere in the dark recesses of the Garazone System, the Cybermen receive the signal for reactivation…”
What really stands out to me in this episode is the sound design. This story could have had a horrendous story, and I still would have liked it based on the atmosphere alone. Not only is the music well done, but the care at which the background noises and sound effects were produced sets a benchmark, for me at least, that no other drama up to this one has come to. The first instance of this occurs at the very beginning of the play. The Doctor and Charley are visiting a “space bazaar” of sorts to hopefully find a way to cure an ailing vortisaur, the creature that they met in the last episode. In this scene we hear layer upon layer of creatures talking, music, and idle chatter, all leading the listener to imagine a robust market side, hustling and bustling with tons of business.
Another place where this stands out is when we finally see the Cybermen that we all know take part in the serial. For the first few encounters we only ever hear a creature that is attacking various people. The noises are both animalistic and insane, making this creature terrifying. Later we find out that this is in fact a rogue Cyberman that has gone totally mad waiting for its connection to a cyberleader to get re-established. After years of seeing sub-par Cybermen that either stomp around saying catchphrases, or are wussy enough that they can be destroyed with a flick of a gold coin, I feel that this is the sweet spot for the creature. Well this or the unsettling voice that the original Cybermen had, which is definitely nightmare fuel of the highest octane.
While some of the side characters in this drama aren’t really all that well fleshed out, they do serve a great purpose to antagonize the Doctor and Charley when they initially believe the pair to be murderers of a fellow crewmate. These characters, the crew of a scrap ship, are your typical Doctor Who rag-tag, and somewhat mutinous ship crew. There definitely could have been a bit more fleshing out of a few of these characters, but it wasn’t really needed. Much like any Alien of Predator movie, some characters are just destined to be bad guy-fodder.
I’m not going to say that this is the best Doctor Who drama that I’ve listened to, but it really does have a great atmosphere and storyline to it. If this is the beginning of a quality plateau that holds steady for the next few releases, I’ll be insanely happy for the rest of the line.
Here is a trailer:
Found this on the Cheezburger Network:
This week’s episode of the Office was notable for sci-fi fans as it contained the return of Catherine Tate’s Nellie Bertram character. We last saw Nellie as one of the many possible replacements for Steve Carell’s Michael Scott alongside James Spader, Jim Carey, and Ray Romano. In Nellie’s interview she proposed many “wonderful” ideas such as an office system where there is no boss, and everything is run in a socialistic way, then an alternative system in which everybody exists as someone else’s boss. The character was pretty funny, and for someone that doesn’t care a whole lot for a lot of Tate’s comedy roles such as her skit show, that’s high praise.
Word around TV land is that the character will be showing up throughout the second half of this current season in a story arc where half of the Dunder Mifflin staff travels to Florida to kickstart a retail arm of parent company Sabre. Once arriving, it becomes apparent that Nellie called up a favor from her friend Jo, former CEO of Sabre (Kathy Bates), and became the head of this new venture. For folks wanting a bit of old school Office awkwardness ala the Michael Scott era, look no further – Nellie is basically a female version with even worse sense when it comes to working in the real world. While Michael was a good-natured attention hog, Bertram is the type of person that has failed upwards and uses buzzwords and jargon to seem like they know what they are doing, when they are in fact clueless.
So yeah, in short, Doctor Who fans should catch The Office for the next few weeks!
I remember being excited to import a copy of the Doctor Who television movie directly from the UK back when I got back into the show back in 2004. I had just purchased a region-less DVD player from China, and wanted to show everyone just how much of a nerd I could truly be. I had heard bad things about this movie, things that gave me absolutely no hope for it whatsoever. The movie could have been worse, but Eric Roberts basically ruined the whole thing for me; a fact that leads me to wish any character he plays in a movie the worst outcome possible. Remember that scene in The Dark Knight when Batman causes Roberts (as Sal Marone) to break both legs? Tears of pure joy from this guy.
Aside from a few bits of questionable dialog, that weren’t his fault, I have always felt that Paul McGann would have been an awesome Doctor had he been allowed to hang onto the role longer than a 90 minute Television movie. Thankfully all memories of The Doctor being half-human and Eric Roberts in a silly outfit were washed away the moment I booted up Storm Warning from Big Finish. Here is the official Synopsis for Paul McGann’s triumphant return to the Tardis:
October, 1930. His Majesty’s Airship, the R1010, sets off on her maiden voyage to the farthest-flung reaches of the British Empire, carrying the brightest lights of the Imperial fleet. Carrying the hopes and dreams of a breathless nation.
Not to mention a ruthless spy with a top-secret mission, a mysterious passenger who appears nowhere on the crew list, a would-be adventuress destined for the Singapore Hilton… and a Time Lord from the planet Gallifrey.
There’s a storm coming. There’s something unspeakable, something with wings, crawling across the stern. Thousands of feet high in the blackening sky, the crew of the R101 brace themselves. When the storm breaks, their lives won’t be all that’s at stake…
The future of the galaxy will be hanging by a thread.
The Eighth Doctor was definitely an underrated version of the character. Not only did he feel cheerful and somewhat goofy, but he definitely had a romantic and adventurous side; these are traits not really seen for a long while in the television show. The eighth Doctor definitely looked to be more of an Indiana Jones type of character, and that definitely is the case in this revival. I’m a fan of the darker Doctor’s as well, but the wide-eyed swashbuckling, name-dropping, and most importantly – fun Doctor is what I like the most; this could be why I seem to like Matt Smith’s take on the character so much. I did try to get into a few of the BBC Eighth Doctor Books at one point, but found quite a few of them to be depressing, pretentious, and a bit too un-Doctor Who for my liking. I’m glad that the continuity Big Finish has created at this point seems to have nothing to do with those books, as I probably would not have liked them much.
What we see here, is both a re-introduction of The Doctor and the appearance of a new companion. This story does a great job of tackling both tasks, and is as good as Rose in the regard that it does not get bogged down by its own baggage and keeps the story moving. What I mean by this is that we don’t have a long winded passage where we find out what happened to Grace Holloway and Chang Lee, as this is definitely not needed; this was one problem I have had with the newer BBC wales series as the writing tends to have the Doctor constantly talk about his previous companions (Like Rose), and in the case of a character such as Martha Jones, it really hurts the narrative. The new companion in question is Charley Pollard, a tomboy-ish girl that fashions herself to be an “Edwardian Adventurer”. Charley seems to be the perfect foil alternative to many classic female Who companions, and comes across as independent and strong, not just a shrieking character that always gets in trouble (Susan, Mel, etc..)
This drama seems to share a bit with the later Steven Moffat televised episodes of the show in that Charley is shown to be troublesome to time itself in the same way that Amy Pond seems to be. Since the Doctor plucked her from a large scale historical event, (the crashing of the R101), her mere existence afterwards is a paradox and causes him problems from then on. I like this little subplot, as it give any later audio dramas a plot to latch onto, rather than them just being a set of unrelated adventures.
The actual plot of this story involves the doomed flight of the R101 dirigible, and much in the old Doctor Who fashion it is explained that such a catastrophe was somehow caused by aliens and the Doctor was there. We have seen this with the Titanic, The London fires, Pompeii, and basically any other disaster! The aliens in question are the Triskele, which are described as being “dolphin-like” I’m not sure how literally to take the comment as the description given during the play could also describe our typical view of “grey” aliens, but since there are no pictures that I know of, I imagined them as such. This could be my only fault with the play that I could find – there is a lack of descriptive remarks that give an idea of the way that characters and such look. This isn’t exactly a deal-breaker, but I would have liked a few more “that looks like a dolphin” type remarks to solidify any impressions I had gained.
Storm Warning is a great beginning to a new series of Doctor Who dramas and kept me entertained the whole way through. This play has definitely re-kindled my like for the eighth incarnation of The Doctor, minus all the crap from the TV movie. I can’t wait to see what happens next.
I saw an article on the Huffington Post, of all places, that signified a collective wave of nerd ecstasy this week. It seems that IDW, the guys that do the monthly U.S. Doctor Who comics, have teamed up with some folks that do Star Trek comics to produce this:
from the article: “The 32-page “Star Trek: The Next Generation/Doctor Who: Assimilation2” will be written by Scott and David Tipton, authors of “Star Trek: Infestation.” The authors will have “a helping hand from longtime ‘Doctor Who’ writer Tony Lee,” the comic “will feature fully painted artwork from J.K. Woodward,” there will be a “rare” wrap-around photo cover and artist Joe Corroney will create a variant cover “featuring the Doctor and friends aboard the U.S.S. Enterprise,” according to IDW.”
After weeks, even months, of listening to the void of soundless boredom, I started taking my iPod to work this week in order to keep occupied for my long ten hour shifts. Since I do not want to listen to the same songs every day, I decided to load up on podcasts of varying topics, and a few Doctor Who audio dramas. As you may have noticed by a few earlier posts, I am attempting to listen to all of these Doctor Who Audio plays by Big Finish in order, and one would assume that I would review them as such.
I realized that I had gone far too long without keeping notes, writing things down, and generally getting ready to write any reviews. So guess what? I’m going to re-listen to a lot of these in order to keep these up rather than going off of memories of these plays that could date back to over one year ago. You never know, I may end up liking dramas I previously hated (there are actually two I never finished of the forty or so I have heard, I need to fix that). Luckily this drama did not make my “poop list” the first time I listened to it according to my iTunes star rating, and stayed just as enjoyable the second time around.
In the 22nd century, the Daleks have occupied planet Earth. By the 43rd century, only a handful of humans survive. Still further into the distant future, a Thal scientist must choose whether to betray his heritage, or see the universe destroyed.
When the Doctor and Nyssa find themselves trapped in this deadly chain of events, they must decide who their real enemies are. What is certain, however, is that no matter where the Doctor turns… his arch enemies, the Daleks, will be waiting for him.
What could possibly be worse than that? The Mutant Phase…
The Mutant Phase has an immediate bonus for me in that it is a re-visitation of my favorite Doctor Who serial The Dalek Invasion of Earth. For those unfamiliar with that title, said episode was an important episode for many reasons: it was Susan’s last appearance as a regular companion, it was the first serial shot on location, it was the second Dalek appearance, and it was so popular that it was one of two stories to be remade into a feature film starring peter Cushing. Going back to such a classic episode is a cool idea, and thankfully we get the setting as more of a “bookend” to the meat of the story rather than a “fanwanky” total revisit.
In that episode, the Tardis crew including Susan, Ian, Barbara, and the first incarnation of the Doctor, arrive in a bleak post-apocalyptic and Dalek infested England in 2167. What really made The Dalek Invasion of Earth stand out for me was the chilling use of vacated landmarks during location shooting, and the utter bleakness of the overall story. For a “kid’s show”, this episode had a lot of dark things like signs saying not to dump dead bodies in the river and humans turned into a slave work force. What we have here with The Mutant Phase can be seen as a “prequel” of sorts to this classic episode as we see The Doctor As played by Peter Davison and his companion Nyssa arrive a few years earlier, to a time where Daleks have never met the Doctor and don’t meddle in time travel.
My only real quibble with the episode rears its ugly head in this introductory portion of the episode. The Doctor realizes pretty quickly that they are somewhere in the state of Kansas, which for foreign readers, is located in the United States. While looking through a field of genetically altered crops infested with wasps, The Doctor and Nyssa stumble upon a “Roboman” guardsman, a zombie-like policeman for the Daleks. By zombies I don’t mean the Romero-esque eating brains and rotting away living dead variety, but the classical use of the term as in brainwashed servant. Not to be confused with Cybermen, Robomen are just regular people with some sort of mind control device implanted onto their heads.
So anyway, this roboman gets America back for the dreadful British accent Dick Van Dyke used in Mary Poppins, by delivering his dialog in the worst, most overdone, American accent out there. This can partly be chalked up to the dronish manner in which the robomen characters talk, but behind all the reverb and monotone was a glimmer of a vocal style not heard since The Apple Dumpling Gang. I seriously hope that many in the U.K. do not think all Americans talk like 1890’s old prospectors, but I get the inclination that it may be the case. I think Mark Gatiss was responsible for the voice, as he is credited as such! All joking aside, this small slip-up was very minor, can be overlooked easily, and does no harm to the play itself.
This play has quite a few interesting characters, and chiefly among those are two Thal scientists, Ptolem and Ganatus, both forced to work for the Daleks to stop the mutant phase. We hear a lot of mentions of these guys before we see them interact with the Doctor, so their motives stay hidden for the majority of the play. Another nice addition is Karl Hendrick, a man that lives in the dark and studies old relics from our current history. He gets quite a few great one-liners and funny moments making him one of the better side characters.
Aside from a couple of minor things like over-done foreshadowing that Nyssa’s wasp sting may be important in some way, the plot of the Mutant Phase was well done, and revolved around some good ol’ fashioned “timey-wimey” stuff involving a temporal paradox. With any paradox based episode the resolution didn’t exactly wrap the whole thing up in a bow – a fact that is actually made fun of in the dialog. When the Doctor explains what has happened to Nyssa at the end, she tells him that it simply made no sense, to which he replied “paradoxes don’t make sense” or something vaguely similar. Admitting this, the play somehow jumped over any plotholes it may have obtained whilst jumping between a multitude of timelines. For me this was nice, humorous touch.
While not the classic of its older brother, The Mutant Phase is a competent audio drama that keeps one entertained throughout. Keeping in mind that the Daleks are the only race that the doctor has ever really considered committing mass genocide on, listening to him being forced to work alongside the horrible creatures is compelling and makes this a must listen. I’ve been lukewarm on the Dalek Empire Releases so far, but this one has really redeemed the series, can’t wait to hear what’s next.