Placement: Presumably set during Twenty-Four Doors in December from the In The Bleak Midwinter boxed.
Bramble King (Halloween: Sea Smoke and Other Stories)
Christmas Links #15
Causeway.
Audio Although I've been pretty open to Audacity's presence, like C'rizz before her (or after her if you like) and other multiple companion combinations, the character has the effect of splitting the dynamic between the usual duo of leads. Which means the writer either has the Time Lord with one of the companions or a guest star or the two companions off by themselves. This does make the interactions between, in this case the Eighth Doctor and Charley, all the more precious (much as it would if they were split up for narrative reasons) but it also does a disservice to the third wheel companion, who rarely feels like they have agency and often ends up being a puzzle to be solved. Often that actually resolves itself when there are three companions, although in one recent Doctor Who era that turned into two tragic blokes acting as a distraction from us seeing Thirteen and Yaz making each other happy on a weekly basis.
Lost Amongst the Stars
"Who turned out the lights?" For a good proportion of the story's run time I was convinced the monster reveal would be the Vashta Narada and the resulting beasties feel like they could be part of the same phylogenetic tree. As the review in this month's parish circular indicates, there are shades of Event Horizon and Alien in the grim inevitability of humanity paying the price for venturing where they probably shouldn't given all of the warning signs. Outside of the Doctor's perspective, there is a certain element to most stories set in deep space which mimics Star Trek but almost everyone involved is wearing an imaginary red shirt. This is a grim slice of body horror which highlights this early Doctor's pragmatism. Even when all evidence suggests everything is lost, he continues to fight, something which is less apparent in later stories.
Causeway
As those of us who've been lost in these narrative thickets for many years know, a franchise this broad and deep is inevitably going feel repetitious and Causeway locks itself firmly in those patterns like a sailboat in a magic eye creation. For much of the story's running time loads of it felt very familiar but not in three main genres of Doctor Who sense but something far more complicated than that. Turns out the Causeway is an organisation which at this point in their existence are attempting time travel thanks to some technology from party unknown, almost literally dropping in their laps. Somewhat like City of Death, the TARDIS team are drawn to their front door after their experiments have a indigestive effect on the time ship's innards. Given this is such a recent release, let's keep things spoiler free and just say "OK, kid. This is where it gets complicated."
Yes, well, alright, this story pretty much confirms there isn't some grand narrative conspiracy, this early doors (at least in Big Finish terms) Eighth Doctor and Charley and these stories are supposed to be set between the first and second OG series which makes Audacity one of those companions who appears in an earlier narrative gap and is never mentioned again. So we can comfortably say there are three key tranches of episodes in the Eighth Doctor era at Big Finish, with the first running from Shada through to The Girl Who Never Was, the second from Blood of the Daleks through to his ongoing adventures with Liv and Helen and then the Time War (with Time Lord Victorious its own thing just before). All power to Paul McGann for continuing to somehow make each version of the character so distinctive, backed by his excellent writers.
Christmas Links #14
Christmas Links #13:
World Cinema in the Radio Times
Christmas Links #12
Christmas Links #11
"This year’s most-wanted ornaments include weight-loss syringes and favourite foodstuffs. When and why did Christmas trees become so commercialised?"
Christmas Links #10:
Doctor Who at Christmas.
The First Doctor
The Sixth Doctor
The Eighth Doctor
The Ninth Doctor
The Tenth Doctor
The Eleventh Doctor
The Twelfth Doctor
Spin-Offs
Christmas Links #9
Christmas Links #8
Christmas Links #7
Christmas Links #6
Christmas Links #5
Christmas Links #4
Christmas Links #3
Christmas Links #2
Christmas Links #1
Deadly Strangers.
Audio Hello. We'll get to the one(ish) line reviews in a moment but your writer has been trying to get to grips with what we're supposed to consider series or lines at Big Finish in recent years. Here follows a rant about numbers. The Eighth Doctor Adventures are now covering three distinct eras: the gap between Seasons One and Two of the original Monthly releases, the continuation of the story thread which began with the Lucie Miller adventures, continued through Dark Eyes and the Time War. Except the spine labels on the boxes flow between the first and second eras and even then without really making much sense.
Here's a rundown (which could be a list but I don't want to mess up the blog's formatting). They begin with the stand-alone Liv and Helen stories apparently set in the final moments of Stranded (between the TARDIS leaving and returning), What Lies Inside? (1) and Connections (2). But then there isn't a new sequence for the new strand of Audacity and Charley stories. Audacity and In the Bleak Midwinter are given (3) & (4) presumably because they share the same release months as the previous boxes. But then Echoes (more Liv and Helen) which came out the following May is (5) and finally Deadly Strangers and Causeway are (6) and (7).
All of which means if you want to keep the boxsets in continuity on your shelf, you're left with a number sequence which is all over the place and equally, if you stick to this number, the Doctor's portrait on the top shifts between TV Movie and Dark Eyes faces. Us Doctor Who fans (and U.S. Doctor Who fans) are quite used to spines on media releases not matching (apart from the BD releases so far which still sport the Whittaker logo despite us enjoying a whole new era in between) but this feels like a very weird choice, especially since they're being created by fans for fans.
Unless both strands are going to dovetail at some point. Despite the pictures on the box, I'm still not unconvinced that these stories aren't going to be revealed to be set after The Charlotte Pollard Adventures with Eighth and Charley reunited somehow. As I've said before, she sounds more mature and there's a moment in one of these stories where they talk about Ramsay the Vortisaur as though he's a distant memory which doesn't make sense given the context in which he's mentioned in the second original series. Something very strange is going on here.
Puccini and the Doctor
Which could just as easily have been called Unfinished Business since it's exactly that for both the Doctor and his writer for this adventure, Matthew Jacobs, who wrote the TV Movie with the Pertwee logo, oh so long ago. It's a celebrity historical in which the Time Lord meets the composer again before he's written some of his greatest operas and comes face to face with a creature who wants to steal and destroy humanity's creativity. Just astonishingly good. Jacobs had apparently only heard Chimes at Midnight before taking the gig, but caught himself up and then wrote this which despite using a similar method, AI never could.
Women's Day Off
Whilst highlighting a moment in women's history I shamefully wasn't previously aware of in which all of Iceland's women went on strike for a day in October 1975, McMullin's script plays not unlike something from The Sarah Jane Adventures as a young girl finds herself infused with magical powers which she can't control and the TARDIS team can only see disparate elements of the mystery in their own parts of the story until everything neatly dovetails at the end. Thoroughly entertaining, especially hearing the time ship's translation circuits giving Icelandics various UK regional accents rather than the actors affecting Nordic vowels.
The Gloaming
Almost as Route One Who as it gets, The Gloaming features an indomitable group of human survivors in suspended animation being threatened by an alien intelligence which is trying to spread itself across the galaxy. But in choosing the Mara, the writers have found the perfect monster for audio, especially the dream world which becomes two voices, one threatening, the other scared, voiced by the same actor demonstrating their range. Because the victim can't awaken without outside help, they're simply trapped there, the evil presence using their own anxieties against them. Chilling.
Placement: Between In The Bleak Midwinter and Invaders from Mars. For now.
Little Miss Can't Be Wrong.
Film The Guardian has a piece today about Kathryn Bigelow's A House of Dynamite in which Mike McCahill says various things about the film, but like a lot of critics he doesn't seem to have found the virtues I found in how the story is structured and particularly the climax, which I won't spoil for those of you who haven't had a chance to watch it amongst the firehouse of stuff released every day.
The number of film writers who've missed the point of A House of Dynamite are worryingly large. It's not a thriller, it's a character study. The repetition is the point. We're seeing the calamity through the lenses of much smaller and less knowledgeable groups as the decision on whether to retaliate ends up on the shoulders of someone who even less qualified than they are. At a basic level, don't give human beings world-ending weaponry. It's bad.
On each iteration we hear exposition and dialogue and then discover their significance as the narrative elements repeat. In the first couple of rounds, the President sounds Trumpian and incompetent. But when we finally meet him, he's an affable, smart person who is then handed the worst decision in the world at a moment's notice and has a series of near or total strangers advising him.
Which is utterly disturbing and in sharp relief to something like Fail Safe (both versions) and most of these kinds of films, in which almost all Presidents are portrayed as some kind of academic and diplomatic paragon in a fantasy world in which someone is elected based on how smart they are, which has *rarely* been the case. Unlike those films, the heads of state wouldn't immediately be on the phone with one another. The contact takes place way below the chain.
There's a terrific article in Slate by Fred Kaplan (ht, Allyn), a Pulitzer Prize nominated author of a book about just this subject which offers much greater depth on how realistic the film is and if anything it's even less terrifying than the situation we're in now when all of the key positions shown in the film are filled with people whose only qualification is they're willing to tell the President what he wants to hear all of the time.
But my overall point is that a lot of critics have missed that it isn't a traditional Clancyesque thriller. They've gone in expecting The Sum of All Fears or By Dawn's Early Light (which shares a similar story) and been disappointed. It's an "art house" film wearing the trappings of a mid-budget Summer blockbuster which asks the viewer to make a psychological leap beyond what they expect it to be into what it is.
Hall of the Ten Thousand (Big Finish Audio Short Trip)
Audio A neat bit of pure blood Eighth and Charley with the original theme, which at the time was pretty rare (2019), with India Fisher reading all the parts. Running just under forty minutes, it's a relatively complex story about the horrors of war and those who continue to live with the consequences. The TARDIS team visit a gallery to see one of the Doctor's favourite artists, who is pretty quickly revealed to be a megalomaniac who has destroyed thousands of lives because the righteousness of her ideology has become drowned out by her methods. This is Hidden Empire writer Jaine Fenn's only contribution to Doctor Who, yet she captures the two main characters perfectly, especially Charley, who has a fine moment when she uses some true/false logic straight out of Jim Henson's film Labyrinth.
Placement: Probably between seasons with the cluster of Short Trips.