And two other audio stories featuring River Song (Alex Kingston) and the 10th Doctor (David Tennant). It’s especially noteworthy that this set was recorded during these months of social isolation. Each of the actors involved recorded their own part from a “studio” set up in their own homes.
Given the method of recording, it seems appropriate that much of this first story in the CD set is in the epistolary style. It’s a delightful follow-up to the 10th Doctor’s first encounter with River Song in Silence of the Library.
After receiving a “message in a bottle” from River on a piece of psychic paper — which allows for immediate response — the Doctor engages in a correspondence/conversation with this mysterious woman who claims to know him so intimately even though he’s only just met her. He’s interested in finding out who she is, without giving away “spoilers” regarding her fate at the Library.
“Who are you? How do we know each other? How do I know I can trust you?”
While most of my purchases of Doctor-Who-related audio dramas from Big Finish have been about companions whom I’ve wanted more stories about, I remain a sucker for any interactions between Doctors; I’ve been that way since I first saw The Three Doctors as a child. I enjoy the contrast of personalities and the sparks that fly whenever a given Doctor clashes with his previous or future selves.
So when I learned about this one, featuring two of the most popular Doctors from the original and new series, I just had to have it. I was hoping for a lot from the interaction, and was not disappointed.
The Cathedral of Contemplation is a unique example of trans-temporal architecture: a massive structure that rotates carousel-like outside of Time itself, with doors opening to different times and places as it spins. This makes it irresistible to the 10th Doctor (David Tennant — Dr 10, as I’ll be calling him hereafter), who is at this point traveling alone after the loss of Donna Noble and before he faces his next regeneration.
He’s welcomed at the Cathedral by the Abbess in charge; she makes some curious remarks about a “coincidence” and, even though he doesn’t recall ever being there before, tells him that he always visits when he’s in trouble. Well, “someone else, and all of them you.”
The Abbess says that the Doctor can go anywhere he wants within the Cathedral, except for the Panoramic Gallery, which is what he’s come specifically to see in hopes of picking up some new travel ideas. The door to the gallery is locked, but he’s not going to let a little thing like that stop him from getting in. He twiddles the lock with his sonic screwdriver as soon as he’s alone…
Meanwhile, Dr 4 (Tom Baker) is painting in the gallery, working on frescoes with an assistant, a young woman named Jora whom he’s met at the Cathedral. She’s run away from her military after a traumatic battle and is in hiding.
While they’re taking, some sort of strange temporal disturbance occurs at the door, and a man comes in. “Oh, hello.”
“Do I know you?” asks Dr 4.
He doesn’t recognize the visitor, but the visitor certainly recognizes him.
I had mixed feelings about this made-for-TV movie when it first aired in 1996.
On the one hand, it was the first new Doctor Who since the original long-running series had finally been cancelled in 1989. I’d stopped watching it by then anyway, but had fond memories of the Doctors I’d watched growing up and would have liked to see the show come back again.
On the other hand, the movie was made by Fox TV in cooperation with the BBC and Universal Studios with the prospect of introducing a new version of the series in America.
While a few British series have been successfully adapted into US versions, the odds are against it. What made the UK show successful is more often altered out of recognition to suit US television standards, or simply doesn’t translate from one country to the other. For example, there have been at least two attempts to transplant Fawlty Towers, both of which crashed and burned. The science fiction/time travel element of Doctor Who might survive, but much of the charm and whimsy of the character would be lost.
So I watched it with a certain amount of hope and trepidation. And it was okay. I liked Paul McGann’s Doctor, but there were a couple of things in the story that really irritated me.
The movie received good ratings when it aired on the BBC, but not so great on Fox. There was no new series at that time; Doctor Who would have to wait until 2005 to return to television.
I thought little more about this movie for 20-plus years unless I had some reason to list actors who played the Doctor. But since I’ve been viewing and writing reviews of old Doctor Who episodes recently, I thought I’d give it another look.
It’s not as disappointing as I remembered it being in 1996. Viewing it again after 15 years of modern Who, I can see it as the transition between the old and new series. One of the things I disliked about it still bothers me. The other… well, the Doctor does that all the time these days and I’ve gotten used to it.
I won’t have time to review the full set of The Paternoster Gang: Heritage 4 before the holidays, but the story on the first CD is a Christmas tale so I’ve decided to do it separately and save the rest for later.
This story sees the return of a character from the classic Doctor Who era: that late-Victorian music hall impresario, Henry Gordon Jago.
Jago (Christopher Benjamin) first appeared in the 1977 4th Doctor’s story, “The Talons of Weng-Chiang,” in which he and Professor Litefoot (Trevor Baxter) assisted the Doctor in investigating the strange disappearances of several young women in the Limehouse streets in the vicinity Jago’s theatre. The two made an amusing double act, and there were jokes about a Jago and Litefoot spinoff–which never came to be on television, but did much later become a popular audio series on Big Finish. Jago and Litefoot continued their adventures in Victorian London long after the Doctor had gone on his way. The series only ended when Trevor Baxter passed on.
As this story begins, we learn that Mr. Jago is already acquainted with the Paternoster Gang. He’s on his own this holiday season, since his friend Prof. Litefoot is spending the winter in Egypt, and he’s on friendly enough terms with the Paternosters that they invite him to join them for a Christmas Eve tea.
But before tea-time, Jago–who happens to be dressed like Father Christmas when he calls at Paternoster Row–has a charitable act to perform. He intends to put on a magic show for the entertainment of the children at an orphanage and needs some specially impressive new magic tricks or illusions to use.
Strax helps out by taking him to Old Smallpiece’s Emporium. The entirely dubious Old Smallpiece happens to be the Sontaran’s favorite underworld informant, as well as a merchant of alien artefacts that are out of place in London in the 1890s.
While Mr. Jago is “well versed in alien matters,” because of his work with Prof. Litefoot, he seems rather naïve as he chooses a magician’s wand and the Top Hat of Surprise (or a “a short-range transmat,” as Strax identifies the latter).
This third audio-drama boxed set from Big Finish gives us the further adventures of Madame Vastra, a Silurian detective in late-Victorian London, with her Cockney wife Jenny and their Sontaran manservant Strax. I was hoping to get this review done before the newest set, Heritage 4 arrived, but then the package from the UK was in my mailbox a couple of days, so I’d better get moving.
As with the Heritage 1 and 2 sets, there are three separate mystery stories, each on its own CD.
As suggested by the title, this first story has a family theme. The focus is primarily on Jenny’s estranged family and background, but there are conversations about the family she has now at Paternoster Row as well the blood relatives she left behind years ago.
A mystery involving lions and crocodiles in London leads Vastra to investigate the sewers beneath the city, when things suddenly turn personal. She ends up kidnapped and chained in a circus sideshow exhibit. She’s not alone; also on exhibit are other human “freaks” and a blue, four-armed alien lady.
“There are no monsters here,” Vastra declares to her new alien friend.
“Personally,” the alien responds, “I have always found humans terrifying.”
There’s just a hint about Vastra’s personal history too, indicating that this is not the first time she’s been exhibited in chains by ignorant 19th-century humans.
Part 3 ended with Vivian Fay (a.k.a. the Cailleach) gloating over trapping the Doctor in hyperspace.
Part 4 starts the same way, but Vivien’s gloat doesn’t last very long. The Magara, those sparkly justice machines the Doctor accidentally unleashed, now float in to intervene–and bring just about everything that was interesting in this story to a screeching halt. They announce that they’ve tried the Doctor while he was busy elsewhere, and in spite of a spirited defense from Sparkly Magara 2, Magara 1 has judged the Doctor to be guilty. The punishment is execution.
Vivian would like to see this execution happen right away, but the Doctor gets the Magara to grant a 2-hour delay so he can appeal the sentence. This “appeal” will take up the greater part of this final episode. Nothing really finishes off a good horror story about blood-absorbing stone monsters quite like a farcical trial with comic robots.
At the end of Part 2, Romana was zapped by Vivian Fay and beamed out into some other as-yet unspecified place.
Sadly, this story, which has started out so well, begins to go downhill from here. While there are still some good scenes in the next two story parts, there’s a distinct shift from the trappings of folk horror to some rather silly science fiction.
It’s Doctor Who, so you have to expect all things that might be otherwise taken for supernatural events to have a scientific explanation, even a wonky sci-fi one. But did it have to be so-
Well, we’ll get to that when we come to it.
Over in the secret cellar at the Hall, formerly the home of Mr. DeVries before the stone-monsters got him, the Doctor and Professor Rumford are examining those paintings that were removed from the wall upstairs. All three ladies who used to own this house and the meadow where the stone circle sits look just like Vivian Fay.
Professor Rumford is surprised that Vivian never mentioned that she belonged to the Montcalm family.
She isn’t, the Doctor makes it clear. “She is the Montcalm family,” as well as the two other families that have owned the Hall since the Dissolution. Not to mention being the Mother Superior of the convent that was there before the house. And she probably manages the company that now owns the property that the stone circle is on.
Rumford, who’s still adjusting to these new kinds of ideas, objects. There’s a span of over a 150 years between the three women in the paintings.
The Doctor replies, “What’s 150 years when you’ve been around for 4000?”
For Vivian is the Cailleach, the Celtic goddess whom the Druids have been worshipping. (But that’s not who she really is either.)
Continuing the Doctor’s and Romana’s somewhat spooky adventures in contemporary Cornwall as they search for the third Key to Time.
At the end of Part 1, Romana was lured away from the stone circle by a voice that sounded like the Doctor’s calling to her, and luring her off a cliff. Part 2 begins with a literal cliff-hanger.
Romana is clinging to the edge of the cliff over the ocean and shouting for help. It’s a good thing she’s barefoot; her toes can find tiny footholds in the rock face and help to keep her from falling to her death and turning into Lalla Ward a few months early.
When we last saw the Doctor, he’d been conked on the head by a couple of Druids. They’ve since conveyed him to the stone circle and called an emergency meeting for their grove (which is the proper name for a group of Druids). He now lies trussed up on the flattish stone in the middle of the circle as the Druids prepare him for a human (or, in this case, Gallifreyan) sacrifice.
The Druid leader’s best friend Martha doesn’t like the idea. Cutting an animal’s throat to get some blood for their ceremonies is okay with her–but this is murder!
“It is the will of the Cailleach,” says the leader, DeVreis, as he draws a big, curving knife from its decorative scabbard. They can’t question the will of the goddess, and the Cailleach demands blood.
DeVreis and Martha argue about it for a bit, until the Doctor regains consciousness and asks if that knife is properly sterilized.
My second venture into 1970s Doctor Who and folk horror for this Halloween season.
The Stones of Blood is one the Key to Time stories from Tom Baker’s 5th series as the Doctor, an overarching plot that connects all of the stories during that year. The Doctor and his new assistant, a younger Time Lady named Romanadvoratrelundar (Mary Tamm) are sent to various places around the universe by an entity known as the White Guardian to hunt down and collect objects that make up the Key to Time. These objects can be transformed into large crystal fragments once they’ve been found. When all six pieces are collected, they must be assembled to create a device that gives the wielder absolute timey-wimey powers.
Before we get to the actual story, this first episode therefore begins in the Tardis’s unlit and minimalist kitchen with the Doctor and Romana attempting to assemble the two pieces they’ve gathered so far from Ribos and the fun but silly Pirate Planet. Behind them is a 1930s-style fridge, in which they store the Key to Time when they aren’t working on it.
The third planet, on which they have to search for the next piece of the Key, will be Earth. Romana’s never been there, but it’s well known to be the Doctor’s favorite planet so he’s looking forward to showing it to her.
Meanwhile, somewhere on Earth (Cornwall, as it turns out), a scene very like the one at the opening of K9 & Company is being enacted. Robed and hooded cultists have gathered for a midnight ceremony, but this group is meeting at the center of a circle of Stonehenge-like stones instead of a ruined chapel, and the name they’re chanting isn’t Hecate. It’s Cailleach (yes, I did have to look that spelling up).
The cultists pour small bowls of blood onto the stones–and the stones glow red and begin to pulse and make a sound like a heartbeat.
One of the cultists raises her head and cries out:
It’s a rare thing for a Doctor Who serial to run 5 episodes. Usually, they’re 4 or 6, with the occasional 2-parter to fill out the year. To me, most of the 6-parters feel as if they go on too long, with the plot lagging around the 4th or 5th episode as the Doctor and his companion(s) sneak down endless corridors or are captured and escape–yet again.
One of the advantages of The Daemons as a story is that there is none of this lag; losing an episode tightens the narrative. And there’s not a corridor in sight.
Another advantage is that much of this story was filmed on location in and around Aldbourne: the village green, the churchyard, the barrow site, the meadows and country lanes that the Doctor zips along on a motorbike. No quarries, though. Only the interiors are studio sets, and this open-air setting gives the story a sense of freshness and just a bit of grounded, this-is-England reality to balance out the fantastic elements.
Like the giant Daemon who makes his appearance at the end of Part 4.
While the bluescreen effect as Azael grows from tiny to 30 feet tall is not as well done as his initial appearance–he doesn’t seem to be connected to his surroundings in the cavern–he is impressive once he’s up there towering over the coven.
His voice is recognizable; this is Stephen Thorne, the same booming-voiced actor who played Omega in The Three Doctors.
As usual, the energy Azael expends to grow to this size creates an earth tremor that knocks everyone in the village off their feet. Even out on the village green, they know that he’s returned.
While the coven is distracted, Jo Grant and Mike Yates try to run for it–but the stone gargoyle Bok is awake and blocks their exit with a few zaps.
The Master decides that a chicken isn’t the best blood sacrifice to get Azael on his side. A human being–Jo, in this case–will be a much better offering once she’s dressed for the part. Black-robed minions drag Jo off to prepare her to be sacrificed.