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Doctor Who: Shada (2003) (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Shada originally broadcast on the BBC website in 2003.

Doctor, a fool would realise that it was written in code!

Skagra, this thing is written in code!

– Skagra and the Doctor have some communication difficulties

Has a failed Doctor Who story every haunted the collective consciousness in the way that Shada does? There’s a wealth of adventures that were proposed and never produced, from the last Master story that never happened in The Final Game, through to the laundry list of unproduced adventures that would have made up Colin Baker’s second season if the show hadn’t been parked by the BBC. However, Shada is something different. So different, in fact, that it has been told quite a few times. In fact, it might be the only Doctor Who story I end up covering twice.

This was a webcast version, a very simply animated version of the tale produced for the BBC website, using an audio play adapted from Douglas Adams’ original script by Big Finish, the fan collective who produce a range of celebrated audio plays for the classic series. Starring Paul McGann, the Eighth Doctor who never really got a chance to develop the role in live action, it’s an interesting glimpse at what might have been.

Lost in time...

Lost in time…

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Doctor Who: Death Comes to Time (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Death Comes to Time originally broadcast on the BBC website in 2001.

I’m just another alien…

Alien to where?

Everywhere.

– the Doctor and Bedloe

There is quite a lot to like about Death Comes to Time. It offers a conclusion to Ace’s character arc. It features a stellar voice cast. Tannis is great villain. The script isn’t mired in continuity or slavishly devoted to the letter of the continuity of Doctor Who.

On the other hand, there’s quite a lot to loathe about Death Comes to Time. In moving away from Doctor Who continuity, it feels like a generic space opera. There’s a loss of the intimacy that defined the series. There’s a central revelation that makes no sense and a central moral philosophy which seems at odds with the very heart of Doctor Who. On top of that, it seems rather clumsily constructed. If it was intended as a pilot, the wrong characters are in focus for most of its not-insignificant runtime.

Hello, stonehenge!

Hello, stonehenge!

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Doctor Who: Real Time (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Real Time originally broadcast on the BBC website in 2002.

Why do you talk so much?

You never know who is listening.

– Cyberwoman Savage and the Doctor discover why he lends himself to audio

It’s remarkably how much energy went in to keeping Doctor Who alive for those years when it was off the air. There was, of course, the fiction produced outside the BBC. Virgin produced The New Adventures in book form, there were comics and various “spin-off” projects. However, these lacked the sort of gravitas that came from having an iconic performer in a classic role. So Big Finish began producing a range of audio adventures (“full cast dramas”) centred around the show. More than that, though, they actually managed to recruit some of the actors. Paul McGann, for example, has had a great run in audio despite only appearing in one televised adventure. Colin Baker has arguably reinvented his take on the Doctor, free from the dodgy writing and behind-the-scenes turmoil that rocked his two-season tenure.

At the same time, the BBC was trying to figure out what to do with the property. There had long been talk of resurrecting the Timelord, the failure of the television movie notwithstanding. BBCi had even produced an official webcast with Sylvester McCoy from writer-director Dan Freedman, named Death Comes to Time. However, while I’ll admit that Death Comes to Time has its strengths, there was something missing. When the time came to do a second webcast, BBCi teamed up with Big Finish, with Big Finish founder Gary Russell stepping up to write and direct an adventure especially for animation.

The result is Real Time. While it’s pretty far from perfect, it is intriguing, smart and fun. More than that, though, it supports the oft-heard argument that Colin Baker has been vindicated by his involvement in these projects. In fact, I didn’t want to strangle the Sixth Doctor once while listening to Real Time. It might even inspire me to check out some of the Big Finish range.

Face off...

Face off…

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Luther: Series 2 (Review)

I loved the first series of Luther. I genuinely adored it. It was a wonderful six-episode arc following the perils of DCI John Luther as he walked a thin line between, as Ripley remarks here, “being dirty and being willing to get your hands dirty”, all of which culminated in a rather fantastic final two episodes that explored the implications of that sort moral corruption in law enforcement. So the follow-up season had a lot to live up to, and – while it’s still well-written, well-acted and solidly entertaining – it can’t help but feel a little disappointing. While there are other considerations, the most damning one is this: two two-part episodes don’t given enough room for a season-long arc.

Putting it all together...

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Luther: Series 1 (Review)

You know, when I wonder why Irish television can’t produce quality drama, I am not looking across the pond towards our American cousins. I realise the sheer scale of the economy and the entertainment industry over there means that any possible point of comparison is just absurd. While the Great Britain is considerably larger, I look at the BBC and wonder why Irish television can’t even be nearly as good as that. After all, we have produced more than our fair share of Nobel laureates for literature, produce great artists, writers and actors in numbers quite disproportionate to our side. And I can’t point to a single Irish television show that is any way iconic – but perhaps that’s too much to expect.

Why can’t we even have something half as good as Luther?

I think he just copped it...

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Non-Review Review: Lesbian Vampire Killers

I like to think that I can appreciate a movie for what it is. I was even able to find something positive to say about The Land of the Lost, for crying out loud! Still, this doesn’t stop Lesbian Vampire Killers from being one of the worst films I’ve seen in quite some time (The Reader and Deception are the only other two movie that stick out so strongly in my mind). Paul McGann is literally the only thing that is anyway half-decent in the film, and – much like his lead role in Doctor Who – he is sucked into the mindless vacuum of crap which surrounds him. Who the hell thought this was a good idea? Really?

Look, Paul McGann, if your religious relics couldn't keep you from getting tied up in this mess, they're probably not going hold off that rampaging sexually-liberated blood-sucker...

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