The Time of the Daleks

We are the Masters of Time!

The Daleks


The Doctor has always admired the work of William Shakespeare. So he is a little surprised that Charley doesn’t hold the galaxy’s greatest playwright in the same esteem. In fact, she’s never heard of him.

Which the Doctor thinks is quite improbable.

General Mariah Learman, ruling Britain after the Eurowars, is one of Shakespeare’s greatest admirers, and is convinced her time machine will enable her to see the plays’ original performances.

Which the Doctor believes is extremely unlikely.

The Daleks just want to help. They want Learman to get her time machine working. They want Charley to appreciate the first-ever performance of Julius Caesar. They believe that Shakespeare is the greatest playwright ever to have existed and venerate his memory.

Which the Doctor knows is utterly impossible.


The Time of the Daleks feels impeccably researched, or at the least like the writer showing off his knowledge about Shakespearean plays. Whilst the idea at the heart of this story is undoubtedly a good one, ultimately, the story is not the strongest. It is to the credit of Nicholas Briggs, the director, in making Paul McGann’s first meeting with the Daleks not be an unmitigated disaster, and the central premise is sound enough to see this through.

The idea at the core of this one is pretty solid – William Shakespeare has been removed from history, causing humans in New Britain and Charley to gradually forget him. It is a plot that would only work for a story set in this location, as the concept of remembering Shakespeare is almost weaponised. It is certainly powerful enough to convince the opposition to General Learman that the poet and playwright disappearing from history is a plot by the ‘benevolent’ dictator and a side effect of her attempts to develop a means to time travel. As bizarre as it sounds, hearing the Daleks, and in the opening moments, Rassilon, quoting Shakespeare as Skaro’s famous children prepare to detonate their temporal extinction device is really quite powerful and well done. This is probably the most verbose we ever hear the Daleks and I appreciate that this probably won’t be for everybody but I rather enjoyed this aspect of this story. I think that it’s good to see different things attempted with the Daleks, and although this does eventually and inevitably dissolve into traditional Dalek action, it is at least to this story’s credit that they try and do something a bit different. The idea of time travel through mirrors is a nice one, if a bit silly, and something that we would see on the television in Turn Left. My favourite moment was probably the transformation of Learman into the Dalek mutant and the suicide of a ‘failed’ Dalek to include her in their plans. It’s a lovely moment, almost like body horror in audio and is executed really well.

Nick Briggs’ direction of this story does help it slightly, especially with the sound design and background music. There is a nice bit of piano that teases the arrival of the Daleks, and of course we get the traditional Dalek heartbeat. One of my favourite things in this story was the effects used on the voices of Viola and Charley as they attempt to use the mirrors to time travel, distorting their voices, which is a really nice way of realising this on audio. His key role of course, is the Daleks, which it feels obvious to say that he does well here, but having a solid presence in a story like this is always useful, playing the usual Daleks and the Supreme. He also has a lot more work to do than normal, given the fact that the story gives the Daleks more to say than usual.

I feel that the first two parts are good, but starts to fall down in the concluding two parts. It almost feels as though there is enough material to be put into two stories here – one, with the Daleks invading Earth through its history, and the other with Shakespeare (and maybe other famous literary figures) disappearing from time and the impact on time and the present. I will never criticise a writer for doing their homework, as it were, but Justin Richards feels as though he throws every possible Shakespearean reference at this and not all of them work. Part of the problem might be that there are too many characters, and certainly the majority of the guest cast don’t make much of an impression. The exception to this is Mariah Learman, played by Dot Smith, who ultimately wants to be the only person who can remember Shakespeare as she descends into insanity, bemoaning the fact that his skill is taken for granted. Smith is really good in the role and makes the most of this part, but I don’t think the other guest characters are written as well, and so this causes them to feel quite similar.

Whilst Paul McGann and India Fisher do put in decent performances, this isn’t the greatest Eighth Doctor and Charley story ever. In fact, I think this story could work with any Doctor/Companion pairing, with nothing really to tie it to these two other than the final scene, which links into the ongoing arc surrounding Charley.

Verdict: I actually managed to talk myself up in the course of writing this review. There are some interesting ideas in The Time of the Daleks, but a promising start leads to a bit of a convaluted ending. 6/10

Cast: Paul McGann (The Doctor), India Fisher (Charley Pollard), Dot Smith (General Mariah Learman), Julian Harries (Major Ferdinand), Nicola Boyce (Viola), Jem Bassett (Kitchen Boy), Mark McDonnell (Priestly), Lee Moone (Hart), Ian Brooker (Professor Osric), Nicholas Briggs (Dalek Voice), Clayton Hickman (Dalek Voice/Yokel), Robert Curbishley (Marcus), Ian Potter (Mark Anthony/Army Officer/Tannoy) & Don Warrington (Rassilon).

Writer: Justin Richards

Director: Nicholas Briggs

Behind the Scenes

  • This story marks the first credited appearance of Rassilon in an audio story. He appeared at the end of Seasons of Fear, but was not credited.
  • The first Dalek story for Paul McGann – despite the Daleks briefly making an audio cameo at the start of the TV Movie, the Doctor and the Daleks did not share any scenes.
  • Whilst the Doctor has met Shakespeare on a number of occasions, this is chronologically the first meeting between the two.

Cast Notes

  • Dot Smith appeared in Dalek Empire as Milvas.
  • Julian Harries also appeared in Bloodtide.
  • Nicola Boyce appeared in Embrace the Darkness and would go on to appear in Neverland.
  • To hide the fact that Shakespeare was being portrayed by a woman, Jemma Bassett was credited as Jem.
  • Mark McDonald would go on to appear in Neverland, as well as featuring in the War Doctor audios and had previously appeared in Embrace the Darkness.
  • Following on from his appearance in Embrace the Darkness, Lee Moone would go on to appear in Neverland.
  • Ian Brooker had previously appeared in Embrace the Darkness.
  • Clayton Hickman designed a lot of DVD and Big Finish CD covers.
  • Robert Curbishley has appeared in numerous releases across the Main Range and UNIT releases.
  • Ian Potter has written a number of stories for both novels and Big Finish.

Best Quote

It’s a strange partnership where they do all the work and we get all the reward.

Major Ferdinand

Previous Eighth Doctor Review: Embrace the Darkness

Embrace the Darkness

The first new dawn in the Cimmerian System for a thousand years. And it’s my fault.

The Eighth Doctor


The Doctor and Charley travel to the distant Cimmerian system to unravel the mystery of its sun. But darkness has embraced the scientific base on Cimmeria IV in more ways that one…

In a fight for survival, the Doctor must use all his wits against a deadly artificial life-form and an ancient race whose return to the Cimmerian System threatens suffering and death on an apocalyptic scale.


Nicholas Briggs’ early Big Finish stories show promise but ultimately fall short and sadly Embrace the Darkness is in this mould. This story does feature a lot of problems that beset the four part stories in the original run of Doctor Who, including what feels like a shortfall of plot which makes the middle of the story sag a little bit, whilst it also manages to make the finale feel rushed.

Where the story does really succeed, however, is in the audio landscape. Nicholas Briggs has been done a really great job here of creating a creepy and unsettling atmosphere through mostly sound effects rather than music. Like all of the Big Finish audios I have listened to so far for this blog, I listened to this on headphones and this story really felt three-dimensional and believable. The Cimmerian voices are also suitably unnerving and reminded me slightly of the voice of Gollum from The Lord of Rings films. This is also true of The Sword of Orion, Briggs’ previous story for the Eighth Doctor, but this story feels slightly more confident and ever so slightly better.

The story also has an interesting idea in its central premise – a star system devoid of light, afraid of the return of the light due to a belief that it will lead to their destruction. We also have a lot of time spent with the Doctor believing that his actions will lead to the Cimmerians destruction and questioning the effect of his interference. A story set on a planet devoid of light naturally lends itself to audio and helps the listener feel engaged in the story. There are some other stories which use the constraints of audio to their advantage in the Big Finish range – another one that jumps to mind is The End of the Line in which the characters spend a lot of time stranded in thick fog. Whilst this element works really well, the story feels as though it spends a lot of time treading water in the middle, especially as those stranded on the base don’t seem in any urgent hurry to leave in the rescue ship. The story doesn’t take the opportunity to delve into giving the guest characters more characterisation despite a small cast. They can largely be described as being one dimensional, and only really have one defining characteristic each. Orllensa is lucky and has two – she is Russian or at least East European and cynical. We do get some of her bask story but Haliard and Ferras get nothing.

The ending is also pretty poor, with the reveal that the perceived descending army of Solarians are actually Cimmerians feeling both rushed and overly simplistic. It does skirt around the idea of fear enhancing to the point where the Cimmerians are terrified of the light and deprive it of everyone in the system, which leads to some particularly effective body horror when we learn that Orllensa and Ferras have had their eyes burnt out. What I do like about the story is that, despite the Doctor and Charley mentioning the TARDIS and even trying to escape from the advancing Solarians, the story doesn’t allow them to take that shortcut. Despite my issues with the conclusion, I also really like the idea of their ships which are powered by solar sails.

This is not a tremendous story for the Eighth Doctor or Charley, however, McGann and Fisher do some good work here. The story spends a lot of time with the Doctor feeling like a pedestrian to the plot and he seems to spend most of it being quite reactionary but the moments in which he ponders whether interfering in the life of alien races and planets is right. Meanwhile, despite spending most the story apart, Charley doesn’t feel as though she has very much to do. She does have some good moments – I like her reaction when ROSM disables offensive weaponry previously targeted at her. McGann and Fisher feel as though they have really got the relationship between the two characters down and even in a story like this, they are capable of elevating it. The story does not advance the ongoing arc about Charley’s survival and its impact on the Web of Time, although the gathering of the Type 70 TARDISes at the beginning of the story might be hinting at the Time Lords tightening the net, and ROSM states that his readings flag something up as unusual, but nothing more is made of it.

Verdict: A story with an interesting premise and great sound design, which falls down in its execution. The ending feels particularly rushed. 5/10

Cast: Paul McGann (The Doctor), India Fisher (Charley Pollard), Nicola Boyce (Orllensa), Lee Moone (Ferras), Mark McDonnell (Haliard), Ian Brooker (ROSM/Solarian/Cimmerian) & Nicholas Briggs (Cimmerian Voice).

Writer: Nicholas Briggs

Director: Nicholas Briggs

Parts: 4

Behind the Scenes

  • The story was originally supposed to feature the Morestrans from Planet of Evil, but the rights could not be obtained from the BBC.

Cast Notes

  • Nicola Boyce and Lee Moone also appeared in The Time of Daleks and Neverland, along with Mark McDonnall who also appeared in The Fear Monger and Dalek Empire.
  • Ian Brooker has played numerous roles for Big Finish, most notably playing the shortest lived alternative incarnation of the Doctor (who lived for 11 seconds) in Full Fathom Five.

Best Moment

The build-up to the cliffhanger at the end of the first part, ending with the reveal that Ferras and Orliensa have no eyes.

Best Quote

Your eyes…

What about them?

You’ve lost your eyes.

Charley Pollard and Ferras

Previous Eighth Doctor review: Seasons of Fear

Other Reviews Mentioned:

The Sword of Orion

Seasons of Fear

Seasons of Fear

It was at the Singapore Hilton, on the cusp of the yars 1930 and 1931, that I first met Mr. Sebastian Grayle.

The Doctor


The Doctor brings Charley to the Hilton in Singapore, her original destination when she originally boarded the R101, to meet Alex Grayle.  Whilst Charley enjoys her date, the Doctor encounters the immortal Sebastian Grayle, an old adversary of the Doctor whom the Doctor has not met yet.

Unfortunately for the Doctor, Sebastian Grayle succeeded in killing him years before this meeting and he has only come here to gloat.  The Doctor realises that there is something drastically wrong with time and he and Charley have to fix it.


It is perhaps an understatement to say that following the superb Chimes of Midnight is an unenviable task for Seasons of Fear, however, I am pleased to say that this story largely succeeds.  The two are very different stories, with this story a quest through various time eras and it is to the director’s credit that the various periods of history and locations this story contains feel so well developed and different. which certainly helps to make this story to work as well as it does.  It also features a very strong performance from Stephen Perring as the central antagonist Sebastian Grayle, who feels like a juggernaut and the Doctor certainly seems like he is steps behind.

My new state and the slow processes of influence and investment have given a land of my own.  A Bishopric.  And soon they will give me more.

An Earldom, perhaps?

The World, Doctor.  What less could one desire?

Sebastian Grayle (disguised as Leofric) and the Doctor

One of the strongest parts of this story is the performance of Stephen Perring as Sebastian Grayle.  The performance bristles with menace and resentment towards the Doctor, in part down to the Time Lord’s interference in his attempt to become immortal at the end of Part One.  Perring manages to maintain this throughout the story down to the character’s final moments in Part Four and certainly feels like a worthy adversary.  He is frustrated that the Doctor at times isn’t willing to give him his full attention at times and there is a lovely moment where he gets angry as the Doctor switches his attention to Charley instead, resulting in Charley being able to render Grayle unconscious with the TARDIS hatstand.  Grayle’s Masters who have interferred with time to the extent that they have rendered the Time Lords powerless are eventually revealed to be the Nimon, and they certainly work better on audio than they did in the Tom Baker era.  The Nimons attempted to set themselves up as God species on Earth, however, were earlier foiled by Mithrais, who later has a religion set up in his name.  The Nimons are able to exploit Grayle with promises of immortality in return for a sacrifice and setting up a ground station to establish a link between Earth and the Ordinand System, with the opportunity first arrising in 305AD Britain, and then later in 1055 and 1806 when the stars align correctly.  The Nimon are brough to life effectively by Robert Curbishley, and I’d say that they are used sparingly and effectively here.

So, Grayle, or should I say Leofric?  You’ve got yourself a grand old Saxon name now.  Why are you at court?  What are you planning?

Doctor…is that what they called you?  Doctor Who?

My enemies never ask me that.  Isn’t that terrible?  But they know me better than my friends.

The Doctor and Sebastian Grayle

The story is a romp through time which is something that certainly hasn’t been done very much on televison – the only example I can think of in the revived series is Spyfall, Part Two, where the Thirteenth Doctor visits various eras.  Husband and wife writing team Paul Cornell and Caroline Symcox do a good job here, with a script that is both quite scary and funny in places.  The scenes in Roman Britain feel unsettling, however, there are elements of dark humour here – there are similarities to the Church of England’s standard services in parts, which no doubt come from Symcox’s experiences as a vicar.  The story ultimates concludes with the innocent original Grayle being so horrified by what he becomes after being given immortality that he kills his older self, which works quite well here too.  I do enjoy this story, however, if I had to pick a minor niggle, I would say that the use of narration is a bit jarring and took me out of the story in places, however, I can understand why it is necessary in a story which includes multiple different time periods and is quite fast paced at times.  The story also reveals that the disruptions to time are a consequence of the Doctor saving Charley from the R-101, an important arc that would continue through the next few stories

Paul McGann and India Fisher are on fine form here and have a really easy chemistry which makes their relationship work really well.  The Doctor and Charley have certainly settleed into an easy relationship and both of them are likeable – this is probably one of my favourite TARDIS pairings.  Outside of this central dynamic, I really enjoyed Lennox Graves and Sue Wallace as Edward the Confessor and Edith of Wessex respectively.  Both certainly bring a lot of regality to their performances and they are playing historical figures who personally interest me and are not really very commonly featured in drama.  This is surprising considering how important Edward the Confessor is in the grand scheme of British history, even if he is known for the chaos he left in his wake by essentially allowing anyone and everyone to inherit the throne on his death in 1066, leading to the Norman invasion.

Verdict: Seasons of Fear is another strong story for the Eighth Doctor and Charley which features a strong antagonist and a good story jumping through different time periods, which each feel distinct thanks to good direction. 8/10

Cast: Paul McGann (The Doctor), India Fisher (Charley Pollard), Stephen Perring (Sebastien Grayle), Stephen Fewell (Lucillius/Richard Martin), Lennox Greaves (Edward the Confessor), Sue Wallace (Edith), Robert Curbishley (Marcus/Nimon voice), Justine Mitchell (Lucy Martin), Don Warrington (Rassilon) & Gareth Jenkins (Waiter/Prisoner).

Writer: Paul Cornell & Caroline Symcox

Director: Gary Russell

Parts: 4

Behind the Scenes

  • The first appearance of the Nimon since The Horns of Nimon.

Cast Notes

This story boasts a lot of actors who have been involved in Big Finish productions, which I have done my best to list the most significant of below:

  • Stephen Perring (The Eyes of the Scorpion, Zagreus and the Kro’ka during the Eighth Doctor’s time in the Divergent Universe);
  • Stephen Fewell (Red DawnThe One Doctor, Zagreus and The Twilight Kingdom, and also Jason Kane in the Bernice Summerfield stories);
  • Lennox Graves (The Shadow of the Scourge, The Chimes of Midnight, The Condemned and The Whispering Forest);
  • Sue Wallace (The Chimes of Midnight and The Whispering Forest);
  • Robert Curbishley (The Fires of VulcanThe Chimes of MidnightThe Time of the DaleksThe Church and the Crown and The Game;
  • Gareth Jenkins worked for the company ERS who did sound design and post production for Big Finish.  He also appears in Dust Breeding and Bang-Bang-a-Boom!
  • Don Warrington makes his first appearance here as Rassilon.  He went onto appear in Rise of the Cybermen.

Best Quote

I’d like to lock him in here for a while, but left alone he could do serious damage.  besides, in the end he would get out of any confinement.  That’s one of the wonderful things about Lady Time, isn’t it?  How nothing’s constant, how everything decays and changes?

You call that wonderful?

I call that absolutely beautiful.  How would it be if everything was always the same?  If you never got too big for your dresses, if you never got to pass them on to you sister?  If the rainy autumn lasted forever and spring never came?  At least I change.  I’m stumbling my way through bodies like I own a particularly dangerous bicycle.  Grayle never changes, not inside.  Not who he is.

The Doctor and Charley Pollard

Previous Eighth Doctor review: Living Legend

Living Legend

Doctor Who - Living Legend


The world faces imminent destruction when Italy win the 1982 World Cup!  Can the fabled Time Lord Charleyostiantayshius save humanity from the dreaded Threllip Empire, or will her idiot companion, the Doctor, ruin everything?


At only 20 minutes long, this story is a bit different and quite difficult to review.  It seems to fit logically between Invaders from Mars and Seasons of Fear as a short 20 minute adventure for the Eighth Doctor and Charley before everything escalates towards Neverland and Zagreus.  As such, it’s not essential listening, but as it is free and quite a lot of fun, I would recommend giving it a listen.

Whilst short, this story does have some nice moments fbetween the Doctor and Charley and the chemistry between Paul McGann and India Fisher is evident.  The story revolves around the Doctor and Charley switching places, with Charley becoming the Doctor-like role and the Doctor playing her companion and in a story that is largely light hearted, there are nice moments of them both mocking the Time Lords and their garb.  The alien species, the Threllips are also played largely for laughs, with both actors using West Country accents.

As mentioned, the story is quite light and fun.  Unlike other alien invasions in Doctor Who, the invasion is foiled quite comically.  The Doctor takes Vengorr to the Italian village of Ferrara where the citizens are celebrating their World Cup win and convinces the alien that he has contracted World Cup Fever, whilst Charley tells Thon that he goes down as a mere footnote in Vengorr’s history.  It is difficult to imagine a story being televised where the Doctor convincing an antagonist that the only way to cure the fever is to drink a copious amount of wine.  I think if this was a full four part storyline played in the same way it would really grate on me, but as it is, it works really nicely.  It is perhaps surprising that Scott Gray has not been asked back to write for the Eighth Doctor again.

Verdict: A fun interlude before the story delves into the Web of Time, Living Legend is a nice fun story.  7/10

Cast: Paul McGann (The Doctor), India Fisher (Charley Pollard), Stephen Perring (Vengorr) & Conrad Westmaas (Thon)

Writer: Scott Gray

Director: Gary Russell

Behind the Scenes

  • This story was released with Doctor Who Magazine issue 337, along with a documentary about the making of the 40th anniversary story, Zagreus.

Cast Notes

  • Stephen Perring has appeared in a number of Big Finish audio stories, with his most prominent roles being the Kro’ka during the Eighth Doctor’s time in the Divergent Universe and Mathias in the Gallifrey audio series.
  • Conrad Westmaas was also heavily involved in the Eighth Doctor’s audios as companion C’rizz.

Previous Eighth Doctor review: Invaders from Mars



Invaders from Mars

Invaders from Mars

How does it feel to betray your own planet?

A lot like betraying your own country but a lot more satisfying.

Eighth Doctor and Cosmo Devine


The Doctor and Charley arrive in New York on Hallowe’en 1938 to find a dead detective.  The Doctor’s insatiable curiosity takes him on a hunt for a missing scientist, bringing him into the path of Orson Welles, Glory Bee and a mobster with half a nose known as the Phantom, and some truly out of this world technology.

All the while, Welles’ broadcast of The War of the Worlds is being broadcast to an unsuspecting American public…


After the frankly terrible end to the Eighth Doctor’s first series at Big Finish, a return to America wouldn’t have been in many fans’ wish lists as the second series starring Paul McGann and India Fisher was released.  Fortunately, however, Mark Gatiss’ second series opener is a marked improvement, and not just on the American accent front.  A really well-researched story that certainly subverted my expectations – any story that includes ‘Mars’ in the title certainly brings to mind the Ice Warriors and Pyramids of Mars and I’m pleased to say that despite no references to either, I was quite happy with the end result.  This is not to say that there aren’t issues – Charley is rather sidelined by the plot and at times it does feel like that there is just too much going on.  It is certainly to Gatiss’ credit that he does manage to tie together the disparate plot elements into a coherent finale.

One of the strongest elements of this story is the production and direction of this story.  It certainly feels as though Gatiss has put a real effort into making this sound like a 1930s radio drama, with the incidental music stings between each scene and it certainly evokes the era.  This achieves a sense of ambition and scale which is sorely lacking in McGann’s first series, and especially in Minuet in Hell.  It is clear that Mark Gatiss did his research into his era, and I understand that some of the discrepancies (like the number of US states and the date of the formation of the CIA) tie into the ongoing arc surrounding Charley and the implications of her rescue from the R101 on the Web of Time.  These are carefully seeded and do not detract from the narrative, and I hope they will be rewarding once I know the truth behind Charley.  The above being said, Gatiss does try and play with too many plot elements which does make the story a bit of a mess to follow.  There are Russians, Nazis, atomic bombs, aliens, mobsters and Orson Welles thrown into the mix and it feels as though one of these elements may have been dropped. The obvious victim of this is Charley, who does get dropped quite early on, being held captive, menaced, drugged and barely featuring in the finale.   

The cast is very good here, which is great as a lot of them are playing multiple roles which makes this story feel a lot bigger than the cast.  The performances that particularly stand out are those of David Benson, Jessica Stevenson and Simon Pegg.  Without knowing that Pegg or Stevenson were in this story, I’m not sure I would have recognised their voices had I come to Invaders from Mars cold.  Stevenson and Benson have particularly tough jobs as they are British actors doing American and Russian accents, but the performances are convincing enough.  Benson’s delivery of the War of the Worlds script is really well done and effectively unnerving.  Pegg’s 1930s American gangster voice is perfect too, and completely unrecognisable as the star of Shaun of the Dead and Spaced.  John Arthur at times threatens to steal the show completely as Cosmo Devine, with all of his lines delivered with great relish.  Devine is probably one of the slimiest Doctor Who villains, a homosexual Nazi sympathiser who is utterly ruthless in pursuit of his goals.

Paul McGann takes this opportunity to solidify his take on the Doctor.  Gone is the Machiavellian scheme of the McCoy era and here is this ever-curious and sometimes a bit slow on the uptake incarnation – like the scene where it is revealed that Glory Bee is not in fact related to Stephashin at all.  His glee at the idea of playing the part of gumshoe detective is contagious, despite Charley’s misgivings about him stepping into a dead man’s shoes.  I’ve been quite positive about McGann in the Big Finish stories up to date, but this is a real opportunity for him to take centre stage and shine, and McGann really doesn’t let this opportunity slip through his fingers.  The moment where the Doctor loses his temper with Chaney, Glory and the Professor about the alien artefacts is one of the most Doctor-like moments he has had.  Ultimately, of course, the Doctor gets a bit carried away towards the conclusion, almost endangering the safety of the planet in the process

Verdict: Possibly one of the best early Eighth Doctor audio stories.  Gatiss’ work in all elements of production deliver a great experience and McGann’s Doctor finally feels secure.  8/10

Cast: Paul McGann (The Doctor), India Fisher (Charley Pollard), John Arthur (Cosmo Devine/Hotel Clerk), David Benson (Orson Welles/Professor Stephashin/Halliday), Mark Benton (Ellis), Ian Hallard (Mouse/Winkler), Simon Pegg (Don Chaney/Actor), Paul Putner (Bix Biro/Noriam/Man), Jonathan Rigby (John Houseman/Thug/Streath), Jessica Stevenson (Glory Bee/Carla/Women), Katy Manning (Reception Guest), Mark Gatiss (Radio Announcer) & Alistair Lock (Thug 2/Toastmaster)

Writer: Mark Gatiss

Director: Mark Gatiss

Parts: 4

Behind the Scenes

  • This story introduces a new variation of David Arnold’s theme.  The closing theme has also been revised.
  • The Doctor actually met H.G. Wells, the author of The War of the Worlds in Timelash.
  • Simon Pegg would go on to appear in The Long Game, Jessica Stevenson  in Human Nature/The Family of Blood and Mark Benton and Paul Putner were in Rose.

Best Quote

We suspected that the Professor was planning to extend his trip to the United States a little.  It is important that such a mind as his will remain within the Soviet Union.

But you lost him, didn’t you?

Somebody made away with him, yes.  We decided to try any means of discovering his whereabouts.  Even down to hiring disgusting capitalist private detective. No offense, Mr. Halliday.

None taken.  I’m not Halliday, he’s dead.

Glory Bee and the Eighth Doctor