Martyn is joined by legendary Doctor Who writer, Rona Munro. The duo discusses her new Target novelisation for The Eaters of Light.
Rona also opens up about writing for Doctor Who, her approach to screen writing and her legacy in theatre.
The podcast Smartlink.
Artwork by Beeble Pete. Adapted by Penny Smallshire.
If you’d like to support the show, then please shop via our Amazon link. A small percentage goes our way, at no extra cost to you.
Martyn chats with the writer, James Moran about his upcoming Doctor Who Target novelisation, The Fires of Pompeii.
The Fires of Pompeii is due for release on July 14th, 2022.
If you prefer video, this interview is also on YouTube.
The podcast Smartlink.
Artwork by Beeble Pete. Adapted by Penny Smallshire.
If you’d like to support the show, then please shop via our Amazon link. A small percentage goes our way, at no extra cost to you.
Twitter: Martyn, Chris, Sam, Gerrod, Pete
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Colin Baker’s Sixth Doctor has found new life and renewed vitality in Big Finish’s audio dramas, where he’s been able to showcase his talent in ways that weren’t always possible during his time on television. In recent years, Baker has consistently delivered impressive performances in some of Big Finish’s best scripts, such as Doctor of War and Mind of the Hodiac. Fans have been eagerly anticipating his latest collaboration with David Tennant in Wink, the third installment of Big Finish’s Out of Time series, and thankfully, it does not disappoint.
McMullin’s cleverly crafted script highlights the distinct personalities and shared history of the Sixth and Tenth Doctors. Baker and Tennant play off each other effortlessly, creating an entertaining dynamic that’s both fun and occasionally tense. Tennant’s portrayal of the Tenth Doctor is as brilliant as ever, adding his own unique spin to the character and complementing Baker’s Sixth Doctor perfectly. Together, they face off against one of the Doctor’s most iconic foes, and McMullin masterfully builds suspense and tension throughout the story.
Big Finish has always been renowned for its ability to bring high-concept ideas to life through immersive sound design and music, and Wink is no exception. The talented cast, which includes returning favorites Ayesha Antoine and Clive Hayward, delivers superb performances, and the production values are top-notch. The result is an audio drama that is thrilling, entertaining, and engaging from start to finish.
If Wink does indeed mark the final installment of the Out of Time range, then it serves as a fitting conclusion. Once again, Big Finish has demonstrated their ability to bring a fresh and innovative approach to Doctor Who storytelling, while Colin Baker’s Sixth Doctor finally gets the chance to shine alongside the great David Tennant.
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In DOCTOR WHO: ORIGINS #1, released on June 8th, 2022 by Titan Comics, we embark on a new mission with the Fugitive Doctor, who must stop a dangerous cult from destroying Gallifrey. But, as expected in the world of Doctor Who, things are not quite as they seem.
Whilst The Timeless Children storyline proved to be controversial, fans mostly agreed that Jo Martin’ was fantastic as The Fugitive Doctor. She made a huge impact when she first appeared on screen in the long-running series. Her unexpected and mysterious introduction left fans wondering who she really was and where she fit into the Doctor’s complicated timeline.
Martin’s portrayal of the Fugitive Doctor was intriguing and compelling, capturing the essence of the character in a fresh and unique way. Her performance garnered praise from both fans and critics alike, and it’s exciting to see her character explored further in DOCTOR WHO: ORIGINS #1.
As always, writer Jody Houser provides readers with an exciting opportunity to get to know the Fugitive Doctor during her time working for the Division. We see her personality traits that eventually lead her to become a Fugitive, making for an engaging introduction to this incarnation of the Doctor. However, the art by Roberta Ingranata has some issues, particularly with consistency in the Fugitive Doctor’s anatomy and overuse of copy/pasting.
The highlight of the issue is Houser’s portrayal of the Fugitive Doctor, who is wise, sharp, and headstrong. She assumes an authoritative role when paired up with a junior member of the Division, showcasing why she is held in high regard. The mission at hand seems suspicious from the start, and readers can see how it will eventually lead to a split with the Division, serving as an excellent motivation point for her future.
The issue starts with a thrilling scene featuring the Fugitive Doctor in a darkened hallway, followed by an encounter with a giant Nebula Spider and a rescue by a Weeping Angel. Later, she receives a new assignment from the Division and is paired with Taslo, a freshly-graduated agent. The mission takes them to various cult strongholds, and the issue ends with a surprising meeting and the discovery of a unique way to store weaponry.
Overall, DOCTOR WHO: ORIGINS #1 is an intriguing start to a series that explores one of the lesser-known Doctors in Time Lord history. Houser’s writing gives the Fugitive Doctor a strong and assertive personality, while the mission provides plenty of opportunities for further exploration. However, the inconsistent art detracts from the overall reading experience.
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In Everything Everywhere All at Once, the filmmakers masterfully embrace the absurdity of life to explore deep philosophical concepts such as family dynamics and existential crises. The film follows the journey of Evelyn, a launderette owner struggling to break free from her father’s disapproving gaze and her own patriarchal hang-ups. As she discovers the existence of a multiverse with millions of versions of herself, she navigates through her complicated relationships with her daughter, husband, and the IRS agent who’s auditing her.
Stephanie Hsu delivers an exceptional performance that stands out against a cast of familiar faces. However, it is Michelle Yeoh’s portrayal of several intriguing interpretations of her character that draws on her storied cinematic career and brings depth and nuance to the role. Yeoh is undoubtedly a strong contender for the Best Actress Oscar, making her character’s journey even more compelling to watch.
Ke Huy Quan’s return to the big screen after many years away is marked by a heartfelt and authentic portrayal of Evelyn’s doting husband. Although he may be out-acted by his female counterparts, Quan’s performance showcases his talent and adds to the film’s overall quality. The addition of Jamie Lee Curtis adds a much-needed dose of humor to the absurdity of the plot.
While the film blends several genres to uncover universal truths, it does rely heavily on sensationalism to cover up plot inefficiencies. Despite this, Everything Everywhere All at Once offers a unique and entertaining experience that challenges viewers to embrace the absurdity of life, the universe and everything.
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Martyn and Gerrod bring you the latest in entertainment news, as well as a review of the new Nicolas Cage film, The unbearable weight of massive talent.
The podcast Smartlink.
Artwork by Beeble Pete. Adapted by Penny Smallshire.
Running Down Corridors can be found here.
We sound familiar can be found here, More than just an impression can be found here.
Comedians talking about football can be found here, Cister Act here.
It’s rarely a good sign, when the press screening for a film is the day before its release. So I attended the screening for this with very low expectations and those expectations were met.
“Morbius” is a very lacklustre and anti-climactic addition to the Sony Marvel universe. Jared Leto stars as Dr. Michael Morbius, a famed blood disease specialist who becomes a superhuman with vampiric abilities after his work goes awry.
Unfortunately, “Morbius” fails to elevate the originality of its comic book inspiration and instead relies on formulaic storytelling and forgettable characters. The lack of atmosphere and striking resonance robs the film of its ability to captivate and engage its audience. Despite the film’s special effects, they do little to salvage it from its poor craftsmanship and dull storytelling.
The one bright spot is Matt Smith’s portrayal of Morbius’s lifelong friend, Milo. Smith seems to be having an absolute blast in the role, injecting a much-needed dose of energy and charisma into the otherwise lackluster proceedings. Despite the script’s shortcomings, Smith’s performance is a testament to his talent as an actor and his ability to inject life into even the most underwritten of characters. While this may not be the vehicle that propels Smith to Hollywood stardom, his presence is certainly a welcome one in an otherwise forgettable film.
An amusing aspect is the film’s attempt to pass off London tube stations as New York City subways. Despite the best efforts of the production design team, the tube stations are unmistakably British. It is a reminder that no matter how big the budget or talented the crew, some details are just too difficult to fake convincingly.
The post-credit scenes add another layer of confusion around the Spider-Man anti-hero, leaving audiences with more questions than answers. It is a shame that even with ample time to rework its flaws, “Morbius” struggles to manifest its quality. As such, Sony Pictures has succeeded only in draining life from this vampire film, leaving it a forgettable addition to the Marvel Studios canon.
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“The Black Knight,” a captivating audio production crafted by the talented writer Lizbeth Myles, takes listeners on a thrilling and thought-provoking journey. This audacious narrative ventures into the uncharted territory of British history, melding it with elements of science fiction and social commentary. Myles skillfully navigates the storyline, delving into the prevalent sexism of the era while concocting a tale filled with conspiracies, moral dilemmas, and devastating consequences reminiscent of the beloved series Torchwood.
The story unfolds against the backdrop of Britain’s fledgling space program, a period that aligns with the existence of Torchwood Soho. Here, we encounter the indomitable Professor Lynne Sharman, portrayed with unwavering conviction by the talented Safiyya Ingar. Lynne, a brilliant scientist reminiscent of the trailblazing women of Doctor Who’s late ’60s and early ’70s episodes, finds herself trapped in a world dominated by pompous and outrageously sexist men. They dismiss her groundbreaking rocket science and discourage her involvement in the realm of scientific discovery.
At the heart of this male-dominated landscape stands Sir Christopher Grey, impeccably brought to life by Russel Bentley’s performance, oozing condescension with every swig of port and puff of cigar smoke. As the gatekeeper of funding and government support for ambitious projects like Lynne’s Viola rocket, Grey embodies the epitome of sexism and bureaucracy. His resistance to Lynne’s aspirations adds a layer of complexity to the narrative, a battle not only against gender bias but against the mysteries and failures of the Viola itself.
The Viola, Lynne’s brainchild, possesses a troubled history. Previous unmanned launches have met fiery ends, just as they were about to escape Earth’s magnetosphere. Faced with mounting pressure and the impending abandonment of her project, Lynne seizes her last chance to prove herself by proposing a manned mission. Enter Freddie Talbot, a close friend of Lynne’s and a man seemingly possessed of the right qualities for the task at hand. Their fates intertwine as Lynne’s relentless pursuit of scientific truth collides with the enigmatic forces thwarting her rocketry dreams.
In a stunning and all-too-brief scene, Lizbeth Myles and Safiyya Ingar offer a character study of Lynne that is both powerful and nuanced. Lynne emerges as a brilliant scientist, guided not by ego but by a deep understanding of her craft. Her unyielding dedication to the pursuit of knowledge leads her to consider the possibility of external factors influencing her research, delving into the realm of real-world conspiracy theories. It is this scientific curiosity and open-mindedness that sets her apart, propelling the narrative forward as she unearths a shocking revelation.
“The Black Knight,” a term Lynne assigns to a mysterious asteroid, unveils a grand cosmic conspiracy. Lynne posits that this celestial entity, positioned as a cosmic sentinel, actively impedes humanity’s journey beyond the confines of Earth. Her discovery raises questions about our place in the universe and the delicate balance between protection and isolation. Is this alien presence safeguarding us from unknown perils, or are they safeguarding the universe from us? The audaciousness of these inquiries drives the plot to thrilling heights, with Lizbeth Myles expertly crafting a tapestry of intrigue, suspense, and awe-inspiring exploration.
Alongside the riveting narrative, “The Black Knight” boasts exceptional performances from its cast. Safiyya Ingar breathes life into the formidable Professor Lynne Sharman, infusing her with intelligence, resilience, and an unwavering determination to challenge the status quo. Samuel Barnett and Jacob Dudman bring their considerable talents to bear as Norton Folgate and Freddie Talbot.
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Torchwood: The Black Knight is exclusively available to buy from the Big Finish website until 31 May 2022, and on general sale after this date.
Martyn and Gerrord are joined by Antoni Pearce. The dynamic trio talk about The Batman. Spoilers are contained within, obviously.
The podcast Smartlink.
Artwork by Beeble Pete. Adapted by Penny Smallshire.
We sound familiar can be found here, More than just an impression can be found here.
Comedians talking about football can be found here, Cister Act here.
Twitter: Martyn, Chris, Sam, Gerrod, Pete
Instagram: Podcast, Martyn, Chris, Sam
In just a few short years, Lizzie Hopley has cemented herself as one of the most consistent writers on the Big Finish roster. Returning to the Torchwood range for the first time since 2017, she gives us an interesting morality tale about care homes, loneliness, the treatment of elderly people and, the existential crisis of an AI.
Torchwood: Sonny follows fan-favourite Rhys (Kai Owen) as he enlists his mum, Brenda (Nerys Hughes) into helping Torchwood investigate a new fleet of robots, in a care home. At first, Brenda isn’t too pleased about this. But as time goes on, she becomes more and more dependent on her robot, named Sonny.
I had almost expected this to be a tale of robots taking over and attempting to enslave humanity. But Lizzie Hopley is so much smarter than that. She knows we’ve seen that trope a thousand times before. Instead of making us fear what robots could do to us, she makes us fear what robots could reveal about us.
Kai Owen, Nerys Hughes, and Steven Kynman are all terrific, and their relationships are convincing from the start. We all know Hughes is a particularly talented actress, but she absolutely shines in this audio. She portrays Brenda with such a raw vulnerability, that feels like an emotional gut-punch at times. There’s a wonderful complexity to Brenda, that I hope we get more of in the future. The supporting cast is also exceptionally strong, with Amerjit Deu, in particular, doing a fantastic job as Prudeep.
Sonny is not only a brilliantly comedic script, it’s also a deep exploration of what it means to feel isolated. Hopley manages to convey the monotony of being in a care home, without the story being boring. Lisa Bowerman’s direction is flawless and keeps the story going at exactly the right pace, this is all beautifully accompanied by Steve Wright’s soundtrack.
I’ve said it before, but I think it bears repeating. Torchwood on Big Finish is Torchwood at its absolute best.
Torchwood: Sonny is available to buy from the Big Finish website.
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