dalek empire

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Cover art for the Big Finish Doctor Who audio release The Apocalypse Element

Colin Baker as The Doctor with Maggie Stables as Evelyn
and Lalla Ward as Romana

Also featuring

Michael Wade, Nicholas Briggs, Alistair Lock, Karen Henson
Andrea Newland, Andrew Fettes, Toby Longworth
James Campbell, Neil Corry
and Anthony Keetch

Written by Stephen Cole
Directed by Nicholas Briggs


All things considered, I found the first outing for the Daleks in the Big Finish Doctor Who audio range to be a rather lukewarm affair. However, joining them for their second appearance on audio we also have the Time Lords of Gallifrey, Evelyn Smythe, Colin Baker as The Doctor, and a certain Romanadvoratrelundar, played once again by Lalla Ward. With those ingredients, what could possibly go wrong?


“There’s something wrong here, I can feel it.”

Episode 1: The Sixth Doctor and Evelyn arrive on the planet Archetryx, as it plays host to twenty of the most powerful races in the cosmos, all attending a conference designed to discuss imposing limitations to temporal manipulation in light of the still unexplained Etra Prime incident, where the entire planetoid, and all upon it, vanished without trace. The Doctor is shocked to discover that amongst the missing was the newly elected President of the Time Lords, and his former travelling companion, Romana.

Ever since Doctor Who returned to screens in 2005 there has been the shadow of the Last Great Time War hanging over The Doctor. An event so momentous that it altered the very fabric of The Doctor himself. And yet also an event that we, as an audience, would seemingly never be destined to witness for ourselves, instead only being allowed small glimpses into the periphery, and indications into what the fallout of this event caused to The Doctor, to the Time Lords, Gallifrey and the Daleks, and to the universe at large. This, of course, only helped to increase the mystique that surrounds the Time War, and made the audience even keener to experience the events that transpired for themselves in some form. Alas, to date, that has not come to pass. So instead all we can do is to take the fragments that we have been given, and imagine the rest.

But if you are anything like me, just visualising what such a Time War could be like is a bit of a daunting task. Until now. Because The Apocalypse Element paints a very clear picture of what such a conflict could be like, and could, if you chose to do so, even be seen as an opening salvo in what would ultimately become the Last Great Time War. It also happens to be the second lead in to the eventual Dalek Empire spinoff series, after the previous Sylvester McCoy era tale The Genocide Machine. And a marked improvement it is on that one, too.

And don’t let the chosen quote above mislead you either, there is in fact very little wrong here at all. Indeed, what writer Stephen Cole and director Nicholas Briggs have delivered this time out is a very strong contender for my favourite Big Finish Doctor Who audio release so far. Or, at the very least, a story that is on par with what was, prior to this, my clear favourite, The Marian Conspiracy. And just like that story, it all comes down to the quality and complexity of the script, and the ensemble of truly first rate performances. Both areas in which this particular adventure absolutely shines.

Speaking of complexity, the job Stephen Cole does in balancing so many disparate elements, while always maintaining forward momentum, and never losing focus on either plot or character, is a masterful one. That he manages to do so, while also re-introducing old characters in a compelling manner, telling an epic, fast moving tale with a large cast of characters, and setting up plot elements that will clearly be used again in the future, all the while being forever mindful of the medium he is working in, and how best to use it, well, it is simply a master-class on how to successfully script for audio. Truly impressive stuff, and one that future writers for Big Finish have hopefully taken note of.

And while I’m handing out plaudits, I also need to point out just how well the Daleks themselves have been used this time around. Unlike the rather perfunctory The Genocide Machine, here we have the Daleks at their evil best, with the true menace and threat they represent superbly and convincingly realised. They are the scourge of the universe, equal parts deadly fanatical threat, and twisted conniving strategist, and few Doctor Who stories, and even fewer Doctor Who writers, manage to fully sell all of that character and motivation which lies festering behind the robotic voices, and their penchant for catch-phrase induced slaughter. But Cole and company have absolutely nailed the Daleks here, and it makes a world of difference to the overall effectiveness of the story.

Another thing that helps truly sell the Daleks in this story is just how good the Dalek voices are. Once again I felt that the first Dalek outing, The Genocide Machine, had been just a tiny bit off in some regards, as far as the Dalek voice work went. But here Nicholas Briggs and Alistair Lock are absolutely spot on, and the degree to which this authenticity adds to the menace of the Daleks here is truly palpable.

So what we have, with this first episode, is an absolute cracker of an opening, equal parts mystery and plot development, that pays off exactly when it needs to, and in often surprising and imaginative ways as well. And it only gets better from here, folks.


“Welcome back, Romana.”

Episode 2: On Etra Prime, Romana is forced by the Daleks to work on the construction of a temporal centrifuge, a vital component in their upcoming plans. But could this also present an opportunity for escape after so many years imprisonment?

As we roll into the second episode, we are greeted with the return of Lalla Ward as either Romanadvoratrelundar, Romana, Romana II, The Mistress, or Unit One-One-Seven, depending on your personal point of view. And quite a return it is too. Not only is it a supremely bold move to take the character of Romana as we previously knew her, give her this tortured history, and set her up to go in a surprising new direction into the future, but it also serves to strengthen her, adding additional layers to a character that we previously knew, and giving her an actual purpose within the greater Doctor Who universe, beyond that of simple companion. In short, rather than the usual effort to recapture a companion exactly as they were when we knew them, here they have given us the return of a character who has changed in the years since we, and the Doctor, last saw them. And it works remarkably well. It also affords Lalla Ward some legitimate performance opportunities. One of the best, and most effective, being that of her introductory monologue, where she details her current state of mind and body, after having been so long imprisoned by the Daleks. It is genuinely captivating work, perfectly delivered by Lalla Ward, and gives Romana one Hell of an entrance into the Big Finish Doctor Who audio range. And, better yet, it is a performance quality that she maintains for the entirety of this story, approaching each opportunity with equal gusto. There’s no first audio anxieties on display here whatsoever.

This adventure also marks the return of Michael Wade’s Lord President and Anthony Keetch’s Celestial Intervention Agency Coordinator Vansell, whose last appearance, in debut Big Finish Doctor Who audio adventure The Sirens of Time, had them allowing Gallifrey to be invaded by the Knights of Velyshaa. Here they allow the Daleks to invade Gallifrey, so at least they are setting their invasion standards a little higher this time around. Still, with that kind of managerial track record is it any wonder that everybody on Gallifrey was apparently perfectly willing to wait twenty years for Romana to return and reclaim the top job? Besides which, it’s not like they are anywhere near the worst that Gallifreyan politics has had to offer over the years, so the locals probably thank Rassilon for small mercies, I suppose. Either way, both performers do their jobs here admirably.

Speaking of performances, this is another triumph for Colin Baker, who is once again absolutely superb as The Doctor. He also gets some great lines along the way, both dramatic and pithy. The Mexican Standoff bit, which I won’t spoil here, actually made me laugh out loud. A perfect example of a performance elevating what was a good line, and turning it into something great. A talent for which Colin Baker seems to posses in abundance, based on his work for Big Finish thus far. His Doctor here also fully possesses that fiery quality that I always so enjoy, even if some of the rougher edges are, again, smoothed down just a little too much for my taste. Also notable of mention is just how well the chemistry between Colin Baker’s Doctor and Lalla Ward’s Romana works here, and you truly do believe instantly in the shared history that exists between these two characters.

The main guest cast is strong right across the board this time out as well, with Anthony Keetch’s afore mentioned Vansell in particular making a great foil for The Doctor, while Andrea Newland and Andrew Fettes (as Raldeth, also previously featured in The Sires on Time) were both, for me, standouts amongst a very fine supporting cast. And then we come to one Evelyn Smythe…

Now I have actually quite enjoyed Maggie Stable’s Evelyn in the two previous outings that she shared with Colin Baker’s Doctor, but here I felt that the character just made for a bit of an ill fit with the story being told. Given the stakes involved and the way that the drama unfolds, she is entirely too flippant for the entirety of the story. Nothing seems to faze her, worry her, or frighten her, in fact she shows basically zero emotion whatsoever, nor any empathy to the gravity of the events unfolding around her, instead she just basically walks about like a bemused tourist, replete with a string of pithy one liners, which soon becomes rather tiresome. It just serves to make the character seem entirely detached from all that is going on around her, and as a result, the story itself, and one can’t help but wonder if it wouldn’t have actually been better without her in it, and with someone a little more emotional in her place. Maggie Stables performance is fine for what it is, but, for me, it just doesn’t fit very well into the overall tone of the tale being told, and as such is one of the very few weaknesses in what is otherwise a pretty flawless audio adventure. That said, it does allow The Doctor a great dramatic outburst near the end of the story, when even he seems to have had enough of her apparent apathy towards the unfolding of events. Honestly, I couldn’t help but sympathise.

That lone, and relatively minor, complaint aside, this episode takes the story from mystery to outright thriller, and the pacing barely lets up for a moment, despite somehow still allowing the story and characters time enough to breathe, and the story to twist and turn in admirable fashion. And things aren’t slowing down any as we storm into episode three.


“Gallifrey must fall to the Daleks!”

Episode 3: After the disaster on Archetryx, The Doctor and his companions retreat to Gallifrey, home of the Time Lords. However, they may already be too late, as the Dalek invasion has begun…

The third episode shows us that this story is very much one of two halves, however luckily for us both are equally enjoyable and interesting. There is fan service aplenty here, particularly now that we are on Gallifrey, however it all fits neatly within the bounds of the story being told, and thankfully never feels like it is only present as a form of writer posturing, as can so often be the case when the continuity well is delved into. As a result, such instances actually tend to add to the story, rather than work against it, and manage to confidently avoid the risk of alienating the listener under a sea of continuity minutiae.

If I had any nitpicks at this point, it would be that very occasionally the sound mix is a little too cacophonous during the requisite battle scenes, and when that happens the lack of aural focus can detract from the overall effectiveness of the scene in question to a small degree, as it all tends to become a clash of noise. But this only happens a couple of times along the way, and never for very long, so it really is being tremendously nitpicky of me to even mention. And while on the subject, I must also take the opportunity to say that the soundscape itself is actually incredibly impressive and immersive here, and is itself worthy of the highest of commendations. You really can’t undersell the value and importance of achieving a sense of atmosphere for audio, and here they have managed to do exactly that, and then some.

I do, however, have one other audio complaint, and that is in the wisdom of using a high pitched tone as a mind-control plot device early on in the story, as it is just such an unpleasant sound to hear, particularly through earphones. Thankfully it’s usage is limited to only a couple of brief instances in the first episode, but even so, perhaps it was not the wisest of choices purely from a listener comfort point of view.

As we power towards the final episode now, I should also say that this is one of those rare stories where each episode grips so hard that it left me genuinely thirsty to jump right in to the next episode as soon as possible. And for an episodic story format, there are few compliments as great as that. It has also managed to provide some ripping good cliff-hangers along the way, as well. And as I have said before, I do love me a good cliff-hanger.


“The sacred heart of the Time Lords.”

Episode 4: As the true scale of the Dalek plan becomes horrifically clear, The Doctor and his companions are faced with an impossible choice. Surrender Gallifrey to the Daleks, or watch the entire universe burn. Could this finally be victory for the Daleks?

Often I find that the final episode is so focussed on trying to wrap everything up neatly that it forgets that it still has to be entertaining along the way. However, we have no such worries here, as they manage to not just stick the landing, and in highly entertaining and satisfying fashion, but also deliver a neat little twist in the tail to boot. Once again, a glowing example of how it should be done.

So, it seems that with The Apocalypse Element we have yet another high water mark for the Big Finish Doctor Who audio range. A multi-layered, tremendously engaging, and perfectly paced story that more than lives up to any raised expectations formed by the return of Romana, the Time Lords of Gallifrey, and the Daleks. Every element of this audio release comes together to help deliver what is, for me, undoubtedly one of my absolute favourite releases from this first timer’s journey through Big Finish thus far, and it is this degree of quality Doctor Who audio story that drives me to keep coming back for more, searching for the next Big Finish Doctor Who audio release of similar excellence.

There are a couple of small issues I had along the way, but by any measure, this is classic Doctor Who, and yet another feather in the cap of Colin Baker’s Doctor, who truly has proven now beyond a shadow of a doubt that despite the ups and downs of his television tenure, his Doctor was never the problem. Something that, hopefully, conventional fan wisdom will one day see fit to finally acknowledge.

Now, if only I could finally get an audio adventure somewhere near this good for Sylvester McCoy’s Doctor. A task which has thus far proven itself to be surprisingly elusive, despite best efforts to the contrary. Will his next outing finally break the drought?


Next up: Sylvester McCoy returns in The Fires of Vulcan

Cover art for the Big Finish Doctor Who audio release The Genocide Machine

Sylvester McCoy as The Doctor and Sophie Aldred as Ace

Also featuring

Louise Faulkner, Bruce Montague, Daniel Gabriel
Alistair Lock and Nicholas Briggs

Written by Mike Tucker
Directed by Nicholas Briggs


Daleks. Whether you love them, hate them, or are just plain indifferent about them, few would fail to acknowledge the huge impact and sheer importance they have played in the legacy of Doctor Who. As one of the key ingredients of it’s initial, as well as it’s enduring, popularity. As one of the primary visual cornerstones of it’s iconography. And as a vital chapter in the lore of the show, and the journey of it’s lead character. They are an enemy that have helped shape the very nature and personality of The Doctor himself. And here they are, the first of The Doctor’s famous rogues gallery to be given the Big Finish Doctor Who audio treatment. So, how do they fare? Please join me to find out.


“Why can’t we ever land on nice planets?”

Episode 1: The Seventh Doctor and Ace arrive at the library of Kar-Charrat, a hidden repository that claims to house all of the knowledge of the universe. Meanwhile, in the dense forrest outside, a salvage team has arrived with plans to steal the ancient alien  ziggurat, the origins of which are shrouded in mystery.

Right off the bat, this story has quite a lot to live up to. Not the least of which being that the Seventh Doctor’s previous encounter with Terry Nation’s erstwhile bank balance boosters was in a certain Remembrance of the Daleks, a story widely considered to be the first real and legitimate triumph of the McCoy era. After a decidedly rough start, to put it very kindly, the Daleks marked the beginning of a sea-change in terms of both quality and content for McCoy’s incarnation of The Doctor. It wouldn’t be a perfect journey by any means, but they now had a direction and a handle on who the Seventh Doctor was, and how he would, and should, behave, and the show was all the better for it in the two seasons that followed. So, after a somewhat shaky start for McCoy’s Doctor on audio, can the Daleks do the same for him again here?

In a word. No. In a lot more words, it was probably too much to hope for, and for a great many reasons. The most notable, and succinct, one being that the previous McCoy audio stories were nowhere near as bad as the vast majority of his first TV season, and this story is nowhere near as good as Remembrance of the Daleks. That’s not to damn this story too harshly, nor to dismiss it out of hand. The fact is that this is just a rather paint by numbers, traditional Dalek tale, with little new to add to the old familiar flavour. Now that may in fact be a smart move in the long run, giving the folks at Big Finish the opportunity to get to grips with the Daleks in the safety of a rather standard Dalek story, but in practice, from this listeners point of view, it can’t help but be a little disappointing as well.

As to the first episode itself, it does a fair enough job of putting all of the main pieces in place, moves at a decent pace, and it is an enjoyable enough listen, even if The Doctor’s reason for visiting the library on Kar-Charrat feels a bit forced and obvious. There are the kernels of some interesting ideas here though, some of which will prove to be more successful than others.


“Humans are impatient. Daleks have no such weakness.”

Episode 2: The Doctor is greatly concerned upon discovering that the Daleks have not only become aware of the library’s existence, but also know of it’s location. Elsewhere, Ace has a decidedly more immediate problem of her own.

Which brings us into the second episode, where the Daleks really start to take hold of the story, after, again, a rather familiar ‘big entrance’ moment towards the end of the first episode. And the first thing that strikes me is that the Daleks don’t sound quite right. They still sound like Daleks, but the delivery seems just a little too fast, the vocal effects just a little too soft. And at times it makes me wonder if this is what a Dalek on speed would sound like.

Of course it is important to point out two things here. One, this is Dalek-meister Nicholas Briggs’ first official Dalek work, and so it is actually impressive that they sound as good as they do for a first effort. And we all know how good he’d get at being Mr Dalek in the years to come. And two, as I’m still quite new to Big Finish Doctor Who audio, I’m actually far more used to hearing a much later, more finessed version of Briggs’ Daleks, as done for the modern era of the TV show, so that may be throwing me a little bit too. Here he is trying to replicate the McCoy era Daleks, and while it does seem, to me, to be just a little bit off the mark, at the end of the day that’s just being ultra picky, and there’s still no doubting that these are Daleks we are listening to. Daleks with a substance abuse problem, maybe, but Daleks nonetheless.

One thing I will take Briggs to task for, just a little bit, is the voice of his Emperor Dalek, which just kind of grated on me more and more with each appearance. The Emperor Dalek here just seems more petulant than imposing, which is not exactly what one might expect from the supposed all-powerful leader of the Daleks. Mind you, I should also mention that I have never actually listened to the audio for the mostly lost Troughton story The Evil of the Daleks, where the Emperor Dalek made his debut, so it might be absolutely spot on for all I know. The only thing that I do know is that here, for me, it wasn’t particularly effective, and I would have preferred something that sounded a little more powerful and imposing, even outright scary.

Which brings us to the other performances. And they’re all pretty good, really. McCoy and Aldred once again ably prove just how well they work together, and though there are precious few real standout moments for either of their characters to latch on to in the script, they both give consistently fine performances throughout, particularly McCoy. And happily, there are none of the performance variations here that occurred in their previous outing, The Fearmonger, either. Guest stars Louise Faulkner and Daniel Gabriel both provide nice support, even if they aren’t given a terribly lot to do in the greater scheme of things. While I was slightly less enthused by Bruce Montague’s chief librarian Elgin, however that may be more down to the actual character rather than the actor in question. Much like Mike Tucker’s story itself, the cast all do a solid enough job, without ever truly managing to surprise.


“This planet is now under Dalek control.”

Episode 3: The Daleks have taken the library, but what do they truly seek to gain? And what is the truth behind the so-called Phantoms of Kar-Charrat?

In the third episode things actually start to pick up quite a bit, and parts of the story genuinely do become decidedly more interesting. Problem is, as mentioned previously, many of those potentially interesting ideas don’t always work so well in practice, particularly in an audio based story format, or at least in the way they have been presented here. And so for every interesting idea or plot point, there seems to be another one that just seems either overly convoluted, or that, in practice, comes across as a little bit silly.

And honestly, I know that this is just the opening salvo in what would ultimately lead into the Dalek Empire saga, but by the end of the story I’m still not entirely sure why the Daleks even bothered with this particular master plan, much less laid in wait so long to implement it. You’d think that in a thousand plus years of waiting they might have come up with a better plan than “let’s try to build an ultra smart Dalek again“, because let’s face facts, that one never really works out for them.

Also, with exactly how things unfold here, you would think that the Daleks would have seen the end results of the whole Dalek Sec and Dalek Caan saga coming a mile off. But like I said, it seems that Daleks never learn. Though some writers certainly seem to pay a bit more attention, eh Mr Russell T. Davies?

The script, though mostly solid, also throws out a few dodgy Ace-isms, the likes of which felt dated even back in the eighties. Honestly, I kind of hoped that this would be one area the Big Finish Doctor Who audio stories would move away from a bit. At least she doesn’t frequently scream “Ace!” here, which was always a facepalm moment for me whenever it happened in the show. I mean, we get it. Your (nick)name is Ace. You have a jacket that says Ace on it, on both the front and the back. And the name Dorothy isn’t exactly catchy. But you don’t need to make your nickname your constant catchphrase too. Really. You don’t. You really, really don’t. Ever. And that goes for you too, writers of Ace.

On the flip-side, I actually really liked the concept of the Phantoms of Kar-Charrat, and the entire storyline that weaved about them. Sentient creatures that live in a seemingly normal, non-threatening, and everyday common place, and who use the bodies of the dead to communicate, it is one of the things that really does work exceptionally well here. And the key setting of a library that ostensibly contains all the collected knowledge of the universe is a rather good one to have The Doctor visit as well. Both things I think a certain Mr Steven Moffat might well agree with.

And as we move into the final episode, I must take a moment to compliment the sound design. I may have the odd nitpick with exactly how the Daleks sound, but even so,  the sound work achieved in this story is second to none, and impressively sets a mood and tone that does a lot to dress up any shortfalls the story itself may have. The whole thing genuinely feels like a Dalek story, and the exceptional sound work is a major part of the reason for that.


“We live in the rain.”

Episode 4: As the Daleks attempt to instigate their plan, the true horror behind the library of Kar-Charrat is unveiled. And The Doctor is not pleased.

I don’t think it’s a major spoiler to say that the Dalek plan doesn’t exactly work out. The Doctor gets a nice moment of moral outrage. Which is nice. And momentary. So momentary in fact that he seems to largely forget about it almost immediately. The drawn out gag of Elgin’s silent assistant Prink reaches it’s long overdue, and blatantly unsurprising, conclusion. The imprisoned are freed, and everyone is free to go off on their merry way, as the spectre of the Dalek threat remains. And that’s about it really.

Once again, it may seem like I am being rather harsh or overly dismissive here, but the truth is this is just a pretty bog standard Dalek story. It doesn’t do anything particularly wrong, but nor does it do much that is particularly special or memorable either. We’ve seen, and heard, it all before. And really, that, more than anything else, is it’s biggest sin. And without the distracting polish of any breakout characters or standout performances to spur it on, just how routine a story it truly is becomes even more abundantly clear. It’s not by any means bad, it was still nice to hear the Daleks on audio, and I still had a reasonably good time listening, I just don’t know if I’ll remember any of it in the morning. In my defence though, I am a goldfish.

It seems that my Big Finish Doctor Who audio journey with Sylvester McCoy’s Seventh Doctor remains a decidedly rocky one. And I’ll have to get through quite a few more audio stories before his Seventh Doctor returns for another chance. But when he does arrive next time it seems that he’s bringing Mel along with him. God help me.


Next upPeter Davison returns in Red Dawn