From their humble beginnings in the fan community, Nicholas Briggs and his Whovian chums have come so very far. Big Finish continue to produce some of the greatest audio dramas ever, and aren’t showing any signs of letting up yet. As well as their long-standing monthly Doctor Who range, they have also branched-out into other areas, creating original, spin-off and tie-in series.

I think one of the key factors in the success of Big Finish Productions’ output is the quality of the writing. Every story the company produces seems to be lovingly polished and worked into a tight, presentable product, helping along the rest of the production process. Those guys have always pushed the envelope, delivering rich stories with unconventional plot twists and characters. The Doctor Who Unbound range is a case-in-point. Each of these stories presents a possibility that is interesting because of its desire to be unpredictable and brave, taking us out of our comfort zone.

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You remembered me! Thank goodness for that. If it hadn’t been for you, I’d have been completely erased from time. For the past few weeks, I have been otherwise occupied, almost being swallowed up by a huge crack in time. Yes, of course, I’ve just watched ‘The Big Bang’ – “…Bazinga!” – No, not that one! I mean the season finale of this latest series of Doctor Who. Before I go on, I should apologise for the total lack of structure within this post. I’d put it down to the temporal anomalies caused by the crack. That, or my laziness.

Steven was right, it wasn’t a “I didn’t see that one coming” kind of episode. It was a “If I’d payed more attention to the foreshadowing of that bit, I would have seen that coming!” kind of episode. After the triumph that was ‘The Pandorica Opens’, the Doctor sets about creating a time paradox to free himself from the Pandorica, scheming and plotting, just like the little Scottish one (sorry, Sylv). The concepts of time manipulation, previous events and, indeed, selves all playing a part in the story’s resolution was both fascinating and entertaining.

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So, a new era of Doctor Who history is dawning. And with a brand new production team, Doctor and companion, comes the inevitable new logo. So far, this redesign has rather divided fan opinion. Those who are passive towards it (including our very own Mr. Stewart) claim it brings nothing new to the table. That it is bland and unoriginal, and that the emblem that goes with it is rather naff. However, I think it works.

The very key to its appeal lies in the fact that it is unremarkable. It’s functional; it’s sleek and not at all garish. I’m already picturing in my mind the various bits of merchandise we’ll be seeing in 2010, marvelling at how great the logo looks on those DVD covers and action figures. It is basically a re-working of the 60s logos, with some of the metallic sheen that the TV movie version had. The emblem, I can only assume, will become the new Doctor Who watermark, an identifiable badge, if you will. I’m all for that, if only because it’ll look nice on the book spines

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Having bashed ‘Delta and the Bannermen’ to hell a few weeks ago, you’ll probably be expecting me, whilst reviewing this, the ‘Remembrance of the Daleks’ special edition DVD, to angrily remove both discs from their case and Frisbee them out of a nearby window. You can, however, relax. This 1988 adventure is the shining jewel in the crown of Doctor Who’s twenty-fifth season. Although it does have faults, ‘Remembrance’ is helped along by a first-class script, some ingenious set design and a stellar cast.

This story marks one of the few occasions during the period on which factors during the production generally gelled. Ben Aaronovitch’s script seems to nail not only the Doctor’s characterisation, but that of most of the other characters, too. There’s a depth to the narrative, an undertone of darkness and manipulation that is sadly misplaced during the course of Ben’s season twenty-six story, ‘Battlefield’. Much like many of the worst Doctor Who stories, ‘Remembrance’ is the product almost of a series of coincidences. The environment in which the series was produced during the late 1980s was rather confused and hap-handed. However, on occasion, the production team would create something marvellous.

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A favourite of many Whovians, this 10-episode epic is so engaging and inventive that it’s almost an affront to scrutinise its technical drawbacks. Watching it for the first time, this reviewer almost forgot about the fact that it marks the second Doctor’s departure from the TARDIS, not to mention that of his two most memorable companions, Jamie and Zoe. Sure it’s long, but its length gives you a chance to stand back and examine the bigger picture, the intricacies of the multiple plot threads that begin to come together tidily towards the climax.

The Script, considering it was completed in a hurry, is top-notch. I’m glad that Malcolm Hulke joined Terrance Dicks for the creation of this venture. Hulke’s stories are well known for incorporating his political views, so it’s no surprise that when given the opportunity to co-write a story about various periods in earth’s military history, he uses this as a siphon for his anti-war views. Unlike many of Hulke’s other ‘Who serials, the views he presents in ‘The War Games’ are more subtly woven into the plot, perhaps due to Dicks’ input. This allows the story to develop around these themes, rather than have them swamp the narrative. The central concept of this adventure is, while perhaps a little far-fetched, rather an interesting one. The systematic abduction of thousands of warmongering humans is an imaginative idea to say the least. It is gratifying that even at such short notice, Dicks and Hulke take the time to create a viable explanation for this bizarre scenario.

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