Saturday 29 February 2020

COMING UP on The Chase - The Chase for Sport Relief


COMING UP ON THE CHASE

THE CHASE FOR SPORT RELIEF

Episode:  1
Transmission: Saturday 7th March 2020
Week: 2nd - 8th March 2020
Published: Saturday 29th February 2020

*NEW SERIES*

A team of celebrities think they have what it takes to take on a chaser to win thousands of pounds for Sport Relief. 

Footballer Alex Scott, Radio 1 presenter Greg James, British Rower Helen Glover and comedian Jason Manford will have to work together to take on the chaser to win thousands of pounds for Sport Relief. But who will they be taking on? 


The Chasers:

Anne Hegerty
Mark Labbett
Jenny Ryan
Paul Sinha
Shaun Wallace

Friday 28 February 2020

COMING UP on the SUNDAY SHOWCASE - International Women's Day Special SUNDAY 8th MARCH





Coming Up On The Sunday Showcase With Dan Bury

Episode:  4/24 
Broadcast Date: Sunday 8th March 2020
Time: 2pm - 4pm 
Week 9: Monday 2nd - Sunday 8th March 2020
Published: Friday 28th February 2020

International Women's Day is a day that recognises and appreciates the social, economic, cultural and political achievements of women throughout the world.

On this day we celebrate International Women's Day by playing some of the best music from female artists from the 1960's - today. 

As well as that i'll be chatting with Misha Knight, my guest of the week about her business Brows By Misha and her journey becoming successfully self employed. 

We'll getting out and about in this week's 'What's Going On In St Albans?'

With Sunday Shoutouts after 3pm, and Tips for Monday. 

I'll also be playing some of the best music from the Radio Verulam Sunday Hits Playlist.

The fun, pacy, upbeat chat show continues this Sunday afternoon on Radio Verulam and on 92.6FM 

See you then. 

Thursday 27 February 2020

Robbie Coltrane Announced As Guest For London Film & Comic Con 2020



Hello and welcome back to another blog where this week Showmasters revealed on their social media channels and exciting announcement. 

Actor, Robbie Coltrane who is best known for playing Hagrid in the Harry Potter films has been announced as the latest guests to join the line up of stars who will be attending this years summer's convention at London Olympia in July. From what I gather this comic con will be Robbie Coltrane's first ever convention appearance so this is very exciting.

Robbie Coltrane is a huge talent and very experienced actor, I particularly like his performance as Doctor Samuel Johnson in Blackadder.



Robbie Coltrane will be attending on the 25th July, that's the Saturday, he'll be there all day Saturday. Don't go Friday or Sunday expecting to see Robbie Coltrane, he won't be there. 

It was only when I went on the website to look at what Showmasters would charging us good tax paying people to meet him where I got the shock of my life, and people naturally would take a step back when they look at these prices. 



An autograph from Robbie Coltrane will cost you £75, same price if you want a photo, diamond pass which guarantees you 1 autograph, 1 photo shoot and a gift is £195. How Showmasters can charge this amount is beyond me. It is annoying how Showmasters are justifiable for charging this ridiculous amount of money.  This has nothing to do with Coltrane, he didn't choose the price, and though I understand the convention is a business and it needs to bring in the cash... really? £75? for some people that's too expensive, the average person can't afford to pay this amount of money to see the stars they love. So that in itself is disappointing but not unexpected.

But great that they've got Robbie Coltrane, I'm sure lots will pay to meet him and some of the other names they've got coming like Aaron Paul from Breaking Bad, he's £75 as well. If it's between Aaron Paul or Robbie Coltrane, I'm going to go with Coltrane.

Tuesday 25 February 2020

Doctor Who Review - Series 12 Episode 9 - Ascension of the Cybermen







Hello and welcome to another Doctor Who reviewing, discussing Sunday night's episode which was Part One of an epic emotional roller coaster that is the Series 12 finale; better strap ourselves in as it's going to be a bumpy ride. 

Ascension of the Cybermen: It's interesting on where to start or how to review in a meaningful way without going straight into revealing a spoiler. Sufficed to say that if you haven't watched the episode yet, you'd do well to stay clear of social media or anywhere else that might be discussing the specifics, as there's lots to mull over in the aftermath. 

That's not to suggest that this episode must therefore be one of the most amazing episodes there's ever been in Doctor Who's fifty six year history. In some ways it has less going for it compared to last week's episode. But it does approach one of its story threads in a bullish way that I don't quite recall Doctor Who attempting before. That helps to make the episode a lot more layered than it otherwise might have been, and certainly gives fans one more thing to talk about before next week’s finale. 

I suppose we should probably start with the most fascinating aspect of this Cyberman war story: the part that has absolutely nothing to do with Cyborgs, spaceships, or the destruction of the human race. After the opening titles, we were taken to the amber-tinted haze of the Irish countryside, where farmer Michael is riding his bike down the country lane where he comes across an infant baby in a basket seemingly abandoned in the middle of the road, he takes the basket home to show his wife.

Baby Brendon soon gets adopted by Michael and his wife and we cut back to their idyllic life throughout the episode. He grows up, he becomes a member of the local guard, he gets blown away by a local gun man and falls off a cliff and survives. He retires, and gets given a clock and much like Captain Jack it would seem that Brendon can not be killed. If wasn't already made obvious from his inclusion in a story which is mostly about space robots from the far future, there is clearly more to Brendon than meets the eye. 

However when you take a story like this and present it out of context from everything else that is going on from within the story, you're going to confuse the viewer, especially if your are flashing back and forth, it's confusing and annoying, and for me, I wanted to see Cybermen, I didn't care much for Brendon's story. I didn't really understand where this sub plot fitted in to the cyberman story, and maybe it wasn't supposed to. 

What it does do however, is get the viewer asking a lot of questions? and that is a tactic that gets them talking and discussing theories and making them want to watch again in order to find out what the conclusion to the story and how it all fits in. Most people have said it's the lone Cyberman's back story? and maybe it is. But I'm betting on it being something much more than that. 

These kind of cutaway scenes have been used in Doctor Who before, you see them often in two parters. But what's unusual here is the episode finishes and you're left unsure how Brendon's life factors into everything else we've seen on screen. Ordinarily the link between worlds is at least hinted at - in Silence in the Library, for example, we don’t know how or why a little girl’s living room and an alien library are connected, but we do at least know that they are because the Doctor and Donna appear on her TV right away. With Brendan, we might just as easily have been watching clips from an entirely different programme. 

There are hints that he and the mysterious gatekeeper Ko Shamus might be one and the same (only Evan McCabe, one of several actors portraying Brendan, is credited as such) but I for one found it hard to say for sure. On the other hand, Ashad begins to electrocute a sleeping Cyberman at around the same time Brendan gets apprehended and tortured, so maybe that’s a clue instead. Is Brendan’s life really some kind of simulation designed to keep the human part of a Cyberman subdued? Is he an ancient hermit guarding a rift in time and space? Is he a Silurian? It’s a mystery that adds spice to the story, that’s for sure.

Now, back to the Cybermen, It's really good to see Ashad back again, presenting himself as the opposing threat for the Doctor and her companions. Ashad as a character is certainly more commanding and threatening than an entire army of zombified soldiers as he still felt human emotions and was possessed with some extremely negative human qualities, I said that in my review of last week's episode 'The Haunting of Villa Diodati'. His scary and twisted sneer apposes more of a threat than Tim Shaw could dream of. 


However, before Ashad and his cybermen troops arrive we first find the Doctor and her TARDIS team lugging large amounts of equipment through the remains of a settlement that is, from what the Doctor grimly informs them, most likely the last bastion of humanity. We have arrived at the end of the Cyber-Wars, a bitter conflict where mankind has been reduced to a scant handful of refugees being remorselessly hunted to extinction, although they gave as good as they got and the Cybermen are all-but-kaput as well. There’s almost nobody left to save. 


Given the very personal stakes that were laid out last week, to say that this is a surprise is putting it mildly. The Doctor’s declaration that any ensuing genocide would be a direct result of her choices really doesn’t add up here. If anything, it seems that this war was a fixed event in time and destined to unfold this way whatever happened, with only the final few hours in flux now that Ashad’s reclaimed the Cyberium. 


From a narrative standpoint, this makes sense, we’re going to be more invested in the survivors if we believe that they’re the last humans standing, but it also reinforces that this is an expected part of future history and not the Doctor’s fault, however loudly she might claim responsibility.


Speaking of raised stakes, we get a clever scene where various ways the Doctor has beaten the Cybermen in the past. Emotional inhibitors, gold dust, and so on; all these are set up as literal plot devices, only to be effortlessly destroyed by a squadron of cyberdrones. Why are these things shaped like flying Cyberman heads? Are they actual Cyberman heads? Answers on a postcard please. This leaves the human survivors, broadly-sketched civilians ripped straight from the Russell T. Davies era with names like Feekat and Yedlarmi, scrambling to escape. 

The TARDIS team get separated Yaz and Graham climb aboard with the last humans aboard their spaceship, giving encouraging doctor-like speeches of how they shouldn't give up. This motivates the team to carry on moving forward throughout their journey in this episode. On the other side of the pond, the Doctor finds Ryan and they befriend a character called Ethan who comes along for the ride and proves to be pretty useful. Together they hijack a Cyberman spaceship and travel to the boundary which is meant to a safe haven or paradise where they find Ko Shamas. 
Whilst Yaz, Graham and the other surviving humans find themselves on a spaceship containing many cybermen in deep sleep, sort of like in 'Tomb of the Cybermen' or 'The Invasion'. So let's discuss the Cyber Warriors. They're design, I'm not overly keen on it if I'm honest. The heads are good, they were looking to replicate The Invasion cyberman head, but everything from the neck down I'm not sure about, they look a bit too robotic, and I don't like the armour plates with the spikes on them, I'm not overly keen on the medieval armour look. It has the same issue that the previous cyberman design had in that they look a bit too robotic and too mechanical. I would preferred more reference back to the fact that these were once humans in the design so we as the viewer can almost feel sad for these people who have been turned into mechanical men. The design aside they'll serve their purpose in the story, or at least I hope they will. I don't like the name cyber warriors either, they're just cybermen. 

Ashad is delighted when he catches up to his quarry and discovers that an entire army of mint-condition soldiers which become his for the taking. This scene serves as a great example of how haphazardly the Cybermen behave throughout this episode, and I’m honestly uncertain how much of that is Ashad’s influence and how much is narrative convenience. 
Historically, Cybermen have mostly sought to upgrade humans by freeing them from emotions, using force mostly to achieve that goal rather than as a matter of course. From the get-go, we’re told that these Cybermen are few in number  the Doctor even warns her companions that if they’re captured, they’ll be ripe for conversion. Despite that, the Cybermen continue to kill on sight, almost as if they’re not paying attention to their own best interests. Also, despite supposedly being brilliant tacticians, they’ve apparently never thought to check their own wrecked ships for survivors.
Then we have the Cyberium itself: a focal point of last week’s episode and previously portrayed as some kind of all-powerful superweapon. Ashad himself treats it with an almost deific reverence, declaring that it’s responsible for leading him to this replacement army, though I’d argue it was following the humans that did that. It’s hard to see what concrete advantages, beyond the ability to read up on the Doctor, the Cyberium has actually conferred upon him. Is it genuinely powerful, or more of a totem? You can make your own minds up on that one. 
Regardless, we know that Ashad is a cyber-fanatic and that he’s driven by a heady mix of zealotry and self-loathing – the Doctor says as much while they’re butting heads, and Ashad readily agrees. It’s possible to view the contradictory patterns of his behaviour and erratic decisions made by these new Cybermen as symbolic of his state of mind, but a lot of the time it comes across as plotholes rather than precision storytelling. Ashad is still a great villain, but one way or another, he seems far less capable and calculating than he did this time last week.
Having stolen a cybership of her own, the Doctor overtakes the human survivors and makes it to Ko Shamus, who turns out to be a person rather than a planet. Together with Ryan, she learns that the Boundary is indeed a real thing and that humanity might not be as extinct as previously believed – except that when it opens, the Boundary leads to the smouldering ruins of Gallifrey. A moment later the Master appears from the breach, surprising anyone who hasn’t already peeked at this episode’s IMDB page, and the episode reaches its end.
There’s an awful lot of plot crammed into this instalment, which is both a good thing and a bad thing. The story rarely sits still and so demands your attention throughout, there are some witty exchanges and imaginative visual flourishes here and there. At the same time, all the stuff jammed in means that a series-long problem rears its head once again: there are too many characters and not enough space to develop them. As far as the companions go, it’s Ryan’s turn to tag along behind the Doctor this week, although Graham fares a little better and manages a bit of chemistry with Ravio as they explore the cyber-carrier.

If the Cybermen had been the entire focus of this episode it would have come across as rather aimless, with an awful lot of chasing - but not much actual catching - going on. Luckily, we have two other plot-threads woven throughout that are stronger and more enticing than the war story surrounding them. Firstly, it looks likely that a number of human survivors found their way through the Boundary to Gallifrey, whatever that may mean for Doctor Who canon, so there’s a lot to explore there. 

On top of that, we also have the story of Brendan, his immortality and his torturers that still needs connecting up to the plot-in-progress. There’s no point in waiting to hear how the Master escaped the Kasavin, he’s the Master, of course he did. But his arrival promises to add another rogue element into the mix next week on top of everything else, and I’d expect him to inject a bit of manic levity into proceedings too. 

I have to say watching it live, I was wondering who was going to appear at the end of the episode. Was it going to be The Master, Captain Jack, or maybe even the Ruth Doctor? I was pleased to see The Master again, but you imagine how amazing it could have been if it was Jack that burst out of the boundary instead of The Master? Fans would have been screaming with excitement. It didn't come as any massive surprise to me, however I'm not going mark down this episode for not living up to my expectations. I'm just one viewer, compared to the millions more watching, some of which aren't even Doctor Who fans, for the purposes of the story, we probably need to have a showdown between the Doctor and The Master, so good on Chris Chibnall for bringing him back. 
In summary, then, Ascension of the Cybermen fails to properly capitalise on the strengths of last week’s episode and instead delivers a fairly standard Cyberman romp where victories on both sides seem to stem more from luck than judgement, though it’s still entertaining enough to watch. Luckily, there are other parts to this tale, and the intriguing questions they pose go some way to making up for this week’s flimsy character work and relative lack of focus. Much like Spyfall Part Two, next week’s finale has a lot to prove and plenty of loose ends to tie up - for better or for worse, the truth about the Timeless Child is almost here. Until next week, but for now it's 3 cyberman heads out of 5, a bit disappointing if I'm honest. I expected much better.

3/5 - a bit meh! 

Monday 24 February 2020

Coming Up on The Sunday Showcase








Coming Up On The Sunday Showcase With Dan Bury

Episode:  3/24 
Broadcast Date: Sunday 1st March 2020
Time: 2pm - 4pm 
Week 8: Monday 24th February - Sunday 1st March 2020
Published: Monday 24th February 2020

On this week's showcase, I'll be meeting and chatting to local writer Suzi Clark author of "Butterflies and Baked Beans". 

Suzi and I discuss the stories and experiences, as other related subjects from the book and how she went about writing it, as well as all of that Suzi will be answering some of your questions. 

We'll getting out and about in this week's 'What's Going On In St Albans?'

With Sunday Shoutouts after 3pm, and Tips for Monday. 

I'll also be playing some of the best music from the Radio Verulam Sunday Hits Playlist.

The fun, pacy, upbeat chat show continues this Sunday afternoon on Radio Verulam and on 92.6FM 

Saturday 22 February 2020

Doctor Who Review: Trials and Tribulations - An Analysis of Season 23 Part Two


Doctor Who
TRIALS AND TRIBULATIONS
AN ANALYSIS OF SEASON 23

Part Two

Welcome back to Trials and Tribulations, an analysis that looks at Season 23 of Doctor Who. The Doctor is on trial for his life, and the Valeyard is determined to prove the Doctor's guilt; in this second part we'll be discussing the last six episodes and what bits worked well, what bits could have been improved, and a reflection on the 1986 series.

THE TRIAL OF A TIMELORD: PARTS 9 - 12 - TERROR OF THE VERVOIDS

The next segment of The Trial Of A Time Lord was intended to introduce the Doctor's new companion, Melanie. An original outline for the character was devised by John Nathan Turner and Eric Saward, filling in background that would never be revealed on screen. 21 year old Melanie Bush (known as Mel) was a computer programmer from Pease Pottage in Sussex who had met the Doctor in an unseen adventure involving The Master, when he attempted a massive global computer/banking fraud. Mel helped the Doctor to stop the Master's plan and by the time of Terror of the Vervoids has been travelling with the Doctor for three months. She had red hair, fierce blue eyes and freckles, was into aerobics and health food, and forced the Doctor into aerobic workouts - useful for comic relief.

Armed with this character brief, Nathan Turner and Saward sought writers for Parts Nine to Twelve, which would serve as Mel's introduction. It was intended that two two part adventures would be commissioned, loosely linked narratively; writers David Halliwell and Jack Trevory story were subsequently contracted. Halliwell's two parter bore the working title "Attack From The Mind", and was intended to serve as another slice of prosecution evidence from the Valeyard. It detailed the Doctor's apparent interference on an alien planet between a race of rodent like miners (the Freds) and the lemur like 'Penelopeans', former corporeal beings who now dwell within their own imagination. The escalating conflict results in a war between these two races, which the Valeyard accuses the Doctor of inflaming. Meanwhile Jack Trevor's story episodes were developed under the title of "The Second Coming" but Saward quickly realised that story wasn't suitable for the programme. Also unhappy with the direction of Halliwell's scripts, Saward and Nathan Turner elected to abandon both stories and replace them with a new four part adventure.

Saward contacted ex-script editor/ writer Christopher H Bidmead and invited him back, his most recent contribution had been 'Frontios' a fifth doctor story for season 21. Commissioned on the 29th of October 1985, Bidmead developed an idea titled 'The Last Adventure' then 'Pinacotheca' a story constructed around a planet which had been designated ad a museum of universal places and times. By January 1986, John Nathan Turner became concerned about the lack of communication from Saward about these scripts; largely due to their ongoing tensions, the script editor was now working from home rather than in the office. Saward then wrote to Nathan Turner informing him that Bidmead's scripts were unusable; this was communicated to Bidmead days later. Bidmead was shocked and appalled by this news, especially since he had been in regular contact with Saward during the writing process, and never wrote for Doctor Who again.

A few days later, Saward approached Sapphire and Steel writer PJ Hammond, and commissioned him for a replacement four parter, which was called Paradise Five. Saward was pleased with the resulting storyline and first episode but Nathan Turner wasn't. Around this time, Nathan Turner bumped into husband and wife team Pip and Jane Baker, who had written 'Mark of the Rani' for Season 22. The producer explained that hew was in desperate need for a four part adventure, and asked them to develop a futuristic studio bound whodunnit that would serve as the Doctor's defence.

While Nathan Turner set about casting the new companion. It was intended to find an established star to play Mel, both as a publicity hook and as a drawcard for new viewers. His first thoughts were Bonnie Langford who he had recently seen in action as Peter Pan in the West End musical; Colin Baker had also independently suggested her as a possible replacement for Nicola Bryant, having worked with her on stage in 1981. "Bonnie is a superb performer" he later commented, "incapable of a lazy piece of acting. She is the hardest working person I have ever known." Nathan Turner met with Langford and briefed her on the character of Mel; at this stage of her career, the actor was planing to add more dramatic roles to her repertoire and saw Doctor Who as a perfect opportunity to do something different. "I didn't really appreciate the fact that he was basically offering me this job", she told Doctor Who Magazine. Langford read an audition scene written by Saward and was offered the role; she was subsequently contracted for the final six episodes of the season.

Nathan Turner saw much potential in Langford as a dramatic actress (an instinct proven correct, with her critically acclaimed, award winning performance in EastEnders amongst other roles), but Saward vehemently disagreed, unable to see past the stage school showbiz image that Langford was best known for. Her casting as Mel was unveiled in a press launch at the Aldwych Theatre on Thursday the 23rd January 1986, in her Peter Pan costume, she was hoisted upon Kirby wires alongside Colin Baker in his Sixth Doctor costume.

Working at breakneck speed, writers Pip & Jane Baker were inspired by Agatha Christie's Murder On The Orient Express, and devised a whodunnit in space called "The Ultimate Foe". Feeding into this was an idea about sentient plant life that would provide the monsters for the story. The name vervain inspired by a herb called vervain. "You never find any plot glitches in Pip & Jane writing', praised Colin Baker. "They are meticulous in their research and they understood the role of the Doctor. Also, they write good English and broaden the vocabulary of the viewer".

During the writing process, the Bakers discovered that their script editor Eric Saward had handed in his resignation, and Nathan Turner was left to perform script editing duties alongside all his other commitments.


THE TRAIL OF A TIMELORD: PARTS 13 & 14 - THE ULTIMATE FOE

In early 1986, Robert Holmes had been commissioned to provide the two part conclusion to the epic Trial narrative under the working title Time Inc. Working with Eric Saward, he had developed a nightmarish scenario which saw the Doctor enter the fantasy world of the Matrix, the Time Lords' strange repository for all knowledge which had been featured in Season 14's The Deadly Assassin. Aiming to resolve the mysteries planted in Part One to Four surrounding the stolen data tapes, Holmes reintroduced his character Sabalom Glitz to provide the necessary exposition. It had also been intended to use the character of The Master as a trial witness, but Nathan Turner was keen on making him the villain behind the entire trial scenario. Holmes and Saward disagreed, feeling this was predictable, and instead decided to make the Valeyard the arch villain. With the programme's future still very much up in the air, Holmes and Saward also elected to leave the season on a massive cliffhanger - a final confrontation between the Doctor and the Valeyard would leave their fates unresolved, a move deliberately echoing Sherlock Holmes' famous confrontation with Moriarty at the Reichenbach Falls.

While Saward focused on rewrites of Parts One to Four, Holmes completed a first draft of Part Thirteen. This began with the Doctor and Mel in the courtroom, Glitz's arrival, the introduction of the Master and the revelation of the Valeyard's true identity. However, once inside the Matrix, the story veered into much darker territory, involving the hunt for Jack the Ripper. Soon after completing this script, Holmes was rushed to hospital - it was agreed that Saward would take over the scripts for the duration of Holmes' illness. But Saward's dissatisfaction with the programme had reached a crises point, and he tended his resignation as script editor, claiming he was "sick to death of Doctor Who and the way it is run". In subsequent meetings with Powell and Nathan Turner, he was persuaded to complete work on the season's conclusion while forgoing all script editor duties.

Saward completed the Part Fourteen script based on plans he had made with Robert Holmes, and also made alterations to Part Thirteen for narrative continuity. This version of Part Fourteen began with the Master rescuing the Doctor from the mud plain - the Master later revealed to the Doctor that he had been asked by the Time Lords to kill his nemesis in exchange for a pardon for his crimes. The Doctor then returned to the Victorian environment where he was reunited with Mel, and an apparent circular trap laid by the Valeyard.

Meanwhile, in the court room, the Master informed the Time Lords that the Valeyard's TARDIS had materialised around a time vent; if this vent was open for more than 72 seconds, it would destroy the time continuum. The Valeyard planned to hold the Time Lords to ransom in exchange for the Doctor's death. The Doctor fought with the Valeyard in an effort to close the vent, and both fell inside, which the Keeper Of The Matrix noted could remain the Doctor's prison forever.

On receiving the script, Nathan Turner was dissatisfied with the downbeat, inconclusive ending which he felt would be frustrating for the viewers as the climax of a fourteen-week story. This is where you have a divide, because you have Eric Saward who is protecting the story, and John Nathan Turner protecting the series as a whole, and ultimately Nathan Turner had to win. By keeping to original ending, it was almost like signing Doctor Who's death warrant.

The producer and the script editor couldn't agree on a mutually satisfying conclusion, so Saward decided to withdraw his script - delivering this news in a memo to John Nathan Turner and Jonathan Powell. Saward also tried to withdraw his amendments to Part Thirteen, however the BBC decreed that this work had been completed under Saward's role as script editor and therefore he was not in a position to refuse its use. Less than three weeks before shooting, and with locations already booked, all copies of Part Fourteen were collected and shredded, leaving John Nathan Turner with no ending to an already turbulent season - an just days to come up with a solution.

Nathan Turner mad an emergency call to Pip & Jane Baker; he advised them that a copy of Part Thirteen's script was en route in a taxi, they should read it then join him for a meeting the following morning, Nathan Turner revealed that he needed a brand new script to pick up from the end of Part Thirteen and end the trail storyline; however, the Bakers could legally have no knowledge of what Holmes and Saward had planned. Nathan Turner wanted a definitive conclusion to the story with an upbeat ending, a reveal that Peri was in fact alive and a hint that the Valeyard had escaped to play as a potential threat for future stories. The Bakers then met with Chris Clough and were shown images of the locations that had been booked. Within days, the Bakers delivered a full script, allowing Clough a few days to rehearse it before location filming could begin.

Season 23 is a season of many trials and tribulations, most would argue whether a lot of the big decisions that were made are the right ones. It is fiercely underrated and a season that isn't looked upon amongst the fandom of Doctor Who with a lot of fondness.

What Trial of a Timelord does do however is explore the drama of reality in a fun, theatrical way that would see an end to the Sixth Doctor's era and possibly the beginning the end of the original television series.

Friday 21 February 2020

Doctor Who Review: Trials and Tribulations - An Analysis of Season 23 Part One


Doctor Who
TRIALS AND TRIBULATIONS
AN ANALYSIS OF SEASON 23

Part One

"Bittersweet memories... after the infamous 'hiatus' we were all delighted the programme was back, albeit on trial - in every sense of those words as it turned out'. - Colin Baker.

On February 27th 1985, during transmission of 'The Two Doctors', the BBC announced that Doctor Who was to be rested. This was in fact a victory; a few days earlier, Jonathan Powell (the BBC's Head of Drama) had informed producer John Nathan Turner that the programme was to be cancelled outright. There had been ill feelings brewing about the series amid concerns of onscreen violence and falling ratings, while the recent format change to 45 minute episodes was deemed to be unsuccessful. 

Powell and BBC1 controller Michael Grade had therefore decided to cancel Doctor Who, channeling the money and resources into new drama series. Nathan Turner elected to leak this news to the press to provoke a public outcry; his plan worked and the tabloids broke the story that Doctor Who was 'axed in BBC plot.' An urgent meeting was held between Powell, Grade, and the BBC's Managing Director Bill Cotton, where it was decided to backtrack on their decision and allay the growing hostility. A statement was quickly issued assuring their viewers that the programme was "to be rested, but will be back next year".

Plans were already underway for Season 23, which would again comprise thirteen forty five minute episodes. The first story "The Nightmare Fair' was already in pre-production, with scripts by former producer Graham Williams, a search for a director well underway and Michael Gough ready to return to his role of the Toymaker. This and other perspective stories from Robert Holmes, Phillip Martin, Wally K Daly, Christopher H Bidmead and Michael Feeney Callan were abandoned when it was decreased that Doctor Who would return with just fourteen twenty-five minute episodes, a reduction of almost half the previous season's content. 

John Nathan-Turner and his script editor Eric Saward quickly set about assembling a brand new set of adventures, with Saward pitching his idea of an umbrella theme; if the series was on trial by the BBC, perhaps they could mirror this in the fictional world? The series is on trial, so let's put the Doctor on trial. Turner approved the idea: the Doctor would be put on trial by the Time Lords, using a story structure that would borrow from Dickens' A Christmas Carol plucking an adventure from the Doctor's past, present, and future, before a final denouement. 

Grade and Powell approved the core proposal with the caveat that the series should pull back on the violence and inject more humour. There were also concerns about the abrasive character of the Sixth Doctor established in earlier adventures - this apprehension would influence the softening of the character over the coming year.

Nathan-Turner and Saward this began planning in earnest for their 'new' Season 23. But with numerous script problems, resignations, the death of one of the shows most beloved writers and an unfairly abrupt end to the Sixth Doctor's tenure, this was to be the rockiest period in the programmes's history.

THE TRIAL OF A TIMELORD: PARTS 1-4 THE MYSTERIOUS PLANET

With the agreed trial narrative in place script editor Eric Saward got to work on character outlines for the three season regulars: The Inquisitor, the Valeyard, and new companion Mel. Despite the offer of a full second season, Nicola Bryant had made the decision to move on from the series to explore new work opportunities it was agreed that her character Peri would leave mid-season and the new companion would take her place. 

Eric Saward discussed the new format with potential writers including ex-script editor Robert Holmes with whom he had become friends; it was decided at this meeting to divide the season into five chunks within the umbrella theme. A four part story set in the past by Robert Holmes, a four parter by Phillip Martin set in the present, two futuristic episodes written by new writer David Halliwell followed by another two episodes written by another new writer Jack Trevor, and two-part conclusion by Holmes. 

Holmes's fist four episodes were commissioned under the title "Wasteland", with scripts delivered as "The Robots Of Ravalox" then "The Mysterious Planet". Saward worked closely with Holmes to inject more humour as the scripts progressed, acutely aware of the demands laid down by his BBC bosses. 

During development, the BBC formally confirmed the tabloid rumours that the next season of Doctor Who would have significantly reduced screen time. Press speculation about the shows's future kicked off again; The Times ran a story on Tuesday 14th January headlined 'BBC keeps option of killing Dr Who' which claimed that the ending of the season hadn't yet been written to enable the show to be axed if need be.

As well as having to cope with the air of uncertainty hanging over the programme, Nathan Turner and Saward also bore the brunt of hurtful public attacks from the upper echelons of the BBC. Interviewed on Radio 2, BBC 1 Controller Michael Grade stated that "the people who make Doctor Who have got rather complacent, the show got rather violent and lost a lot of its imagination", Under increasing pressure John Nathan Turner and Eric Saward's working relationship was also deteriorating. 

While Holmes was writing The Mysterious Planet, Phillip Martin was working on his four part segment; the resulting eight scripts given to Head of Drama Jonathan Powell for his feedback. When none was forthcoming, the production team assumed Powell was happy and Robert Holmes was sent away to begin work on the final two episodes of the season. However, Powell then missed a memo accepting Martin's scripts but decreeing Robert Holmes as problematic and made heavy criticisms of the original script. 

Outlining his concerns, Powell beloved that the scripts 'lightweight and trivial tone' played against the high stakes of the season and was irritated by unanswered questions and logic problems. He also felt that the Doctor's role in the story needed to be strengthened, This memo was devastating for Saward, Holmes, and Nathan Turner, who had all channeled much time and energy into their new scripts; Powell's comments also seemed at odds with his request to include more humour. Saward later admitted "from that moment on, we sort of lost our way, at least I did. We were on a hiding to nothing - whatever we did was going to be wrong, and that was rather sad". While Saward was furious on Holmes' behalf, Holmes became anxious about his workload as well as substantially reworking the first four scripts he was now also trying to write the season conclusion. Holmes' health was also suffering and would become a much more serious concern in the coming weeks.

Considering his workload, Holmes agreed that Saward should complete the revisions on The Mysterious Planet while he focused on the two part conclusion. Although changes were eventually made to Powell's satisfaction, Saward was unhappy, believing that the new drafts were inferior to Holmes' originals. 

Meanwhile Nicholas Mallett was chosen to direct the opening four parter; he had been working on the satirical ITV comedy series Spitting Image when approached by John Nathan Turner. "I was a bit nervous really, but John had a great way of playing down the situation. He would never make you feel roar there was a lot on your shoulders. He was very much a producer who involved himself completely with what you were doing. He had very strong ideas of casting." 

The key role of the Inquisitor was offered to Lynda Bellingham by John Nathan Turner direct, after the producer met her at a mutual friend's birthday party. Nathan-Turner also handled the casting of Michael Jayston as the Valeyard and Tony Selby as Sabalom Glitz. Nicholas Mallett had considered the comedy duo French and Saunders for the roles of Glitz and Dibber but they were unavailable due to working on their BBC series. Mallett did however cast Carry On legend Joan Sims as Katryca.

Looking to refresh the feel of the series John Nathan Turner wanted to changed the title sequence and the theme music, but with time and money running out he elected to keep the Sixth Doctor titles established for The Twin Dilemma. However, he did decided to commission the incidental music for this new season from freelancers rather than the BBC Radiophonic Workshop. After listening to test pieces submitted by Dominic Glynn, Nathan Turner engaged him to provide the music for the first four episodes and at short notice his take on a new signature tune. 

For his return to the series, Colin Baker requested a complete redesign of his controversial costume; Nathan Turner vetoed this, instead opting for a new coat based on the same design as the original, with a new waistcoat and cat badges that continued to change for every story. While Baker was delighted to be back in his favourite role, he had reservations about the onscreen trial story; "Life reflecting art or is art reflecting life? - isn't necessarily a good idea, and the whole thing was far too complicated. All I could do was worth with the scripts I was given, but I was confident enough in the quality of what we were doing. Unless you manage an umbrella theme brilliantly, you're setting yourself up for a fall, because it meant that people who missed the first two or three episodes didn't know what the hell was going on."

During production, Nathan Turner also elected to use The Trial Of A Timelord as the on screen title for all fourteen episodes to give the season a sense of the epic, although The Mysterious Planet working title is often used to refer to the first four parts of this story.


THE TRIAL OF A TIMELORD: PARTS 5-8 MINDWARP

Philip Martin had proved to be a successful addition to the stable of Doctor Who writers, providing Vengeance on Faros for Season 22 and creating one of the series most memorable villains in Sil. Both John Nathan Turner and Eric Saward were keen for him to return for Season 23, and work began on a two-part story idea called "The Planet of Storms" which later became "Mission to Magnus" as with Season 22, episodes would be 45 minutes in duration. At the production team's request, the resulting scripts featured the Doctor's old enemies the Ice Warriors who were intent on changing the climate of the female dominated planet Magnus and colonising it. An exiled Sil was also to be found on Magnus, as was a character called Andor who bullied the Doctor while they were at school together. Ron Jones was earmarked to direct the story having directed Varos the previous season, and the production slot was being discussed when the decision was made to cancel the series.

When the programme was rescued from cancellation, Nathan-Turner and Saward were forced to reconsider the composition of the next series. It was felt that Martin's scripts were unsuitable however, they were still keen to use the author and invited him to a writers' meeting to discuss a new four part story. Both Nathan Turner and Saward were keen that this story should still include Sil, who they felt had been a very successful addition to Doctor Who's canon. With Nicola Bryant (Peri) leaving the programme mid season, it was also decided to write her character out at the conclusion of Martin's story; Bryant had earlier requested a strong, memorable exit for Peri so Nathan Turner and Saward made the bold decision to kill the character off.

Martin got to work on a new storyline, focused around the planet Thoros-Beta, Sil's homeworld that had been mentioned in Varos. Here it would be established that Sil's people, the Mentors, were elite capitalist aliens who enslaved who exploited other races and planets. Scripts were written under the title The Planet of Sil and then later Mindwarp; as per BBC demands, Martin injected more humour into his story, slightly tweaking the character of Sil to provide more comedy. Once the production team were satisfied they were heading in the right direction, Ron Jones was attached to direct the serial.

When Colin Baker received his rehearsal scripts, he was worried about the Doctor's dramatic change of personality within the story and unsure whether this was a result of Crozier's machine, or fabricated evidence from the Valeyard. He tried to schedule a meeting with Eric Saward to discuss his concerns but Saward was unavailable, still grieving Robert Holmes' passing and also now writing Part Fourteen based on his and Holmes' plans. Baker recalls he then tried to speak to Philip Martin, to no avail. "Phillip said 'I don't know, Eric Saward told me to write that.' In the end, I had to make up my own mind, the scene of me torturing Peri outside the cave was that made up by the Matrix? or was I doing it because I knew I was being watched?" Ultimately Baker decided to play these scenes as Valeyard fabrications ie. as if the Matrix was lying and the events that were seen never happened.

Nabil Shaban was booked to return as Sil, having also been booked and paid for the cancelled Mission to Magnus. "It was nice to be back, although it wasn't as exciting as Faros had been. Also Trial's plot was far more complex. None of us understood it. They decided to tone down Sil's character and make him more comic. That was rather a shame because I'd always tried to make Sil as evil as possible. I wanted to show the pleasures of being evil, but instead Sil had to bow down to Lord Kiv. I wanted Sil to be in control. Sil was a megalomaniac and I felt like being one too."

Christopher Ryan (The Young Ones) was cast in this key role as Kiv, while the remaining 'star part' was taken by Brian Blessed as the warrior King Yrcanos, a role that echoed his famous Flash Gordon character Prince Vultan. Meanwhile, months of stress and uncertainty were taking their toll on Eric Saward and John Nathan Turner. Their strained relationship reached breaking point and the script editor resigned from the programme, leaving Nathan Turner to script edit the remaining six episodes himself.

This brings Part One of this analysis of Season 23 of Doctor Who to a close, in Part Two we'll be exploring Parts Nine to Fourteen of The Trial of Timelord and assessing all the Trials and Tribulations.

Tuesday 18 February 2020

Doctor Who Review - Series 12 Episode 8 -The Haunting of Villa Diodati






Hello and Welcome to another Doctor Who on this blog, where today we are looking at the latest Doctor Who episode from series twelve and that is The Haunting of Villa Diodati. 

I missed the original transmission of this episode, which is the reason why this review is being uploaded on a Tuesday. Now, on Sunday evening before this episode was due to air, I saw a post on Instagram which said “tonight’s episode of Doctor Who stay off social media to avoid spoilers” that made me think that something big was going to happen in this episode and boy did it. 

Week eight and it’s the spooky one. Most years since Doctor Who’s return in 2005 we have seen an episode that delves gleefully into something supernatural. “Unquiet Dead” and “Hide” are good examples. 

Now, it the Thirteenth doctor’s turn to strap on a proton pack and throw a sonic around and go bust some ghosts. 👻 

The TARDIS gang are on a sight seeing trip to Villa Diodati because they want to spend the night with the Shelley's, Lord Byron, Claire Claremont, and Polodori and experience an hour of the night when 'Frankenstein' got written. The episode begins as if you are walking into an episode of Poldark. It does have that essence of costume drama to it. A strength of the BBC is that it does achieve and execute costume drama's very well. 

Lord Byron and his guests are having a party which the TARDIS crew gate crash but it is little of the knowledge to all the characters in the story that there is a different kind of energy emanating from within the house. It very quickly becomes apparent all the characters soon become trapped within this space. 

The more time they spend there, the more strange goings-on there are of ghosts and the house almost fighting against them start to cause them problems. The haunted house is the titular villa where famously Lord Byron and a number of his friends whiled away ‘The  Year Without a Summer’ writing and thus, Mary Shelley was inspired to create ‘Frankenstein’ 🧟‍♂️.  

Happily, this script I feel does manage to support a famously witty cast of guest characters. Byron is sleazy but not unlikable. Mary Shelley and the Valet were delightful, also, Graham’s top hat 🎩 👍🏻. 

This episode does serve the Doctor well and gives Jodie Whittaker the chance to be curious, commanding, exasperated, and eccentric throughout. For Maxine Alderton’s first Doctor Who script age seems to have a better handle on the Thirteenth Doctor than most. 

Costumes and set design for this were fantastic, a bit like with “Nikola Tesla’s Night of Terror” it seems like a missed opportunity that the Doctor doesn’t get a fabulous period costume to match her companions. But that’s only a minor personal preference. 

Each companion has something to do as each of them split up to investigate creepy going’s on although Byron’s guests may as well have been mobile scenery as we learn little about them and how much they actually have to do with the plot and moving the story forward. 

The highlight for me in this episode is The Lone Cyberman. Ashad. He was the star of the episode for me. And the opposing threat he presented in the episode was brilliant. Leaving a tricky scenario for the Doctor where she had no choice but to surrender. 

It’s just like “Dalek”. One soldier is just as dangerous and more effective than an entire army. We learn very little about how he came to be in his half formed state, but Ashad presents as an strong villain nonetheless, combining the intimidating physical bulk of a cyborg with the single mindedness of a desperate survivor. What's different about him as a Cyberman is he is half finished, he's not a fully converted Cyberman and most importantly he doesn't have the emotional inhibitor so he feels emotions, he reacts angrily, he isn't that closed off robotic personality in fact he has a personality which is rare, something which I feel could have been the downfall to this episode, particularly when Shelley confronts him of his past, but thankfully this wasn't the case.

For the other characters in the story, they're barricading the door, they're trying to think of a plan, they're trying to work out why it's here; and Graham, Ryan, and Yaz are also thinking this is what we've been warned about. This is what Jack said we can't do. 

The warning becomes very present, and there's a lot of clarity in that because up until this point Jack's warning was out of context seemingly and then now there is a reason for this warning.

But obviously for the doctor this is very personal from the many encounters that he / she has had with the Cybermen; but most recently the loss of Bill Potts. Like the Daleks, The Doctor encounter with Cybermen has resulted in loss to people that the Doctor loves. 

As well as that supposedly gives Mary Shelley the inspiration to write Frankenstein. 

It’s not a brilliant ghost story,  there are many ideas in the mix and too many shifts in tone and it may not be the best Cyberman story ever, but what this episode does have is snappy dialogue, a solid guest cast, a great villain, the hype of the series finale just around the corner, and a highly atmospheric soundtrack from composer Segun Akinola so, it’s a 9/10! 

That was a good one. ⭐️ 

Monday 17 February 2020

COMING UP on The Sunday Showcase







Coming Up On The Sunday Showcase With Dan Bury

Episode:  2/24 
Broadcast Date: Sunday 23rd February 2020
Time: 2pm - 4pm 
Week 7: Monday 17th 2019 - Sunday 23rd February 2020
Published: Monday 17th February 2020

This week on the showcase, I'll be joined by Tom Dimblylow and Nate Finestone from Six Minute Musicals, coming on to talk about their latest productions, as well as playing a special musical edition of 'Play That Tune'. 

Get ready as the pacy and upbeat afternoon chat show continues. With Sunday Shoutouts after 3pm, Tips for Monday. And the start of a new feature 'What's going on in St Albans?' 

I'll also be playing some of the best music from the Radio Verulam Sunday Hits Playlist

I'll see you Sunday at 2pm. 

Tuesday 11 February 2020

COMING UP on The Sunday Showcase - THIS SUNDAY







Coming Up On The Sunday Showcase With Dan Bury

Episode:  1/24 *NEW SERIES*
Broadcast Date: Sunday 16th February 2020
Time: 2pm - 4pm 
Week 6: Monday 10th 2019 - Sunday 16th February 2020
Published: Tuesday 11th February 2020

We're back in business. Dan Bury "Dandy Dan" is back on Radio Verulam for a new instalment of the Sunday Showcase. 

For two hours of a pacy and upbeat afternoon show, they'll be great guests, shoutouts after 3pm, Sunday Shoutouts, fun & games and some of the best music from the Radio Verulam Sunday Hits Playlist. 

This week I will be chatting to Suzy Moody about the St Alban's pancake race for Home Start St Albans and Father Richard Watson will be in to tell us about St Saviour's game night with a fish supper. On your marks, get set, go! 

Dan Bury hosts a vibrant Sunday mix of music, fun, chat in a flashy suit. See you at 2pm! 

Monday 10 February 2020

The Sunday Showcase - BACK THIS SUNDAY!








We're back in business! Dan Bury "Dandy Dan" is back on Radio Verulam for a new instalment of The Sunday Showcase this weekend. 📻
Joining Dan in the studio will be Suzy Moody from Home Start St Albans, and Father Richard Watson from St Saviour's Church.
As well as that we'll be bringing you Sunday Shoutouts, Tips for Monday, and playing some of the best music 🎶 
Come and join for pacy and upbeat afternoon chat show on Radio Verulam 92.6FM or on listen again on the Radio Verulam website

Sunday 9 February 2020

Doctor Who Review - Series 12 Episode 7 - Can You Hear Me?






Hello and welcome to another Doctor Who review, where today we are going to be taking a look at this week's episode written by Charlene James and Chris Chibnall which is called 'Can You Hear Me?' an episode which sets out to entice its audience with the threat of their own nightmares.

The concept of this episode sounded good from what it said in the synopsis, however, actually watching it there seemed to be a lack of tension throughout, there were no jumpy moments, nothing striking or bold about this episode to make it stand out.

My general opinion of Can You Hear Me having watched it is as a story it failed to get off the grounds with me. The pacing of it was quite slow, it lacked excitement and the worst part about it for me was that it was a bit dull.

I was sitting and watching it with this desire for something exciting to happen, but the moment never came, and there are still issues with exposition in the doctor being the character in the drivers seat having to explain what's going on to the companions i.e the viewer in order for us to understand what is going on.

There were character development pathways which didn't really go anywhere or didn't seem to make much sense.  In the scenes were we are exploring characters dreams, apart from Graham's where is the follow up to this? I just didn't get it, particularly Yaz's scene with the police woman, It didn't seem to make much sense to me from my point of view as the viewer watching it.

Putting my feelings of horsham aside, I will mention the things I did like about the episode, because I don't watch Doctor Who to pick out faults and criticise it. I go into an episode of Doctor Who wanting to love everything about it and everyone in it.

I enjoyed the moments that allowed each TARDIS crew member to go off and do their own thing, in the scenes where the Doctor arrives in Syria and she's talking like her companions are with her and they're not and she realises she's talking to herself are really nice comedy moments.

Ian Geldar was good in the role of Zellin. He portrays an unapologetic, moustache twitching villain reminiscent to a villain of the Tom Baker era. He's certainly quick to name drop some classic villains from the classic series such as the Celestial Toymaker and The Black Guardian. I thought the fingers detaching from his hand was quite creepy and worked very effectively.

All in all, I just think there is nothing much exciting or dramatic about this episode to make it stand up well as being a tenable competitor with the rest of the series, probably the weakest one so far.

The ending felt rushed yet again, the whole thing felt rushed in telling what basically was a fairly straightforward story. Slow and just unforgivably dull. 6/10.