Doctor Who Audio Dramas Confirmed To Continue Until 2030
The BBC has renewed the series of Doctor Who audio dramas that Big Finish produced to tell new stories for older doctors until 2030.
Big Finish will continue producing Doctor Who audio dramas in a deal that will allow them to keep the license until 2030. Doctor Who has been an enormous success and will be celebrating its 60th year in 2023. However, it has not always enjoyed the same popularity as today. The ‘The Wilderness Years’ is 1989-2005, when the show seemed to be on a seemingly continuous hiatus. The BBC was not interested in the show, so fans were left to produce ancillary media. The Doctor’s adventures continue in comics, books, and, most importantly, audio dramas.
Big Finish, an audio production company founded in late-90’s, has produced Doctor Who audio adventures. These audio plays feature 7 of the 10 Doctors, from Tom Baker to David Tennant. They have been a popular part of the franchise. Fans have praised Big Finish for giving poor actors new life. Paul McGann and Colin Baker are two examples of Big Finish’s accomplishments. They even convinced Christopher Eccleston, the Ninth Doctor, to take over after 15 years despite his negative feelings about the role.
ComicBook reported that Big Finish will continue to produce new Doctor Who stories until 2030 under a new deal with the BBC. Jan Paterson, Director, Books and Audio, BBC Studios, said that Big Finish will produce new Doctor Who adventures until 2030 under a new agreement with the BBC.
Nicholas Briggs (Big Finish Creative Director) also added words of celebration. His name will be familiar for many Doctor Who viewers and is a sign of the company’s influence over the mainline series. Briggs has been the voice for famous villains since 2005. He includes the Cybermen, Judoon and the Daleks. Higher-ups were familiar with Briggs’ previous work on Big Finish plays. These were the only new Doctor Who stories produced for fans. Big Finish has influenced many aspects of New Who’s writing, with TV writers Paul Cornell and Robert Shearman putting their teeth into the audio format. The adaptation of total audio plays has been made possible for television. Shearman transformed his play “Jubilee,” making it the seminal “Dalek.” Other aspects of the Cyberman origin story, “Spare Parts,” were used in “Rise of the Cybermen” and “World Enough and Time.”
Any Doctor Who fan should pay close attention to Big Finish. This is not only for their consistent output but also because it may signify what lies ahead. Recent production news suggests that the show’s next era may include a shared universe Doctor Who spinoffs, inspired by the MCU. Big Finish has produced many crossovers and spinoffs over the years. These include series based on UNIT and Torchwood, as well as standalone characters such River Song and Jenny. There won’t be a regular series of episodes produced by Big Finish until at least 2023. Doctor Who fans have never had a better time to explore Big Finish’s back catalog and look forward to the future.
Doctor Who’s special for the New Year “Resolution” may have delighted audiences with the return to Doctor Who’s arch-enemies, but “Dalek” is still the most Dalek-centric episode in modern times.
The dreaded Daleks are just as essential to Doctor Who and iconic as the TARDIS or the sonic screwdriver. It is a testament to the show’s creative flair and writing that even a low-budget creation such as the Daleks can instill fear in its viewers. The potential of the alien cyborg species was realized once more thanks to Russell T. Davies (showrunner), Joe Ahearne (director) and Robert Shearman (writer).
“Dalek” shows Rose Tyler (Billie Piper) and the Doctor arriving at an underground bunker in Utah in 2012. Henry van Statten, an evil billionaire (Corey Johnson), owns the facility and fills it with alien artifacts, including one mysterious living creature. The Doctor is shocked to learn the creature’s identity and is unable to stop it from escaping. This episode would have been more impactful if the Dalek’s identity had been kept secret (and not revealed by the title). The Doctor’s greatest enemies are cleverly dealt with in “Dalek,” and they have never been more compelling than they are here.
It was forty years since Doctor Who first appeared on television and more than fifteen years since their last appearance. It wasn’t easy to bring the Daleks back due to this difference in time. Their sink-plunger appendages and pepper pot shape were ridiculed in the past. Even though “Rememberance of the Daleks” had shown that they could climb stairs, the general public believed that multilevel buildings could defeat these straightforward antagonists. Aherne and Shearman are aware of these preconceptions and address them throughout the episode.
The main reason “Dalek” works is that it recontextualizes the aliens in a minimal, claustrophobic setting. Many aspects of the species, such as their classes and creator Davros, maybe a source of concern to long-time fans. However, the episode focuses on one Dalek with its brutal, totalitarian nature. “Dalek” shows the extent of their frightening capabilities. As the Dalek kills more human soldiers, it becomes clear how dangerous this creature can be. For casual and new fans alike, the sight of a CGI Dalek flying up to Rose and Adam (Bruno Langley) was a heart-stopping moment. The audience feels more fearful when “Bad Wolf,” “The Parting of the Ways,” and other films introduce large numbers of these creatures.