Luther, Series 2
by Neil Cross (BBC, 2011)
With Ruth Wilson and Paul McGann appearing only briefly, Luther’s second series—featuring two particularly brazen and brutal serial killers—turns unremittingly grim. Luther himself, though, remains compelling, particularly when thrust into the role of surrogate father. Cross scripts some inspired catharsis.
Luther, Series 1
by Neil Cross (BBC, 2010)
Dark action/crime series with flashes of humour and exceptional performances from Idris Elba and Ruth Wilson, ably supported by Paul McGann, Saskia Reeves, et al. (The regulars and guest cast are uniformly excellent.) Alice Morgan emerges as one of television’s great sociopaths.
Doctor Who: The Book of Kells
by Barnaby Edwards (Big Finish, 2010)
A solid historical adventure, commendably underplayed (albeit mostly a veiled character set-up). Paul McGann is excellent as ever, his delivery a sublime and mercurial mix of conceit, solemnity, flippancy and suppressed wrath. Goodies fans will appreciate a well-pitched appearance by Graeme Garden.
Doctor Who: The Night of the Doctor
by Steven Moffat; dir. John Hayes (BBC, 2013)
Prior to ‘The Day of the Doctor’, fans were given 6 minutes 49 seconds in which to celebrate Paul McGann and to lament his not being given a full special (or indeed an entire series) or being cast as the War Doctor.
Doctor Who: The Witch from the Well
by Rick Briggs (Big Finish, 2011)
As ever, Big Finish have gone beresk with their screeching creature effects. Notwithstanding such overindulgence, this pseudohistorical take on the seventeenth-century witch trials offers uncommon nuance and character depth. A particularly good story for Paul McGann and Julie Cox (as Mary Shelley).
Doctor Who: The Creed of the Kromon
by Philip Martin (Big Finish, 2004)
Philip Martin’s two serials were highpoints of Doctor Who during Colin Baker’s all-too-brief tenure. Creed of the Kromon features Paul McGann’s Doctor but carries a similar vibe, suffusing its SF setting with a depth and complexity rarely seen in weekly adventure serials.
Doctor Who: Scherzo
by Robert Shearman (Big Finish, 2003)
An experimental, at times very disturbing two-hander played with considerable finesse by Paul McGann and India Fisher. The premise is to be lauded but lacks execution (at both script and production level). Though not incongruous, the unceasing background mosquito whine was ill-advised.
Jenny – The Doctor’s Daughter: Neon Reign
by Christian Brassington (Big Finish, 2018)
Trite premise, clumsy exposition, heavy-handed on the agenda. The saving grace here is the characterisation of Jenny (who’s inherited some of the Tenth Doctor’s traits) and her companion Noah (who carries himself with a naïve sangfroid that curiously echoes Paul McGann’s Eighth).
Doctor Who: An Earthly Child
by Marc Platt (Big Finish, 2009)
Platt does a good job envisaging Susan’s future life and a reunion with her grandfather (in his eighth incarnation)! Carole Ann Ford and Paul McGann work well together but the Doctor—not uncommonly in Eighth Doctor stories—contributes little to the resolution.
Doctor Who: The Chimes of Midnight
by Robert Shearman (Big Finish, 2002)
A dark yet sometimes funny, perfectly paced bottle-episode audio adventure that starts in total darkness and slowly reveals its grim premise, dropping clues that are best appreciated in retrospect. Paul McGann takes total ownership. What a TV story this would have made!