2016 – The Year of Big Finish and New Who

Last week, Big Finish Productions were clearly building towards something, most notably through their Facebook and Twitter pages, using the hashtag #BF27June and photos of people with fingers to their lips shushing. Plenty of people joined in, not just the actors and writers at Big Finish, including Colin Baker, but plenty of fans as well. Not that any of us knew what was going to be announced, but it certainly looked set to be pretty big.

And then, on the morning of 27th June, one more photo was shown of someone shushing: Alex Kingston. Or, as Whovians know her, River Song.

Two things instantly became clear: first, that Big Finish’s announcement was huge, possibly one of the biggest they’ve ever made, and second, what the shushing was for: “spoilers”.

Oh boy, was the announcement big. In 2016, Big Finish are going to release several key audio releases that will feature characters and monsters from the New Series, including a series of Churchill’s adventures with the Doctor, River Song getting her own spin-off series and even appearing in the 2nd season of the upcoming Eighth Doctor series Doom Coalition.

How excited am I about this? A few months ago, I posted about how much I’m seriously looking forward to the spin-off UNIT: The New Series, but this is even better. In fact, to me, it’s even better than if Big Finish had announced that they had gotten Eccleston, Tennant and Smith to reprise their roles for new adventures. Because it’s another beautiful way of merging the classic and the new eras together.

When Doctor Who came back ten years ago, it was the greatest feeling in the world. Despite having a brand new Doctor, a faster pace and perhaps a slightly different tone, it was still most recognisably the same show that ran for 26 years: the same old theme tune, the same old police box time machine, and the same old mad, bonkers and brilliant Doctor. It was brand new but at the same time, still very, very familiar.

But it was also keen to present itself to new viewers as a brand new show. This was not only understandable, but practically essential in drawing in a new audience. I still love the way Russell T. Davies handled it – not by taking the easy option and chucking away 26 years of continuity, but actually skipping ahead years (no, centuries) later from the Doctor’s point of view from the end of the classic series and presenting both the oldest fans and the new viewers a brand new backstory that no one knew about.

This left me even more excited, not just for where the TV series could go, but for where the expanded universe could go. Especially Big Finish, who had already given McGann’s Doctor 4 seasons in audio that had been denied to him on television. Before, his Doctor was the ‘current’ Doctor, and his story could literally go anywhere. With the return of the new series, that was no longer the case – or at least, not quite – but this wasn’t a bad thing. In fact, in my humble opinion, it might even have helped in giving his Doctor some direction at a time when he really did need it (while I adore his first two seasons, for reasons that I won’t go into, I wasn’t too keen on the overall arc of the two seasons afterwards, although I must admit, they still had some great stories). That direction was clearly given by Russell T. Davies – War with the Daleks and the destruction of his own race.

And perhaps there were other stories to tell, as well. Stories of classic Doctors meeting monsters from the New Series and finding out about their earliest encounters (I’m still really curious about the Doctor’s previous encounter with the Krillitanes. I love the idea that they adapt and change so much that they would’ve looked completely different). There were so many ways of exploring and celebrating the rich history and the legacy of the show.

But that didn’t happen. At least, not exactly. For reasons that I can only begin to guess at, a clear line had been drawn – Classic and New Who were, as far as Big Finish was concerned, two seperate entities. Of course, the New Series could use as much mythology from the classic series as possible, and in fact has done more and more as the series has gone on. (Something I really enjoyed about RTD’s take on Who is the way he re-introduced some of the biggest enemies of the classic era as each of his seasons’s “Big Bad”, as it were. It was a nice way of bringing back in spectacular fashion some iconic villains for the classic fans, while getting across to newer fans just how major these enemies were to the Doctor. The final 10 minutes of Utopia especially is practically a masterpiece in how to do re-introduce a major villain to an audience so perfectly.)

But, for clearly complicated legal reasons, Big Finish could never return the favour – it could never tell stories showing how the Doctor met the Judoon or have an earlier encounter with the Vashta Nerada, and they certainly couldn’t tell any stories about the Time War. Oh, don’t get me wrong, they have done a brilliant and marvellous job hinting and even building up to it, but anything set during the War was off limits. In fact, when licensing issues were at their worst, even established classic enemies like the Master seemed to be off limits, as one particular story originally written to include the character was re-written enough to make his identity more ambiguous (even when the character’s name is as obvious as “Stream”). For the longest time, it almost looked as if Big Finish, if not classic Who altogether, were to be seen as separate as possible from the New Series. (For the record, one thing that’s become clear is that this wasn’t RTD’s doing – he has done nothing but heaped tons of praise for the company and adores their work. This came across incredibly clear during an interview he had for the special edition of the adaptation of his 7th Doctor novel, Damaged Goods.)

Thankfully, over the last couple of years at least, the barrier between the two eras was slowly coming down. Personally, I think the biggest reason for this was the 50th anniversary – if ever there was a golden opportunity to market the hell out of the classic series license and show to new viewers just how great it really is, the 50th anniversary was the perfect time to do it. This was partially done with Big Finish. Small things that allowed for even greater acknowledgement of the new series. The Beginning, for example, was a First Doctor story that told of the Doctor and Susan’s first trip in the TARDIS. At the very start, there’s a lovely little nod to the opening scene in The Name of the Doctor, and you even see that depiction of the TARDIS from that episode on the front cover.

There was also the final series of Gallifrey, which showed the Russell T. Davies era Daleks on the front cover. Even this was a pretty big moment, as the usual design for the Daleks on Big Finish covers were based on the 60s design. The bronze daleks were a clear indication that, while the series wasn’t exactly a Time War story, it was certainly approaching for the Time Lords.

But I think the biggest moment that really helped to break down the barrier between the New Series and Big Finish was in the New Series itself – specifically, Eight’s final salute to his companions in The Night of the Doctor. I’ve gone on before about how much I love that episode, so I won’t go into too much detail here, but the acknowledgement of his audio companions like Charley and Lucie especially was an absolutely incredible moment. It was Steven Moffat not only paying tribute to them, especially McGann’s Doctor’s journey in them, but also making it that much more difficult for both a part of the audience and the licensing guys to say that they don’t count.

Over the past year, more and more hints of new Who have been steadily trickling through into Big Finish. First, there was the announcement of a Big Finish spin-off based on characters from the New Series. Then there were mentions of mythology that had been, until now, exclusive to New Who in one amazing story released earlier this year. Then in May, it was announced that Big Finish would begin making stories based on Torchwood, with the first episode to be released in September.

All great stuff, but we still had to wonder: would we get anything bigger from the New Series era, and more importantly, would it be allowed to mix in with the classic? Well, on 27th June, we finally got the answer to that question.

It’s taken a long time for Big Finish to reach this point, and I can’t even begin to imagine how much work it must have taken, but it’s finally paid off. As you can probably tell by the sheer length of this post, I’m incredibly happy about this.

For one thing, it’s the sheer ambition of it all. River Song not only getting her own series, but meeting the Eighth Doctor too? Despite the fact that it’s too early for her to meet him (and she knows it)? That’s a bold and incredibly risky story to tell, but it’s also the kind of story that Big Finish excels at. It’s a full-on way of having the classic and new eras collide in an epic fashion.

And that’s only one example, as the upcoming box set “Classic Doctors, New Monsters” shows. As you can guess, it’s some of the classic era Doctors meeting monsters from the new series, and every single one sounds great: with Five against the Weeping Angels (don’t ask me how the Angels are going to work on audio, but with Big Finish making it, I’m sure it’ll be done just right), Six meeting the Judoon (now there’s a clash of massive egos and personalities) and Seven meeting the Sycorrrrrrrrrax, there’s some great combinations to explore right away. But I think the story I’m eager to hear most, despite having a monster that’s technically from the Classic era, but with a version based on the New Series, is the Eighth Doctor going up against the Sontarans. Less for the combination exactly, and more for when it takes place: in the Time War, with Eight in his Night of the Doctor gear on the cover.

Honestly, I have been wanting this to happen for so long because I not only love Who, I also love to see it as one epic journey. Yes, the New Series jumping ahead and giving back a little mystery to the Doctor was a great fresh start, but honestly, as a classic fan, you want to know more about what happened in between. You want to know what lead the Doctor to fight in a War. You want to know what happened to Eight. You want to know how it ended.

All these questions were finally answered during the 50th anniversary, but really, that’s just the start. Ultimately, you want to remember when watching the show that Capaldi is absolutely the same man as Hartnell and all the others, not just Eccleston, Tennant and Smith. Having the classic and new eras merge through Big Finish is absolutely the perfect way to do it, especially as Big Finish have a real talent of making their Doctor’s stories feel true to their eras while feeling as modern and fresh as the New Series, usually at the same time.

It’s going to be a long wait to 2016, and it’s going to be a year of Big Finish releases that I’ll anticipate greatly. However, there’s been plenty of great releases this year already (the final series of Dark Eyes and Damaged Goods especially being two particular highlights), and of course, there’s still plenty to anticipate for the rest of the year. As I mentioned earlier, there’s the new UNIT spin-off to begin in November. There’s the start of a brand new Eighth Doctor epic in Doom Coaltion 1 in October. And then there’s the story I’m anticipating most: The Sixth Doctor: The Last Adventure, to be released in September. It’s something that I’m sure I’ll be absolutely devastated by, even having already ‘seen’ Six’s regeneration in Time & The Rani.

Big Finish have been making great Doctor Who stories and spin-offs based exclusively on the classic series for over 15 years, and I’m more than certain it could’ve continued to do so if it had to. It’s just great to know that their universe to write stories from has just gotten a whole lot bigger.

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Body Horror and Bubblewrap: how Doctor Who helped shape my love of adult horror

Recently, it has come to my attention that the US channel Disney X.D. will start broadcasting David Tennant episodes of Doctor Who in the US. Apparently, there has been an outcry by a certain portion of fans over this, as they’re under the mistaken impression that Doctor Who is “not for kids” and that there aren’t many episodes that are “suitable for children”. This, of course, is bullshit. While a great deal of the expanded universe is most definitely aimed at the adult portion of the fanbase who grew up with the show, the television series is most definitely firmly aimed at creating new fans who have barely begun to grow up (at least in the physical sense, although the metaphorical sense definitely applies as well). In fact, frankly, it really does piss me off that a certain portion of the fanbase are so dismissive of the very idea of children watching Who when it’s always been such a big part of many viewers’s childhoods. It certainly was a massive part of mine, and in fact, helped to shape my taste in horror in later life. Here’s one of my earliest, clearest memories of being truly terrified from watching the show:

Noah has just shot his crewmate dead. There’s something clearly wrong with him, although it’s still not clear what it is. Suddenly, he looks down at his left hand, still in his pocket since being touched by some alien monster. Slowly, he starts to take it out…only it isn’t a hand anymore – not only has the human flesh gone, replaced by some bright green skin, but there aren’t even any fingers that make it look even remotely like a hand, or even human at all – it is just one green lump. As Noah looks on in complete horror and disgust, the all too familiar “sting” comes in and we cut to the end theme tune.

That my friend was the cliffhanger to part 2 of the Tom Baker classic, The Ark in Space. Only his 2nd serial in the role, it has been praised by Russell T Davies and Steven Moffat as one of the best stories of the classic series. First time I saw it at the age of 8, I was shocked, horrified and practically traumatised. I was also eager for more.

Despite the fact that the guy’s hand had clearly just been wrapped in bubble wrap that had been spray-painted green, it’s still one of my favourite cliffhangers. It was my first introduction to the idea of body horror, and it stuck with me in a big way. Not just how grotesque the idea of your body changing into something non-human is, but even worse is the idea of you being aware of how it’s changing, and how slowly you lose your humanity and sense of identity with it. This is the only example I can think of right now that gets across both the physical and psychological horror and yet is PG rated. That, my friends, is the fucking magic of Who – introducing truly horrific ideas to children in such a way that make it both family-friendly and still shit-your-pants fucking terrifying.

I watched a lot of classic serials in my new-Who deprived youth, but the ones I always enjoyed the most were the early Tom Baker serials – stories like Pyramids of Mars, The Deadly Assassin and The Robots of Death were grim, full of gothic scenery and classic horror influences (including Hammer), violence (sometimes shockingly so, ESPECIALLY for stories rated U or PG and yet clearly had a few nasty scenes, complete with excellent use of fake blood), and deaths. It scared the shit out of me, I fucking loved it as a little kid, and I still do now.

I had enjoyed a lot of other Who, including the time travel complexity of The Day of the Daleks or the historical intrigue of The Aztecs, but the ones that evoked horror the most were usually my favourites. It’s funny, because for the longest time, I actually had no interest in adult horror. Classic Who, especially Tom Baker Who, seemed to scare me just fine. And if a PG rated horror could scare me like that, then god knows what an 18 rated horror would be like to a sensitive sod like me.

Of course, eventually you realise that other than old-school Who, there’s little horror out there that could be considered family-friendly and yet still creep you the fuck out (my best recommendation for a fucking Disney film that can do that is The Watcher in the Woods. Holy shit, that film was creepy!), and I had to admit to myself that I had a taste for it. Especially body horror. After my experience with the Ark in Space and The Seeds of Doom, I was eager to find out more in the genre.

Unsurprisingly, I became a lover of movies like David Cronenburg’s The Fly and The Thing, both of which were considerably less cheesier and much more gorier and yet, oddly enough, still stuck to the same basic concepts that made me love the idea of body horror in Doctor Who. The claustrophobic fear I felt in Ark and Robots of Death was shared with films like the first Alien film, and the fresher takes on old horror tropes that were common in Baker’s era were to be found in films like An American Werewolf in London or the gloriously gothic Bram Stoker’s Dracula. As I’ve grown older, I realised the key differences between adult horror and the horror I watched as a kid (and still do now) include more mature themes and allegory like sex, puberty or coming of age (Ginger Snaps was a great example that I watched recently), sexuality etc. Ideas that would be difficult to translate for a younger audience (certainly compared to bloody violence, apparently).

I think one of my favourite things about the revival is that it’s not only still aimed at kids, but also, with particular stories, still aimed at traumatising them, too. The violence isn’t quite as graphic as it used to be in the 70s at times, but it’s still definitely scary. Even better, it does this by doing what the classic series did and finding adult horror sources and finding new ways to make them family friendly. Event Horizon minus the gore? The Impossible Planet. Aliens but with statues? The Time of Angels. Pure fucking paranoia, distrust, and how terrible humanity can be when under pressure? Midnight. I really can’t tell you how glad I am that Who still tells stories like these, but more importantly, makes sure that kids can still watch them. Barely.

When Doctor Who was brought back in 2005, it could’ve easily gone down the easy route and attempted to be ‘mature sci-fi’ like every other sci-fi show at the time. It can find ways to cater to that kind of audience more used to that kind of tone, certainly, but not at the expense of sex scenes or, just as off-putting to children, seriously in-depth exploration of alien culture and politics and using that as an allegory for the modern world. I enjoy that kind of science fiction as an adult, but I think it’s more important for Who to still continue to appeal to children, to give them a taste of what great horror is like without scaring them off permanently. Because, unlike most adult horror stories, as scared as they get, they know one thing – no matter how many monsters there are in the universe, there’s always the Doctor to save the day.

I’m gonna be honest: knowing that a channel more aimed at children is going to be broadcasting Who eps to a young American audience has made me so happy. Everyone in Britain knows that Doctor Who is supposed to be watched by children as well as adults, but I think that idea has been a lot more difficult to sell to an American audience at times. Broadcasting on the same channel as Star Wars: Rebels is a good way to help break down that image barrier. Here’s to hoping that Who will not only reach a wider audience in the US, but an audience that can grow up with the show, too. While getting the same experience I had as a child and getting as close to being deeply traumatised as deemed humanly possible.

Geeky Stuff I Love #1 – Doctor Who: The Eighth Doctor Adventures (audio series)

What is it?

A series of audio stories by Big Finish Productions, overall focusing on the Eighth Doctor (Paul McGann) and his companion Lucie Miller (Sheridan Smith). Set in the ‘classic’ era of the show, the stories are more based on the style of the revival TV series that began in 2005, with longer episodes but mostly shorter stories compared to the more serialized story telling of the classic era, a faster pace, and story arcs that built up to epic finales. As a result, the series was initially designed to be more accessible than with most other Big Finish stories to fans of the new TV series who didn’t know much about the classic era, although like the new series, it has featured a number of classic era enemies, some that have yet to make an appearance in the new era on television. The series ended in 2011.

Why do I love it?

For one thing, and this is the first thing you should know about me: I am a massive Eighth Doctor fan. While I admit, I haven’t read all of the Eighth Doctor Adventure novels that were published in the late 90s/early 00s, I have listened to all of the wonderful stories made by Big Finish that focus on his Doctor. This is mainly because I love McGann’s performance as the Doctor, ever since it made me a fan back in 1996 (say what you want about the TV movie, but McGann nailed it in his debut story), but also because Big Finish have taken his Doctor in such brilliant directions, both before the series came back on TV and the future of not just his Doctor but the Doctor in general was in uncharted territory (although admittedly, I wasn’t too keen on the Divergent Universe arc overall, but even that had some damn brilliant stories), and after, when the series returned on television in 2005.

Arguably, there was a clear influence from the TV series revival on Big Finish, especially with the Eighth Doctor, most significantly in two ways. First, the faster paced style of the new series – moving away from 4-part, 25-minute episode serials to stories told in one, maybe two 50-minute episodes – was copied when Big Finish decided to give the Eighth Doctor his own range back in 2007, with the wonderfully talented Sheridan Smith playing one of my favourite companions ever, Lucie (bleedin’) Miller. I really adored this series right from the first season: while I still love the Eighth Doctor’s previous stories in Big Finish’s main range of Who audios, it had started to lose some of its fun in later seasons. But then came a new, feisty companion from the 21st century, someone who doesn’t seem to fit the Eighth Doctor’s more classical, Edwardian style and yet compliments it so well. The dialogue between the two was often hilarious to listen to, and their journey from reluctant companions to the best of friends was a joy. Suddenly, the sheer fun of the Eighth Doctor, the one who had been so enthusiastically happy over a pair of shoes when we first saw him, was back.

At least, at first. Because something else that strongly influenced where Big Finish took the Eighth Doctor was the story. When the revival began with Eccleston’s Doctor, we quickly found out that between where the classic era ended and the new one began, the Doctor had wiped out his own people and the Daleks (well, mostly) to end a long and bloody war. And while the overall series of the Eighth Doctor and Lucie Miller’s adventures were overall brilliantly fun (although they still had their dark and dramatic moments, of course, especially in the finales), towards the end, particularly in the final season, things started to get, well, pretty darn grim.

You’re probably expecting me to say that, once again, the Eighth Doctor’s story had lost some of its spark, but honestly, the final season of the Eighth Doctor Adventures is one of my favourite seasons of Who ever. And I do mean ever. It had an excellent exploration of what made the Doctor tick, why he tries harder to be a hero in his Eighth life more than ever, even when he’s faced with some truly terrible choices (The Resurrection of Mars especially is a brilliant example of this). Even some of the low key stories are brilliant: Prisoner of the Sun, a completely stand-alone story, has the Doctor imprisoned in just a couple of rooms for six years while trying to prevent the deaths of billions. He’s a man trying harder to be the hero more than ever, saving every single life he can and never taking another, not through choice, not if he can help it, which makes the knowledge of what he becomes – the man who fought and ended the Time War – even more horrendously ironic.

Then there’s the final two episodes: Lucie Miller and To The Death. Possibly one of the darkest and most grim Doctor Who stories of them all, this is by far one of my favourite finale stories. The Daleks are calculating and ruthless – really ruthless, for a change – the Doctor is pushed to his limits and perhaps even beyond in every possible way, and, most surprising of all for a Who story, there’s a body count of major characters that even George R.R. Martin would be proud of.

After four seasons of fun and thrills in time and space, (with more than a little bit of drama along the way,) the series ends with the Doctor a broken man, and far closer to a man ready for a war. The final scene especially is incredibly haunting. It also nicely leads into the series Dark Eyes (coming to an end early next month), although it is a great series that stands well on its own.

Who would I recommend this to?

The group of people I’d immediately recommend this to first are definitely fans of the new series. Not only do these stories have that style down to a tee, but it’s also very accessible continuity wise, with any backstory explained as easily as, say, those of the Daleks, the Cybermen and the Master in the TV series. There’s also the prequel nature of the stories and how it plays around with it – for example, if you’re relatively new to the series and know about the Time Lords but know little of what those bastards were actually like, then this gives you a pretty good idea right from the first ep, as they pretty much thrust Lucie Miller right into the Doctor’s lap (no, not like that – one thing this shares in common with the TV series is that it’s still very family friendly).

There’s also some truly great drama that the new series has become known for (I’ve mentioned how dark and soul destroying To The Death is, but other notable examples of eps that are heartbreaking include The Vengeance of Morbius, Orbis, Death in Blackpool and The Resurrection of Mars), and it’s a nice way for newer fans to ease into the classic era. Obviously, classic fans like myself will enjoy this too, both for the little references and returning enemies along the way, but the mixture of classic and new it has makes it the perfect bridge for new fans to jump on board with the classics.

Geeky Stuff I’m Excited About #1- UNIT: The New Series: Extinction

So today Big Finish Productions, makers of a variety of audio series based on many cult TV series, most notably (of course) classic Doctor Who and a variety of their own spin-offs, made a special announcement: a brand new series starring Jemma Redgrave as Kate Stewart in UNIT: The New Series, beginning in November with a release titled Extinction. To say it’s made me excited is an understatement.

So what’s it about?

UNIT is an organisation that’s featured in a lot of Doctor Who stories, both classic and new. Essentially a military organisation created to fight more unusual threats, most notably extra-terrestrial, it’s been an important part of the mythology of the show since 1968 and even more-so in the early 70s, when the production team focused on more Earth-based stories to save costs. In the classic series, the organisation was lead by Brigadier Alistair Gordon Lethbridge-Stewart, arguably one of the oldest and closest friends the Doctor ever had. In the new series, his daughter, Kate Stewart, has lead UNIT to become a military organisation lead by its scientists, and is usually the first person to deal with the Eleventh and Twelfth Doctors in the event of a worldwide crisis. This new spin-off is to focus on her character and her team while dealing with alien invasions without the Doctor’s help.

Currently, not many details have been released about the overall plot of the series, other than every six months from November onwards, a brand new 4-part season will be released, the first of which will be titled Extinction and focus on the team battling an invasion by the Autons, a popular monster from both the classic and the new series.

Big Finish have previously released 2 seasons of UNIT based more on the classic series, the first featuring the Brigadier and mostly new characters back in 2005, the second released in 2012 with the overall title of Dominion and featured the Seventh Doctor and several popular characters from Big Finish’s Doctor Who stories.

Why am I excited about this story?

The most immediate thing that springs to mind is that, while Big Finish Productions have been working with actors and characters that have appeared in the classic series for over a decade and a half, due to licensing restrictions, they have never been allowed to have any stories that included elements or actors that had only appeared from the revival that started in 2005 onwards. This meant that they could tell stories that focused on the Doctor, but only feature stories focused on his first 8 incarnations, so nothing featuring Christopher Eccleston, David Tennant, Matt Smith, Peter Capaldi or even John Hurt. They could focus on monsters from the classic series (eg the Daleks or the Cybermen, for example) or create their own, but they couldn’t use any that had been exclusively created for the new series (so no Weeping Angels stories with classic Doctors, unfortunately). In short, anything featured in the classic series was ok, but anything from the new series was off limits.

Until now.

Now technically, the character of Kate Stewart had originally been created for expanded universe stories back in the 90s, but Jemma Redgrave portraying her had been exclusive to the new series, so this is really is a massive step for Big Finish. Does this mean that anything else from the new series might be appearing in Big Finish stories any time soon? Maybe, maybe not, but either way, this really is an excellent first step. Big Finish Productions have easily made some of my favourite Doctor Who stories ever, and their spin-off series have been consistently excellent, especially. I am a huge fan of Dalek Empire, Gallifrey and Jago & Litefoot especially. So if they can expand their creativity to focus on characters and monsters from the new series, perhaps even find ways of incorporating classic and new series elements into stories, then I’d more than love it. (Big Finish, if you can find a way to make a Jago & Litefoot & Paternoster Gang crossover and blow the minds of every classic/new Who series fan, please do so asap!)

But just as brilliant as that is the fact that Big Finish are doing another series of UNIT. The box set release Dominion in 2012 was truly epic, thrilling stuff. It was a story that honestly, I hadn’t been too excited about pre-release (bear in mind, I was much more looking forward to the new Eighth Doctor release Dark Eyes at the time), but it really blew me away. It had an incredible sense of scale, featuring numerous alien invasions and a wide variety of monsters, while still giving us plenty of memorable and brilliant human characters, plus a few surprises and shocks along the way. It almost felt like a New Series finale with four times the budget and a classic Doctor. While I’ve heard the first season of UNIT that was more focused on gritty, stand-alone storytelling and enjoyed it, I loved the more epic storytelling of Dominion so much more. Extinction sounds like it’s going to continue that style of epic scale and character focus, so new series or not, I’m more than happy for a new season of UNIT.

It’s going to be a long wait until November, but I’m sure it’ll be more than worth it.