For your own sanity, do the first two parts of the trilogy before you get here. If you don't, you're missing out on a set up that irritated me and delighted me in equal measure. There's one mark off the ten only because this story doesn't stand alone.

By using Sylvester McCoy, we get to have a Doctor that nobody minds having relegated to the sidelines, so that our two Masters take centre stage. When they get together, it's everything you want it to be and more. I thought I would be rooting for one over the other, but the reality is that you just enjoy them both as the universe disappears around them.

The main range really is the place to be at the moment.

There is something fun about coming to The Crimes of Thomas Brewster with the benefit of hindsight. The story is packed with companions. This is Evelyn's first trilogy. This is the Doctor meeting Menzies out of sequence. This is our first encounter with Philippa. This is the return of fifth Doctor companion Thomas Brewster. And just when you think it can't get any busier, David Troughton pops up. The listener is awash with familiar voices.

The story is as much fun as the cast, with plenty of mistaken identity and wondering who knows what about whom. The villains are deliciously sensible, the plan has dastardly consequences for humanity and goodness, the last episode may have you gasping a couple of times before the closing theme comes in.

The sixth Doctor now has lots of friends, is at home in contemporary London and shows what he can be like given storylines that offer some wibbly-wobbly timey-wimey. Worth coming back to again.

My spoiler-free warning to you is not to rate this story until you have listened to the whole box, as this story improves with the context that is provided later.

I am not persuaded that you need to have heard Robophobia to get to grips with the character Liv Chenka. Nicola Walker is an extraordinary actress, one of the best in the business at the moment, and to find her stepping into a companion role in Doctor Who is wonderful for Big Finish and for Paul McGann's Doctor.

A straightforward story of rebels trying to defeat the Daleks, with support from the Doctor, whilst he considers whether the human cost is worth the price of winning the day. I make is sound fairly bland; it isn't. McGann and Walker bring something so very special to the last ten minutes of this play.

So really, listen to the whole box, then come back to this one again. It will be worth it.

Fans of the first Doctor, be prepared for Carole Ann Ford's Susan being put through some harrowing scenes. She may have proved herself capable of the emotional work during the eighth Doctor's fourth series, but this is young Susan faced with a number of unpleasant situations. It all comes about because Smith creates a backstory for the Voord that turns them into a villain you would welcome back time and again. Although there is reference to The Keys of Marinus, you certainly don't need to have seen it to follow what is going on here.

William Russell is as reliable as ever turning in performances as both Ian and the Doctor, but this release is enhanced by having the larger supporting cast, turning it into a full cast play with added narration. The narration works well, switching between Ford and Russell regularly and more of Barbara's involvement is through narration, rather than Ford's performance. In particular, the story benefits from the narration as it reaches the end of part four, making the final confrontations all the more exciting.

Once again Big Finish have introduced a range that I never knew I wanted. With this amount of care taken, this should be a welcome addition to both the regular fans and those coming to the first Doctor for the first time. More in this style, please.