It wasn't perfect but it was better than Listen, Kill the Moon, Let's Kill Hitler, The Wedding of River Song, Death in Heaven, Hell Bent, A good Man Goes to War and soooooooo many others.

They had to introduce a companion so it was never gonna be brilliant and Bill’s sexuality was alluded to rather than overtly stated which was a nice touch, I think they handled that well.

On the other hand, the chase sequence was a mid-episode lull and the Movellians felt wasted but it was nice to see them anyway. Then there was the gratuitous 'shut up' stuff and the resolution was a bit weak – which for me was possibly the worst bit - but weirdly a lot of people seem to have a problem with the fact it had a puddle in it?

The chase scene was resolution delaying for a resolution that was undermined by the setting up of this mystery as some kind of a threat when really it was just misunderstood but I didn't feel cheated because there was plenty else to like.

It looked great, the music was unobtrusive for a change and the plot hung together reasonably well if a little contrived. None of that was a great problem and I really quite enjoyed it. A number of people have commented on how it felt like an RTD episode and not having Clara around was like a breath of fresh air. I agree.

The Seeds of Death is a rather odd production. It doesn’t feel right that there is no backstory for anybody and the Krynoid didn’t need to be extra-terrestrial and if it had escaped from a government research facility then that would be a nice change and might explain why the Doctor is introduced hanging around a civil servant's office.

It’s free from running around corridors, but instead, the Doctor runs around the countryside punching people. That coupled with the Bond-esque villains gives it a very action man feel.

The traitorous civil servant is very perfunctory. I don’t think his change of heart is explained and is an aspect of the story that feels very glossed over.

I know the acting in Doctor Who isn’t the most realistic but Chase and Scoby and his mate are Graham-Williams-era type over the top.
I am not saying it’s bad, but it lacks the hallmarks of DW greatness.

‘The Boy That Time Forgot’, by Paul Magrs, is a story that inserts itself into the continuity of the programme’s history and leaves me feeling divided. On the one hand, the idea behind the story is quite inventive. On the other hand, it undermines the poignancy of Adric’s death in ‘Earthshock’, the dialogue is often just plain wrong and the two Victorian characters are flat caricatures. Block computation also makes a return.

The premise being that Adric managed to escape his death in ‘Earthshock’ by using Block Transfer Computation; consequently, creating a world where he lives and is served by his scorpion subjects. After many years, Adric decides to use Block Transfer Computation to summon the Doctor and Nyssa with two Victorian spectators who don’t appreciate the detour in their daily routine. Andrew Sachs’ raving interpretation of a long isolated Adric is sublime. Magrs script paints the character as resentful and slightly reminiscent of Omega. Peter and Sarah are spot-on with their performances and the soundscape is rich and vivid as always.

The story has a strong fantasy element with people moving through time by chanting numbers and Adric trapped in his own pocket universe achieving certain feats by sheer will power, (c.f. Omega). Adric veers between sinister and silly at times and while some may criticise this as inconsistent characterisation, I enjoyed the unpredictability. Paul Magr’s script sets a good pace with lots of action but can be heavy with technobabble and exposition. (Is it still technobabble if it’s fantasy? ) The absence of the Tardis creates some genuine suspense but the resolution frees this story of any consequences and makes the whole adventure rather moot.

Ultimately, I think this was a good story that feels like a first draft, I found this too inconsistent and too fantasy based with bad dialogue and flat, pointless supporting characters. This is counterbalanced with good production values and interesting ideas. Entertaining but uneven.

The story is set during the Mau Mau uprising in 1950’s Kenya, and Klein has taken refuge with a group of British imperialists. People are mysteriously being savagely killed. Under pressure Klein and a companion-less Doctor decide to join forces. This story starts a trilogy and is followed by Klein’s Story and Survival of the Fittest. This audio drama was recorded on 25 and 26 June 2009 at The Moat Studios and was available on BBC Radio 4 Extra from 23 May 2012 to 24 May 2012.

As Klien is teamed up with the Doctor she poses no real threat. The other characters are pretty paper thin. The plot is deceptively simple but enjoyable. This story is certainly a cut above average and has the atmosphere of a base-under-siege-type story. This could be because there are really only two settings: the farmhouse and the countryside. This works both for and against the story. The world created lacks depth but builds up suspense nicely. There are a few painfully trite philosophical points about the British Empire being similar to the Nazis but from a different perspective, lifeforms that are different are not necessarily inferior, and there is strength in numbers.

That being said: Lisa Bowerman’s directing is focused and gives everything cohesion. The sound effects and music create a vivid landscape. This is wedded to Andy Lane’s classy story filled with fine performances. The suspense increases throughout and McCoy plays the Doctor with authority. Also, The Doctor indicates that Ace has left by this point. A Thousand Tiny Wings manages to rise above any perceived faults and definitely above average.