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The Holy Terror is perfect. To be honest, there's little more that I can than that. For the first scene to the last, The Holy Terror is enticing, gripping, funny, clever, dark, twisted and ultimately thought-provoking, but not in a condescending way. It's quite simply one of the best story's that, not only Big Finish have put out, but one of the best things to bare the name Doctor Who.
The Doctor and Frobisher arrive in a castle where it's people follow a set of irrational and downright stupid set of customs and traditions, wrapped in the veil of religion. Now, while at first, this may all seem very flippant and very Douglas Adams-ish in it's subversion, the second half of the story turns the whole thing on it's head. Not only does the story become an awful lot darker, we also see the flip side of the argument. And it's not just for the sake of balance: writer Rob Shearman wants us to understand that, while to some, it may look silly and ridiculous, others derive meaning and purpose out of these arcane rituals, and it's not really our place to judge that. Then, of course, we come to the child: possibly one of the most psychotic and terrifying monster ever encounter by the Doctor. Sam Kelly is fantastic here: I mean all of the guest cast are great, but Kelly is superb as Eugene, a man who's become twisted by his actions to the point where he no longer recognises himself. You do feel sorry for him, despite his actions, and the ending is like a literal stab in the gut. Colin Baker gives one of his best performances as the Doctor, and Robert Jezek is wonderful as Frobisher, to the point where, over the course of a single story, you couldn't imagine any other voice for the character.
While The Holy Terror may have been derided at the time for featuring the 'big talking bird', it's certainly hailed as a classic today. And rightly so: for The Holy Terror is simply divine. It's funny, it's tragic, it's gruesome, it's gripping. It's, quite simply, classic Doctor Who.