Revisiting The Ninth Doctor Adventures: Series 1: Lost Warriors

Feature by Gustaff Behr.

November 23, 2021 – “The Village of Angels” had just aired two days prior, and I must admit, my hopes for Doctor Who: Flux were rising, despite the highly nonsensical “Once, Upon Time” installment.

It’s interesting to note that in 2021, Jodie Whittaker had seven stories while Christopher Eccleston had nine with Big Finish. Although the quantity isn’t vastly different, the quality gap is staggering – not in terms of acting, but in story and character. Both elements need to be perfectly aligned to create an enjoyable experience (at least for me). Stories should make sense, have continuity, and offer resolution and payoff.

Comparing this to Lost Warriors, the contrast becomes even more apparent. Lost Warriors exemplifies what Doctor Who should strive for: coherent storytelling, well-developed characters, and emotional resonance. Each story here is carefully crafted to ensure a satisfying narrative arc, providing both continuity and meaningful resolutions. The characters are given room to breathe and grow, making their journeys compelling and relatable. Inconsistency in writing often affects the audience’s emotional investment. When characters and stories don’t evolve logically or satisfyingly, it diminishes the overall impact of the product. Doctor Who has always thrived on its ability to blend fantastical elements with deep, relatable human stories.

As fans, we crave narratives that challenge us, characters that grow, and resolutions that feel earned. Without these, even the most exciting concepts can fall flat. Lost Warriors demonstrates that it is still possible to capture the magic that has made Doctor Who a beloved staple of science fiction.

The three stories in Lost Warriors explore the theme of what it means to be a warrior, both in the traditional sense and in the context of personal struggles and battles. Each story also features an antagonist who is either a warrior or from a war-like alien species. A third through-line, which doesn’t have plot significance, involves the Doctor trying to reach 1925.

THE HUNTING SEASON

In Regency England, the Doctor arrives at Duberry Hall and meets the Hawthornes, a very elitist, posh family. The family includes Lord Hawthorne, his daughter Isabel, their butler Streatham, and two servant ladies, Ms. Goose and Alice. The Hawthorne estate is under siege every night by the Fleshkin.

The opening scene of this episode perfectly sets the stage for the kind of individuals the audience is about to spend time with. Isabel orders Alice to prepare an iron poker in the fire so she can burn her for allowing the fire in the fireplace to go out. Streatham assists Isabel, but before she can carry out the punishment, they are interrupted and saved by the episode’s villains, who are flesh-eating monsters. This is one of those families you wish would get their comeuppance.

But do they?

…spoilers!

Throughout the episode, the Doctor vigorously tries to resolve matters peacefully and keep the Hawthornes from starting a war they can’t win while working out what the Fleshkin want. Nine does so while delivering a barrage of backhanded compliments to the Hawthornes that go completely over their heads but will leave listeners in stitches. It brilliantly showcases how disconnected these wealthy Englishmen are, highlighting their horrible attitudes towards their staff and their readiness to resort to violence.

Really, the Doctor’s chemistry with the cast is what sells this base under siege episode. Lord Hawthorne recognises the Doctor as an old soldier and initially treats him with the kind of respect he feels is deserved after the Doctor’s actions in ‘the great war’, while Isabel has a morbid fascination with death and killing. Her interest in the Doctor leads to a few uncomfortable scenes as she tries to coax him into revealing how many people he has killed and what it felt like to do so. As the audience, we know that the war the Hawthornes are referring to is World War I, not the Time War. Yet the family is completely oblivious to the fact that the Doctor views his participation in war and violence as anything but honourable and would much rather avoid discussing the topic altogether.

The Fleshkin don’t get as much screen time as I would have liked, but they serve their plot purpose well enough, leading to an interesting twist that successfully balances its ambitions. However, I didn’t care for the generic monster voices used for them, and I feel that their ‘flesh-eating’ aspect could have been emphasised more than just a mere mention.

THE CURSE OF LADY MACBETH

As someone unfamiliar with Shakespeare’s “Macbeth”, this story offers a fresh perspective with a sci-fi twist, standing on equal footing with “The Hunting Season” in my opinion. In 2022, it won “Best Audio Drama” at the Scribe Awards, breaking the tradition of being the weaker entry of the three episodes.

Arriving not in 1925 as expected, the Doctor nearly meets his end when he encounters Gruach (Lady Macbeth) praying to ward off dark spirits that rescued her from the Fuath. His sudden appearance convinces her and others that he is one of the ‘blue men’, and the TARDIS’s blue exterior doesn’t help matters. Gruach’s son, who cannot speak and is believed to be cursed, draws his nightmares on the walls of the great hall of the castle, further complicating matters. Rounding off the trouble are the Fuath, monsters who dwell near the shore of Moray and take babies from the women of the kingdom and replace them with mouthless, noseless changelings.

“The Curse of Lady Macbeth” feels like quintessential Doctor Who, but with added tension due to the locals’ mistrust of the Doctor. Nine just cannot catch a break here, as every ‘magical’ act he performs only deepens someone’s suspicion of him. This mistrust also showcases Gruach’s talents, as she quickly proves herself to be a good judge of character. It also makes it easier for other characters to turn on her.

Neve McIntosh shines as Gruach. After numerous appearances as Madame Vastra, her distinctive Scottish accent is instantly recognisable. McIntosh delivers an outstanding performance, almost tempting me to delve into the original play…Almost.

Her chemistry with the Doctor is particularly enjoyable, starting off very antagonistically, which is unusual for Doctor Who, but evolving into a believable dynamic by the end. The script, centred around themes of motherhood, fits well given Gruach’s past losses. Lizzie Hopley’s writing gives McIntosh rich material to work with, balancing the aggressive, determined warrior queen with the loving, motherly figure.

Gruach’s husband, Macbeth of Scotland, is played by Anthony Howell. Initially, Macbeth comes across as aggressive, pigheaded, and violent, making him a difficult character to sympathise with. There were moments when I wondered why the world would dedicate so much time and attention to a play of his life. He comes across as a violent bully. However, towards the end, he undergoes small yet critical developments, making him more tolerable, if not entirely likeable. One key tension in the episode is the turbulent nature of Gruach and Macbeth’s marriage. One of the script’s aims is to bring them to a point where they can at least tolerate each other, but it’s a rocky road… satisfying though.

“The Curse of Lady Macbeth” is one of those Doctor Who stories where the Doctor is technically the main character, but it’s the lives of the other characters he interacts with and helps that truly elevate the quality of the episode. We don’t learn much, if anything, new about Nine here, but his presence and involvement bring depth and richness to the script, highlighting the struggles and growth of characters like Gruach and her son. It’s his interactions that serve as a catalyst for their development. This dynamic also underscores the Doctor’s role as a facilitator of change and growth in others, rather than always being the central focus.

MONSTERS IN METROPOLIS

Finally arriving in 1925, the Doctor gets to witness the making of the classic film “Metropolis”, by Fritz Lang. If you’re anything like me, you’ve never heard of the film. Don’t worry, the script quickly catches you up to speed.

Written by John Dorney, this episode is a masterclass in storytelling that fulfils my childhood dreams of ‘seeing’ the Ninth Doctor go up against the Cybermen. From the outset, everything about this story is mind-bogglingly perfect. Much like the story “Dalek”, this adventure focuses on a single Cyberman, giving it personality and making it sympathetic. Unlike typical Cybermen, however, this one exhibits feelings and emotions, with Dorney highlighting the constant pain and suffering someone turned into a Cyberman would endure.

The Doctor’s encounter with the Cyberman in the sewers in the back half of the episode is heartbreakingly poignant. The Cyberman expresses a desperate wish to end its suffering and escape the compulsion to kill. Although reminiscent of “Dalek”, this story stands out thanks to Dorney’s masterful depiction of the Cybermen’s unique traits. The Cyberman’s character development feels genuine, and its struggle against its programming is both believable and moving. Nick Briggs delivers an exceptional performance as the Cyberman, evoking deep sympathy from the audience. At one point, I even found myself wishing the Doctor would end its misery with a mercy-kill. Dorney and Briggs brilliantly highlight the Cybermen’s inherent tragedy and horror.
Really, Dorney’s script excels on almost every level, save one nitpick: why do none of the characters have German accents? Other than that, fantastic!

“Monsters in Metropolis” masterfully integrates 1925 Berlin beyond mere backdrop. It weaves in references to the Weimar Republic’s turmoil and the looming spectre of Nazism. The villain embodies the mounting unease in Weimar Germany, their motivations stemming from the nation’s post-World War I trauma – making them human and relatable despite their horrible actions. The script foreshadows the German people’s struggles and their gradual radicalisation, and the emotional final scene, where the Doctor urges one of the characters to flee Germany, underscores the impending tragedy and concludes with a bittersweet tone. Absolutely haunting!

John Dorney’s grasp of the Ninth Doctor is unmatched. In my view, he has crafted more perfect gold-tier stories in his career than Steven Moffat, and his work here maintains that standard. This story captures the essence of the Ninth Doctor more authentically than any other. Christopher Eccleston’s performance beautifully complements Dorney’s writing, delivering some of Eccleston’s finest material yet and showcasing his nuanced and passionate portrayal of the Doctor. Similar to “Dalek”, moments of the Doctor’s lingering guilt over surviving the Time War surface, yet there are also plenty of lighter moments, like his meeting with Fritz Lang and his enthusiasm describing “Metropolis'” groundbreaking methods and influences.

Lastly, Howard Carter’s new Cybermen theme kicks a lot of ass.