Here's the transcript of my video regarding what I believe to be the biggest problem with Revival Era and audio Doctor Who.
First of all, I’d like to apologise for the length of this video as, although to articulate the problem is rather short a proposition, I also wish to add my reasons for why I think the problem exists and give evidence.
In my end of 2025 wrap up video I criticised modern era Doctor Who given the appalling drop in ratings for the TV show and the latest output from the production company that produces audio Who, Big Finish. There are many reasons behind the decline of the Revival Era and audio Doctor Who but, for this video, I’m going to concentrate on what I believe is the biggest problem for both the TV show and the audio dramas – the dominance of one person over the output.
Classic Era Doctor Who was a collaborative effort which meant there may have been some inconsistency during the run but there was always an influx of new ideas and different perspectives. Even during the most regimented eras of Classic Who there was a separate producer and script editor to guide the show’s direction with a team of different writers actually writing the scripts. Occasionally, the script editor or producer might write a full script themselves but usually the intervention was re-writes to give a consistent character for the lead characters and, perhaps, commissioning particular story ideas to fit a season’s theme if the op-spec pile didn’t have a relevant script. The Revival Era, however, has gone in a very different direction.
During Russell T Davies’ first stint as the newly titled ‘showrunner’ not only wrote 29 episodes himself and co-wrote 2 of the 60 episodes produced but was also undertaking the guiding of the show’s development that under the Classic Era would have been undertaken by the producer/script editor team. Now, while this may have led to a slightly more consistent character development, it also meant that Davies has unprecedented say over what was or was not included in the show. For most of that first RTD era, only things that Davies liked from the Classic Era got included. He liked the Autons so they were included. He seemed to have a thing against the Time Lords so he had them destroyed in a Time War with the Daleks prior to the first episode. He liked Sarah Jane Smith and K9 so they appeared. He had no option to exclude the Daleks or Cybermen so they appeared (too much in the case of the Daleks) but, otherwise, references to the Classic Era were very thin on the ground. The Master was only reintroduced because the fans wanted it and, of course, only Davies was allowed to be the writer to handle writing for that character. The Time Lords only came back in his final two-part Christmas special and, again, it was only Davies who was allowed to handle that story. That final story also had an extremely long, self-indulgent, self-congratulatory sequence in which we see all the important recurring characters introduced throughout the previous four seasons and four specials.
During the Moffat era as showrunner, the situation is just as bad although for the first three seasons and the 50th anniversary specials, Moffat’s plan for the series was not just to have a story arc across a single season but to have an entire Doctor’s era become one full story arc. With an ambition like that, a more hands on approach was needed and Moffat was more open to linking the Revival Era and the Classic Era which was a major step forward. However, such an ambitious project came at a cost. Not only were the story arcs becoming too convoluted for occasional viewers but it could be very wearing for even the most avid fans. For the second half of his tenure as showrunner, the episode count was reduced by one per season but he was still writing or co-writing a significant proportion of the episodes each season and yet, the final three seasons of the Moffat era were extremely disjointed with almost three different characterisations of The Doctor on show. The lead character has always been multi-faceted but there was always a gradual change, not the sudden change from one season to another.
Moffat wrote 42 episodes and co-wrote 6 episodes of the 83 episodes across his tenure along with the duties undertaken by the Classic Era type team.
During the third showrunner Chris Chibnall’s tenure, the episode count dropped again to 10 episodes a season, however, the COVID lockdown further reduced the episode count to a mere 6 episodes for his final season. The reduction in episode count was not the problem for this particular era though; the problem was Chibnall’s total disregard for Classic Era continuity. While the series was hardly consistent across the years, there were bits of Doctor Who canon that were quite consistent and that was that Hartnell’s incarnation was the first and Time Lord society was remarkably consistent given the number of people involved in writing the show over the years. Chibnall always made a point of saying that he was a fan of the Classic Era but he seemed to have absolutely no respect for what had gone before. With no one to restrain him, Chibnall destroyed over 50 years of history and storytelling. He wrote 18 episodes and co-wrote 6 episodes of a mere 31 episodes across his tenure. Ratings dropped and the quality plummeted. One can only wonder what would have happened if Chibnall had written less and had some constraint on his power. However, the Chibnall era would be a high-water mark compared to the second Russell T Davies tenure.
Despite having more money to spend for each episode due to the involvement of Disney, Davies changed the essential premise of the series from being a science-fiction show to a fantasy show and openly stated that a pro-trans Rights message was more important to him than the show. Davies had more money, as much power as he had the first time round and even fewer constraints. The episode count dropped to a mere 8 episodes per season and across the two seasons, three 60th anniversary specials and two Christmas specials made for the main show, Davies wrote 14 episodes and co-wrote one episode of the 20 episodes so far. The ratings for the RTD 2.0 era were the worst in the show’s 62-year history, dropping below the ratings for the McCoy era without the excuse of being scheduled against the juggernaut which is Coronation Street.
The earlier success of the Revival Era was not a measure of how effective the consolidation of power in a single person was but Classic Era fans wanting more of their favourite show, the appeal of better special effects on younger fans and the luxury of time to give polished performances that the Classic Era actors were not given.
As the Revival Era progressed, the power given to the showrunner began to increase and solidify until the showrunner was writing most of the episodes and had virtually no restraint on what they could or could not do. The death of the show was almost assured from the beginning of the revival in 2005. It just took a little longer than anyone thought.
Now we move on to the problem at Big Finish which is essentially the same – a single individual having too much power although not in the same way as the TV series.
Big Finish was once an excellent producer of Doctor Who audio dramas, mixing Classic Era style with more modern storytelling. The basic structure of Classic Era stories was of 4-episode stories with the occasional longer story and even fewer shorter length stories. It was generally accepted that a 4-episode story was the ideal length by the time of Tom Baker’s era and so that was the most common length of story. When Big Finish first started producing Doctor Who audio dramas, the 4-episode structure was the rule.
When Tom Baker was finally convinced to join the Big Finish family, that changed with the Fourth Doctor Adventures range being released as a load of 2-episode stories although some of those stories were actually 4-part stories split into two linked 2-part stories (I assume this was done to charge much more for the Tom Baker stories as each monthly CD cost £10.99 and the 4-episode, 2-disc releases for Davison, Colin Baker and McCoy were about £13.99 each). At the time, creative director Nick Briggs stated that he preferred the 2-episode structure and it’s that fact you must keep in mind.
However, several seasons of adventures later, the Fourth Doctor Adventures range assumed the 4-episode structure to be more in keeping with the Fourth Doctor era. A few years later, a decision was made to go to 3-disc boxsets for each of the incarnations of The Doctor and that’s where the problem became significant and intricately linked to Nick Briggs’ preference for the 2-episode structure.
Briggs may not have direct influence over the different ranges but, as creative director, he does wield a lot of power in the company. It seems very convenient for Briggs that the move to 3-disc boxsets means more 2-episode stories, in fact, almost every Colin Baker boxset has been filled with three 2-part stories. The maximum number of episodes usually contained on a single disc is two 25-minute episodes (although it is possible to have three similar length episodes per disc) so the mix of story lengths per boxset is rather limited. Briggs has made a point of saying that Big Finish now produce more longer-form stories which is true but the prevalence of 2-episode stories is getting more the rule than the exception.
The number of discs for Davison, Colin Baker and McCoy has reduced by two from 8 to 6 a year but the price has increased while the number of discs for Tom Baker have remained constant at 9 discs per year. Is it coincidence that Nick Briggs is a fan of the first four incarnations of The Doctor? The change to boxset releases from the original arrangement of four 2-disc stories for Davison, Colin Baker and McCoy a year on a subscription for around £130 for 11 months of audio productions (they always released two stories in September) to around £350 per year so you can be assured of at least one new Doctor Who story each month, however, that isn’t even assured now as this January had no Doctor release.
Briggs also seems to be very hands-on with the ranges for the first four incarnations – writing a lot of scripts, directing many of the stories – and most of those ranges have era appropriate story lengths or conform to his preferred story length. Recent First Doctor stories have been 6-episode stories, Third Doctor stories have in the main been either 6- or 7-episode stories, Second Doctor stories have been mainly 2-episode stories and Fourth Doctor stories have been a mix of 2-, 4- and 6-episode stories.
Briggs is also a virtue-signaller so the increase in identity politics across the whole Doctor Who audio range is assured so while he may not have direct control over the various ranges, as creative director and executive producer at Big Finish, he is in a position to veto scripts, choose writing staff and exert influence simply due to his position. Who would miss the opportunity of ingratiating themselves with someone who can advance their career? Mr Briggs likes 2-part stories so I’ll commission a load of them. He may not even realise he’s creating that kind of working environment but he doesn’t listen to customers who are frustrated at the change in output. What Briggs does do is what the showrunners and stars of the TV series have done for a number of years now – blame the fans for not liking what they are producing from increasingly agenda driven non-stories to short-form storytelling at the expense of era appropriate story lengths.
Briggs also has influence over the other projects at Big Finish. For instance, Briggs was not only a writer for the Space:1999 series but, being in control of the range and not liking the aspect of the TV series in which the idea of the Moon’s journey being directed by some cosmic intelligence, he actively stopped anyone using that idea in their stories, despite reimagining two episodes from the first season that included that idea. That range ended due to poor sales. Perhaps if Briggs had taken notice of fans concern that the intellectual undercurrent in the series was being omitted, Big Finish might still be making money from Space:1999 fans who actually liked that aspect of the show.
So, that’s the problem with Revival Era and audio Doctor Who – both have a single person with too much power and influence over the output of their respective domains.