The Doctor and Mel land in what appears to be an orbiting warehouse, a delivery facility with a dangerously erratic computer.
Whilst Mel is helping with repairs, the Doctor begins to realise that not everything in the warehouse is as it seems. Why do no goods ever seem to leave the shelves? Why are the staff so obsessed with the stocktake? And who is the mysterious Supervisor?
On the planet below, the Doctor discovers that the computer might be the least of their problems – and that they should be more concerned with the spacestation’s mould and vermin…
THE WAREHOUSE
“The Warehouse?” I understand that you can’t judge a book by its cover, but “The Warehouse” is one of the most boring titles I’ve ever heard. Imagine some other Doctor Who stories with similar titles. “The Planet,” or “The Caves,” or “The Daleks.” Wait, forget about that last one. Anyway, Mike Tucker’s “The Warehouse,” the second entry in the 2015 Sylvester McCoy monthly range trilogy, is straightforward, reasonably entertaining Doctor Who. Which surprised me, given that I’ve struggled to find some of Tucker’s other work even reasonably entertaining. Never let it be said that I lack an open mind!
It’s almost impressive how “The Warehouse” manages not to be about anything in particular given the wealth of material ripe for satire. It’s set in a giant Amazon-like warehouse, maintained by a small army of clones and utilizing swarms of drones to deliver products to the planet below. There’s a living mold slowly infecting the place that got its start when scientists on the aforementioned planet engaged in careless genetic modification. There’s a cargo cult on the planet, formed after a disaster and worshipping the warehouse as the home of the gods. Look at the opportunities! You could write a treatise on worker abuses at warehouses like this, or commentary on how military drone technology doesn’t blend well with consumer desires, or how clone technology is dangerous if misused, or how we are slaves to online ordering, or even a cautionary tale about GMOs. Tucker fails to engage with any of the material to any significant extent – the most depth he reaches anywhere is the idea that we need to be careful with technology, which is hardly the stuff of great insight. And I’m not saying that I wanted “The Warehouse” to be a plot-free meditation on a variety of real-world issues – though that would be an impressive step for a Big Finish story – but I am saying that a little more depth would not have gone amiss.
The shallowness is so disappointing because the plot is actually exciting! It’s very Doctor Who – there’s lots of running up and down corridors while being chased, lots of characters being captured and recaptured, lots of “What is it, Doctor?” from the supporting cast, and so forth. But Tucker’s script is tight and eventful: there’s surprisingly little padding and there’s always a new threat on the horizon to keep the pace up. Yes, the first episode is incredibly slow, but by the conclusion you’ve forgotten all about that. Perhaps some of this is down to director Barnaby Edwards, who reliably turns out the paciest, most exciting Big Finish stories, but all credit to Tucker for producing a solid action script. I just wish the dialogue wasn’t so clunky – there’s a lot of “Ew, look! He’s got mold growing all over his face!” that still sounds out of place 200 releases after the range started.
We need more Sylvester McCoy and Bonnie Langford stories, as the two work incredibly well together despite their short time together on screen. Part of my enjoyment of “The Warehouse” comes from their command of the material and their chemistry, as well as from the supporting cast, especially Phillip Franks who switches effortlessly between officious and menacing as the Supervisor. I’ve already mentioned the fine direction from Edwards, and the sound design from Richard Fox and Lauren Yason adds some much-needed atmosphere. Overall, “The Warehouse” isn’t that bad if you like solidly-plotted Doctor Who stories with little to no depth. It’s a decent listen – if a little clunky – but it carries a feeling of lost potential.
So-so.
6/10