Lucie Miller asks the Doctor to return to Blackpool. Little does she know it will lead to a death...
By this time, the Eighth Doctor Adventures were now into their fourth series of pure-audio adventures, in the format of two half-hour long episodes per story. Following the good first series came the excellent second, but after the sub-mediocre third series things were looking down for the Eighth Doctor Adventures. Death in Blackpool changed things, in more way than one.
First and foremost, the Series Four debut makes a pleasant change from the meaningless run-around that was the latter half of Series Three. But more importantly, it develops the relationship between the Doctor and his companion without going to the excessive lengths that previous Big Finish stories such as Zagreus and Orbis did.
The story is something of a sequel to The Zygon who Fell to Earth in Series 2. Don't listen to Death in Blackpool before hearing it. But where The Zygon Who Fell to Earth proved to be an average story, Death in Blackpool expands its depth on all fronts, in particular with Lucie Miller's story. The charm of Death in Blackpool, though, is its production. It is reminiscent of – or rather, it foreshadows – the production of the BBC’s Sherlock. High production values, an innovative style, and a slightly unbelievable plot.
It does become confusing at points, even if you have seen The Zygon Who Fell to Earth. This is because there are multiple aliens with similar names and voices, and the audio format doesn't allow for the distinction that would come so easily in television.
Overall, though, it is one of the best Eighth Doctor Adventures, and it makes an impressive start to Series Four.
4.5 out of 5.