Rose and Danni are rescued from a trap by the leader of a community which seems to be thriving…

Tim Foley’s story for the middle of this set should perhaps come with the same sort of warning about adult content as episodes of Torchwood or Survivors – indeed there’s very much the feel of the latter series about this story (and that’s definitely a compliment). Just as you’re wondering if the script will commit to the full consequences of its set up, you realise that there’s never really been any question that it will.

The relationship between mother and daughter has been central to this range from the start, perhaps being brought out more in the most recent two sets, and the absence of Clive from proceedings at present means the focus turns even more in that direction. Rose gets an object lesson in what it means to be a mother – or at the very least to be in a maternal role – and how conflicting needs can lead to decisions that simply can’t be walked back easily.

The confrontations between Billie Piper’s Rose and Heather Coombs’ Lara are electric, and Rose’s realisation as to what’s happening is played out very credibly. Em Thane’s Danni’s relationship with Rose is central, and I almost dread what might occur in the final story, given what Danni raises here.

Once again, the sound design from Joe Kraemer and Aiden Van Lier Kramer plays a key role in the storytelling, and Helen Goldwyn’s direction doesn’t allow the listener to shy away for a moment from the horrors implicit in the situation.

Verdict: Continuing the high standard of the set opener, this is a far cry from the “we’re invincible” Rose Tyler of series 2. 9/10

Paul Simpson

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