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The Confessions of Dorian Gray #5
The Confessions of Dorian Gray: Series 5
'Series Five is a much more affecting journey than we would probably have been given to expect. As Dorian himself might have had it, the very definition of jolie laide. 10/10.' Starburst.
'Handcock has created something of pain & beauty in equal parts – a surreal nightmarish trip into world of perception… In a year of outstanding releases from Big Finish this is one of the very best and a strong contender for my release of the year.' Planet Mondas
'At the end of this final set (and the extras confirm there are no plans, no possibilities) the only conclusion the listener can reach is that both director/writer/producer Scott Handcock and Alexander Vlahos are brilliant. Just don’t tell them. 5/5.' Cultbox
Inspired by Oscar Wilde's classic story of hedonism and corruption, The Confessions of Dorian Gray imagines a world where Dorian Gray was real, and his friendship with Oscar Wilde once spawned the notorious novel.
Starring Alexander Vlahos as Dorian Gray, this fifth and final series comprises four hour-long episodes, reuniting Dorian with a host of familiar friends from throughout his extended lifetime.
1. One Must Not Look At Mirrors by Guy Adams
London, 1888. When Oscar Wilde befriends a young man by the name of Dorian Gray, he finds himself immersed in a world devoid of morals. But as a celebrated killer stalks the streets, and he struggles to come to terms with inhuman actions, can he find any humanity in Dorian…?
2. Angel of War by Roy Gill
France, 1915. In the trenches of the Great War, Lieutenant Dorian Gray reports to Captain James Anderson, shortly before a routine mission into No Man’s Land. His comrades rely on their faith to get them through - but is there any truth behind the story of the legendary Angel of Mons…?
3. The Valley of Nightmares by David Llewellyn
Los Angeles, 1948. Reunited in the heart of the Hollywood Hills, Dorian Gray and Dorothy Parker quickly find themselves embroiled in a conspiracy that takes them behind-the-scenes of the region’s booming movie industry. But how much of it is an act…?
4. Ever After by Scott Handcock
London, 2016. The end.
PLUS! The collection also includes a bonus disc of behind-the-scenes interviews with cast and crew.
Note: The Confessions of Dorian Gray contains adult material and is not suitable for younger listeners.
Written By: Guy Adams, Roy Gill, David Llewellyn, Scott Handcock
Directed By: Scott Handcock
Cast
Alexander Vlahos (Dorian Gray), Guy Adams (German Officer), Samuel Barnett (Stuart Knight), David Blackwell (Simon Darlow), Daniel Brocklebank (James Anderson), Tracey Childs (The Governess) Steven Cree (Fraser Collins), Ben Crystal (Richard Dadd), Sarah Douglas (Dorothy Parker), Stephanie Ellyne (Mary Harris), Ben Flohr (Tommy Coogan), Bernard Holley (The Portrait), Lizzie Hopley (Emma Elizabeth Smith), Jo Joyner (Constance Wilde), Mac McDonald (Walter van Kirk), Lewis Reeves (Walter Sickert), Steffan Rhodri (Oscar Wilde), John Schwab (Jim Harris) with Hugh Skinner. Other parts played by members of the cast.
Producer Scott Handcock
Script Editor David Llewellyn
Executive Producers Jason Haigh-Ellery and Nicholas Briggs
'Handcock has created something of pain & beauty in equal parts – a surreal nightmarish trip into world of perception… In a year of outstanding releases from Big Finish this is one of the very best and a strong contender for my release of the year.' Planet Mondas
'At the end of this final set (and the extras confirm there are no plans, no possibilities) the only conclusion the listener can reach is that both director/writer/producer Scott Handcock and Alexander Vlahos are brilliant. Just don’t tell them. 5/5.' Cultbox
Inspired by Oscar Wilde's classic story of hedonism and corruption, The Confessions of Dorian Gray imagines a world where Dorian Gray was real, and his friendship with Oscar Wilde once spawned the notorious novel.
Starring Alexander Vlahos as Dorian Gray, this fifth and final series comprises four hour-long episodes, reuniting Dorian with a host of familiar friends from throughout his extended lifetime.
1. One Must Not Look At Mirrors by Guy Adams
London, 1888. When Oscar Wilde befriends a young man by the name of Dorian Gray, he finds himself immersed in a world devoid of morals. But as a celebrated killer stalks the streets, and he struggles to come to terms with inhuman actions, can he find any humanity in Dorian…?
2. Angel of War by Roy Gill
France, 1915. In the trenches of the Great War, Lieutenant Dorian Gray reports to Captain James Anderson, shortly before a routine mission into No Man’s Land. His comrades rely on their faith to get them through - but is there any truth behind the story of the legendary Angel of Mons…?
3. The Valley of Nightmares by David Llewellyn
Los Angeles, 1948. Reunited in the heart of the Hollywood Hills, Dorian Gray and Dorothy Parker quickly find themselves embroiled in a conspiracy that takes them behind-the-scenes of the region’s booming movie industry. But how much of it is an act…?
4. Ever After by Scott Handcock
London, 2016. The end.
PLUS! The collection also includes a bonus disc of behind-the-scenes interviews with cast and crew.
Note: The Confessions of Dorian Gray contains adult material and is not suitable for younger listeners.
Written By: Guy Adams, Roy Gill, David Llewellyn, Scott Handcock
Directed By: Scott Handcock
Cast
Alexander Vlahos (Dorian Gray), Guy Adams (German Officer), Samuel Barnett (Stuart Knight), David Blackwell (Simon Darlow), Daniel Brocklebank (James Anderson), Tracey Childs (The Governess) Steven Cree (Fraser Collins), Ben Crystal (Richard Dadd), Sarah Douglas (Dorothy Parker), Stephanie Ellyne (Mary Harris), Ben Flohr (Tommy Coogan), Bernard Holley (The Portrait), Lizzie Hopley (Emma Elizabeth Smith), Jo Joyner (Constance Wilde), Mac McDonald (Walter van Kirk), Lewis Reeves (Walter Sickert), Steffan Rhodri (Oscar Wilde), John Schwab (Jim Harris) with Hugh Skinner. Other parts played by members of the cast.
Producer Scott Handcock
Script Editor David Llewellyn
Executive Producers Jason Haigh-Ellery and Nicholas Briggs
Audio CD
First published November 30, 2016
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Displaying 1 - 13 of 13 reviews
March 6, 2017
Guy Adams' One Must Not Look At Mirrors - had me bewildered and excited in more or less equal measure. It didn't really make sense or finally come together until the final lines in the last scene where it knocked me over the head and tossed me on my ass. Merits a second listen.
(I had just finished listening to Guy Adams' award nominated Torchwood: Made You Look. By accident, I had a Guy Adams radio-play double-feature! Quite a nice treat. Need to pay more attention to what he writes for Big Finish and make sure I hear his plays.)
Roy Gill’s Angel of War -
The Valley of Nightmares by David Llewellyn -
Scott Handcock’s Ever After - Wow. I can't believe that's how the series was ended. What a fricking let down. Feel like Big Finish spit in my face. Really hated this ending. And it's left me a bit upset. Don't think I can give a measured review on the rest. Damn you, BF.
(I had just finished listening to Guy Adams' award nominated Torchwood: Made You Look. By accident, I had a Guy Adams radio-play double-feature! Quite a nice treat. Need to pay more attention to what he writes for Big Finish and make sure I hear his plays.)
Roy Gill’s Angel of War -
The Valley of Nightmares by David Llewellyn -
Scott Handcock’s Ever After - Wow. I can't believe that's how the series was ended. What a fricking let down. Feel like Big Finish spit in my face. Really hated this ending. And it's left me a bit upset. Don't think I can give a measured review on the rest. Damn you, BF.
October 31, 2022
5.1 One Must Not Look At Mirrors (1888) ~ To be fair, I honestly wasn’t expecting much. We’ve already met Oscar Wilde and played with his relationship with Dorian and the reality of the painting. And then we’re adding in Jack the Ripper? I just felt it was going to be too much. But they actually pulled it off. This was one of my favorite Dorian Gray stories. Shocking. Superbly demented and twisted. Series Five is off to a brilliant start (5/5)!
5.2 Angel of War (1915) ~ Adding to the First World War and the urban legend of the Angels of Mons, we get Dorian Gray. The divine and the wicked, assuredly. But the real heart of this tale has little to do with the war or the alleged holy presence, instead it’s between the soldiers and their relationship during the battles. It’s flawed, perhaps, and a bit cliched in some ways, but it’s still a wonderful, if sorrowful, story (4/5).
5.3 The Valley of Nightmares (1948) ~ Dorothy Parker (portrayed by Sarah Douglas) returns and we get a fabulous Hollywood mystery. Wonderful (4/5). Series 5 is shaping up to be one of the best, if not THE best, volumes in this entire range.
5.4 Ever After (2016) ~ Hmm, well … that’s that. I suppose. This had some good stuff, but overall it just felt like one of those episodes from a sci-fi TV series that tries to subvert your perspective, but the meta knowledge of the series destroys the credibility to suspend belief that Dorian isn’t Dorian. So sadly, this doesn’t end as strong as I’d hoped it would (3/5).
On the download version, each of the stories includes a Music Suite following the story track. Gorgeous and evocative music. There’s also an hours worth of behind-the-scenes interviews and features with cast and crew.
5.2 Angel of War (1915) ~ Adding to the First World War and the urban legend of the Angels of Mons, we get Dorian Gray. The divine and the wicked, assuredly. But the real heart of this tale has little to do with the war or the alleged holy presence, instead it’s between the soldiers and their relationship during the battles. It’s flawed, perhaps, and a bit cliched in some ways, but it’s still a wonderful, if sorrowful, story (4/5).
5.3 The Valley of Nightmares (1948) ~ Dorothy Parker (portrayed by Sarah Douglas) returns and we get a fabulous Hollywood mystery. Wonderful (4/5). Series 5 is shaping up to be one of the best, if not THE best, volumes in this entire range.
5.4 Ever After (2016) ~ Hmm, well … that’s that. I suppose. This had some good stuff, but overall it just felt like one of those episodes from a sci-fi TV series that tries to subvert your perspective, but the meta knowledge of the series destroys the credibility to suspend belief that Dorian isn’t Dorian. So sadly, this doesn’t end as strong as I’d hoped it would (3/5).
On the download version, each of the stories includes a Music Suite following the story track. Gorgeous and evocative music. There’s also an hours worth of behind-the-scenes interviews and features with cast and crew.
August 28, 2020
The final ‘season’ in the horror series consists of four hour-long stories, the first three of which are told from the perspective of characters seen in episodes from earlier seasons. Each story has a different tone and they are unconnected beyond the fact that here, it’s somebody else, not Gray, who is making the ‘confession’.
• One Must Not Look at Mirrors – We begin with a story told from the perspective of Oscar Wilde, recounting how he first met Gray and his memories of the year Jack the Ripper stalked Whitechapel. The story portrays the then-young Gray as particularly amoral and includes some grisly imagery as well as explicit sexual references, but for the most part it’s about Wilde’s conflicted feelings. I found it rather rambling, a tableau of graphic scenes that don’t really go anywhere, but it’s undeniably atmospheric and well-acted. 3.5 stars.
• Angel of War – This time we seen Gray from the perspective of a former lover, previously seen in the episode The Prime of Deacon Brodie. Like that episode, it’s largely set in World War I and gives a relatively positive view of Gray, although, as the title indicates, he’s no angel. In many ways, it’s a love story, as well as a journey of self-discovery for the narrator, with the supernatural elements only here for window-dressing. The horror elements instead come from the personal experience of trench warfare and what it does to people. 5 stars.
• The Valley of Nightmares – The third story is set in Hollywood in the 1940s, and is told from the perspective of Dorothy Parker, who we last met in Murder on 81st Street. That was a monster story, but this time we’re on the trail of a possible murderer amidst the shallow glitz and greed of the movie industry. The supernatural elements, while hinted at earlier on, only turn up right at the end in a story that’s largely investigative, with the force of Parker’s personality coming to the fore as much as Gray’s. 4 stars.
• Ever After – Here we are at the final episode, which, unlike the first three, lacks a narrator. It follows on from the end of the previous season, being set in the present day. Here we see Gray tormented by memories of his past, the return of his conscience driving him towards insanity as he apparently encounters numerous characters from previous seasons that he has wronged in some way. How much of this is real, and how much delusion is a question left open, but it’s an emotional and thought-provoking way to end the series and one of its better episodes. 5 stars.
• One Must Not Look at Mirrors – We begin with a story told from the perspective of Oscar Wilde, recounting how he first met Gray and his memories of the year Jack the Ripper stalked Whitechapel. The story portrays the then-young Gray as particularly amoral and includes some grisly imagery as well as explicit sexual references, but for the most part it’s about Wilde’s conflicted feelings. I found it rather rambling, a tableau of graphic scenes that don’t really go anywhere, but it’s undeniably atmospheric and well-acted. 3.5 stars.
• Angel of War – This time we seen Gray from the perspective of a former lover, previously seen in the episode The Prime of Deacon Brodie. Like that episode, it’s largely set in World War I and gives a relatively positive view of Gray, although, as the title indicates, he’s no angel. In many ways, it’s a love story, as well as a journey of self-discovery for the narrator, with the supernatural elements only here for window-dressing. The horror elements instead come from the personal experience of trench warfare and what it does to people. 5 stars.
• The Valley of Nightmares – The third story is set in Hollywood in the 1940s, and is told from the perspective of Dorothy Parker, who we last met in Murder on 81st Street. That was a monster story, but this time we’re on the trail of a possible murderer amidst the shallow glitz and greed of the movie industry. The supernatural elements, while hinted at earlier on, only turn up right at the end in a story that’s largely investigative, with the force of Parker’s personality coming to the fore as much as Gray’s. 4 stars.
• Ever After – Here we are at the final episode, which, unlike the first three, lacks a narrator. It follows on from the end of the previous season, being set in the present day. Here we see Gray tormented by memories of his past, the return of his conscience driving him towards insanity as he apparently encounters numerous characters from previous seasons that he has wronged in some way. How much of this is real, and how much delusion is a question left open, but it’s an emotional and thought-provoking way to end the series and one of its better episodes. 5 stars.
January 30, 2026
One Must Not Look At Mirrors by Guy Adams -
A fantastic story that uses a real and lesser known historical figure to tell a story of murder, conspiracy, and horror. I knew this story was effectively Dorian’s origin story given this was the encounter that inspired the book (in the continuity of the series), and it really did create a memorable tale as well as a tragedy. Set in the very early days of Dorian’s immortality, you get a real feel of his relative naivety and youth as he is led by his hedonism to characters throughout the mystery of the story. Oscar is played perfectly by Steffan Rhodri and you really feel the raw emotion as his life is torn apart by love, obsession, and paranoia. I am personally fascinated by the life of painter Richard Dadd so this story really did appeal to my relatively esoteric interests. It is marvellous that there is no real antagonist in the story, more the atmosphere of doubt and fear that spurs the characters on the unavoidable paths they take.
A beautiful metaphor really, Dorian is unchangeable and so is the disintegration of Oscar’s life and mental state. The writing in this one is just so nuanced and full of meaning, it’s really hard to pick fault while transfixed with Dorian recklessly damage the life of his ‘creator’, who is helpless to the charm of this beautiful young man. The sound design and music amplify each scene, and the more tepid sweet music at the start really does get deeper, darker and more atmospheric as the story progresses. By the time we see a new Oscar Wilde, scarred by his experiences trying to find meaning and hope, the music is almost keyed to his hopelessness and broken state. This story is a home run straight out the gate of series 5 of the set, making the hour long runtime zoom by, and I couldn’t fault it if I tried.
Angel Of War by Roy Gill -
A prequel to The Prime Of Deacon Brodie, this story tells a new supernatural tale which does conflict somewhat with its successor. This story is far more character driven which worked out beautifully, really establishing the scenario of wartime; allowing for the scenario to further the plot and progress the bond between James and Dorian. Samuel Barnett is great as the bewildered soldier obsessed with finding his angel, and that supernatural element is a great listen. Both Vlahos and Daniel Brocklebank give fantastic performances too, with real emotion and passion in the romantic moments, as well as the dramatic & comedic. Dorian and James back together in the early days of them meeting allows you to see them grow fond of each other and become more than friends, which is nice but nothing outstanding narrative-wise.
The plot doesn’t have any real resolution which is odd and just suddenly seems to end, so that does feel less exciting for a war story than you’d expect. On the other hand the story is clearly more about its characters, so the angels are more metaphorical as well as a plot device to create these dramatic scenarios that further characters along. The story is well paces but does take a bit of time to get going, and I think the nuance did actually feel misplaced at times when the listener already knows the fate of the protagonists; ergo this focus doesn’t move our characters forward, just insert random scenes with little meaning to bolster the runtime. On the whole I really enjoyed this one, even if it was the weakest of the set, but stands strong on its own as a story of love (and vague supernatural happenings) in wartime.
The Valley Of Nightmares by David Llewellyn -
A Dorian story set in ‘Old Hollywood’ in the early 1930s with Dorian and Dorothy Parker reunited. It’s a fantastic return, with their dynamic making for some fantastic humour. The extended runtime of the stories in this set allows for plenty of that, and it was a delight. The plot of this story is arguably the weakest of the set, a typical and horror genre cliche ‘evil cult that does some insane stuff’ that you can see predict the ending of a mile away. Mac McDonald is great as the producer and main antagonist but doesn’t save the dramatic peak of the story from suffering somewhat due to that predictability. What really makes this story great is Dorian and Dorothy, their incredible chemistry and witty dialogue that feels so warm and genuine. It drives the story forward and makes up for the predictable plot as it has some of the best character moments of any Dorian story.
There is plenty of action, and even the more unhinged moments of the story are full of comedy and freakiness, something that gives the story a fair deal of distinction. I did like the setting a lot, and it’s full of what you’d expect from what is commonly known about the more dodgy stuff at the time (orgies, homophobia, drugs, murder). The inclusion of the darkness of ‘showbiz’ does give the location and time authenticity, and allows for the narrative to move forward as the main characters are set within that time and place rather appropriately (or inappropriately considering what we know happened to child actors at the time). The absence of a supernatural element did come as something of a rug pull, considering the whole concept of a cult trying to summon some demon or whatever did feel that we’d be seeing that demon; alas not, just a lot of chanting and creepy dialogue. This story didn’t feel disappointing but distinctly the weakest of series five, but I don’t feel disappointed as there was plenty to love in this one.
Ever After by Scott Handcock -
This is an absolutely mind blowing story. Simple as that, and frankly it is difficult to go in any greater assessment than that considering the impact it has does not deteriorate upon relisten; no matter how many times you do. Instead of ending the series (sort of) with some typical story, with what would assumedly be a final confrontation between Lucifer and Dorian, it goes into the most experimental and mindf*ck area that leaves you reeling. There is more than just horror present at play in the plot, with all the pieces so complex and seemingly dissonant, that come together in such a shocking and mind-blowing finale. I just found that Dorian being in that location, with those specific characters was just so disorienting; I found myself genuinely questioning everything I knew about Dorian’s life and existence. It’s not something I ever thought a story would do but honestly I was so close to pausing at times just to take a breath.
There is a very subtle narrative at play that sticks to the background, which works fantastically because the character drama here drives the story to brilliance (driving the listener to near insanity at the same time). It’s not easy to spoil, and even harder to describe because it’s all so abstract, so is best listened to in order to fully absorb its madness. I think all the build up over that sixty minutes really made me forget what I expected from the story and reconstructed my understanding of the series to one of paranoia and doubt, so when we get to that final terrifying scene, just wow.
In some ways I’d call this one Scott Handcock’s masterpiece simply because the story manages to be so complex yet is written with such nuance, even managing to fit comedy in as things escalate to a point of needing a cigarette in order to actually cope with everything. What I can say in regards to comparing this story to others and the series itself, is it’s the highlight of series five and absolutely worth a listen if you’re a fan of complex psychological horror.
A fantastic story that uses a real and lesser known historical figure to tell a story of murder, conspiracy, and horror. I knew this story was effectively Dorian’s origin story given this was the encounter that inspired the book (in the continuity of the series), and it really did create a memorable tale as well as a tragedy. Set in the very early days of Dorian’s immortality, you get a real feel of his relative naivety and youth as he is led by his hedonism to characters throughout the mystery of the story. Oscar is played perfectly by Steffan Rhodri and you really feel the raw emotion as his life is torn apart by love, obsession, and paranoia. I am personally fascinated by the life of painter Richard Dadd so this story really did appeal to my relatively esoteric interests. It is marvellous that there is no real antagonist in the story, more the atmosphere of doubt and fear that spurs the characters on the unavoidable paths they take.
A beautiful metaphor really, Dorian is unchangeable and so is the disintegration of Oscar’s life and mental state. The writing in this one is just so nuanced and full of meaning, it’s really hard to pick fault while transfixed with Dorian recklessly damage the life of his ‘creator’, who is helpless to the charm of this beautiful young man. The sound design and music amplify each scene, and the more tepid sweet music at the start really does get deeper, darker and more atmospheric as the story progresses. By the time we see a new Oscar Wilde, scarred by his experiences trying to find meaning and hope, the music is almost keyed to his hopelessness and broken state. This story is a home run straight out the gate of series 5 of the set, making the hour long runtime zoom by, and I couldn’t fault it if I tried.
Angel Of War by Roy Gill -
A prequel to The Prime Of Deacon Brodie, this story tells a new supernatural tale which does conflict somewhat with its successor. This story is far more character driven which worked out beautifully, really establishing the scenario of wartime; allowing for the scenario to further the plot and progress the bond between James and Dorian. Samuel Barnett is great as the bewildered soldier obsessed with finding his angel, and that supernatural element is a great listen. Both Vlahos and Daniel Brocklebank give fantastic performances too, with real emotion and passion in the romantic moments, as well as the dramatic & comedic. Dorian and James back together in the early days of them meeting allows you to see them grow fond of each other and become more than friends, which is nice but nothing outstanding narrative-wise.
The plot doesn’t have any real resolution which is odd and just suddenly seems to end, so that does feel less exciting for a war story than you’d expect. On the other hand the story is clearly more about its characters, so the angels are more metaphorical as well as a plot device to create these dramatic scenarios that further characters along. The story is well paces but does take a bit of time to get going, and I think the nuance did actually feel misplaced at times when the listener already knows the fate of the protagonists; ergo this focus doesn’t move our characters forward, just insert random scenes with little meaning to bolster the runtime. On the whole I really enjoyed this one, even if it was the weakest of the set, but stands strong on its own as a story of love (and vague supernatural happenings) in wartime.
The Valley Of Nightmares by David Llewellyn -
A Dorian story set in ‘Old Hollywood’ in the early 1930s with Dorian and Dorothy Parker reunited. It’s a fantastic return, with their dynamic making for some fantastic humour. The extended runtime of the stories in this set allows for plenty of that, and it was a delight. The plot of this story is arguably the weakest of the set, a typical and horror genre cliche ‘evil cult that does some insane stuff’ that you can see predict the ending of a mile away. Mac McDonald is great as the producer and main antagonist but doesn’t save the dramatic peak of the story from suffering somewhat due to that predictability. What really makes this story great is Dorian and Dorothy, their incredible chemistry and witty dialogue that feels so warm and genuine. It drives the story forward and makes up for the predictable plot as it has some of the best character moments of any Dorian story.
There is plenty of action, and even the more unhinged moments of the story are full of comedy and freakiness, something that gives the story a fair deal of distinction. I did like the setting a lot, and it’s full of what you’d expect from what is commonly known about the more dodgy stuff at the time (orgies, homophobia, drugs, murder). The inclusion of the darkness of ‘showbiz’ does give the location and time authenticity, and allows for the narrative to move forward as the main characters are set within that time and place rather appropriately (or inappropriately considering what we know happened to child actors at the time). The absence of a supernatural element did come as something of a rug pull, considering the whole concept of a cult trying to summon some demon or whatever did feel that we’d be seeing that demon; alas not, just a lot of chanting and creepy dialogue. This story didn’t feel disappointing but distinctly the weakest of series five, but I don’t feel disappointed as there was plenty to love in this one.
Ever After by Scott Handcock -
This is an absolutely mind blowing story. Simple as that, and frankly it is difficult to go in any greater assessment than that considering the impact it has does not deteriorate upon relisten; no matter how many times you do. Instead of ending the series (sort of) with some typical story, with what would assumedly be a final confrontation between Lucifer and Dorian, it goes into the most experimental and mindf*ck area that leaves you reeling. There is more than just horror present at play in the plot, with all the pieces so complex and seemingly dissonant, that come together in such a shocking and mind-blowing finale. I just found that Dorian being in that location, with those specific characters was just so disorienting; I found myself genuinely questioning everything I knew about Dorian’s life and existence. It’s not something I ever thought a story would do but honestly I was so close to pausing at times just to take a breath.
There is a very subtle narrative at play that sticks to the background, which works fantastically because the character drama here drives the story to brilliance (driving the listener to near insanity at the same time). It’s not easy to spoil, and even harder to describe because it’s all so abstract, so is best listened to in order to fully absorb its madness. I think all the build up over that sixty minutes really made me forget what I expected from the story and reconstructed my understanding of the series to one of paranoia and doubt, so when we get to that final terrifying scene, just wow.
In some ways I’d call this one Scott Handcock’s masterpiece simply because the story manages to be so complex yet is written with such nuance, even managing to fit comedy in as things escalate to a point of needing a cigarette in order to actually cope with everything. What I can say in regards to comparing this story to others and the series itself, is it’s the highlight of series five and absolutely worth a listen if you’re a fan of complex psychological horror.
June 19, 2019
It's over and I'm sad. It was really such a rollercoaster and I wish there was more. I liked the stories very much; It's definitely not like the first two but it was still something and I enjoyed how the narrators wasn't Dorian but the characters in the story(Oscar in the first one, James Anderson in the second one and Dorothy Parker in the third one)
The first story, One Must Not Look at Mirrors, was good. I liked how we saw how Oscar met Dorian and then that ending made me want to listen to it again to see if I can connect the dots. Seeing Dorothy Parker again made me happy because I loved their dynamic and it was fun to hear it played out. I held back tears in the Angels of War because wow Dorian and the second boy I love James Anderson again, especially in that ending I heard in a previous story. That final episode, Ever After, ruined me. At first I liked how it came off as "was it real or was it Dorian's psyche we're listening too" but then it ended and wow was I staring off in the distance in a "wow this is what we get way ?" Could have been so much more but I suppose needed to end it somehow in some way so. . .*shrugs*
Overall, I am sad that it ended but I am glad I got to experience all of these wonderful stories. I definitely would listen again a few times just to see the timeline play out from the beginning to the Ever After. I wouldn't recommend to read this as a standalone. Maybe the first three episodes but you would need to listen to the other series first before this one (which is too be expected but with the non chronological order of series 1 and 2, and series 4, you could listen to at any time and not be lost).
I will definitely miss this series greatly and look forward to re-listening to it and to preorder the Lost Confessions on Big Finish.
The first story, One Must Not Look at Mirrors, was good. I liked how we saw how Oscar met Dorian and then that ending made me want to listen to it again to see if I can connect the dots. Seeing Dorothy Parker again made me happy because I loved their dynamic and it was fun to hear it played out. I held back tears in the Angels of War because wow Dorian and the second boy I love James Anderson again, especially in that ending I heard in a previous story. That final episode, Ever After, ruined me. At first I liked how it came off as "was it real or was it Dorian's psyche we're listening too" but then it ended and wow was I staring off in the distance in a "wow this is what we get way ?" Could have been so much more but I suppose needed to end it somehow in some way so. . .*shrugs*
Overall, I am sad that it ended but I am glad I got to experience all of these wonderful stories. I definitely would listen again a few times just to see the timeline play out from the beginning to the Ever After. I wouldn't recommend to read this as a standalone. Maybe the first three episodes but you would need to listen to the other series first before this one (which is too be expected but with the non chronological order of series 1 and 2, and series 4, you could listen to at any time and not be lost).
I will definitely miss this series greatly and look forward to re-listening to it and to preorder the Lost Confessions on Big Finish.
February 6, 2017
Goodreads: 5/5
My reviews:
5/5
I just....the end is nigh. The Confessions of Dorian Gray has drawn to a close.
I can't really write too much in case it gives the stories away but by gosh, what a final boxset this was. I've been putting it off for ages because I didn't want to finish it but now I've finally listened to it and I am going to be very sad there is no more Dorian Gray. It has been a joy to listen to and Alex Vlahos just proves himself time and time again what a fantastic actor he is by shining his talents as the arrogant and vain piece of character presented through these stories.
The best thing about this boxset was that all these stories were over an hour long instead of their usual half-an-hour slots. For this, the characters had more time to develop and we got to explore these characters more and enjoy Dorian at his highest and lowest moments in his life.
By far my favourite has to be Angels of War. This episode was written by Roy GIll who wrote a few other of my favourite stories in the previous boxsets but this one just topped it all. It was so poetic and beautifully written and really very touching. Very much reminded me of a Band of brothers episode but on audio.
Would recommend this to any big finish fans-especially of those on the classic series however please do bear in mind this series is NOT for younger viewers. Contains strong language and sexual content.
My reviews:
5/5
I just....the end is nigh. The Confessions of Dorian Gray has drawn to a close.
I can't really write too much in case it gives the stories away but by gosh, what a final boxset this was. I've been putting it off for ages because I didn't want to finish it but now I've finally listened to it and I am going to be very sad there is no more Dorian Gray. It has been a joy to listen to and Alex Vlahos just proves himself time and time again what a fantastic actor he is by shining his talents as the arrogant and vain piece of character presented through these stories.
The best thing about this boxset was that all these stories were over an hour long instead of their usual half-an-hour slots. For this, the characters had more time to develop and we got to explore these characters more and enjoy Dorian at his highest and lowest moments in his life.
By far my favourite has to be Angels of War. This episode was written by Roy GIll who wrote a few other of my favourite stories in the previous boxsets but this one just topped it all. It was so poetic and beautifully written and really very touching. Very much reminded me of a Band of brothers episode but on audio.
Would recommend this to any big finish fans-especially of those on the classic series however please do bear in mind this series is NOT for younger viewers. Contains strong language and sexual content.
June 23, 2020
I think the most important thing I can say about this is: The final episode, “Ever After”, is done in the same vein as the Buffy-In-The-Mental-Hospital episode, “Normal Again.”
It makes SO MUCH more sense if you know that, and becomes quite a cool episode. (My original reaction was WTF was that??! until I listened to the interviews at the end and realized what they were trying to do.)
I’m still unsure what was happening at the end of episode one, but I loved episodes two and three, and I loved the extras, so 5 stars and More Dorian Please.
It makes SO MUCH more sense if you know that, and becomes quite a cool episode. (My original reaction was WTF was that??! until I listened to the interviews at the end and realized what they were trying to do.)
I’m still unsure what was happening at the end of episode one, but I loved episodes two and three, and I loved the extras, so 5 stars and More Dorian Please.
May 8, 2018
Sad to see the end of this series. It's one I've enjoyed immensely.
December 10, 2020
I shall miss you Dorian ♡
January 13, 2023
Some uncomfortable language, but an otherwise apt set to end the main series.
January 31, 2025
I mean it has to be real as he shows up in Bernice Sunmerfield’s “Legion” arch.
December 18, 2016
История Дориана подошла к логическому завершению, и в этом четырехактном сезоне воронка бездушности и насилия наконец закручивается в некое подобие финала.
Первые 3 части содержат персонажей, участвовавших в предыдущих приключениях Дориана, фокус плавно переключается с вечного мальчика на этих второстепенных компаньонов. Страдающий навязчивыми состояниями Оскар Уайльд - именно ему принадлежит вступление самого первого выпуска (1.1. This World Our Hell). Военный камрад, нашедший в вечном мальчике больше чем друга - с ним связана грустная история отторжения и неспособности Дориана останавливаться и отпускать (X2. The Prime of Deacon Brodie). Боевитая Дороти Паркер и тема с поклоняшками древним силам зла - ей был посвящен один из слабо запомнившихся хаотичных эпизодов (2.3. Murder on 81st Street).
После овер-драматичного финала рождественского спешла и в процессе прощания со всей франшизой хотелось больше Дориана, больше ангста, больше душевных метаний. Хотелось подтверждения, что иметь душу - это такое же проклятие, как и не иметь. На свой манер отвечает на эти запросы 4-ая и последняя часть сезона. Но я больше разочарована, ибо последняя минута - это огромный ком нереализованного потенциала. Вместо каноничного + амбивалентного + открытого конца Скотт подсунул однозначный и не оставляющий сомнений финал. Это вместо изящного поклона в сторону зрителей в духе “решайте сами, господа, что правда, а что - быль”.
Последний сезон наполнен совсем иной тональностью, чем я ожидала, и особенных эмоций не вызвал. А жаль.
lukk.svbtle
Первые 3 части содержат персонажей, участвовавших в предыдущих приключениях Дориана, фокус плавно переключается с вечного мальчика на этих второстепенных компаньонов. Страдающий навязчивыми состояниями Оскар Уайльд - именно ему принадлежит вступление самого первого выпуска (1.1. This World Our Hell). Военный камрад, нашедший в вечном мальчике больше чем друга - с ним связана грустная история отторжения и неспособности Дориана останавливаться и отпускать (X2. The Prime of Deacon Brodie). Боевитая Дороти Паркер и тема с поклоняшками древним силам зла - ей был посвящен один из слабо запомнившихся хаотичных эпизодов (2.3. Murder on 81st Street).
После овер-драматичного финала рождественского спешла и в процессе прощания со всей франшизой хотелось больше Дориана, больше ангста, больше душевных метаний. Хотелось подтверждения, что иметь душу - это такое же проклятие, как и не иметь. На свой манер отвечает на эти запросы 4-ая и последняя часть сезона. Но я больше разочарована, ибо последняя минута - это огромный ком нереализованного потенциала. Вместо каноничного + амбивалентного + открытого конца Скотт подсунул однозначный и не оставляющий сомнений финал. Это вместо изящного поклона в сторону зрителей в духе “решайте сами, господа, что правда, а что - быль”.
Последний сезон наполнен совсем иной тональностью, чем я ожидала, и особенных эмоций не вызвал. А жаль.
lukk.svbtle
February 5, 2017
Really 3.5 stars.
I hated how the series ended and that the cliffhanger from the 3rd series with Toby was never resolved (even though they brought back the voice actor that acted Toby for the last episode). But, yeah, the last episode kind of felt like a cop-out which has colored the rest of the series for me. I will miss it though and I will definitely re-listen to the first 3 seasons, because they were pretty perfect!
I hated how the series ended and that the cliffhanger from the 3rd series with Toby was never resolved (even though they brought back the voice actor that acted Toby for the last episode). But, yeah, the last episode kind of felt like a cop-out which has colored the rest of the series for me. I will miss it though and I will definitely re-listen to the first 3 seasons, because they were pretty perfect!
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