The final chapter of year two of the critically acclaimed Tenth Doctor Comic series is now available from Titan, along with the latest adventures of the Ninth Doctor.

DOCTOR WHO NINTH DOCTOR #13

Writer: Cavan Scott
Artist: Cris Bolson
COVER A: Wellington Diaz COVER B: Photo COVER C: Simon Myers

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DOCTOR WHO TENTH DOCTOR VOL 07 WAR OF GODS

Writer: Nick Abadzis, James Peaty
Artist: Giorgia Sposito, Warren Pleece

The BBC have released a number of new publicity images to promote this week's episode of Doctor Who, The Empress Of Mars
This week BBC One will show Doctor Who at 7.15pm.

Main Broadcast Details
United Kingdom	BBC One	Sat 10 Jun 2017	7:15pm BST
Middle East	BBC First	Sat 10 Jun 2017	10.20pm AST	(Sat 7:45pm BST)
United States of America	BBC America	Sat 10 Jun 2017	9:00pm EDT	(Sun 2:00am BST)
Canada	SPACE	Sat 10 Jun 2017	9:00pm EDT	(Sun 2:00am BST)
New Zealand	PRIME	Sun 11 Jun 2017	7:30pm NZST	(Sun 8:30am BST)
Finland	YLE2	Sun 11 Jun 2017	12:05pm EEST	(Sun 10:05am BST)
Australia	ABC	Sun 11 Jun 2017	7:40pm AEST	(Sun 10:40am BST, also on ABC ME)
Brazil	SyFy	Sun 11 Jun 2017	8:00pm BRT	(Mon 12:00qm BST)
Latin America	SyFy	Sun 11 Jun 2017	10:00pm CDT	(Mon 4:00am BST)

Full listings here

The actor Peter Sallis has died at the age of 96.

Peter Sallis was best known for playing Norman Clegg in the long-running BBC Sitcom Last of the Summer Wine, a part he played from the series debut in 1973 until the final story in 2010, appearing in every one of the 295 episodes. In later life, he was famous as the voice of Wallace, the eccentric inventor in the Aardman Animations series of films.

Sallis appeared in the 1967 Doctor Who story The Ice Warriors, playing Penley, the rebel scientist who helped the Second Doctor defeat the Martian menace. He was due to return to the series in 1983 to play Striker in the fifth Doctor story Enlightenment but when industrial action delayed filming he was no longer available and Keith Barron took the role.

Peter Sallis was born on 1 February 1921 in Twickenham, Middlesex, England. After attending Minchenden Grammar School in North London, Sallis went to work in a bank. After the outbreak of World War II he joined the RAF. He failed to get into aircrew because he had a serum albumin disorder and he was told he might black out at high altitudes. He became a wireless mechanic instead and went on to teach radio procedures at RAF Cranwell.

Sallis started as an amateur actor during his four years with the RAF when one of his students offered him the lead in an amateur production. His success in the role caused him to resolve to become an actor after the war, and so he trained at the Royal Academy of Dramatic Arts, making his first professional appearance on the London stage in 1946.

He appeared in many British films in the 1950's and 60's such as Saturday Night and Sunday Morning, Doctor in Love, The Curse of the Werewolf, The V.I.P.s, Charlie Bubbles, Scream and Scream Again, Taste the Blood of Dracula, Wuthering Heights, The Incredible Sarah and The Day of the Triffids.

His first notable television role was as Samuel Pepys in the 14 part BBC serial of the same name in 1958. Other roles followed including an episode of The Persuaders and the BBC comedy series The Culture Vultures

In 1973 Sallis was cast in a one-off pilot for Comedy Playhouse entitled The Last of the Summer Wine, as the unobtrusive lover of a quiet life, Norman Clegg. The pilot was successful and the BBC commissioned a series, and it became the world's longest running comedy series, and the role he was best known for.

In the 1980's he started to get a reputation for voice work and in 1989 he first voiced the character of Wallace in the short film A Grand Day Out. The film won a BAFTA award and was followed by the Oscar-winning films The Wrong Trousers in 1993 and A Close Shave in 1995.

Sallis was awarded the OBE in the 2007 Birthday Honours for services to Drama

Sallis died peacefully, with his family by his side, at the Denville Hall nursing home in Northwood, London, on 2 June 2017. He is survived by his son Crispian and two grandchildren.

Doctor Who - The Pyramid At The End Of The World had an official rating of 5.79 million viewers.

The rating was enough to make Doctor Who the 14th most watched programme on British Television for the week and the 6th highest on the BBC.

Top for the week was again Britain's Got Talent with 10.62 watching. Doctor Who was helped by following Match of the Day which topped the BBC weekly chart with 7.50 million watching the FA Cup Final.

Doctor Who was the highest rated non-soap drama for the week.

Doctor Who - The Lie Of The Land had an Audience Appreciation or AI figure of 82

The Appreciation Index in an indication of how much viewers enjoyed the episode. It is based to the reactions of a selected panel of viewers, who rate the episode shortly after transmission.

82 is considered a good score, roughly similar to the scores achieved by the last series of the show,

The highest score for the evening on the two main channels was for Mrs Brown's Boys, which scored 85.

The Lie of the Land  has debuted in Australia, averaging 428,000 viewers in the five major capital cities. The story was the second highest rating ABC drama of the day and the tenth highest rating program of the day overall. These ratings do not include iview, regional or time-shifted viewers.

Meanwhile, including time-shifted viewers, Extremis averaged 513,000 consolidated viewers in the five major capital cities. With 91,000 extra viewers it was the third highest time-shifted program of the day (the highest time-shifted program had 166,000 extra viewers) and the twelfth highest rating program of the day overall. These ratings do not include iview or regional viewers.

Press reaction for this week's Doctor Who - The Lie of the Land is mixed, with a number of reviewers finding it the weakest story in the season so far.

The Mirror found the conclusion to the Monk trilogy confusing but praised the performances. "Thank Omega for Missy, because it's the only plot strand in The Lie Of The Land that makes any sense and moves us along.The always excellent Michelle Gomez is finally getting the chance to stretch her portrayal of Missy. Her game of hot and cold with her sparring partner, mentions of pushing a small girl into a volcano and piano interludes create a Silence Of The Lambs vibe that I could watch an entire episode of."

The Telegraph also praised the actors "Pearl Mackie put in another marvellous performance here: authentic but controlled, never histrionic, equally convincing whether she was threatening to “beat the s--t” out of Nardole or saying a fond farewell when she thought she was sacrificing herself. "

However Radio Times felt the episode to be misjudged in getting the companion to fire a gun at The Doctor. "It presents the Doctor, Bill and Nardole in a very poor light. It’s blocked awkwardly. The actors look uncomfortable. Moreover, it’s horribly misjudged to show Bill turning a gun on the Doctor and firing not once but four times. We’ve seen nothing that would push her to such an extreme act. It cannot be rationalised or condoned."

Digital Spy called the spisode a decent climax to a middling trilogy. "The Lie of the Land works hard to have its audience – like Bill and her compatriots – second-guess everything we see. Has the Doctor turned? Is Missy really trying to help?For the most part, its attempts at ambiguity are enjoyable. The Missy scenes are perfectly-pitched and while the Doctor's turncoat moment is unconvincing on a plot level, it's powerfully performed."

Den of Geek Enjoyed the first part of the episode, but felt thinks went downhill after the Doctor faked his regeneration. "This three-part story has been really successful at building up some huge stakes, and huge challenges, but less successful at satisfyingly resolving them. I can't shake the feeling that it's a slightly frustrating episode this, one that didn’t quite pay off for me. "

AV Club was also disappointed in the episode feeling the skills of the lead actors outpaced the quality of the script. "There’s Pearl Mackie, who comes damn close to making the whole thing work in spite of herself. There’s Peter Capaldi, who is as great as ever but whose talents are sometimes misused in service of ideas the story won’t commit to. And then there’s Michelle Gomez, who is reliably great as Missy. "

Ars Technica also disliked the script. "The narration and lack of action are jarring, and while the BBC producers behind Doctor Who are generally pretty good at this sci-fi on a shoestring budget thing, Lie of the Land really deserves a bit more investment—particularly in development of the script, penned by Toby Whithouse"

IGN bucked the trend by enjoying the story and its conclusion "The episode proves to be a pretty good one, satisfyingly wrapping up the overall story while also charting some new ground, providing more than a couple of thrills and head-fakes, commenting on current events in a not at all subdued way, and further advancing the vault/Missy storyline just enough to keep us on the hook."

While Games Radar again praised the performances. "Pearl Mackie has this uncanny ability to transition between emotions flawlessly, with each change so natural that you realise how you’d probably react in the same way. Her acting in the scene above with Capaldi perfectly matches how you’ll feel when you watch the scene, going from despair to anger at the Doctor’s hypocrisy."

Link to Doctor Who News Review

Patrick Ness writer and creator of the Doctor Who Spin-off Class, has confirmed he will not be writing any more episodes of the series.

The BBC has not officially commented on the future of the series, which was released on the BBC Three online channel last Autumn and shown on BBC America in the last couple of months. However, with the series creator now withdrawing from the drama it looks increasingly unlikely that a second series will be made.

Ness confirmed his withdrawal from any new series on Twitter saying Class was created to appeal to the young adult market and initially released in the UK on an online platform. The project was part of the BBC's initiative to serve young adult consumers by focusing on online content, a decision that led to the closure of the BBC Three Broadcast channel.

It was hoped that high-quality original content would drive young viewers to the online station, which has struggled to make an impact in the market. However, the decision meant that Class was initially only seen by a fraction of the audience it would have received on a broadcast channel.

The series was later screened on BBC One, but as a late night double bill, where it struggled to find an audience, getting viewing figures around a third of the timeslot average.

Ness, on his Twitter feed, said he was baffled by the scheduling decisions of BBC1, given the show had been critically-acclaimed, but reiterated he was grateful for the chance to make it. He talked about some of his plans for Series Two, which will not now be realised. Ness also paid tribute to the fans of the series and the cast

Doctor Who - The Lie of the Land had an estimated audience of 3.01 million viewers, a share of 15.0% of the total TV audience, according to unofficial overnight viewing figures.

The series was hit hard by being placed directly opposite the final of the ITV show Britain's Got Talent, which topped the day with 8.19 million watching.

Doctor Who's overnight rating is the lowest the series has received in its history, with Battlefield in 1989 getting 3.10 million. However Lie of the Land, thanks to the ability of present day audiences to catch up with the programme in the weeks after transmission, should have a final figure much higher than the initially reported one.

Casualty, which also faced the Talent show had 3.21 million watching. On ITV The Keith and Paddy Picture Show had 3.16 million watching, making Doctor Who the fourth most watched show of the day.

Against Doctor Who, BBC Two The Lake District: A Wild Year had 1.11 million watching, while Channel 4 managed 0.5 million for Britain's Ancient Tracks.

Final Figures should be available in 8 days time

This week BBC One will show Doctor Who at 7.35pm.

Main Broadcast Details
United Kingdom	BBC One	Sat 3 Jun 2017	7:35pm BST
Middle East	BBC First	Sat 3 Jun 2017	10.20pm AST	(Sat 7:45pm BST)
United States of America	BBC America	Sat 3 Jun 2017	9:00pm EDT	(Sun 2:00am BST)
Canada	SPACE	Sat 3 Jun 2017	9:00pm EDT	(Sun 2:00am BST)
New Zealand	PRIME	Sun 4 Jun 2017	7:30pm NZST	(Sun 8:30am BST)
Finland	YLE2	Sun 4 Jun 2017	12:25am EEST	(Sun 10:25am BST)
Australia	ABC	Sun 4 Jun 2017	7:40pm AEST	(Sun 10:40am BST, also on ABC ME)
Brazil	SyFy	Sun 4 Jun 2017	8:00pm BRT	(Mon 12:00qm BST)
Latin America	SyFy	Sun 4 Jun 2017	10:00pm CDT	(Mon 4:00am BST)

Full listings here