Tomfest 2020 continues with our discussion of last two stories of season 13: The Brain of Morbius and The Seeds of Doom. David tries to explain why Brain never clicked for him to a disbelieving Ben, who simply adores the story! A brain in a jar, what's there not to love? Then off to Antarctica and Dorchester, which are geographically speaking in Doctor Who's earth, to be about as close as the Thal and Kaled cities are from one another. Ben is startled to learn that Boyce had his own spin-off series and wonders what a Morbius and Solon spin-off from Big Finish would be like. In conclusion the two pick their top story from the season. Opening, "Molotov Cocktail", and closing music, "Amelia Ducat's Theme", is from The Seeds of Doom; both composed by Geoffery Burgon. This episode was recorded 12 July 2020.

Continuing on with our look at Tom Baker's Season 13 with a discussion of Pyramids of Mars and The Android Invasion. Ben dismisses fan-suggested back story that Sarah learned to fire a rifle on her aunt's farm and rather champions Sarah as just being a totally competent and kick ass woman who rises to the occasion. David gushes over Dudley's Simpson's score for Pyramids and praises Paddy Russell's direction and ability to bring out great performances from her leading man. Ben defends ginger beer (pop) and thinks Sarah's one weakness, aside from her ankles, is her dislike of stuff and David finds Devesham, a.k.a, East Hagbourne as a lovely Oxforshire village with beautiful hollyhock flowers. Opening music is from "Clement and the Mummies" composed by Dudley Simpson and arranged and performed by Heathcliff Blair. Closing music is also composed by Simpson and taken from the score to The Android Invasion. This episode was recorded 28 June 2020

We begin a look at season 13 with a discussion about Terror of the Zygons and Planet of Evil. Ben loves the Zygon's spaceship and fondly remembers building his own model as a kid from Lego bricks. David explains why he thinks the Zygons in their original soft and blobby form is creepier than their later toothy and muscular design. Ben touches upon the shift of received mysticism of Pertwee's Doctor to where Tom Baker's Doctor is mysticism itself. David appreciates Prentis Hancock's portrayal as Salamar and Ben remembers how he also built an oculoid tracker from his Lego bricks. We bemoan what we see as the only flaw in this season; the poor exit for Harry, the Brigadier, and UNIT. Opening music is "The Destruction of Charlie Rig" composed by Geoffery Burgon and closing music is "Nightfall on Zeta Minor" composed by Dudley Simpson and arranged and performed by Heathcliff Blair. This episode was recorded 20 June 2020.

This episode was recorded 14 June 2020 and the actual Doctor Who discussion begins 11:54 into the podcast where we talk about Tom Baker the Doctor who caught alight in the United States and opening up to his tenure in the programme. But first, leading off the podcast, Ben celebrates his team's, the Four-to-Zoomsday's, triumph in the Quiz of Rassilon. David then asks a simple question about a sporting metaphor and the two get mired the two get mired in cricket talk for a good five minutes. After that, the two discuss Churchill in light of statues coming down across the UK and the US; this part of the podcast was shunted off to the end of the podcast and begins after a musical interlude from Heathcliff Blair and begins at 34:34. (Think of it as studio floor Blu-ray extra footage.) Once that discussion runs it course, we talk about Tom Baker's tenure as the Doctor beginning 11:54 running through to the aforementioned musical interlude. All rather confusing isn't it. Oh, and we briefly mention the December 1981 interview of Tom with Mavis Nicholson which is definitely worth a watch. Anywho... we're back to season 13 next episode. Opening "Davros' Megalomania" and closing "The Doctor's Theme" music was composed by Dudley Simpson for season 12 stories and arranged and performed by Heathcliff Blair on the "Pyramids of Mars" disc.

Ben and David reminisce about growing up watching Season 12 of Doctor Who. David talks about how Who met his sci-fi fix and seemed like a natural progression from the 1977 movie: Star Wars. Ben recalls playing in motorway construction sites and school hallways battling Daleks and explains how Sontarans were a lot like teachers. Opening music is "Sarah Pursued" composed by Dudley Simpson and the later realized by Heathcliff Blair. Closing music is from Carey Blyton's score for The Revenge of the Cybermen. We recorded this episode on 6 June 2020.

After a brief discussion on the Quiz of Rassilon and the new action figures to be released featuring Sarah Jane Smith, Ben and David begin their discussion on Tom Baker about 12 minutes in to the podcast. We talk about his early roles in film and life as a jobbing actor. Ben recalls his and his friends' reaction to the regeneration of the Pertwee Doctor into a dark-haired chap with a long scarf. Opening music is "Mysterious Robot" and closing music is The Violation", both composed by Dudley Simpson and the later realized by Heathcliff Blair. We recorded this episode on 25 May 2020.

We further our discussion of sideways stories and posit that all of Who, or at the very least, all of Who set on Earth are sideways stories that diverge from our earth's timeline. The time of closest intersection with our own timeline is when new companions enters the TARDIS, but as they adventure with the Doctor their timelines grow further apart from reality. Opening music is from Castrovalva and closing music is from Meglos, both composed by Paddy Kingsland. We recorded this episode on 13 May 2020.

In this episode, we discuss sideways Who and how this story type was not too common in the classic Who era, but has come into its own with the show's revival and is, perhaps, in its golden age under Chibnall's tenure as showrunner. Opening music is "Univers Sideral" composed by Paul Bonneau and closing music is the main title theme for the "Attack of the 50 Foot Woman" composed by Ronald Stein. We recorded this episode on 3 May 2020.

We land on the Galápagos Islands with the Doctor and Evelyn to review Bloodtide from Big Finish. And since this is a Silurian story, we try to cobble together a timeline of their history and are flummoxed by the inconsistencies. A story overflowing with historical characters and ideas, we wonder if Silurian Tulok's real crime was genetically engineering lady bumps on Silurian women. Opening music is "Tried" and closing music "The Cave"; both pieces composed by Alistair Lock for Bloodtide. We recorded this episode on 19 April 2020.

After a quick recap of our afternoon playing the Quiz of Rassilon with fellow teammates Greg and Jess, we discuss space opera. We explore which stories fit the genre and what does it take to make a space opera story in Doctor Who? The conventional wisdom is Doctor Who is a genre machine, so how frequently does it dip into space opera like other popular sci-fi franchises like Star Trek and Star Wars? Opening and closing music is from "The Frontier in Space," composed by the incomprable Dudley Simpson. We recorded this episode on 13 April 2020.