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Series: The Confessions Of Dorian Gray
To have written such a book was nothing, to convince the World it was a work of fiction was a triumph
Oscar Wilde: from episode one, This World Our Hell.

Started up as an experiment for Big Finish to see how inexpensive, download only stories would be received (essentially an attempt to draw in more modernised customers) this little series, directed by Scott Handcock has been generally well received by both fans and critics. The idea started out when a Bernice Summerfield audio play entitled Shades Of Gray (don't bother making jokes about the title, by now they've all been tried) featured Dorian Gray as played by Alexander Vlahos from the famous novel by Oscar Wilde. As this play was set in the early 27th century, the question was, of course, what happened between then and the 1890s? And so a series was born.

It essentially takes the premise that Dorian Gray was in fact a real person and the inspiration for Oscar Wilde's novel but that, unlike his fictional counterpart, the real Dorian never destroyed the painting and himself in the process. Instead, he went on to live a long long and hedonistic life, encountering various supernatural phenomena, travelling the world and sleeping with anything willing (and free of the social conventions of the 19th Century, there is now no doubt about Dorian's tastes). This premise is similar to one attempted during the Doctor Who New Adventures, which was simply done so they could have Sherlock Holmes in a Doctor Who novel.

Tone wise, it tends to follow a genre of Gothic Horror with romance and the occasional bit of social commentary thrown in. Something else that should be known. Big Finish warns its potential customers that this is unsuitable for younger listeners; considering what it has let go past its own radar a few times this should give you an idea of how adult this can be at times.

A third season was announced for the fall of 2014.


This series provides examples of:

  • Adaptation Dye-Job: In contrast to the book, Dorian is dark (again). It's even lampshaded in The Fallen King Of Britain when Dorian's current'distraction' Simon reads the passage from the original novel and when he mentions 'golden hair' Dorian scoffs (apparently this was Throw It In by Scott Handcock).
    • Justified this time as (in-universe) the book was only based on Dorian and Oscar might have adjusted his appearence to suit the current beauty standards
  • Anti-Hero: Dorian is cleary a hero in name only, and it's pretty obvious he doesn't care what people think about him. There are many forces out to kill him (or worse) and the world wouldn't notice if they succeeded. Occasionally he deals with something which is actively harming people but only when it's in his interest (or, because it just sickened him on one occasion) and as it could've lead to the end of the world in one case, it was very much in his interest. He doesn't actively look for trouble, he just stumbles across it.
  • Back from the Dead: In the Christmas crossover with Sherlock Holmes, Professor James Moriarty returns, years after his death, via a painting by Basil Halward. Unlike Dorian, he has supernatural abilities to disappear and reappear at any moment.
  • Bi the Way: Dorian of course, nothing ambiguous about it this time. And a very promiscuious example.
  • Blessed with Suck / Cursed with Awesome: Dorian does not have a soul. This impedes and saves him multiple times throughout the series.
  • Cast Full of Pretty Boys: Despite being a sound only medium, you only have to look at the cast photos that come with the downloads to know that most of the male cast are easy on the eyes, mind you, they all fade away when compared to the lead.
  • Continuity Nod: In "The Picture of Loretta Delphine," set in 2012, Dorian does not smoke, in contrast to his drug-happy tendencies in the 2007-set "The Fallen King of Britain."
    • "The Mayfair Monster," set in 1999, sees Dorian burned out after losing Toby in "The Heart that Lives Alone."
  • In the first episode, Oscar Wilde tells Dorian to use his real name instead of aliases and to hide in plain sight. Dorian does this in a handle of episodes afterward.
  • Cross Over: Used for Canon Welding which can be taken up to Mind Screw levels. As Dorian appeared in a Bernice Summerfield story, it follows on from that that this series must be part of the Doctor Who Expanded Universe. With references to the White Rabbit pub and the appearence of vampires and other features of supernature this theory is unaffected as such things are proven to exist in Doctor Who canon (although there they're usually Hand Waved with 'Time Rifts' being the usual excuse). But then Dorian had to go and meet Sherlock Holmes in the Christmas Special (as played by Nicholas Briggs). Again, not too much of a problem as the 'real' Sherlock Holmes is part of the Whoniverse thanks to the New Adventures novel All Consuming Fire and by the Bernice Summerfield play The Adventure Of The Diogenes Damsel; but the implication carried in this (and Word of God confirmed by writers) is that the Nicholas Briggs version of Holmes (who has had his own series for a while) is the same one introduced in All Consuming Fire. Things finally reached a whole new level of ridiculousness when in Shades Of Gray Dorian mentioned the 'Crimson Pearl' which was a reference to another series that Big Finish makes audios for. Due to the self-contained nature of that series, no actual contradictions occur (hell, they've both got Time Travel and Alternate Universes) but the notion that an American soap/horror series from the late-sixties/early-seventies takes place in the Whoniverse is a little hard to swallow. In short, Big Finish loves to squeeze everything they possibly can under their umbrella.
    • Although fortunately, Word of God has it that this series isn't meant to be a spin-off so, regardless of where/when it's set, there shouldn't be any contradictions with other series (and virtually no references to them either) so they can easiy be enjoyed on their own.
  • Driven to Suicide: The season two finale.
    • In "The Mayfair Monster," set in the 1990s, Dorian goes on a suicidal binge after losing Toby. Of course, since he doesn't do anything specifically to his portrait, the suicides never work, and he makes a sport of it.
  • Downer Ending: Most episodes could qualify, but the season two finale goes all out on this.
  • Historical-Domain Character: In This World Our Hell. None other than Oscar Wilde. "Murder on 81st Street" features Dorothy Parker.
  • Immortal Hero: Literally!
  • Immortality Immorality: Dorian's longevity tends to elicit this reaction in people although he himself disagrees.
  • Retcon: The series takes a new look at Dorian's immortality. In Wilde's original novel, Dorian is fearful of guns and knives, assuming they will kill him just like anyone else. Here, Dorian is full-on immortal.
  • Shoot the Dog: In The Twittering Of Sparrows Dorian has to save the western world by killing his sister. This would be counted as the action of a darker hero but he probably goes too far when he snaps her neck before she can even finish her last words.
  • Sibling Rivalry: Dorian and Isadora may once have had this, but now she claims to have no emotional connections to him at all; having lived to the age of almost ninety (without the need of a painting) and not having seen him for decades. Dorian does a good job of summing up their reationship.
    We have shared parents, governesses and lovers. Aren't we the perfect siblings?.
  • Theme Naming: Dorian's aliases tend to involve colors, such as White.

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