Shakedown: Return of the Sontarans

 "Called himself the Physician, or the Dentist, or something..."

The new season of Doctor Who is over. I need something for the withdrawal symptoms, really rather urgently.

This is another of those fan-made, straight to video dramas made during Doctor Who's "wilderness years". Made on a shoestring by fans, they were nevertheless fascinating. Often featuring actors from the show, as well as other British telefantasy series such as Blake's 7, they varied in quality, in truth. Many of those fans making them would go on to greater things, though, and for what they were- and their minuscule budgets- they were very impressive.

This, which I've now seen for the first time, is undoubtedly one of the best.

The script, from ever-reliable Terrance Dicks, is genuinely witty and full of twists and turns. The Sontarans here are supremely designed, wtritten and acted, coming across as a very three-dimesnsional species. The Rutans are used well, with surprisingly good effects.

And while the performances are variable, Brian Croucher truly stands out. So does Carole Ann Ford, playing a much deeper and interesting character than Susan ever was. 

Location shooting on HMS Belfast, and creative use of camerawork, makes this look far less cheap than it doubtless was. It's not quite a prodessional production and that shows in places- it looks as though the performances are not always well directed. Yet, with a very strong script at its core, this is a highly impressive piece of work.

Hammer House of Horror: The House That Bled to Death

 "House prices are ridiculous these days..."

Ah, 1980. When, apparently, a hospital porter and a housewife could get a mortgage on a house that needed doing up... or could they?

This has the finest title so far, but despite some nice twists, a nicely creepy and mysterious Milton Johns, and some nivce set pieces with loads of blood, it drags a bit and, for me, doesn't quite manage to pull it off or, indeed, grab the attention. I suspect that has much to do with the relatively flat direction, as well as an uninspiring performance from Nicholas Ball as William, a character who needs to be portrayed with much more nuance in order for the conclusion to work.

Spoliers. Read on only if that's ok.

The twist at the end sort of works, although surely the shock of William and Emma not being married must surely have been old-fashioned even in 1980. But the clues that they are not really a couple, at first, are nicely and subtly done. And the ending is appropriate as the couple get their comeuppance.Yet the set pieces don't really work visually, and the miscasting of Nicholas Ball is a disaster.

I don't think it's the fault of the script. But this one, I'm afraid, is a relative dud.

Edge of Darkness: Part 5- Northmoor

“To know is to die..."

The above quote, from the ever-mercurial and ever-unknowable Jedburgh, one of the most fascinating characters in television history, seems to illustrate a point: knowledge brings us death, whether the radiation thereof is literal or metaphorical. Shades of the myth of Adam and Eve there. Yet we understand why Craven's need to know exceeds his need to live- but what of Jedburgh, who knows this may be a suicide mission? While both seem to survive- Jedburgh with the plutonium- their life expectancy is likely to be much shortened.

This episode marks an extraordinary change of focus- yes, there are the scenes of the parliamentary committee to remind us of a wider, and contested, context, but the whole episode is shaped around our two protagonists retracing the steps of Emma (who doesn't appear- she no longer needs to?) and GAIA, while being tracked by those with no qualms about killing them. It's very much shot to emphasise the constant danger, discomfort and horror. Even the bunker, with its vintage wine and luxuries, feels like a cruel joke.

Interestingly, our protagonists are both acting, intentionally or not, on behalf of spooks on both sides of the pond. But ultimately this penultimate episode reveals less of the plot than expected, even as it reveals what is physically at Northmoor. Meaning and context can wait- but will the final episode give us that? Extraordinary and unpredictable telly, playing to no one's rules.

Blake's 7: Star One

“Avon, for what it’s worth, I have always trusted you, from the very beginning.”

The final episode is written by Chris Boucher, which is fitting; a symbolic changing of the guard at script level which mirrors the changing of the guard aboard the Liberator in this bold, amazing and pivotal episode. Whoever said that season finales weren’t supposed to have been invented in 1979?

The first tension-filled scene, with a ship being rammed by a mysterious small vessel, looks amazing. It’s uncannily similar visually to the opening scene from Star Wars, and that’s deliberate: this is 1979. And it’s the perfect indication of the epic nature of what we’re about to see unfold over the next fifty minutes.

We get the backstory from Servalan thereafter. (And this is where I first notice the prominent Federation symbol; interesting how closely it resembles the symbol for the Federation in Star Trek, but from an entirely different perspective on what such a Federation would be like!) The attack is just one of many catastrophic events happening throughout the Federation’s outer worlds, most of which seem to involve weather control malfunctions. Ah, weather control! Such a very old-fashioned sci-fi trope, isn’t it? It belongs to a past era which believed in progress more than we do, an era of Concorde and Butskellism where the state spending money was seen as a Good Thing, chaos theory (which nixes weather control) had yet to enter popular culture and people believed that it would one day be possible for mankind to explore space. Happy days, or at least I’m told. Alas, I was born in 1977.

Er, anyway, Servalan’s underling tells her that all this can only mean problems at Star One, something which Servalan refuses to believe. She has to; not only does she not know where it is, no one knows where it is. Even the scientists living there are marooned forever, and both selected and conditioned to be the types of people who would never attempt to communicate with outside.

Er, is this wise? If Star One is so important, and disorder in the universe is always increasing (the good old Second Law of Thermodynamics, says that clever Professor Brian Cox), then surely there will be problems in store when the scientists are all dead and Star One inevitably starts to go wrong?

Blake and co know where it is, though. The co-ordinates take them to a spot a little outside the galaxy, into the dark, intergalactic board. They’re off the edge of the map. Here be monsters, inevitably.

And this where we get an incredible, pivotal scene. We’ve seen lots of arguments between Blake and Avon, but this time it’s final. Things are said which cannot be unsaid. “Show me something who believes in anything, and I’ll show you a fool”, says Avon. He doesn’t mean it, of course. By now we know that he doesn’t like tyranny any more than Blake does. It’s just that he’s horrified by Blake’s recklessness and is deliberately saying the most hurtful things he can. Beneath the exterior, Avon is a very moral man who is loyal to his friends and cares a lot. That’s why he loathes Blake’s casual attitude to other peoples’ lives.

He basically Admits, too, that all that stuff at the end of last episode about using Star One to rule the galaxy is just him lashing out at Blake and again trying to be hurtful. This would be quite as morally objectionable to Avon as it would be to Blake. No; Avon has an ultimatum for Blake: they destroy Star One, and then they’re finished. It’s over. Blake gets dropped off on Earth and the Liberator is Avon’s. He even calls Blake a fanatic to his face.

But Blake lacks the confidence to really argue back; this is the episode where he comes the closest to what he wants, and yet he’s racked with doubt, as are others; even the normally loyal Cally points out that with out Star One, many people would die. Is all this really worth it? There are some powerful ethical issues at work. Yet, the end of the scene, whatever the supposed caveats, Avon gets exactly what he wants. He, not Blake, is the Alpha Male now.

Meanwhile, Servalan speaks of chaos spreading across the Federation leadership. She has decreed the President and the Council to be incapable of dealing with the crisis. She has launched a coup and had them arrested, no doubt to be “disappeared”. The scene ends with her senior underling addressing her as “Madame President”.

Avon and his crew discover Star One to be a tiny, barely habitable world orbiting an isolated white dwarf. Avon notes that this is the nearest point to the Andromeda Galaxy. Implying that, with human technology, it would take thousands of years to travel there, he has nevertheless spotted that there are thousands of satellite generators lying beyond it; a “minefield” place there by the Federation! Does this imply a known threat from the direction of Andromeda, a threat which would most likely arrive through this exact point? Orac confirms that these minefields extend around all those parts of the Galaxy’s edge which are occupied by humans, and this implies that the Federation (and humanity) does not occupy all of the Milky Way or even necessarily very much of it.

Oh, and I’m not sure about the concepts of minefields, what with space being three-dimensional and all, but never mind. I think a bit of handwavium is justified, because this is great.

Avon, Blake and Cally teleport down, and are separated. Blake and Cally do the “take me to your leader” thing while Avon walks around being cynical. But another ship is landing, one identical to the small vessel form the opening scene. Blake, meanwhile is expected, but it soon becomes apparent that he’s been mistaken for Travis.

Events start hurtling forward apace; Blake sets his bombs, but other things are afoot. All of the scientists but one are impostors, alien beings from Andromeda sent as an advance party to destroy the minefields. Gazillions of alien ships are heading towards Star One, from Andromeda, to launch an invasion. Oh, and Travis is here, in league with the aliens in a betrayal of his own species- and it’s implied that the aliens intend on committing genocide, or something pretty damn close.

Blake is a lost figure by this point, forced to abandon all hope of fighting against the Federation because of the need for humanity to unite against this greater enemy. Even his being shot and seriously injured by Travis, which should be dramatic in itself, is almost merely a symbol of his more general impotence from this point on.

Servalan has a big decision to make, too; given the new threat, she contacts Servalan and asks for Federation military back-up. Suddenly, all previous quarrels have become a luxury which no-one can afford.

One quarrel is ended for good, though. It’s fitting, given the constant tension between Blake and Avon about whether to kill Travis, that Avon should shoot him dead so casually and irrevocably. It’s yet another moment which signifies which of the two of them is now on top.

Servalan sends a fleet, but it will take an hour to arrive; the Liberator, facing hopeless odds, is the only thing which can possibly fight them. Blake briefly tries to return, but he’s yesterday’s man; Avon insists that he buggers off back to Star One. Accepting his new lack of status, he agrees and duly sods off. It’s Avon, showing his true heroic colours, who leads the crew of the Liberator in what must surely be a hopeless last stand against the invading hordes…

What an episode!

Blake's 7: The Keeper

“Don’t you trust me?”

“No, of course not!”

Allan Prior does his best with making the dialogue sound realistic, but the first few lines of this episode consist of possibly the most blatant case of “as you know, Bob” syndrome ever. Characters keep falling over each other to explain things all of them already know for the viewer’s benefit; a surgeon called Lurgen left his brain print on the planet Goth, and this brain print is being worn around the neck of a tribal chief. It apparently contains the location of Star One and, given that this is the penultimate episode of the series, we know damn well that they’re going to find it.

This is a bit of an Avon-lite episode, but there’s plenty of the ongoing tension between him and Blake, with Avon winding Blake up by asking why they don’t just take over Star One and rule the galaxy rather than destroying it. But he and Cally are this weeks teleport operators, while Blake, Jenna and Vila get to teleport down. This may not be entirely unconnected with the fact that Sally Knyvette and Gareth Thomas are leaving soon.

As is traditional, the planet Goth bears an uncanny resemblance to the South-East of England, although I’m glad to see some more of the recent tendency to give all alien planets an interesting natural feature; in this case it’s a sulphurous atmosphere, poisonous in the long-term. This doesn’t really affect the plot, but it’s a nice touch.

The only locals we see are a tribe called “the Goths”. As this is also the name of the planet are they the only people living on this world or is their name of the tribe just a big coincidence. Whatever, they’re great. Bruce Purchase chews the scenery magnificently as Gola, the chieftain. He has a sister, a mysterious seeress, and a fool, in good mediaeval tradition. The whole look of the costumes, sets and hairstyles are all way cool, too, partly mediaeval but with a large hint of the Gauls of Asterix, complete with a drug-addled religious figure.

Unfortunately, our herpes are all captured fairly quickly because the Liberator, in typical Blake’s 7 style, has gone out of teleporter range. This has happened because Avon has spotted Travis’ ship and, in sharp contrast to Blake’s constant shilly-shallying about killing him, coldly sets out to shoot him in the back. He apparently does this, as the ship blows up.

Except Travis isn’t aboard, as we soon discover after Blake is finally teleported up to have a bit of a shouting match with Avon before buggering off back to the surface again. Travis is staying with Gola, as is Servalan, and they’re also on the trail of Star One for reasons of their own personal gain, a fact which should entirely fail to surprise us.

Blake rescues a big shouty bloke called Rod, who proceeds to speak of a brother and, er, shout a lot. Both of them head towards the chief’s tent, where Jenna is to be “pair-bonded” with Gola (isn’t she lucky!) although apparently she’s not supposed to touch him- being chief doesn’t seem all that much fun in that case! Vila, meanwhile, is expected to become the new fool. Naturally, he proves to be quite brilliant at this.

Sally Knyvette is brilliant in her scenes with Gola; her facial acting is particularly superb. You always feel that, despite appearances, she’s always in control of the situation, but the mysterious seeress is another matter. Still, Jenna eventually discovers that the seeress’ amulet is not the one they want.

Vila is thrown into a cell after an unfortunate incident with some ventriloquism, where we discover that his neighbour is a mysterious old man. I wonder if there’s anybody who’s ever seen this episode and didn’t immediately work out that he’s Gola’s father and the ousted previous chief?

Jenna continues to manipulate the rather thick Gola, to Servalan’s great annoyance, and soon discovers that his amulet isn’t the one they want either. So, it must be someone else. Cue the arrival of Rod, who we all worked out was Gola’s brother from the get go. They proceed to fight a dual with rather odd weapons, but are both killed, and Rod’s amulet isn’t the right one either.

We end in the old chief’s cell as he dies. The royal line is extinct and it seems the amulet has gone, until a verbal trigger leads the fool to start chanting the location of Star One. Time for a season finale…

Blake's 7: Gambit

“An eyepatch? Oh, how quaint!”

The fantastic Robert Homes is back. This time he gets an arc episode, and it’s typical Robert Holmes, with everyone double-crossing each other and loads of wonderful dialogue.

The setting is Freedom City, an underworld den of pleasure said to be far superior to Space City from earlier in the series, and lying just outside the Federation. We certainly get a much richer idea of what the place is like than in the earlier story, and this is thanks to both the excellent script and the wonderful realisation. It’s said that Blade Runner invented the sci-fi trope of fashions being cyclical, allowing us to present a retro future. But it’s done earlier and so very effectively here. Krantor, the wonderfully quotable old queen and big boss of the establishment, played by the wonderfully mellifluous Aubrey Woods, and John Leeson’s Toise, dress both themselves and their quarters (shared, I presume!) in Regency finery, while the establishment abounds in historical costumes of all kinds, including, at one point, a nun in the casino.

All this is fascinating; it tells us that knowledge of history has survived all these centuries into the future, as have chess, the casino and the French language. But there’s a story arc to advance, too; this space surgeon can only be the Docholli we heard of last episode, especially as he is accompanied by none other than Travis.

Blake and co have traced Docholli here and, in an almost unheard of departure from recent convention, he actually takes Jenna and Cally down to the surface with him, leaving Avon and Vila to operate the teleport, something he seems usually to consider as women’s work. But Blake and co are nowhere as interesting as what’s going on elsewhere, such as the speed chess tournament against Deep Roy’s wonderful Klute. To win or draw against him means a prize of two million credits but, as we see when Klute is later challenged by a Restoration fop(!), failure means electrocution and vaporisation. It is, as Avon says, the ultimate risk and the ultimate thrill to the true gambler. We end, not with a laughing cavalier, but with a laughing Klute. It’s the same distinct laugh that became so familiar as that of Mr Sin in Doctor Who and the Talons of Weng Chiang.

Servalan is also here, of course, and for the same reason. This being a Robert Holmes story, she has an ever-present underling called Jarriere to form the other half of this Holmesian double act and marvel at her cleverness. In a wonderful scene between Servalan and Krantor, we establish their relationship as they politely carry out their scenes against each other. Servalan makes a deal with Krantor for the delivery of both Doccholli and Travis, in the full knowledge that he will seek Docholli’s secrets first. Krantor will have no use for this knowledge, but Servalan will then have a casus belli to annex this world to Federation, and to “have that vulpine degenerate eviscerated with a small and very blunt knife”. (Interesting choice of words- shades of Nazi Germany versus Weimar Berlin?) Naturally, they’ve both bugged each other. Oh, and I simply love that mirror.

The subplot between Avon and Vila is great too, of course. I love the way they both prey on Orac’s arrogance to manipulate him into playing along, and Vila’s hopeless inability to hide his obviously improbable run of luck.

I’m a bit confused about Travis- last episode he seemed to be on the brink of being captured by the Federation, yet here no allusion is made to this, and he seems to have been following Docholli for a long time. Still, Servalan captures him this time, and rather cleverly turns him into a walking bomb, so as to kill both birds (and possibly Blake) with the one stone. I love the way Holmes seems to gently mock the character’s pomposity here.

Docoholli is being pursued by Cevedic, a character played by an actor instantly recognisable as one Bill Filer to us Doctor Who fans. But the inevitable barmaid-with-a-heart-of-gold hatches an escape plan for him. It’s a good plan, and almost works, but on this story everything is overheard. Bill Filer catches up with him, only to be killed by Travis. Also turning up are Blake, Jenna and Cally, who have remarkably little to do this episode. The bomb doesn’t go off for some reason, and Docholli admits to Blake that, although he can’t tell Blake where Star One is, he knows a man who can. That’ll be the same as the end of last episode then.

Oh, and Blake once again fails to kill Travis, which the script is by now openly mocking him for; “If you’re man enough, kill me now”, goads Travis. Blake isn’t man enough, although Jenna is, it seems. Travis lives to fight another day.

Meanwhile, Vila is rumbled, and drugged into playing speed chess against Klute. With Orac’s help, though, he wins, and he and Avon are rich. They arrive just in time to convince the others they’ve never been away. This script is so good it can even get away with such a clichéd sitcom ending.

Blake's 7: Voice from the Past

“It doesn’t make for the most reliable of leaders, does it?”

I’d never heard of writer Roger Parkes before, until glancing at IMDb just now, but there’s something a little off about this story. It’s not that it’s bad, it’s just that the tone of this political intrigue is a little off, and that the revelation that there are idealists in high positions rather undermines the Federation’s credentials as a Big Faceless Invincible Totalitarian Thing.

The crew of the Liberator begin, rather sensibly in the light of both how knackered they were last episode and what happened last time they over-tired themselves, by heading for a bit of a rest. But it’s not long before Blake, behaving even more oddly than usual, orders Zen to head towards an obscure asteroid instead, and haughtily refuses to explain this to anyone. I don’t think this attitude can be entirely blamed on external influences and, as we’ll see, the episode ends by pointedly not absolving him.

The crew (with a lot of guidance from Avon, clearly the alpha male in Blake’s absence) soon discover that Blake is being controlled in some way related to the brainwashing he received after his trial some years ago. Things go a bit mad for a while, but eventually Blake is restrained and the Liberator resumes course for the Planet of the Health Farms.

Except that Vila is a bit of a gullible muppet- which is, I’d say, just a little out of character. Nevertheless, Blake manages to convince him to lock everyone else up and resume their course towards the obscure asteroid.

Blake teleports down to the surface, in a short scene which is quite the most cringe-inducing yet; Blake is clearly stood just a foot or so in front of some god-awful matte painting. It’s the sort of sci-fi exterior set you’d expect to see at an infant school assembly, not from the BBC. Arse-clenchingly embarrassing stuff.

Mercifully, though, Blake eventually finds some indoor sets, rather safer ground for the production. There are also a load of people, apparently rebels, led by a chap called Ven Glynd, a former senior Federation politico who seems to have defected. Unfortunately there’s also an utterly absurd bandaged figure with silly false eyes, who is apparently the legendary Shivan, a revolutionary hero who has been presumed dead.

Blake is quickly persuaded- rather too quickly persuaded according to Avon, who is invariably right about these things- that the group have a foolproof plan to legally expose various pieces of Federation skulduggery, including Servalan’s dodgy dealing with Orac at the end of last season and the killing of Blake’s defence barrister. Blake seems to swallow this, simply because of the mention of an apparently “sane” Federation ambassador called Le Grand. And yet, if the Federation can indeed be successfully challenged through its own legal system, and with the help of apparently decent and reasonable Federation apparatchiks, does this not undermine the sense we’ve always been given that the Federation is an extremely nasty, arbitrary, 1984-via-Brezhnev, totalitarian police state? The revelations we later discover in no way make up for the fact that our image of the Federation as an uber-scary and powerful entity has been badly damaged by the fact that this sort of thing is even considered plausible by the characters we know.

Still, Avon’s having none of this and Orac backs him up; Blake is still being mind-controlled. We begin to receive hints that he’s intended as a figurehead in a “triumvirate between himself, Le Grand and Ven Glynd, with Ven Glynd clearly seeing himself as the Octavian.

Le Grand’s ship lands on the planet Atlay, where the conference is due to be held, in a magnificent piece of model work from the one and only Mat Irvine. But it’s a trap; the arena is empty apart from a load of Federation troops and Servalan on a screen; Le Grand’s treachery has been known all along, and she lets out a few tears at the end of her dream. Then the shooting starts. Meanwhile, on the Liberator, it’s revealed that the bandaged figure was Travis all the time. He seems to be losing more and more dignity with each appearance.

The melee ends with everyone (except the redshirts from the asteroid, who all die) back aboard the Liberator, and Travis about to be arrested by Federation troops. Blake has forgotten all of these events, and immediately abandons all thought of his crew’s much-deserved rest in favour of renewed action against the Federation; they need to find this Docholli. Once again he’s pushing his crew hard, and the consequences will no doubt be tragic; if they are, then

Blake's 7: Hostage

“Personally, I like the edges a little blurred.”

Here’s another script by Allan Prior, and rather surprisingly the first “arc” episode to be written by someone other than Chris Boucher or Terry Nation. We start with an extended sequence with the Liberator being in a spot of considerable bother from an extremely large number of pursuit ships. They escape only narrowly, with both the ship’s and crew’s energy levels being drained. Once again we’re made very aware of the extreme stress and danger of their fugitive existence. The last time they were under this much pressure, a member of the crew died. The stakes are high. Things can’t just continue like this. Right now, the life expectancy for Blake and his crew looks rather short.

It’s a novelty to see a different Space Commander doing the things we’re used to seeing from Travis, but the result is the same, only over a much shorter time-scale; Servalan simply orders Space Commander Redshirt to place himself under arrest for failure. No doubt we’ll never hear of him again.

Things are shaken up with a message to Blake from Travis, who is holding Blake’s cousin hostage. He claims that, with both of them being fugitives, it’s an alliance. It is, of course, a blatant trap. It seems that Inga and her father Ushton, Blake’s uncle, live on the former penal colony world of Exbar. It’s nice to get a slightly more imaginative description of the surface conditions than usual, with the thin envelope of atmosphere and air running out at high altitudes meaning, as we see later, that gas masks are used. I like this sort if thing. Yes, by necessity all planets have to look like the South of England, but this kind of thing helps to counteract that and give an impression that we are indeed on another planet.

Servalan has also received a similar message, from a mysterious source later revealed to be Avon in the latest consequence of his rival with Blake. She also receives a very interesting visitor: the senior politician Joban, played by the utterly splendid Kevin Stoney. Their sparring conversation is an absolute joy, and it’s becoming clear that from this point onwards Servalan is under pressure to get results, or bad things may happen.

Blake teleports down and is warmly greeted by his uncle, played by the ubiquitous John Abineri although we know, of course, that Ushton has to be doing Travis’ bidding. More surprisingly, Avon, having scorned the whole enterprise as a typically stupid risk by Blake, and angrily told Blake that he shouldn’t expect anyone else to risk their own lives over his actions, suddenly and unexpectedly teleports down. He says only that he “feels responsible”, and it’s only later that we discover why: it was he who sent the message to Servalan.

It’s not long before Avon insists on bringing Vila down too, but they are all eventually captured by Travis and his “crimoes” (why do we keep getting silly words like this in Blake’s 7?). Travis interrogates Vila as to how to use the teleport bracelet, revealing how he missed his vocation as a travelling preacher (“The word! The word! The word!”). A Crimo teleports aboard the Liberator, gloats to Jenna and Cally about how intelligent and sadistic he is, and is promptly duffed up good and proper by both of them, being teleported into space for good measure.

Inga escapes, meaning Ushton no longer has to do Travis’ bidding, and the tide is soon turned. Yet again Travis is defeated, yet again Blake refuses to kill him for the usual flimsy reasons, and once again Avon clearly disapproves. Blake’s foolishness here is soon proves as, far from arresting him, Servalan strikes a deal; if Travis successfully leads her to Blake, she’ll have him officially listed as dead. This is quite daring of Servalan, especially after she deliberately ignored a message from Joban a little earlier. Could it be that she is now skating on some rather thin ice.

Another excellent episode, this, both on its own terms and in where it leaves the characters. What a shame that it has to end with an incestuous kiss between Blake and his own first cousin.

Blake's 7: Trial

“Resist the host, or your oneness will be absorbed.”

An excellent episode, this. I’m relieved that the events of last episode have been dealt with. On reflection I’ve become even more strongly convinced of Blake’s culpability for Gan’s death; we had foreshadowing in Horizon as Blake continued to push his tired crew, and the title “Pressure Point” is an obvious follow-on from that, as well as probably referring to Blake’s state of mind.

Chris Boucher is handling the scripting here; probably the wise course for such a character-based episode, with two contrasting “trials” which reach opposite conclusions but then meet at the end. Certainly, Travis’ fate is fascinatingly Machiavellian; being hung out to dry by Servalan for atrocities he committed three years previously on Zircaster. ( Incidentally, these episodes remind me of Magic Bullet’s Kaldor City audios a lot, and not just for the presence of Peter Miles, here reprising his role as Rontane from last series. Kaston Iago, played by Paul Darrow, is said to have killed “the butcher of Zircaster. This may, or not, imply who he is.)

Travis’s court martial is narrated, interestingly, through two pairs of characters; the two guards (one played by Kevin Lloyd, later to play Tosh on The Bill) give us the perspective of the poor bloody infantry (they even have regional accents), while Rontane and Bercol comment for us on the significance of this trial in the context of Servalan’s machinations; if Travis can be quickly executed, he will be unable to testify as to her recent incompetence in the pursuit of Blake. Naturally, she’s watching the trial through a secret camera and, naturally, Travis’ defence counsel, Thania, is an underling of hers.

Blake’s trial, though, is self-imposed. He needs time to think, and Gan’s death has hit him hard. He is beginning to question the wisdom of his continuous tilting at windmills and to realise the liability he has become to others. And yet, the signs are there that this will not last. He is notably reckless in his failure to gather much information about the world on which he is to plan his brief (or not) exile, and in pig-headedly refusing to carry a gun. His message to his crew is quite extraordinary; on the one hand he is risking abandonment and possible death, and on the other hand the whole situation is so staggeringly passive-aggressive. Avon is right to scorn him for self-pity. And while Avon (who earlier refers to Blake’s “three remaining followers”, a figure which seems to exclude himself) may vocally suggest abandoning him, his behaviour suggests otherwise. The detector shield he is building, to protect the Liberator from the long-range scanners of Federation ships, is not only a markedly more constructive achievement than anything Blake has had as leader, but also a sign of his continuing long-term commitment.

Blake is not alone, though. Apparently there’s a woman in a rubber suit somewhere nearby, and she seems to be taunting him with a water pistol. Eventually this ridiculous figure reveals herself to be Zil, and somewhat cryptically explains to Blake what is more usefully summarised by Orac on the Liberator: this world is a single, Gaia-style, living organism, which immediately makes me think of that recent Adam Curtis documentary, which seemed to assert that the late 1970s was when such ideas started to permeate the general consciousness. The planet is having one of its regular “purges” of parasite. Tragically, Zil, who is rather nice, dies shortly after Blake realises she was protecting him because she thought he was a newborn child.

It is Avon’s cleverness, significantly, that leads to Blake’s rescue. But Travis is already in trouble. His trial is conducted in the same way as Blake’s in The Way Back, with evidence being analysed, apparently objectively, within seconds by a computer after the evidence is submitted. But Travis manages to seize a chance to possibly change things by delivering his own closing speech, insisting that his actions are only the result of his training. This is to no avail, though; he is still sentenced to death.

Blake, predictably, is full of renewed purpose; it seems he will never see the error of his ways. This cannot end well. He proposes a quick attack on Servalan’s HQ using Avon’s detector shield to slip away again, although what value beyond a gesture that this has is, to say the least, unclear.

The predictable result is, of course, that Travis escapes in the confusion, with a pursuit ship and three “blanked” Mutoids. Travis is pursuing Blake, and Servalan is pursuing Travis…

Blake's 7: Pressure Point

“Sooner or later, I will have my chance.”

Blimey! It’s Terry Nation again. And it’s a cracker of an episode. Yet again it seems he’s a much better writer when his batteries have been recharged. Then again, of course, it’s fitting that such a pivotal episode in the series arc should be written by the series creator.

We begin with a couple of rebels, dressed rather like terrorists used to dress in the 1970s, skulking about by the Federation’s main computer system, Control. Initially I winced at the thatched cottage, but it seems Control is on Earth. In the South-East of England, it seems. Where else?

Watching them are Travis, Servalan in a rather fetching hat, and a couple of Mutoids. (Are all Mutoids women? I don’t think we’ve seen a male one yet.) Sadly, with Terry doing the scripting, their relationship is rather more one-note than it was last time. They’ve been expecting this scouting party, which seems to belong to Kasabi, a rebel leader played by Jane Sherwin off of Doctor Who and the War Games.

Blake, meanwhile, plans to strike at Control, the most heavily protected site in the Federation, and deliver a crippling blow to the Federation. It seems to be an utterly insane risk, and to mark a new stage in Blake’s recklessness. He’s even misled the crew about why they’ve been heading towards the Solar System. As we shall see, these tendencies are going to escalate, with awful consequences. This may be the episode where Blake crosses the line and starts to be genuinely in heed of psychiatric help.

Interestingly, only Cally is with Blake at the start, with everyone else needing a fair amount of persuading. Blake has apparently been secretly planning this for a year, and has already made contact with Kasabi. (Interestingly, we get some more information about the series backstory here; the Federation started its “expansion and conquest” about two hundred years previously.)

Avon’s reaction is absolutely fascinating. He makes no secret of his disdain for the scheme, deliberately keeps Blake in suspense, but nevertheless agrees to take part in what he derides as almost a suicide mission. But there’s a lot of meaning in his “I am surprised you ever doubted it.” Yet again it’s clear that his cynical exterior hides a loyalty to his friends and a sympathy with Blake’s aims, if not his reckless methods. He’d make the better freedom fighter of the two. Yes, he may claim that his motive is to get Blake leading a rebellion on Earth, leaving him in command of the Liberator. But I don’t believe him.

Servalan, unfortunately, takes Kasabi prisoner, and a trap is set for Blake. He and Gan teleport down and head for the rendezvous spot. Interestingly, this is the crypt of a church which has been left in ruins since “the Federation had them all destroyed at the beginning of the New Calendar.

In the crypt they find an injured young woman, Veron. The rather lovely Veron is Kasabi’s daughter, the only survivor of a Federation ambush during which she claims her mother was killed. She is, of course, doing the Federation’s bidding. At this point has to do a lot of convincing to get Gan to continue- he very reasonably assumes that this means things haven’t gone to plan and it will be too risky to continue. He’s right, and this will of course resonate later.

Just as damningly, Blake refuses to admit what has happened when he communicates with the Liberator, is spite of two direct questions from Avon. He has now essentially put both Avon and Vila in great danger on false pretences. He’s fully responsible for anything bad that befalls his comrades from now on.
The trap springs shut. Veron disappears, as do their teleport bracelets. Fortunately, Gan is ultimately able to force the door. From this point on we essentially have an obstacle course, and scenes rather uncannily similar to Terry Nation’s own Doctor Who story of a few years earlier, Death to the Daleks. We get a bit of foreshadowing on the monkey swing sequence, as Gan very nearly doesn’t make it…

At last they reach the centre of Control- and there’s nothing there. There hasn’t been for thirty years. This is all a massive red herring, and Blake is absolutely stunned. All that risk has been for nothing. It seems that Servalan and Travis have them, until Jenna arrives. It seems she’s handled the situation rather more rationally than Blake. Then again, at the moment that wouldn’t be difficult.

The episode climaxes with Gan dying during their escape. It makes sense to kill him at this point; as his pervert tendencies seem to have been dropped this season (where could they have taken that, though?), the character is suddenly too bland to keep around, which is no reflection on David Jackson. But this marks a turning point; Blake is entirely responsible for his friend’s death. He’s become a dangerous liability.

Blake's 7: Weapon

“And the other mistake I made was not getting an advance on my fee…”

So, after fourteen straight scripts by Terry Nation we get at least two in a row from Chris Boucher. Can he possibly beat the record of his illustrious predecessor? We shall have to wait and see.

After some stock rocket footage, we see two fugitives scrabbling about in a quarry. One of them, Coser, is dressed rather oddly and played by John Bennett, and the other, Rashel is a slave, freed by him after his escape. She starts out very much in this role, but it’s nice how she becomes gradually more assertive as the story continues.

We then get a rather dreamlike sequence in which Travis apparently kills Blake. Except… it’s not Travis. Yes, I know that the character is subtly different, rather emasculated, and scripted far more for comic effect than we’ve seen before, but Brian Croucher is rubbish, isn’t he? It’ll be interesting to see whether my opinion shifts over time, but right now he seems rather one-dimensional, shouty and camp, far from the genuine menace exuded by Stephen Grief.

That was just a clone, of course; the real Blake is aboard the Liberator where he’s arguing, as he often does these days, over a particularly suicidal plan of his, or rather Cally’s (she has fanatical tendencies too, of course), to attack the Federation’s Weapons Developmental Base, an absurdly high profile target.

The relationship between Servalan and Travis is evolving in interesting ways, beyond being much shoutier; it’s clear that Travis has lost all of his menace and is basically her gimp. I suspect she keeps him around at least partly because she enjoys her power over him. This script certainly brings out the best in Jacqueline Pearce, who is fantastic here. We get some exposition, too; the “clonemasters” apparently have a monopoly on cloning, and the whole subject of cloning is generally treated as something exotic, which is not quite so much the case in these post-Dolly the Sheep days.

Orac informs Blake that his plan just isn’t a goer, as security around the Weapons Development Base is currently sky high; a bloke called Coser has escaped, with a brilliant new weapon he’s invented, called “IMIPAK”. It’s all exposition at the moment, aboard the Liberator as well as on the Clonemasters’ planet. We even learn that Blake is 34, just like me.

It’s not long before the plot gets going, though, as we see Coser and Rashel take refuge in a building. Interestingly, for the second Chris Boucher script in a row we have a heavy emphasis on social class, with Rashel being a slave and Coser being the sort of “B grade” technician who isn’t supposed to be clever enough to invent something like IMIPAK. It seems the Federation operates quite a rigid caste system.

We’re introduced to Carnell, played by the excellent Scott Fredericks, a psychostrategist or “puppeteer”, a kind of uber-smug version of Hari Seldon from Isaac Asimov’s splendid Foundation novels. He’s also, of course, one of the main characters in Magic Bullet’s excellent Kaldor City audios. And yes, I know I keep going on about them! He’s great here; flirting outrageously with Servalan and showing what a massive genius he is by casually thrashing the best chess computers of his time. He really must be a genius, considering Garry Kasparov’s –performances against a computer which would presumably be far less advanced. But he lets slip that he may have made a mistake- he assumes Coser is alone. And when he later charms an underling to let him see a report, he remarks that this has “saved his life”.

We switch to an industrial location, so often seen in Blake’s 7, for the denouement. The clone tricks Coser into handing over IMIPAK to Servalan, and it seems that it consists of a gun, with which you can shoot someone to “mark” them, and then press a button to blow them up. Coser makes it sound all good and everything, what with the power one would hold over someone who’s been marked, but why not cut the crap and just shoot them? We get a rather ridiculous scene in which Blake, Avon and Gan, having teleported down, all stand still long enough to be “marked” by Travis. Why doesn’t he just shoot them?

Servalan gives them all a chance to run, for plausible and rather clever reasons; after she blows them up it will be assumed that they have IMIPAK, whereas in fact Servalan does. I love the way she has her own agenda, rather than just acting on behalf of the Federation. She’s a deliciously ambitious woman.

Fittingly, it’s Rashel who saves the day, in a pleasingly assertive manner, and ends up alone on a planet of her own with a clone of Blake as her own sexual plaything. Fittingly, this episode sees her evolve from the lowest origins possible to being the most important person in this episode. And Carnell gets away before Servalan can kill him, but not before recording a message to Servalan telling her that she’s “undoubtedly the sexiest officer I have ever known”. She can’t resist a smile.

Not quite up to last week’s standards, but this is another good ‘un.

Doctor Who: The Robots of Death

Part One

“Shoomph!”

Just to go blatantly OT from the very start, this viewing is particularly fascinating to me as it’s the first time I’ve seen the story since hearing the unbelievably magnificent Kaldor City audios, set in the same society and with Uvanov such a promising figure. But back to the story…

Everything looks fantastic, with the set design, costumes and robot designs possibly giving this story the best aesthetic ever seen in Doctor Who. There’s a real sense that in this society, with robots to do all the drudgery, people tend to behave in ways that evoke the aristocracy of pre-revolutionary France. Everyone wears male-up and fancy clothes designed entirely for display and with practicalities not an issue, revealing a lot about their lifestyle. There’s also some impressive world-building with the dialogue- the company, the founding families and the like.

Leela also gets a nice introduction to the dimensions of the TARDIS. Sadly, I think I’m right in saying that’s the last time we’ll be seeing this version of the control room, after it’s appeared in only three stories.

Part Two

“We’ve all got something to hide. Don’t you think so, Commander?”

The whodunit plot gathers steam, and a very good whodunit plot it is too, with plenty of genuine suspects. In fact, it makes me wish I hadn’t seen this story so many times so I could enjoy it again. The characters are well drawn too- perhaps I’m back-projecting from the Kaldor City audios, but I love Uvanov’s dialogue- “You have cost me and the company a great deal of money and you have killed three people.” Nice to see what his priorities are!

There’s some nice direction, too- I’m particularly noticing all these shots of the robots’ feet.

Part Three

“I heard a cry.”

More plot unfolds, with details of Uvanov’s history, our first mention of Taren Capel and the revelation of the fantastic D84 as a company agent. I love his turn of phrase, especially when offering the Doctor a communicator- “Would you like to use it? I cannot speak.”

Leela gets a great line, too, as her knife gets stuck in an advancing robot; “Now you’re showing off!” Only her second story, and she’s magnificent, taking all these new experiences in her stride while still being true to her origins. It’s a huge bonus to have her second story written by Chris Boucher as well as her first.

Part Four

“Please do not throw hands at me.”

Robophobia, caused by the disturbing lack of body language in the otherwise humanoid robots, is a fantastic sci-fi concept, which goes to show that, for all the obvious Agatha Christie trappings of this story, Chris Boucher has shown himself in both his stories so far to be heavily grounded in literary science fiction- here there are obvious echoes of Isaac Asimov and Frank Herbert, and there’s even a character called Poul. 

As silly as Taren Capel may seem all made up to look like a robot, and however much we may snigger at the line “I’ll release more of our brothers from bondage- we’ll be irresistible!”, ultimately he’s a tragic and deluded figure. The feelings of brotherhood are all one way- in reality, to the robots he’s just another “master”. The story’s conclusion is clever, but also the cruellest possible fate for Taren Capel.

One of the greatest stories ever, entering my top ten at number four. 5/5.