Blake's 7: Mission to Destiny

Personally, I don’t care if their whole planet turns into a mushroom. I’m staying because I don’t like an unsolved mystery.”

A whodunnit in Blake’s 7 seems rather odd, especially at this early stage. But it works, oddly enough, and lets us have a closer look at Avon. He may be cynical and self-centred (although less so than he likes to present himself), but he’s also intelligent and intellectually curious.

We begin with a ship flying through space in a scene rather reminiscent of a low budget version of the previous year’s Star Wars, and we meet a bloke who is instantly done in. With lead piping, apparently.

In no time at all the Liberator turns up, and Blake, Avon and Cally (the only regulars who get significant screen time) start investigating the mystery. Everyone has been rendered asleep by tranquillising gas, the controls and the communicators have been sabotaged, and the murdered man managed to write “54124” in his own blood before he carked it. Our heroes get well stuck into the mystery, with Blake and Avon even finding themselves on film as they investigate the filters.

Early on we get a typical whodunit scene in which the suspects tell us their names and alibis, and we establish the two obligatory red herrings, Mandrian and Solheim. One of the suspects is played by John “K-9” Leeson, and there’s a missing person, Dortmunn (a very Terry Nation name, that), who apparently has escaped on the life raft. Except he hasn’t, as Cally and the rather pervy Solheim later find his body.

It seems this ship is from Destiny, a frontier world settled a mere century ago and which remains, for the moment at least, outside the Federation. On board is a McGuffin, vital for the future survival of the planet, but also made of priceless unobtainium, and the perfect motive for any greedy person to resort to murder. All the pieces are in place. It’s agreed that Blake will take the McGuffin to Destiny as quickly as they can, while Cally and Avon stay behind. It’s fun seeing how Paul Darrow plays his role here: people may have died but Avon is rather enjoying himself!

Cally sees loads and loads of potentially important stuff happening, much of it on film, while the discovery of Dortmunn’s body leads Avon to call everyone together and do his best Hercule Poirot impersonation. He’s definitely enjoying this.

The Liberator, meanwhile, is faced by a whopping big meteor storm (what, they’re weather phenomena?), and has to choose between going round, which will take ages, and going right through. Blake, of course, chooses the more laddish of the two options.

Avon gets a particularly cool bit of dialogue where he says he thinks Mandrian probably did it, with Sonheim next on the list, but that he’s going by instinct and so is therefore probably wrong. Now there’s a man who understands the tropes of the genre he temporarily finds himself in. Rather less cool is Jenna’s claim, on board the Liberator, that “We’re having to use a lot of power to maintain our speed and heading”. Er, I think you’ll find that in a vacuum you require exactly no power to do that.

Meanwhile, Mandrian is dead, with Sonheim so obviously guilty that he can’t possibly have done it. Avon now realises whodunnit, and assumes the role of the fictional famous Belgian for one final time: it was Sara what done it. She seems to hold all the cards, including the McGuffin, which is not on the Liberator after all. But Blake has realised this, and the Liberator races back to get back to the ship before Sara’s mates do. We end with a budget-friendly, off-screen bang.

I rather enjoyed that, but it will be good to get back to the usual skulduggery surrounding the Federation…

Doctor Who: Ghost Light

Part One



“I’m as human as you are!”

“Yeeesss…”

From the beginning to the end everything we see happens in the same few excellent sets, which are stuffed with various objects to draw the eye. The effect is that for once it’s easy to forget that this is the season’s studio-bound story.

Fairly early on we’re made privy to the fact that this richly atmospheric big Victorian house features some oddly futuristic technology and a strange creature which is kept imprisoned in a cell. But the things that are in store for us are much weirder than that. Such as the magnificent sideburns of the Reverend Ernest Matthews, a character so superbly brought to life that I had to be told by the closing titles that it was John Nettles.

The Doctor’s arrived here as some kind of “initiative test” for Ace. And they land in a richly atmospheric part of the house full of stuffed animals and all sorts of artefacts a Victorian explorer might collect. Speaking of which, we meet the magnificently grotesque Redvers Fenn Cooper, who introduces us to the dense literacy of the script with dialogue alluding to The Lost World, Heart of Darkness and no doubt other things. There’s a lot of this sort of thing.

Matthews, clergyman and naturalist who’s quite high up in the Royal Society, has arrived to question the house’s occupant, one Josiah Samuel Smith, on his blasphemous Darwinian theories, which he dismisses. Of course, no one alive today could possibly hold such a view.

On a related theme, Josiah’s manservant, Nimrod, appears to be a Neanderthal, and no one appears to be behaving naturally. This, and the claustrophobic confines of the house, makes things already feel deeply charged. But then things start happening. The creature is found to have escaped from its cell, and Ace realises this house is Gabriel Chase, a place which affected her very strongly with the evil she sense when she was in its ruins at the age of thirteen. This is a great scene, and one that gains a lot from being watched as part of the Marathon. Ace has been travelling with the Doctor for a while now, and her character is ripe for a bit of development.

It’s often argued that the Doctor’s being cruel, forcing Ace to face her fear like this, but it ain’t necessarily so. She seems to have exorcised some demons by the end of the story, and this all seems to tie in to some long-term plan the Doctor has for her. And the Doctor’s motives in this story hinge rather heavily on where all this is going in the long term. Sadly, of course, all this lies mostly in “what if?” territory.

And then there’s the story of Ace’s friend Manisha, of course, although we’re not told how she ties into Gabriel Chase.

I love “That’s the Way to the Zoo.” After all, not all references to the evolution theme have to be subtle. Nor, indeed, are those husks at the cliffhanger. For all that I don’t think this story is half as confusing as it’s supposed to be, I have no idea what the “Ratkin” stuff is supposed to be about.



Part Two



“Tricky things, mammoths.”

Another episode, another dose of splendid weirdness. This time we get an Inspector from Scotland Yard who’s spent the last two years asleep in a drawer. But things are also moving forward; we’re introduced to the powerful “sleeping one” who “must not be woken” in the stone spaceship. Of course, Ace sets in train the chain of events that will lead to its awakening.

There are some revelations which make things clearer. Well, a bit. The husks are previous versions of Josiah, “old cast-offs” from before he evolved into his present form. Josiah’s not the real owner of either the house or the ship, but was originally “part of the cargo”. He knows as much about the ship “as a hamburger knows about the Amazon desert”. And the mysterious escaped creature is called “Control”.

There’s a lot of wit and literary allusion- dare I say, ahem, semiotic thickness- in the dialogue which prevents the exposition from feeling like an exposition, and it’s all done with a real lightness of touch. It says a lot that most of this episode is exposition, the only real respite from it being the splendidly comical scene of the Reverend Ernest Matthews turning into an ape, but that in no way stops it being great.

The awakened Inspector MacKenzie is another fabulous comical grotesque, the classic small-minded ignoramus who tries to bluff his way through life. He’s also a major plot point; two years ago he was sent to the house to investigate the disappearance of its owner, Sir George Pritchard. And no doubt a second inspector was sent to investigate his own disappearance, and so on. No doubt there’s an entire police force hidden within Gabriel Chase.

The Doctor, being the Doctor, has a plan, and it involves doing a deal with Control. He knows this mysterious “sleeping one” is feared by both Josiah and Control, and worshipped by Nimrod, who, wonderfully, has “gone to see a man about a god”. We end with a few revelations- Mrs Pritchard is in fact Lady Pritchard and Gwendoline is her and Sir George’s daughter- and the unleashing of the powerful and mysterious Light…



Part Three



“Even I can’t play so many games at once!”

Sadly, in a story of almost uniformly excellent performances, we get one duff performance, and Light is it. And even McCoy has an odd moment, delivering the line “Only I didn’t get caught napping” in a most peculiar fashion whilst holding his arm right out in front of him for some reason.

We’re not told who he is or where he comes from, but Light’s ship crashed on Earth (although, as we later discover, it wasn’t significantly damaged) and for unexplained reasons he set about cataloguing all of its life forms. But he was shocked to discover that no sooner had he finished than it had all evolved into something else. It’s a little odd that a being capable of travelling through space at the speed of thought should be ignorant of natural selection, but never mind.

Oh, and in a scene absolutely vital to understanding what’s going on, Control states that “Control is me,” and the Doctor continues “And the survey is Josiah,” telling us the crucial fact that Light’s experiments were performed by using a control (Control) for the experiment (Josiah).

Meanwhile, Control spends most of this episode going through a speeded up version of Pygmalion; she’s even dressed as Eliza Doolittle for most of it. And we get more of Ace’s past- she has a sort of mini-breakdown in the corridor implying there’s a question she may have caused people to die. We’re later told she was guilty of arson at thirteen, setting fire to this very house exactly one hundred years later. If she did accidentally kill someone, no wonder she’s repressed the memory of this house and no wonder she was so upset is the first episode. If I’m reading this right, I’m surprised I haven’t heard about it before. It’s a big, big thing for the character.

The increasingly irrelevant Josiah had been planning to cause Redvers to assassinate the “Crowned Saxe-Coburg” in the delusion that he would somehow precede Bertie to the throne and in some way become an absolute monarch, a plan rather casually foiled by Redvers, simply because he likes Control better than him. Control has a rude awakening of the hugeness of the world outside, but fortunately Ace is there to play Henry Higgins.

Probably the best thing about the whole story is that, in spite of everything that’s happened, everybody just appears at dinner because this is Victorian Britain and failing to turn up is Just Not Done. But this leads to a splendid finale, in which the Doctor actually manages to talk Light to death plausibly, Control and Josiah switch roles, and all the characters who clearly aren’t ever going to be able to function in Victorian society just take off in the spacecraft, heading for somewhere “Light years from Zanzibar”.



Brilliant, easily a 5/5. For all the criticism this story sometimes get, it made a lot more sense to me than Battlefield did. I think I pretty much grasped the plot, although there are a couple of points which weren’t explained, although arguably they all lie outside the main plot (Who is Light? Why is he surveying Earth? Why does evolution surprise him? Why did he become dormant? How long have Josiah and Control been active- since 1881 when Sir George was, ahem, sent to Java? If so, what awakened them?). I must admit, though, this is not exactly my first viewing, and I’m probably advantaged by the fact that I watch all drama with subtitles if I can, so I didn’t have any problems with muffled dialogue.

Doctor Who: Planet of the Spiders

Part One
 

“Ah! Doing a bit of hairdressing on the side?”

We start with an unexpected sight- Mike Yates may no longer be part of UNIT, but he’s back. It’s also unusual, and refreshing, to see the Doctor and the Brig watching some kind of variety show, even if it’s not entirely recreational.

Yates has infiltrated himself into a hippyish group of Buddhists whose general appearance is absolutely as ‘70s as it’s possible to get. Clothes, hair, moustaches: all look like something from a contemporary parody of the decade, but there they are.

It’s great to see Cyril Shaps again, playing another nervous character, this time someone with psychic powers. We hear than the Brig has been involved with someone called Doris, and get to see some clips from Carnival of Monsters, something which is always to be welcomed. It’s also nice to get a letter from Jo telling us how she’s been getting on. She’s returned that blue crystal, though, for reasons which seem ominous.

We get an interesting speech from the lama, Cho-Je , about becoming a “new man" only to realise you’ve “never existed”. It’s almost as if something’s being foreshadowed in Buddhist terms. I wonder what?

Suddenly Cyril Shaps is dead- and it’s hard to escape the conclusion that it’s pretty much entirely the Doctor’s fault, collateral damage from his desire to satisfy his curiosity. Again, foreshadowing.

It’s a great big spider…

Part Two

“Of course we’re flying!”

Spiders which jump on your back, turn invisible yet exert control… a brilliant idea, and one I’m sure we won’t ever be seeing again in the future, such as, for example, in thirty-four years time.

This is actually the last full on UNIT episode of the Pertwee years, and although there’s no real marking of this fact it’s not a bad way to go. The Brig’s hair may be a bit long (I’m one to talk, mind…) but there’s some good stuff, especially a nice line from Benton about how “I’m expendable and you’re not.” And the Brig’s on the phone to a medical officer called “Sullivan”- who he?

We get another mention of the Doctor’s hermit guru from halfway up that mountain, again foreshadowing later events. But basically this is a chase, involving land, sea, air, Bessie and the Doctor’s fantastic flying new car. And I like it- it’s fun, it’s appropriate as a celebration, so who cares if the plot is not advanced one iota, especially as Lupton just teleports away at the end?

Oh, and towards the end, we get our final comedy tramp of the Pertwee era. Not that there were really all that many of them in the end.

Part Three

“You are cleverer than the Two-Legs on Metebelis 3!”

Now there are loads of spiders, and after last week’s high jinks the plot is heating up. We get to hear enough of Lupton’s history to establish that he’s a nutter. I love the scene where both he and the spider attack each others’ minds in turn.

It’s a shock when Sarah is suddenly transported to Metebelis 3, the fabled planet which has been gradually seeded, Bad Wolf style, throughout the last couple of years. Things have changed since the Doctor was last here in The Green Death- it’s now inhabited by human colonists with Mummerset accents who are under the tyrannical rule of the mysterious spiders. Sarah’s quite extraordinarily brave at being suddenly transported to another planet and a bit of extreme peril- she’s quite clearly great by this point.

Interesting to have the Doctor explain to Yates something that’s always bugged me a bit- how come the TARDIS always lands at the right place on a given planet?

Part Four

“Oh dear. This is getting monotonous.”

The above quote most definitely does not sum up my feelings on this story- I think it’s great so far!

We get some nicely and economically sketched details of society on Metebelis 3. It may be a fairly generic Doctor Who trope, a society oppressed by monstrous rulers, but it’s only a minor subplot here. Incidentally, the Metebelis 3 colonists look every bit as uber-70s as the Buddhist group on Earth.

Tommy has a good look at the crystal and goes all Flowers For Algernon, a subtle hint of what’s happened to the spiders on Metebelis 3- they’re Earth spiders made larger and cleverer by the crystals, a big plot bombshell- and just how significant the crystal will turn out to be.

Sarah risks her life for the Doctor by going to get the machine for him, while the Doctor suddenly looks very old whilst lying there. Still, once cured he briefly reverts to some of the old Season Eight style rudeness by loudly waking his hosts at the crack of dawn.

The Doctor gets straight to work. This is good stuff!

Part Five

“Much as I admire your stoic acceptance of the inevitable, I’d appreciate it if you’d shut up for a moment.”

This is a very long reprise indeed, but the effect is that both Sarah and the Doctor end up in the “web”, waiting to be eaten. The Doctor escapes, but his confrontation with the Great One- all the more effective for being unseen- is deeply effective as the Doctor himself is clearly very frightened indeed. The story’s themes are starting to come together nicely; the Great One says to the Doctor “You are proud, little man.”

There’s a nice bit with our heroes about to leave Metebelis 3, as the Doctor briefly panics that he’s lost the key only for Sarah to calmly reveal that she has it. There’s also a nice touch with Tommy; Sarah suggests he might be “normal”, and he replies “I sincerely hope not.”

And then the crux of the whole story arrives as the Doctor and Sarah finally meet the mysterious K’anpo. (Incidentally, for future reference, the Doctor speaks fluent Tibetan.) It becomes clear that the Doctor is the cause of everything that’s going wrong, just because he found that crystal on Metebelis 3: “Found?” “Well, perhaps ‘stole’ might be a better word.”

Part Six

“Not all spiders sit on the back.”

Not only is the reprise very long, it also has scenes fitted around it which weren’t there last episode, which is sort of cheating. But it’s exciting stuff from beginning to end, one of the finest individual episodes yet. K’anpo reveals who he really is- the old Time Lord hermit who tutored the Doctor all those years ago. It seems he’s “regenerated” (the first use of the word- it gave me a thrill!) and that Cho-Je doesn’t technically exist at all but is some kind of avatar, some kind of “projection” of his next life. I’m sure there are Buddhist allusions here that I’m not getting, but it’s cool nonetheless.

The Doctor must face his fear and atone for what he’s done. There a real sense of inevitable doom as he sets off for Metebelis 3. Meanwhile, K’anpo is hurt after being attacked, and “regenerates” into Cho-Je. Cool!

The Great One is huge, and looks very impressive indeed. She’s overreached herself though, and the crystal is too much for her, just as K’anpo thought it would be. All the spiders are killed, but the Doctor’s been fatally affected by the radiation…

UNIT HQ. Three months later, and the TARDIS has finally brought the Doctor “home”- it’s fitting that this Doctor, having got over his exile, is now ready to admit just how attached he’s become to this one place and time. K’anpo gives the process a push and the Doctor’s face change. It may not be that visually impressive, but in context it’s a huge dramatic moment. Wow.

Well, that was great. I’m sure most of the Buddhist stuff went over my head, but it was a perfect framework for this Doctor’s swansong in a story which was truly about him as a character. 5/5.

The season as a whole scores 4.2/5, giving it fourth place so far. It’s been a season of four 5/5s and one 1/5, a strange combination!