Sapphire & Steel: Assignment 5- The Dinner Party, Part 6

 "Would you have me be the man who destroyed the human race?"

A fitting ending, then, to probably the finest serial so far- and yes, the only one not to have been written by P.J. Hammond. Where Hammond is full of ideas but not necessarily great with plotting or pacing, this serial may not be full of original ideas beyond letting the ravages of Time loose on the events of an Agatha Christie novel, but the execution of the plot is confident and assured.

In the end this final episode hinges on the question of who originally murdered George, as we see suspect after suspect almost kill George, only to turn out to be misdirection. It's amusing, but not so much as to be silly or to undermine plausibility, as much as one can use the word with a story like this. The same goes for the amusement value in George desperately trying to work on his breakthrough while his two women fight over him.

One cannot really defend the portrayal of Emma as a dim and gullible man-obsessed female who resents men and their work which distracts them from shagging here: it's certainly sexist, much as there are also undertones of her being a spoilr aristocrat. But 1981, let alone 1930, was a different age.

This is a satsfying finale, setting time back on track via Sapphire's well-established powers and concluding all the plot threads elegantly. It's a joy to see that being done for once in Sapphire & Steel.

Sapphire & Steel: Assignment 5- The Dinner Party, Part 5

 "Are those cultures...?"

It's rare for a fifth episode of a six parter to be interesting in its own right, or for it to introduce or develop new ideas: usually it's all just about moving the pieces on the board into position for the finale. Not this time.

We break the pattern a bit as Annabelle (the youngest remaining guest) is killed halfway through, while Felix- the last guest standing to have been born after 1930- dies at the end. Everyone believes by now that this is 1930. There's a rather clever scene juxtaposing a game of bridge with some telepathic exposition as Steel telepthically discusses things with Felix, now brough into the confidence of our titular couple.

Yet what makes this superb is not only the masterly progression of the plot but the concepts. George opens and walked through a door that is locked for everyone else, but not him. The guests quockly forget the deaths. There was a fire in which George was killed, as reported in the press- yet the physical evidence shows there wasn't.  We begin to see what the bacterial culture does to people as Felix's face is horribly dissolved.

This is a superb episode within a superb serial, easily the finest so far. I'm excited for the finale.

Sapphire & Steel: Assignment 5- The Dinner Party, Part 4

 "You can't depend on servants at all these days..."

We get another fascinating episode in which the murder mystery plot is developed- Emma may, in 1930, have been having an affair with George, while Howard was blackmailing George, who had been embezzling from the company. And the structure is maintained with the ciffhanger being another death- in this case Howard, who hasd earlier come under suspicion, as seems to happen to the next to die.

Yet things are, of course, working on another level. Sapphire casts doubt on whether the dead are truly deceased. The secretary, in another room (and another time period) sees text on her screen about a fire at the house. And whatever presence is there almost makes Sapphire stab herself- and shoot Steel.

This is brilliant stuff. Yet it also finds time for little things like Steel not knowing which way to pass the port, or the difference between cynical womanising and love. And then there's the playing with murder mystery tropes, and the sly digs at the idle rich of the early twentieth century. This is quietly brilliant.

Sapphire & Steel: Assignment 5- The Dinner Party, Part 3

 "And then there were nine..."

And, with the third episide, things get even better. I'm loving the conscious Agatha Chrustie spoofing here- an isolated country house, suspiciously cut off from the outside world; yet another cliffhanger ending with a murder (Tony), intrigue as Sapphire reads suspicious behaviour in Tony's recent past, and Steel soing his very best Poirot impression in the most Agatha Christie setting possible- and in 1930, the time of peak Christie.

And yet the weirdness ramps up too. The collective amnesia seems to deepen, and it seems the house is on a ley line- and on the Summer Solstice too. And yet, as Sapphire explores, there seems to be something about the late George McDee at the root of it. He was working on a vaccine when he died (very topical), and he died just before unleashing a deadly virus or bacteria (the script has it both ways!) which would have destroyed humanity. This may be scientific nonsense, and in 2021 is comes across as more anti-vaxxer than was probably intended, but this is fascinating. I'm enormouly impressed with the writing here.

There's even an unusually fancy camera shot here, as we are drawn back through a linear tableau of all the "suspects". This serial becomes more and more impressive.

Sapphire & Steel: Assignment 5- The Dinner Party, Part 2

 "I think his Lordship's taking this joke a bit too far, Greville, don't you think?"

In a departure from Sapphire & Steel tradition, an intriguing episode shows promise in developing a seemingly lacklustre first one. Suddenly I'm hooked, despite very little happening other than the appearance of two more guests. I'm not even bothered by the fact that the announcement of a game of sardines makes it perfecty obvious that poor Veronica is going to be killed while hidden. This seems to be getting good.

And I can't really say why; I think it's just that this episode succeeds more in leveraging the increasing confusion between 1980 and 1930, with everyone's memories getting increasingly foggy- until the sudden appearance of a very alive George McDee shocks everyone. It's an effectve scene.

Interestingly, too, and despite my not spotting it last episode, this story is written by someone other than P.J. Hammond- Anthony Reed and an uncredited Don Houghton, both well known to us Doctor Who fans. Suddenly, this serial has become rather interesting.

Sapphire & Steel: Assignment 5- The Dinner Party, Part 1

 "Why did it choose this house?"

The penultimate assignment begins: there's only so much left of Sapphire & Steel. On first glance this story appears to be some sort of metaphor on the dangers of excessive nostagia and the dangers of dwelling overly on the past. This is an interesting observation to make while discussing a forty year old television programme from a time, shockingly, when 1930 was fifty years ago and very much in living memory.

So far we have a dinner party held by self-important tycoon Lord Mullrine, who seems determined ti make everything as much like 1930 as possible. Yet it seems time is taking the hint and, in places, making this literal. There are a couple of nice and subtle illustrations of this, with the radio and the green door, but so far these light hints are all we're getting, as we spend the first episode getting to know the various guests. The posh dinner setting, the country house and the sort of 1930 setting feels a bit like an Aldous Huxley novel.

It's certainly an intriguing start, but thus far there are few truly new ideas. We shall see.

Doctor Who: The Mind of Evil

Part One


"He drowned. In the middle of a perfectly dry room."


Back to black and white, only this time we can imagine all the garish colours that we're missing. Interesting opening, though: "Smile, Jo. You're on camera." It's 1971, and a CCTV camera, even outside a prison, is seen as a sinister Orwellian presence. How times have changed. The Doctor's changing too; he may not be too pleased about it, but this time he's carrying a pass.

Hmmm. It's ambiguous, but the Doctor could have implied he supports capital punishment in this episode. He certainly doesn't like mind control as part of criminal justice though, or indeed as part of anything. In attitudes to mind control, and up to a point computers, this Doctor is not so unlike his predecessor. He's quite extraordinarily rude to Kettering here, interrupting everything he says and pooh-poohing everything. Kettering's not too sympathetic himself though-, as some of his dialogue implies: He will take his place as a useful, if lowly, member of society". The science is a bit dodgy too- what are these "negative" and "evil" brain impulses, and who defines them as such?

I'm not sure about UNIT's role here- in what way does providing security for a peace conference relate to dealing with "the odd, the unexplained"?

For the second time, the Doctor almost implies he's lived for thousands of years! Definitely a real continuity problem here. Perhaps when he said he was 450 years old in Tomb, which can't be more than a few years ago in the Doctor's timeline, he was speaking "in Earth terms"? He starts getting well mardy at the end. Which makes him look bad. And jo sticks up for him. Which helps us to like her, even though the Doctor's acting like a tit.

Keller installed the machine "over a year ago". We all know who he is, so either this is a whole year after Terror of the Autons or You-Know-Who's been around for longer than we thought.



Part Two


"Depends on how you look at it. An idiot or a saint..."


It's quite jarring to see the Doctor actually scared. Although it's comfortably familiar to see Benton spying in his civvies. He's not as good at it as he was in The Invasion though- sign of the times.

There's some good plot structuring going on here- the Chin Lee and Keller Machine subplots are beginning to intertwine at just the right moment and we're being fed plot developments at just the right pace. We also get introduced to the Master at just the right moment- his disguise is obvious but I think it's supposed to be.

The Doctor speaks to Fu Peng in Hokkien, and for the first time ever in Doctor Who we get subtitles! And the Doctor's apparently quite chummy with Mao. Such classy mates he has.

I'm fairly sure that's Jaws from the Bond films...



Part Three

"Don't point that thing at me, my man! It might go off!"

Blimey- the Doctor speaks Cantonese as well! jo gets to show her talents as well though- she does a pretty good job of escaping, if not for long.

At last the Master and the Doctor meet. And the Masters still making the same mistake as last time: "It can't harm me- I created it."

Part Four


"I do have remarkable powers of recovery, don't I?"


I like that- the Master's greatest fear is apparently the Doctor laughing at him.

Interesting to hear the Doctor say that an aspirin "could kill him"! I seem to recall him taking aspirin at least once, back when he was William Hartnell. He don't half look sweaty, incidentally.

I like the Doctor and Jo's escape. but this episode has problems. Why is the missile so incredibly lightly guarded? And I think this may well be one Keller machine cliffhanger too many.


Part Five


"A fortress? I suppose there couldn't possibly be a secret underground passage or something?"

Nice scene with the Doctor and Jo playing draughts, pointedly ignoring the Master. Particularly nice that Jo wins. It's also nice to get our first nostalgia sequence under the new Doctor, with brief flashes of stock photos of an Ice Lord, Cybermen, a Zarbi(!) and a Dalek. Almost enough for me to forgive yet another use of the Keller Machine.

We get our first real Moment Of Charm here, as the Doctor namedrops Raleigh to Jo and reminisces about how he "kept going on about this new vegetable he'd discovered".

A cliffhanger not involving the Keller Machine for once, and it's a good 'un for once- Mailer just shoots the Doctor. Sometimes the simple ones are the best.


Part Six


"Thank you, Brigadier. But do you think for once in your life you could arrive before the nick of time?"


Blimey, the Doctor is just so rude to the Brigadier after having his life saved. And he carries on being a pillock right through the scene: "Apart from losing the Master and the missile, you're doing very well, Brigadier." This really is a bit much. Part of this, admittedly, is Pertwee's acting choices- I suppose he could have delivered his lines in a less abrasive way. But ultimately he's playing the character as written. And the Doctor's actually not all that likeable at the moment. I know he's been exiled and we should cut him a bit of slack, but for the first time in the marathon the character of the Doctor is actually alienating me a bit.

We don't really get a very satisfactory ending aside from the generally well done Doctor / Master ongoing arc scenes. If the missile can be blown up, why recklessly transport it to the coast with a ridiculously tiny escort in the first place? And there's an extraordinary exchange following Barnham's rather unnecessary death where Jo regrettably says to the Doctor that "We should never have left him there". And instead of offering any sympathy the Doctor barks at her "How do you think I feel?"

The very last scene is nice, though. The contrast between the Doctor's exile and the Master's new-found freedom is very poignant, and it looks as though this arc will continue.





Overall- well, the first real clunker of the Pertwee years- 2/5. And worryingly the things I didn't like about it tend to sum up the way the programme's going at the moment. This was dull at times, and over-reliant on a single MacGuffin, but I've given 3/5s and 4/5 to other stories with those faults. Far more worrying, I think, was the tone. Like Terror of the Autons, this was fundamentally a fairly silly bit of fluff which only makes sense if you assume (as I think you're supposed to) that the Master is just essentially larking about and trying to get the Doctor's attention. But unlike Terror of the Autons, this isn't played for laughs. I like silliness, but silliness only works if the script gives you the occasional nod and a wink. And it doesn't here. Instead we get silly events but no signpost from the script that it's supposed to be fun.

Just as bad, UNIT are suddenly a tiny, very cosy organisation who are made to look useless. And I hope the Doctor gets himself into a better mood soon. Fortunately there are signs this could be a planned character arc. We'll see...

Doctor Who: Inferno

Part One



"I'm a sort of temporary civil servant?"

"Broadly speaking, yes. How do you like the idea?

"No comment."



Nice use of stock footage for the story title! We're now fully settled in to the new era; the sight of the Doctor driving along in Bessie whilst singing to the background of yet another industrial complex is already beginning to seem very traditional indeed.

We have a new writer for this story, Don Houghton, and an actor we've never seen before, Christopher Benjamin. I wonder whether he'll get to play any iconic characters in future?

The story certainly ticks all the appropriate boxes to belong in this season. Stahlman is an example of a character type we've come to know well both this season and in the still recent Troughton base-under-sieges. He and the Doctor quickly establish an adversarial relationship which is most enjoyable to watch.

The TARDIS console is looking rather tatty, mind. And it's green. Also- "megga volts"?

Part Two



"You, sir, are a nitwit!"



It's slowly dawned on me that some of these actors are rather familiar- Derek Newark, Za himself, is playing a different character as Greg Sutton. And we have Walter Randall back as well!

More good Doctor / Stahlman sparring this episode. Plus our first incidence of "Venusian karate"!




Part Three



"But I don't exist in your world."

"Then you won't feel the bullets when we shoot you."


Things start getting really good here as we start to explore this fascist alternate world. Our first sign that something is wrong is a rather Orwellian poster proclaiming that "Unity is Strength", but more shocking is the sight of Liz in a military uniform shopping the Doctor to the Brigade Leader, with his eyepatch and no moustache. This is extremely well done, and the different performances are especially good, although the apparent duelling scar over the Brigade Leader's eye is arguably one Nazi stereotype too far.

This is a very different world in lots of subtle ways- everyone's much more formally dressed (Greg Sutton particularly presents quite a contrast with his other self), and Sir Keith is killed. Although, if Britain has been a republic since the royals were all executed prior to this "Defence of the Republic Act 1943", how come he was ever "Sir" Keith?

This is a very hierarchical world, as demonstrated in the very different treatment Greg receives, and also a very sinister one. There are pictures of a dictator everywhere and the facility is a "scientific labour camp" making use of slave labour. Justice is harsh and arbitrary and those who make themselves unpopular can just disappear. Interestingly though, Petra, as "Dr Williams", has a higher status here.

The Doctor gets some outstanding dialogue here: "Can't shoot me until you've filled in all the forms. Is that it?"



Part Four



"What did he do? Park in a restricted zone?"



More very effective world building stuff here; as Sutton, an engineer rather than "a good party member" is outspoken his probable fate is to "disappear". And in the meantime he's subject to periods in the "punishment cells". Meanwhile the Doctor is interrogated, suspected of involvement with a "crackpot free speech group", and told that if he convinces the counterpart Liz that he's a harmless crank he can "get away with a few years in a labour camp".

Of course, we eventually switch the focus to Stahlman's drilling, and as this is a parallel universe no one's survival is assured...



Part Five


"It's marvellous, isn't it? The world's going up in flames and they're still playing at toy soldiers!"


This story essentially revolves around the idea of scientists meddling with forces they don't understand, but it's interesting that there's no explicitly environmental slant to this. In fact, in Greg Sutton we have an oil man who's presented unambiguously as a hero, which arguably would not happen today. Also notable is that, four stories into the new format, the writers are playing the alternate universe card. A sign that the Earhbound format is already proving a little restrictive.

Things are getting desperate here, and as doomsday approaches the fascist regime, established as a tyranny in previous episodes, is shown to be increasingly impotent in the face of the crisis, most notably by Sutton's increased outspokenness: "I'd like to know what your precious dictator can do for you now." On the other hand, the crisis, and the collapse of this society's rules, are bringing Greg and Petra together. Things look bleak, though; we finally see the full metamorphosis of the creatures, and even Benton is infected.

Meanwhile, in "our" reality, Sir Keith's car crashes...



Part Six



"What did you expect? Some kind of space rocket with Batman at the controls?"


We don't know what's happened to Sir Keith, of course. Is he definitely dead...?

In another reality, the apocalypse is here and Camfield shows it very well, with even the blatant use of stock footage of a volcano managing to look acceptable in context. This Brigade Leader is a nasty piece of work, and Courtney is excellent in playing his increased desperation and bullying as power gradually leaks away from him.



Part Seven



"Nothing like a nice happy ending, is there?"



Back in our universe, the project is not so far advanced, and Sir Keith is alive. Apparently, this means that "Free will is not an illusion after all". This seems to mean that alternate realities infer different decisions being made, resulting in divergences. But surely that's pretty much implicit in the concept anyway, given the differences between the two realities?

A good ending, nicely parallel to events we've already seen. Plus we get more Venusian karate. I'm not sure about the ending though- the Doctor's being just a little too rude to the Brigadier here.

We finish with Liz laughing. No doubt she'll be back next series...



That was great, 5/5. good characters, good concepts, good directing and performances, and a story that genuinely felt it needed seven episodes. A strong ending to a strong season, which at exactly 4/5 holds joint first place with Season Five.