Tales of the TARDIS

 Obviously I haven’t watched the omnibus versions of all these old Doctor Who stories I’ve seen countless times before, just the fabulous new scenes at the beginning and ends. So I’ll say only that the whole omnibus thing makes me nostalgic for the old days of BBC video. Also, The Mind Robber and The Time Meddler have never looked so good. And I’m pleased to see the extended cut was used for The Curse of Fenric.

Earthshock

“Oh, you got old.”

"You didn't."

Of course, we saw Tegan and the Fifth Doctor interact briefly in The Power of the Doctor and ditto for the Seventh Doctor and Ace. These pairings therefore make sense, and this and The Curse of Fenric are the obvious story choices for each respective pairing: bloody good, but also emotionally resonant for the characters. 

So what's going on? This first instalment has to do a bit of exposition on what a "Memory TARDIS" is- part of the TARDIS, although perhaps not a physical location as such. It feeds on memories, so a story has to be told. Wisely, it's all kept a bit vague, and at this point we simplyhandwave over how the Doctor looks visibly older than he was when we saw him succumb to Spectrox Toxaemia with all those heads whizzing around him.

We end with some nicely meta commentary as the two of them mourn Adric. "He loved you", insists Tegan, to which the Doctor responds "Yes, I realise that now." The characters are pretty much acknowledging that the episodic nature of the series back in those days didn't really allow for prolonged dwelling on the characters and their development- but it's not too late to remedy that. It's a lovely sentiment.

We also learn more about what Tegan went on to do, as with many former companions: campaign for environmental causes. Are you listening, Sunak?

The Mind Robber

"I think we're in Heaven."

"I hope not. I'm a very busy woman."

This one was absolutely necessary- the theft of Jamie and Zoe's memories by the Time Lords in The War Games was a truly monstrous crime. It's been left very late in the characters' lives, but at last that great wrong can be righted.

We learn that they've both led good lives- Jamie has fathered a massive family, while Zoe is now president. This one is just vibes, really, but it's lovely. And the chemistry between the actors is as wonderful as ever.

Vengeance on Varos

"The twenty-first century- it feels a lot like Varos."

Both Colin Baker and Nicola Bryant are great here but... is it me, or is the chemistry not quite there? Regardless, this one is perhaps not so successful as the others, for reasons that are not really its fault. The decision to have Peri get married to barbarian king Yrcanos was always an outrage, a shameful treatment of a character who had meant so much. RTD has no choice but to spin this as Peri having achieved great things as a "Warrior Queen", but this isn't enough to wash away the sins of his prdedecessors within that very, very dysfunctional Doctor Who office of 1986. Nothing could.

It's good to see the Sixth Doctor rather less garishly dressed, though. It's also heartwarming to see them both resolve to go travelling again, though. So a Memory TARDIS can travel through time and space, maybe...

The Three Doctors

"Did you love him?"

Katy Manning is, of course, the obvious choice here, but who to pair her with? The only real choices from the era would have been John Levene or Richard Franklin and... yeah. So Daniel Anthony as Clyde Langer is the perfect choice. We get a bit more closure on The Sarah Jane Adventures: Clyde is a successful comic book creator; Luke and Sanjay are astronauts; Rani is an activist, like Tegan and Ace.

There's real heart to this one. A recently bereaved Jo is mourning her Cliff, and in a mood not to allow Clyde to miss his own chance for love. RTD does this sort of character stuff very well indeed, and it works.

The Time Meddler

"I mean, can you imagine the Doctor wearing something like this?"

The above is the best joke in all six of these, with Steven commenting on what we know to be the Sixth Doctor's inimitable fashion sense.

And this one is absolutely the best of the lot. Peter Purves is superb but Maureen O'Brien is absolutely wonderful. A couple of years may have passed but she is still absolutely, utterly, brilliantly Vicki, and a real joy.

Both of them are grandparents. Steven is a king. Yet Vicki's departure in The Myth Makers, while not the Peri level of bad, was pretty appalling, a girl from the twenty-fifth century settling in the time just after the Trojan Wars, a time with few creature comforts and much violence and hardships. But RTD very much emphasises that she's had a happy life regardless, and O'Brien's performance convinces us.

I love the ending, a nice touch.

The Curse of Fenric

"Time streams are funny things. In some, I regenerate. In others, I don't."

The above quote, I suppose, is the best we're going to get in terms of explaining why all these Doctors look visibly older. Best not to ask too many questions, I feel.

This one follows on nicely from The Power of the Doctor, and both characters get closure, with the Seventh Doctor admitting that his manipulations would, yust veeery occasionally, you understand, go a little bit too far. I love the revelation that Ace used to see her nan- Kathleen Dudman- in the nursing home. And yes... the Doctor was always a father figure to her.

So off they go on one more journey. This one was wonderful.

So there we are. Just a few minutes per story, yes, but the sort of nice little character moments that Doctor Who coudn't really do when it consisted of twenty-five minute serialised episodes. It's surprising how much of a delight this all is, considering that it isn't much material. But this is whetting my appetite nicely. I trust RTD.

Doctor Who: The Power of the Doctor

 "We could call this the Master's Dalek plan..."(!)

I love the line above. A nice little fourth wall breaking riff on a story that was televised fifty-six years ago and three quarters of which no longer exists.

Anyway, before I proceed to, yes, praise this epic story by Chris Chibnall (yes, I know), let's just briefly acknowledge that it makes no sense whatsoever. I mean, yes, I can dig the Master getting Daleks and Cybermen to join forces against the Doctor a la The Pandorica Opens... but get them to share ownership of Earth as a foundry for their respective races? Nah. Also, the Doctor is about to regenerate so she effectively tells Yaz to naff off?  That's cold, even though the script tries to pretend it isn't. What happened to their romance? Dan's departure seems forced as well.

And yet... it works. It's entertaining, it made me laugh, it made me cry. It contains everything but the kitchen sink, and the TARDIS full of the Doctor's "extended fam" at the end even outdoes Journey's End. Yet it works, all of the characters get room to breathe without outdoing Jodie on her swansong. Even the glimpses of past Doctors- David Bradley, Peter Davison, Colin Baker, Sylvester McCoy and Paul McGann- are nice bits of fanwank, but kept in proportion.

And there's a lot of fanwank here. The Companions Anonymous meeting at the end is outrageous. I mean... Mel, Jo, bloody IAN CHESTERTON: William Russell will be ninety-eight next month. Yet, emotionally, it works.

Oh, and who's shipping Ace and Graham? Because Chibbers is.

Ace and Tegan are pitch perfect and absolutely joyful to see. With Tegan, she's the mouth on legs we love so much, brave hearted, wonderful, missing Adric. With Ace we have the jacket, the Nitro 999(!), and even the bloody baseball bat. Ace is absolutely herself, middle aged yet absoklutely the same teenager we know and adore so much. And both of them get to meet their Doctors, courtesy of plot necessity. 

Tegan's line to Yaz- "We used to be you, decades back" is a delight.

And I can't believe the early scene of the Cybermen being demagnetised into space isn't a nice little reference to The Moonbase. I love Ace's shock that Cybermen are now explicitly no longer vulnerable to gold. It's about time that was cleared up.

Sacha Dhawan is superb as the Master. His performance here- ever gaslighting and playing with our heads- makes him a serious contender to be the best Master ever. Yes, possibly better than Roger Delgado, John Simm, Derek Jacobi, even Michelle Gomez. And it cannot be denied that the Master, as Rasputin, in 1916, playing Boneyb M's "Ra Ra Rasputin" is one of the greatest televisual moments ever. The idea of Rasputin's hold over the Tsar and Tsarina being due to the "I am the Master, you will obey me" thing is genius.

But we end with the regeneration. Which, despite the rather forced departure of Yaz, is very well handled indeed. Jodie Whittaker is superb. She and Yaz get one last date and one last ice cream. It's just a shame they didn't kiss.

And then she does indeed, as rumoured, regenerate into David Tennant. Yet it's clear this is not a degeneration but a new incarnation with an old face. Tennant's dialogue is, of course, predictably amusing, but that's what RTD intended.

This was not without its flaws. It's possible that I may revise my opinion downwards in future; that happens with Chibnall scripts. But this episode was a joy.

We end with a preview for next year. Ncuti Gatwa is in it... and he's playing it Scottish?

Doctor Who: Resurrection of the Daleks

Part One / First Bit of Part One

“You’re pathetic.”

“That too.”

The opening scene, with the sudden appearance of the time travellers, the policemen, Rodney Bewes, and the casual shooting of the tramp, is fantastic. This is all down to Matthew Robinson and the location, however; this story is a mess, for reasons which are mainly down to Eric Saward’s script.

There follows a brief diversion to a spacecraft which looks very much like something from Star Wars from the outside, where lots of Saward’s trademark hard-boiled dialogue happens, much of it involving Rula Lenska. It’s a prison ship- hmm, I wonder, in this story with “Daleks” in the title, who the prisoner could possibly be?

A time corridor draws the TARDIS to the bit of London round Tower Bridge, and my, how that has changed since 1984!

Meanwhile, on board the ship, Saward demonstrates his admirable ability to come up with such naturalistic dialogue as “You fear attack?” and “Your bile would be better directed against the enemy!” The crew are attacked by a bunch of Daleks and… win. Perhaps not the most orthodox way of making your baddies seem threatening. Still, the zapped Daleks, with the visible mutant things, look just as impressive as when last seen in The Five Doctors.

Things turn around, of course, as we get to see a rather cool shot of a Dalek exterminating three people at once, and the Dalek Supreme turns up for the first time since Planet of the Daleks.

The Doctor and co have found Stein, some soldiers and the source of the time corridor, but Turlough seems to have found his way through into the ship. Disappointingly, the Daleks’ doors don’t make their customary noise. Can it be that we’ll never hear that sound again?

The prisoner- it’s Davros! And the Daleks’ gas weapons are making people’s faces go all minging! And the Daleks’ human underlings are dressed up as Daleks in a way that looks very silly! It’s all kicking off!

I remember seeing this on its original transmission. And yes, we did play at Daleks in the playground that week.

Part Two / More Stuff From Part One

“My vision is impaired, I cannot see!”

The way the Doctor and the soldiers deal with the Dalek that’s just teleported down to Earth is all exciting and well directed and that, but these Daleks are a bit easily killed, innit?

Still, I like Terry Molloy’s ranting take on Davros. He’s no Michael Wisher, but he’s a step up from the ranting-by-numbers of David Gooderson. I love his apoplectic reaction to being told by Lytton that the Movellans won their war with the Daleks, and that they’re plagued by a deadly virus. The Daleks are reviving him to find a cure, but little does he know the Dalek Supreme has no intention of keeping him around once he’s achieved that aim. Oh, and that’s Leslie Grantham playing Kiston, who’ll be hanging around Davros for the rest of the story.

Meanwhile, in London, the Dalek mutant thingy is on the loose, and everyone’s all worried. We get a false alarm that turns out to be a cat- I might be jumping to conclusions here, but do you reckon Eric Saward might have seen Alien at some point? Still, it’s good to see the Doctor joining in with trying to shoot it, using that gun the colonel so kindly gave him earlier. Saward is so good at not neglecting this gun-toting aspect of his character.

We hear Davros has been frozen for ninety years, conscious for all that time. Blimey. And Stein turns out to be a Dalek agent. Oh dear.

Part Three / First Bit of Part Two

“Why am I so excited? It’s the last thing I’ll ever do!” 

I think it’s the bit at the start of this episode where Stein reveals to the Doctor that the Daleks are planning to use all these duplicates that it becomes apparent that the plot’s a complete mess. This story isn’t just about the Movellan virus and reviving Davros- oh no, the Daleks have all sorts of ill-thought-out plans on the go. And without any real plot or theme, this story essentially consists of hard-boiled Saward-scripted characters shouting and shooting at each other for ninety minutes.

I like the scene where the Professor urges Tegan to leave while she stays behind to lie to the Daleks. Never in the field of television drama has any character been more clearly going to die. I’m reminded of a certain sketch from The Mary Whitehouse Experience here.

So, the Daleks are planning to use duplicates of the Doctor and his companions to assassinate the High Council on Gallifrey? I think this is the point where the plot jumps right off the edge of a cliff. Although of course in recent years it’s acquired a certain possible relevance to the Time War. 

Turlough’s ended up with Rula Lenska & co, as they attempt to blow up the ship. Turlough’s far from enthusiastic; I think it’s here that I can safely say that “There’s nothing we can do!” is now his actual catchphrase.

Part Four / More Stuff From Part Two

“I can’t stand the confusion in my mind!”

Suddenly the TARDISeers are all reunited, a sign that suddenly the plot has to start moving so everyone has to be in place. We learn that those mysterious cylinders on earth are the Movellan virus, although there seems to be absolutely no reason for them to be there of all places. And the Doctor sets off to kill Davros. Well, nothing can possibly go wrong there then.

In fact, this whole sequence with the Doctor setting out to execute Davros pretty much symbolises something very wrong with Saward’s vision of the show, something which has lain dormant for some time but is now being foregrounded more and more. Now, Earthshock was stylistically similar to this story, if a hell of a lot more coherent plot-wise, being hard-boiled, violent, and fast-paced. And I liked it. Season 19 was hugely varied in the different styles of its stories, no doubt because of the influence of two script editors, and in that context it was good to see this type of story. But in the context of this season that’s no longer the case.

I don’t read other people’s reviews [on the message board thread this was posted on at the same time as the blog, as with all of my Who reviews] until just after I post my own on to the thread, so I’ve been reading them almost a month after they were first posted and in ignorance of anything posted more recently. But I’ve noticed that in some of his excellent recent reviews (and very possibly in others I haven’t read yet), Nuallain has mentioned a running theme running through this season of the Doctor’s optimism versus the harshness of the universe. And this story seems to be where this contrast reaches a peak, and simultaneously where it becomes clear that Saward’s vision of the show is exposed as very, very wrong. Because the whole scene with the Doctor failing to execute Davros reeks of contempt from the author for the main character of the show. We’re being invited to sneer at the Doctor’s optimistic world view, and instead accept that the world is a cynical, nihilistic place. This is deeply wrong, and undermines the values of the show. I’m reminded of Alan Moore’s public regrets over what happened to comic book superheroes after Watchmen. It’s now become horribly clear that Saward does not like or understand what Doctor Who is about, and has no interest in its central character.

Anyway, ranting aside, it’s odd that Davros doesn’t mention at any point that the Doctor looks different. But the scene soon fizzles out, with most of the rest of the episode consisting of various characters shooting each other dead. Lots of dead bodies are on display. There are now two opposing Dalek functions, both of which are gruesomely destroyed by the Movellan virus. Davros is apparently hoist by that pesky old petard of his, and Stein blows up the ship and everyone on board. Lovely. Lytton and his two policemen friends walk away at the end, though. Sequel, anyone...?

It seems that, for some reason, Tegan doesn’t think that all this death and killing is her idea of fun, and she stays behind on Earth. Odd, that. It’s an effective and moving exit, with Tegan and the Doctor parting on unpleasant terms.

Awful. The plot was all over the place, the Doctor was shown as ineffectual and the whole thing felt like a cynical dismissal of all that Doctor Who is supposed to be about. I agonised long and hard about whether this deserved a 1/5, but eventually decided the direction was good enough to move it up to a low 2/5.

Doctor Who: Frontios

Part One

“We’re at war.”

“Really? With whom?”

“Well, that has yet to be determined.”

Christopher H. Bidmead again! After not enjoying his previous efforts I wasn’t particularly expecting to like this one much. I couldn’t have been much wronger. I’m still confused as to how the author of Logopolis and Castrovalva can be responsible for such strong plotting, gripping suspense, witty and naturalistic dialogue, and brilliant characterisation. I doubt it’s Eric Saward’s influence, frankly, so I’m left scratching my head. But I liked this. A lot.

Still, one thing hasn’t changed from Bidmead’s earlier efforts; the sheer imagination on display in his choice of story title.

We begin in the TARDIS, where Tegan has actually changed her clothes for only the fourth or fifth time ever. My, what a short skirt she’s wearing. Anyway, the TARDIS Acorn Electron flags up a warning that they’ve drifted too far into the future- perhaps beyond Gallifrey’s “present”? Anyway, it’s forbidden for Time Lords to travel there.

The planet in question, Frontios, seems to be entirely populated by former crew members of Imperial Star Destroyers, judging by the uniforms everyone is wearing. I spent pretty much the entire story half expecting Darth Vader to walk into shot and asphyxiate random characters but, at last, it was not to be. And everything on the planet beyond a few sets seems to consist of obvious matte backgrounds. None of this seriously harmed the story though- it’s script and acting that matter and in this story both are on song.

The Doctor gets involved, naughtily, and for the first time ever (?) puts on his glasses. His development into a more assertive, traditional Doctor is instantly apparent and his charisma, as much as his obvious knowledge and usefulness, instantly get chief scientist Range and his daughter Norna firmly on his side. That sort of thing wouldn’t have happened in previous seasons. It’s an extremely welcome development.

We’re introduced to the basic situation; a colony in a precarious situation, at war with an unseen power, and retreating into authoritarianism in its increasing desperation. We’re also given clear introductions to the characters, all of whom have memorable traits- I particularly like Plantagenet with his line in pompous cod-Churchillian speechifying at the drop of a hat.

And that’s quite a cliffhanger, the TARDIS apparently destroyed…

Part Two

“I think this joke’s gone far enough.”

The Doctor’s about to be shot, but the quick-thinking Turlough retrieves the situation by threatening everyone with the deadly hatstand. But the best thing about this scene is its subverting of expectations; when the Doctor insists that if Plantagenet won’t see reason he’ll just have to shoot him, Plantagenet… agrees.

A few succinct lines from Range to Tegan further underline the direness of their plight; constant death and a sense of panic are causing this society to unravel, and desertion (by “rets”) is increasing. And then there’s the “deaths unaccountable”. Meanwhile, Norna and Turlough establish that the late Captain Revere forbade all digging and that “the Earth is hungry”. That’s how to build up suspense!

Bragen’s still apparently paranoid, but the real sense of threat is no longer coming from him but underground. We see Plantagenet drawn beneath the surface and various characters venture underground, where there lurk some odd looking woodlice monsters. This terrifies Turlough, who starts to mutter about “Tractators”…

Part Three

“Frontios buries its own dead.”

The Tractators look very rubbery, the bottom of the costume is very unsatisfactory, and I can’t understand a great deal of what they say. But none of that stops this story being great- it’s all about the script and performances.

Mark Strickson is once again excellent in portraying Turlough’s mental breakdown, and once again the character gets some decent development- the character’s been quite well served so far. And it’s not just good character stuff that helps make the padding often necessary in a part three serve a useful purpose; the scene with Bragen and the looter, where the looter leaves only to be immediately attacked for his food makes a powerful point about human interdependence. Admittedly, though, it starts a minor plot thread which doesn’t really go anywhere. 

The story quite awesomely turns our expectations on their head as Range’s apparent show trial at the hand of the paranoid Bragen quickly metamorphoses into a council of war, and Bragen is revealed to have secretly been quite aware of what’s been going on but suppressing it for understandable reasons of morale. Suddenly we see the character, and everything he’s done so far, in an entirely different light.

Turlough, having been traumatised by the memories that have been unleashed, nevertheless resolves to join the others underground, an extremely brave thing to do. This is a pivotal moment for the character. After all, when we first met Turlough back in Mawdryn Undead he was shown to be a coward, a liar, even a bit of a bully, and quite willing to make a pact with the Whoniverse’s very own Mephistopholes. He may redeem himself a little by proving incapable of murder or betrayal but he’s still not a particularly agreeable character by the end of Enlightenment. And even these redeeming characteristics take the form of inaction, and so are themselves a form of cowardice.

Turlough has continued to be a bit of a coward ever since, always the first to suggest returning to the TARDIS at the sign of serious danger, or to insist that there’s nothing that can be done to help others. But the Doctor’s positive influence is having a gradual effect, and here for the first time he’s taking a brave step in facing his own very real fears in order to help his friends. A corner has been turned, it seems.

The cliffhanger is quite horrific in a body horror sort of way, although probably more so if you haven’t seen Voyage of the Damned…

Part Four

“Don’t mention it!”

I love the scene where the Doctor tries to pass Tegan off as an android to the Gravis, but “the walk’s not quite right.” Is this really the same Bidmead whose attempts at humour in Logopolis and Castrovalva fell so spectacularly flat? 

This story is so good, even the traditional Davison “showing off the TARDIS scene” is great. So good, in fact, that I’ll even discreetly gloss over the fact that the Tractators' plan is to, er, steer Frontios around the galaxy. Nothing to see here. Move along.

The Doctor quite unambiguously saves the day for once by cleverly tricking the Gravis into re-assembling the TARDIS through reverse psychology, causing the Gravis to fall asleep in exhaustion. And we end on a cliffhanger.

Wow. I wasn’t expecting something that good. This is my third 5/5 of the Davison era after Kinda and Enlightenment. It’s not quite up to the standard of those two exceptional stories, but in a sense it’s even more wonderful; while both of the other stories were one-offs, very different from all that surrounded them, this is very much of the Davison style, but done perfectly.

Doctor Who: The Awakening

Part One

 

“You must stop these war games!”

It’s Polly James! And it’s the seventeenth century, apparently! Oh, it isn’t. It’s some war games. That sounds a bit familiar.

The TARDIS lands in England, in 1984, with all three TARDISeers wearing the same clothes they had on last story. For once the TARDIS has ended up where it was supposed to. And yet, by an incredible coincidence, there are bizarre and sci-fi tinged goings-on, er, going on. The war games are getting out of hand, the slightly doolally Sir George (the mighty Denis Lill!) refuses to allow anyone to enter or leave the village, and Tegan’s plot convenience-friendly grandfather’s gone missing. Oh, and some bloke from yer actual 1643 has turned up, complete with comedy Mummerset accent.

Hang on, that village square looks familiar- could this have been filmed in the same place as The Android Invasion?

For all the talk of the mysterious legend of the Malus, the threat here is so evidently low-level and human that I started to wonder why no one just simply used the prominent red phone box in the village square to call the police. But then the Doctor goes inside the church and starts explaining things- the Malus came down in a space ship! Some of his stuff came from the Tinclavic mines on Raaga! (Hello to The Visitation!) He’s, er, awakening!

Polly James becomes quite possibly the first person on Doctor Who to scream in the perfect pitch to lead into the closing titles. Oh, and said closing titles show her character’s full name to be Jane Hampden, a nice little reference to her probable ancestor John from this Civil War themed tale.

Part Two

“I’m being bullied, coerced, forced against my will.”

So, Turlough’s captured, and bumps right into Tegan’s grandad. How convenient.

Tegan looks, er, different in her May Queen outfit. I think at long last she’s wearing something which looks even worse than that air hostess uniform. Oh, and she’s going to be burnt at the stake. How nice.

I must admit the Malus looks good. And threatening too- after all, the Doctor is forced to allow three people he’s just met, in the form of Jane, the Colonel and Will, into the TARDIS and he never ever does that these days.

It all seems to end rather slowly, with the Doctor destroying the Malus by means of some technological hokum while he holds Sir George at bay while talking at him. And then there really are loads of people in the TARDIS. How very characteristic of its era. We finish up with a debate on the relative merits of ale and tea, which are without doubt the two finest liquids in the known universe. With the exception of a nice glass of red, obviously.

Well, that all looked very nice, but not a lot happened really. The plot was very slight and not a lot happened character-wise. This seems pretty much the epitome of 3/5. Come to think of it, none of the two-parters have particularly impressed me much aside from The Rescue, and that only worked because it was basically a character piece.

Doctor Who: Warriors of the Deep

 

Part One

“It’s lethal to marine and reptile life.”

My initial impressions are, firstly, “Johnny Byrne again! Nooo!” and, secondly, that I can actually remember when this first went out on its initial transmission. I was six. I distinctly remember rushing home from swimming lessons in time for episode two.

The early scenes give us a very white looking underwater base which, for all the criticisms of its being overlit, is actually quite effective; its harsh industrial quality gives the story loads of atmosphere just as well or better than the dark corridors of Earthshock. We also meet the Silurians early on- they’re back! Their glowing lights and metallic voices are an annoyingly pointless change from their original appearance, but they certainly both look and sound good. I just wish they didn’t keep dumping us with expository dialogue too obviously there for the viewers’ benefit: “For hundreds of years, our Sea Devil brothers have remained entombed.”

The TARDIS still looks new and shiny, Turlough is still a bit sneaky and the Doctor still seems to doubt he’s really all that brave. The TARDIS computer screens seem to have progressed from a BBC Micro to an Acorn Electron, too. Oh, and Tegan has changed her clothes again. Neither of the other two has bothered though.

There’s lots of intrigue on the seabase, with Maddox the nervous young bloke and obvious skulduggery underfoot with Solow (Ingrid Pitt!) and Nilson. It’s 2084, there’s a cold war underway and it’s all shaping up to be a good old-fashioned base under siege, except with a base commander who seems an unusually sensible chap. He’s a bit hard-boiled, perhaps, but not excessively so considering Eric Saward’s still script editor. I know this story’s not much liked, but I’m rather enjoying this.

Crikey, the Doctor points out the hexachromite gas. I’m sure there must be a reason for that scene. I wonder what it is?

The cliffhanger’s a bit naff (although the portrayal of Turlough as still a bit unheroic is a nice touch) but at least the Doctor acquits himself well in a fight, almost to Pertwee standards, in fact. I’ve been watching these stories with BlueLionSven’s “putz factor” in mind, and usually I tend to find it pretty high, but this story for the first time seems to show Davison’s Doctor with pretty much no more putz qualities than his predecessors had. Is this going to be part of a trend?

Part Two

“Oh dear. It’s the Myrka.”

This is still pretty good, And actually quite exciting. Plus we finally get to see the Sea Devils again, who look so much cooler in their new samurai outfits than those crappy old string vests. Apparently this Icthar bloke is the sole surviving member of some Silurian “Triad” which we’ve never heard of before. Oh, and I love the darker, green-tinged lighting in the Silurians’ base, which makes a nice contrast from the equally harsh whiteness of the humans’ domain.

There’s some suspicion of the TARDISeers on behalf of the occupants of the Seabase, but this is understandable given their political situation and is never allowed to become annoying, playing out as it does entirely through action. As soon as the TARDISeers come to become interrogated, the TARDIS is immediately found to corroborate their story, getting the potentially tiresome suspicions out of the way in a plausible manner so the actual base under siege stuff can actually start. That’s actually very good writing. From Johnny Byrne. Who’d have thunk it?

The Silurians attack, and the Doctor recaps his stuff from back when he was Jon Pertwee about the Silurians being an “honourable” race who only want to “live in peace”. Except that in this story they’re, er, not. Of which more in episode four.

We finish with the Myrka, which is indeed probably the worst monster in all of Doctor Who ever. But I’m still not going to let one bad monster spoil my enjoyment of a story which I’m finding surprisingly good.

Part Three

“The Myrka has been destroyed!”

An exciting episode of pretty much non-stop action begins with Turlough pulling a gun on the seabase personnel to save the Doctor and Tegan. This is a good moment for him and good development of the character, an example of how his default cowardly nature can be overridden by his basic decency. There’s also a nice moment for the commander afterwards, who responds pretty calmly by simply getting Turlough to help defend the bulkhead he’s endangered. No commander of a base under siege would have been so reasonable back in Season Five!

Solow’s death by karate kick provides a bit of comic relief, reminding me of how serious this story is. I think it works without humour just this once, though. The Davison era so far has been a bit humour-lite for my taste, but for this story at least the seriousness works.

Part Four

“You’ll get no help from me, Silurian!”

Turlough prepares to escape by means of, er, a ventilation shaft. Naturally. Clichés- helping Doctor Who stories out of plot difficulties since 1963.

So, the Doctor’s apparently met Icthar before. It’s clearly supposed to have been during Doctor Who and the Silurians, as dialogue indicates the Silurians / Sea Devils have only awoken twice before, but this can’t be the Old Silurian, as he died, and it can’t be the Young Silurian as his personality doesn’t fit. I can only assume there was another Silurian the Doctor only ever encountered off-screen.

It’s a nice touch once again for Turlough that he wants to just return to the TARDIS but is shamed into helping. This kind of genuine struggle of conscience is making him a very interesting character.

The Silurians are by now taking about outright genocide of humanity, speaking of a “final solution”. Yet the Doctor is still upset at the thought of killing them, and behaving as though there were some sort of moral equivalence between them and the humans. But this is utter pants. Unlike previous stories the Silurians want to cause the genocide of all humanity, while the humans merely want to eliminate those specific Silurians proposing to annihilate them, none of whom are civilians. Seems pretty clear-cut to me.

Still, this is a well-paced and exciting final episode, and the ending is effective, with the TARDISeers surrounded by corpses and the Doctor opining that “There should have been another way.”

Surprisingly good, a solid 4/5. An exciting, action-packed base under siege which stands up surprisingly well to its Troughton era predecessors.

Doctor Who: The Five Doctors

“Wonderful chap. All of them.”

It’s great to see Hartnell again, even if only for a brief yet well-chosen clip. I like these pre-title sequence teasers- perhaps they should be brought in permanently at some point? 

Meanwhile, there’s a new, very 80s-looking, considerably less battered TARDIS console which the Doctor has knocked up very quickly in the short time since The King’s Demons. Tegan’s changed her clothes again and Kamelion is presumably off playing the lute somewhere off-screen.

Our heroes are visiting the Eye of Orion, in North Wales, the most tranquil place in the universe. And for once, nothing bad is going to happen, oh no.

We cut to the First Doctor, played by Richard Hurndall, walking about in a garden and getting taken away in a black triangle. This black triangle thing may well be simple but it actually works very well. And Hurndall at least looks the part. Also interestingly, he’s observed on screen by a mysterious gloved figure who seems to be moderately talented in painting miniatures.

Meanwhile, a newly re-moustachioed Brig is chatting with Lieutenant Carstairs from The War Games either before or after a big UNIT reunion. Along comes Patrick Troughton, and it’s such a joy to see him again. Interestingly, he says of the Brig’s replacement that “Mine was pretty unpromising too”, indicating he remembers the events of The Three Doctors, and that opens a whole can of worms.

Their conversation is a key example of a great awkwardness that pervades this story though; these are two old friends who haven’t seen each other for ages, and yet the words they’re given to say acknowledge this in only the most perfunctory way, as there can be no deviation from the plot in a ninety minute story containing as many elements as this. It’s an inevitable consequence of the very nature of this story, but that doesn’t make it feel any less awkward. The characters, most of whom are fondly-remembered figures from the past, are just treated as pawns there to serve the plot and given little opportunity to display the qualities we loved about them in the first place. And this tendency will get more and more awkward as the story progresses.

At least the scene with an obviously older Pertwee getting kidnapped by the black triangle thing driving around in Bessie doesn’t display these faults, even if only because there are no other characters for him to interact with. Unlike Troughton, this is his first ever return to the show, and it’s a particular delight to see him again. And it’s obvious from the very start that Terrance Dicks gets a particular kick out of writing his dialogue (“Great balls of fire!”)

The pattern’s established by now as we get a quick scene with Sarah and K9 and a clip from Shada, and then the focus moves to Gallifrey. Sadly, the familiar tropes of the Gallifreyan ruling caste have become completely formulaic by now, but at least in a story where they’re no more than a minor element this is less irritating than it could be. Still, it’s hardly encouraging that the annoying Castellan from Arc of Infinity is back again, or plausible that Borusa has regenerated yet again. Still, their desperate employment of the Master is a damn good idea, clearly showing just how desperate the situation is, and Ainley is wonderful here. Interestingly, he’s offered an entirely new regeneration sequence. This has huge implications. Equally as interestingly, he states that “A cosmos without the Doctor scarcely bears thinking about”, which arguable gives a bit of credence to some of the more intriguing theories about his motivations…

Hurndall, appropriately, has been transported to an area very reminiscent of the Dalek city on Skaro. He meets Susan, of course, and again we have the awkwardness of there being little time for dialogue which does not advance the plot. Surely these two would have something to say to each other, particularly given the circumstances of their parting? Still, the Dalek looks fantastic, and the mutant inside the shell is extremely impressive. This scene is where we learn all this is happening in the Death Zone, North Wales, Gallifrey. Although hearing Susan saying the word “Gallifrey” doesn’t feel quite right.

There’s some unintended hilarity as Pertwee ostentatiously rescues Sarah from falling down a very slight slope, and then more unintended hilarity as Sarah’s intended line that the Doctor changed to become “all teeth and curls” is nabbed by Pertwee, thus ensuring it makes no sense whatsoever. Still, it’s great to see the two of them together again and their chemistry is great.

The first and fifth Doctors meet at last, but again the necessity of there being no time for dialogue which doesn’t advance the plot has awkward consequences. Surely the fifth Doctor and Susan must have things to say to one another? Again, though, this sort of awkwardness is inevitable given the number of elements to be fit inside ninety minutes.

Possibly the highlight of the whole thing is Pertwee’s arrogant dismissal of the Master’s claims that he wants to help. The sheer rudeness on display is magnificent, and I’m willing to bet that this is the part Terrance most enjoyed writing. Pertwee is splendid here too, of course. Oh, and the bit with those bolts aimed at the Master, setting bits of the undergrowth on fire, is my first definite memory from watching Doctor Who on original transmission (I was six) although I’d been watching it for a season or two by this point.

Sadly, Hurndall isn’t particularly good. It isn’t that he’s so unlike Hartnell- he was quite right to try and interpret the character himself- but that he overdoes the abrasiveness so much as to be unlikeable. A lot of the time he delivers his lines in a way which is actually sinister, the worst offender being “Well, well, well, so two of them made it. I wonder what happened to the other?”

On the other hand, the Cybermen deliver their lines in a way which is most entertaining- my personal favourite is “Ah!” closely followed by “I have found the ones from the TARDIS.” They also get bonus points for causing Susan to sprain her ankle.

This is all zooming past- the Raston Warrior Robot, “No, not the mind probe!”, a sadly hard to see Yeti- betraying a masterful skill at plotting from Terrance Dicks who, for all the problems inherent in such an artificially fast pace, has managed to work all these disparate elements into a coherent plot while giving everyone enough screen time. It’s an admirable achievement, even if the result nevertheless suffers under the weight of all the elements which needed to be included. Particularly admirable is the way that Davison, the incumbent Doctor, is allowed the starring role in being the one teleported to the Capitol to investigate who’s really behind it all.

The whole chessboard trap, in which a second group of Cybermen are dramatically killed, is good fun, however much the stuff about pi is extremely silly and the Master seems to just walk straight across the first time. It’s just a shame that Hurndall is again so unlikeable.

It’s good to see Liz and Yates again, even if they are illusions, and even better to see Jamie and Zoe, even though continuity is shattered into a thousand pieces by the fact that the Doctor remembers that their memories were wiped. Apparently in between this and his enforced regeneration he was able to nip to the UNIT farewell party to chat with the Brig. Perhaps, at a stretch, the Time Lords offered him a last request off-screen and he’s being allowed the one short trip before being brought back and summarily regenerated. Or, er, perhaps not. But I say again: Season 6b? Pah!

Hurndall, Pertwee and Troughton all get to meet up briefly for the climax while a load of companions mill about at the back. Their interactions are great, if disappointingly brief. And it’s odd to see the Brig greeting Sarah with “Miss Smith, isn’t it?” even though he’s got to know her quite well, particularly during Planet of the Spiders.

Borusa’s revelation as the villain, his eventual fate, and the appearance of Rassilon himself are all brilliantly done, and the final scene of the Doctor once again running away from his own people in a rackety old TARDIS is utter genius. And so is the story. It may be too fast-paced for the characters to really interact in the way fans would have dreamed about, the direction may be dodgy at times, but what’s not to love about this? 4/5.

Doctor Who: The King's Demons

Part One


“He’s said to be the best swordsman in France.”

“Fortunately, we are in England.”

Crikey, forced to watch a story on video again. Doesn’t seem to happen very often these days.
Terence Dudley again… oh dear. It’s the middle ages, and we begin by having a series of mediaeval tropes paraded before us- the travelling tyrant king; the feast; the challenging to a duel by the dropping of a gauntlet; the joust. Then the TARDIS lands.

Two quite astonishing things happen regarding our heroes early on in the story. Firstly Tegan has actually changed her clothes, and secondly, our heroes unaccountably fail to recognise that Sir Gilles Estram is being played by Anthony Ainley and thus is obviously the Master.

Gerald Flood is excellent as the king, especially as the part he’s playing is somewhat more complicated than it at first appears. The sets and locations are also fab. Of course, the best thing about it is the king’s song. Still, the whole thing feels a bit dull and pointless.

The cliffhanger made me laugh out loud. This is the second time in a row that the return of the Master has been heralded by “So you escaped from…”


Part Two

“Mediaeval misfits!”

There’s something a bit embarrassing about the “Arise, Sir Doctor” scene. Still I’m sure it’s just a one off and it’ll never happen again.

The Master’s plan is just to meddle in history. As the Doctor says, it’s “small time villainy by his standards” and more reminiscent of the Meddling Monk, although of course Terence Dudley’s scriptwriting pales in comparison to that of the great Dennis Spooner. Oh, and he has Tegan flying the TARDIS again.

The Doctor and Master get a rather stagy confrontation scene which makes no sense whatsoever in terms of the Master’s motivation and which consists pretty much entirely of toe-curdlingly embarrassing dialogue. Still, at least we’re introduced to Kamelion, who at least looks rather good.

After a rather contrived ending, Kamelion joins the TARDIS crew for some reason. No doubt we’ll be seeing him all the time now. And after a brief interlude of the Doctor being nasty to Tegan (he really doesn’t like her, and I’m actually starting to feel sorry for her), they’re all off to the Eye of Orion.


Oh dear. That was a bit of a mess. I’ll be generous and give it 2/5 for looking good and being well performed. But the script was awful.

As for the season as a whole, it doesn’t get very good marks either at only 3/5, the worst score so far. Aside from the excellent Enlightenment, only Mawdryn Undead really managed to impress me. I’m hoping for better next season. But first, a bit of nostalgia…

Doctor Who: Enlightenment

Part One

“The rigging’s no place for a coward like me.”

Chess in the TARDIS at the start reminds me of the previous regime but, of course, there’s no K9 and the tone is quite different. It’s hard not to see the black and white pieces as symbolic of the Guardians. It’s also hard to resist reading into the fact that Turlough’s playing white and Tegan’s playing black, although what this might signify I’ve no idea.

The TARDIS’ power is being drained by a rather weak-seeming White Guardian who has been much diminished from the days of The Ribos Operation, to the point that he’s taken to wearing a bird on his head. Beaches and cocktails are a distant memory.

Interesting that the Doctor doesn’t see Turlough as reliable and charges Tegan with communicating with the White Guardian- I tend to see this as judgement of Turlough’s character rather than any specific knowledge of what he’s up to at this point, but rather that the Doctor has understood both Turlough’s shifty nature and that he’s well-meaning underneath it all.

The Doctor and Turlough emerge on to an Edwardian sailing ship and acquaint themselves with its crew, who are oddly unable to remember coming aboard. Meanwhile Tegan is enticed outside by the creepy and mysterious Marriner. But we’re soon introduced to Captain Striker and the TARDISeers are reunited for a meal which supplies what I think is only the second “Brave heart, Tegan” ever.

The cliffhanger, of course, is mind-blowingly brilliant, and this is the perfect opening episode, piling mystery upon mystery.

Part Two

“You’re a Time Lord. A lord of time. Are there lords in such a small domain?”

The yacht’s crew wouldn’t dream of using their advanced technology to cheat at the race in which they’re competing, as they “observe the spirit as well as the rules of the race”. Aside from the minor fact it’s taking place in space it’s being treated entirely as a race between ships involving marker buoys. Which just so happen to be planets. Striker’s ship is seen rounding Venus, meaning he must be a Bjork fan. I mean, Venus as a Buoy. Boom boom. Oh, and the prize is “enlightenment”.

There’s lots of clever writing here. Our brief sight of the Greek captain alerts us both to the fact that the different ships are from different time zones and also that the Greek captain, in a nice bit of foreshadowing has an anachronistic red jewel on his sword. Meanwhile, we’re interested to the concept of the Eternals and their dependence on “Ephemerals” to be truly alive. They are gods in all but name, capricious and fickle as were the Olympians, treating humans as toys whose lives mean nothing because “Ephemerals have such short lives in any case. But these ideas are developed far more effectively in the relationship between Tegan and Marriner than in any expository dialogue.

Turlough gets some superb material this episode, being condemned to everlasting life on the ship by the Black Guardian for his failure to kill the Doctor and then appalling the Doctor by betraying a confidence about the expected mutiny. He’s being significantly better written here than in either of the previous two stories, with Strickson providing a performance to match, and as a result the cliffhanger has real weight.

Part Three

“I had no idea ephemerals could be so entertaining.”

Turlough’s picked up by Captain Wrack’s Buccaneer, and he’s now drinking in the Last Chance Saloon in more ways than one. Sadly, in spite of the required personnel being present, we don’t get the appropriate musical accompaniment.

It’s great seeing inside another ship, greater still that it’s a pirate ship, and utterly surreal (in a good way) that the ship is commanded by Nurse Gladys from Open All Hours. Although of course her towering and triumphant vocal performance of a certain ballad is of course the crowning moment of Lynda Barron’s career. Wrack the character is great, and even Leee John’s… unusual performing style is not out of place in these surroundings.

There’s a fascinating moment as mariner says to the Doctor that “Your companion is a very beautiful woman” and the Doctor replies “Is she?”, further ammunition for my theory that the Doctor doesn’t actually like Tegan and only keeps her around because he’s too nice to just turn her off the Ship.

Part Four

“Your mind is divided, confused, hard to read sometimes. But one thing is clear in it always- greed!”

There’s an interesting conversation early on between Tegan and Marriner in which Tegan misunderstands his fascination as love whereas he only wants “existence”. And we’re still being given a lot of these nice little character moments right through the final episodes even with all the plot threads to resolve. This is a bloody brilliant script.

Turlough seems to betray the Doctor by denouncing him as a spy to Wrack and insists on staying behind on the Buccaneer. Yet the Doctor still has faith in the boy, hoping that he intends to prove himself by doing so.

Tegan and the Doctor realise that the tiara is Wrack’s focus for her weapon, and the Doctor smashes it into tiny bits, which results in nothing aside from Wrack briefly re-enacting the final scene from The War Games. 

But shortly after that he saves the ship from destruction, and heads over to the Buccaneer to assist Turlough. We see two figures thrown overboard, who Tegan assumes to be Turlough and the Doctor. It’s clear from Marriner’s reading of her thought that the Doctor’s dislike of her is not reciprocated, although I don’t see anything in this story to indicate she has any sexual feelings for him as has been suggested in the past.

We end with both Guardians and Enlightenment, a prize to be awarded to a bunch of innocent immortals, which apparently consists of knowledge of good and evil. I’m sure there’s some kind of allusion here but I’m not sure what it is. I’m a bit confused by the Guardians’ dialogue though- I thought it was established in The Armageddon Factor that they represented chaos and order rather than good and evil? Perhaps I’m going too far with that- the Black Guardian was certainly described many times as “evil” in The Armageddon Factor- but chaos and order are much more interesting as concepts.

The Doctor and Turlough win, the Doctor declining his prize. Turlough’s share is forfeit to the Black Guardian under some sub-clause of his deal. Turlough ultimately redeems himself by choosing the Doctor’s life instead of Enlightenment, his conscience thus winning out over his greed. The Black Guardian is defeated by this, and Turlough’s contract is terminated. “Enlightenment was not the diamond” says the Doctor. “Enlightenment was the choice.” Utterly superb stuff.

Well, we’ve waited twenty years for a script by a woman and the first one goes straight into my top ten. 5/5. The finest story since Kinda and only the second truly great story of the Davison years.

Doctor Who: Terminus

Part One

“Don’t patronise me, Turlough.”

I’m approaching this with an open mind, although I’m well aware of its reputation. I’ve only seen it once before, in the late ‘90s, and I can remember very little. The only bias I have going into this is that I was hugely impressed with Steve Gallagher’s Warrior’s Gate. Still, there’s the awkward fact that I’m watching this in the full knowledge that it’s not popular and whatever I end up thinking I’ll suspect myself of either conforming to received opinion or setting myself in rebellion against it. I don’t win either way- much better to enter a story completely blind! Anyway, here goes…

We open with more development of the Turlough / Black Guardian angle as Turlough sabotages the TARDIS. Mark Strickson is excellent in playing this rather shifty, cowardly, self-centred yet redeemable character in a way I haven’t appreciated before. Tegan is getting suspicious of this newcomer, and incidentally is still wearing the same outfit. I assume she gets to change them once a season? Still, it’s shaping up to be an interesting relationship.

Meanwhile, we get to see Nyssa’s room again. And also Turlough’s room, which used to be Adric’s room, and still has all his old stuff in it- a nice touch, reminding us that Turlough doesn’t share the painful memory the other TARDISeers have to deal with, and is still yet an outsider.

As a result of Turlough’s sabotage things start going wrong with the ship, leading to yet another “I’ll explain later” from the Doctor. And then the Ship merges with somewhere else- a nice different way of arriving somewhere with the TARDIS exterior not being seen at all throughout the story. It’s very effective seeing the four TARSISeers gradually disappearing into the mysterious vessel.

And then of course we end with loads of lepers appearing, one of whom is apparently Kathy Burke…

Part Two

“We’re all going to die!”

The computer operated by the Doctor in this episode looks uncannily like the sort of thing that would have been released as a board game and advertised on kids’ TV at the time. Now that the Marathon is reaching a time I can actually remember I’m getting all these random outbreaks of nostalgia triggered by the most bizarre things.

Things are still good so far, with an interesting backstory of plague and corporate greed, and the odd coincidence of Terminus being at the exact centre of the universe. Not to mention Kali and Olvir being officially the most ‘80s people ever. I mean- that hair!

Peter Benson as Bor is instantly recognisable as Henry Tudor to those, like me, who have seen the first episode of The Black Adder far more times than is healthy. And there are other characters in similarly great looking armour with names like Eirak, Valgard and Sigurd, known as the Vanir. Hmm. I’ll take this as an indication that Norse myths are being referenced here but I’ve no idea which ones. The Garm’s a giant, too, so the giants are superseded by the gods, or “Vanir”, but that’s both very tenuous and not relevant to this episode.

Nyssa gets infected, and promptly strips off into her underwear. And at the same time she acquires some unsightly buboes and lesions. Yep, that’s how you get the dads watching, I’m sure they’re all leprosy fetishists…

Part Three

“You’re weird, Turlough.”

At this point it starts to feel a bit slow and plodding, presumably the problem people have with it, but I can’t quite put my finger on why it feels so. We’re getting plenty of plot revelations, the characters are well written and played, there are some good concepts and it’s even well designed. But still, there’s something a little unengaging about it all for some reason.

The Vanir power struggle subplot begins, to be paid off next episode, Tegan and Turlough have a conversation about the ethics of killing, mandated by the story arc- they’ve both been sidelined a bit- and we get the big revelation; Terminus’s first engine blowing up started the Big Bang and the second one’s about to blow, taking the universe with it! I’m not sure I buy this- surely the civilisation that built this ship also built many more, each with the potential to do the same, so by the law of averages the universe should have ended by now? Still, in the context of the story, it works. Oh, and it’s technically all Turlough’s fault if it does.

Part Four

“You represent a pure investment of my time and energy!”

It’s quite unexpected to see that the Garm does actually cure Nyssa. Not only that, he can talk, too, and also save the universe by pushing a lever. He’s a giant (Norse mythology!) as are the Vanir (Norse mythology!) and presumably the same species as the ship’s dead pilot.

The cure may have worked on Nyssa, but it’s crude, unfocused and as likely to kill as to cure. Nyssa, on the other hand, would be able to turn it into a much better cure, much as she would be able to synthesise unlimited supplies of hydromel to free the Vanir from their dependence on the Company, just as the Garm has been freed by the Doctor.

“It’ll be good to see the TARDIS again.” says the Doctor. “And Tegan.” Adds Nyssa, “Well…” says the Doctor!!! It isn’t even the first time he’s said something like this- he doesn’t even like Tegan, and is only putting up with her to avoid an unpleasant scene. Blimey!

Nyssa stays behind where she’s needed, in a fitting and unexpectedly emotional departure.

I can’t put my finger on anything that was actually wrong with this, but it seemed somehow unengaging for large stretches. There’s a lot about it that’s good though, and its bad reputation hardly sees fair. I give it a solid 3/5.

Doctor Who: Mawdryn Undead

Part One

“Don’t you know anything?”

It’s great to get a genuinely strange opening to a story for the first time in ages. We have two public schoolboys- this somehow seems so very early 80s- TWOCing an old car. One of them, “Hippo” Ibbotson, is your standard Billy Bunter type, but the other, Turlough, is a devious character with a mysterious background. The car crashes, and Turlough accepts a Faustian pact from none other than the Black Guardian- he’s to be taken away from Earth if he agrees to kill the Doctor. Oh, and the Black Guardian is now wearing a bird on his head. Very fetching.

And if that’s not enough, the car turns out to belong to the Brigadier himself. Yay!

To the TARDIS, and while Nyssa is again wearing a different set of clothes, Tegan is still wearing what she’s had on since Arc of Infinity.

Aside from the welcome reappearances from Nicholas Courtney and Valentine Dyall (not that we saw much of him in The Armageddon Factor), it’s also good to see Angus MacKay again as the headmaster. Good to see they’re maintaining the Who tradition of using the word “transmat”, too.

A nice line from the Brig, who we are soon to discover has lost bits of his memory: “Take it from me, boy- a solid object can’t just dematerialise!”

Part Two

“Well, well. So you’ve done it again, Doctor.”

The TARDIS has gone, and the Doctor is stranded. Meanwhile, Nyssa and Tegan seem to be in the same place, yet the Doctor is nowhere to be seen. Or is he? Because both of them immediately seem to think that the weird decaying bloke they see in the TARDIS is the Doctor, in spite of his not looking or acting remotely like him.

Meanwhile, the Brig still can’t remember much. He recalls that Benton left the army in ’79 and is now selling second hand cars, and that Harry Sullivan has been seconded to NATO. He can’t remember who the Doctor is, though, and doesn’t seem to have heard of Liz, Jo, or Sarah. There’s one slight problem here, of course. Pyramids of Mars clearly states that Sarah (and thus the whole UNIT lot) comes from 1980, yet the Brig says he retired in 1976. There’s no way round that: continuity is broken! Ah well, it took twenty years to do it, which is not bad. The moral here, I think, is only refer to continuity if there’s a need to and if you know what you’re doing, or this kind of mistake is bound to occur. The way things have been going the last few stories, with the increased number of often gratuitous references to the past, it was pretty much inevitable that something like this would happen.

None of which means I’m not enjoying this story, mind. In spite of the continuity bombs the whole structure of it all, with the two separate time zones separated by the ship, feels very fresh and different. And there’s the odd bit of clever misdirection, such as Turlough’s apparent confiding in the headmaster until he turns out to be the Black Guardian. Plus, I love the bit where the Brig surprises Tegan by instantly getting her reference to the TARDIS.

Part Three

“If I reverse the polarity of the neutron flow…”

Oh dear, two Brigs aboard the ship! The Doctor’s even mentioned the Blinovitch Limitation Effect- that’s how serious it is.

I love the way the (moustache-sporting) Brig instantly takes charge in 1977.

In fact, Nicholas Courtney really is fantastic throughout. It’s a great episode mainly because there are two Brigs and it’s a joy seeing how both of them react. All this’d stuff with Mawdryn and co wanting to die is a bit morbid, though.

Part Four

“It would mean the end of me as a Time Lord!”

Bit of an ineffective cliffhanger, that. Especially as the Doctor has yet to explain what he’s talking about. And even when he has done, the nature of the threat itself is just a little too continuity-heavy, relying as it does on the Doctor’s remaining regenerations being forfeit. Can’t we just have the current Doctor being the Doctor, as things used to be in the fairly recent past?

The two Brigs, inevitably, meet, this resolves the plot, and the Doctor “will explain later”. I’m guessing Steven Moffat is a particular fan of this era, as the Doctor has been saying he’ll explain later a lot recently.

Turlough’s on board, joking that he’s “not that easy to get rid of.” “So it seems.” says Tegan, exactly paralleling the Doctor’s reaction to her own rejoining in Arc of Infinity. TARDIS crew as dysfunctional as ever, then. Especially with the small point that the new companion seems top want to actually kill the Doctor…

That was a good ‘un. I’m starting to get a bit concerned about the excess of baggage from the show’s past, mind, as this could lead to the show becoming too backward-looking, but that’s not really a dig at this particular story, more a long term trend. This was good, using the time travel concept creatively, using the Brig well, and starting an intriguing new arc with Turlough and the Black Guardian. A good 4/5.

Doctor Who: Snakedance

Part One

“The Federator’s son is bored.”

This is the first time I’ve had to resort to video again, after a stream of DVDs, since Kinda. Is there some kind of anti-Christopher Bailey conspiracy going on?

The story begins with perhaps the most jaw-dropping moment yet to be seen in 1980s Doctor who: Nyssa has actually changed her clothes! Of course, the Doctor doesn’t notice, to Nyssa’s resigned irritation. Nice little subtle character moment, that. Nyssa has a lot more personality these days than she used to.

We can now add Tegan to the list of TARDISeers whose bedrooms we’ve seen! So let’s see: that’s Romana, Nyssa, Adric, the Doctor and now Tegan. Is that it, or will we eventually see even more? Stay tuned, for you may be surprised and delighted, unless of course the memory cheats.

Anyway, the Mara’s at it again inside Tegan’s subconscious. Meanwhile, on the planet of cheap ‘80s proto-IKEA décor, Lon, son of the unseen Federator, is lounging around being bored. He’s a brilliant character, perfectly radiating the self-indulgent ennui of unearned privilege and a total lack of responsibilities. I’m no fan of that wretched sitcom Martin Clunes is best known for, but he’s great here.

This scene also provides some much-needed exposition on the Mara’s destruction five hundred years ago, the role of the Federation in this and his predicted return, also briefly alluding to the snakedancers. All this is admirably imparted in ways which sketch out for us the personalities of Tanha, Lon and Ambril.

For all the competence of the script, though it’s a shame about the sets. It’s not the cheapness I mind- this is Doctor Who after all- but the lack of imagination. The design of everything on this supposedly alien planet, with what is apparently meant to be a less advanced level of technological development than our own, just looks contemporary.

The Doctor reveals himself to warn Tanha, Lon and Ambril of the Mara but, again, this Doctor is not accepted as his predecessors probably would have been. Instead his warning is seen not just as the rantings of a crank, but worse, those of a harmless one, no more than a minor irritation. We’ve never quite seen the Doctor receive this reaction before. As Lon says, “No, let them go. What’s the point?”

Part Two

“Are you just going to lie there being bored?”

“Yes, I rather suspect I am. After all, what else is there to do?”

The scene with the mask, and its “six faces of delusion”, is a nice touch, although it shows Ambril to be rather a poor archaeologist to have missed seeing something so obvious. But worryingly, although this is still a good episode, nothing new is really developed. It’s becoming apparent that this isn’t going to be as good as Kinda- the plotting and characterisation is as competently done as before, but thematically there’s nowhere near as much going on, and this robs the events of having much meaning.

Janet Fielding is brilliant as the Mara-possessed Tegan at the cliffhanger, and the combination of her and Martin Clunes is particularly great.

Part Three

“We wait.”

Again, not much new really happens here, although there’s nothing bad about the story exactly, and Christopher Bailey is too good a writer to let things become dull. We get to fill in a few more details about Dojjen and the snakedancers, we see a Punch and Judy show, and we learn the history of the Mara, much of which, I’m sure, consists rather heavily of a Buddhist subtext which I’m not getting.

This is a very odd story, with a mystical type thereat and no attempt to give a scientific explanation for the Mara. It isn’t a science fiction story at all. And never has the Doctor, who spends pretty much the entire episode in a cell awaiting rescue, seemed so powerless. And the main source of conflict in this story so far has been the refusal of others to believe the Doctor. This seems to indicate that scepticism should be seen as a bad thing, a potentially worrying message.

Part Four

“Am I forgiven?”

“Oh, yes of course. Aren’t you always?”

It all concludes logically enough, although the visions induced by the hallucinogenic snakebite are rather too reminiscent of the visions induced by Mary Morris’ character in Kinda. But I like the ceremony (“I offer you fear in a handful of dust”) and the snake effect is very well realised this time.

Overall, I’m slightly underwhelmed. After Kinda, at the moment my second favourite story, I was expecting something similarly brilliant. But while Snakedance was certainly a decent enough story, it seemed something of a retread of Kinda, with less apparent thematic depth. A high 3/5.

Doctor Who: Arc of Infinity

Part One

“I’m simply following orders.”

A season begins, and it’s the twentieth! It’s quite a landmark, and frankly quite mind-boggling to think I’ve actually got this far. From this point on the rest of the marathon looks like it’s going to be a doddle. Anyway, what exciting new adventures have we to look forward to now?

Er, some technician type people doing some dull repairs and stuff. A planet once full of either wonder or skulduggery now feels very mundane and domestic. Meanwhile, in the TARDIS, the Doctor has repaired the sound on the scanner. Wow.

To Amsterdam, where a couple of backpackers are about to sleep in a crypt. I think I’ll go out on a limb here and assume I’m not going to be the first person in this thread to mention An American Werewolf in London.


Wow, the Doctor and Nyssa are discussing the fact that the TARDIS used to be in a state of “temporal grace”, referring right back to The Hand of Fear! I never noticed the reference before. But even though my initial thought was “cool”, I immediately started wondering whether it was healthy for a show, in 1983, to be referencing a fairly throwaway line from 1976. This is a turning point, I feel; we’ve had plenty of continuity references before but this feels worryingly gratuitous, as though the show is gradually starting to aim itself at the fanbase and not the general public.
 
“Impulse laser?” No, you muppet, it’s an armadillo. This is one of those scenes which occasionally appear in episode one and make you fear for the rest of the story. As does the appearance of the High Council, with its obligatory regenerated Borusa. Somehow all the familiar trappings of Gallifrey are being used in a purely perfunctory way, which rather strips them of any impact they once had. And the Time Lords’ hostility towards the Doctor is just aggravating; you know full well they won’t actually kill him because this strange extra-dimensional figure needs to bond with him and this mysterious traitor is clearly working for him. And the whole thing achieves nothing but to allow Johnny Byrne to put this bit of the plot on pause for a bit. So far this is every bit as bad as his previous Keeper of Traken.

Fortunately we get Michael Gough, albeit pointlessly wasted in the role of Hedin, and the magnificent Colin “Archie” Baker as Maxil. So far he’s been the best thing in it.


Part Two

“I have my orders.”

“You don’t have to relish them so much.”

Crikey, the number of bedrooms we’re seeing in the TARDIS these days is ridiculous. This time it’s the Doctor’s room we see. Come to think of it, it’s episode two and we’re still seeing a lot of the TARDIS interior, something that seems to be happening a lot these days.

To Schipol Airport, and who should arrive off the latest flight but Tegan. She’s back! And wearing actual clothes! This raises the possibility that we may see her actually wearing different outfits in different stories. Can it be?
 
The Doctor gets a mild ticking off for failing to return Romana, but receives an otherwise disconcertingly friendly welcome from the High Council following his initial rough treatment. They all agree he hasn’t done anything wrong. And then promptly sentence him to death. Even though they’ve abolished capital punishment. It’s not the Doctor’s lucky day.

Tegan, meanwhile, has lost her job, but as soon as she realises her cousin has disappeared she throws herself into the investigation. That’s the Tegan I like to see. But, er, isn’t the fact that she of all people should turn up a bit of a massive coincidence? Other important characters are the Castellan, probably the most obvious red herring in the history of the world, and Hedin who, for equal and opposite reasons, must obviously be the baddie.

There’s more continuity as Damon informs the Doctor that Leela is “well and happy” as the Doctor regrets he missed the wedding. Again, this is nice, but it’s a reference to something which was screened five years ago, it’s not relevant to the plot, and it’s hardly subtly done. Should the programme be doing this sort of thing?
Nyssa, being brave and generally heroic in a way which demonstrates how recent stories have started to give her some bare outlines of an actual personality, tries to rescue the Doctor. He doesn’t seem very keen though, and is apparently executed…


Part Three

“So it’s you.”

No he isn’t, shock horror, he’s just floating about in some other reality being gloated at by our mysterious villain. Elsewhere, Maxil and the Castellan continue to twirl their metaphorical moustaches while Tegan gets on with actually advancing the plot, finally uncovering the villain’s layer.

We also get a scene in which Ome- er, the mysterious bad guy strokes his “chin”. This is quite the silliest thing to appear in Doctor Who for quite some time. Unfortunately this is about the most entertaining thing to happen this episode, most of which consists of Omega just trying to delay the plot. It’s all very dull.

Still, the villain’s identity is at last revealed, and I’m pleased to see we get a full and detailed explanation from Hedin of how he survived the events of The Three Doctors: “No, he exists, Doctor!” It’s almost as though he was the Master…


Part Four

“If I am denied life, then all must perish!”

This is the episode where everyone realises they’ve spent money to film in Amsterdam, so they’d better make sure it shows up on screen. This leads to plenty of outdoor chase scenes, and an amusing moment where the Doctor’s plans are scuppered by a lack of coins for a payphone- that wouldn’t happen nowadays!

We’re also treated to the most eye-poppingly absurd technobabble to justify the location: “Amsterdam is located on the curve of the Arc, below sea level to maintain pressure for atmospheric conversion.” Why on Earth did anyone think it needed to be explained at all?

The Doctor uses a gun again, this time threatening Omega with it, and the story basically ends because Omega didn’t bother thinking through his plan properly because he’s basically a rubbish villain. Er, right.

“So, you’re stuck with me, aren’t you?” says Tegan, inviting herself back on board the TARDIS. “So it seems” replies the Doctor. It really comes across as though he’s never liked her very much. I’m beginning to suspect he doesn’t. I’ve never known such a dysfunctional TARDIS crew before.


Overall, well, rubbish. I have no hesitation whatsoever in awarding this 1/5. This is the first time I’ve felt a story was pure fanwank, with no substance whatsoever. The plot is gruel thin, the villain’s actions make no sense, and worst of all the trappings of Gallifrey are rendered dull by being treated as obligatory references to be ticked off to please the hardcore fans instead of fun concepts to be played with. Suddenly all the sense of wonder is gone. This sets a dangerous precedent- is this how the icons of the series are going to be treated from now on?

Doctor Who: Time-Flight

Part One

“Are you responsible for this box, sir?”

“Well, I try to be.”

Ah, a Concorde, that technological marvel! That dates this story immediately- this is set back in the days before the future became considered passé. Although the décor inside, and especially the glimpse of newspaper, date this story in quite another way. But oops- where’s it gone?

Inside the TARDIS we have a perfunctory discussion about going back in time to save Adric, but within what feels like thirty seconds all of this is over and they’re all off to the Great Exhibition. This is most awkward, and although it’s probably true to say there can’t be more than a certain amount of character stuff in a format where you’re never more than 25 minutes from a cliffhanger or story climax (something which doesn’t apply to the “new series”, where although the stories are shorter the episodes have time to breathe), it could have been better handled than this. I’m noticing more and more how much poorer the treatment of the current large TARDIS crew compares to the original lot. It’s not as though Ian or Babs got all that much character stuff either, just the amount that was required by the constraints of the genre, but it worked. For this crew, it doesn’t.

The TARDIS lands on a runway- please don’t let this be another Faceless Ones! It’s interesting to look for Tegan’s reaction here to finally being at Heathrow- will she stay or will she go, to paraphrase Joe Strummer at around this time? 

Thankfully, lots of tiresome scenes of the TARDISeers falling under suspicion from the authorities are curtailed by mentions of the good old Brig and some chap called Sir John Sudbury from “C19”, with some UNIT bloke at the end of the phone going so far as to insist the Doctor be briefed on the missing plane. On the other hand, it’s all a bit too continuity heavy. Perhaps they could streamline all this into, I don’t know, perhaps the Doctor carrying some paper that’s, I dunno, psychic?

So a second Concorde takes off, with the TARDIS, on its side, on board. And our heroes plus pilots end up in some illusory other world which turns out to be the Jurassic. We get a surprisingly highbrow reference to Berkeleyan philosophy for such a silly story (“That is why this tree / doth continue to be…”) and there’s some bloke in weird make up speaking an odd language in a funny voice. It seems he’s played by someone called Leon Ny Taiy. I wonder who he is?

Part Two

“Magic? Arabia?”

Sop, there are some squidgy, semi-corporeal things that control people and do other things required by the plot, except that some annoying professor bloke is able to resist its control. He thinks he’s in Siberia. Ho hum. Still, as time goes on he’ll become gradually less annoying until he morphs into an almost exact clone of Dr Tyler off The Three Doctors. Oh, and the Plasmatons are a bit like Gell Guards, I suppose.

Nyssa and Tegan have to pass through the obligatory illusory version of Adric, on account of he just snuffed it, and then they get a Melkur and a Terileptil, just to remind them of some of the more mildly disappointing of their recent adventures.

We get a decent retro-looking Ray Harryhausen monster conjured up by Kalid, but rather suddenly he’s defeated. And then turns out to have been the Master in disguise all along. Naturally, he had to disguise himself as a bizarre Aladdin style conjurer and speak in some weird made-up language, even when no one else was around, because, er, um, er…

Part Three

“The Xeraphin is calling us.”

We begin what will become a tradition of full frontal refusal to explain how the Master escaped from his last sticky situation with the obligatory “So you escaped from Castrovalva”. Then the plot starts all over again, this time with the baddie being the Master instead of some weird conjurer type. At least our villain, stranded here, now has a motive.

Two pilots muck about in the TARDIS for a bit, while the Doctor discovers the entire Xeraphin race is locked up in some column thing. The Prof sacrifices himself (yay!) and then we get a battle of wills between two random Xeraphins. Don’t get me wrong, it all makes a sort of sense, but it’s all a bit random, innit?

Part Four

“I’ll explain later.”

I don’t at all like the Doctor’s brief admission that the Master has finally defeated him, it’s unDoctorishly defeatist. I realise this Doctor is supposed to be less charismatic and less assertive- fair enough- but more and more I’m seeing something beyond the character of Davison’s excellent Doctor- a lack of respect for the character from the scripts. The Doctor should always be the hero- this is his show, after all.

It all ends with a bargain between the Doctor and the Master, manipulated by the Doctor to strand the Master on Xeraphas- it’s all strangely reminiscent of the conclusion to The Mind of Evil. It’s a nice touch, and at the same time a bit embarrassing, to see Tegan actually acting as an air hostess.

The story does tend to stretch credulity somewhat, even given the necessary conventions of the genre, with how easily the Concorde pilots adapt to the fantastic events they’ve witnessed, with their insistence on joking about it even when faced with scepticism from their superiors really pushing it.

Tegan gets wistful while wandering the terminal (Terminal 3 was new then, right?) but it’s a huge shock when the Doctor and Nyssa just take of without her without warning.

This is an odd story. For the first time in ages it’s obviously been written and performed as though purely a kids’ show- see the bloke playing the captain of the second Concorde- not a bad performance but one clearly tailored for a kids’ show. It’s a throwaway load of nonsense, of course, more like T-Bag or Emu’s Pink Windmill than Doctor Who, but actually on those terms it’s sort of ok. 2/5.

As for Season 19, at 3.429/5 it rather surprisingly ties exactly with its predecessor. But neither season has exactly scored well. This comes as a genuine surprise to me- I thought I actually liked this season quite a lot!