Home Forums News & Reviews Features DWO Minecraft Advertise! About Email

The 50 Year Diary - Day 415 - Genesis of the Daleks, Episode Five

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 415: Genesis of the Daleks, Episode Five 

Dear diary,

Genesis of the Daleks marks a turning point for Dalek stories in the classic series - there’ll be four more before the Doctor and Ace walk off towards new adventures, and they’ll all feature Davros. I’ve already mentioned that I quite like the 1980’s version of Davros, and I like Julian Bleech’s version as seen in the revived series, but the more I watch through this story, the more I wish that the character had simply never returned.

There’s several problems that arise by having Davros around for the rest of the ‘classic’ Dalek stories. Firstly, the Daleks themselves are suddenly that bit less wonderful. Oh, I know I’ve made fun of Death to the Daleks a bit lately (and the further away from it that I move, the more I think of it as being a bit silly!), but when you think back past that story, to the Daleks of the 1960s... they were clever! They were cunning! Remember that scene right back in The Daleks, where they lure the Thals into their city and then all glide back into the shadows in unison, ready to attack? That was glorious! Even past that, when they’re trying to drill out the Earth’s magnetic core (lovely to hear a reference to that in today’s episode), or building their own time machines to pursue the Doctor through all of time and space... The Daleks used to be rather magnificent in their own right, without having their dad around to cramp their style.

Russell T Davies sums it up best in The Writer’s Tale: “I simply can’t bear it when Davros is in charge of the Daleks. They wouldn’t let him; it reduces them to soldiers.” It works for this story, because the Daleks are brand new. We’re watching on as Davros orders the alterations to their brains which will go on to make them ruthless and independent, and while I’ve never seen this story before, I know that it ends with them breaking free of his control and deciding that they don’t need their creator any more... so it feels like a shame to then bring him back time and time again.

After this story, the Daleks disappear from Doctor Who again for another long stretch. They won’t be back again until Season Seventeen, which feels a million miles away from here and now. I’m interested to see how I feel about all of this by the time I get there, though. Will I have reached a kind of nostalgic time where I’m pleased to see Davros again? Once this story isn’t so fresh in my mind, it may be that I rather enjoy him coming back. It’s certainly one for me to look out for, and another reason that watching through like this is such good fun.

As I’ve said above, the Daleks being controlled by Davros really does work in this story, because - really - this isn’t a Dalek story at all. This is a story about their creator, and about the world into whichthey were born. I’m now five episodes in, which means that I’ve watched about two hours of the story, and the Daleks have barely featured. As is traditional, they appear only for the cliffhanger to Episode One, and then they’ve been appearing in ever increasing numbers since (two Daleks in Episode Two, three in Episode Three and so on), but only ever really to glide in-and-out of a room. The most Dalek action we’ve had is the attack on the Thal dome, but even then we only get to see bits and pieces of it.

Maybe that’s why I’m so unsure about bringing Davros back again? This is very much his story, and it feels complete enough for me. I don’t have any urge to seek out the prequel series Big Finish made which led him to this point, and I’d not be sorry to never see the character again once the next episode is over. Genesis of the Daleks feels like a nice, self-contained story, and it would be a shame for anything to lessen its impact...

The 50 Year Diary - Day 414 - Genesis of the Daleks, Episode Four

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 414: Genesis of the Daleks, Episode Four

Dear diary,

It’s a mark of the quality of this story that when I mentioned it to a colleague at work yesterday, who grew up watching Doctor Who in the 1970s, but only really takes a passing interest in it these days, his face lit up as he declared Genesis of the Daleks to the ‘the best Doctor Who story ever’. It seems to be a really common opinion, and I’m somewhat surprised to see it being shared by even people we’d consider to be ‘not-we’. I guess I shouldn’t be all that surprised, really, since this story has been repeated on terrestrial television more than any other from the classic series’ run – it must be doing something right!

What’s made a mark on me today is just how much you’re tricked into thinking that it really is the end for Sarah and Harry. The Doctor reminds us that he’s sent them off to the Kaled dome and then we’re forced to watch with him as the dome is completely obliterated. As if it needed any extra impact, the Doctor laments that he’s sent his companions into ‘that holocaust’, and seems genuinely defeated, before resolving that he’ll need to carry on with the task he’s been given, so that they’ve not died for nothing.

He then meets Thal, and minutes later saves her from a Dalek attack – it’s done almost in the way of him meeting a new companion for the first time. If I didn’t know that Sarah and Harry go on to have more adventures after this, and I were coming to this story cold for the first time, I think I’d genuinely believe that we’d lost the pair off-screen in the attack. As the episode then continues, we don’t actually see them until around ten minutes in – there’s not even a hint that they could have survived. In some ways it’s quite bleak, but it fits the tone of the story perfectly, and it does provide some great drama.

When my colleague was raving about how much he enjoyed this story, he did manage to inadvertently spoil a bit for me (in as much as you can spoil a story made and broadcast almost 40 years ago!) regarding the scene today where Nyder meets with scientist in the lower levels of the bunker and tricks him into revealing the names of the people who are plotting against Davros. He pointed it out as a scene that’s a little bit silly, specifically in regards to the way Peter Miles snaps back to attention when he’s got the information that he needs and responds with a clipped ‘thank you’. Watching the events unfold, I clearly knew where we were headed, and he was right – that moment is a bit silly. That said, there’s also something really menacing about the way that Davros then emerges from the shadows to greet the pair.

I’m a fan of the 1980s Davros, but the character we see in those three stories has nothing on the one we see here. The Davros of this story is perhaps the cruellest villain that we’ve ever been given in the programme. He’s willing to see his own race utterly destroyed in fire and pain simply because they dared to stop his experiments. He’ll have people killed when needed, and if he still requires their skills, then he’ll simply have their brains altered to support his way of thinking. There’s something really rather brilliant about it all, sinister and evil as it may be.

And yet, we’re starting to see a transition into the version of the character we get in the later Davros stories. Here, we get to witness him ‘ranting’ on more than one occasion, but it feels like the character’s decent into madness rather than simply something that he does. The ultimate rant then comes right in the closing moments, when he demands that the Doctor give him information on every Dalek defeat, so that he can make sure to overcome it. How do you think the Doctor will explain the one where they’re tricked into leaving Exxilon with bags full of the wrong minerals, and then get blown up?

I joke, of course, but this really does feel a million miles away from the Dalek story we were given in Season Eleven. I don’t know how much of this is down to Terry Nation upping his game (Terrance Dicks tells the story that Nation submitted his script for this story and they found it to be a complete rehash of all the ideas he’d used in Planet of, and Death to, so they suggested that he go away and given them something new, possibly about the Daleks’ origins), or how much comes from Robert Holmes’ input as script editor, but something has really gelled – this is in a whole other league.

The 50 Year Diary - Day 413 - Genesis of the Daleks, Episode Three

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 413: Genesis of the Daleks, Episode Three

Dear diary,

You can forget your Davroses and your Daleks. Your Sontarans and your Giant Spiders. Forget all about Ice Warriors and Dinosaurs, because the scariest thing that we’ve seen in Doctor Who during these last few seasons comes early on in today’s episode, when Sarah Jane has to jump a small gap between the scaffolding platform and the rocket.

It sounds like I’m being facetious, there, but genuinely, that’s the scariest that I’ve found Doctor Who in a very long time. It’s not the jump that’s actually worrying - it’s the way that Sarah reacts to it. She is clearly scared of heights. She’s just made her way, with difficulty, up that scaffold. She’s one of only two survivors. Her captors aren’t far behind, and their armed with guns, then then she has to go and look down, and realise just how easily she could fall. People talk about Lis Sladen being a fantastic actress, and I think the way she shakes while preparing to jump is one of the finest performances that we’ve ever had in the programme. There’s no debating it - that’s genuine fear.

And yet it comes in the episode containing perhaps the most infamous part of this story - the Giant Clam. I’ve been in Doctor Who fandom long enough to know that - supposedly - the only blemish on this story’s otherwise perfect six episodes is the presence of a Giant Clam chewing on Harry’s leg. I think I’m right in saying that the clam appears in another scene later on, too, which is even more ridiculous. I can’t say I was all that bothered by it, to be honest. It comes as one of those typically Terry Nation action-adventure-serial moments, where there needs to be some threat to the Doctor and Harry’s journey through the tunnels.

I’m surprised just how much of a team the Doctor and Harry are, to be honest. People always talk of the Fourth Doctor and Sarah Jane, and though they will get their time in the spotlight in the next season-and-a-half, it’s feeling increasingly as though Harry is the Doctor’s favourite. They’re separated off together for much of The Ark in Space, and they’ve been firmly in each other’s company for the three episodes of this story, too. I love the way that they bounce off each other, with Tom and Ian really gelling together. I’m drawing closer to the end of Harry’s travels in time and space now than I am to the beginning of them, and that’s a great shame, because he works so well as a companion. I’m hoping he’s given a few more chances to shine before the season is out.

There was a moment in today’s episode, when the Doctor’s exploring ways to sabotage the Thal rocket and the guard begins to come round again, where I wondered if we might get our first Pertwee-style fight scene for the new Doctor. He engaged in armed combat with Styre during the last story, but I thought we may be in for a bit of Venusian Akido here. This is a very talk-y story, though, with a lot of focus being placed on the dialogue. That the Doctor and Harry made it through to the Kaled leaders to have a proper conversation with them really surprised me - I fully expected them to go through some more chasing, capture, and escape. Indeed, there’s a moment when Ronson is told that they’ve made it to the dome and into a meeting with the leads where I fully expected that to be a trick, a way to force him into slipping up and admitting his guilt. I rather like that the Doctor’s approach to stopping the creation of the Daleks is to talk to the people with the power rather than simply go in and fight his way through - it really is something that sets him apart from other heroes.

 

The 50 Year Diary - Day 412 - Genesis of the Daleks, Episode Two

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 412: Genesis of the Daleks, Episode Two

Dear diary,

Since Lis Sladen joined the series with The Time Warrior, I’ve been taking the opportunity to listen to the audio book of her autobiography again. I’ve heard it all before when it was first released a couple of years ago, but having her turn up in the show has given me a real desire to hear all of her anecdotes again. There’s one she tells about this story, and specifically about the filming of the sequence in today’s episode where Sarah Jane and the other prisoners make a break for the scaffolding in an attempt at freedom.

She talks about David Maloney’s desire to make the scene the best that it could be, so while she’d expected it to be a short day filming a simple climb up the scaffolding, they were up and down all day until they had the scene just right. Sladen’s biggest complaint is that the bars of the scaffolding were that bit too far apart, which made it more of a struggle to climb, and even more exhausting than it might have otherwise been. You can see that, watching the finished scene, and she really does have to struggle to reach every new rung during the climb… but it’s so effective! Had the bars been closer together and the actors were able to climb up just like a ladder, it would have made the escape attempt look too easy. As it is, you can really see them having to work for it, and it adds a certain layer of realism to the proceedings.

It also helps that it’s such a lovely set. Right from the first forced perspective shot of a model rocket, the whole room simply works. Once we’re onto film for the climb sequence, it just looks brilliant. The lighting is very well done, the direction makes good use of switching from longer shots to close ups… yeah. It’ all just holds together well. It’s something that’s evident right the way through this episode – the sets and the design are all very well done. I spent a fair bit of time praising the way in which everything held together during The Ark in Space, but then this is just on a whole new level.

Everything is drawn from a very muted colour palette. The entire world of Skaro is painted in blacks, whites, greys, and silvers. Even when we get glimpses of the ground outside, it’s a kind of flat, washed-out brown. Everything from the barren, smokey landscape outside to the reflective corridors of the Kaled bunker conforms to this simple palette, which makes it all the more exciting when the Doctor, Sarah, or Harry arrive on screen (it’s not – ironically – the multi coloured scarf which helps the Doctor stand out, but rather the deep burgundy of his jacket), or when we get our shot from the inside of the ‘incubation chamber’, and the screen is filled with a vivid green light.

It’s almost cinematic in the way that colour is being used here, and you really get the impression that a great deal of work and thought has gone into making it all look just right. The only thing which I’m finding distracting is the Thal’s guns… because they’re the same ones as used by the Drahvins in Galaxy 4! I noticed it yesterday, when the Doctor compares the weapons as being several centuries apart in their development, but assumed they’d just pulled something out of the BBC props store for use in the one scene, but it seems like they’re continuing to use them throughout the rest of the tale, too. I rather like the idea that these props still existed ten years after their initial use, and can be pressed into service once more for the Doctor’s adventures.

When I’m not sat thinking about how good this story looks, I’ve been admiring the dialogue. There’s some really great exchanges scattered throughout these 23 minutes, and I’ve written down far more snippets of conversation than I could ever repeat here in one blog entry without simply replicating the script. All of this great dialogue is helping the cast to turn in some absolutely stellar performances, and once again I find my praise being drawn to our new Doctor. Genesis of the Daleks was the penultimate story filmed during Tom’s first production block (Terror of the Zygons was filmed after this one, but was then held back for Season Thirteen when the start date was brought forward), and you can really see that he’s found his feet by now. I’ve been singing his praises since the very first episode of Robot, but here he’s really managed to get the performance down to an art. The key moment has to be when scientist realises that the Doctor must be from an alien world, and as he spells out the realisation… the Doctor just grins at him. We’ve seen Tom flash his huge smile plenty of times by now, but this is the first time I’ve ever seen it quite like this.

 

The 50 Year Diary - Day 411 - Genesis of the Daleks, Episode One

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 411: Genesis of the Daleks, Episode One

Dear diary,

I’m always very weary of any story which gets described as a ‘classic’ for Doctor Who. You know the type - those stories which can do no wrong in the eyes of fandom, and which always appear near the top of ‘favourite stories’ lists. There’s a few titles that spring to mind (The Evil of the Daleks, Fury From the Deep, Inferno, The Dæmons), including this story. Throughout my time doing The 50 Year Diary, I’ve often found that I don’t really agree with the general consensus (Inferno is the only one of those stories which rated very well with me), and usually the knowledge that a story is supposed to be one of The Very Best is enough to ruin it a little bit for me. Ergo, I’m often let down by the finished product.

Over the years, I’ve found that my friend Nick Mellish and I tend to have some very similar tastes when it comes to Doctor Who stories, and he’s always been of the same opinion as me that many of these supposed ‘flawless’ stories are just that bit over sold. I mentioned to him the other day that I was gearing up for another of them - Genesis of the Daleks - and he replied with some encouraging words: “Ah, now I love Genesis! One of the few that lives up to the hype. Avoided it for years and then watched it: marvellous.” Now, I tend to trust Nick’s opinion on Doctor Who more than anyone else’s, so this was a positive sign. I’d been instantly turned from dreading another six-part Dalek story into actually looking forward to it.

Right from the moment the titles faded away and the episode started, I knew that he was right. For a start, we’re back on good old film for the location footage. I know I’ve moaned on about it an excessive amount recently, what with Robot and The Sontaran Experiment shooting all their exteriors on video, but it really is wonderful to be back in this format again. It just adds so much more depth and atmosphere to the proceedings, and I don’t think that this episode would have been quite so wonderful were it shot on plain old video. Those opening shots of the misty wastelands, into which the gas-mask-clad figures emerge is stunning. Watching them go ‘over the top’ and then get gunned down in slow-motion was genuinely gripping, and then to see the Doctor emerge from the smoke looking just as lost and confused as we are… beautiful.

And then it doesn’t let up from there. While there’s plenty to love from the studio scenes, the highlights of this episode really are all the film sequences. We get a real sense of space during these scenes that I can’t remember ever seeing in the programme before - there’s one shot when the Doctor and Harry make their escape from the Kaled dome that’s shot from a very high angle, and the location seems to stretch out for ages in all directions. Equally, there’s shots early on with our three regulars exploring the landscape and you can see bodies, weapons, and rubble strewn everywhere. There seems to be more effort put into this than we often see - it’s certainly one of the best location shoots that Doctor Who has ever seen.

To some extent, it also adds credence to my complaint in an earlier Dalek tale, Planet of the Daleks that adding in more smoke would help the atmosphere of the tale, because this story is dripping in it. When we switch from location to studio, while the change is still evident, the use of such a thick coating of smoke really helps to make it all feel like one shared world. I was going to say that it reminded me very much of The War Games, not just because it has a similar setting, but because of the style of the direction, and it wasn’t until the end credits rolled that I realised we’ve got David Maloney back behind the cameras. He was also responsible for the earlier Planet story, but I’m much preferring his work here.

I think this may also be the best use of the ‘Dalek reveal’ cliffhanger since possibly as far back as The Dalek Invasion of Earth. I’d planned to say that once again their presence in the title (and being mentioned early on by the Time Lord) ruins their reveal, and destroys a lot of the subtle hints and piecing together that we get throughout the episode - A particular favourite is the Doctor musing that K-A-L-E-D is an anagram of… well, yes - but actually, it means that we’re actually anticipating them once again. Watching Sarah Jane’s reaction at the end as once of the pepper pots follows orders is lovely, and I’m surprised by how pleased I am to have them back, considering how little time we’ve had since their last appearance in the programme.

Once again, and I fear this may become a running theme in the Diary over the coming months, you can really see the darker tone the programme has inherited. I’ve already mentioned the opening shot in which we witness people’s deaths in slow motion, but this entire episode is laced with death. They’re scattered around the wasteland. They’re propped up against the sides of the trenches. Following a gas attack, Sarah Jane wakes up amongst a pile of corpses! Can you imagine a scene like that occurring at any previous point in the programme’s history? Doctor Who is actively embracing the new horrifying image that it’s taken on, and it’s not difficult to see why Mary Whitehouse started sitting up and taking real notice around this time.

The last few Dalek stories have been set against a background of super-intelligent touch-screen cities, jungles where the plant-life is more animal than vegetation, and a futuristic world in which they use gorillas to do their bidding. Here, they’re simply pitted against a completely bleak background of death, and destruction, and there really is no feeling of hope to be found anywhere at this stage. As with the programme itself, the production team are trying to make the Daleks scary again, and if the tone of the story continues on in this style, then there’s a good chance that they may well succeed!

It has to be mentioned at some point, and here is as good as anywhere else. In recent years, it has been suggested that this story represents the first shots of the Time War being fired - thus making the Time Lords responsible for their own later destruction (or not, as the events of Day of the Doctor now show us). Although I’ve not watched the story before, I’ve always known that Genesis involves the Doctor being sent back to Skaro’s past by the Time Lords to avert the Daleks creation, but I’ve never really given it so much as a second thought.

Having now watched through the Pertwee years, in which missions for the Time Lords became something of a common plot device (even though some stories didn’t mention it directly, there was usually enough evidence to suggest their hand in events), it’s quite interesting to see where we’ve ended up. All their previous missions seems decidedly low-key in comparison to this one, and were it not for the presence of the Daleks lurking in the background, the Doctor would have been completely against it. But this now marks the start of yet another ‘loose story arc’ that I’ll be tracing fro now on - the build up of the Time War. Obviously, it wasn’t the intention at the time, but with retrospect, it is hard not to see this as a declaration of war against the Daleks, even if it’s being done in a slightly sneaky way and somewhat under the table.

So… One of those stone-cold, Doctor Who classics… And perhaps the first one to really resonate with me. This episode is the first non-Troughton one to achieve a perfect score - 10/10. I’m stunned by how much I’ve enjoyed today’s episode, and I was really tempted to simply move right onto Episode Two, without even pausing to write up this entry! I’ll be a good boy, though, and hope that the next few days will prove to be very enjoyable indeed…

 

The 50 Year Diary - Day 410 - The Sontaran Experiment, Episode Two

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 410: The Sontaran Experiment, Episode Two

I really like the idea of Sarah watching our Sontaran friend emerging from his spaceship, and removing his helmet, while thinking that it’s Lynx. As she rightly says here, it can’t be him, because she saw him blown up during her first trip in the TARDIS, but it creates such a great moment of surprise, and it’s a shame again that the title of the episode somewhat gives the game away. But then the cliffhanger is already ruined to some extent by the fact that the Sontaran mask has been redesigned since their first appearance a year earlier.

There’s nothing wrong with this new mask – indeed, it’s quite well done once again – but it just doesn’t have the same impact as the last one did. It looks more like a mask than before, and that takes away from the effect a little bit. It also somewhat spoils the idea that the Sontarans are all identical (which is something done so nicely when we’re put in contact with the general via video phone), and Sarah’s assertion that he’s so similar comes across a bit silly. This was the main topic of conversation during our earlier commentary for the episode, where both Alex and me lament the difference in the mask.

Thankfully, though, Styre is just as ruthless as Lynx – if not more so. There’s a lovely moment here where he spits at Sarah with ‘You are nothing, do you understand? You are a mistake and therefore must be eliminated’. He’s very brutal, perhaps more than we’re used to in the series – it seems to be another sign of the programme moving into slightly darker territory with the introduction of a new producer.

The biggest cause for disappointment for all of us watching on the commentary from 2009 was Styre’s pet robot. The spaceship crew all live in fear of this machine (more because of what happens after it’s captured you, in fairness), but it’s just a bit… well… pathetic, isn’t it? The moment when the Doctor manages to disables the machine and I tell my assembled friends that the moment was ad-libbed on location, because the robot prop collapsed during the middle of a take, and they decided to incorporate the footage into the story. Perhaps unsurprisingly everyone simply replied that it seemed likely! I told them that I’d been joking, but the general consensus seemed to be that the prop probably did fall apart more than once during the filming!

Perhaps the thing that people know most about this story is that Tom Baker injured himself during the filming, and broke his collar bone. Of all the places to do so – the middle of Dartmoor is probably about the furthest away from a hospital that he could have been! I don’t think it impacts on his performance greatly, but if you know what you’re looking for, it’s quite obvious which scenes have been filmed after the accident, because his arm is always held in the same position! If anything, it makes the final shot of him departing in the middle of the transmit ring all the more unusual, because he’s able to use his arms freely again, having held it static for such a long time!

Ultimately, I think The Sontaran Experiment has just suffered from that age old issue – I’ve spent a while expecting to not really enjoy it all that much, and so no matter what it did, I was never going to be impressed. It’s not a bad story, by any means, but it’s neither here nor there, and it’s simply failed to really capture my imagination.

It’s been a bit of an odd experience over these last six episodes, listening to commentaries featuring myself on them, among a few friends. I’m most surprised by just how little we actually say in the recordings – I don’t know how I ever really thought that they would be of much interest to anyone. I know my plan at the time was to write them up and do something with them, but I can’t imagine that being very popular! I’m really glad that we’d done it, though, because it’s been a really interesting experiment to copare my thoughts from five years ago with what I think now.

It’s strange just how much I’d forgotten about these stories in the last five years – I couldn’t have told you how The Ark in Space ended, for example – and even stranger to see just how much I’d missed first time around. I’m still most stunned by my earlier assertion that the lighting on Nerva was rubbish, considering how much I loved it this time around! I suppose it brings to mind some of the Eleventh Doctor’s final words, where he talks about the way we all change, right the way throughout our lives. If anything, it makes me keen to repeat this ‘complete marathon’ experience a few years on from now, using The 50 Year Diary as my chronicle of what I thought here and now: I’d love to see how my opinions on Doctor Who stories change in the future…

The 50 Year Diary - Day 409 - The Sontaran Experiment, Episode One

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 409: The Sontaran Experiment, Episode One

Dear diary,

The episode select screen seems so bare with just the two episodes on there - we’ve not had that since The Rescue almost a full year ago! It’s also been worrying me a little bit as today’s worn on, because I really couldn’t remember much caring for this story. In my mind it was a bit throwaway and dull, with a spaceship crew that I wasn’t keen on, and a robot design that just didn’t work for me. It’s one of those days - the first one in a while, actually - where I wasn’t excited to be sitting down for my dose of Doctor Who.

Which is odd, frankly, because I really rather liked the last story to feature a Sontaran, and this marks the first time they’ve gotten their name in an episode title, which makes them officially one of the Doctor’s most popular foes. Unfortunately, as the episode wore on, and I realised that we were heading for a cliffhanger reveal (in true … of the Daleks fashion) of the titular monster, I couldn’t help by feel even more that the story boils down to very little. The return of a Sontran was planned partly because they had the costume in the cupboard (although they’ve had to recreate the mask, so it’s not quite the cost-saving measure they’d planned), but also partly because of how well received they were last time around, so it seems a shame to have all the Sontaran action confined to a single episode.

I think we’re in one of those awkward situations, where I’ve spent such a long time thinking that I’ll probably not like a story, that no matter how much good there is, I just can’t get myself interested in it. I started my notes today by commenting how nice the opening tracking shot across Dartmoor looked… and then went on to wish that they’d shot this entire serial on film (like Robot, it’s been recorded on video), because everything comes across looking just a bit flat. I visited Dartmoor a few years ago, and my main memories are driving down the roads where you’ve just got these stunning vistas laid out before you. It’s a beautiful landscape, and while some of the bits we see cropping up in this episode are quite nice, it seems a shame that so much of the story feels very confined, and you don’t get a real good look out across the vistas very much. Filming miles and miles away from anywhere should mean that they use the remoteness of the location as an advantage, but that feeling just doesn’t come across.

My then-partner sums it up best on our five-year old commentary for this episode, when Sarah says that this doesn’t feel like Earth at all: ‘she’s obviously never been to Dartmoor’. I then go on to muse that if they’ve supposedly landed right in the remains of Piccadilly Circus (it’s not clear wether the Doctor is joking or not), it would have been nice to see one or two bits of evidence. Something like a crumbling Nelson’s Column in the distance, for example, just to make the landscape feel that bit more alien.

So: time for something a bit more positive, I think. As younger me points out, I rather like the ‘serial’ nature of Season Twelve, where very story leads directly into the next one. There’s a very clear through-line from Robot (or, if I’m honest, Planet of the Spiders) to around Terror of the Zygons - though I think I’m right in saying that some of the other Season Thirteen serials link back in, coming one-after-the-other, too. It’s not something I’d like all the time, as it has the danger of making the Doctor’s life seem that bit shorter, but it’s nice as an occasional one-off. It also means that this story retains several links to the previous one, leading to…

The ‘legend of the lost colony’. I love this whole idea. Nerva has been floating about in space for 10,000 years now, carrying a subset of the human race. It’s completely over-slept the alarm clock, and has been all but forgotten about. Vira is somewhat thrilled to learn during The Ark in Space that other pioneering attempts from her own time to reach out into the stars proved successful (even if they did lead to the war against the Wirrn), and it’s great to see some of these other areas of humanity, to whom the Ark is a legend older to them than even the Bible is to us. Of course it’s slipped into obscurity and myth. It also leads to my favourite line from this episode: ‘you’ve done nothing for 10,000 years, while we made an empire!’

The only bit of all this which doesn’t quite ring true with me is the idea that Nerva has never been found. The model shots in the previous story showed it floating in space not all that far from the planet - even if this group of humans managed to miss it on their way in (they may have landed on the wrong side of Earth, but even then you’d expect their ship to pick up on it), surely enough people must have seen the station over the millennia? Maybe Nerva sightings in the future are the same as bigfoot sightings currently, and everyone considers them to be fakes? I’ve got images of people creating a Nerva model out of washing up bottles and stringing it up next to a photo of Earth to try and fool their friends…

I’d completely forgotten this whole aspect of the story, but it’s a lovely little link, and adds a nice dimension to the whole Ark storyline. Harry goes on to mention that they’ve got no end of animals and fauna aboard the station, ready to bring back to Earth, and I’m somewhat surprised that we’ve never had a follow-up story showing the inhabitants of Nerva starting to re-establish the Earth. Big Finish have given us stories set during the Wirrn Wars and which return the Doctor to Nerva… maybe a follow-up could be the next story they tell us in this ‘era’?

 

The 50 Year Diary - Day 408 - The Ark in Space, Episode Four

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 408: The Ark in Space, Episode Four

Dear diary,

I’ve been trying to find the right word to describe what we’ve seen of this story (and thus, of the Hinchcliffe producership so far), and I think I’ve worked it out today: it’s confident. I thought it by about the time Episode Two of Robot had rolled around, but it’s hard to think that Tom Baker hasn’t been playing this part for years already. He’s just so sure of the performance, and I’m completely sold on his version of the Doctor.

It also has to be said that the style of the show has already started to assert itself very strongly. This is possibly the biggest tonal shift that we’ve seen the programme attempt up to this point, and yet it’s doing it with such bravado – there’s no gentle easing into this new format of Doctor Who. I was mentioning this to a friend earlier today, who pointed out that it’s no greater change than any other regeneration. But I think we’re prepared for the way the Troughton yers begin because The Tenth Planet is something of a template for his era, and we’re prepared for the Pertwee years by the presence of stories like The Web of Fear and The Invasion. Although the Third Doctor had started spending more and more time away from Earth as his era went on, the adventures he had out in space were of a different style to the one we’re seeing here. To put it bluntly, they simply weren’t as scary as this story.

The Wirrn themselves are a great design, and I’m really surprised that they haven’t turned them into an action figure yet – they’d look great on the shelf! My only complaint about the costumes is that they’re too dry. That sounds a bit odd (and it probably is), but it feels as though they should be at least shiny, if not slightly dripping with goo. It’s not the first time that I’ve felt this – I thought the same about the maggots in The Green Death, a great design, but one that’s let down by the fact that they’ve been so obviously created for a television programme, and they don’t seem to have anything making them look a bit more… natural.

I’ve seen it said over the years that the one moment which lets this story down is the Wirrn crawling their way across the surface of the Ark in an attempt to reach the rocket. I’ve known, therefore, that such a shot was coming up, and I’d been sort of dreading it. With everything else pulling together so well in this story, I didn’t really want it to be let down in a few seconds of screen time during the final episode. I rather liked the shot, though! It’s certainly not the worst model effects that we’ve ever seen in the series, and it may even be the moment where I find the Wirrn most effective! When it comes to the full-size models, younger me on my commentary recording makes a point of describing them as not being the most mobile of creatures, and I think that thought holds true now. It’s a lovely design, but a bit… bulky. No wonder they couldn’t follow Sarah down the ventilation shafts!

I think I sort of lost track of what was happening at this point, because when the Wirrn suddenly find themselves blasted off into space I was completely stumped by it. I’d not registered that they’d entered the shuttle at any point, and figured that they were just making their way towards our heroes to try and cut them off before… oh, I don’t know. I’d just sort of lost my place with things. Still, it’s nice to see Noah retaining some of his human spirit right until the very end of the story, and that’s something that younger me had picked up on, too (even if I’d forgotten all about it by the time of this viewing).

It’s been interesting listening to the commentary I recorded for this story five years ago as I’ve made my way through – mostly because I’ve completely forgotten everything about it. I’ve know that I’ve watched this story right the way though to the end before now – and I’ve even got the audio recording to prove it! – but I couldn’t have told you anything about what happens at the end here. I’ve got a commentary recording for The Sontaran Experiment, too, and I’m hoping it continues to be a novel experience for me to listen back to them. I’ve been struck so far by how little we’re actually saying on the commentaries, but there’s steadily more coming out with each passing episode. I think we’re finding our feet with the process as we go along!

At the end of today’s recording, the title credits play out and I make a point of asking Alex and Stevie what their favourite moments from the story were. Alex’s answer is jokey to begin with (he plumps for the little blue ‘splat’ effect when a gun is fired early on) before deciding that he was rather fond of the Doctor teasing Sarah Jane in this episode to spur her on in a moment of need. Stevie simply liked the moment when the Doctor got punched for his own good, and I decided that the best bit of the story was that moment in Episode Three where the door opens and we find Noah in a half-infected state on the other side.

While I’d still single that out as being a fantastic moment in the story, I think I’d like to change my answer now. This time around, I was more struck by Kenton Moore’s earlier performance in Episode Three, where he wrestles against his infection to try and warn Vira that she needs to get off the Ark while she still can. It still stands out as being one of the greatest performances we’ve seen in the programme, and I’m surprised I didn’t say much more about it the last time I watched the story – I think I was too busy looking at the bubble wrap!

 

The 50 Year Diary - Day 407 - The Ark in Space, Episode Three

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 407: The Ark in Space, Episode Three

Dear diary,

The Ark in Space has always been something of a fan-favourite in the world of Doctor Who. Russell T Davies has cited it as being his favourite ‘classic’ story, while Steven Moffatt has hailed it as the best of all the Tom Baker stories (perhaps a worrying sign for me, so early into his tenure - will it all be downhill from here?), and for as long as I can remember, it’s been one of those Doctor Who classics that you just can’t fault.

I think a lot of the praise for this has to be given over to the story’s casting. There’s a scene early on in this episode in which Kenton Moore, in the role of Noah, has to struggle against his spreading infection, and try to send a warning to the rest of his waking crew to get them away from the possible danger. The only way I can think of to describe the scene is that we’re watching a proper actor at work - he’s taking it all very seriously. If you can overlook the bubble wrap hand that he’s sporting throughout the scene, it’s possibly the closest to real drama that we’ve seen the programme attempt in a very long time. It’s being played as scary, and serious, and even though Tom Baker grins his way through much of the episode, it’s got a far darker tone than anything the show’s given us since probably Season Three.

Later on, the Doctor and Vira encounter him in the corridor, and he’s been significantly more overtaken by his Wirrn persona. The design on this ‘phase’ looks significantly more effective than the earlier hand effect, and it’s possibly the scariest bit of the transition. While the hand and the larvae don’t really work for me (though bubble wrap would have seemed more alien in 1975, by 2014 it’s just that bit too common place to really have any effect on me!), this half-converted Noah really does do the trick. This same scene has a bit of awkward editing where they’ve cut a line of Noah begging to be killed, and based on the performance being given elsewhere in the story, I’m not surprised it was cut.

It’s amazing, too, how simply changing the lighting setup can make this previously huge, white, open set feel small, and claustrophobic. It’s like getting up in the middle of the night in a house you know so well… and suddenly finding it strange and not how you remember it. I get the sensation whenever I visit the farm back home - I grew up in that house for 17 years before moving out, so I know it like the back of my hand, but if you get up in the middle of the night and make your way to the bathroom with very few lights on, the whole place feels different. It’s great to see this being put into practice with the Nerva set, and especially after I spent so long yesterday praising the way the set looks. Here, we’re given a whole different viewpoint on the place.

Ironically, listening to the commentary I recorded five years ago for this episode with some friends, only one thing stood out to me. Once I’d heard it, I couldn’t really pay much attention to anything else, because I’d somewhat shocked myself! My then-partner points out how the bubble wrap looks so much better when it’s being used for the half-converted Noah compared to when it was just on his had. I thought that was a fairly good observation, and indeed I’d made the same one in my notes while watching today. But then younger me cut in on the commentary; ‘I don’t think the bubble wrap is helped by the fact that this set is lit like it’s from the mid-1980s’.

Within Doctor Who fandom, it’s generally accepted that during the mid-80s (Some of Colin Baker’s stories, and Warriors from the Deep in particular) suffer because they’re lit so bright and flat throughout. There’s not much room for atmosphere, because you can see every nook and cranny of the set. I’d not really considered the fact that his set is being given the same treatment during my current watch-through, though as Alex then says on my old commentary: ‘I think it’s supposed to be lit like this, though. That’s part of the style’

He’s right, of course, and I’m surprised that younger me was so dismissive of the lighting during that watch. I can’t remember ever being anything less than loving of this set (especially when - as I said yesterday - I used to use it as my default ‘space’ set when thinking of Doctor Who), so I was really surprised to hear myself saying this. Assuming it is me, of course. I’m convinced that I don’t really sound like that, but Emma assures me that my voice hasn’t changed in the last five years. She seems to find it quite amusing.

Despite my shock at the statement, it’s exactly the kind of thing that I was hoping for these recordings to throw up. I genuinely can’t recall ever thinking that about these sets, and as my entry yesterday praising the design of the Nerva station will attest, it’s certainly not something that I’d agree with now. I love seeing just how much my opinions have changed over the years, and I can’t wait to revisit some stories in the future and see how my views then compare with the ones I record in this diary now. It’s a great time capsule, and I really am enjoying this chance to revisit my earlier feelings on things…

 


The 50 Year Diary - Day 406 - The Ark in Space, Episode Two

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Doctor Who is the world’s longest-running science fiction programme. Oh, sure, it’s not been in constant production for the whole time since An Unearthly Child first appeared on the nation’s screens, but it’s been around, in some shape and form, since 1963. Indomitable, as the Doctor might say. That’s a brilliant thing! Wonderful! Fifty years of time and space, all seen through the unique prism of our favourite time-travelling madman in a box.

But the sad fact of the programme running just so long is that, more and more, we’re going to be saying goodbye to those pioneers who’ve worked on the series on both sides of the cameras. It’s always the same when someone connected to Doctor Who passes away - whispers ripple out through fandom, and you all find yourselves stopped for a second while you think of all that a person has done to contribute to the ever-growing legacy of the series.

It was with sadness that today I was told of Christopher Barry’s death. As a director, his is one of the more well-known faces. Indeed, I only finished watching one of his stories, Robot, a few days ago. Barry really was an integral part of the programme’s life, from almost the very beginning. He was the second director to work on the fledgling series, coming in to direct episodes of The Daleks way back in 1963. He’s the man responsible for that iconic image of a plunger creeping into frame, backing Barbara against a wall as she becomes the first person to ever set eyes on a Dalek.

And it didn’t stop there! Christopher Barry returned to direct nine more Doctor Who serials over the years, notching up work with each of the first four Doctors. He was the creative vision behind The Rescue and The Romans in Season Two, The Savages in Season Three (still right up towards the top of my ‘most wanted’ list of recoveries - the telesnaps make the direction look stunning), The Dæmons, The Mutants, The Brain of Morbius, and The Creature from the Pit. Years later, he’d even return to helm the Great Intelligence’s third attempt at world domination in the spin off video Downtime.

But perhaps more crucially, he was the director for both The Power of the Daleks and Robot - two of the first three ‘first’ stories for a new Doctor. Throughout the various tributes and obituaries that have been popping up across the internet today, that’s the fact that people seem to be bringing up the most. It’s as though it’s taken us all by surprise - I’d certainly not really considered it before - this is the man who helped to ease in Patrick Troughton and Tom Baker, two of the most popular Doctors ever.

It’s always a shame to say goodbye to someone who holds such a vital part in our favourite show’s history, and Barry has always seemed so alive in his appearances across various special features on the Who DVDs - a man filled with a real energy, and a genuine love for the work he did on the programme, even after all this time. I’ve still got several of his stories to go, so it’s not as though I’ll never see his work again, but for now, I’ll be raising a glass to one of Doctor Who’s true greats as I bid him a fond farewell.

Day 406: The Ark in Space, Episode Two

Dear diary,

Back when Character Options first started releasing a wide range of Doctor Who action figures, I used to be really in to taking photographs of them. I’d spend hours sorting out the lighting and posing them into scenes just to take that perfect shot. I even went as far as to commission a model TARDIS console room in the right scale, with light up walls, and a working scanner screen, just so that I could take some photos on there. But when I first started on this kind of thing, all my photos set the TARDIS down on some futuristic space station, where the Doctor and Rose were being menaced by some Cybermen (hey, they were the best figures available right at the beginning. They even travelled with K9 for a while in my images, simply because he was a great figure).

The types of sets that I built for those earliest photographs were all based around one simple template – the Nerva station from this story. It’s your traditional ‘sci-fi’ set, isn’t it? Lots of large, white, sterile spaces. Big banks of technical looking equipment, all of which really boiled down to a load of buttons arranged in neat little rows, or in blocks. It’s such a typical ‘space’ design, that even the TARDIS console used elements of it by the time you reach the mid-1980s.

And yet, I don’t think that Doctor Who has ever done it better than they do here with Nerva. It’s the same kind of style that the programme was fond of back in the 1960s (it brings to mind images of the Wheel), and returning here for this story suddenly feels like Doctor Who heading out into its old familiar territory. The crowning piece of the design has to be that curved corridor, with the big windows thorough which you can see out into space. Younger Will, on the commentary for this episode, describes it as ‘a typical Doctor Who corridor… but it really looks good’, and I have to confess that my opinion has never really changed about that. When I talk about making those little sets for my action figures to pose in, it’s this set that I was always trying to recreate, but instead of using any kind of ‘space’ backdrop, I used to use bright green paper to simulate a ‘green screen’ effect that I could key out later once the pictures were uploaded to the computer.

The only issue that I have with this set is that I’ve never quite figured out where it’s meant to be within the Nerva space ship model. For a long, long time, I assumed that it was that outer ‘ring’ that runs right the way round. But when you look closer, that clearly isn’t the case. A quick check of some images on Google highlights that it’s actually an inner ring, behind that large one on the outside… so then why don’t you see the larger ring through the great big windows? They just stare out into the starry image of space. The fact that they don’t quite match up irritates me more than it should, and I think that’s simply because both elements are so nicely designed in their own way.

Younger me goes on to point out just how great the Solar Stacks look in comparison to the rest of the set. On their own, there’s nothing really all that special about the set (although the use of different levels with the steps is quite nice), but it provides such a stark contrast to the rest of the station that it really does stand out. It feels just like the kind of run-down, rough setting that several of David Tennant’s futuristic stories are set in (I’m thinking especially of something like 42), and it helps to highlight just how much of an artifice the nice sterile effect really is. Young Will goes on to point out that it’s a shame the close-up of the creature trapped in the machinery - which actually looks quite good, even if it is a mass of writing bubble wrap with an eye in the centre - doesn’t match up with the longer shots of it seen while the Doctor, and later Noah, explore the area.

Quite apart from all the set design and the model work, I’m really liking the costume design for this one, too. It’s one of those occasions where everything feels really cohesive, and you get the impression that all the various design teams have really been communicating with each other. The beautiful white outfits fit in really well with their surroundings, and Sarah Jane looks rather wonderful in hers! I love that they’ve all got different colours built into them to denote rank - its a very Star Trek idea, but it works beautifully here.

Although we’ve had several instances before where all the elements of design on a story really pull together to make a great looking final product, I think this may be the best example that we’ve had to date. I can’t find a great deal to say negatively about the design aspects of this story, and that’s always a good thing.

 

The 50 Year Diary - Day 405 - The Ark in Space, Episode One

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 405: The Ark in Space, Episode One

Dear diary,

Before I start on today’s entry, a little side-step. During the 2009 break from a regular series of Doctor Who, I decided that the time had finally come to sit down and do a marathon. I’d managed to collect most of the stories by now on a combination of DVD and VHS, and with no 13-week run to look forward to, the time finally felt right. There was no way I’d manage to do it alone, though. At the time I was sharing a flat with my then-girlfriend, and she’d expressed a vague interest in the classic series, even watching a few stories with me from time to time. Along with her and my friend Alex - a massive Doctor Who fan whom I’m lived with briefly when first moving out from home - we decided that we’d start from Robot and work our way forward. The reasoning was simple: we didn’t want to have to deal with all those missing episodes, and Alex hated the Pertwee years as much as I did. It was only logical that we should start from Tom Baker and work our way forward.

We decided that we’d do six episodes a week, all in one go on a Friday night. Alex would come over bearing takeaway, or we’d cook, and then we’d all settle down to enjoy that week’s episodes and discuss them aloud. In the corner of the room, my laptop would record everything that we’d said, so that I could write it up later on that weekend to post on one of the Doctor Who forums as a record of my experiment. I’ve always been the same - I can’t just sit and watch a marathon of a TV show, I need to document it to feel like I’m actually doing something with my time that’s vaguely meaningful.

Over the next couple of weeks, we made our way through Robot, The Ark in Space, The Sontaran Experiment, and the first two episodes of Genesis of the Daleks. Things all sort of fell apart after that. I can’t remember why we didn’t keep on watching (though I have a vague memory that Alex moved house around this time, so popping over on a Friday night became a more mammoth task, involving several busses instead of a 20-minute walk), but I know we only made it that far. I continued on with Revenge of the Cybermen and Terror of the Zygons, but then found myself giving up, too. And you wonder why I didn’t expect to keep The 50 Year Diary going for this long!

And now, here we are, five years on… and I’ve forgotten pretty much everything. I can’t remember a single word that we said about the stories, or really how I felt about them at the time. All of it, completely lost as my mind has moved on to think about other things. I know I wrote the first couple of stories up, but I don’t think I ever did anything with those write-ups. It wasn’t until starting on Robot the other day that I could even remember doing this mini-marathon. But then I got to thinking. I’ve still got the laptop I had at the time, because it’s the computer I take whenever I go away somewhere, so that I can still watch episodes for the Diary.

A bit of digging around in the various long-forgotten files of the hard drive turned up five separate audio files. ‘Ark 1’ to ‘Ark 4’ and ‘Sont. Exp.’. A quick play through iTunes revealed that these were the original recordings we’d made all those years ago. Then it sparked up a bit of a mystery. ‘Ark 1’ was only 16 minutes long, and clearly started right in the middle of the first episode. There was no sign of Robot, and nothing for Genesis, either. I was rather liking this. It was all a bit like archaeology, trying to figure out what had happened to these other recordings - where had they gone?

Eventually, I realised. There’s no recordings for Robot, because we never made any. For that first serial, I wrote out in shorthand all the things we were saying so that I could write them up later. It was obviously somewhere early in the first episode of this story that I realised we could simply be recording our thoughts directly into the computer. As for Genesis… that’s still a mystery. I could just be that I’ve deleted the files over the last five years, and these five have somehow survived the cull, like a crop of missing episodes turning up in deepest Africa. It could be that they’re on there something but listed under some obscure name (my digital filing system has never been particularly easy to follow). Or, it could be that I’m mis-remembering, and we never even made it as far as that, stopping after The Sontaran Experiment.

Anyway, I’m excited by this find, because it means that - for the next six episodes, I’ve got a rather unique perspective on these stories: my own. When we recorded them, I’d just turned 20, David Tennant still had three episodes to go before handing over the TARDIS key, there were 106 missing 1960s episodes, I’d yet to move to Cardiff, and I never dreamt that I’d actually do a proper marathon, day by day, that everyone could read. I’ll be spending the next few days watching the episode through, writing down my thoughts, and then doing it all over again but with younger me on the commentary track. I want to see how much my opinions of these episodes - and of Doctor Who in general - have changed in the last half-decade, and I hope you’ll put up with having two of me around for a week or so!

- - -

It’s funny that, over the course of the last few Jon Pertwee seasons, I’ve been pointing out more and more instances of 1963-style opening episodes. It’s usually in a Terry Nation script (Planet of the Daleks and Death to the Daleks both spring to mind!), but we’ve seen a bit of a return to the idea of the TARDIS crew being alone for much of the first episode. I’d thought that they were just strange leftovers from a bygone age, and caused simply because Terry had been invited back to the programme after such a long absence. I’d completely forgotten that not only does this episode adhere to that format, but it actually doesn’t feature anyone other than out three regulars.

Oh, sure, there’s a pre-recorded voice being played while Sarah undergoes her cryogenic suspension (she must be getting used to that by now, having woken up from a supposed long sleep during Invasion of the Dinosaurs), and we get both a small, slug-like creature and the Wirrn in the cupboard, but there’s no other characters present aboard Nerva at this stage who haven’t arrived there in the TARDIS.

In some ways, it’s quite reminiscent of The Dead Planet - that first episode of The Daleks - where much of the threat comes in the form of sliding doors closing behind the characters, or the potential that there could be some kind of threat lurking just out of sight around the corner. It’s quite a laid-back episode, but it never allows itself to be boring in any way. I’m also impressed by the way that it once again separates the Doctor from Sarah Jane: it’s very much about him and Harry exploring the ship, and for a large portion of the episode, Sarah is completely out-of-the-loop.

It’s lucky, then, that Harry is such a loveable character. I don’t think I’ve ever seen anyone say a bad word against either him or Ian Marter, and this is the perfect showcase for all that is right with him. He sparks so nicely with Tom Baker, and it’s not hard to picture those anecdotes Lis Sladen used to tell about the pair scurrying off into a corner at rehearsals, making notes and plans for their own Doctor Who film. The Doctor is, on the whole, quite dismissive of Harry at times, but you always get the sense that it’s done with a sense of kindness and gentle teasing - the Doctor likes him, really.

It turns out that he’s rather fond of human beings on the whole, really. I try not to quote big lots of text, but I think this may be one of those times where I can allow an exception to the rule;

THE DOCTOR
Homo sapiens. What an inventive, invincible species. It's only a few million years since they crawled up out of the mud and learned to walk. Puny, defenceless bipeds. They've survived flood, famine and plague. They've survived cosmic wars and holocausts. And now, here they are, out among the stars, waiting to begin a new life. Ready to out sit eternity. They're indomitable. Indomitable.

It’s such a lovely speech, and it’s delivered with real charm, too. The direction, the timing… everything really pulls together to make it a real highlight. I’ve always known about it being here, but I’d completely forgotten just how much there was to it. I could recall the Doctor describing us as ‘indomitable’, but I had no idea just how lovely everything leading up to that moment is.

As for what the ‘me’ of five years ago had to say about this one… I’m missing all the earliest parts of their arrival because of starting the recording so late in to the episode, but I tend to pipe up throughout the rest of the time. It’s perhaps surprising that there’s two things I point out during my earlier observations that I considered writing down on this watch through, too, before completely disregarding them and deciding against making the note.

The first was the pulsating light in the wall when Sarah Jane is about to be teleported off for the suspension process. The second comes not long after, when the voice starts to play out, welcoming her to Nerva and preparing her for what’s about to happen. Upon being greeted, Sarah gives a small, drowsy wave into the air. It’s such a small moment, but it really is rather lovely. I’m not sure why I decided to ignore it this time around - despite it raising a smile - but it’s interesting to know that it did catch me on both occasions.

I’m hoping that with tomorrow, and the first ‘full length’ commentary for an episode, I may continue to see these little things that I’m not bothering to really make a note of anymore. It’s interesting to see how my observations have changed over the years, and it’s great to be watching that change in the first proper story of a bold new era for the programme.

Surely, though, the noise on these recordings isn’t really what my voice sounds like?

 

The 50 Year Diary - Day 404 - Robot, Episode Four

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 404: Robot, Episode Four

Dear diary,

‘Gentlemen, I’m afraid I have some bad news. This room is surrounded by film!’

There was a time, when I used to just dip in and out of various Doctor Who stories at random and not pay a great deal of attention to them, when I never really noticed the difference between film and video tape. I mean, I was always aware that the majority of location scenes were shot on film, while anything built in a BBC television studio was more often than not videotape, but I never really noticed it. Since starting out at the pace of an episode a day, I’ve become much more accustomed to the differences, and I’ve grown rather used to noticing when a fight or special effect is about to kick off, because we switch to film (which usually - if not on location - means we’ve moved to Ealing film studios, where they can better execute their plans).

It reached the point once we’d switched to colour in the Jon Pertwee years that I couldn’t help but notice just how much better the series looks on film. Oh, I’ve banged on about it enough times over the last few months, so I won’t do so again here, but suffice to say I’m a total film convert. I find it ironic, therefore, that the very first Third Doctor story is the first Doctor Who story to be shot entirely on film, while the first Fourth Doctor story is the first to be shot entirely on video! They even use the same location for bits of the outside filming!

The purpose for switching to all-video here was to cover several bases. For a start, Outside Broadcast (OB) cameras were now becoming lighter and easier to take out on location. Not for the first (or last) time, Doctor Who became something of a testing ground for a new technique and the idea of shooting all-video was carried forward by Barry Letts into some of his later positions within the corporation. By the time we reach Season Twenty-Three, John Nathan-Turner will take the decision to shoot everything in this format as standard, which is why the picture quality of some later McCoy stories doesn’t always hold up.

The second reason for this new approach to production was to try and better integrate several of the effects shots in this episode. In the making-of feature on this story’s DVD, Barry Letts talks about how poorly the shots of the models from Invasion of the Dinosaurs, shot on videotape in the studio, match up to the location footage shot on film. I can’t say I really noticed it as being a problem at the time, but some of the shots used to highlight his point do seem to make it rather stand out. Therefore, in his last story as producer, he decided to try and blend things better. Trying to do the shots of the robot growing to an enormous size and stomping around the Think Tank grounds in film would be possible, but it would take a lot of time, effort, and money. It’s easier therefore to do the whole thing on video tape, so that the CSO shots in the studio can line up better with what they’ve filmed outdoors.

I’ve seen people over the years really knock the sequences with the giant robot from today’s episode, and while it’s true that they don’t always work, there’s an awful lot that they do get right. The shot of him growing to the larger size, for example, is great! It’s almost a good excuse for shooting the whole story on video…

…Except that it does lend the whole production a far cheaper look than usual. I’ve not mentioned it until this final episode because I didn’t really know how to sum up my thoughts on the way it looked, but then it clicked for me today - it has the same kind of finish as a ‘fan film’. There’s a few sequences - especially looking back - of people walking and talking out on location, and it has the same feel as something like Downtime did in the 1990s. That’s nothing against fan productions (there are some fab ones out there!), but they do have a look about them that instantly tells you it hasn’t been made in the same way as regular Doctor Who. We’ve got another ‘all-video’ production later in the series with The Sontaran Experiment, so I’m keen to see if it works any better for me there.

I think I’ve realised today why it was I couldn’t get a handle on this story in the first couple of episodes. I suggested that it was a hollow shell in which Tom Baker could find his feet, but that was proved wrong in the second episode, when he’s already settled in and the story starts to take a more central place. It then turned quite dark in episode three, with lots of Nazi imagery inside the SRS meeting, before all our human enemies have fled, and we’re left with a monster story which takes heavy inspiration from King Kong. Robot as a story shifts it focus a lot more than some others do, and that’s made it difficult for me to really get a grip on.

That’s not to say I haven’t enjoyed it, though. A lot of that praise has to be given over to Tom Baker, who has so completely settled himself in as the new incarnation of the Doctor. Had this been a Pertwee story, I don’t think it would have rated as well with me. That’s not trying to take away from Pertwee, but a lot of the fun and charm in these four episodes is hinged on the fact that we’ve got a new leading man who’s bubbling with a very different kind of energy to the one I’ve been used to for so long.

And with the first two instances of ‘would you like a jelly baby?’ - a phrase which in many ways is so integrated with the programme, and yet I realise someone asked me today and I completely failed to make a Who-related joke! - we’re off into time and space again. I’m in for a long, long, haul with this new Doctor, so I’m thrilled that he’s made such an impression so quickly. Frankly, I can’t wait to see where we go from here!

 

The 50 Year Diary - Day 403 - Robot, Episode Three

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 403: Robot, Episode Three

Dear diary,

It’s odd that as I write this, the actual K1 robot is stood less than a mile away in the Doctor Who Experience. I visit far more often than I should – it’s the stockist of Doctor Who Magazine and the new DVD releases closest to my front door – but I love seeing so many of the original props and costumes up close. The K1 robot has always been something of a highlight, because it’s such a fantastic design. The prop has been through a number of hands in the last 40 years, and it’s not always looked as good as it does in the original story (I believe for a while, it had been painted a horrible matt grey over the reflective silver!), but the restoration work that’s gone into it for display in its current home is flawless.

A few years back, when they released the first wave of ‘classic’ figures, they each came with a part of the robot, which could be clicked together to build up the full model, which would tower over the other figures. I loved it – bought the entire wave on day of release, and snapped together the large figure as soon as I got home. For ages, it remained the only figure out on the shelf which wasn’t one of the Doctors. Since moving a few months ago, all my figures have been up in the loft, but I do miss having it out on display.

There’s so much to love about it, but for me the best bit is the shoulders and the head. There’s something about the chunky design which really appeals, and the sudden flash of red across the creature’s ‘face’ is a lovely touch. When it lights up, it really does look great. The only thing that really lets the design down is the wrists. You’ve got those big, chunky shoulders, which lead down to thick metal arms, at the end of which are these strong vice-like claws… connected by a tiny, thin little bar, which wobbles around quite a bit when they’re required to move. The problem is really highlighted during a sequence in Episode One when we follow the shadow of the robot across a wall, in full on Nosferatu mode… and those tiny wrists really look a bit pathetic in amongst the rest of the body. They also have a tendency to bend a bit when he’s forced to hold anything - like the disintegrator gun at the end of today’s episode. It somewhat lessens the effect, but it’s a minor flaw in an otherwise great design, so it’s easy enough to ignore, I guess!

There’s something really quite great about the creature in this episode - it’s the first chance we’ve had to really see it in action. First fighting the Doctor at Kettewell’s place (and what a great opportunity for Baker to show us just how nimble he can be! All those worries about needing to bring Harry in as the ‘action man’ were unfounded!), and then against UNIT out in the open. Things are slightly let down by the moment the robot is seen being helped down a few steps, in case he goes toppling over, but aside from that, it’s all pretty good.

I’d forgotten just how like the Nazi’s the Scientific Reform Society were made out to be in this tale. I’ve always known that there’s a general resemblance in the style of the uniforms and the way that their rally is held, but I’d never before realised that it was so overt. There’s not much room left for ambiguity - these are the bad guys, because they’re designed to resemble a - relatively recent, at the time - political party that was widely feared. It’s great, though, because ti shifts the story into a whole new direction. Up to now, things have all been rather cosy, with the Doctor settling in and UNIT running around trying to work out what’s happening, but now things are getting serious.

You’ve got a full-scale battle, the likes of which we’ve never really seen UNIT get in to. Sure, there’s only a few soldiers involved which lessens the scope, but the Brig has even layed on a tank for the occasion…! Ah, yes. The toy tank which trundles onto screen for a few seconds at the end of this episode is somewhat infamous within Doctor Who history. Admittedly, it’s not the best effect they’ve ever achieved, and I don’t think the forced perspective of the shot works, either, but thankfully it gets disintegrated before we can take much of a look at things!

 

The 50 Year Diary - Day 402 - Robot, Episode Two

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 402: Robot, Episode Two

Dear diary,

I was wrong. Yesterday, I said that Robot wasn’t really about the titular mechanical creature, but rather an excuse to introduce us to the new incarnation of the Doctor. I mused that UNIT, the Robot, Think Tank, everything was just set dressing around a few episodes of Tom Baker finding his feet in the role. But actually, watching today’s episode, I was completely wrong.

You see, all of that was true of yesterday’s episode. Not only the scenes early on in the UNIT lab where the Doctor roams around in his pyjamas and tries to prove to Harry that he’s perfectly well, but throughout the rest of the episode, too. Even the cliffhanger is given over to Sarah Jane in danger rather than out new man, as though they don’t feel like he’s quite embedded enough to have a cliff hanger of his own yet.

It’s all change today. Tom has completely settled into the role – though I’m not sure if he looks quite comfortable surrounded by Pertwee’s trappings, it could be more that it doesn’t look right to me because I’ve just come from a long period in the company of these characters and this style – and it feels almost as though he’s been the Doctor for ages, certainly not just two episodes. I think it may be helped by the casual way in which he plays the role. There’s a moment in today’s episode where he lies down and goes to sleep on the Doctor’s lab table, and he’s just got a complete disregard for the whole place. You can’t imagine Pertwee’s Doctor behaving in the same way, and though you sometimes got the impression that the Third Doctor was simply tolerating the Brigadier, the Fourth really seems to give off a sense of complete ambivalence towards both the Brigadier and the situation they’re facing.

It works, though! The Doctor never seems like he’s actually bothered by any of this, almost as though he’s not even paying attention - he spends most of the time building piles of random electronic equipment, or looking around wondering where Sarah Jane is, or simply napping. Even in yesterday’s episode, he says his piece before disappearing into a bundle of hat, and scarf, and curls. Underneath it all, he’s fiercely intelligent. It’s the same kind of thing we saw with the Second Doctor, whereby you don’t really pay him much attention, but then he opens his mouth and comes out with exactly what you need to hear.

People always talk about Tom Baker as being the best of all the various Doctors (‘the definitive article’, as he himself puts it during this story), and it does have to be said that he’s instantly watchable here. Even when he’s not the focus of a scene, you can’t help but watch him. Over such a long time in the part, it’s obvious that he’ll evolve the character, and that’s one of the things that I’m looking forward to watching over the next few months, but it’s amazing just how well he lands on his feet here – there must have never been any doubt that they’d found the right man for the job.

There’s plenty to love with the introduction of Ian Marter to the cast, too. Harry jumps right in to the action, suggesting that they should have someone on the inside at Think Tank (though it’s the Doctor who nudges the conversation towards sending Harry), and then turning up in full on ‘Steed’ gear, complete with bowler hat. There’s no other indication at this stage that he’ll become a regular companion for the rest of the season, as opposed to just being a one-off UNIT member, but it’s nice to see him getting involved in the action all the same. Elsewhere in UNIT, Benton has been promoted! I didn’t have a clue that this had happened at any point after him becoming Sergeant, but I love the idea that he receives a UNIT promotion every time there’s a new Doctor on the scene!

 

The 50 Year Diary - Day 401 - Robot, Episode One

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 401: Robot, Episode One

Dear diary,

Last year, the BBC released a special DVD box set containing all of the regeneration stories. I bought a copy - despite having all of the stories in question on DVD anyway - because I liked the packaging. Simple as that. I’m a sucker for nice DVD packaging. Anyway, it’s a nice enough set, and I popped in the DVD of Tenth Planet Episode Four just to take a look at the animation, but since then it’s simply sat on the shelf and looked pretty. But I’ve always thought that it was a bit of a shame that it’s just the regeneration stories - because to me they’re only half the tale. The Tenth Planet certainly sees the First Doctor wearing a bit thin and then collapsing onto the floor of the TARDIS to change his face for the first time, but it’s the events that follow directly on in The Power of the Daleks that I found most interesting. Similarly, the opening of Spearhead From Space gives extra weight to the end of The War Games, because we get to see the Doctor in his new face, just as confused as the rest of us are.

I’ve seen Robot several times before now. I can distinctly recall the very first time I watched it - sat on a beach in Tunisia. It had just been released on DVD that Monday, so I copied the whole thing to my pre-iPad style device to take with me and enjoy in the sunshine. I’ve never really been able to get my head around sunbathing - it’s so boring! What are you supposed to do, just lie there? - so it was a good enough way to while away the hours. I’ve seen it two or three times since then, too, in whole or in part, but this is the first time that it’s ever really meant anything to me.

I’ve often thought of Robot as being a bit of a spare part from the Pertwee era - a leftover adventure with UNIT into which the new Doctor is shoehorned. I’ve also never really thought of it as being a particularly big threat to them - oh, sure, there’s the possibility of a nuclear war before the story is out, but it lacks the sheer scale of a dinosaur invasion of London, or The Green Death, or any of their earlier efforts. It feels like a rather low-key story, and that’s always left it a bit insignificant for me.

But now I’m seeing it in context, it’s clear that the story isn’t supposed to be particularly brilliant. Despite the title, these four episodes aren’t really about the robot, but rather about introducing us to the new Doctor while he’s surrounded by all his old friends. Everything with the robberies, Think Tank, Professor Kettlewell… it’s all just window dressing to allow Tom Baker an opportunity to bed himself in and find his feet in the role.

Thankfully, he doesn’t waste any time doing so. Right from the off, his energy is simply absorbing. The way he bounds around the UNIT lab without ever really touching any of the Third Doctor’s equipment is fab - Pertwee used to be fiddling with some gadget or gizmo, but this new incarnation has no interest in any of that. As he’ll go on to say later in his lifetime - he doesn’t work for anybody here, he’s just having fun. That really is the only way to describe the Doctor in his earliest post-regeneration madness. The look of sheer glee when he turns round and sets eyes on the TARDIS for the first time can’t help but raise a smile from anyone watching, too, and I think it’s probably the moment that you come to completely accept this new incarnation.

I love the way that he interacts with the Brigadier, too. Over the last few months, I’ve become very accustomed to the way that the Third Doctor interacted with what was effectively his boss, so it’s great to see the new guy being completely bored by the man. He doesn’t even really look at the Brig if he can help it, instead choosing to stare off into the middle distance somewhere and steer his companions into the right direction. He’s also go a real dry wit that doesn’t come across quite as forced as it sometimes did during the Pertwee years, and I found myself laughing out loud at a number of moments throughout the episode - all related to the Doctor.

I think what’s surprising me is how little time he’s actually spending with Sarah Jane - his actual companion. She’s the one who, early on, manages to call him back as he tries to escape in the TARDIS, but after that they seem to just go their separate ways. I know that their two stories will dovetail before Robot finishes, but here they don’t seem to have much care for each other. Sarah’s not even present when the Doctor chooses his new costume - that scene is left for the Brigadier. I’ve never noticed it before, but it does seem really odd to keep them so far apart for much of the story. I’m wondering if it’s because chinks of this story were filmed alongside Planet of the Spiders, so Lis Sladen is kept away from the rest of the cast on location as much as possible, to allow double-banked shooting? Whatever the reason, I’m hoping to see it rectified sooner rather than letter, because I want to settle in and watch how this pair develop their relationship in the early days of the new incarnation…

 

The 50 Year Diary - The Third Doctor Overview

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 400 Extra: The Third Doctor Overview

Writing back in September of last year during my overview of the Second Doctor, I looked ahead to the five seasons that lay ahead of me in the marathon:

”And now it's onto the 1970s. I've made no secret as I've gone along that the next decade (and the Third Doctor's era in particular) has never been a favourite of mine, but I'm actually really excited to be moving on. I'm ready for the programme to do something different, and the success of stories like The Web of Fear and The Invasion have actually geared me up ready for the next massive change.”

I wondered at that point exactly what I’d be saying by now. Would I have had all my fears proved right and be writing about how awful the Pertwee years were? Would I be singing their praises from the heavens, after five seasons of straight 10/10 episodes? Would I even make it to this side of the era and still want to continue with watching and writing the Diary? In hindsight, the answer seems to be obvious. The Pertwee years of Doctor Who are just like any other period in its history - a mixed bag. There’s been some real stand out gems in the last twenty four stories, and one or two clunkers that I don’t plan on revisiting any time soon.

I think it helps that the era starts with Season Seven - one of the most perfect runs the programme has ever experienced. It’s not great surprise to me that three of the seasons four stories fall within the top seven from this era overall, and that it’s become one of my highest rated seasons, falling only marginally behind Season Five. Spearhead From Space spoils you as an introduction to the colour years of the programme, and the blu ray transfer is so beautiful. I’ve banged on enough over the last few months about how good this series would look shot entirely on film, but Season Seven does a good job of looking like one of those glossy ITC serials all on its own. It’s telling that the lowest rated story from that run - Ambassadors of Death, coming in not far from the bottom of the pile - is the one with the worst picture quality. I’m sure that were we able to get hold of a better copy, the story may fare better in my mind.

But then things took something of a drastic turn with the arrival of Jo and the Master in Season Eight, and we went from one of my highest rated seasons to my lowest rated one. With an average rating of 5.95, it’s the only season so far not to have hit at least an average of 6, and three of its stories occupy places in the bottom five from this era for me.

When I look back at the Pertwee years, I think of those middle three as being my lest favourites, but actually Season Ten manages to break free of that and average a rating of 7.21, among it my third favourite overall. Looking at the numbers, it’s certainly a golden period for the programme - The Monster of Peladon is the only story between The Three Doctors and the end of the era to not receive an 8/10 for its first episode (it managed only a ‘7’, but gained a ‘9’ later on in the tale). Season Eleven then experiences quite a drop off, pulling in an average of 6.76 - although I feel like I’ve enjoyed it more than any season since Pertwee’s first!

It’s funny how things like that happen to you as you watch though. Sometimes, hindsight isn’t completely accurate to the way that I felt at the time. For example, I look back at the Hartnell years as pretty enjoyable at the time, and especially the run through Season Three. Looking at the numbers, though, Hartnell is currently my lowest rated Doctor. Jon Pertwee comes in just fractionally ahead with an average rating of 6.63 (compared to Hartnell’s 6.54), while Troughton continues in the lead at 6.85.

On the whole, I have to admit that I’ve enjoyed this period of the programme far more than I was expecting to. I’d been actually dreading it, really not knowing what I’d do if I hit a brick wall and felt as though I just couldn’t continue on with the marathon. thankfully, that’s simply not happened, and I’ve come out of this era with a new appreciation for it. Are things perfect? Well, no, they’re not. Will I be hurrying to rematch lots of Pertwee stories as soon as the marathon is over? Well… no, I doubt that I will be. Have I found a number of stories that I’d like to rematch in the future, which I’d previously nave spared a second thought to? Absolutely.

And now I’m off into a bold new era. It’s a bit of a false start from tomorrow, because while Tom Baker is new to the mix, we’ve still got the same UNIT lab, with Bessie, and the Brig, and Barry Letts in the producer’s chair. It’s a few days from now, when The Ark in Space rolls around and Philip Hinchcliffe takes over the reigns that I’ll be entering the period that’s repeatedly held up as being ‘the best Doctor Who ever made’.

I’m not as against Tom as I was with Jon Pertwee, but I’ll admit here that I’ve never really understood the fuss. I’ve seen plenty of his stories before (including all of the ones in his first season), and while I know he’s very good in the role, I’ve never been completely floored by his performance in the way that people seem to expect you to be. But I’m excited. Watching through this far has given me a whole new perspective and insight into the first eleven years of the programme, and I’m sure I’ll keep finding things to love as I move into the Fourth Doctor’s era. 

Hold on tight, this is going to be a long stretch…

The 50 Year Diary - Day 400 - Planet of the Spiders, Episode Six

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 400: Planet of the Spiders, Episode Six

Dear diary,

How very fitting that the Fourth Doctor should be born on Day 400 of the diary. After all this time, I’ve finally made it through the Pertwee years - the era of Doctor Who that I was most dreading from this marathon. I’ll be writing up my thoughts on this early-70s period of the programme as a whole in another post, which you’ll find on the Doctor Who Online News Page today, too, but for now, let’s take a look at the Third Doctor’s final episode…

Well, it’s a blinder, isn’t it? There’s so much to love in here that I don’t really know where to start. Last night, I found myself reading the ‘daisies daisy’ speech from The Time Monster. I’ve known for years that the Doctor’s guru friend - spoken of in that story - turns up at the end of this one to help guide the Doctor through his regeneration, but it was purely by chance that I found myself looking at a transcript from that scene. I didn’t even really mention it at the time, and I can’t say I recall the speech making that much of an impact on me, but last night I suddenly realised just how beautiful it was. I even hunted down a clip (it’s on the BBC’s YouTube page) just to watch back and see if, like the Doctor with the daisy, I’d suddenly appreciate it all the more.

It’s certainly a good performance by Pertwee, but I can’t say it hit me particularly harder than it might have otherwise done. Really, it was the words that made an impact on me, and I’m really glad that I took the chance to read them again, because it ties so beautifully with the events in today’s episode. The Doctor’s slow realisation of who the old man sat before him really is gets played very well, and then their exchanges, as he guides the Doctor towards making the right choice simply by nudging him in the appropriate direction is lovely. It’s hard not to really enjoy his discovery that all of this is his own fault, and that he set his fate in stone some time ago, with his desire to visit Metebilis III and learn its secrets.

A big plot point of this exchange - and, indeed, this story as a whole - revolves around the fact that the Doctor actively went to the planet to steal one of these crystals, even if he didn’t think of it as theft at the time. I can’t recall wether, back in Season 10, the Doctor was actively desiring one of the stones (As far as I remember, he just really anted to see the blue planet), but it’s great that it’s been building up for so long. People complain these days about the way the Tenth and Eleventh Doctors have elements of their regenerations seeded in years in advance of them leaving the programme, but it’s been going on for a long old time.

Indeed, this is the first of what I think of as a modern regeneration. The first and, to some degree, second regenerations are played as something mysterious and scary, while this story has gone out of its way to reassure us that everything is ok, that the Doctor will be different, but still the same man. It even takes the trouble to show us another regeneration before the Doctor’s, just to ease us in to the process.

Thinking about it, this may be the most important regeneration of the entire classic series run. Hartnell’s regeneration was new, untested, and exciting, but it came at a point where the programme was still stretching the boundaries of what it could and couldn’t do. It was just the next unusual thing to take place in Doctor Who. By the time of Troughton’s departure, it was just something that the programme did. This time around, Pertwee has been the Doctor longer than any of his predecessors. While they all fall within a handful of episodes from each other, Pertwee has been the face of the programme for five whole years now, and that’s almost as long as the first two Doctors combined.

This is perhaps the first time that the young audience watching won’t be able to remember the last time the Doctor changed, and so it’s key that they ease you into it and reassure you. We even get a bit of a description from the Doctor, explaining to Sarah Jane how Time Lords are able to escape death. A similar tick is employed just before Christopher Eccleston regenerates - warning the viewers that a change is on the way, but not to worry about it, as it’s just something that happens.

We’re also seeing the first of the sad regenerations. Oh, sure, Troughton’s final episode isn’t all jolly romps, but the real ‘tug your heartstrings’ moments come earlier, when he’s saying goodbye to Jamie and Zoe. Here, the entire final scene is played as a very sad moment, and I have to admit that I even welled up a little! I’ve seen this scene plenty of times over the years. I think most fans have seen the regeneration scenes more times than any other bit of the programme - there are whole videos dedicated to them all on the web. While it’s always been quite downbeat, with Sarah’s brief ‘please, don’t die’ and the Doctor’s pained final words being cut off by his last breath, I’ve never really felt it before.

Coming at the end of this story, and specifically at the end of this episode, the scene packs a real punch. Pertwee’s been specifically made up to look a bit older and a bit more tired than he did when the story began, and you really feel his pain as he stumbles from the TARDIS and falls to the floor. I fully expected to be jumping with joy by the time I’d reached this stage. No more Jon Pertwee! Bliss! That was, of course, assuming that I’d even make it through his five seasons in the first place. Actually, I’ve rather enjoyed the experience.

And now, hopefully, I’m in for a real treat. Everyone raves about the Fourth Doctor, and as he fades into existence on the floor of the UNIT lab, I’m off on an exciting new adventure…

 

The 50 Year Diary - Day 399 - Planet of the Spiders, Episode Five

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 399: Planet of the Spiders, Episode Five

Dear diary,

Sometimes, when you’ve spent so long watching Doctor Who, you think you’ve got it all figured out. I’ve watched an episode a day for the last 399 days, so I’ve seen my fair share of cliffhangers, and I know how they work. Peter Davison and Janet Fielding often talk about ‘cliffhanger acting’ when you reach the final sixty seconds of an episode, and so I’ve become used to seeing this in action throughout the last year or so. Now it’s become more fun to try and pinpoint where the cliffhanger is going to fall as early as you can before it occurs. Sometimes, this is easy. Other times, they throw in a rather ordinary-looking tiled floor and if I’d not known it was coming I’d have been left utterly confused.

Today, though, ah today was easy. Of course the cliffhanger is going to be the revelation that Sarah Jane has been possessed by the Queen Spider. It’s one of those images that you just know of when you’re a fan of the classic series - that shot of Sarah in the house, raising her arm and firing some blue energy from it. Truth be told, I’ve been waiting all story for her to get possessed, and I didn’t think that it was going to come quite this late into events. But now, Lis Sladen is acting slightly out of character. She’s struck a deal with the Queen which allows her and the Doctor to escape really easily, and then she’s that bit too eager to get away and find the crystal. The tension’s ramping up, the final few seconds are approaching… Here comes the cliffhanger… Sarah Jane is under the control of… Oh.

So 399 days in, you can still be wrong-footed. That’s half the fun. I’d already got a vague idea of what I wanted to talk about today, and it really does hinge on the fact that Sarah is currently operating under spider control. I thought that the cliffhanger would be that wonderful shot of her shooting out the energy, and then the credits would roll while I typed away into the night. We can’t all be perfect, but since she’s so clearly under the Queen’s power, and because tomorrow probably has a number of other things that I’ll want to talk about, I’m going to stick to my planned discussion topic for the day: the return of the Metebilis Spiders for The Sarah Jane Adventures.

You see, the more that I think about it while watching this story, the more I really wish that they had returned to launch an attack against Bannerman Road while Sarah Jane was in residence. A few summers ago, I met Gary Russell in Cardiff Bay to have a long chat about Sarah Jane and his relationship with both the character and Lis Sladen over the years. I was conducting interviews for a planned Sarah Jane Adventures fanzine, although the project eventually stalled. During our chat, he mentioned that they’d planned at one point to bring the spiders back during the programme’s fourth season, but that it just hadn’t worked out.

I was fascinated. I’d never even considered the idea of the spiders coming back to haunt her (having never seen this story, they weren’t high on my list for a potential revisit). A few days later, Panini released the third volume of their Sarah Jane Companion magazine, which contained breakdowns of several stories that were planned for the series but which never made it off the ground. I can still remember sitting on the train back from Cardiff, opening up the magazine and staring down at the image of a giant spider menacing Sarah Jane! Adrian Salmon’s artwork has always been a favourite, and his drawing of a spider in Bannerman Road’s basement actually does freak me out a little.

The special presents a few different versions of the spiders’ return, in story outlines from Gary Russell, and then Gareth Roberts & Clayton Hickman. Both outlines share elements, such as Sarah Jane stealing crystals and equipment from the Pharos Institute and preparing a machine which will enlarge near-by spiders. In one version of the draft, the whole reason that Sarah Jane came to Bannerman Road was because the spiders guided her there without her even realising it. Despite several versions of the story being planned, the idea was eventually dropped when the team decided that it wasn’t right.

During our chat, Gary told me “There was no way to make that story work with the spiders, and I was so relieved! I’d been so convinced that I had failed on every level, that I couldn’t do this story that Russell wanted, but I was over-the-moon that someone like Gareth could say ‘No, it just doesn’t work.’ But then they went off and wrote Goodbye, Sarah Jane Smith to replace it, which is such a brilliant story.”

At the time, having not seen Planet of the Spiders, I suggested to Gary that they were more the Third Doctor’s monsters than they were Sarah Jane’s. Having actually seen the early stages of her possession by the Queen, I think I’m starting to doubt myself on that point, but all the same, Gary explained: “Spiders are good, though. They’re really good for kids. Scare kids with spiders - it’s always a good idea! It was an early discussion, a very early discussion, when we were planning Series Four, and ‘Giant Spiders’ was the first thing that went up on the board.”

Later in our conversation Gary described planned references to the Mandragora Helix in Secrets of the Stars as being “A really good line for all of us [fans],” though he told me that “If you put that into the second series of Sarah Jane, you’re telling your six-year-old audience that they’re missing something by not seeing a programme made thirty years before they were born. It’s not just like slapping a big, visual monster in. But we didn’t sit there all ‘let’s bring the Wirrn back!’ - just no! Spiders were genuinely the only thing that we came up with. Because they’re spiders, you could have all these continuity references to Metebilis III, because it didn’t need explaining to the kids - there’s a bloody big giant spider! That’s all they need!”

Although the story outlines sound great (and that team would have made them look fantastic!), I think that I can see why they chose not to go with the creatures. In the magazine, Russell T Davies explains that he was cautious of diminishing the spider’s effects - “Those things killed the Third Doctor! Even he couldn’t defeat them, he had to let the Great One destroy herself. So to take creatures that powerful and yet have them defeated in good old Ealing…” It has to be said that I can see his point. There’s a scene in today’s episode where the Great One - unseen off stage, simply as a voice that echoes through the cavern - mentally forces the Doctor to walk around in a circle. Oh, sure, when you write that down it sounds a bit silly, but as a moment in the story it’s actually terrifying. While we’re used to seeing the Doctor lose at some point during a story before he pulls it all back together again, we don’t often see him so totally helpless, fighting against a force which he just can’t resist. Forget the giant spiders - this is the scariest thing in this story.

In all, as much as I’d have loved to see them make a return having finally seen this story, I think I’m in agreement with the ides that it just wouldn’t have been right to reduce them to a spin-off. Plus, from a slightly more wimpish position, can you imagine how well they could have done the spiders for a modern episode? I don’t know if they’d have gone with practical models or CGI (On the one hand, The Sarah Jane Adventures’  budget wouldn’t stretch to CGI on that scale, but surely they must have some 3D spider models in the computer somewhere?), but either way, I have a feeling that they’d be more off-putting than the ones in the original tale!

 

The 50 Year Diary - Day 398 - Planet of the Spiders, Episode Four

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 398: Planet of the Spiders, Episode Four

Dear diary,

While, as we discovered the other day, the vast majority of the guest cast in Planet of the Spiders is made up of Pertwee-era veterans, I think the standout performance has to be from newcomer John Kane, in the part of Tommy. He’s been great to watch since as far back as the first episode, and when I’ve mentioned this story to people over the last few days, several of them have said how much they love the character.

It’s a very strong performance, and one which is very sympathetic. It’s a role which is quite rare within Doctor Who, and a subject such as learning difficulties could be potentially a very dangerous area for the programme. It’s hard not to fall in love with Tommy right from the off, though, and I’m really intrigued by how well his character has been woven into events. We’re given a few episodes being shown how much he loves to collect ‘beautiful’ things, and the point is highlighted when both Sarah and Mike give him gifts for his collection. It therefore feels perfectly natural when he becomes obsessed by the Metebilis crystal and takes it for himself.

Even today is nicely led up to - with him being unable to read the ‘Do Not Disturb’ sign on the door and then returning to his little cupboard room to read his children’s book. Once he’s looked into the crystal and had his mind changed, it really is a lovely shift in performance, and I’m very impressed by how subtly it’s all been handled. Watching him stock up on books in the library is a lovely touch, and I really can’t wait to see where we go with the character from here.

I’m finding myself less concerned with all the events on Metebilis III. There’s something about the sheer 1970’s-ness of the two-legs that I’m finding really distracting. The fact that I’ve been catching up with a few episodes of The New Avengers lately means that Gareth Hunt is really standing out for me. It’s not what you’d call an understated look, is it?!

That said, I really am enjoying the background to the planet being filled in. I said yesterday that the idea of a crashed spaceship leading to a more ‘historical’ society was so ubiquitous in 1970s Doctor Who that it could fail to hold my interest, but actually they’re doing something really interesting with it. I love the idea that the spiders have come from Earth alongside the colonists, and it’s not something I ever realised about the creatures. It’s such a lovely idea, and that we should find out about the crystals’ special powers at exactly the same time we see them put to work with Tommy is rather well done.

My only question now… if the spiders fled to the mountains where the blue crystals enlarged both their minds and bodies, then am I to assume the same thing happened to that giant chicken that attacked the Doctor during his last visit in The Green Death? I think the whole story might lose some impact if it were a race of super intelligent giant poultry trying to take control…

 

The 50 Year Diary - Day 397 - Planet of the Spiders, Episode Three

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 397: Planet of the Spiders, Episode Three

Dear diary,

Fair warning to those of you out there who - like me - aren’t all that fond of spiders. Today, I’ll be examining what made me scared of spiders, and there’s a few anecdotes about them involved. The first five paragraphs of today’s entry are solely confined to the story itself, but after that, I’m a bit ‘off-book’…

It shows how little I know about this story that I didn’t realise the Doctor or Sarah Jane spent any time with the ‘two-legs’ on Metebilis III. I knew that the Doctor wound up on the planet at some point (that image of him stood before the huge Queen Spider is another of those well-known ones, and in case I was in any doubt, it’s replicated on the DVD discs), but I assumed that he just took the TARDIS right to the… spider cave? Centre of the web! (Hah!)

I’m not quite sure how I feel about this strange race of primitives that occupy the surface of the planet, or indeed, what I make of the planet’s surface. The implication from The Green Death and the way the Doctor speaks of it during Carnival of Monsters, I’d always assumed that the rock of the planet was simply blue, thus making it ‘the famous blue planet’. Here, we’re told that it looks blue in the moonlight, but the rest of the time it just looks a bit like a dodgy CSO Utah.

And yet, I am keen on the idea that the spiders are treating humans as a kind of slave race. It’s good to see that they’re used to this kind of relationship with us two-legs, and it informs a lot of the way they act during their exchanges with Lupton back on Earth. I get the impression from a few lines of dialogue about travelling in spaceships the way their ancestors did, that this will be one of those typical 1970s Doctor Who plots, in which they’re the decedents of a human space mission, several generations on. Similar ideas come into play during stories from The Face of Evil to The State of Decay, but in those instances, I’m pretty sure that it’s supposed to come as a surprise to the primitive society, whereas here they’re fully aware of this fact.

Today, we get our first opportunity for a really good look at the eight-legged-enemies in this story. We’ve had a single spider knocking around since the cliffhanger to the first episode, but she’s spent much of her time invisible up to now. Here, we get to see a whole room full of the creatures for the first time. On the one hand, I’m not scared by the sight of it in the way I thought I may have been (I vaguely knew the design of the set from a model in an episode of Blue Peter), but on the other hand, the models are very well done.

I’d say that the problem is how static they all are. During the ‘conference’ scene, in which a floating ‘holographic’ Lupton head converses with the council of spiders, only one of the models is capable of movement, but it’s by far the most effective model in the room. The way it wiggles and moves is very convincing, and - yes - even a little un-nerving. Later, when the spider on Earth is caught in a battle of the wills with her captive mind, the way the model writhes in pain is very effective. And yet, when that same model is required to sit perfectly still a foot or so from a doorway… it’s perhaps the most effective that it’s ever been. I think it’s because I can sympathise with the idea of having to edge my way around a particularly large spider to get out of the room, and I was thinking how much I’d have not wanted to be acting with that prop!

I think I’m going to have to admit… the story has given me a nightmare. I think it’s the first time that this has ever happened to me through Doctor Who. In fairness, it’s not directly related to the story, it was just vaguely spider-related. Last night in bed, for the first time in a few years, I recalled an encounter with a spider that I had when I was very young. Truth be told, I’m almost entirely convinced these days that it wasn’t even a real event in the first place, but rather a nightmare that I had when quite young that has just lived on as a memory in my head.

In this ‘memory’, my parents are away on holiday and I’m staying with my grandparents. Growing up, we lived on this farm out in Norfolk. I lived with mum and dad in the farmhouse, while my grandma and grandpa lived in a converted barn across the yard - literally thirty seconds between the two doors. Mum and nan still live there, although both dad and my grandpas have since passed away. Anyway, I must have been about four or five years old, and I can remember my grandmother taking me over to the farmhouse to get something I needed. Probably a toy or something. I can vaguely recall seeing something unusual as we entered the kitchen, but thinking nothing of it, but then on the way back out of the house, I noticed it clinging to the wall about four feet from the ground - the biggest spider that I’d ever seen.

You see, this is why, over the years, I’ve started to doubt my own recollection of the event, and wonder if it may have all been a nightmare some twenty years ago. Because to this day, I can clearly recall what this spider looked like. I was about ten inches across, and had a body… in the shape of a jelly mold. You know the kind: three-tier, getting smaller towards the top. I can distinctly remember that being the shape of the creature, but it wasn’t until many years later that I realised that - realistically - spiders just don’t come in that shape. Suffice to say, my grandmother has no memory of the event, and you wouldn’t forget a big, jelly-shaped spider in a hurry.

A few years ago, my good friend Nick Mellish and I wrote a book, in which we listened to all of the Eighth Doctor’s audio adventures in order from the beginning. Before staring work on The 50 Year Diary, it was the only Doctor Who marathon I’d ever undertaken. The finale to the Eighth Doctor’s third series of adventures with Lucie Miller is a direct sequel to Planet of the Spiders, and during the audio I shared the above spider memory with Nick. He then admitted that he, too, had a rather horrible memory which left him scared of the creatures:

”When I was around four-years-old, a large, big-legged, fat spider fell off the ceiling in my bedroom, onto my face. I was terrified, screamed, and fled the room. I ran to my parents' bedroom, in tears, and spent the night there. The following day, I was still too scared to return to my bedroom. My Mum told me that it was clearly a nightmare and that spiders don't do things like fall onto people's faces, so she bravely went into my bedroom and pulled back the duvet… to reveal the large, big-legged, fat spider. I can still hear her scream now in my ears; I think it was the first time I'd ever seen one of my parents vulnerable"

With all these various spider fears around, I’ve simply had no real desire to ever check out this story (though ,admittedly, I loved the audio sequel to this story. Well worth checking out!), but I’ve always been vaguely aware of what the spiders look like. I’m not sure when I first saw them, but I know I was testing myself. I was so relieved to find that - in pictures, at least - they looked clearly enough like models that I wouldn’t be scared by them. When the DVD came out, I can remember seeing a few clips posted around here and there (we used to play the new Who releases on a loop in the shop I worked in at the time, so I caught snippets now and then), and while they still didn’t freak me out, I really had no desire to check them out any further.

What really put me off, though was the original design of the Queen Spider. I think there’s only the one image of it floating around out there now, of the model set up in the visual effects department at the BBC, but it terrified me. The only way I can think of to describe it is in the same way I’d described the Mirkwood spiders in the Hobbit concept art - ‘rough’. It looked scary, and a bit ‘butch’ (as as much as a spider can look butch) and it really, really, scared me. It’s probably grown and evolved in my head over the years to the point that I don’t really want to even go and find the image to link to in this entry. Chances are that it’s actually not all that more scary than the ones which have made the final version of the story, but It freaked me out enough at the time, and I could easily see why Barry Letts decided that they needed to be toned down before they could be broadcast..

Oh! And there you go! I’ve just been mentioning to my mother on the phone that I’m watching a Doctor Who story called Planet of the Spiders. She commented that I must be loving it before pointing out that ‘it was your grandmother that made you scared of them’. Now, this isn’t the grandmother I’ve mentioned above, it’s my other grandmother. As mum told me the story, I could actually remember it - every fragment of the tale coming back to me a few seconds before mum recounted it.

I’ll not bore you with all the details, but it boils down to this: Until very recently, my other grandmother lived in an old house which was - for all intents and purposes - right in the middle of the woods. The only house for miles around, and falling down from a lack of repair since its construction several hundred years before. The house was made of flint and other stone, and I can always remember it being cold.

There was only one shower in the house itself, but it was quite a recent addition (I say ‘recent’, it would have been put in about thirty years ago, but this story does take place when I was very young!). Before that, they used to use an old shower in the little outhouses. I never used to like that shower. It was old and rusty, and it was a bit scary, in the way that children’s minds make strange old things like that scary. I can remember my grandmother used to use it as a way of keeping my behaviour good when I went to stay: ‘be a good boy, or you’ll have to use the outside shower tonight…’

One time, my grandmother told me about why they’d decided to get the shower installed inside the house. She told me that the outside one used to draw its water directly from the well (I remember always thinking that this was strange, but the new owners of the house are dismayed to find that there’s no mains water and it all comes from the well - so maybe that was the one bit of the story I should have believed!) and sometimes you’d get bugs come through in the water.

This one day, she went to take a shower, and only a few drips came out. She tried knocking the pipes to remove any blockages, but nothing happened. And then, it started to make a noise as things began to move. She looked up at the shower head… just in time for a shower of tiny spiders to come raining down all over her.

This story used to terrify me as a child. it’s no wonder I’d managed to pretty much block it out! No quirky jelly-shaped arachnids in this nightmare! Anyway, I look forward to going into tomorrow’s episode with this image now firmly re-established in my mind…!

The 50 Year Diary - Day 396 - Planet of the Spiders, Episode Two

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 396: Planet of the Spiders, Episode Two

Dear diary,

After a great start to the story in yesterday’s episode, it suddenly feels as though they’re not really taking this very seriously. Half of this episode - half - is given over to a chase, which seems to simply be a way to let Jon Pertwee drive a few different vehicles before he gives up the role. I’ve always known about the extended chase scene in this story (a similar sequence during Invasion of the Dinosaurs felt like something of a precursor to it), but I had no idea that it was quite so… silly.

It starts with Lupton stealing the Whomobile (sigh, thankfully making its last appearance in the programme), and the Doctor instructing his friends to drop him at the airfield before they give chase in Bessie. He then takes to the skies in a little gyrocopter, relaying directions to the Brigadier at the wheel of his little yellow roadster. After a while, a police car joins the action, and eventually all the vehicles end up parked in one place. Lupton flees, but then when everyone has their back turned, he hops into the gyrocopter and takes to the skies! Never fear, though, because it turns out that the Whomobile is capable of flight (‘well ‘of course we’re flying), so they continue to keep right on his tail. After a while, Lupton runs out of fuel, so has to land. No worry, though, we’ve made chase on land and in the air, so he may as well steal someone’s boat and give chase across water, too! You can’t have the Doctor follow in another boat, though. Oh no, that would be too easy. There’s not enough spectacle in that, so Pertwee gets his hands on a hovercraft, and we get to watch him drive it over land and sea - and tramps - in pursuit of his enemy. After around twelve minutes of this, the spider on Lupton’s back gets a bit bored, and so teleports him away to safety. It seems to take a lot of mental energy to do it, but surely taking that action right back at UNIT HQ, leaving the soldiers to run around after thin air, would have been a bit more practical? We do however get another element to add to our growing list of ‘Pertwee-era Stalwarts’ turning up during the chase - one of the junctions involved previously appeared during The Dæmons a few years ago!

I shouldn’t really be all that bothered by it. This is, after all, Pertwee’s last outing, and we all know he has something of a love for chase scenes. He loves to get his hands on all kinds of new vehicles (heck, the only reason we’ve even got a Whomobile is because he personally commissioned the design and construction of the thing), so I suppose I can overlook it taking up such a large portion of the episode. It all just takes me out of things a bit. Episode One set up a really interesting story, and it feels at times like this second instalment is washing it all down the drain.

Still, it has to be said that the brief appearance of a spider at the very beginning is rather well done. Oh, I know, people mock the spiders in this story, and yes, I guess it’s not the most brilliant model in the world, but it would have freaked me out at 8 years old. I love the idea of it jumping onto Lupton’s back and then turning invisible as their minds meld, and there’s something really quite un-nerving about him explaining that the spider hasn’t gone anywhere, but is there with them all the time. I think keeping their appearances to a minimum is working wonders for the story - as I said yesterday, I’m not a big fan of the eight-legged creatures, but even I’m getting quite excited to see them arrive in the narrative properly…

 

The 50 Year Diary - Day 395 - Planet of the Spiders, Episode One

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 395: Planet of the Spiders, Episode One

Dear diary,

Throughout the course of The 50 Year Diary, I’ve been keeping a track of various loose ‘Story Arcs’. There’s quite a few of them in hindsight - The Doctor mellowing from the character seen in An Unearthly Child to the man we know now, the evolution of the Sonic Screwdriver, the Doctor being on the run from his people before getting recaptured, and later his attempts to escape his exile before being set free after the events of The Three Doctors. What we’re seeing in this story, though, is Doctor Who’s first real attempt to resolved an arc, by drawing together various elements from across the last few years.

Obviously, we’ve got another return for UNIT in the form of the Brigadier and Sergeant Benton. Mike Yates has called up with something possibly worth them following up, and reference is made to him leaving the Taskforce and seeking some kind of new life for himself. Jo’s involved by sending back the Metebilis crystal last seen a year ago in The Green Death, and there’s even a reference to the fact that they’ve not found their toadstool yet during their travels in South America.

Even the cast is a throwback to Pertwee stories of old. Aside from Cyril Shaps, who shows up to play the shot-lived role of Professor Clegg (having previously appeared in The Ambassadors of Death), there’s also John Dearth (The voice of BOSS during The Green Death), Christopher Burgess (Terror of the Autons), Terence Lodge (Carnival of Monsters), Andrew Staines (who’s appeared in both of those last two stories, Terror of the Autons and Carnival of Monsters), and Kevin Lindsay (The Time Warrior). Those are just the names from this single episode, but there’s a few more connections to other tales before the episode is out, including Pat Gorman, Terry Walsh, Stuart Fell, George Cormack, Walter Randall, Max Faulkner, Ysanne Churchman, and - even though she herself had never been in Doctor Who before - Roger Delgado’s widow, Kismet Delgado. The thole thing is a great big Third Doctor fest.

I’ve always avoided watching this story before now (even when I bought the DVD, it went on the shelf with only a few of the extras being watched), mostly because of the title alone. I’m not all that fond of spiders, and while I wouldn’t go so far as to say I’m completely arachnophobic, and I can handle spiders (little ones, just), I’m not that keen on the idea of a whole story dedicated to a race of giant spiders. I’m glad that’s put me off for so long, though, because this story seems to very much be the end of the Third Doctor’s era. It’s a proper summing up and sending off from what I can tell, and I’m glad that my first experience of this tale comes having just watched all of Pertwee’s other adventures before it.

It’s very much being set up to prepare us for the regeneration, and some of the Buddhist ideas seem very fitting for the idea of the Doctor being reborn. It has to be said that one line in particular seems perfectly in tune with a regeneration story; ‘The old man must die, and the new man will discover to his inexpressible joy that he has never existed…’

And I’m already hooked into the story. I love the idea that Mike finds himself caught up in these events and that’s what brings the rest of the group in, and I really love that his way of making contact is to suggest it as a story to girl reporter Sarah. We’re a season on from her debut now, but her job is still being brought up and made important to the plot, and that’s rather nice. I know it gets mentioned a bit in Robot, but after that as far as I can recall it’s mostly forgotten about, so it’s good to see it being given a final stand here before Barry Letts bows out from the programme shortly.

The setting that Mike brings her to - a large country house - feels like just the type of location that’s right for a 1970s Doctor Who story, and there’s something genuinely creepy about the chanting that echoes down the halls. The set design is particularly nice, too, and a great example of how well the BBC do with something like this. I love the detail of the cobwebs lining almost every surface in the basement, and it works as something of a signpost towards what’s coming through from the meditation.

There’s also a lot of fun to be had with the episode. Sarah and Mike spark off each other nicely, each teasing the other when they do something particularly clever or manipulative. The highlight has to be the Doctor and the Brigadier off to see the shows at a gentleman’s club. I love the way the Brig’s attention perks up when they announce the ‘Exotic Turkish Delight of the East’, and his enthusiastic applause for the performance later on. Nick Courtney is a real source for humour throughout this episode, really, and his reaction to the story of his watch is great fun, too.

 

The 50 Year Diary - Day 394 - The Monster of Peladon, Episode Six

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 394: The Monster of Peladon, Episode Six

Dear diary,

Poor Sarah Jane isn’t half being put through the wringer at the moment, don’t you think? A few episodes ago, she was told that when the Sonic Lance self destructs, anyone in the area (including the Doctor) will be killed instantly. She then watches in horror as the machine goes up in smoke, and the Doctor’s unconscious body vanished behind the fallout. For half of the next episode, she believes her friend to be dead. She cries, she mourns for him, she foreshadows his ‘where there’s life…’ speech from the next story… and then she finds out that he is, in fact, alive and well.

Today, she finds that he’s succumbed to the Refinery’s alarm system and is lying back in his chair, somewhat lifeless. She hurries down to see him and once again the tears start as she mourns the death of her friend. There’s a lovely shot with the Doctor’s body in the foreground as Sarah looks on through the hole in the door, and then she slowly enters the room and approaches her friend… just in time for him to wake up! Now it’s his turn for some foreshadowing, as he comes round, looks at Sarah, and questions: ‘tears?’

And then in the next story, she’ll have to go through this roller coaster of emotions all over again when she actually does watch him die! Crikey. It’s lovely to watch Elisabeth Sladen’s performance during her mourning - especially this time around, where the whole thing is played far more as though it were really the end of the Third Doctor. The shocked face she pulls when he starts to come round is hilarious and brilliant, and it really helps to shift the tone of the scene. Impressively, Sarah Jane doesn’t worry about the fact that she’ll be stranded on Peladon if the Doctor dies, that thought doesn’t even seem to cross her mind. It’s all about mourning her friend, the most alive man she’s ever known.

Something I quite like about the Doctor and Sarah’s relationship is that - at least for now - she’s not a full-time companion. ‘Come on, Sarah,’ the Doctor says as they enter the TARDIS, ‘it’s time I took you home…’. There have been earlier hints towards this, too, but it’s quite nice to see. In a way, it’s the same model that Liz Shaw and Jo Grant set up, although by the time the Doctor had gotten the TARDIS working again, the implication was that he’d been dragging Jo around the universe for longer and longer stretches at a time, and she was longing to return to Earth by the end of Season Ten.

With the TARDIS in (almost) fully working order by now, there’s no need for the Doctor’s companions to spent their every waking moment with him, and it’s a model that Steven Moffat seems to favour with his companions: the Doctor arrives, scoops them off for some adventures, then pops them home again so they can carry on with their normal life for a bit. I know that some people really aren’t keen on this way of TARDIS travel, but for me it feels like the most natural and realistic way to depict the Doctor’s various friendships. I’ve always thought that if I were traveling round in a battered old police box, I’d have a revolving set of companions whom I could take on various adventures most suited to their interests - you’d surely get the most fun from that! Maybe when Matt Smith’s Doctor isn’t picking up Clara for her Wednesday adventure, he’s got another few companions? One for every day of the week?

In all, I’m actually rather sorry to be leaving Peladon. I know, I never thought I’d say that, either. Our first trip here a few seasons ago wasn’t my favourite story (indeed, it averaged only 4.5 in my ratings, which places it towards the bottom of my list overall), and I’d been somewhat dreading this return journey. Several people had warned me that this was the worse of the two tales, but I’ve found myself going against the grain. Sure, there’s bits of this story which have left me a little cold, and without much to say, but then there’s that fourth episode, which was so close to perfect and had me completely hooked. It’s almost a perfect metaphor for how I’ve found the Pertwee era as a whole - better than I was expected, with one or two moments of near-perfection.

 

The 50 Year Diary - Day 393 - The Monster of Peladon, Episode Five

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 393: The Monster of Peladon, Episode Five

Dear diary,

It’s a bit of a roller coaster this week, isn’t it? Some days, I have loads and loads to say about a story, and other days I’m left not really knowing what to talk about. Yesterday, for example, completely knocked me for six. I couldn’t believe how good the episode was, and I filled up a whole page with notes on things to talk about. Today, I’ve only written two things down.

They’re both in relation to the Doctor being ‘killed’ in the explosion at the end of yesterday’s episode. Sarah Jane is completely stunned by it, and refuses to believe that he’s dead. It’ her description of him that really got me, though, when she says that he was ‘the most alive man’ she’d ever met, so it was just impossible to think of him as being dead. She then goes on to tell us that the Doctor often told her that there was hope ‘where there’s life…’. Now, I don’t know if this is a conscious foreshadowing of his regeneration in the next story (after all, those are some of his final words), or if it’s just a lucky fluke, but it’s rather moving all the same. The only downside is that we’ve never heard him extolling this advice - I’m wondering if it would have given us even more of an impact?

I’m a bit concerned about the way in which Sarah notices the Doctor still alive and well, and it’s because the whole security set up on Peladon has been bothering me for a few episodes now. I know Eckersley is working as an undercover agent for the Ice Warriors, and as such it’s wise for him to keep an eye on events around the Citadel, but he seems to have a security camera everywhere that it’s needed. Sarah informs them all that the sonic lance is being held over in a remote cave across from the Citadel… so they’re able to check, because there happens to be a CCTV camera in that very cave*.

Later, when flicking through the various camera feeds, Sarah happens upon a couple of them from inside the Refinery! If there’s a direct feed to the place, why has it taken so long for anyone to check if it was empty before now? I’ll give you that Eckersley might simply have been skipping over that feed when he was looking through, to keep his secret safe, but surely my beloved Alpha may have looked? Or the Doctor? Or even Sarah, since she seems relatively proficient with the technology!

On the whole, this episode feels like a step back from yesterday. I’m under no illusion, again, that I’m watching an episode of the TV series Doctor Who, being filmed in a studio with a good cast. Yesterday, I was so caught up in the drama of it all. A shame, but fantastic episodes always make the next in line feel a little sub-par…

 

*Mind you, I am willing to award points for it cutting to a previously-unseen high-angle shot of the action in the cave. So often, with things like this, the security footage would cut directly to an angle that we’ve already been watching, which does somewhat take you out of events. Here, at least, it feels like they’re trying.

The 50 Year Diary - Day 392 - The Monster of Peladon, Episode Four

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 392: The Monster of Peladon, Episode Four

Dear diary,

You know the stakes in a story are pretty dire when the Doctor regenerates! I was as shocked as you. For years, I’ve always thought that the Third Doctor dies at the end of Planet of the Spiders, but here, during the fight against Ettis, Jon Pertwee hangs up his frilly shirt, and a new actor takes on the part of the new incarnation…

TERRY WALSH IS THE DOCTOR!

Oh, ok, I’m being unfair. I think Jon Pertwee’s back problems had a pretty major impact on his final season in the role, so it’s no great surprise that we see Walsh jumping in to help out during this final battle. That said, it is a pretty clear shot we get of his face, isn’t it? I can’t remember the last time we got such a full-on view of a Doctor’s stand-in.

Still, that’s a minor quibble really because - and make sure you’re sitting down, because you’ll need to be - I bloody loved this episode. Literally, right from the start I was gripped. I try usually to give my full attention to the episodes when I watch them (long term readers may recall that in the early days of the Diary, my getting distracted away from an episode was a sign of it being a bit poor), but sometimes they’re on while I do other things. Today’s plan was to set up the episode on the computer and watch it while I folded some washing. Both things were chores, I thought (although Monster of Peladon is turning out to be far less of a chore than I’d been anticipating), so it made sense to do them together.

As I sit down to type out this entry, I’m only a few minutes from the end of the episode. Sometimes I’ll muse over what to write for some time - hours in some cases! - and other times, I just can’t wait to get sat down and start spilling all my thoughts out. Somewhere behind me, a single bit of washing has managed to get folded, because I’ve been too caught up in the events on Peladon to really care about anything else that needs doing.

It’s just so tense all of a sudden. It’s as though the Ice Warriors have turned up and made this into a proper drama. Of course, I knew that they’d be arriving in the story at some stage - though I was surprised to see it be so late - but it still made a nice surprise for me at the end of yesterday’s episode when they emerged from behind a door to confront the Doctor. I’d assumed, the first time Sarah saw something hiding in the refinery, that it was an Ice Warrior. ‘Ooh, clever,’ I’d thought - largely sarcastically - ‘this time the Ice Warriors are back to being the bad guys!’

But then all the stuff had cropped up about calling in some kind of peace-keeping force from the Federation and it rapidly became clear that these would be the Ice Warriors. Ok, I thought, so it’s a rebel faction on the planet? Or maybe it wasn’t an Ice Warrior at all? But no, it’s far more interesting than that. All these Ice Warriors seem to be in league with each other, and it’s all part of some greater scheme, which I’m not entirely privy to yet.

And then you’ve got Azaxyr. To say that he’s rapidly become my favourite Ice Warrior to ever appear in the programme would be an understatement (he even has to compete with the surprise cameo appearance of Big Head Ice Warrior later in this episode). He’s cold and calculating, he’s got some of the greatest dialogue in the story so far, and Alan Bennion is turning in a fantastic performance. Bennion was also under the mask of Slaar in The Seeds of Death, and Izlyr during our last excursion to Peladon, but I can’t remember him making such an impact during either of those stories as he does here.

Some of his dialogue should really be considered quite clichéd, but I’m lapping it all up. A particular favourite has to be ‘’You forget, Doctor, I am your judge. Your jury and your executioner, too… perhaps”. Rubbish, yes. In any other situation I’d probably be complaining about just how typical that line is at a time like this… but I loved it. So beautyfully delivered, and his later channeling of Judge Dredd (several years before 2000AD) is just as great.

But even aside from Axaxyr, the rest of the story has taken a very dark turn. The Miners taking control of the Federation’s weapons has - until now - been the biggest threat in the story, but then they’re gunned down by the Ice Warriors moments after storming the throne room. We’ve reverted to the 1960s style of Ice Warrior weaponry, too, so we get a nice ‘pinch’ effect when their hit by a shot. The whole thing is done so quickly, and so emotionlessly, that it makes a real impact. Until now, the Miners haven’t really been more than a group of characters that all merge into one beneath their wigs for me, but suddenly I actually care that we’ve lost so many of them.

They get their revenge, though. The idea of turning up the heat and then overpowering the Warriors has been going on for as long as they’ve been a part of the programme, but here the Ice Warrior guards aren’t just overpowered, we actually get a shot of the Miners beating one to death! Oh, of course, that’s not made explicit, but the way the creature lays on the ground as a group of men crown round and attack it with various primitive weapons leaves little other alternative to the imagination.

And then you’ve got Ettis becoming a terrorist. I’ve mused before that the Peladon stories are more political than many Doctor Who tales, but dear god! The way he explains his plan to turn the high-tech mining equipment on the citadel and destroy everyone - which, we’re reminded, will include all the women and children as well as the Queen and the Federation members - is terrifying. The man’s gone completely mad, and it’s a very dark theme for the story to bring in. That he then tries to kill his friend in an attempt to stop the information leaking out just makes it even more gloomy.

People often talk about the rapidly-approaching Hinchcliffe and Holmes era of the programme being ‘dark’ and ‘gothic’, and while I’m sure that’s of evidence throughout their time in charge (I’ve not seen enough to comment yet), this is the first time that I’ve ever seen Doctor Who do something quite so dark, or quite so close to reality. Of course, we’ve got the wigs and the Warriors and the Hermaphradite Hexapods, but there’s a real undercurrent of 1970s politics in all this that makes it genuinely quite scary. I never thought I’d say it about an episode from a Peladon story, but this is one of the very best bits of drama that the programme has ever given us.

 

The 50 Year Diary - Day 391 - The Monster of Peladon, Episode Three

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 391: The Monster of Peladon, Episode Three

Dear diary,

You tend to find, when undertaking a marathon like this, that all sorts of strange coincidences are thrown up. A few years ago, when listening to all the Eighth Doctor audio plays in order for Memoirs of an Edwardian Adventurer, it was often the case that events in the stories would correspond oddly with things happening in the news, and both Nick Courtney and Elisabeth Sladen passed away just a week-or-so before we were due to reach their appearances in the stories for the marathon. With a programme that’s run as long as Doctor Who, there’s connections to pretty much anything you care to mention, so I guess it shouldn’t come as a surprise that sometimes things tie together in a slightly unusual fluke.

Today, for example, I found myself having a conversation with a client about radio series The Archers. I can pin-point exactly where the conversation came from – I was trying to sell them on some Big Finish audios! They’d mentioned about listening to radio plays, citing a lot of the old Paul Temple productions from the BBC, and I’d recommended them the fab new Avengers lost episodes collection, because it sounded right up their street. From there, the conversation shifted to the fact that they’d been an avid listener for the last 40 years of The Archers, and the conversation went on from there.

Because I’m a fan of archive telly, I’ve got a vague idea about archive radio, too. I’m by no means an expert (heck, It’s generous to even call me a novice!), so I find myself falling back on the few things that I do know if I find myself in a conversation about such things. For The Archers, the only thing I really know is that the night ITV launched in 1955, was the same night that the radio serial killed off Grace Archer, one of the main characters. I only know the fact because it’s been a topic of some contention since – was it a clever move by the BBC to overshadow the opening night of their first rival? For all that it matters, in my opinion, of course it was a clever trick!

It was only later on today that I remembered the actress who’d voiced Grace Archer was Ysanne Churchman – who appears in The Monster of Peladon providing the voice of Alpha Centauri! She’ll be back in the next story, too, voicing some of the spiders. As I say, with a programme as long-running as Doctor Who, it’s not great surprise that there’s connections to another long-running BBC programme (there’s loads more, too. Perhaps most famously, 1980s Davros actor Terry Molloy has voiced a regular character in the soap for over 40 years), but it is one of those odd coincidences that I should find myself discussing the work of Churchman while I’m watching this story – and completely out-of-the-blue!

I have to admit, I do love Alpha Centauri. How can you not? The voice is a real highlight (I could listen to it all day long! Time for an audio spin off?), but the whole character is just entirely watchable. Thinking back to The Curse of Peladon, Centauri was high on my list for praise then, too…

””I’ve always assumed that it was a fairly basic creature, with everything pieced together as best they could. Actually, it’s really well made. There’s a few moments when the head has to turn, and it just looks good! Usually things like this would leave me complaining that it doesn’t quite work out, but no! Hooray! I think if this story wants to do better in my estimations, we need more of Centauri!

More Centauri is something this story is giving us in droves, and they’ve even made a few modifications to the costume, so it’s even better here. I think the cape is different, for example, and spending so much time in the creature’s company means that I’m getting to enjoy all the little movements and gestures, too. The blink of the eye, to way the claws pinch and move in unison when gesticulating (an effect achieved, I presume, by the very basic application of a bit of string between the various appendages!)… it really is hard not to love this Hermaphrodite Hexapod, isn’t it?

 

The 50 Year Diary - Day 390 - The Monster of Peladon, Episode Two

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 390: The Monster of Peladon, Episode Two

Dear diary,

Since picking up on it again during The Time Warrior, I can’t help but keep noticing just how great scenes shot on film look in this series. There it was sequences of soldiers storming a castle. In Invasion of the Dinosaurs, it was the Doctor watching two dinosaurs battle it out on the streets of London. In Death to the Daleks we had that lovely shot of the pepperpots taking command on the planet’s surface. Today… well, today isn’t anything quite as exciting as all that. It’s a simple scene of the Doctor stood in a tunnel, talking to a couple of the miners.

It’s not a particularly thrilling scene, and there’s very little action involved – there’s only a couple of alternate shots, for example – but it’s remarkable how it makes everything look so much richer. Even down to the Pel’s rather distinctive wigs, it looks like there’s more money being spent than there really is.

Not that I’m able to complain all that much, though. No matter how much I can moan on about the Peladon tales being far from the most thrilling of Doctor Who adventures, they do look very sumptuous. Everything from the look of the caverns, to the throne room, the costumes, and the rest of the Citadel is beautifully designed, and there’s a real cohesion to all the elements: You really get a sense of this as being a society which has developed over time as opposed to simply being erected in TV Centre for a few weeks every couple of years.

Indeed, the area where the design lets me down is the more high-tech Federation area, which comes across as somewhat bland and completely lacks the character of the other sets. It’s the same kind of design that you see in many ‘futuristic’ sets from this era, and we’ve seen one or two too many in recent weeks for it to make much of an impact here.

Perhaps my favourite piece of design, though, is Sarah Jane’s costume. I really like this one, and thinking about it, this may be my favourite of all her outfits. It’s a look that wouldn’t be out-of-place today, and there’s echoes of it in some of Jenna Coleman’s first publicity shots for the programme. When people talk about Sarah’s clothes, it’s usually to mention things like her Hand of Fear Andy Pandy outfit, or the one she rocks in The Five Doctors, and they’re usually brought up because they’re a bit more… out there. For me, this look doesn’t get enough of a look in – and it really should!

 

The 50 Year Diary - Day 389 - The Monster of Peladon, Episode One

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 389: The Monster of Peladon, Episode One

Dear diary,

As ever, wind and rain lashed at the walls of the Citadel of Peladon. Perched high on the side of a mountain, the fortress had stood the onslaught of such weather for centuries. Today we different, though, for today, there was another sound echoing around the large, grey halls. The wheezing, groaning of the TARDIS engines died away as the Doctor stepped out of the battered, blue police box. His new companion, Sarah Jane, followed close behind.

“The Citadel of Peladon, Sarah,” he announced, gesturing out into the room. “One of the most interesting…”

Before the man could finish, Will sat bolt upright, and stared at the screen in utter disbelief. Interesting? Interesting!? The last time the Doctor had visited Peladon, a couple of seasons ago with companion Jo Grant in tow, it had been far from interesting…

I don’t think it’s especially hard to guess that I’ve not really been eagerly anticipating this one. The Curse of Peladon left me completely cold (Indeed, it holds the lowest average rating that I’ve given to any Pertwee story), and the prospect of returning to the planet in a story that I’ve seen described as ‘a remake, but a third longer’ hasn’t especially been filling me with a great deal of excitement.

That said, I was actually quite pleased to see the Citadel again in our opening shot, being attacked by the weather. I’ve mused before that I like the Doctor having a few friends throughout time and space that he can drop in on now and then, and the idea that he’s been meaning to pop back in and catch up with things here is great – as we’re reminded several times throughout the episode, the Doctor is one of the key reasons that Peladon joined the Federation in the first place, so it makes sense that he should call round and make sure that everything is ok.

I think I’m actually surprised by how pleased I am to see all these elements making a return – the Throne Room, Aggador, there’s even mention of characters and situations from the first story, and it all creates a rather nice sense of nostalgia.

It also means – make sure you’re sitting down for this one – that I’m actually quite enjoying things! I know! Don’t get me wrong, I’m expecting this feeling to wear off by the end of the story (I’m already dreading this plot being stretched out over six whole episodes), but for now I’m actually engaged in events, and I’m interested to see where they go from here. I’ve always known that the first Peledon tale involved them debating whether to join the Federation, and that the second is more to do with the miner’s strikes of the time, but I don’t know where the story goes from here. I don’t know if Peleadon stay in the Federation, or opt to leave again, and I’m quite keen to find out.

Things are helped by the fact that the Doctor and Sarah’s relationship is growing better with every new episode. I love the way that she teases him here (the way she playfully calls him a ‘name dropper’ when he refers to the king as his good friend is a real highlight!), and the relationship reminds me somewhat of the one between Clara and the Eleventh Doctor, where she won’t take and of his grand ‘Time Lord nonsense’, and just cuts him down to size with a few well placed words and a smile. People always talk about the way Sarah Jane acts with the Fourth Doctor as being that of absolute best friends, but I think it’s clear that she’s pretty fond of the Third incarnation, too.

 

The 50 Year Diary - Day 388 - Death to the Daleks, Episode Four

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 388: Death to the Daleks, Episode Four

Dear diary,

Somewhat ironically, just this afternoon at work, I was telling a college about the way I used to melt polystyrene. We’ve just been doing a rather large re-build of some sections, and we’ve amassed quite a big pile of polystyrene waiting to be crushed into little bricks for recycling. I was explaining how - when I was a kid - I used to cut up chunks of polystyrene to make shapes (usually castles, complete with cocktail sticks to put bars over the windows) and then allow drops of glue to melt away at the material. It used to fascinate me, the way that it simply ate at the polystyrene until there was little remaining.

Imagine my surprise, then, when I reached the end of today’s episode to find that they’d used pretty much that exact same technique to depict the city collapsing in on itself! It’s well done, and even though we get a shot of the beacon being blown up (one which, I’m sorry to say’ doesn’t really work for me. That entire part of the structure breaks off in one, which just makes it look more like a model), it’s nice to see that they’ve gone for something other than simply blowing up one of the main settings for the ending of this story. Makes a nice break with tradition.

It’s a shame that the city has somewhat bored me today. Having been impressed by the various logic puzzles at the end of the last episode, the ones here become increasingly dull - essentially boiling down to ‘spend some time in this empty room without either going mad or killing each other. And, of course, we’ve got the resolution to that bizarre ‘floor tiles’ cliffhanger from yesterday, too, which boils down - after some careful examination from the Sonic Screwdriver - to simply ‘don’t stand on the red tiles, now there’s a good chap.

That’s not to say there aren’t nice bits - the person watching on the screen adds a nice, sinister edge to the proceedings, and I rather like the idea that he’s been sat there so long that he turns to dust the second the air in the room gets to move again. The only downside is that all the tension the appearance of this mysterious figure is dissipated almost instantly, and then the Doctor simply has to fiddle with a few wires before making his way back out of the city once more! It’s even worse for the Daleks, who trundle along, getting a bit beaten up by the various tests along the way, are attacked by the ‘antibodies’, and then spin round and leave again! They’re not even the comedy Daleks from stories like The Chase, which is a pity, because I rather like the idea of a Dalek double act trying to make their way through a series of logic tests in a hyper-intelligent city!

You may have noticed that I’m not being all that warm towards today’s episode, and I’m sorry to report that it just hasn’t grabbed me. After such a strong start a few days ago, I’ve really gone off this story, and it’s turned out to be simply the slightly bland four episodes that I’d been expecting. Even the Daleks don’t really need to be there. The fact that they can’t use their weapons means that they’re not really all that integral to the plot, and the story might actually be more interesting were it to be a group of humans acting as the bad guys, who wish to take the minerals with them to spin a profit.

It’s a real pity in most ways, because that first episode showed some promise, and I thought that we might be in for something of a hidden gem with Death to the Daleks. I think I’m reduced to simply being glad that it’s only a four-part story, as opposed to six episodes long - I’ve little doubt that Terry could have stretched out the city’s many puzzles for another 23 minutes!

 

The 50 Year Diary - Day 387 - Death to the Daleks, Episode Three

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 387: Death to the Daleks, Episode Three

Dear diary,

I realised today that, despite not knowing much about this story, there was something else I was aware of from it – Belal. The design of this particular Exxilon (and his friend, I guess) has always struck me as a little bit rubbish, and when he first emerges after the cliffhanger resolution, I was a bit downhearted by it. I mean, of course I didn’t like it. The whole thing is an ill-fitting rubber suit, with an obvious join at the neck (a similar problem that beset the original Silurians). I’d always vaguely known of this costume – probably via a clip in something else – and I’d always thought it was rubbish, but when I was less than impressed by the alien creatures from Colony in Space, I assumed that I’d just mis-remembered one of those creatures as featuring in a later story.

I made a note about how rubbish the costume was, and continued to think it through the rest of the episode… until I started to quite like it. Yes, it is ill-fitting. Yes, it is ridiculously rubbery. Yes, the neck join is painfully obvious (and actually, that’s still the thing that niggles the most). And yet despite it all, it’s hard not to row fond of the creatures. I think it’s the huge eyes that do it, which would make sense if they mostly confine themselves to these caves (and in Episode One we’re told that the creatures only usually show up at night), and they’re quite cute in a way. The cloaks worn by the majority of them hide some of the costumes’ other flaws, but I can’t help but think that they just don’t look like a Doctor Who alien.

And actually, I like the idea that these people used to be highly advanced, space travellers. It’s even stated that they must have visited Earth and taught some of our own ancient civilisations how to construct huge structures in the style of their own city. It makes a nice change from the usual races where they’ve yet to develop any kind of technology of their own, and I love the idea that they became victims of their own success, creating an intelligent city so powerful that it takes over and becomes a kind of deity to the species.

In some ways, I even quite like the design of the city. The glowing wall decorations are very well realised (it’s using the same technique applied to the bow in Sliver Nemesis, I can recall that much from the documentary on the VHS for that story), and the whole tough-sensitive idea is very ahead of its time. It’s the kind of effect that you think they’d probably not do as well these days as they did back then – I get the feeling that if they were to design a futuristic, intelligent city now, it wouldn’t be quite as… streamlined… as this one.

I’m less keen on the city’s ‘roots’, though. I think I quite like the idea that it has these various tendrils that reach out and gather both knowledge and power (is that actually what they do? I may have just filled in that bit of detail in my own mind), but it seems strange that they turn up in the cave system and under some muddy water on the planet surface, acting more like animal life than technology. The various battles between the tendrils and the Daleks aren’t as exciting as I’d like them to be, but they do feel very much like something I can imagine the TV Comic stories doing – and I do love seeing a destroyed Dalek tumbling down into the water.

In all, the Daleks look better here. There’s a couple of shots towards the end of the episode, where they’re in a formation of three, shot from a slightly lower angle, and the sun appears to be setting somewhere in the distance. The combination of elements makes it quite a nice shot, and it’s surprising how much I like having the Daleks back in silver again – it makes them look so much better than the flat grey versions more familiar from other recent stories. The only real downside is having all the ‘bumps’ in black – they just look very dull, whereas the silver/blue versions used in the 1960s have always felt far more appealing to me!