A first look at Doctor Who’s feature-length Centenary special, and Jodie Whittaker’s final episode, has revealed the return of the Doctor’s biggest adversary – The Master (Sacha Dhawan), who last appeared in series 12’s final episode The Timeless Children. 

And for the first time since the show returned to BBC One in 2005, The Master, the Daleks and the Cybermen will all feature in one single story.

The trail, which aired after the Easter special Legend of the Sea Devils, also revealed the surprise return of two of the Doctor’s companions from earlier eras of the show. Janet Fielding as Tegan Jovanka -  companion to both the Fourth and Fifth Doctors - and Sophie Aldred as Ace - companion to the Seventh Doctor, will reprise their roles on screen for the first time since leaving the show.

Showrunner Chris Chibnall says:

“Jodie’s final feature-length story contains a plethora of treats and surprises for audiences and fans, not least the return of two of the most beloved companions in the show’s history. They’ll be helping the Doctor fight on three fronts, against her deadliest enemies: the Master, Daleks and Cybermen,  in one huge story!  

For the BBC’s Centenary, we’ll be celebrating the past, present and future of Doctor Who, in a fittingly thrilling, epic and emotional send-off for the Thirteenth Doctor."

Janet Fielding says:

“In some ways it was a very different experience to what it was like when I finished recording in 1983, but in many ways it was very similar. It was so lovely to be a working member of the Doctor Who family again.”

Sophie Aldred says:

“It’s been quite a challenge to have such a big secret to keep, even from my family, and I couldn’t be more thrilled and excited to have been asked back. I hope everyone enjoys it as much as I adored being part of the TARDIS team again.”

Also confirmed to be taking to the screen for the Doctor’s epic battle for survival are Vinder (Jacob Anderson) and Kate Stewart (Jemma Redgrave) .

Written by Chris Chibnall and directed by Jamie Magnus Stone, the feature-length special will air later this year as part of the BBC’s Centenary celebrations, with further details to be confirmed in due course.

+ WATCH the trailer for the centenary special in the player, below:

[Source: BBC Studios]

Manufacturer: Big Finish Productions

Written By: Guy Adams

RRP: £14.99 (CD) / £12.99 (Download)

Release Date: January 2020

Reviewed by: Nick Mellish for Doctor Who Online

"The Eleven has a plan. A grand plan. An appalling plan. A plan that endangers all life in the cosmos.

With Ace working for the enemy, the Doctor must rely on scheming Time Lord Cardinal Ollistra for help. The stage is set for an epic confrontation.

Because the Doctor has a plan to stop the Eleven. A grand plan. An appalling plan. A plan that endangers all life in the cosmos.

Whichever one of them wins, the Dark Universe won’t want to lose..."

WARNING: The following review contains spoilers. You have been warned!

With so many releases across so many ranges, it is semi-inevitable that at some point they will converge in one place. We’ve seen that recently with the Who/Cicero crossover play Tartarus, and now we are mixing the streams again with the Eighth Doctor box sets and the main range in this, Dark Universe. In some ways this was an inevitable release, what with the Seventh Doctor having kicked off Doom Coalition in the first place. We know he captured the Eleven, so I suppose temptation would always be succumb to in the end and we’d get the story of how it unfolded.

That is not surprising. What arguably is surprising is that Dark Universe very much relies upon you knowing who the Eleven is and how he operates. You get a brief hand-waving exercise of “this is his basic modus-operandi” but not much beyond that, and an entire cliffhanger resolution being wrapped up in knowing that one of his incarnations was nice is the icing on the cake. Unfamiliar with the Eleven? You’ll get the vague gist of things but hand on heart(s) I am not sure this is necessarily the best introduction, which is odd as this is, chronologically speaking, the Eleven’s debut appearance in the world of all things Who. Ah well: the show loves a paradox, doesn’t it?

Speaking of confusing states of affair, Dark Universe sees an older Ace reunited with the Seventh Doctor, still up to his old tricks, years after they parted. If you thought tracking the chronology of the Eleven is hard, good luck trying with Ace. I have listened to every single Big Finish release featuring her (not an exaggeration), and I’m largely lost nowadays. Can you imagine how a casual listener must feel? The Big Finish main range is not a welcoming one.

Back to the play in hand, though. With any prequel, you run the risk of things feeling redundant. We know how everything ends, so just how exciting can the road there really be? A fair bit, it turns out. Guy Adams is definitely having fun here. We expect some of the cliffhangers before they come, but that’s part of the game. A weapon is discovered, it’ll have devastating effects… and the Doctor wants the enemy to have it! He doesn’t think they will use it… but they do! And so on. The game here is to play along, anticipate, hear it happen with a knowing wink, and smile as the episode ends. It’s a playful approach that benefits the script enormously.

I felt that perhaps things ran their course a little by the end, mind. The final episode carries on with what you expect: the Doctor looking at the bigger picture as if playing Chess; Ace calling him on it and the two of them being at loggerheads. It’s something we’ve seen many times before but unlike the cliffhangers and playfulness earlier, it’s so era-specific, instead of the wider tropes from earlier, that it feels like a cliché and little else. Perhaps it will lead to more meaningful things in the range down the line, but that’s hard to say.

As it stands, there is a lot to recommend with Dark Universe. Does it work as an introduction to the Eleven for new listeners? I’m not sure it does. But the play is fun with some nicely imaginative parts, and whatever else, Dark Universe is a declaration of intent.

The main range is increasingly wanting to acknowledge the other ranges Big Finish has to offer. We’ve had these crossovers before, but I’m not sure it’s felt as apparent then as it does right now. (New Series) UNIT dipping its toes into the Lady Christina box set is one thing, but (New Series) UNIT dipping its toes into the main range would be something else entirely. Right now, it feels plausible. Case in point, we’ve Churchill making an appearance soon: a New Series character, yes, but one who has also had two box sets of his own, and I’m sure the play will be sure to remind us of this.

What to make of this approach? It’s probably a smart move on Big Finish’s part, reminding us of just how much there is out there, but as with Ace and her timeline jumping, it’s arguably also symbolic of how intimidating Big Finish can appear from the outside looking in. Maybe having Eleven personalities at once to digest it all would help? Time will tell, it always does… ah, maybe there’s something in era-specific clichés after all.

+ Dark Universe is OUT NOW, priced £14.99 (CD) / £12.99 (Download).

+ ORDER this title on Amazon!

BBC Studios continues to offer Doctor Who fans the opportunity to build their own home archive on Blu-ray. Debuting on Monday 23rd December is Doctor Who: The Collection - Season 26; the acclaimed final season from the series’ original run, starring Sylvester McCoy and Sophie Aldred.

The set includes four stories: 

BATTLEFIELD
GHOST LIGHT
THE CURSE OF FENRIC
SURVIVAL

In 1989, Doctor Who was on a creative high, with the Seventh Doctor and his companion Ace revitalising the programme for a new generation. Season 26 featured four epic adventures traversing a future Britain invaded by inter-dimensional knights, a strange Victorian house haunted by ghosts from Ace’s past, an alien world populated by Cheetah People and a 1940s army camp under siege from monstrous vampires.

With guest stars including Nicholas Courtney (Brigadier Lethbridge-Stewart), Anthony Ainley (The Master), Jean Marsh, Nicholas Parsons, Anne Reid, Ian Hogg, Sylvia Syms and comedy duo Hale & Pace, this fondly-remembered set of stories saw the end of an era for Doctor Who, and set the stage for its hugely successful revival.

With all episodes newly remastered from the best available sources, this Blu-ray box set also contains extensive and exclusive special features including:

Rare Restored Extended Cuts
The Curse of Fenric VHS Extended Version The Curse of Fenric DVD Special Edition Battlefield VHS Extended Version Battlefield DVD Special Edition, plus

5.1 surround sound & isolated scores
On all 14 broadcast episodes, plus 5.1 sound on all extended versions of The Curse Of Fenric and Battlefield.

Behind the Sofa
New episodes with Sylvester McCoy, Sophie Aldred, plus companions Janet Fielding, Sarah Sutton, Anneke Wills and Jodie Whittaker-era writers Pete McTighe & Joy Wilkinson.

Showman - the Life of John Nathan-Turner
A feature-length look at the life and career of Doctor Who’s longest-serving producer, who fought to keep the programme on-air during the 1980s. Contributors include Peter Davison and Colin Baker.

Making ‘The Curse of Fenric’
A brand new documentary featuring Sylvester McCoy, Sophie Aldred, Tomek Bork, Nicholas Parsons, Cory Pulman, Marek Anton, Ian Briggs, Andrew Cartmel, Mark Ayres and Ian Collins featuring unseen behind-the-scenes footage and photographs.

In Conversation
Matthew Sweet chats to companion Sophie Aldred.

The Writers’ Room
Ben Aaronovitch, Marc Platt, Ian Briggs, Rona Munro and Andrew Cartmel discuss their work on Season 26.

Becoming The Destroyer
Actor Marek Anton and prosthetics designer Stephen Mansfield recall the creation of one of Doctor Who’s best ever monsters.

Blu-Ray trailer
Sophie Aldred back in character as Ace.

Brand new Ghost Light extended workprint Unseen studio footage

Rare archive treats

Convention footage

HD photo galleries

Scripts, costume designs, rare BBC production files and other gems from our PDF archive

And lots more!

The seven-disc box set also includes hours of special features previously released on DVD.

+ PREORDER this title from Amazon.co.uk for just £39.99 (RRP: £56.16)!
[youtube:sgHRLi02JAc] 
[Source: BBC Studios]

Manufacturer: Big Finish Productions

Written By: Mark Morris

RRP: £14.99 (CD) / £12.99 (Download)

Release Date: September 2018

Reviewed by: Nick Mellish for Doctor Who Online

"The Doctor, Ace and Mel are caught in a forever night. After crossing the threshold, a strange world awaits them.

An army of tortured souls. A lift that leads to an alien landscape. An alien warlord, left for dead, and willing to do anything to prolong his life… it’s all in a day’s work for the Doctor.

But when his companions become victims of the desperate and powerful Arkallax, the Doctor will have to do battle in a psychic environment where he must make a choice. Save his companions… or himself."

When I’m writing these reviews, I try to avoid other people’s. You don’t want to have your ‘voice’ accidentally imitate someone else’s viewpoint and articulation, and you certainly don’t want to start framing your arguments with somebody else’s words, albeit accidentally.

It’s been hard, though, to avoid everyone’s praise for this play and while it did not land for me in the same way Red Planets did, last month, it’s easy to see why it’s getting plenty of nods in the right direction.

The story starts with a battle in space, but before too long, things have been dragged down to Earth with a real bump: an abandoned estate, zombie-esque humans shuffling and moaning that they’re hungry, Northern accents aplenty and a lift that does not go where it should be going, all get thrown into the mix alongside an alien that takes over both the body and vernacular of a local resident, a young couple trapped as the monsters make their way across the land, and, of course, the Doctor, Ace and Mel. Sylvester McCoy especially sounds like he’s enjoying this one, though the extras reveal that Bonnie Langford and Sophie Aldred are in what is termed a “playful” mood during the recording session, which is a lot of fun to listen to.

(As in the norm nowadays, no extended extras were available to listen to upon release or across the days following, which is a real shame but Big Finish don’t appear to be changing this any time soon, sadly. It’s doubly painful this month as The Dalek Occupation Of Winter came out with a set of extended extras simultaneously, the day after The Dispossessed was released. Ah well.)

The opening couple of episodes of the play are very strong, with a nice sense of menace and that wonderfully Doctor Who thing of merging the mundane with the fantastical: a block of flats being attacked by an alien menace. Actually, that sounds a lot like Attack the Block, doesn’t it? Perhaps Jodie Whittaker has been having a word.

Mark Morris has constructed a good setting and nice characters here. None of them entirely likeable and all of them people you root for. That’s so bloody hard to pull off, and I am in awe with how easy he makes it look here. (I also appreciated the return of his running gag about how much sugar the Seventh Doctor takes in his tea.)

It was near the ending that for me things started to feel less spectacular, though never bad or dull. Spoilers will follow, so look away now if you wish to not be ruined…

… still reading? Okay, spoilers begin.

In the end, the big bad is another psychic foe (or rather, a foe with psychic abilities) and though Morris has a neat and novel spin on it, it does rather boil down to the Doctor ensnaring a villain in their own trap and lots of shouting about possession and minds and battling with mental powers.  It just feels beyond over-familiar from Big Finish now to be falling back on this once again and it rather flattens the second half of the play.

I’m also not entirely comfortable with the brain tumour subplot. I understand that Morris is trying to make a point here about how diseases in the past once thought incurable can now be corrected with little fuss, but it comes off as a little trite to have one of our lead supporting characters cured of his with a nod and a lot of laughing about how silly it is to be worrying about them. I wonder if something like terminal cancer would be dealt with which such flippancy? It just felt in rather poor taste for me, though I appreciate the point that was being made.

The Dispossessed ends with Mel going rogue and leading the Doctor, Ace and the TARDIS to the lair of none other than Dogbolter himself, which could be a lot of fun. It’s not the return of Frobisher comic book fans, but it’s close and I’ll take it. The only downside is that this means Guy Adams will be absent from script editing duties. On the strength of his efforts this year, that’s a crying shame and I hope it is not too long before he is persuaded to return to the role.

This does not diminish the good though so let us be grateful for another solid script in this run of Doctor / Mel / Ace adventures. Here's hoping more comes our way soon.

+ The Dispossessed is OUT NOW, priced £14.99 (CD) / £12.99 (Download).

+ ORDER this title on Amazon!

Manufacturer: Big Finish Productions

Written By: Una McCormack

RRP: £14.99 (CD) / £12.99 (Download)

Release Date: August 2018

Reviewed by: Nick Mellish for Doctor Who Online

"London, 2017. Except... it isn't. Berlin, 1961. But it isn't that either. Not really. Not in the timeline the Doctor knows. Something is very wrong.

While Ace tries to save the life of a wounded British spy, Mel and the Doctor must get to grips with the modern day socialist Republic of Mokoshia. For Mel it feels strangely familiar and 'right', which makes the Doctor feel even more uneasy.

Soon, a message from a dark and blood-soaked distant future is on its way... But the Doctor will have to act fast to stop this timeline becoming reality.

And with Ace stranded in an alternate 1961, will saving the Earth end her existence?"

They say that bad news comes in waves, but I’ve often found the reverse to also be true. 

After a few months now of plays mostly failing to land for me, Big Finish have suddenly hit a run of very strong offerings: The Barbarians And The Samurai is hands-down the best thing Andrew Smith has written for Big Finish and had me raving about it to friends; Flight into Hull! is a truly fantastic story by Joseph Lidster (I was, I’ll admit, very unsure about wanting to hear anything about the Meta-Crisis Doctor until I saw his name attached to the project, and both outings were very strong); False Coronets by Alice Cavender was a lot of fun; I’ve only dipped into Class so far but what I’ve heard I’ve liked; and then there is this, Red Planets by Una McCormack.

In a word? Superb.

Mel and the Seventh Doctor find themselves on Earth in 2017 - only not quite the Earth it should be: Mel is singing Russian anthems and recalls a history very different to that she should remember and even the Doctor can’t persuade her otherwise. Meanwhile, Ace finds herself in Berlin in the early 1960s but, again, things are all askew. Time and history are at a crucial turning point and it’s going to be up to the two groups to put things right.

“Okay,” people will say. “Parallel timelines. Done this before!” Ah, but rarely with such grace and depth and plausibility. This isn’t just spinning out an idea into a side-story, but creating a believable world. You feel you could spend an entire trilogy exploring the ins and outs of this new history and not get bored, and it is this that makes it a cut above the standard, alternative-history adventure. McCormack goes into just enough detail to make it hold tight but not enough to swamp you with detail and research.

The characters are rich, the performances strong, the different locations (the past! The present! Space!) varied enough to stand tall and carry three very different, but equally engaging storylines. The play also scores points for being true to the era in which it is set, i.e. the Seventh Doctor’s run on TV. Yes, Mel here is still the Mel of Big Finish and not the one often criminally underwritten on-screen (poor Mel, I do love her) but you can picture the BBC sets as you listen to this story and imagine them pulling it off. Credit must go to the sound design for that and also the direction by Jamie Anderson, not to mention the script editing by Guy Adams. (He was also in the driving seat for the excellent Davison trilogy which kickstarted the year, and I see he was in charge for next month’s play, too. This bodes well.)

Red Planets is helped along by sterling performances from the three leads. As long-time fans, we know the anecdotes of old: no glasses and late to the audition, a letter sent whilst working with builders, a chance encounter charming people at a party, lying about being American or lying about Australian air hostesses. We know these tales of old and that knowledge can, at times, make us take for granted how good the casting was; how perfect the fit between role and actor. This play helps us be more appreciative of that. Sophie Aldred in particular, gives us what is, for my money, one of her strongest outings as Ace, yet.

The ending of the play sets things up for stories to come and with a whopping five McCoy plays on the trot, it’s doubly nice that this one is so very good. This play, like those at the start of 2018, reminds me just how brilliant the Main Range can be. There’s an energy about Red Planets; a spring in its step and a confidence in its vision that all make for one of the most enjoyable listens I’ve had from Big Finish this year. In short, plays like this make the yearly subscription worth it.

+ Red Planets is OUT NOW, priced £14.99 (CD) / £12.99 (Download).

+ ORDER this title on Amazon!

Manufacturer: Big Finish Productions

Writer: John Dorney

RRP: £14.99 (CD) / £12.99 (Download)

Release Date: July 2017

Reviewed by: Nick Mellish for Doctor Who Online

"The planet Dashrah is a world of exceptional beauty. Historical ruins; colourful skies; swirling sunsets…

Unsurprisingly, it’s a major tourist trap. So if you want to visit Dashrah, first you’ll have to visit Parking, the artificial planetoid that Galactic Heritage built next door. Parking, as its name implies, is a spaceship park. A huge spaceship park. A huge, enormous spaceship park.

When the TARDIS materialises in Parking’s Northern Hemisphere, the Doctor, Ace and Mel envisage a quick teleport trip to the surface of Dashrah. But they’ve reckoned without the superzealous Wardens, and their robotic servitors… the sect of the Free Parkers, who wage war against the Wardens… the spontaneously combusting spaceships… and the terrifying secret that lies at the lowest of Parking’s lower levels."

John Dorney kicks off this second trilogy of adventures for the Seventh Doctor, Mel and Ace.  The first was notable for three things (four if you include Fiesta of the Damned, Guy Adams’s finest hour):

1. The absence of Glitz: A Life of Crime especially was all about Glitz and Mel… but no Glitz was to be found, which felt awkward at times, especially given the crime/heist nature of the play.
2. The introduction of Gloria; a sure-to-be returning antagonist, one day (or at least, that's how she was set up).
3. The brilliant rapport between Bonnie Langford and Sophie Aldred.

I was excited, then, to see this TRADIS crew return, and with a writer like Dorney in the driving seat, even more enthused.

The High Price of Parking starts with the Doctor promising a place of unrivalled beauty to his two companions, and landing in a car park (or rather a spaceship park) instead, much to their bemusement.  It turns out that this is simply where they are parking the TARDIS before getting a lift to see the famous home of the now-missing Dream Spinners (either a relatively obscure reference to an unmade story from the 1960s or another story arc to keep an eye on: the jury is out so far).

As ever in the Doctor’s world though, trouble is afoot: spaceships are being destroyed and the rebellious Free Parkers are being blamed by the Wardens.  But are the Wardens as innocent as they seem? It looks like one of them is in cahoots with a mysterious woman, and trying to frame the Doctor and his friends for purposes unknown. Cue story.

There are some truly great ideas in this play that are gloriously silly. Car parks the size of continents and inhabitants living there for generations having lost their vehicles? Count me in: it’s a great premise and one that feels perfectly Doctor Who-y.  The trouble is that the rest of the story doesn’t live up to this central premise.  What could be a fun satire is stretched thin and at times feels very familiar, not only to the series as a whole but to Big Finish particularly. We’ve had these sort of stories before in releases such as The Cannibalists and Spaceport Fear and it feels tired here.

A bigger issue with this release though is the direction. Lines and characters and scenarios that could be comedic are often played rather straight or directed flatly, and the cliffhangers are heralded with no punch at all. Listen to the end of Part One: it sounds like McCoy is about to launch into another line or sentence and deliver the final big build up, but instead the episode just sort of… ends and is thoroughly underwhelming. This happens a further two times, and kills the drama dead.  It’s a very rare miss for the usually solid direction of Ken Bentley.

On a more positive note, subscribers will be pleased with this play as it has been released with the exclusive Extended Extras at the same time. For some unknown reason, Big Finish often make subscribers wait anything up to a whole month (and far longer on occasion in the past) before they are available for download, which is far too long as the impetus to listen to them are long gone by the time another play has come around. It’s a pity, too, as the extended length makes for decent interviews, something the edited highlights often lack, coming across as more like PR pieces for how much the actors love working for Big Finish than anything of real substance. These extended cuts must surely be edited at the same time as the condensed versions released on the CDs, seeing as they have had a simultaneous release here and it has been this way with other plays in the past.  Hopefully this long wait is a kink that will be ironed out in the future.

Hopefully, too, the future will be kinder for this TARDIS crew and Dorney. I have full faith that they will both be back to brilliance before too long. As it stands though, this play feels like it could have been a great DWM comic strip or hour-long episode, but at four parts it’s stretched beyond breaking and the lackluster direction does not help paper up some of the cracks.

+  ORDER this CD via Amazon.co.uk!

Bedford’s second charity Doctor Who convention is taking place on Saturday 23rd April – and Doctor Who Online readers can claim a 10% discount on their tickets!  (See below for details.)

This year’s guests are Katy Manning, Deborah Watling, Sophie Aldred, Nicholas Briggs, Mike Tucker, John Leeson – and The Scottish Falsetto Sock Puppet Theatre.

Bedford Who Charity Cons are fairly new on the scene, but they’ve already established a reputation for being fun, relaxed and friendly.  Feedback from both audiences and guests have been excellent.  Sophie Aldred said the last one was a ‘truly lovely day’ with a ‘great atmosphere’; Mike Tucker said it was ‘a lovely, informal event.’  All profits will be donated to Bedford Foodbank. Each month, they provide emergency food for some 500 local children and adults who would otherwise go hungry.

It’s a good line-up.  The day will be a mixture of panel interviews, signings, and the opportunity to chat to guests and to have your photo taken with them.  Not everyone’s familiar with The Scottish Falsetto Sock Puppet Theatre: they’re an award winning comedy act from the Edinburgh Fringe and they’re also very, very funny. Check them out on YouTube.  They’ll be giving us their take on Doctor Who.  (They can be a little sweary but they’ve promised to be suitable for a family audience.  Their Malcolm Tucker as the new Doctor sketch won’t, alas, be part of their performance!)  Mike Tucker’s going to be doing a presentation on how classic-Who icons were adapted and updated for nu-Who; he’s also bringing along a mystery prop which we’re not allowed to say anything about yet, but it’s really exciting!  (As is usual with conventions, guests appear subject to their other work commitments.)

The basic ticket costs are £40 for adults, £20 for 14-18 year olds and full time students, and £15 for under-14s.  If you mention when you book your tickets that you heard about the day through Doctor Who Online, you’ll receive a 10% reduction on the price!  Concessions and family tickets are also available; details are on the convention’s website (see below). Special rates are offered for group bookings, too, though you’ll need to email organiser Simon Danes (see below again!) for the rates.  (This may especially appeal to university and college Doctor Who societies.)  It has to be said that the ticket rates are at the low end for Doctor Who cons, and they’re very good value. The organisers stress they’re not out to fleece you; the tickets give you access to all the events on the day.  Guests will ask a fee for autographs, though, and if you’d like photos with the actors, a charity donation is asked for.

Bedford’s a small town in the south Midlands, about 50 miles north of London (and just 35 minutes from St Pancras). Communications are good:  it’s just off the A1 and M1; good bus and coach links from Oxford and Cambridge and others; direct trains from Brighton, Nottingham, Loughborough and Leicester.

Date, Time & Location:

Saturday 23rd April 2016

10:00am-5:30pm

The King’s House,
245 Ampthill Road,
Bedford
MK42 9AZ

+  Website:  bedfordwhocharitycon.co.uk

+  Facebook:  facebook.com/bedfordwhocharitycon

+  Email:  info@bedfordwhocharitycon.co.uk

[Sources: Simon Danes]

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

Day 724: Dimensions in Time

Dear diary,

It’s Chriiiiiiiistmaaaaaassssssss! Fitting, then, that I should be watching a strange kind of ‘panto’ episode of Doctor Who to celebrate…

Oh, the hate that Dimensions in Time has received over the years. Is there a more loathed fifteen minutes of Doctor Who than this? I have to admit, though, that I rather like it - because I’ve never taken it seriously, but simply enjoyed it for what it is; a fun runaround, celebrating Doctor Who for its thirtieth birthday, and raising money for a great cause at the same time. Indeed, it’s perhaps fitting that I’m watching this one on Christmas Day, because it’s the perfect time to enjoy it on its own merits.

You’ll also have to excuse that this isn’t going to be a particularly ‘in-depth’ entry of the Diary (as though I’m able to really call any of my insights all that ‘in-depth’), because there’s not an awful lot that i can actually say about Dimensions in Time, is there? I’ve even made Emma sit and watch it with me - it helps the Christmas dinner go down - but she spent most of the time with her head cocked to one side, somewhat confused as to what the heck was actually happening. Immediately afterwards, though, we watched the out-takes and amused ourselves with how Davison spends the entire recording looking as though he’s made a huge mistake in agreeing to turn up that day.

Over the last couple of weeks, when I’ve told people that I’ll be watching this story as part of the marathon, it’s been met with a fair bit of negative reaction. I’ve been told - several times - that it’s not a proper part of Doctor Who, so I needn't bother watching it (equally, many of those same people have gone on to tell me that I ‘have’ to watch The Curse of Fatal Death, though…!), but for me it’s an important part of the entire Doctor Who mythos, and I’ve never realised it mores than now - at the very end of a two-year marathon of all the ‘classic’ episodes. It’s the capstone for ‘classic’ BBC Doctor Who, and looked at like that, I think it fills the part admirably. 

It’s a final chance to see lots of our old favourites running around, doing (and saying) things that the general public automatically think are ‘very Doctor Who’. It’s the final time we get to see Jon Pertwee don his cape and strut around like he owns the place. It’s also the last appearance in televised Doctor Who for almost the entire cast - save for Elisabeth Sladen. No, the plot doesn’t make a great deal of sense (Every time I watch, I think I’ve sussed out what’s happening, but then we cut to the Fifth Doctor with both Peri and Nyssa, and the whole plan goes out the window), and shoehorning in Eastenders doesn’t fit quite as well as they suspected it would (that said, I’d probably enjoy that element more if I could remember more than a handful of the Eastenders characters), but it’s a fun way to spend fifteen minutes - and a great celebration of Doctor Who to wrap up the ‘classic’ era before I head on in to the TV Movie and the 21st century version of the programme beyond that. 

It’s the season to be jolly, so crack open some Bucks’ Fizz and pop on Dimensions in Time. Have a laugh with it. Enjoy quoting along with the best bits (‘who was that terrible woman?!?!?’) and celebrate the magic of Doctor Who.

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

Day 723: Survival, Episode Three

Dear diary,

I feel oddly… hollow at the end of today’s entry. Survival, Episode Three, is a huge milestone to reach in The 50 Year Diary - the end of Doctor Who’s original 26-year run on television - but it just sort of gets swept up as part of the ongoing marathon. The episode itself isn’t anything particularly special (that’s not to say it’s bad - I’ll come to the quality in a moment), just that it’s not been made as any kind of final ‘cap’ for the programme, and that final speech aside, it really does seem like an odd way to bring an end to such a long-running journey, that started all the way back on Totter’s Lane in 1963. I don’t know what I was expecting to feel at this point, but probably some huge sense of accomplishment? Or some sadness that a big phase of the marathon is over? I think the problem might be that there’s now so much to come that Survival doesn’t feel as poignant as it once did, and yet not so much to come that the real end of the marathon feels like a million miles off. I think my brain is just delaying all the emotions until I reach The Time of the Doctor in a few weeks…

I mentioned the other day that I’d always found Survival to be the oddest way to bring Doctor Who to a close. It sees the return of the Doctor’s arch enemy, sure, but not a great deal is made of that fact. It just happens to be A.N.Other battle between the pair, and the Doctor comments at the end that the Master will be back again, because he always is. When I first watched it, I couldn’t understand why they hadn’t done something more spectacular - if this was to be the Doctor’s final adventure, possibly ever, then why not go all-out? Do an ‘End Of Season Fourteen’ and say to hell with the budget, really pushing the boundaries as far as you could possibly take them? Of course now, several years on, I’m well aware that it wasn’t actually conceived as being the final story of the programme, and that the fact only became clear later on during production. Seen in that sense, that final speech is lovely, and it’s one I’ve known the words to off by heart for as long as I can remember. Of course I was going to have to quote it here;

DOCTOR

There are worlds out there where the sky is burning, where the sea's asleep, and the rivers dream. People made of smoke, and cities made of song. Somewhere there's danger, somewhere there's injustice, and somewhere else the tea's getting cold. Come on, Ace, we've got work to do!

All things considered, I think that the Doctor and his companion walking off into the sunset, at the end of an adventure which reaffirms the TARDIS as their ‘home’ is probably the best possible way to leave things. It’s also for the best that this is a relatively simple story of the Doctor vs the Master - because it’s the heart of what the programme has always been; good vs evil. What I’d also not realised before is just how bloody good this story is, so all in all I think we’ve probably done fairly well in the whole ‘final adventure’ stakes!

It seems odd to start an entry by discussing the very end of the episode, but that needed to be gotten out of the way, really. This episode’s position in the overall narrative of Doctor Who makes it something of an elephant in the room that needs to be discussed before we can really get down to the actual content of the story.

Once again, I’ve really enjoyed this final episode, and while it’s not perfect, it’s certainly rocketed right up towards the top of my ‘favourite stories’ list. The tale is so much richer than I’d ever realised before, and I’m certainly going to be revisiting it again in the near future. There’s a very real danger here that I’m just going to end up repeating everything that I’ve been saying in the last couple of days, about the very real setting and the characters who populate it, and the fact that we get a fantastic version of the Master to see Ainley bow out on. Instead, i think it’s only fair that I think about Ace a little bit, considering that (save for Dimensions in Time tomorrow), this is her last story.

I’ve praised the character a fair bit over the time she’s been with us - and I think it’s a testament to the way that she’s developed over her time in the programme that it feels like Ace has been a part of the show for much longer than nine serials. It’s an attempt at character development and an ‘arc’ that the programme hasn’t attempted for a long time - and I’m not entirely sure that it’s ever attempted it on this scale before now. This final season in particular has been wonderful for her, with three of the stories really focussing on her, and making the adventures about her own experiences. I mused the other day that I’d love to listen to all the Big Finish Seventh Doctor plays, and I think that’s doubled for me over the last few days, because I’m sad to see Ace go.

And that, I think, is the heart of why the programme has managed to be so successful again in its final few years. I don’t feel sad to be at the end of the ‘classic’ run, and I won’t be mourning the loss of this stage of the marathon, no matter how much I’ve enjoyed it over all. Instead, I’m sadder to be moving on from our current crop of characters. Doctor Who has been many things over the years, and in these final few it’s managed to recapture some of the spirit that made it brilliant so many times before. A large part of that is entwined with Ace as a character, and I think that’s why I’ll be missing her so much.

I’ve mentioned briefly above that I’ll be watching Dimensions in Time tomorrow, so I think it’s worth filling you in on how the next week is going to play out. I’ve been wondering about the ‘Wilderness Years’ for a while now, and specifically how best to tackle them. Do I read all the New Adventure novels? Or listen to all the Audios? Do I skip them entirely and move on to the TV Movie then on to Rose?

What I’ve decided on is keeping it simple. It doesn’t feel right to go from the Seventh Doctor to the Ninth in the space of three days, but equally, I don’t want to artificially prolong the period to the point that it becomes ridiculous. So, I’ll be doing Dimensions in Time tomorrow - both episodes, but believe me, I considered doing one a day - and then Downtime after that. I spent so long trying to work out the Great Intelligence’s timeline back in Season Five, and I want to see how well it corresponds! Besides, what better way to celebrate reaching the end of the ‘classic’ run than with a return for several much loved characters?

The TV Movie will follow that one, after which I’ll be doing The Curse of Fatal Death. For so long, I’d been sure I’d not be doing that one - it doesn’t feature any of the regular cast, and it’s a parody of the programme… but Steven Moffat has gone on to incorporate so many of the ideas into Doctor Who proper, and I want to refresh my memory of the story before heading off into the 21st century series. Finally, I’ll be doing Scream of the Shalka over the course of three days - two episodes each day, since they’re only short. After that, I’ll be on to the ‘new’ series, just in time for the new year. Perfect!

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

Day 722: Survival, Episode Two

Dear diary,

‘Master Reveals’ have been the subject of a fair bit of discussion in the last couple of months, largely because of that moment in Dark Water, when we were introduced to the latest incarnation. There’s certainly been enough of them over the years, but I’d guess that the most dramatic have to be the aforementioned Dark Water, plus Utopia, and probably The Deadly Assassin. I’m now thinking that this story might well classify, too. The Master had sort of become a bit of a joke by the time he turned up in The Trial of a Time Lord (you could argue, quite easily, that he’d become a joke long before that, but…). He’d taken to popping up once a year to torment the Doctor, and he’d end up being waved off with a tricky situation. Oh, he’s trapped on prehistoric Earth! Or burnt to death! Ar stuck with the Rani and a growing T-Rex! His plans never used to end well, but when he’s popping up so frequently and losing so often, it does start to become more than a little bit silly.

But we’ve not seen him since the events of The Trial of a Time Lord, and they were two whole seasons ago! It’s the longest gap between Master stories that we’ve had since before The Keeper of Traken, and when the Doctor pulls back the flap of the tent, to reveal his old foe sat there… well, it’s actually terribly exciting! It helps that we’ve not had a proper look at him up to that point, and the difference in his eyes serves to better hide him, too. And then, you’ve got Anthony Ainley playing the part in a way that’s entirely unlike the performance we’re used to receiving from him. Way back when he first played the part properly, in Logopolis, I commented that he even pressed buttons in an over-the-top, pantomime way. There’s none of that on display here, though. He’s toned everything right down, and it’s almost as though he’s giving a real performance. I’ve seen it said that this is the way he’d always wanted to play the part, but was convinced otherwise by John Nathan-Turner. I don’t know how true that statement is, but I’d love to see this version of the Master facing off against Davison or Colin Baker’s Doctors.

I think it also helps that he’s being given much better dialogue here than he has been in the past. There’s not ridiculous technobabble, no over-complicated speeches, and no swallowing of a thesaurus - he’s been written as a desperate man trapped on an alien world, and looking for an escape while he still has a chance. It’s actually making the character scary, and it’s been a long time since that was the case. While I’m at it, I’d love to mention his outfit here, too, because that’s also brilliant! I commented the other day about the programme bringing back so many of its icons before it heads off into cancellation, and it’s lovely to see that they’ve managed to do something different - and brilliant - with the Master before the end.

It’s also somewhat fitting that we’re back in a quarry for the last time in the programme’s original run! They’ve been a staple of the programme for as long as I can remember now (was The Dalek Invasion of Earth the first one? A quarry was being used here as… well, as a quarry, so I think we probably have to move through to The Savages before we hit the ‘Quarry As Alien World’ trope, but they’ve become somewhat ubiquitous in the years since then), and it’s only right, I suppose, that we get to visit one last one. They’ve done a brilliant job with that, too, though! During The Greatest Show in the Galaxy, I said that you could see the through-line from Mindwarp to there in terms of the ‘alien skies’ effects they were applying to location work, and this is yet another stage in that evolution. I think it stands up wonderfully. I suppose in many ways, it all comes back to my comments during Ghost Light that Doctor Who has a team at this point in its history who are able to pull together against the odds and create something really rather special. I’m so glad to see the programme going out on such a high.

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

Day 721: Survival, Episode One

Dear diary,

I can’t quite believe that I’m actually at Survival. I’ve said plenty of times throughout the course of this marathon that I never expected to actually make it much past The Sensorites Episode Three, but now I’m staring down the final story of the programme’s original run. There’s something really rather exciting about that, and if I’m honest, I’m a little bit proud of myself for actually getting to this point!

And how brilliant that this final story should start out so well! I’ve never really cared all that much for Survival. I don’t mean that I’ve actively disliked it, but my memories of watching it before are that it was ‘okay’, but a bit of a strange way to end the programme*. Therefore, as I’ve moved closer and closer to seeing this one, I’ve been setting up its importance as a milestone for the Diary, but not especially looking forward to it on its own merits. How wrong that may have been!

The first thing to note is just how closely this resembles the 21st century series. I’ve brought that up a few times in the last week or so, but it’s never more prevalent than it is in this one episode. We’re set in ‘modern day’ London, with ordinary people whose worlds just happen to collide with the Doctor and the monsters. There’s a great central mystery in the disappearance of the locals, and there’s even the perfect ‘pre-titles’ sequence, in which the man washing his car gets chased by an un-seen ‘something’ before completely vanishing and leaving us with an empty street. Already, I’m wondering about an edit of this story compressing it down to 45 minutes…

While I’m on the subject of that opening scene, I just want to draw attention to how beautifully directed it is - and that goes for the rest of the episode, too. It was no surprise during the credits to see that this one is directed by Alan ‘The Greatest Show in the Galaxy’ Wareing, who was responsible for Ghost Light, too. That shot I’ve mentioned, as the camera pans up and then chases its prey from that height is so simply effective, and it becomes a great visual shorthand for what’s happening. Late in the story, when we watch the same camera move happen while framing Ace in shot, it’s actually scary, because we know just what it’s signifying.

And it’s not just the direction that’s standing out for me in this one - the script itself is wonderful. As I’ve said, it’s far closer in style to the modern series than it is anything else from the ‘classic’ run, and I’d love to see what Rona Munro would do with another story. It seems such a shame that we’ve only got the one story from her. There’s a way that she writes all these characters - including Ace - and makes them instantly real and relatable. Ace has always felt like a more naturalistic character than some of the previous companions did, but it’s a credit to Munro’s skill that she can be so brilliant when placed back in her natural setting. The way she interacts and speaks with people she knows from her old life is lovely, and different from the way she reacts to the Doctor. It means that Sophie Aldred is given more chances to shine, too, which is always welcome.

I’m looking forward ti seeing just how well the story holds up now that more of the action has been shifted away from the benign normality of Perivale, and out onto an alien planet, but it looks like the ‘classic’ run is going to be going out with a bang…

*Truth be told, and I only remembered this last night when talking to Emma; when I first watched Ghost Light, I thought that was the end of the ‘classic’ run. I’d obviously read somewhere that it was the final story to be recorded, and just sort of assumed from there. I think that ended up adding to my general not understanding of that story, because it seemed such an odd note to leave things on! When the time finally came to see this one, there was that lovely final speech, but it still seemed like an odd place to leave the programme - of course, I didn’t know the full behind-the-scenes story at that time, but I’m sure I’ll discuss that more in a few days.

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

Day 720: Ghost Light, Episode Three

Dear diary,

Watching this episode today, I’m not sure quite how I was left confused by Ghost Light on my first viewing. It does all make sense… but you have to think about it, because there’s a few key pieces that simply aren’t actually said. I think the only thing I’m not entirely sure about is what ‘Light’ actually is. A god? A living embodiment of light? That’s the one bit left puzzling me, and I may have to do another watch of the story again with this particular question in the front of my mind to try and make a decision on it. Not that it’s any hardship to watch again - I’ve enjoyed these three episodes. I think it is a story which you need to be paying attention to, though, so that’s probably where I went wrong before.

Yesterday, I mused that this felt like the show regaining confidence again after the cancellation in the middle of the decade, and I’ve been thinking a lot about that overnight. I worry that I made it sound there like the programme has all of a sudden managed to pull itself up again suddenly, almost four whole seasons on. No, Doctor Who has been getting its confidence back again for some time now - having really lost it, I think, during Season Twenty-Four - and you only have to look at stories like Remembrance of the Daleks to see a programme every bit as good (and sometimes better than) it was in the 60s, 70s, and early 80s. I think what I mean is simply that Ghost Light is a great example of this; you can really see how well everything has been done, from the writing to the design to the direction. Show this to someone who dismisses the last few years of the programme as rubbish, and they’ll struggle to say it comes off any worse than some other areas of the show’s past. What we’re seeing here is a team working together at the height of their ability, and it’s creating a product which could rival the fabled Hinchcliffe years no trouble. It really is a shame that the seasons are so short in this period - because I’d love to see what they could do with a full twenty-six episode run, especially in regards to Ace’s character story.

The more I thought about this, the more I thought about the programme’s position in general. With Doctor Who up to about the hiatus in the mid-1980s, I can tell you when it was on - if not specifically to the minute, then generally. I know that the first eighteen seasons were on Saturday nights from about 5-ish. Then Peter Davison comes along and it switches to twice-weekly in an early evening mid-week slot, bouncing around the various days over the course of three years. Once Colin Baker takes up residence in the TARDIS, we’re back to Saturday nights, at a slightly later time than before. Fine, that’s all the detail I need to have enough context for the show at those stages. I realised, though, that I didn’t know much about how or when the McCoy era was broadcast. Obviously, I knew that it was pitted against Coronation Street at the time - the ratings giant of British TV - but I realised that I didn’t really know what this meant. A quick look at the recently digitised Radio Times archive tells me that it was a little after 7:30 on a Wednesday evening that the programme aired at this point in its life… which isn’t the slot the programme is being made for at all.

I tried explaining this to a friend this morning, and he couldn’t get his head around what I was trying to say. There’s a high likelihood that I was simply doing an appealing job of making my point, but I’ll try again here. The programme in Seasons Twenty-Five and Twenty-Six doesn’t feel like the type of show you’d sit and watch on a Wednesday evening. The tone is all wrong. Now, I don’t think it’s being made for a Saturday evening, either. To me, it feels more like the type of show you’d air on a Sunday, late afternoon. Is this me just being incredibly strange, or do people know what I mean? Please leave a comment to let me know if I’m mad. I’ve often seen it said that the programme did well to survive for three years, sustaining fairly decent ratings considering that it was up against the big ratings hitter, but I think I’m more impressed that it’s managed to survive in this time slot at all, because it doesn’t feel right for the show in general, and the show at this point isn’t right for it!

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

Day 719: Ghost Light, Episode Two

Dear diary,

Going in to this story, I told myself that I’d steer away from the ‘default’ thing to say about it - that the set design is lovely. It’s something that I’ve trotted out time and time again when the programme is visiting a historical location, and it’s a phrase that I’ve found to be most commonly associated with this story in particular. Indeed, on some DVD feature, somewhere (I’m tempted to say that it’s the look at the proposed Season Twenty-Seven on the DVD for Survival), Andrew Cartmel cites this story as one of the reasons that they’d have continued with lots of Earth-based adventures in the future. It’s hard to not mention the look of this story, though, because it really is beautiful. So yes - one last time for the ‘classic’ series - I’m going to point out what a fantastic job the design departments do when asked to realise a period location.

That entrance hall, for example, with the massive stairwell dominating it, is absolutely stunning - it’s by far the best example of this type of set we’ve ever seen in the programme, and we’ve seen our fair share of ‘country’-style houses over the years (largely in the 1970s…). But beyond that, the spaceship in the basement is rather beautifully realised, too, managing to be simple and somehow just as elegant as all the wood paneling and period detail ‘upstairs’. I loved the spaceship set in Battlefield, too, so I’m wondering if perhaps the programme is just really managing to find its feet again in terms of the ‘look’ for the series.

The gorgeous style in Ghost Light isn’t just confined to the sets, either. Going for the Victorian era means that we’ve got the chance for some lovely Victorian costumes, too. The costumes in Doctor Who often tend to get overlooked when I’m discussing these stories - I often praise (or otherwise) the sets, or the guest cast, or the direction, but the costumes tend to go a little bit unloved by me. This story is probably the perfect time to bring them up, and I love the gorgeous dress that Ace is put in for the remainder of the adventure. I think what works about it is not only how much it suits Sophie Aldred, but how unlike Ace it is. As with the period costume in The Curse of Fenric, it’s a completely different style for the character. At the same time, we’re not abandoning Ace’s past for the sake of a pretty costume - she gets to mess around with clothes before the dress arrives, trying to upset the regular Victorian norms in just the way you’d expect from Ace by now.

I also realised that I’ve never really mentioned the Seventh Doctor’s costume, and he’s been in it for a month or so now! I’m something of a fan of his look - though I prefer the darker jacket that we see in this final year - right down to the jumper! Yes, it’s a bit ridiculous for the Doctor to wander around with question marks all over himself, but it’s almost become enough of an icon in itself as to be quite fashionable in some ways! I think I’d wear one were it given to me (though I’m not sure I’d actually go out and buy it for myself…), and Emma has actually asked for one more than once in the past (Christmas is only a few days away, so she might well have a surprise under the tree this year…).

I’ve little else to actually add to this entry in terms of the story itself, because I’m still piecing everything together as the episode plays out. It doesn’t seem to be as complex as I remember it being, which is probably a good thing, and I’m hoping that it all hangs together in the end because I’m still rather enjoying it! There’s a sense that Ghost Light may be a story where - when you understand everything that’s going on - you can just stick on the TV and watch for the sheer brilliance of how everything gels together. This is Doctor Who being made with a confidence that we’ve rarely seen since the hiatus knocked it for six a few seasons ago, and it’s really rather nice…

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

Day 718: Ghost Light, Episode One

Dear diary,

Ghost Light has something of a reputation for being the most confusing Doctor Who story ever made. I’ve only seen it the once before, and I have to confess that - yes - I was left confused by it. I think it was largely because when I saw it for the first time, I didn’t realise that there were any three-part stories, and so I wondered where the rest of it was on the DVD, and also because I was watching with a friend who really didn’t ‘get’ Doctor Who at all, so I was having to answer lots of his questions about all manner of other things, which probably distracted my attention during a few crucial moments. The sad thing is, though, that it means my memories of the story are tainted, and I’ve never had a desire to watch it again because my mind automatically associates it with being confusing and not one I particularly enjoy. I understand the concepts at the heart of the story, though, so I’m hoping that I’ll be better poised to go along with it this time around…

I’m certainly finding it easier to follow today, but then this first episode is largely about setting up the mysteries and introducing us to all the various characters for the rest of the story. All the same, I think it’s the type of tale which benefits from a second viewing, because I’m watching today largely aware of who everyone is, which means that I can focus more energy into enjoying the rest of the episode. There’s still one or two questions hovering around my head, but I’ll hold off on them for now and see if they’re dealt with in the upcoming episodes.

Something that I’m really revelling in throughout this episode is the Doctor’s Dialogue.. Three of my favourite pieces of Seventh Doctor dialogue all come from this episode (I knew they were all in this story, but didn’t realise that they came so close together); namely, the description of why someone might not like him, the list of things that he despises, and of course;

DOCTOR

We all have a universe of our own terrors to face.

In much the same way that Pertwee’s Doctor got the speech about courage, this is another one of those lines which so completely sums up the Doctor, and I’m surprised that I don’t hear it quoted in fandom more often.

I’m also surprised to find just how much this story is about the Doctor pushing Ace to confront her fears. I’ve mentioned in the past that the line between what actually gets stated (or strongly implied) on screen, and what was added to their relationship later on in the novels and within fandom, has often been a little blurry for me. In the past, I’ve always assumed that the Doctor had brought Ace to this house simply to confront her demons, and that we’d retroactively made it part of his ‘tests’ for her. Actually, though, it’s explicitly laid out as a kind of ‘initiation test’ for Ace, and I think I rather like that. It feels again - and I’m well aware that I’m saying this about once a week at the moment - like the relationship between the Doctor and Ace has moved on once more, and I really can’t help but feel that the time between adventures is much longer for this pair than perhaps any other in there programme’s history. I don’t know what kind of time frame I’d put on this one, but it doesn’t feel like the events of Battlefield were recent - something about their relationship just feels so much different here.

It’s definitely the harshest that we’ve ever seen the Doctor be towards Ace, and the discussion they share towards the end of the episode about her history with this house is a lovely chance for a great Doctor/Companion pairing to shine opposite each other. It’s an idea that’s always fascinated me - that Ace knows this house in 1983, long after its prime, and yet she’s been taken back in time now to become an intrinsic part of the building’s story a hundred years earlier, and tied in to the ‘evil’ that she felt there before. I’ve always loved the idea that building’s can have such long lives, and can experience so much over the years, and seeing images of old buildings in years gone by is the kind of thing which fascinates me. I know the lines get a little blurred later on in the story with some sirens, but it’s almost a shame that we don’t get to see this house in the dilapidated state that Ace did, because it’s exactly the kind of thing that would set my imagination on fire.

That said, the descriptions we’re getting of the place so far are lovely, and a great chance for Sophie Aldred to show us her acting skills. Ace has been with us for a while now, and while I’ve praised the way that the character works with the Doctor, I don’t think I’ve ever really made mention of Aldred herself. I think it’s to her testament that I was so able to buy her as a sixteen-year-old in Dragonfire, and yet feel as though I’ve watched her grow up as the stories have rolled by. She’s giving a lot of thought to the way that Ace works, and I think she’s largely been well-served by a production team who are paying more attention to the way the companion’s story is told than at any point in the last decade. It’s so nice (and also a massive shame) to see the programme going out with such a strong team, both in front of and behind the cameras, and Aldred is a massive part of that. 

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

Day 716: Battlefield, Episode Three

Dear diary,

I really do love it when a story comes along that I’m not really expecting a great deal from, and then I end up absolutely loving it. Battlefield is one of those stories. As the closing credits kicked in on today’s episode, I declared to the empty room that this is brilliant, and that I’m really - really - liking it. Oh, I’ve still not really forgiven that nonsense in the first episode about no one having the faintest clue about the Doctor, and opening the season with a shot of a garden centre is unforgivable (even if that wasn’t the original plan), but there’s an awful lot to enjoy about this one.

And I keep coming back to the fact that I know I’d have loved this as a kid. The more the story goes on, the more I’m watching it with the mind of an excited child as opposed to a ‘grown up’ fan. During the first episode, I thought that Bambera was rubbish - with far too much comedy for the character she’s supposed to be. Now, though, I’m actively embracing the comedy, and it’s a shame that we only ever get to see her this once! I’ve often mourned the lack of a consistent ‘UNIT family’ outside of the Pertwee years (which is why occasional returns for characters such as Magambo between Turn Left and Planet of the Dead, or the team headed up by Kate Stewart in the more recent episodes really appeal to me), and I’d quite like to see how one would have been handled in the early 1990s, with Bambera as the head of the organisation, and our faithful Lethbridge-Stewart cropping up from time-to-time to lend a hand.

Oh, and I have to mention him here, don’t I? There’s something quite bold about not having the Doctor and the Brigadier meet until this third episode, but the actual greeting is rather well handled when it does arrive; ‘who else would it be’ is absolutely perfect for the Brig we know and love. He settles in with the Seventh Doctor pretty much instantly, and they continued to amuse me as a pairing throughout the rest of the episode. I commented the other day about the programme bringing back as many of its icons as possible before the end, but I’m terribly glad that they got the Brig back for this one - his final appearance in Doctor Who proper (he’ll be cropping up for Dimensions in Time in a couple of weeks, and then for a Sarah Jane Adventures story later on, which I’ll certainly be watching, even if I don’t write about it in the Diary).

While we’re on the subject of bringing back old companions, I’d better make mention of Jean Marsh, too. In the special features on this DVD, Jean goes into quite a lot of depth about the way that she saw her character, and how she chose to play it based on the material she was given… you sort of get the impression that she’s giving it quite a lot more thought than perhaps anyone else. That said, I’m glad I listened to her opinions on the part last night, because it means I’ve been watching her performance in today’s episode with a slightly different view. She really is giving all she can to the character, and it’s coming off the better for it. Marsh talks at some length about the way that she thinks nothing of killing someone, but then restores the sight of a blind woman, and it’s really beautifully done in this episode; I’d sort of forgotten just how close together the two acts are, as part of the same scene.

Not all the credit can be given over to Ms Marsh, though, because a lot needs to be laid at the door of Ben Aaronovitch, who’s back on writing duties this time around. I was very impressed with his script for Remembrance of the Daleks last season, and he’s managed to bring the same skill in to this story. He’s managed to balance the comedy and the drama particularly well, and once again slipped in several continuity references to the past without them feeling overbearing or shoehorned in. It’s a pity that this is the last script we’ll be seeing from him in the programme - I’d have loved to see what he’d do in the early days of the 21st century series.

One final thing to bring up - Sylvester McCoy. During The Happiness Patrol last week, I seemed almost surprised by the fact that he was rather good in the part - having been so unsure about him during those first few stories. The one thing that’s always troubled me about McCoy’s performance, though, is when he’s asked to do something big, and angry. There’s a few sequences that stand out in my mind (notably from Survival), which I recall as not being very good, because he simply couldn’t handle such ‘big’ moments. But then you’ve got this episode, in which he runs in to the middle of a battlefield and bellows at the combatants… and it’s wonderful. It’s one of his greatest moments as the Doctor, and it’s really won me round on his ‘angry’ acting. I’m just hoping now that I’m mis-remembering the scenes from Survival, and they they won’t be tainting this one in the near future… 

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

Day 715: Battlefield, Episode Two

Dear diary,

I’m almost surprising myself when I say that this one is really good! Yesterday, I mentioned that Battlefield didn’t have the strongest reputation behind it, and I’d sort of resigned myself to thinking that it would probably be the weak link in Season Twenty-Six, but actually, I’m really caught up in things, and I’m really enjoying it!

In many ways, this feels a lot like a Matt Smith episode. There’s strange goings on with time, with the suggestion that a large chunk of the guest cast have encountered the Doctor at a point later in his time stream than he is currently, a lot of bluster on the part of the Doctor as he tries to remain in charge while piecing everything together, and lots of little moments that wouldn’t feel at all out of place in a more recent Steven Moffat episode. The Doctor looking down at the mysterious inscription in the ground and commenting that it says ‘dig hole here’ in his own handwriting elicited a huge laugh from me, and I love him working out how to open a door inside the space ship simply by barking ‘open up, it’s me’. It’s giving McCoy a chance to flex his more ‘entertainment’ muscles again, too, which is always fun.

Even the mythologising of the Doctor that we get in this story seems to fit better with the depiction of the Doctor in the 21st century version of the programme. Oh, sure, there’s been elements of it right the way through the programme, going right back to almost the very beginning, but there’s some lovely descriptions of the Doctor here - that he ‘rides the ship of time’ and that he has ‘worn many faces’ - which would sit right at home in the modern programme, and are really rather lovely. It often gets said that the McCoy years are very much a basis that the 2005 rival picks up from, and I’m seeing that more and more as the episodes roll by. Add in the on-going character arcs for Ace and the Doctor, the relationships with the companions’ family (this was perhaps more prevalent with Tegan, but there a new relative just popped up when they needed to put someone in danger), and the fact that the programme has become far more Earth-centric in this final season - there’s a solitary alien world in Survival, but even that’s tied to Perivale - I can really see where the comparisons come from.

Aside from all of that, there’s also the sheer fun of the idea at the heart of this one. It’s Doctor Who does the Arthurian legends… and being Doctor Who, they can’t just go for setting it in a time of myths and magic, but they instead make the knights dimension-hopping soldiers who’ve been caught up in a time-travel based plot with a future version of the Doctor, and they pit them against UNIT. I mean, come on, that’s a brilliant Idea, and it really is something I’d have loved as a kid. I was so completely in to castles and knights, and wizards… give them laser guns and point them towards a nuclear convoy, and it only gets better!

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

Day 713: The Curse of Fenric, Episode Four

Dear diary,

The cliffhanger to yesterday’s episode, leading in to this one, must surely rank among the very best that the programme has ever done? It’s so firmly embedded on to my mind that I can’t help but quote along as it plays out - right down the the intonation of each word. It’s also quite telling that the use of the words ‘Time Lord’ here carry real impact. We’re in a period of the show where there’ve been several references to the Time Lords and Gallifrey quite vital to the stories (Remembrance of the Daleks and Silver Nemesis both go so far as to namecheck Rassilon and Omega, while inventing new parts of the Gallifreyan mythos), and yet somehow, the whole concept of the Time lords feels more distant than at any time since - quite possibly - the 1960s.

By the time Pertwee’s Doctor arrives on the scene, the Time Lords are always sending him off on missions, and they begin to lose some of their grandeur. Once you’re into the late 1970s, you’ve got the likes of The Deadly Assassin letting us actively in to their world, and then The Invasion of Time littering it with cheap plastic furniture. I’ve mentioned enough times in the last six months how much I dislike the 1980s version of the society, with its marble effect and pastel colours, but suddenly here it’s become something rather special again.

Our last actual contact with another Time Lord was the Rani at the start of Season Twenty-Four (and it’s strange how long ago that feels now - the programme really does evolve in to a different beast in these final two years), and then the season before that was littered with Time Lords, but we never get to visit Gallifrey because it’s in political turmoil. Suddenly, the idea that this entity knows that the Doctor is a Time Lord and can make the word sound so sinister - in a story where you’re so not expecting to hear it - is wonderful, and it might just be my favourite part of the entire story. I can wholeheartedly guarantee that I’ll have watched the closing moments of Episode Three several times over before I next watch The Curse of Fenric in its entirety.

Add to all this the fact that Fenric is really rather good, thank you very much. I love it when villains in Doctor Who are given a vein of comedy, and Dinsdale Landen plays the possessed Judson so perfectly. He manages to make the performance camp, but without pushing it too far. I love the way he reacts to the Ancient One not being around ready for his revival, and I’ve more than once used the line ‘don’t interrupt me when I’m eulogising’. Frankly, I find excuses to slip it in to my day-to-day life. I think the only issue that I have with Fenric is that he’s defeated very easily, isn’t he? We’ve had three episodes building up to his release, with the stakes (and the stress) growing steadily across those episodes. We then find out that he’s been manipulating other recent events in the Doctor’s life - citing the chess set in Lady Peinforte’s study and Ace’s arrival on Ice World as examples. He’s supposedly this great cosmic force, evil since the dawn of time… and yet he struggles very much with a chess problem until Ace gives him the answer, then he grandstands for a bit before being wiped out with a deadly poison. It feels as though he should be a bit more of a problem to dispose of…

Which brings up a point that I’ve been musing a bit in the last couple of weeks. As I’m making my way through the McCoy years, I’m becoming ever more determined to listen to all of the Seventh Doctor’s audio adventures. Don’t worry - I’m not suddenly going to be dropping them in to this marathon and extending it out by another year, but I’m certainly more eager than ever before to hear them all. I’ve dipped in and out of them from time to time, but I’d love to follow the continuing story, because it very much builds on what we see on screen in this period of the programme. I know, for example, that Fenric shows up again at one stage, and I’ve head an episode in which the Doctor and Ace manage to check in on little Audrey; there’s something very appealing about the idea of hearing this story continue to play out, and I think it’s probably going to be my next ‘marathon’ undertaking once this whole watch-through is over in a few months.

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

Day 712: The Curse of Fenric, Episode Three

Dear diary,

Once upon a time, when I was living in my flat in Norwich, I used to have a shelf of Doctor Who action figures up in the living room. Each Doctor - from Hartnell to Smith at the time - was accompanied by an enemy from their era. Hartnell had a Dalek, Troughton had an *Invasion*-style Cyberman, Pertwee had a Sea Devil (and/or the Master, depending on my mood), Tom Baker had the K1 Robot, Davison had the Ainley Master (or, as Nick likes to point out, Kameleon), Colin Baker had an Earthshock-era Cyberman, and McCoy had two Haemovores. Now, Character Options have never produced any Haemovore figures, but I had a friend who made some really great custom models to suit the range, and when I saw that he was selling off a few of the vampiric creatures, I leapt at the chance to own them. Specifically, it was the couple that we see peering round the tombstone here - presumably the Sundviks? 

I love the design of the Haemovores, and I really think that they’re a great example of just how brilliant the monster design is in this season. In the next story we’ve got the Destroyer coming up - which is another fab design that I’m surprised hasn’t yet been immortalised in action figure form - but the Haemovores really made an impact on me early into my journey to becoming a *Doctor Who* fan. Regular readers will no doubt be surprised that they were etched on the my mind while reading Doctor Who: The Legend, and every time I come back to this story, I’m a little bit delighted to find that I’m loving the look all over again. That we get to see them besieging the church is just a bonus, really!

Over the last couple of days, I’ve been complaining that even though I knew where The Curse of Fenric was heading, it had completely lost me along the way. There’s been so much going on in this story, and it was all happening so quickly, that I’d completely failed to keep up with everything. Suddenly, today, I’ve realised why I’ve struggled so much - you’re not really supposed to understand what’s happening here. All the stuff with the Russians, and the vampires, and the evil fog… that’s all just to keep you interested and watching for two-and-a-half episodes, before you’re suddenly given some information about what’s happening at the same time as Ace. Quite how I’d managed to forget this beautiful exchange is beyond me;

ACE

You know what's going on, don't you? 

DOCTOR

Yes. 

ACE

You always know. You just can't be bothered to tell anyone. It's like it's some kind of game, and only you know the rules. You knew all about that inscription being a computer programme, but you didn't tell me. You know all about that old bottle, and you're not telling me. Am I so stupid? 

DOCTOR

No, that's not it. 

ACE

Why then? I want to know. 

DOCTOR

Evil. Evil since the dawn of time. 

ACE

What do you mean? 

DOCTOR

Will you stop asking me these questions? 

ACE

Tell me!

It’s the kind of scene that we’ve been needing to build towards for some time now with this pair - Ace has been caught up in the Doctor’s schemes since her second story, and while that’s not all that long ago at a time when the seasons are so short, it’s felt like a real through-arc building up to this. It’s taking that final scene from Silver Nemesis, and building on it before we move on to Ghost Light and seeing the Doctor push his companion into ever darker places.

And it’s something I’ve mentioned before, but you really do get the sense that Ace is growing up during her adventures. I’ve said elsewhere that I’d happily believe the pair of them have spent around two years beetling around the galaxies by this point, and I think all of Ace’s comments here in regards to not being a little girl any more and starting to change her mind about marriage and her future would certainly fit her at about eighteen years old. Yes, we all cringe a little bit during that flirting scene (‘faster than the second hands on a watch?’), but it’s another part of Ace’s evolution that feels right to be shown.

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

Day 711: The Curse of Fenric, Episode Two

Dear diary,

I don’t know what’s wrong with me this week, but I’m completely lost with this story! I mean… I know where it’s all building, as I said yesterday, and I’m enjoying it on the whole… but I’m struggling to keep up with it! Everything is moving very fast, with characters darting from one location to another, sometimes only remaining there for the duration of a very brief scene, before heading off to the next place. The Doctor is especially bad as a culprit of this, and I’ve very quickly lost track of everything. Is it just me? It’s not a particularly complex story, but it’s at a pace I’m simply not used to seeing from Doctor Who!

Still, as I’ve said, I’m enjoying the story irregardless of my ability to follow it. There’s just so much atmosphere to The Curse of Fenric, isn’t there? Something about the way the mist rolls in while Phyliss and Jean go for their swim sums up the entire story so perfectly, and it’s the first time in a while that I’ve been able to claim that it’s the kind of thing that would have taken a hold of my imagination as a child and hooked me right in to the programme. It continues to get better from there - when we next see them, having ended their previous scene on a shot of the empty water, it takes a moment to really register what’s happened. Have they been zombified? Are they simply okay? It’s not for a good few seconds that it hits you that their fingers and nails have grown long and spindly, and that they’re pale and drained of blood. They then tempt the Russian soldier in to the water, and watch on as the hands emerge from the water to drag him down. Later on in the episode, when those same creatures come marching from the sea, I always remember a note in the About Time books that makes reference to the fact that this is the late-1980s version of ‘monster emerges from water’, citing Full Circle’ and ‘The Sea Devils’ as earlier examples in the programme. It’s *such a great shot, though, isn’t it? And I think this may be the best example of it yet.

The thing I’m enjoying most about this episode has nothing to do with the effects or the eerie atmosphere, but is relevant to something I read recently. During Series Eight, I read a comment online regarding Frank Skinner’s appearance in Mummy on the Orient Express. Someone complained that it was ‘pushing stunt-casting to the same levels we got under John Nathan-Turner’, and suggested that it was bad for the show, citing ‘Beryl Reid, Ken Dodd, Nicholas Parsons, and Hale & Pace’ as examples. Now, I spoke about Beryl Reid’s casting during Earthshock and concluded that actually she probably wan’t quite right for the role. I also discussed Ken Dodd during Delta and the Bannermen, and decided that he was absolutely perfect for the part - and looking back he’s probably my favourite thing about that entire season; I still love the way he’s shot in the back as he tries to get away!

But I sincerely doubt I’m alone in saying that Nicholas Parsons in this story completely justifies the practice of casting well known ‘names’ for the show. He’s most well known for hosting Sale of the Century or for charing Just a Minute, and that’s often brought up when people take a pot shot at him taking on a dramatic role in this story, but he’s frankly wonderful as the vicar here. His performance is honestly one of the best that a guest actor has ever given to the programme, and I could quite happily spend time just watching him. I’ll admit that it doesn’t always work - again, Beryl Reid, I’m looking at you - but surely this is the ultimate example that just because you cast someone who’s mostly known for ‘light entertainment’, it doesn’t mean that they’re not right for Doctor Who, also?

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

Day 710: The Curse of Fenric, Episode One

Dear diary,

Just as a recap to those of you who may not have been keeping up with the Diary over the last few weeks - I’m watching lots of Seasons Twenty-Five and Twenty-Six out of broadcast order because… well, because they work a bit better being watched in the order that they were intended to be seen in! I’m also going all out with The Curse of Fenric, and watching the Special Edition on the DVD, though I’m still breaking it down into individual days, just pausing the DVD at the appropriate cliffhanger points. I can’t tell you how tempting it was today just to carry on and watch it as a movie-length version, though! I think this story may have been the first McCoy tale that I ever saw, and there’s certainly a fair bit that I like about it…

Perhaps largely, it’s the relationship between the Doctor and Ace. It’s something I’ve been touching on for a while now, but they really do gel together as a team in a way that other Doctors and companions haven’t since about the time Romana was on the show. Don’t get me wrong - Davison worked very well with Tegan, and Colin Baker went well with Peri (even when they were arguing, in an odd sort of way) - but McCoy and Ace just fit, don’t they? I speculated during Remembrance of the Daleks that up to six months may have passed for the pair between their first meeting and the events of that story, and by the end of last season I’d decided that they’d already spent a year together. I think I’m willing to take another big leap here and say that we might well be coming up on the two-year mark. Something about the fact that the seasons are so short in this period (over in a fortnight!) makes it feel automatically as though there must be a lot of off-screen adventures happening somewhere, and the relationship between our leads just fits that idea beautifully.

I’m finding this episode a bit strange to come to now, because it’s a story that I’m so familiar with. I know that the Doctor will go on to battle with Fenric by the end, and that Ace is a pawn in this game, and yet this first episode doesn’t really give you many clues as to what’s going on. The Doctor has obviously come here with a distinct purpose (Ace is even dressed for the period when they arrive), and then he spends the episode running from location to location, but he seems to switch between knowing what’s going on, to not having a clue. I think I’m right in saying that he’s worked out that Fenric is involved somewhere (or, at the very least, he’s almost entirely certain that it must be him), but that he’s not entirely sure how everything factors in to Fenric’s plan? Or is he looking in to all of these things to confirm his theories about what’s happening? The problem is that because I’ve become so used to looking at this story as part of the ‘bigger picture’ within the era, it’s suddenly throwing me to be watching it properly again - it’s been a good few years!

From tomorrow’s instalment, I’m going to try and block all of that out of my mind, and just go along with the story. Certainly I’ve enjoyed today’s episode, but perhaps not as much as I was expecting to because there’s so much back and forth trying to get everything in to place so that the story can progress. It’s one of those occasions when knowing too much can have a detrimental effect - but I’m also quite keen on the idea of watching this story again in the very near future, once I’ve regained a better grounding of how the story works in itself, as opposed to being part of the overall story.

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

Day 706: Silver Nemesis, Episode Three

Dear diary,

Right then, you might want to hold on to something, because I’m about to bang on about the Time War again. My friend Alex loves the Seventh Doctor. I mean, really loves him. His first exposure to the programme was through watching this era as a kid, and in the 1990s, it was picking up the spar odic McCoy-era video tapes that really kicked off his enthusiasm for the programme. Oddly enough, the last Seventh Doctor story that either of us saw is the one I’ll be starting tomorrow - The Happiness Patrol. He’d purposely put off watching it for years because he liked there being a little bit of the Seventh Doctor out there somewhere that he had yet to experience. Anyway, I’ve known Alex for years and years now. We used to work together, we even lived together for a while, and earlier this year I made the trek home from Cardiff to be at his wedding. In all that time, we’ve discussed a lot of things about Doctor Who, and one of my favourite things that we do is theorise. I don’t really do it as much with any of my other friends, but with Alex, we go over all the little details to build up our own head canon on any trivial point that we care to think of. The big one, and the one that’s relevant for today’s episode, is our theory on the Time War.

Back when we first met, we didn’t actually know an awful lot about the Time War. It was this vast and mythical event which took place at some point between the TV Movie and Rose. It had wiped out all but one Time Lord, and almost all of the Daleks. It had raged for millennia in various forms, and occasionally the Doctor would throw in a reference to some event that he witnessed in the war. As the seasons rolled by, we slowly got drip-fed more and more information about that time, and Alex built up a fairly intricate theory about the war, which I’ve always rather liked, and which largely fits with what we’ve seen on screen since - or, rather, it does with a bit of squinting.

The general gist of it for the purposes of this entry are that the Seventh Doctor knew the Time War was coming (he was the one who fired the first real blow in Remembrance of the Daleks, after all, having kicked things off way back in Genesis), and that what we see on screen between Seasons Twenty-Four and Twenty-Six is him preparing the battlefield. He wipes out Skaro - a seat of power which could easily be used to unify the scattered Dalek forces. He takes out the Cyberfleet here, so that they won’t be in the way while the battle is raging, and they’re one less destruction. I’m sure in the books there’s another similar incident which Alex had built in to his theory (and I’ve always loved one of Jamie Lenman's fab Doctor Whoa cartoons from Doctor Who Magazine, in which the Doctor is trying to offer the Ice Warriors an ancient Gallifreyan weapon). Then there’s the whole oft-stated plan that Season Twenty-Seven would have seen the Doctor pack Ace off to the Academy on Gallifrey. We theorised that he’d be doing this specifically to shake them up a bit, provide a kick up the arse, and get them out of their stuffy ‘observers’ role that many Time Lords have been stuck in for centuries.

Why would it be the Seventh Doctor doing this? Two reasons - firstly, the war could kick off at any point once he’d made that shot at Skaro, and secondly because he knew that his next incarnation wouldn’t be up to the job. When Night of the Doctor came along and the Eighth Doctor was presented as a conscientious objector to the war, it fitted the theory perfectly - and it meant that we felt even more sure about it being the Eighth incarnation who tried to save Davros from the ‘jaws of the Nightmare Child’*, because while the Seventh Doctor had gone around the universe wiping out all these old foes in an attempt to ‘clear the stage’ for the war, the Eighth Doctor was desperately trying to cling on to anything that made him still ‘the Doctor’, and knowing that Davros was out there somewhere plotting a new ridiculous scheme is part of that.

The bit that I most enjoyed about the theory is that it all works very nicely with the Doctor’s words in this episode - when he’s talking to the Nemisis statue about the future;

NEMESIS

You might need me in the future, then?

DOCTOR

I hope not.

NEMESIS

That is what you said before.

In Alex’s theory, the Doctor hoped not to need the Validium any more, because he was hoping to find a way of averting the war.

Watching this story again now, there’s a few more ideas that crop up which I’m sure I’ll want to incorporate in to the theory, in light of the events of last year’s anniversary special. I’ve not quite got them worked out in my mind yet, but I love that Lady Peinforte knows who the Doctor is because the Nemesis told her - and in my head the Nemesis is such a complex construct that it can easily see all possible futures, but knows that the Doctor is the man who will one day use ‘the Moment’. Greater than the Hand of Omega, or the Validium, that’s the one weapon that should never be used. I love the thought that when Peinforte is saying that she knows who the Doctor truly is, it’s because she knows he’s the man who will destroy his own people and live to tell the tale.

I’m sure you don’t particularly care about all these Time War theories I keep throwing out there, trying to retroactively shoehorn modern continuity into the older stories, but it keeps me interested, and otherwise you’d have had a day of ‘there’s a lot to like again here, but also a fair bit of padding’…

*Incidentally, in Alex’s visions of the war, the ‘Nightmare Child’ is actually a Time Lord battleship made of pure Validium, and piloted by none other than Ace!

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

Day 707: Silver Nemesis, Episode One

Dear diary,

Silver Nemesis is something of a black sheep in Season Twenty-Five, isn’t it? Among out-and-out classics like Remembrance of the Daleks, and stories that have gone on to be re-evaluated as the years have gone by, this one has always been seen as the eek link in this run of episodes. And yet, I’ve never been able to do anything but love it.

Oh, I mean, come on! Imagine how exciting this story sounded to me when I was first learning about it! Not only is it my favourite monsters, but it’s also the official anniversary story, there’s a witch, some Nazis, the Doctor working on another plan involving an ancient Gallifreyan relic… it just sounds really exciting! All that said, there is a lot crammed in to these first 24-or-so minutes. You’re almost left a bit confused because you go so quickly through events - there’s a comet approaching the Earth, this woman is trying to get to the future, the Forth Reich is being born, the Doctor and Ace are enjoying a jazz concert, then they’re under attack from gunmen, then they’re at Windsor castle, then they’re at the witch woman’s house, then they’re back at Windsor castle… it just never lets up!

Somehow, though, there’s quite a leisurely pace to the proceedings. We’re given a chance to watch the Doctor and Ace enjoy themselves at the concert (again, this pair just look so comfortable together doing this. It’s rare that we get to see a TARDIS team simply enjoying their travels in this way. I said during Remembrance of the Daleks that I thought maybe six months had already passed for the pair since they departed together in Dragonfire, and I think I’m willing to say that another six months could have passed before this point - we’re a far cry from the Peter Davison years, when every story very rigidly led us in to the next…). It’s perhaps because so much time is given over to savouring things like this that it all gets a bit convoluted later on. When the TARDIS is shuttling back and forth all over the place, it quickly becomes very difficult to keep track of everything that’s happening.

But there’s so many lovely little touches to this episode which perfectly sets it up as being the story to celebrate a half century of the programme, and makes it just so right for airing on November 23rd. Leslie French is perhaps the actor that I’ve been enjoying the most in this one - he was originally considered for the role of the Doctor right back when the programme started, and he’s playing his role here as very much the way I remember the First Doctor being, especially around Season Two. I can’t tell if he’s been specifically asked to play it in this way (though I imagine he has), or if it’s just a nice coincidence, but it’s lovely all the same. The only downside, perhaps, is that it makes me long to see some old black-and-white episodes again! I also didn’t realise that Fiona Walker (here as Lady Peinforte) had been in Doctor Who before - way back in The Keys of Marinus! Before starting out on this story, to try and keep up with the celebratory spirit, I re-watched the ‘making of’ documentary from the Silver Nemesis VHS, and when Fiona pointed out that she’d been in the very first series, I really had to wrack my brain to think of who she could have played (and then gave up and checked Wikipedia, instead!). You’ve also got cameo appearances from several other Who alumni, including Nicholas Courtney, John Leeson, Fiona Cumming, Andrew Morgan, and Peter Moffat.

It’s also very fitting that this story - sitting at the half-way mark in terms of the stretch of this marathon from An Unearthly Child in 1963 to The Time of the Doctor in 2013 - should have some notable firsts and lasts involved. It’s the last use of the programme’s original home, Lime Grove, which is used for some sound recording, but it’s also the first time that the programme has used on-screen captions to tell us where and when we are, and the first time that the TARDIS blows up a wind as it materialises - things which will become more frequent in the 21st century version of the series.

So once again, Happy Birthday Doctor Who. I’m glad you threw a bit of a party to celebrate turning 25!

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

Day 706: The Happiness Patrol, Episode Three

Dear diary,

One of the things that comes up most about The Happiness Patrol, at least in fan circles, has to be the Kandy Man. Oh, god, the ridicule that’s been poured at that poor candy creation over the years! I can sort of see why, if I’m honest - I mean, for starters, it’s a Doctor Who villain in the shape of Bertie Bassett - but I also have to confess that I rather like him! 

There’s something so wonderful about the fact that a big pile of sweets can be made to be in any way threatening, and it’s largely down to the performance that David John Pope gives in the role. It’s played as childlike but sinister - and that’s a combination that’s always been effective. I also love the way that even the Doctor and Ace make fun of the character; a particular highlight being a scene in which the Doctor sticks his foe to the floor with Lemonade… Frees him… and then sticks him to the floor again! For all my talk of the Seventh Doctor’s scheming persona, and I’m sure there’ll be more of that to come in the next season, this is the most fun that his trickery ever comes across!

It also helps that the Kandy Man isn’t really the villain of the piece. In that time-honoured Doctor Who tradition, he’s simply a monster for the younger members of the audience to look at, while everyone else follows along with a pastiche of Thatcherism elsewhere in the story. A few years ago, this was picked up by Newsnight as though someone had just unearthed this hidden subtext in the story after all these years, but it’s fairly plain to see even if you’re not looking for it! I’ll not be delving too deeply into any of that, though, because there’s people far better suited to giving a proper in-depth look at the subject than I am - I’m more suited to discussing the Kandy Man! 

On the whole, I’ve rather liked The Happiness Patrol. It’s been the story that really solidified Sylvester McCoy’s Doctor in my mind, and that’s always a good thing. I’ve spent years knowing how much I enjoy him as a Doctor, but worried that Season Twenty-Four had proven me wrong. Here’s hoping that as we move towards the end of the ‘classic’ run, the great feeling in evidence production-wise throughout this story continues - letting us go out on a high.

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

Day 704: The Happiness Patrol, Episode One

Dear diary,

For a long time, I didn’t really know what the general opinion was towards The Happiness Patrol. It’s one of those stories that never managed to sit at the very top of many people’s list of favourites, but it was rarely right down the other end of those lists, either. Five or so years ago, it was the final McCoy story that I needed to see - I watched this one immediately after The Greatest Show in the Galaxy with a friend, and these three episodes were the last bits of Seventh Doctor that he had to experience, too. Truth be told, I can’t remember a great deal of my own thoughts on the story, either. A quick look at the Doctor Who Magazine poll from earlier this year reveals that it placed in position 172 of 241 - which putting it at the lower end of ‘average’ territory.

I think that’s a placement that I’d agree with, based on this first episode. There’s certainly a lot in this episode to interest me, but it doesn’t particularly stand out from the crowd at all. I have a feeling that in another six months’ time, after this marathon is over, I’ll be back in that same position of not really knowing how I felt about this one. I think what makes it all the more frustrating, and something which I hope improves as time goes by, is that there’s some real flashes of genius on display. I’m talking largely here about the direction in this one - there are bits of the episode being shot like an old movie, with dutch camera angles and some fantastically artistic lighting. I’d love love see more of this as the story goes on, because it’s that kind of visual flare that could really help this story sing.

As I’ve said, though, there’s plenty to keep me interested, and it’s mostly to do with the ideas in the script. It would be easy to talk about Helen A’s characterisation and compare her to the then Prime Minister, or to talk about the Kandyman in the kitchen (both of which I’m sure I’ll do in the next couple of days), but it’s really the ideas of the world that are appealing to me. I simply love the whole sequence in the ‘waiting area’, where the Doctor is told that this absolutely isn’t a prison, because such a place wouldn’t at all fit with the ethos of this world… but then it’s made very sure that he - and we - understand that actually, of course it’s a prison. That whole sequence is wonderful, and it’s one that feels entirely at home here in the late-1980s era of the programme. I think we’re at a point now, past the half-way mark for another Doctor, where you can really feel Andrew Cartmel’s influence in the stories, because he’s very much the hand steering the show at this point.

I also love that, once again, the Doctor is here for his own reasons. He tells Ace that he’s heard some nasty rumours about the things happening in this colony and he’s decided to check them out. It’s not often before this season that we’ve seen a Doctor so determined to go where and when he’s needed, and I’m really enjoying it as a new approach to the character. I’m also surprised, at the end of Season Twenty-Five, just how much he’s doing things like this. I’ve always thought of the ‘manipulative’, ‘scheming’ version of the Seventh Doctor as only really being apparent in the final season of the show, with only the odd hint towards that side of his nature before then. Actually, though, it’s been a plot point in all of this season’s stories, and I’d argue that it’s easily read in to the stories of the previous season, too (indeed, I did read that in to them). We’re really seeing the way he’s using Ace now, too, in the way they emerge from the TARDIS and he probes to find out what she senses about this place. We’re about to enter a period where she’s very much his litmus paper going in to adventures, so this is a nice thing to see… 

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

Day 703: The Greatest Show in the Galaxy, Episode Four

Dear diary,

This episode is home to not one, but two shots which I think so perfectly encapsulate the Sylvester McCoy era of the programme. The first comes when he’s in the ring, facing down the Gods of Ragnarok, and he turns on the spot, transforming his sword into the trademark umbrella. The second, of course, is the Doctor walking away from the Psychic Circus as an enormous explosion rips through the tent behind him. It’s become something of a legend within fandom that McCoy doesn’t even flinch when this explosion goes off - he does, and now I can’t unsee it - but he does look incredibly powerful regaining himself half a second later and continuing to strut. The story has been told a thousand times over the years that the explosion wasn’t supposed to be so large, but the fact that it is really helps to make this one of the most defining shots of the late 1980s.

The Doctor’s confrontation with the Gods here is somewhat wonderful, and it’s the first time in a long while that we’ve seen the Doctor square up to such a supposedly powerful being. We got hints of it a few days ago with his speech to Davros, but here we’ve got him properly face-to-face with his enemy in the same way we’ll get to see with Fenric in a couple of week’s time. The whole sequence is perfectly keyed to Sylvester McCoy, giving him a chance to clown around and do the kind of acts that he was best known for while also delivering some wonderful speeches to the ‘monsters’ as he brings their world crumbling down around them. It’s also interesting to note that he claims to have fought the Gods of Ragnarok ‘all through time’… presumably in adventures that we didn’t see? Or does he just mean that he;s fought gods like them, meaning the Animus, and the Great Intelligence? Still, it’s good to see the continuing trend of this incarnation specifically going after his enemies instead of just bumbling in on another of their evil schemes. By the time that the story is over, there’s no doubt left in my mind that the Doctor has orchestrated this whole thing.

I’m also rather keen on just how cleverly Captain Cook has been played throughout this story. He starts off as such an obvious parody of the Doctor (complete with companion), then comes back from the dead - how very like a Time Lord - and in this episode he also makes a point of announcing that he hasn’t come to this world simply by chance. He knows what’s going on here, and he’s here because of it all. I’d not noticed quite how well done this was the last time I watched the story, so I’m glad to have seen it now, because it’s a whole other layer that helps make the story all the richer.

On the whole, I’ve been left a bit mixed with The Greatest Show in the Galaxy. I’ve enjoyed it, largely, but I don’t think I’ll be rushing to watch it again any time soon, in the way that some other stories are already at the top of the list for seeing again when this marathon is over. One thing I will say, though - in the special features on this DVD, lots of people complain about how the title was given to them by John Nathan-Turner, and they all say how awful it is… but I love it! 

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

Day 702: The Greatest Show in the Galaxy, Episode Three

Dear diary,

While I’ve never been actively afraid of clowns, I can certainly see why people can be scared of them. There’s something innately un-nerving about them, isn’t there? Maybe it’s the constant fixed smiles? Truth be told, I’m not sure, but watching this episode if you’re not a clown fan must be an un-nerving experience, because the ones on display here are downright creepy. Led by Ian Reddington as the Chief Clown, our troupe of circus performers manage to walk a nice line in this story - at once being this unstoppable force which has been stalking after the other characters from the opening moments, while also being just that bit useless. Ace has escaped capture by them on more than one occasion now, for example, and they’ve killed the one man who can repair them when they break!

What’s rather nice, though, is that while the clowns certainly fill the role of ‘monster’ for this story - up to now, at least - they’re not the actual threat of the piece. That comes more just in the sense that something is wrong, and the flows are really just a distraction while the Doctor puts all the pieces together. I know where this one is going, and who the true ‘villains’ of the piece are, but I’m rather impressed that we’ve managed to go three episodes with a lot of tension and worry without even revealing them properly yet. The story is absolutely packed to the rafters with elements, and there’s so much to follow that the episodes feel incredibly rich. Of course, the danger of this comes on the flip side - there’s so much going on that it can at times be tricky to actually follow everything that’s happening inside the tent. I can’t remember the last time we had a cast with this many characters each taking ownership of their own strand in the narrative.

Thankfully, all of these characters are without exception being played by rather fantastic performers. I’ve already touched on Ian Reddington’s Chief Clown, with that wonderful hand movement (I’ve been replicating it for a few days now while talking to Emma, and singing the ‘Psychic Circus’ theme tune, too), but then you’ve also got T. P. McKenna who is absolutely perfectly cast as Captain Cook (and who reminds me more and more with each episode of Mark Gatiss), and Jessica Martin making the perfect companion for him, and managing to be actually somewhat scary during her werewolf transformation in today’s cliffhanger. In the first episode, we had Peggy Mount as the stallslady (and you can see exactly why they’ve used her for the part), Daniel Peacock’s Nord, Christopher Guard as Bellboy… I could really list everyone in the cast, because they’re uniformly great in this one. All the ‘making of’ features on the DVD present us with people who’s memories of making this story - despite the troubles that the production ran in to - are only positive, and of a well-oiled team working together to make something in adversity.

I also need to touch on Gian Sammarco as Whizz Kid. It’s one of those things again that you’re just aware of as a Doctor Who fan - that Whizz Kid is meant to be a commentary on Doctor Who fans. I’ve always thought that it’s just something we’ve kind of projected on to the character over the years, but it’s pretty strong on screen, isn’t it? I think it’s more a view on fans of anything, because the same trends do seem to crop up time and time again. Still it’s hard not to listen to a line like this one;

WHIZZ KID

Although I never got to see the early days, I know it's not as good as it used to be but I'm still terribly interested.

and not compare it to the clip of John Nathan-Turner on Open Air in 1987, when he provided his famous ‘the memory cheats’ remark!

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

Day 701: The Greatest Show in the Galaxy, Episode Two

Dear diary,

It’s long fascinated me that The Greatest Show in the Galaxy almost went the route of becoming a Shada for the late 1980s - a programme which could have been part-way through production before everything ground to a halt. Having finished all the location filming for the serial, the cast and crew returned to Television Centre to record all the interior segments… only to find that the studios had been closed to have asbestos removed. Schedule in tatters, nothing to be done. It’s this particular behind-the-scenes story which people tend to agree most represented John Nathan-Turner rising higher than ever before. He found ways to work around the BBC’s temporary rules and regulations for completing programmes during this period, had a large marquee erected in the car park at Elstree, and they finished the production in there. The behind the scenes documentary on this DVD has some great anecdotes about an almost war-time spirit that everyone had in making sure that the story could be finished. It’s also pointed out that they’re lucky that this was the story caught up in these events, because it’s the only one this season (indeed, the only one from this decade, I’d argue, if not even longer) which could actively benefit from such a move!

All the scenes inside the circus tent look fantastic - and far more real than if they’d been shot in a mocked-up ‘big top’ in the studios. The same can be said for the great corridors that our cast are asked to run up and down today - the billowing white sheets that form the sides make the shots stand out as being quite unlike any other corridor chase in Doctor Who, and they look wonderful. I think the only disappointment with all of this is that the series has switched to shooting all on video - because I’d have loved to see all these sequences shot out on film, as was the case when a somewhat similar problem struck the production of Spearhead From Space almost twenty years earlier.

Everything has combined together to make this story stand out visually as being very different to anything else around it, and that really does help. Even if this story had ended up being shot in the studio, though, how beautiful is the location filming? It’s all been shot down in a Dorset quarry, and yet it doesn’t look like any of the other quarries that the TARDIS has ever pitched up in. There’s a feeling to this of an alien world that’s far more considered and developed than I’m used to from the programme. It even takes some of the tricks they employed for stories like Mindwarp and adapt them for use here, too - specifically the planet in the sky, which is nicer here because it’s done more subtly, without trying to draw attention to it. The shots of the circus tent from the exterior are beautiful, too, and I’m always a little bit floored by the fact that it was part model, part full-size construct, and just a bit of clever camera trickery to join everything up.

As for the story itself… I’m not entirely sure what to make of it. I think I’m enjoying it, and I’ve certainly been far more drawn in to this episode than I was yesterday, partly because the majority of the characters have now been introduced, and drawn well enough that I can quite happily go along with them. But then I’m not completely sure where things are going, and if I’m honest, my main concern is the running time. Because we’re in the era of three-part stories mingling quite freely with the four-parters now, I’m more acutely aware of the fact that I’m only half-way through this tale, and I’m not sure if there’s enough plot left to fill out almost another hour (I’ve seen the story before, so I know broadly where it’s going, but not the specifics). I think I’m just hoping that I’ll continue the trend of these last two days, and find each successive episode slightly better than the last!

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

Day 699: Remembrance of the Daleks, Episode Four

Dear diary,

Ladies and gentlemen, we are at war!

Those of you who’ve been reading along with my marathon for a while will know that I’ve been tracking the evolution of the Time War (sometimes in very spurious ways) for quite some time now. It’s largely because after 50-odd years of Doctor Who, things don’t always hang together all that neatly. Different producers, script editors, writers, and directors have all brought their own things to the programme over the years, and altered the mythos as they go. The Time Lords change on screen - from the immensely powerful god-like beings of The War Games to the asinine bureaucrats of The Deadly Assassin and beyond (though I still maintain that it’s the difference in seeing them through Jamie and Zoe’s eyes in that first story, and the Doctor’s view of them later on). The process of regeneration is made up when the need arises to allow the lead actor to leave the show. A decade later, that ability is capped at a set number of regenerations. At one point, we even see lots of the Doctor’s previous incarnations, meaning that he really should have died with Davison (‘is this death?’).

That’s why I can’t help but love the Time War. It’s big, and it’s mythic. The programme goes off the air for sixteen years - save for a one night fling with Paul McGann in the mid-1990s - and when it returns, everything has changed. The Doctor’s not been having adventures on our TV screens each Saturday night, because he’s been busy, off fighting a bigger war between his own people and his greatest enemies. It almost justifies the fact that there’s such a big gap in the broadcast of the show, and I love that idea. And yet… it’s all right here, being built up in the narrative of the ‘classic’ series for ages. When the Doctor first encounters the Daleks on Skaro, they’re just the week’s evil alien baddies to be stopped. By the time they return the following year, though, they’ve become the catalyst for the biggest change in the Doctor’s personality. Do you remember, back in those early days, how I used to track the Doctor’s evolution from the man we met in the junkyard through to the man he would then become? Fittingly, we’ve returned to that junkyard with this story, because this tale is unambiguously a major early strike in the Time War.

You don’t even have to try to shoe-horn it in. This isn’t like my argument that The Invasion of Time is a part of the war (I’m still convinced that it is), but it’s absolutely a part of it. Going back half the programme’s life time from here, The Genesis of the Daleks is also 100% a part of the Time War - it’s the Time Lords taking that very first strike. All these different production teams coming in and imposing their very different wills on the programme over the years, and yet when this major upheaval comes in - the Doctor becoming the last surviving member of his race - it’s perfectly in keeping with everything we’ve seen before, and retroactively looks like a great big game. I love that, and I think that’s even gone so far as to help up this story a little in my estimations.

Not that it needs that, of course, because Remembrance of the Daleks is simply a brilliant piece of Doctor Who. I think, if anything, it’s suffered slightly from how little I enjoyed Season Twenty-Four (I know, I promised not to bring it up again, but bear with me. I’ll not mention it for at least the rest of this season, promise). Because I became so used to handing out 3/10 and 4/10, suddenly having a story like this, which is such a leap in quality, throws me a bit. Had I been bobbing along with episodes at around 7/10, then this story would likely have rated a bit higher, because it’s so head-and-shoulders above the rest. It’s almost as thug hI’ve rated it down a little bit because I’ve been expecting the worst for a while.

I’m not going to really discuss today’s episode in a great deal of detail, because it seriously runs the risk of just me gushing over everything again. The guest cast on top form, the sets and locations looking lovely. The special effects (that Dalek battle under the bridge!) are fab. Sylvester McCoy is finally proving that he’s the right man for the job and a brilliant Doctor… Really, I’m going to sound ridiculous if I carry on. I think I’m just pleased that this is the final Dalek story of the ‘classic’ run, because it’s such a grand way to see them out - a real return to form, and easily their best outing since Genesis of the Daleks. I think this is probably the one I’d want to show new fans looking to get in to the classic series with a Dalek tale - because it sets everything up really nicely, and all that Time War stuff I’ve been banging on about is an easy bridge from the modern stuff, too.

The one thing I do want to draw attention to, though, is the way that this story uses Davros - because it’s the only one since Genesis to really get it right. Davros here is used sparingly. Really sparingly. He doesn’t turn up until this episode (or, rather, he’s not actually revealed - we see the ‘Emperor’ in Episode Three, too), but the whole story plays on your expectation that he’ll arrive. Because Terry Nation insisted on the character being in all Dalek stories from Genesis on, you reach points like Revelation of the Daleks, which seem to have Davros there just for the sake of bringing the character back. Hello, Doctor, I’ve lured you here to taunt a bit and stop my evil plans, etc.

Here, we’re built up to believe that the creature in Ratcliffe’s office could be Davros - it looks and sounds like him, after all, before we’re shocked with the reveal of the little girl plugged in to a Dalek Battle Computer. Just when you think we could be having a Davros-free story, the Emperor’s casing flips open and there he is! It’s a great moment, and I love that he’s so completely encased in the machine. From here in the audios, he returns in Terror Firma, where he’s become even more of a ‘Dalek’, and that really does feel like a natural evolution from this point. I just think that this is such a clever way of playing with your expectations of a Dalek story, and then doing something entirely different with it.

Oh, and it gives us the ‘unlimited rice pudding’ line, which is always sure to raise a smile! 

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

Day 698: Remembrance of the Daleks, Episode Three

Dear diary,

In the series of About Time books, each story gets a ‘critique’, and I often go back to catch up on what was said there to see how it tallies with my own thoughts on a serial. The critique for this story, though, has always stuck in the mind because it says something that I can’t help but feeling is exactly right: ‘Looked at now, it’s amazing that so few people saw it on first broadcast. Had the BBC got behind this series, episodes like these would have won it a whole new audience’. The more this story goes on, the more I think it’s a pity that the McCoy era of the programme is looked down upon by so many - especially within fandom. This is one of the greatest stories ever, and there’s no doubt that stuff like this would have gotten the public talking about Doctor Who again (there’s also mention in the About Time critique of Dragonfire that had more people been watching when that story went out, there would have been a flurry of complaints about Kane’s death. As it is, the whole sequence passed by under the radar).

This is really me struggling to find another way of saying ‘I’m still really enjoying Remembrance of the Daleks’. It’s almost the complete opposite of Revelation of the Daleks, in which there was absolutely no need for the Daleks to be there, because here we’ve got a story that’s about the pepper pots. We’ve got a manipulative Doctor trying to play his intergalactic game of chess, making sure that the right Daleks get hold of the right Gallifreyan super weapon at the right time, and there’s always something fun about watching so many of the creatures get blown up!

Because I didn’t really talk about the Daleks all that much during their last appearance, I’ve not had a chance properly yet to say just how much I love the white-and-gold versions of the creatures. It’s suck a lovely design, sleek and elegant, and they look so much nicer than the drab grey ones that have become so common throughout the colour years of the programme. The design of the Emperor is rather lovely, too, and their spaceship! Oh! There’s lots of photographs that show off the set here, but none of them capture quite how good it looks on screen. During our first trip aboard, there’s a lovely camera movement that pans around the room while a Dalek is busy shouting it’s… Dalek things, and it really shows the design off beautifully.

Indeed, the direction of the whole serial is rather nice, and it’s hard to believe that it’s by Andrew Morgan - the same man who gave us Time and the Rani! In that story, I complained lots about the way that the production had been put together (by all departments, from costumes through to lighting), but here we’ve been given something much stronger. I think, on reflection, that less blame should be placed at Morgan’s door for Time and the Rani than I did, because it ended up becoming an edict for the entire season, not just that story. Unshackled from that light-hearted style, which sat so at odds with the regular tone of the programme, Morgan has crafted something really rather wonderful this time around.

And then there’s the guest cast of characters. For a few years, now, Big Finish have produced a spin-off from this story, featuring Gilmore, Rachel, and Alison setting up the Countermeasures Intrusion Group in the months following this story. I’ve been listening to the series since it was first released, but at that point it had been a while since I’d last seen these four episodes. I’m glad, then, to see that the characters we get in the spin-off are very much drawn from what we’re given on screen here, and I’m looking forward to a re-listen with this story fresher in the mind. I’ve vaguely touched on it before, but these characters do feel so much more rounded than others we’ve had recently, and I can’t fail to get caught up in their world.

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

Day 697: Remembrance of the Daleks, Episode Two

Dear diary,

Because I didn’t fully embrace my love of Doctor Who until the 21st century revival really booted me in to action, I’ve always been used to Daleks who are fairly powerful. As far as I’m concerned, they’ve been able to fly for as long as I can remember, and for a brief while they were even able to swing their mid sections around for full 360-degree action, and melt bullets as they were directed towards them. In short, they’ve always been a fairly unstoppable force. It doesn’t make the cliffhanger to yesterday’s episode any less exciting, though. It’s been almost two years since I started out on this marathon, so I’ve become very used to the ‘classic’ type of Dalek, which is usually a bit rubbish. We’ve seen them levitate before, of course (In The Chase, one rises from the sand, and in Revelation of the Daleks they’re seen to hover, but it’s done somewhat clumsily there, so you don’t really notice…), but seeing the way that this one approaches the stairs and just casually continues on the advance is great - and the Doctor’s reaction to it helps to sell the threat, too. Even he’s surprised by this development! This story also marks the first time that you see a skeleton as the Dalek bolt strikes someone - it feels like we’re moving ever closer towards the modern version of the show, and it’s interesting seeing the pieces start to fall in to place.

I’m surprised, too, just how excited I am to have the Daleks back here. Like the comings and goings of the different Doctors in this period of the programme, Dalek tales seem to come around really fast now (this is the third since September, whereas before that they’d been fairly paced out for a long time), and when they cropped up again in Revelation of the Daleks only a season on from Resurrection… I didn’t really care all that much. You might notice that I barely mention the Daleks in that story, and that’s because they were by far one of the least interesting parts of the narrative. Here, though, for some reason, I’m really pleased to have another Dalek tale. I wonder if it’s because this time, we’ve very much got the two sets of Daleks squaring up against each other (a plot thread introduced very late in to the last story), and I know that this is about to turn full-on into being the start of the Time War? It’s something I’ve been tracking for most of 2014, from the Doctor’s mission in Genesis of the Daleks and then on through various spurious links, so it’s quite exciting to have finally reached this point.

And the Doctor has now gone completely into his manipulative mode! Throughout the last season, I was tracking the little moments that seemed to point towards the character becoming manipulative and scheming, but I’d really forgotten just how blatant it becomes from this story onwards. I’d long thought of it as being something that was somewhat underlying in the show, and only really brought to the fore later on in the books, but here we’ve got the Doctor expecting the Daleks to turn up, and being somewhat unsettled when it’s the wrong faction that arrive on the scene (at least initially). By today’s episode, he’s already thinking that he may have made an error (it’s a lovely continuation of that great cliffhanger in Delta and the Bannermen, where he realises he may have bitten off more than he can chew), and I’m really enjoying that. There’s also the mystery of just when he started setting all of this up. At the undertakers, the ‘Doctor’ who left the casket with them in 1963 is described as being an older chap with long white hair - a pretty good description of the First Doctor, which would make sense given the trappings of Coal Hill School, Totter’s Lane, and November 1963 in the story - but this opens up a whole can of worms about the way the Doctor acts in The Daleks. There, it seems to be his first meeting with the creatures, but is there perhaps more to it than we ever realised? It’s not something I’ve ever really considered in a great deal of depth before, but I’m quite keen to watch that story again now and see exactly how he actually reacts to them…

I can’t let this episode pass by without bringing up the Doctor’s speech about making a difference. It’s lovely, and very fitting for this incarnation who’ll be plotting his way through the next eight stories. Another example of Sylvester McCoy simply getting the Doctor this season. You can really sense that both he and Andrew Cartmel have taken some time to sit down and really work out what they want to do with both the character and the series. I’ve said it before (and I’ll try to make this the last time, I promise), but there’s such a shift in quality between Season Twenty-Four and this story, that you can really sense just how much work has gone in to getting it right. I’ve often defended this period of the programme to people who claim it’s rubbish by saying how much the show found its feet again in the final two years, and this is the perfect story to demonstrate that.