Do nothing, if it’s the right sort of nothing.

Where Terrance Dicks’ “State of Decay” suffers from too much exposition, first-time series writer Steve Gallagher’s “Warriors’ Gate” (Story Production Code 5S) leans in the opposite direction, doling out information in penny packets and leaving the audience confused through to the very end of the four episode story. As the final part of the “E-Space Trilogy,” which sees the Fourth Doctor attempting to get back to his own universe, “Warriors’ Gate” focuses very specifically on the predicament in a way the earlier stories in the mini-arc only obliquely touch upon. The demands placed on the narrative further intensify given that Romana and K-9 both leave the series at the conclusion of the tale, posing quite a task for an established script writer, to say nothing of a newcomer to the show. While both strands resolve sufficiently, the overall impression by the story’s close is one of sheer befuddlement.

The entirety of the story takes place in an intermediate time and space dimension, a gateway between E-Space and N-Space (the “normal” universe), a blank white canvas that immediately calls to mind the “nothingness” that so frightened the Second Doctor in “The Mind Robber.” The Fourth Doctor is more sanguine about the trapped predicament he, Romana, K-9, and Adric find themselves in, even after “time winds” smash open the TARDIS doors, allowing a furry humanoid to burst in and set the coordinates all to zero—the intersection between E-Space and N-Space.

The humanoid, a Tharil named Biroc (David Weston), has escaped from a spaceship crewed by humans from an indeterminate era and background, though their mannerisms and colloquialisms suggest they’re originally from Earth, like pretty much every human civilization encountered in the series. These humans, commanded by Captain Rorvik (Clifford Rose), use the Tharils as navigators for their ship, employing their time sensitivity to enable them to plot a safe course through time and space. Far from a mutually beneficial relationship, humans enslave the Tharils for this purpose, apparently journeying into E-Space, whence Tharils originate, on slaving expeditions.

Rorvik’s ship, filled with a cargo of Tharil slaves in suspended animation, has, somehow, also been stranded in the intermediate zone, ostensibly because Biroc guided it there in a bid for freedom. Along with the narrative uncertainty, director Paul Joyce’s adds visual discomfort through his incessant use of jerky, stuttering, stop-start filming to portray moments of time shifting and phasing. Though a clever approach, the excessive use of the technique leads to an unpleasant viewing experience, particularly in the first episode where several minutes are filmed in this manner.

Tonally as well, “Warriors’ Gate” shifts around, moving not just from the serious to the silly but from the present to the past, and this aspect of the story adds interest and moves the plot forward. Along with the “futuristic” spaceship (bearing a passing resemblance to the one from “Meglos“) and the TARDIS, the scruffy all-white wasteland of the intermediate dimension also houses an elaborate stone castle gate, inside of which the Doctor finds a decaying feast hall, festooned with cobwebs, skeletons, dusty mirrors, and suits of armor that, inevitably, come to life…
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Well, I’ve never been a great one for swarming.

For all the monsters and notionally scary moments and themes in Doctor Who, the series seldom veers into out-and-out horror. When it does, however, former script editor Terrance Dicks is usually the writer. His “State of Decay” (Series Production Code 5P) draws heavily on the trappings of Hammer horror to present a tale of ancient space vampires, visually evoking Christopher Lee’s turns as Dracula, but the resulting story winds up casting the bloodsuckers as toothless caricatures instead of fang-some foes, about as frightening as the glowing green goopy Rutan in Dicks’ last offering, “Horror of Fang Rock.”

The four episode story begins with much promise, even if it does retread ground from “Full Circle” in presenting a society that devolved from a crashed spaceship generations earlier. Trying to find a way out of E-Space, that sparsely populated alternate universe the TARDIS accidentally entered in the prior story, our Time Lords (plus stowaway) land on an unnamed planet with evidence of both high technology and minimal energy output, all focused around a tower and a village. The rulers of the planet, King Zargo (William Lindsay) and Queen Camilla (Rachel Davies), exert complete control over the small rural populace, aided by their councillor, Aukon (Emrys James). Festooned with elaborate facial makeup, the three Lords exert a strange power over their people. Throw in a prohibition on any form of knowledge amongst the peasantry that is quickly subverted when one villager surreptitiously pulls out a radio communicator, and a real sense of mystery begins to unfold.

Horror, after all, relies on a slow drip of fear and uncertainty, and Doctor Who‘s tendency to gradually unveil the monster or threat fits that model nicely, but the first two episodes give themselves over to broad exposition instead, diluting any tension the setting has developed. Dicks takes pains to establish the social structure, with peasants being selected regularly to go to the Tower, where the lucky become guards—and the unlucky are never seen again. In due course, the Fourth Doctor and Romana are captured by rebels who have discovered some technology, leading the Doctor to unpack the origins of the civilization on an ancient computer monitor: an exploratory spaceship from 1990s Earth that was pulled into E-Space over a thousand years prior.

The leaders of that spaceship—Captain Sharkey, Navigator MacMillan, and Science Officer O’Connor—look remarkably like Zargo, Camilla, and Aukon, and rather than some grand revelation that they are one and the same, alive for a thousand years as the living dead, the Doctor and Romana instead take a few minutes to discuss folklorist Jacob Grimm’s theory of consonantal shift and theorize that the name MacMillan softened over time to become Camilla and so on. Sociolinguistics, in a vampire story. Though fascinating in a real sense, it’s only marginally less exciting than the Adric trying, and failing, to steal food again…
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I think I pulled the wrong lever.

By the time “Full Circle” (Story Production Code 5R) first aired in late 1980, Doctor Who had been on the air for nearly seventeen years, enough time for a generation that grew up with the show to start participating in its creation. First time writer Andrew Smith (scarcely 18 at the time) and Matthew Waterhouse (nearly 19), as new companion Adric, both fit into this category, bringing an infusion of youthful, fannish vigor that dovetails with producer John Nathan Turner’s frenetic new vision for the series. The resulting four episode tale, however, with its copious technobabble, extended scenes in a laboratory, establishment of a multi-story plot line, and overall lack of an “actual” villain, feels more like an early Third Doctor tale than a late Fourth Doctor tale—and that’s not a bad thing.

The Doctor has always been a scientist at heart; for all the complaints about the Sonic Screwdriver and K-9 serving as easy plot devices to get our heroes out of any quandary, his inexhaustible store of technical and scientific knowledge saves the day far more often than the random contents of his pockets. Jon Pertwee’s Third Doctor leans into this aspect of the Doctor more than any other, so to have Tom Baker’s action-focused Fourth Doctor resolve a story’s basic conundrum by peering into a microscope rather than reversing a generator’s polarity or tricking a callow warlord into blowing up his own base provides a very refreshing callback, reflective, possibly, of Andrew Smith’s own experience of the Third Doctor’s exploits. At the very least, it’s reasonable to assume that he had seen far more Doctor Who than almost any other writer for the series.

“Full Circle” fits firmly that sub-genre of Doctor Who stories where the “monster” is just misunderstood, where blind obedience to an unthinking system serves as the real foe, and, crucially, where the resolution of the problem on offer is to realize it’s not actually a problem to be solved at all. Such stories require a deft hand at world-building and a nuanced approach to the various factions working at cross purposes, traits not often associated with John Nathan-Turner era stories, and the final product features far more running around corridors and incessant action sequences of stunt-men in latex suits flailing away with sticks than, say, “Doctor Who and the Silurians,” “The Ark,” or “The Massacre of St. Bartholomew’s Eve,” all of which inform “Full Circle,” even if at something of a remove. The core concept is there, though, of the Doctor seeing through surface level appearances, coming to understand the multi-generational cycle at work, and realizing the possible extents of co-existence; the best, and sometimes only, solution is to leave well enough alone, or failing that, to just leave.

The Doctor and Romana are themselves stuck, unable to leave E-Space, a problem that will persist for several stories running and form a loose through-line. The TARDIS arrives, confusingly, on the planet Alzarius instead of Gallifrey after encountering some space-time turbulence. The coordinates are correct for the Time Lords’ home planet—10-0-11-0-0 by 0-2—but they are negative coordinates instead of positive coordinates, an impossibility that can only be explained by the TARDIS having passed through a “charged vacuum emboitement” that pushed it into an Exo Space-Time Continuum. So instead of returning Romana to Gallifrey, whence she was summoned at the end of “Meglos,” they find themselves in a completely different universe, right at the pivotal point where a precocious maths student is about to purloin precious river fruit…

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