Doctor Who Project: Revenge of the Cybermen

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Well, we can’t just sit here glittering, can we?

They brought the Cybermen back for this? After lying fallow for almost seven years, the silver streaks return with a thud in Gerry Davis’ “Revenge of the Cybermen” (Story Production Code 4D). Gone is the sense of unstoppable menace from their last appearance, in Season Six’s “The Invasion,” much less the existential body horror of the original Cybermen that Davis helped Kit Pedler develop back in “The Tenth Planet.” The story on offer here suffers from the same diffused focus as Davis’ last story, the visually impressive yet narratively cluttered “The Tomb of the Cybermen,” which introduced his seminal contribution to Cyberman lore, the Cybermat. A key component of this story, it is cute, cuddly, and oh so carnivorous.

Beware of the Cybermat

Following directly on from “Genesis of the Daleks,” this story sees the Doctor, Sarah, and Harry appear back on Space Station Nerva, the Season Twelve leitmotif. Only the current version of Nerva contains quite a few more dead bodies than the one they left way back at the end of “The Ark in Space.” The Doctor surmises from the technology on display that they have arrived thousands of years before their last visit, when the station was used as a cryogenic ark to safeguard humanity against solar flares. They await the arrival of the TARDIS, which is travelling through time (yet remaining static in space) to meet up with them after their Time Lord-imposed sojourn on Skaro. In the interim, they explore the now-familiar hallways, discovering that there are only three humans left from whatever fate befell the space station.

No running down this hallway.

In short order, the viewer learns that one of the survivors, Keller, has orchestrated the deaths as part of an overly-elaborate plan to lure the Cybermen to Nerva Beacon, built to warn passing spacecraft about the presence of Voga, a rogue planetoid captured by Jupiter’s gravity fifty years prior. The bait for the Cybermen turns out to be Voga itself, a planet whose copious gold reserves turned the tide of the Cyberwars some generations in the past. As the Doctor helpfully points out, the non-corrodible metal coats the breathing apparatus of Cybermen, suffocating them, and the combined forces of humanity and the Vogans used “glitter guns” to end the conflict. In the long years since, the Vogans have hidden deep within their wandering planet, in fear of the remnants of the Cyber Fleet.

One faction of Vogans, encountered by Keller during his exploration of the planet, wants to end that threat, so in exchange for gold (of course), Keller somehow contacts the ages-lost Cybermen offering the location of their arch nemesis. The Cybermen (again, somehow) send him a Cybermat with instructions to kill all but four people on the beacon. Meanwhile, the Vogan faction builds a rocket that they will use to destroy Nerva once the last remaining Cybermen are on board. And why do the Cybermen want four humans left alive? Because Cybermen don’t do manual labor, apparently—they want the humans to carry the Cyberbombs (yes, really), complete with trapped explosive harnesses, to the heart of Voga to blow it up.

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Doctor Who Project: Genesis of the Daleks

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You are mistaken. It is a Mark III Travel Machine.

After starring in nine stories over eleven seasons, the Daleks had worn their narrative carpet a little threadbare. It’s hard keep your reputation as the supreme intergalactic conquerers when you’re invariably defeated time and again by a do-gooder with a blue box and a pocket full of trinkets; and harder still to remain interesting when your vocabulary doesn’t stretch much beyond “exterminate” and its various cognates. Efforts were made in the Pertwee era to imbue the Daleks with some degree of nuance and personality, giving them a thin range of emotions stretching from pride through to fear, but in the end, they remained much as the First Doctor found them in 1963.

Dalek on the prowl

To polish up the pepperpots for a new generation, Terry Nation’s “Genesis of the Daleks” (Story Production Code 4E) sends the Fourth Doctor, Sarah, and Harry back in time, before the events of “The Daleks,” to the moment of the Daleks’ creation. While the show has revisited plots and villains before, this story marks the first instance of Doctor Who really mining its own history as the basis for a story, as well as representing one of the show’s few actual uses of the time travel conceit as something other than an easy means of changing the stage setting. Does one dare change the future by altering the past?

The latest in Time Lord fashion

The Time Lords snatch our beleaguered time travellers straight out of the transmat beam to Space Station Nerva, not even giving them a chance to change clothes after the last story before sending them back in time to Skaro, sans TARDIS. The Doctor’s mission, should he choose to accept it, is nothing less than the prevention of the Dalek threat before it has a chance to develop. Though they leave the means up to the Doctor, the Time Lords make clear that they will countenance any actions he might take in pursuit of this end. A far cry, indeed, from the Time Lords who banished the Second Doctor for his continued interference in the affairs of the universe, though charitably one can assume that his excoriation of their indifference to evil helped soften their resolve.

The Doctor sees wisdom in the idea of intervening in the Daleks’ creation, possibly by nudging their development towards less aggressive tendencies or by learning some weakness in their essential nature that will allow future generations to defeat them. And yet, in the end, the more intricate and less violent options fall by the wayside, leaving the Doctor with the simple choice: touch two wires together to blow up a nursery of tiny Daleks or allow them to take over the galaxy…

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Doctor Who Project: The Sontaran Experiment

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According to my data, you should not exist.

The pug-headed Sontarans aren’t the only ones tinkering in Bob Baker and Dave Martin’s “The Sontaran Experiment” (Story Production Code 4B). This brisk story marks the first time since the sophomore season that Doctor Who has aired a two-episode tale, and surprisingly, the abbreviated format works to some effect. It’s also the very first story to be shot entirely on location, with no studio scenes of any sort. And, alas, it’s the fifty-second story (give or take) to relegate the female companion to being captured and/or screaming a lot. The more things change…

The Sontaran's Experiments!

Baker and Martin skip over quite a bit of exposition, getting our time travellers directly into the action. No sooner have they arrived on a theoretically abandoned Earth, via transmat from Space Station Nerva—continuing where “The Ark in Space” left off—than they all split up. The Doctor sends Sarah and Harry away to let him concentrate on fixing the transmat beacons for Nerva, then Harry falls into a pit, then Sarah tries to find the Doctor for help, but he has been captured, then Harry finds a way out of the pit, then Sarah is herself captured at the pit trying to rescue Harry on her own. (Whew.) And that’s just the first twenty-five minutes. In the Troughton era, that would have taken three episodes.

Granted, there’s not much story on offer. As is tradition, “The Sontaran Experiment” still keeps the titular menace off-screen until the very end of the first episode, and the total elapsed time between the real menace of the Sontaran threat being revealed and the Doctor foiling it measures no more than seven minutes. Tom Baker’s Fourth Doctor works well within these narrative constraints. His manic mien matches the madcap pace, and as a result, his incessant japes in the face of danger and his emotional non-sequiturs feel more natural, at least to the extent that is possible. As opposed to Tom Baker’s first two stories, where everyone and everything around him seemed to be moving in slow motion, here the entire mise en scène works in concert with his frenetic strengths.

Don't mind me down here!

Along the way, we learn that the far-flung human colonies mentioned in the prior story have survived, and indeed thrived, in the centuries since solar flares devastated Earth, spreading out to create an empire. That empire faces invasion from the Sontaran Empire, who, to the Doctor’s estimation, deem human space as a strategic resource in their eternal war against the Rutan. Baker and Martin’s create the illusion of depth with a subtly sketched skien of details, many of which rely on explicit knowledge of the prior story. Indeed, even the revelation of the Sontaran, Field Major Styre, at the end of the first episode hinges, for its emotional impact, on knowledge of the initial Sontaran story, “The Time Warrior,” as Sarah utters the name of the Sontaran she and Jon Pertwee’s Doctor encountered, Linx.
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Doctor Who Project: The Ark in Space

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It might be irrational of me, but human beings are quite my favorite species.

After his debut story, tacked as it was onto the end of the Season Eleven recording cycle, Tom Baker’s run as the Fourth Doctor starts in earnest with new script editor Robert Holmes’ “The Ark in Space” (Story Production Code 4C). Holmes and new producer Philip Hinchcliffe seemingly have carte blanche to send the Doctor, finally freed from his Earthly exile, off in new directions, and with the first story of the Season Twelve production bloc, they take us…right back to the Second Doctor and a “base under siege” story that Troughton could have played (and often did) in his sleep.

Oh, hello.

To be fair, there’s quite a bit new and flashy on offer here, but it becomes clear that, narratively speaking, Holmes and Hinchcliffe are hanging fresh tinsel on an old tree. In short order, the Doctor and companions accidentally arrive in an isolated locale (here, an apparently abandoned space station in Earth orbit sometime in the future), discover some trouble or other, get blamed for said trouble, then help fend off the real threat. If the formula feels fresh in “The Ark in Space,” it’s only because the Third Doctor had but a single story early on (“Inferno“) that even came close to this model over five seasons, and that one at least involved alternate dimensions.

It’s unlikely any but the most dedicated fans of Doctor Who noticed the pattern at the time, though, because the plot here remains resolutely beside the point. While Terrance Dicks threw Baker a debutante ball in “Robot,” a controlled, almost formal introduction in a comfortable setting, Holmes provides Baker with, well, a full-blown fiesta: far from demure, the Fourth Doctor bursts on the scene in all his alien glory in “The Ark in Space,” upending any lingering sense that there might be even the slightest connection between this Doctor and his forebears.

Almost as significantly, “The Ark in Space” suggests a return to small-cast (and lower budget) stories set in far-off, fantastical locales of which we actually see very little—eight sets total feature in this story, none on location and most dressed in what can only be called futuristic off-white—with a commensurate reliance on prop makers to visually convey the strangeness of the setting and on the writer to imbue the few characters with enough texture, or at least technobabble, to make the world seem fuller than it really is. Robert Holmes does well enough to hold up his end of the bargain, deftly sketching a chilling projection of a technocratic human future through well-chosen details; the prop department, on the other hand, just spray paints some bubble wrap with green paint and calls it a day.

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Doctor Who Project: Robot

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There’s no point in being grown up if you can’t be childish sometimes.

Our initial outing with the Fourth Doctor shows Tom Baker clearly setting out his stall—mirthful, slapdash, haphazard, alien, and just a bit brutal. It’s a good thing he strives to differentiate himself from his predecessor, Jon Pertwee, as “Robot” (Story Production Code 4A), by longtime Doctor Who script editor Terrance Dicks, covers much the same ground as several Third Doctor stories. Take one part “Invasion of the Dinosaurs,” one part “The Green Death,” one part “Inferno,” file off the serial numbers, and you have Dicks’ tale of a group of fascist technocrats hiding in a bunker, bent on ruling the planet with the help of technology even they can’t control.

A rude awakening

It all feels too familiar, picking up right where “Planet of the Spiders” leaves off, with the newly regenerated Doctor in the Third Doctor’s clothes on the floor of his laboratory, alongside the comforting presence of Sarah Jane Smith (Elisabeth Sladen), the Brigadier (Nicholas Courtney), a newly promoted Warrant Office Benton (John Levene), and the rest of UNIT. The Brigadier has the Doctor sent for observation in the UNIT infirmary, under the care of new arrival Harry Sullivan (Ian Marter), whilst he and Sarah Jane casually discuss the recent theft of classified weapon plans and, as a completely unconnected favor to Sarah, arrange for her to be granted access to the top secret Think Tank so she can write an article. It’s there that she encounters—at the traditional first episode cliffhanger, of course—our titular menace, the Robot.

The robot from Robot, the robot K-1

It’s clumsy plotting, but four episodes leaves little time for nuance, particularly when there’s a new Doctor to introduce. Indeed, “Robot” moves with so much pace that the obligatory threat to the planet (nuclear holocaust, this time) is resolved a scant five minutes into the final installment, leaving most of an episode for UNIT to demonstrate once more its utter incompetence as a fighting force (so, again, not much different from any of the Third Doctor’s stories).

Tacked on to the end of the Season Eleven recording block, with Barry Letts still at the production helm and the Doctor dealing with yet another Earth-bound menace, there’s little reason “Robot” should have a different feel. But by the end of of the story, one can see that changes are coming. It’s hard to suggest that any prior seasons would have dressed up the Doctor as a harlequin while referencing both James Bond and King Kong…

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Doctor Who Project: Jon Pertwee Retrospective

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In more ways than one, Jon Pertwee brought a touch of color to Doctor Who.

Jon Pertwee, the Third Doctor

Beyond the obvious switch to color broadcasting (or, perhaps more properly for the source material, colour broadcasting) in his inaugural season, Jon Pertwee’s Third Doctor stands as a bright figure, sartorially resplendent in velour overcoats and equally as boisterous in manner, whether under the spotlights of Television Centre or floodlit on location in some quarry. He commands attention, always seeking (and usually claiming) the camera’s eye, earning him a well-deserved reputation as a bit of a ham.

Indeed, once we saw Pertwee wrestle with a tentacle in his very first story, we knew that more had changed than just the black and white filming. This willingness to indulge in the over-the-top, from the wardrobe to the acting to the plots themselves, announces a signal shift in the series, with a more “modern” sensibility.

The first of many gurns

Yet, unlike the rather jarring tonal change from William Hartnell’s bristly First Doctor to Patrick Troughton’s impish Second Doctor, the Third Doctor amalgamates the two prior incarnations seamlessly—he is at once given to brooding and moralizing while still quick with a Venusian karate chop and a cutting bon mot, often simultaneously. He is an old soul in a new-ish body.

As a result, long-time viewers see that the Third Doctor comes directly from this lineage; the character makes sense as a scion, so to speak, of this illustrious Gallifreyan family, even as all else seems to change around him on Doctor Who. So where the shift from Hartnell to Troughton required transitional figures (Polly and Ben) to shepherd the audience into the strange, new regeneration, the Third Doctor arrives alone.

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