I’ve been here before.
Wheeling out the Daleks to start Doctor Who‘s twenty-fifth season, in Ben Aaronovitch’s “Remembrance of the Daleks” (Story Production Code 7H), carries with it the faintest whiff of desperation. These iconic pepper pots helped catapult the series to popularity on their debut in late 1963, and every Doctor since has faced off against them, often to open or close a season, such is their popular potency. But how do you create something new with the Doctor’s eternal enemies? Returning them to 1963 London, to the Coal Hill School and I.M. Forman’s scrap yard on Totters Lane, feels like such a blatant attempt at fan service that the initial impulse, on seeing the Seventh Doctor and Ace return to the First Doctor, Susan, Barbara, and Ian’s stomping grounds—particularly so soon after the Sixth Doctor made a social call—tends towards the less-than-charitable, the final flailings of a series that has run out of fresh ideas.
Opening with Ace toting a boombox into a corner caff for bacon sarnies and struggling with pre-decimal coinage while the Doctor climbs atop a van with a strange aerial outside the hallowed school doesn’t inspire much confidence, suggesting a flippant attitude from the start. And yet Aaronovitch, producer John Nathan-Turner, and script editor Andrew Cartmel manage to conjure an air of mystery and menace around the Daleks regardless, no mean feat given that they have yet to defeat the Doctor in over a dozen tries. Their last appearance, in “Revelation of the Daleks” some three and a half years prior, leans heavily into the omnipresence of the titular foes, rolling around everywhere and in numbers. Here, a single Dalek occupies proceedings for the majority of the first of four episodes, holed up in, yes, I.M. Forman’s yard, a reminder of how fearsome this foe can be.
After the Doctor pops into the van and meets Rachel (Pamela Salem), a scientist working with the British military to investigate strange frequencies at the school and the scrap yard, he accompanies her to the scene, where Group Captain Gilmore (Simon Williams), a Lethbridge-Stewart stand-in, is organizing an attack after one of his men has been killed via a “death ray” from an unknown assailant. It’s a Dalek, of course, as the Doctor knows at once, and he urges Gilmore to pull his troops back—calling him “Brigadier” at one point, in case the comparison to what will likely become UNIT weren’t obvious—before the Dalek kills them all. After furious yet futile fusillades with bullets and grenades, given loving attention by director Andrew Morgan, only Ace’s Nitro Nine saves the day, blowing the top off the combat casing to reveal trademark Dalek goo.
The story proceeds with remarkable directness, keeping the focus mainly on the Doctor, all the better to establish, and obscure, the various levels of conspiracy that begin to unwind. The Doctor, it turns out, knows the Daleks are following him, looking for the “Hand of Omega” which he left in 1963 London as the First Doctor. Creating events in the Doctor’s past that are unseen on screen is certainly nothing new, but choosing the very beginnings of the series to hide a McGuffin comes across quite boldly, turning what could have been throw-away canonical references into valid and intriguing plot points. Further shenanigans are afoot in the Coal Hill School itself, watched over by a creepy child (Jasmine Breaks) and a mind-controlled Headmaster (Michael Sheard), and within the military command structure, as a man named Ratcliffe (George Sewell, in a very George Sewell role) vouched for by Mike (Dursley McLinden), a member of Gilmore’s team, hauls away the Dalek remains to an underground lair at the orders of a shadowy figure seated in a Dalek casing…