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…