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Doctor Who Project: Revelation of the Daleks

December 2, 2024November 2, 2024 by Chris Baer

Suddenly everyone sees and knows too much!

When in doubt, roll the Daleks out. As Season Twenty-Two of Doctor Who comes to a close, the fate of the series rests in the balance. Producer John Nathan-Turner pulls out all the stops to bring Colin Baker’s debut season to a strong finish by headlining the scourge of Skaros in script editor Eric Saward’s “Revelation of the Daleks” (Story Production Code 6Z). The problem remains, alas, that the Daleks, having been on the losing side of a dozen confrontations with the Doctor over the years, each more feeble than the last, have worn out their welcome; their staccato cries of “Exterminate!” and single-minded devotion to evil lack the ability to captivate the imagination in 1985 they possessed in 1963.

By the Third Doctor’s era, some twelve years prior, the Daleks already are little more than hapless tin cans, their worn-down props in desperate need of refurbishment. Indeed, Davros himself, creator of the Daleks (alongside Terry Nation, to be sure), becomes a mere cipher of the cunning, calculating, amoral foe first seen in the Fourth Doctor’s run, and by the time the Fifth Doctor confronts him in “Resurrection of the Daleks,” Davros exists on a one-dimensional plane, all vitriol and no guile. There’s nothing new under the Skarosian sun…

But somehow, Saward, Nathan-Turner, and director Graeme Harper—helming his second “finale” story after a strong showing with Season Twenty-One’s “The Caves of Androzani“—manage the unthinkable: they make Davros and the Daleks interesting again. True to the story’s title, there’s no hiding them, and scarcely eight minutes pass before the first Dalek, in resplendent white with gold roundels and trim, rolls onto the screen, followed by Davros (Terry Molloy)—or at least his head—spinning around madly, rejoicing that the Doctor has fallen into his trap. Wisely, Saward and company realize that there’s little point in sequestering the perfidious pepperpots until that traditional first episode cliffhanger, particularly given that “Revelation of the Daleks” is the last of the two part, ninety minute stories experimented with this season. No, these Daleks are “revealed” right away, and the audience gains awareness beyond the Doctor’s own, emphasizing that they are watching something happen to him rather than experiencing events alongside him. With few exceptions, it’s only the Doctor who is unaware that Daleks are puttering about, and their matter-of-fact presence, patrolling like robotic rent-a-cops amidst humans, adds greatly to their impact.

The emphasis on seeing the Doctor recurs throughout “Revelation of the Daleks,” which follows “Vengeance on Varos” in casting the audience very explicitly at the center of a panopticon; viewers watch others watch the Sixth Doctor and Peri on screens, much as the audience itself is doing at home, and characters frequently speak upwards towards cameras mounted high on walls in the halls of Tranquil Repose, a cryo-mortuary on Necros, devoted to housing victims of disease in cryogenic suspension until cures can be found for their maladies (a concept very much in vogue in the 1980s). The TARDIS arrives on the snowy plains of this necropolis planet so that our time travellers can attend the “funeral” of Professor Arthur Stengos, a renowned agronomist, and their travel by foot to the mortuary is monitored on a screen by Davros—and also, in an exceedingly jarring subversion of viewer expectations, by a nameless DJ (Alexei Sayle), played here as an amalgamation of Wolfman Jack and any number of stereotyped American personalities, who spins tunes from Earth’s past for the frozen inhabitants of the cryo-catacombs.

The viewer really doesn’t know what to expect, a rare experience on Doctor Who, made more intriguing by rather camp segments involving the vainglorious mortician Jobel (the incomparable Clive Swift, in a role inspired by embalmer Mr. Joyboy from Waugh’s The Loved One) and his blue uniformed cadre of assistants; a highly formalized and heavily stylized agri-factory owner, Kara (Eleanor Bron) in thrall to Davros, who stands in the way of her control of the food supply for the galaxy; plus an attack on the complex by corpse snatchers seeking the very body of Arthur Stengos that the Doctor has arrived to mourn. Combined with tense, almost discordant music courtesy of Roger Limb and exceptional direction by Harper, who employs camera angles shifting from point-of-view to (barely) steady-cam close-ups of action sequences and high, long shots showing off the set work and well chosen location scenes, the overall effect is one of welcome disorientation. This is not, Nathan-Turner seems to shout, your parents’ Doctor Who…

Doctor Who Project: Resurrection of the Daleks

February 2, 2024January 2, 2024 by Chris Baer

It seems I must mend my ways.

Given producer John Nathan-Turner’s iconoclastic approach to Doctor Who, the most surprising element of script editor Eric Saward’s “Resurrection of the Daleks” (Story Production Code 6P) is just how long it took the two of them to get around to remaking the most beloved villains in the series’ history. By Season Twenty-One in 1984, fully three and a half seasons have elapsed since Nathan-Turner took over, and in that time he brought back many an old foe, from the Silurians and the Master to Omega and the Cybermen, often giving them a harsher, less subtle, and more menacing aspect. As for the Daleks—in their first full appearance in nearly five years, since 1979’s “Destiny of the Daleks,” not counting their brief cameo in “The Five Doctors,” and the first not written by creator Terry Nation in over twelve years, since Louis Marks’ “The Day of the Daleks” from 1972—the perfidious pepperpots come out of the Nathan-Turner and Saward transmogrifier with a surprising twist: they are defeated.

Saward’s story draws heavily upon Nation’s “Destiny of the Daleks,” which sees the Fourth Doctor and Romana in the far future outwit, in turn, the Daleks; their new forever enemies, the robotic, disco-bead-wearing Movellans; and Davros, the latter being captured and placed in suspended animation for transport back to Earth. Some ninety years later, the war between the excessively logical rivals has ended. The Movellans introduced a virus that targets Dalek genetics, wiping out most of the mutated Kaleds and scattering the remainder to far-flung corners of the galaxy to escape its effects. Hoping to engineer a cure, the Supreme Dalek, aided by a small core of followers, turns to their creator, Davros, for help once again (as they did in “Destiny of the Daleks,” after having tried to kill him in “Genesis of the Daleks,” if anyone is keeping score).

They can’t do it alone, though, as their power has waned and their ability to think strategically has diminished. They turn instead to a band of brainwashed human duplicates, led by Lytton (Maurice Colbourne), to serve as their shock army, and also, for reasons that Saward never really tries to explain, to guard a cache of Movellan virus canisters in an abandoned London warehouse in 1984, accessed via a “time corridor” created by the Supreme Dalek’s spaceship. It’s this corridor that the TARDIS finds itself trapped in at the end of “Frontios,” and by the time the Fifth Doctor breaks free of it, the temporal-spatial momentum brings the blue box down on the banks of the Thames, right near a street where a group of armed bobbies guns down a band of escaped slaves from the Dalek ship in the story’s opening scenes.

This opening in particular, with its sense of disorientation, juxtaposing the familiar with the unexplained, sets out the stakes for the entire two part story. (To accommodate the Sarajevo Winter Olympics, the four original twenty-five minute episodes of this story were edited into two fifty minute ones, per Howe and Walker, Doctor Who: The Television Companion.) More than anything, the first few minutes call to mind the ruined London of “The Dalek Invasion of Earth,” and the shock when the usually unarmed contemporary police appear and kill in cold blood causes confusion and dismay in equal measure. Saward and Nathan-Turner intend to bring about just what the title suggests, a “resurrection” of the Daleks, returning them to their rightful place as the ominous, frightful, ruthless killers that they are. But then they take a page from the campiest of all Dalek stories, “The Chase,” and have the Doctor bundle a screeching Dalek out a window to its explosive demise…

Doctor Who Project: The Five Doctors

October 2, 2023September 2, 2023 by Chris Baer

Splendid fellows, all of you.

For a series about time travel, Doctor Who focuses on its own past almost as much as the historical past. From Season Eighteen on, under producer John Nathan-Turner and script editor Eric Saward, continuity references, those canonical recollections of various events and dramatis personae, have come to predominate, sometimes to the detriment of the storylines and befuddling more casual viewers who can’t tell an Omega from an Ogron. When faced with a marquee event such as the twentieth anniversary of Doctor Who, then, the danger is that the self-referential aspects will predominate, overwhelming the plot with a long string of cameos and call-backs. Thankfully, veteran Doctor Who hand Terrance Dicks provides “The Five Doctors” (Story Production Code 6K) with a script that neatly balances reverential appreciation of the series’ long tenure with a genuinely well-paced story that creates just as many memorable moments as it summons up from the show’s history.

Airing as a single ninety-minute episode on November 25, 1983, two days past the actual twentieth anniversary of the initial episode of “An Unearthly Child” first appearing on screens throughout the UK, “The Five Doctors” brings all five of the Doctor’s incarnations together in a story that plays to their individual strengths while still respecting the primacy of the current inhabitant of the role, Peter Davison. Well, sort of all five, with Richard Hundall standing in as the First Doctor for William Hartnell, who died some eight years earlier in 1975, and Tom Baker being represented solely through clips from “Shada,” which remained uncompleted and unaired due to industrial action at the end of Season Seventeen. Baker withdrew from active participation after originally agreeing to appear, but as much as it would have been nice to see that curly mop of hair back in action as the Fourth Doctor, his absence gives more room for Hundall, Patrick Troughton, and Jon Pertwee to strut their stuff upon the crowded stage.

Dicks’ story breaks very little new ground, being ultimately a rehash of “Arc of Infinity,” with its focus on Gallifreyan politics, and, curiously, the much maligned “Time-Flight” and “Death to the Daleks” in the exploration of an ancient—and lethally guarded—sanctum by the Doctor(s) and companions. His structuring of the story, though, contrives to keep the first three Doctors separate, each having been kidnapped, along with a companion, by a “time scoop” and deposited into a different part of the subtly-named Death Zone on Gallifrey, home of the long-abandoned Game of Rassilon that saw “lesser” beings forced to fight to the death. The Fourth Doctor and Romana (Lalla Ward), meanwhile, are plucked from punting the River Cam and trapped in the Vortex by a failed time scoop, the better to sideline them for the entirety of the story.

The Fifth Doctor painfully suffers the loss of each of his prior selves as they are removed from the time stream, and as he slips in and out of consciousness, he sets the TARDIS to find them. The blue box takes him, Tegan (Janet Fielding), and Turlough (Mark Strickson) to “nowhere, in no time,” in the latter’s words, a fine description of the Death Zone, which itself is a foggy plain of rocks, dominated by the Dark Tower, host to the Tomb of Rassilon. The scene, replete with the Third Doctor’s beloved Bessie driving down dusty slate-lined roads, very much calls to mind the antimatter world from the tenth anniversary story, “The Three Doctors,” and in truth, could any celebration of twenty years of Doctor Who fail to feature a quarry?…

Doctor Who Project: Destiny of the Daleks

November 25, 2024June 2, 2021 by Chris Baer

It’s what’s on the inside that matters.

During Doctor Who‘s first dozen seasons, the Daleks appeared with tedious inevitability, losing some their power to frighten and amaze each time they trundled onto the screen in increasingly bumbling fashion. And then, after 1975’s “Genesis of the Daleks,” arguably the finest Dalek story since, well, “The Daleks,” they just…vanished. These iconic antagonists would not reappear until five years later, with Season Seventeen’s opening story, Terry Nation’s “Destiny of the Daleks” (Story Production Code 5J). Though the title gives away the surprise, as it tends to with Dalek stories, “Destiny of the Daleks” nevertheless builds on the strong foundations of the prior story. Terry Nation returns his beloved pepperpots to the top rank of Doctor Who villains by making sure they don’t play too large a role in the proceedings, setting them against formidable foes and bringing back their creator in a tightly-plotted story that demonstrates both Nation’s growth as a writer and the benefits of letting the Daleks lie fallow for a time.

Still on the run from the Black Guardian, the Fourth Doctor and a newly regenerated Romana (Lalla Ward) trigger the TARIDS randomizer circuit to arrive at an unknown place and time. Random, that is, in the way a loaded pair of dice is random, for they arrive on a deserted, radioactive planet that the Doctor vaguely recalls from prior visits: Skaro. Nevertheless, Nation neatly avoids confirming the Doctor’s—and the audience’s—suspicions until the end of the first of four episodes, only announcing the planet’s infamous name seconds before a column of Daleks smashes through a barrier, pinning Romana against a wall with their sucker arms in a knowing recreation of their initial introduction, when Barbara suffered the same fate. The Daleks do certainly know how to make an entrance.

But even with the Daleks revealed, Nation continues to layer on narrative mysteries, through both extensive world building and deliberate obfuscation. Another group makes an appearance, the Movellans, a multi-cultural platoon of humanoids dressed in white leotards and silver braided wigs, ostensibly keeping tabs on the Daleks. Typically in Doctor Who, the audience has knowledge that the Doctor lacks, a technique that drives tension as we watch the Doctor and companions figure out the plot complications. The Doctor’s trademark cleverness comes through more strongly in this structure, as his logical (and illogical) thought process becomes part of the story. Here, though, Nation gives the Doctor moments of awareness that he keeps to himself, both in his supposition about what the Daleks dig for on Skaro and, more significantly, his realization of Movellans’ secret. This structural decision shifts the story’s focus from the Doctor onto the Daleks and Movellans, a vintage Terry Nation approach when it comes to prioritizing his own creations.

In retrospect, all the clues are there from the moment the Doctor enters the Movellans’ diamond-shaped spaceship, but one is overwhelmed by the visual impressiveness of both the ship’s interior and the costume design of the Movellans themselves, which owes far more to the 1970s than the 3070s. Indeed, the most striking aspect of the Movellans’ presentation comes from the refreshing casting, with an even split of male and female actors, most of whom are actors of color. For a series where the number of speaking parts by non-white actors can still, some seventeen seasons in, be counted on two hands, it’s a noticeable decision. So once can be forgiven for not immediately recognizing these disco-fied, idealized humanoids as robots themselves. As far as Dalek enemies go, they’re no Mechanoids, that’s for sure…

Doctor Who Project: Genesis of the Daleks

May 19, 2019April 14, 2019 by Chris Baer

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.

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 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…

Doctor Who Project: Death to the Daleks

October 11, 2018August 11, 2018 by Chris Baer

Tell me, have you ever tried Venusian hopscotch?

This time, the Dalek story title wheel lands on an alliteration, but at a stretch, it’s possible that Terry Nation’s “Death to the Daleks” (Story Production Code XXX) actually could apply to the story itself, since the dozen or so Daleks in the story do perish at the end. Alas, as with most things Dalek in the early 1970s, the title, and the story, aim for the grandiose and provide the pedestrian.

In keeping with one of Nation’s favored themes, a terrible plague threatens the outer colonies of almost all species. Only one planet, Exxilon, inhabited by a Stone Age civilization, possesses the cure in quantities sufficient to save the millions who suffer from the disease. Both the humans of the Marine Space Corps and the Daleks (of, um, the Daleks) want this miracle substance, parrinium, and would gladly fight each for it, if only their spaceships and energy weapons worked once they neared Exxilon.

For even the TARDIS succumbs to the energy-draining powers of the “forbidden city” of the Exxilons’ ancestors, who were old when the universe was young. Their city, imbued with a form of bio-technological sentience, was meant to be their crowning achievement, but in standard science fiction fashion, it realized they were an impediment to its efficient functioning and killed off most of them. The remnants worship the city, reduced to chanting and incense-heavy sacrificial ceremonies in its name.

Terry Nation must hold some grudge against the TARDIS, as for the second story of his in a row, the TARDIS runs out of a vital component (here energy, previously oxygen) and remains useless to the Doctor. Even in “The Daleks” back in 1963, he sees fit to render the blue box hors de combat, with the Doctor pocketing the fluid link to force everyone to investigate Skaro to find a replacement. The notion of the inviolable TARDIS never quite took with Nation, it seems, and he uses whatever plot device he can to get the Doctor out of its safe confines. At least the Doctor has an oil lamp handy with which to guide his way out of the blacked-out TARDIS, as one does…