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Doctor Who Project: Revelation of the Daleks

November 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: Timelash

November 2, 2024October 2, 2024 by Chris Baer

Purposeful travel, not aimless wanderings.

Though it often feels to viewers that the Doctor’s adventures follow one after the other, significant gaps can be inferred between certain stories on Doctor Who. These lacunae offer fertile ground for writers to explore the ways the Doctor’s previous visits to a place have affected its development; at their best, as in the revelation of the Fourth Doctor’s face carved into a mountainside in “The Face of Evil,” such newly invented past interactions both deepen the stakes of the current narrative and remind viewers of our favorite Gallifreyan’s essentially unknowable history. First time series contributor Glen McCoy employs this device in “Timelash” (Story Production Code 6Y), which draws heavily on the Doctor having visited the planet Karfel in one of those heretofore unknown off-screen jaunts.

Karfel, currently under the dictatorial rule of the mysterious Borad (Robert Ashby/Denis Cary), has seen better days since that last encounter. All reflective objects have been banned, war is in the offing with another world, and a rebellion plots against the Borad, who never appears in person, only on viewscreens, attended solely by his tall, blue-skinned androids (Dean Hollingsworth). Those deemed disloyal suffer exile by means of the Timelash, a temporal corridor that, for reasons quite unexplained, leads back to twelfth century Earth. The Doctor and Peri inadvertently encounter this corridor while planning where to go on holiday, the TARDIS passing through right as Vena (Jeananne Crowley), a Karfelon councilor who has just seen her father killed and fiancé sentenced to exile, jumps into the time stream with a key needed to control all the energy on Karfel. She floats, ghost-like, through the blue box, which has the effect of briefly redirecting the Timelash to nineteenth century Earth—1885, to be precise—landing her with a clunk in the Scottish country home of one Herbert (David Chandler), an aspiring writer (hint) who happens to be conducting a seance at the time.

After the death of Vena’s father at the Borad’s surprisingly scaly hands, the ambitious Tekker (Paul Darrow, the second Blake’s 7 star to appear in as many episodes, after Jacqueline Pearce in “The Two Doctors“) takes over the figurehead leadership mantle of Maylin. He uses the Doctor’s subsequent arrival on Karfel to solve the problem of the missing key, which has vexed the Borad immensely. After the briefest of welcomes, he cajoles the Doctor into retrieving the key from the time corridor by threatening Peri. She, in turn, outwits her android captor and escapes into tunnels inhabited by reptilian creatures known as a Morlox (big hint). Members of the rebellion also hide in the tunnels, and they save her from the beast, in order to kill her as a spy. Peri survives only by name-dropping the Doctor, whose last visit has turned into a myth suppressed by the Borad, and then by correctly identifying Jo Grant’s picture in a locket given to one of the rebel’s grandfathers by the Doctor—the Third Doctor, as a hidden mural later confirms. But no sooner do the rebels spare her than one of the androids finds them.

The Sixth Doctor, meanwhile, calculates the exact moment to which the TARDIS has altered the Timelash’s end point and appears in Herbert’s hut shortly after Vena. Upon realizing that the legendary Doctor has returned to keep his “promise” to Karfel, Vena agrees to help him overthrow the Borad. Herbert, fascinated by the idea of a time machine (hint, hint), sneaks aboard the TARDIS, and the three travel back to Karfel posthaste. Tekker secures the amulet as soon as they arrive and orders an android to toss the Time Lord into the Timelash, after gloating at the Doctor’s naivety. And that’s just the first of two forty-five minute episodes…

Doctor Who Project: The Two Doctors

October 2, 2024September 2, 2024 by Chris Baer

My companion is not for sale!

Nostalgia carries a weight out of proportion to its actual heft, and no story in Doctor Who demonstrates the siren song of the past so clearly as Robert Homes’ “The Two Doctors” (Story Production Code 6W), bringing together Patrick Troughton’s Second Doctor alongside Colin Baker’s Sixth Doctor in three forty-five minute episodes stuffed with Sontarans, space stations, Spain, and a Scottish accent courtesy of Frazer Hines’ Jamie. The success (and publicity) of the recent “The Five Doctors“—originally to have been written by Holmes before Terrance Dicks took over the scripting duties for various and sundry reasons—almost certainly helps drive producer John Nathan-Turner and script editor Eric Saward’s desire to have Troughton and Hines return yet again to a show which, between the airing of the second and third episodes of “The Two Doctors” in late February 1985, finally receives its cancellation notice.

The axe doesn’t quite take this time around, leading instead to the odd structuring of the forthcoming Season Twenty-Three, but the incessant threat of impending doom leading up to this near demise must be seen as a factor in the constant recycling of old friends and foes alike, with several stories penned by trusted hands from the series’ past, such as Holmes, and four of the six stories in Season Twenty-Two featuring returning characters from Doctor Who‘s greatest hits collection. But upon seeing the Second Doctor and Jamie, initially shot in black and white before shifting to color, one cannot deny a sense of immediate delight. Nostalgia tugs at the hardest of hearts, after all, especially when two hearts are involved.

Nearly ten minutes elapse from the beginning of the story to the first appearance of the Sixth Doctor and Peri, with the opening scenes devoted to the Second Doctor and Jamie, who have arrived at Space Station Camera on an errand from the Time Lords. The dating here is fuzzy; the characters obviously have aged along with the actors, though this concern was entirely ignored in “The Five Doctors,” but given the reference to having dropped Victoria off to study graphology, the events here ostensibly occur between “The Evil of the Daleks” and “Fury from the Deep” from the perspective of the Second Doctor, that being the range of Victoria’s TARDIS tenure.

For the second story in a row (though “The Mark of the Rani” comes after “The Two Doctors” in terms of production dates), a group of incredible intellects serves as the initial locus of the action, with Space Station Camera, a pure research facility funded by the Third Zone governments and led by Joinson Dastari (Laurence Payne, channeling a somewhat glam Karl Lagerfeld), hosting the scientists Kartz and Reimer, whose time travel experiments have drawn the ire of the Time Lords. The Second Doctor, as an exile, is dispatched by Gallifrey to unofficially express their displeasure at this tinkering with the time continuum, but scarcely before he can finish haranguing Dastari, the Sontarans attack the station. Their assault is aided, for reasons initially unexplained, by Chessene (Jacqueline Pearce, better known as Servalan on Blake’s 7), a technologically augmented “Androgum” bio-engineered to “mega-genius level” by Dastari.

The appearance of the spherical Sontaran battle cruisers comes with little fanfare, as though the mere mention of the Sontaran threat should resonate with the audience. As has been typical of Nathan-Turner and Saward’s aegis, however, they forget that not everyone has a well-worn copy of Jean-Marc Lofficier’s two volume Target Programme Guide or Peter Haining’s Doctor Who: A Celebration at hand. This menacing foe last appeared some seven years previously, in “The Invasion of Time,” where the Fourth Doctor fed them to carnivorous plants that just happen to grow in the TARDIS’ arboretum. They’re hardly household names in 1985. For those who caught the sole airings of the three prior Sontaran stories, the sight of a gloved, three-fingered hand holding a ray-gun stick brings a frisson of knowing pleasure; for everyone else, as with the Silurians and Sea Devils in “Warriors of the Deep,” it’s just another made-up word in a story rife with technobabble and typically dense Holmes-ian world building. Indeed, so little significance is placed on the revelation of the Sontarans—strangely, given that Holmes himself debuted them in “The Time Warrior“—that the first time viewers see one in full on screen (Varl, played by Tim Raynham), he is standing in the Spanish sun, in a villa just outside Seville…

Doctor Who Project: The Mark of the Rani

September 2, 2024August 2, 2024 by Chris Baer

It’ll be something devious and overcomplicated.

Every great hero comes matched to an equally great adversary: Holmes and Moriarty, Superman and Lex Luthor, Tom and Jerry, Kirk and Khan. For the Doctor, that iconic foe, that near-platonic opposite, comes not in the form the Daleks or the Cybermen, worthy opponents though they may be, but in the Master, the renegade Time Lord gifted with all the Doctor’s own advantages, from intellect to regeneration to a TARDIS. Their duels hold legendary status in Doctor Who, but also show a decidedly one-way record of victories in favor of Gallifrey’s favorite son, making for rousing storytelling but rather anticlimactic narratives. Pip and Jane Baker, established British TV writers penning their first of several Doctor Who tales, introduce a complication to the usual pas de deux in “The Mark of the Rani” (Story Production Code 6X), adding the Rani (Kate O’Mara), an amoral, exiled Time Lord, into the mix with their two episode, ninety-minute story, turning the typically double-sided affair into a Time Lord triangle. She doesn’t like either of them one bit, and the feeling is mutual all the way around.

A brilliant chemist, the Rani sets up shop in a Victorian mining town during the tumult of the Luddite riots, draining a brain fluid from miners who think they are going for a bath after a long shift; the chemical activates the brain’s sleep centers, and without it the victims turn into rambunctious, hyperactive louts whose behavior can be attributed to the machine-mashing Luddites, allowing her scheme to go unnoticed. (Her need for the chemical is off-handedly attributed to a planet she rules, where her biological tinkering with the inhabitants has prevented them from sleeping.) The setting, filmed partly on location at the Ironbridge Gorge Museum Trust in Shropshire, plays to the BBC’s talent for clothing extras in period costume, and the sheer number of sartorially accurate people director Sarah Hellings has running around the streets and mineworks of Ironbridge’s preserved Victorian town in the opening minutes sells the reality of the time and place wonderfully, as well as if not better than any of Doctor Who‘s other “historical” stories.

If we’re in Earth’s past and the Master (Anthony Ainley) is involved, then odds remain good that he’s seeking, in Peri’s words, to “pervert history” in order to bend the planet to his will. An assemblage of geniuses, gathering at the behest of George Stephenson, one of the main sparks of the incipient Industrial Revolution, provides the Master with the opportunity to shape the course of events on Earth to create “the platform for the most devastating power in the universe,” answering only to him. The regenerating elephant in the room, the little matter of the Master’s seeming demise in “Planet of Fire,” is brushed past with a quick quip: “I’m indestructible. The whole universe knows that.” And, as ever with the Master, he cannot simply enact his plan, instead drawing the Doctor’s TARDIS off-course so that he might get his revenge on his nemesis as well. As events transpire, revenge may be a dish best served cold, but the Master keeps dropping it on the way to the table.

The Sixth Doctor and Peri thus appear on the scene, with Peri already dressed for a trip to Kew Gardens in the same era, the Master’s efforts changing only the physical, rather than temporal, location of the TARDIS’ landing spot. Before long they intervene in an attack by the Rani’s victims on a cart transporting machinery to George Stephenson (Gawn Grainger). The assailants all have a garish red circular mark on their neck from the Rani’s experiment, the eponymous Mark of the Rani, which draws the Doctor’s interest keenly. They set into town to meet Stephenson, with the Doctor eventually figuring out that the bath house is at the center of it all. So he decides to scruffy himself up and take a dip…

Doctor Who Project: Vengeance on Varos

August 2, 2024July 2, 2024 by Chris Baer

When did they last show something worth watching, eh?

By 1985, Doctor Who has, in keeping with the essentially protean nature of the main character, embodied many genres: historical romps, action adventures, existential ruminations, alien crime whodunnits, twelve-part space operas, and comedic asides. Rarest of the dramatic forms, though, stands the didactic commentary, wherein the Doctor encounters a situation germane to contemporary events. Philip Martin, channeling his inner Roberts (Sloman and Holmes, the keenest practitioners of social commentary on Doctor Who), revives the lost art of pointing fingers at the present in “Vengeance on Varos” (Story Production Code 6V), putting on trial the very idea of television itself as an addiction, a veritable opiate of the masses. But where Robert Holmes made a merry jest of workers overthrowing (and throwing over) the ruling classes in “The Sun Makers,” Martin takes a darker tone from the off.

After an establishing model shot of a domed city on a barren landscape, director Ron Jones kicks off the ninety minute, two episode story with a close up of a shirtless rebel (Jondar, played by Jason Connery) being tortured via laser blasts, his screams and torment all for the enjoyment of the overworked citizens of Varos, portrayed in miniature by Arak and Etta (Stephen Yardley and Sheila Reid). It’s a discomfiting beginning, with Jondar’s agony mixed at full blast on the audio track; Arak and Etta take it in hungrily as they pick at the meager rations offered for their daily meal, the dissonance between their contentment and the captured rebel’s suffering landing quite effectively. When the bread is lacking, the circuses must be increased.

Colonized originally as a prison planet hundreds of years in the past, Varosian society holds a strict social demarcation between the descendants of the overseers and those of the prisoners, who toil still in the mines. Varos represents the sole source of Zeiton-7 ore, used to power the engines of “space-time craft,” and thus should be a wealthy planet. An off-world mining conglomerate, represented by the slug-like Sil (Naibil Shaban) seeks to extract as much ore as possible from the planet for the lowest price, and has driven the planet to financial ruin in the process. As part of contract re-negotiations, the Governor (Martin Jarvis) submits his proposal to lower rations in order to hold out for a better price to the viewers, who resoundingly reject the plan, voting in real time on their viewscreens, subjecting him to a near-lethal shock as a consequence. Television ratings have real consequences in this setting—a situation no doubt weighing heavily on the mind of producer John Nathan-Turner at the time, with Doctor Who‘s own fate constantly in the balance.

From the moment the TARDIS arrives on Varos, so the Sixth Doctor and Peri can procure Zeiton-7 to reline the “transitional elements” in the power-drained time rotor, we watch Arak and Etta watch our time travellers attempt to escape from the Punishment Dome, where they have fortuitously interrupted Jondar’s execution. Martin continuously puts the viewers (the real ones) a step removed from the action, highlighting the artifice of television and the choices made by the people controlling the screens. The moments of second-order distance, with the Doctor and Peri’s travails frequently observed through screens that are shown on the screen, work tremendously well in highlighting the inherent desensitization caused by watching from afar, made more striking by the CRT televisions of the time, with their slight blurring and glare when themselves filmed.

The cameras constantly follow the Doctor, Peri, Jondar, and his partner Areta (Geraldine Alexander) as they confront the psychological horrors of the Purple Zone, which cause fears to become visually manifest—specifically, a giant fly’s head, which, as an effect, fares slightly better than the mega-rat in “The Talons of Weng-Chiang.” The Chief (Forbes Collins), who is secretly working in league with Sil to undermine the Governor, exalts in the potential for sales of the tapes of the chase and eventual execution to “every civilized world,” a grim commentary of the galactic culture of the time (and, indirectly, of the direction of contemporary international media sales towards gore and violence). Once the Doctor enters the “No Options Kill Center,” the tongue-in-cheek dystopian nomenclature played characteristically straight in this story, the Governor orders the camera operator to zoom in on the Gallifreyan’s death throes, the executive function on Varos at once political and directorial. For yet again, John Nathan-Turner and script editor Eric Saward deliver a cliffhanger in which the Doctor, convinced by the telepathic devices in the Dome that he is suffering from heatstroke, seemingly dies…

Doctor Who Project: Attack of the Cybermen

July 2, 2024June 2, 2024 by Chris Baer

This looks familiar.

John Nathan-Turner takes no chances with Season Twenty-Two, rolling out those crafty bio-mechanical cyborgs as the marquee attraction to open the Sixth Doctor’s first full season in Paula Moore’s “Attack of the Cybermen” (Story Production Code 6T). Indeed, the entire story, told in the new format of two forty-five minute episodes airing weekly in the once-traditional Saturday evening time slot, bespeaks an attempt, at times seemingly desperate, to appeal to Doctor Who‘s roots, with scarcely five minutes passing between references, both oblique and obvious, to the series’ history. The resulting tale succeeds quite resoundingly at integrating Colin Baker’s recently regenerated Doctor into the fabric of the show, but as with prior attempts by producer Nathan-Turner and script editor Eric Saward to reward long-time viewers with moments of in-group recognition, the excessive reliance on audience awareness of key moments and figures from the Doctor’s past mutes the effect for more casual viewers, who are more likely to be confused than thrilled at the mention of Telos…

The Doctor’s more immediate history comes into play from the start, with a very familiar face planning a diamond heist in central London, circa 1985: Lytton (Maurice Colbourne). Last seen escaping to 1984 London via time tunnel from the chaos of the exploding Dalek ship in “Resurrection of the Daleks,” with two Dalek-enslaved bobbies in tow, this mercenary from the planet Vita 15 sets up an interplanetary distress beacon that draws the TARDIS to Earth. No expository set-up to his prior role occurs during the first episode, and while Colbourne plays Lytton with an ominous air, the full impact of seeing him only affects those who remember that prior story, which aired almost a year earlier.

And where, indeed, does the TARDIS land? Oh, just 76 Totter’s Lane, a nondescript little junkyard owned by one I.M. Foreman. This return to the series’ birth feels so on-the-nose that, frankly, one wonders why it took twenty-two seasons to happen. While it would take a cold heart indeed to not smile at the moment, it’s sadly played here as a one-off, just a visual name-drop in a story filled with knowing nods to the past. In short, there’s reference, but no reverence, as though simply showing the place itself should suffice to convey meaning. The Sixth Doctor and Peri leave as quickly as they arrive, without a word said about the location’s significance.

The general lack of respect for tradition goes somewhat further in the case of the TARDIS, whose chameleon circuit the Doctor has finally “fixed,” after a fashion. Upon materializing on Totter’s Lane, it takes the form of a painted Victorian cabinet, and later appears as a pipe organ and a wrought iron gate. Even though the chameleon circuit returns to its “broken” state by the end, it’s a discomfiting change from the familiar blue police box, done for no reason other than that it hadn’t been done before. Too, the prior inviolability of the TARDIS has, under Nathan-Turner’s aegis, fallen by the wayside; from being blown up in “Frontios” and invaded by inter-dimensional imps in “The Awakening,” it’s a small step to being easily opened and occupied by Cybermen later in the plot. Entire stories once revolved around Daleks and other ne’er-do-wells laying siege to the previously impenetrable TARDIS doors.

The story’s first episode establishes Lytton’s efforts to lead his heist team into the sewers, with the opening scene showing two workers killed by a mysterious figure whose identity is fairly easily guessed given the cybernetic fuzz of the first-person camera work, should the tale’s title not have sufficed. (And, of course, long-term viewers will remark to their less-than-impressed friends that the Cybermen set up shop in London’s sewers back in the 1970s as well.) The Doctor and Peri track Lytton’s distress signal to a workshop with an entrance to the sewers, and they follow him down below, though not before knocking out Lytton’s two faux-police guardians, who, like the intergalactic rogue himself, are not explained at all for viewers lacking familiarity with “Resurrection of the Daleks.” When the first episode reaches its midpoint, or what would be the normal cliffhanger for a “standard” length episode, the Cybermen finally make their grand entrance, appearing from behind a hidden door in the sewers after Lytton calls to them, suggesting that Moore originally wrote the story for a four-episode format. Old habits die hard…