Always do what you’re best at.
Nothing says Doctor Who quite like monsters running rampant on a spaceship, and Bob Baker’s “Nightmare of Eden” (Story Production Code 5K) delivers a passable, if somewhat overwrought, story where alien beasts drive the narrative forward as the main source of danger in the story while also being victims of the real villains of the piece: drug smugglers. The true nightmare from the planet Eden comes in the form of Vraxoin, a drug so addictive and lethargy-inducing that the only planet known to supply it was incinerated.
Baker, writing his first solo effort without his usual partner Dave Martin, revels in creating elaborate settings for his stories by means of a few choice details, and when he succeeds, as in “The Armageddon Factor” and “The Sontaran Experiment,” the world feels real without needing to be completely sketched out. Starting proceedings on the interstellar cruise liner Empress, with shots of passengers packed into economy-class seating and wearing protective garb, helps establish the story’s setting; the package tours and entitled tourists of the year 2116 could as easily have been on a chartered 747 to the Canary Islands as on a warp-drive flight to the planet Azure. A collision between the Empress and a small survey craft in the wrong orbit around Azure results in the two ships being dimensionally stuck, with the smaller craft engulfed by the larger when the liner came out of warp.
The Doctor and Romana arrive on the scene with no explanation and dive straight into attempting to separate the two craft, pretending initially to be agents of Galactic Salvage & Insurance. They soon meet a scientist, Tryst (Lewis Fiander), whose over-the-top German accent and square-framed glasses immediately cast him as suspect. Tryst has been collecting samples of all the flora and fauna in the galaxy using a Continuous Event Transmuter (CET), which dematerializes whole areas of planets and transfers them to laser crystals for storage, an undertaking the Doctor finds both fascinating and horrifying—mostly the latter. The primitive (to the Doctor) technology interacts poorly with the dimensional instability caused by the collision of the two ships, allowing passage into—and out of—the captured milieux.
Between the need to free the ships from their trans-dimensional embrace, the revelation of Vraxoin being present on the Empress, and an unknown assailant who knocks out the Doctor, Baker and director Alan Bromley deliver one of the finest monster reveals in years, even better than Scarlioni’s unveiling in “City of Death,” because it comes as an actual surprise. Though signposted by a crewman who dies with claw marks on his face and neck, the sudden appearance of a large, scaly, green-eyed alien from a hole in the wall cut by K-9 nevertheless delivers as much shock as Doctor Who has provided in ages.