Dizzy, dizzy, dizzy Daleks!
Now that’s how you end a season. Doctor Who‘s Fourth Season comes to a close with David Whitaker’s “The Evil of the Daleks,” (Story Production Code LL) a seven-episode story that finds the Doctor on familiar ground: Skaro, home planet of the Daleks. But he gets there through a Dalek time travel device in a London antique shop in 1966 that deposits him in a cabinet of electrified mirrors in a Victorian laboratory, which somewhat explains why it takes seven episodes to tell the tale. Much like the prior story, “The Faceless Ones,” Whitaker’s story feels an episode too long yet still delivers an engaging, if slightly overwrought, plot. Indeed, it’s best not to dwell too much on the absurd fussiness of the Daleks’ machinations here; the real story takes place between the Doctor, Jamie, and, yes, the Daleks as they come to terms with just who the Doctor is, and what it is he truly believes.
For “The Evil of the Daleks” very much serves as a re-statement of the show’s theme and purpose, a summing up of four seasons of Doctor Who, tidily wrapped with a neat Dalek bow. The Doctor and Jamie have two extended conversations—fights, really—about the lengths the Doctor will go to for his aims and what he cares about, dialogue that serves less the immediate narrative purpose than the ends of the show as an ongoing cultural entity. In short, Whitaker puts the needs of continuity ahead of the needs of story, or rather, he recognizes that the Doctor’s story is ongoing and not a mere series of semi-linked sequential adventures. His story embraces what has come before like no other story to date has, and though it’s riddled with what we might term continuity errors, he’s grasped the larger continuity, that of the Doctor’s beliefs, his purpose.
So the story picks up immediately from the end of “The Faceless Ones,” with the TARDIS being hauled away from Gatwick on a lorry. The Doctor and Jamie are lured to an antique shop through a series of elaborately laid (and patently obvious) clues about the location of the blue box, all designed with a knowledge of the Doctor’s curious nature. Much of the first two episodes focuses on the trap being laid for the Doctor; the narrative tension comes not from wondering what traps the Doctor will face but instead from how he will unravel them. And just when they’ve found the odd technology (and a dead body) in the back of a shop filled with brand new yet authentic Victorian artifacts, they’re gassed unconscious and wake up in a Victorian drawing room with massive headaches and a helpful servant named Mollie. And there are still five episodes to go.