doctor who

Troughton’s Trove: Nine Missing Doctor Who Episodes Recovered

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It reads as though from a movie script: hands gingerly picking up a dusty object from a forgotten archive, wiping off decades of grime, unearthing a lost treasure. In this case, the treasure is eleven episodes of Doctor Who, nine of which had been previously missing, from a television archive in Nigeria, according to the BBC.

The episodes, recovered by Philip Morris, complete the story “The Enemy of the World” and fill in much of “The Web of Fear,” both Second Doctor stories from Season Five. Coming on the heels of the recovery of single episodes from “Galaxy 4” and “The Underwater Menace” in late 2011, this huge recovery gives hope that there are more caches of forgotten Doctor Who episodes scattered about the Commonwealth. This discovery, and its attendant publicity, should spur some careful searching of dusty film closets. They have to be out there somewhere.

Still from The Web of Fear

While we wait for yet more discoveries, the BBC has remastered the episodes and made the two stories (with stills and audio narration for the missing episode of “The Web of Fear”) available on Apple’s iTunes at a relatively reasonable $10 each—a policy I would very much like to see them take with the other extant stories. It’s a small price to pay for Yetis in the London Underground and Patrick Troughton playing both the Second Doctor and an evil Australian dictator named Salamander, I think.

Doctor Who Project: The Myth Makers

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Now come on, start thinking! It’s you against the Doctor now!

After a story (well, an episode/teaser) where the Doctor and his companions aren’t present at all, we have a story where they might as well not be. The real stars of Donald Cotton’s “The Myth Makers” (Story Production Code U) are the Greeks and Trojans: Achilles, Odysseus, Agamemnon, Paris, Priam, Cassandra, and Troilus, thanks to a classical British education that made these characters quite readily familiar via the Iliad and the Aeneid.

Long stretches of “The Myth Makers” are given over to the various Greeks and Trojans absent our time travellers, who conveniently separate from one another and then find one another at the worst possible moments to provide some semblance of narrative motion. And the guest actors make the most of their screen time, playing with gusto. This story has perhaps the least dialogue for the main characters of any since “The Crusade.”

But at no point does the viewer have a sense that the Doctor and company are in any danger, because of the assumed familiarity with the underlying story. Not, of course, that even the most casual of viewers would think that they could ever be in real danger—we’re still several stories from the first regeneration and have yet to experience the first companion death—but even the episode cliffhangers lack drama, because everyone knows that the Trojans wheeled the Horse into Troy and were thusly caught unawares by the Greeks. As Vicki herself says to Cassandra, “I don’t have to prophesy. Because as far as I’m concerned, the future has already happened.”

Indeed, the only real danger is to the set, because the actors playing Paris (Barrie Ingham) and Cassandra (Frances White) practically chew the scenery. For a story that ostensibly took some pains towards historic verisimilitude (alas, the footage is missing, leaving only audio recordings), the Greeks and Trojans speak mostly like contemporary Englishmen fresh off the West End stage.

Still, unlike the earlier historicals, where the Doctor inadvertently causes, inspires, or otherwise motivates historical events to occur (Nero’s burning of Rome, the fall of Robespierre), in “The Myth Makers,” the Doctor gives the Greeks the notion to build the Trojan Horse, even though he initially rejects the idea as “some good dramatic device” invented by Homer.

This direct intervention in history, albeit under duress, can, perhaps, be squared with his insistent “hands off” approach formulated in “The Aztecs” by noting that the Doctor here doesn’t change history; he merely sees it through to its “proper” end. The Greeks conquered the Trojans, according to the myths, and just because they conquered the Trojans with the Doctor’s help doesn’t mean that they didn’t always have his help, even though the Doctor gets the idea for the Trojan Horse from stories about the Trojan War written after he helped. Chicken, egg, time, loop . . .

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A New Who: Peter Capaldi is the Twelfth Doctor

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Evil, by Stuart Crawford on flickr.com, via a Creative Commons Attribution/Noncommerical/No Derivatives license.Well, that didn’t take long. A scant two months after announcing that Matt Smith would vacate the role of the Doctor, the BBC has announced that Peter Capaldi will be the next inhabitant of the TARDIS.

Unlike, well, all the new Who actors to play the Doctor, I actually knew of Capaldi’s work prior to the announcement, though solely from his turns on Torchwood and, interestingly, Doctor Who (in “The Fires of Pompeii”). I’m heartened by the fact that an actor with some considerable experience has taken on the role, particularly after the relative neophyte Matt Smith. Though hard to imagine, Capaldi is roughly the same age as William Hartnell when he took on the role of the First Doctor in 1963; and, like Hartnell, Capaldi brings both a dramatic and comedic background to the role.

I don’t find it difficult to see a sharper Doctor in Capaldi, one with a harder edge than Smith or Tennant, closer, indeed to Hartnell, but with some of the impishness of Troughton. I can’t imagine this Doctor being gravitas-deficient.

Time will only tell if showrunner Steven Moffat allows Capaldi to shape the character in an uniquely personal way or if he’ll simply ask Capaldi to parrot some catch-phrase (“Bow ties are allons-y!”) while the younger companion(s) run around chasing some MacGuffin that promises to tie up a season’s worth of loose ends in an utterly unsatisfying and frankly insulting manner.

(Image courtesy of Stuart Crawford via a Creative Commons Attribution/Share Alike license.)

Doctor Who Project: Mission to the Unknown

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It is done. The seven great powers of the galaxy are one.

Obviously, far too much time has passed since the Daleks last appeared on Doctor Who in “The Chase,” a whole eight episodes ago. And so, to set up their epic return in the twelve-part “The Daleks’ Master Plan” one story hence, we are treated to Terry Nation’s “Mission to the Unknown” (Story Production Code T/A), a one episode “prologue” also known as the Dalek Cutaway but mostly known because there’s no Doctor in it. At all.

From the start, one imagines “Mission to the Unknown” to be Terry Nation’s vision of the Daleks outside of Doctor Who, with neither the Doctor nor his Companions even mentioned in the episode. The music itself seems a departure from the established series norm, with an excessive use of musical “stings”—quick, crashing, slightly discordant sounds more commonly associated with horror or thriller films.

Opposing the cumbersome pepperpots this time is not a Time Lord but Marc Cory, an agent of Earth’s Space Security Service (also called the Special Security Service in this episode). Had Marc Cory survived the episode, I would have suspected an Earth vs. Dalek spin-off series in the making. But one feels nothing for the deaths of Cory and his unwitting colleagues Garvey and Lowery; they are essentially set dressing.

Ultimately, the episode serves as an info-dump more than a teaser. The actors (Dalek and human alike) fairly stumble over big blocks of text as Terry Nation spends most of the story in expositional mode, setting up the scenario (a thousand years after the last Dalek invasion of Earth) and letting us know what the Daleks have been up to in the intervening years (conquering planets millions of light years away). And now they’re back for another crack at Earth, this time in a great alliance with the galaxy’s six other great powers, noted in the script as Gearon, Trantis, Malpha, Sentreal, Beaus, and Celation. And note, too the black dome of the Dalek Supreme.

As is somewhat typical of early (and, who are we kidding, current) Doctor Who, astronomical terms are thrown around with imprecise abandon. One of the delegates at the Daleks’ alliance meeting, from Malpha, proclaims:

This is indeed an historic moment in the history of the universe. We six from the outer galaxies, joining with a power from the solar system: the Daleks.

Universe, galaxy, solar system? Even the location of the planet Kembel, where the action takes place, is unclear. Cory and his fellows suggest that Earth has a huge galactic network, though, so Earth is no slouch in terms of colonization and, perhaps, conquest.

As with “Galaxy 4” before it, “Mission to the Unknown” no longer exists on film, and given the effects work hinted at in the publicity stills and the script, one hopes fervently that a copy turns up at a jumble sale somewhere after decades in an attic, if only to see the giant headed cone alien walk around.

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A Doctor Who’s Dozen: Twelfth Doctor on the Way

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The recent news that Matt Smith will be vacating his role as the Eleventh Doctor finds me in a mixed mood. I’ve made no real secret that I find Smith’s rendition of Doctor Who to be less than satisfying, but upon reflection, my displeasure stems less from the actor than from the scripts and the general direction the show has taken under showrunner Steven Moffat.

Matt Smith as the Eleventh Doctor

Regenerations give Doctor Who a chance to shake up the series, add new elements, bring about new dramatic directions; the change from William Hartnell’s persnickety, slightly crotchety First Doctor to Patrick Troughton’s flighty, insouciant Second Doctor provided a brilliant transition that brought new life to the show (somewhat literally) and yet still honored where the show had been. The change from David Tennant’s Tenth Doctor to Matt Smith’s Eleventh Doctor felt to me like playing to a younger demographic, and the companions during most of Smith’s run, the Ponds, only served to remind us that Moffat was also responsible for the romantic comedy series Coupling. Not that Coupling wasn’t an intermittently enjoyable show, but silly relationship banter isn’t why I watch Doctor Who.

So, I’m excited about the possibility of a new Doctor Who—perhaps a female Doctor, finally, or a return to an older, more distinguished male actor?—but so long as Steven Moffat is at the helm, we’ll still have disjointed “arcs” that promise much and fulfill nothing, pandering rehashes of old series villains, and an absolute disregard for even the most basic canonical standards of the series. I’m no stranger to the fact that the old series pretty much made it all up as they went along—the Dalek chronology was pretty much a disaster by the second season—but they took it seriously even as they made an earnest hash of it all. William Hartnell took pains to keep the then-young show’s continuity intact. I don’t ask for perfection from my shows, only respect.

Here’s to hoping, I suppose.

Doctor Who Project: Galaxy 4

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My dear young man, this isn’t a joyride! This is a scientific expedition.

Season breaks in Doctor Who give the writers a chance to step off of the teaser treadmill, as most stories end with a glimpse of the next story to come. So instead of catapulting the Doctor, Vicki, and Steven immediately into yet another perilous setting, the season three opener, “Galaxy 4” (Story Production Code T), by William Emms, starts with a tranquil scene. Vicki is cutting Steven’s hair—in the TARDIS control room, of course—while the Doctor putters around the console, handling what would appear to be another normal materialization. The overarching sense is that this form of time and space travel has become commonplace for the two companions, in an “If it’s Tuesday, it must be Skaro” sort of way.

Once the TARDIS doors open on an apparently lifeless planet, though, the action picks up with a pleasant pace and doesn’t stop for four episodes. No elaborate and detailed exposition here, as our travellers are captured and removed from the TARDIS and then captured again in record speed. After the rather plodding plot presentation in “The Time Meddler,” a bit of immediate action is not unwelcome.

Vicki christens their first captors, squat, apparently vision-less, dome-headed robots, as Chumblies. She’s frankly enamored of them and anthropomorphizes them. Who can blame her? Relative to the Daleks and the Mechanoids, we have soft, rounded robots, albeit with death rays. But then again, Vicki did have a pet Sand Monster before Susan killed it in cold blood, so her cute-meter might need some adjusting.

The Drahvin, emotionless female warriors, quickly replace the Chumblies as the villains in the piece, “rescuing” the Doctor and his companions from the robots. A space conflict between the Drahvin and the Rill, who control the Chumblies, resulted in both parties crashing on this unnamed planet, which will, according to the Rill, explode in “fourteen dawns.” Maaga, the leader of the Drahvin, does not trust the “disgusting” Rill, claiming that they shot her down and killed one of her soldiers, so she holds Vicki as a de facto hostage to force the Doctor to verify the claims. It turns out the Rill were wrong—the planet does not have fourteen dawns left. It has two.

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