What do you think it is, a space helmet for a cow?
To end Doctor Who‘s first season, the producers pulled out all the stops in a historical tour de force with a large cast and elaborate costumes aplenty. The second season finale proves equally remarkable, but not for any creatures or effects or epic tales. Rather, Dennis Spooner’s “The Time Meddler” (Story Production Code S) marks the first story where none of the original three companions are present, and we also finally begin to understand something of the Doctor’s backstory. For he is not alone. There’s another time traveller out there, from the same place as the Doctor, with his own TARDIS, a Mark IV, no less. He’s only known in the story as the Monk, but the Doctor knows him as…a Time Meddler.
Of these two remarkable aspects, perhaps the former is the more important, because the show has the confidence to move forward with the Doctor as the central character. Previously, Ian and Barbara played, if not equal roles to the Doctor’s, at least counterbalancing roles, serving as wise and careful adults who keep events from getting out of hand (mostly). They were the literal and figurative teachers supporting the show’s nominal educational mission. The success of “The Time Meddler” is to present a Doctor Who story that is fundamentally about the Doctor and the mythology surrounding him, and it succeeds quite well, arguably the best story of the second season.
“The Time Meddler” could not have been produced earlier in the show’s run, for it relies heavily on the notions of time travel that prior episodes, particularly the historicals, have established. Both the Doctor’s strong reluctance to alter history (“The Aztecs“) and his inadvertent and significant participation in its creation (“100,000 BC“, “The Romans“) inform “The Time Meddler,” as the Doctor must confront one of his own kind who revels in changing history, “disgusting” behavior according to the Doctor. The faults of the Doctor’s TARDIS, elaborated over the course of two seasons, play a role in the story, for the Monk has a far better one that actually works. Even the intentional anachronisms—the Monk makes breakfast with a toaster and electric frying pan in an 11th Century monastery, for instance—play against the established structure of the historical stories, where every last feathered headdress and torn jerkin is properly reproduced by the BBC’s prop department. This is, at last, a time travel story in historical clothing.
While the story does feature the far-too-typical splitting of the party (the Doctor is separated from Vicki and Steven for three of the four episodes) and the inevitable inaccessibility of the TARDIS (underwater thanks to the tides), the Doctor finally has a reason to intervene in events in a historical story beyond the mere desire to escape: he must preserve the timeline. This imperative gives the story a narrative weight that prior historical stories lacked.
And indeed, how could anyone not be mesmerized by a story that hinges on preventing the Norman Conquest of Britain in 1066 by sinking a Viking fleet using an atomic cannon mounted on a Northumbrian cliff…
