Well, I can’t get everything right.
For a series built around the conceit of change, by Season Eighteen Doctor Who hadn’t changed much in a very long time. Tom Baker took on the Doctor’s scarf—er, mantle—in Season Twelve, some five and a half years prior, and while the stories and direction undoubtedly bent towards the star’s predilections for humor and action, a shared thread of narrative and visual style linked the Fourth Doctor’s stories with those of his predecessors. John Nathan-Turner, taking over as producer from Graham Williams, a veteran of three seasons himself, turns David Fisher’s “The Leisure Hive” (Story Production Code 5N) into his declaration of intent to bring about as much change in the series as any regeneration of title character ever could.
From the very beginning, nothing about “The Leisure Hive” feels familiar, with a new title sequence and a new title theme causing immediate dissonance: bright, twangy electronic music accompanying the Doctor’s face forming from a field of stars in a bold declaration of newness. Director Lovett Bickford, in his only work for the series, opens with a long tracking shot of a deserted Brighton beach, an ominous gust whipping empty beach chairs and threatening to blow over canvas cabanas. It’s moody and eerie, leading to a bit of a shock when the TARDIS appears amidst the abandoned beach accessories. And then K-9 explodes because Romana gets huffy with him. Nope, this is not Season Seventeen, nor indeed Doctor Who as it has been presented before.
From that windswept beach, the setting changes—by means of an elaborate dissolve intended to be appreciated on its own rather than as a transitional technique in the background—to the planet Argolis, wracked by radiation after a war that lasted twenty minutes. The remaining few Argolins, rendered sterile by the cataclysm, have set up the Leisure Hive, a recreational resort dedicated not just to entertainment but to fostering an understanding between peoples, so that conflicts can be avoided in the future. The chief draw of the site comes from their burgeoning work with tachyonics, used here as shorthand for the manipulation and reduplication of physical objects from tachyon particles. It’s still technobabble, but with at least a patina of scientific backing.
The Doctor and Romana arrive on Argolis in search of some leisure time themselves, the Doctor deciding to forego use of the Randomizer circuit installed at the end of Season Sixteen to prevent the Black Guardian from tracking them. While the Randomizer does play a further role in the story, it’s a good example of how Nathan-Turner intends to make frequent use of the series’ back history; now it’s not just fans who remember what happened in episode 4G, it’s the producer, too, and if there’s an oblique reference to be made, or a canonical conflict to be explained away, he’ll do it, rather than letting it slide as past producers might. The story’s action is likewise very specifically dated, to 2290, a start at ironing out, or at least restarting, a wildly conflicting timeline once and for all.
It’s not too much of a stretch to suggest that good portions of the story’s action are inspired by the new technology available to the BBC effects department, in particular video editing tools that enable flashy dissolves like that seen at the start as well as more seamless color separation overlay scenes and the ability to separate parts of a moving image on screen. Indeed, without this ability, the concept of tachyonic object manipulation would have required extensive, and likely unsuccessful, model work. Here, in addition to demonstrating zero-gravity squash, it’s used for a particularly frightful cliffhanger, with the Doctor torn, limb from limb as he screams in agony…