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Doctor Who: Delta and the Bannermen (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Delta and the Bannermen originally aired in 1987.

Hey, this doesn’t look like Disneyland.

No, well, according to my reckoning, it seems to be somewhere in, er, Wales.

– Murray and the Doctor get in touch with the “real fifties”

Delta and the Bannermen is quite terrible. That said, it’s not terrible in the same way that, say, Timelash or Attack of the Cybermen or The Twin Dilemma is terrible. It doesn’t offer a demonstration of everything intrinsically wrong with this era of the show, and the frustration isn’t compounded by the sense that nobody producing the show seems interested in watching it and maybe learning from their mistakes.

While that is certainly a promising thing from the perspective of the show, it doesn’t really do the viewer that much good when they are watching it.

Large ham, incoming!

Large ham, incoming!

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Doctor Who: Paradise Towers (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Paradise Towers originally aired in 1987.

Oh, I see. It’s some sort of robotic cleaner with automotive bicurval scraping blades. Impressive workmanship.

You don’t understand.

No, I don’t, but I intend to.

– the Doctor and the Deputy Chief Caretaker

Paradise Towers is brilliant. It’s crazy, it’s overstated, it’s an hour too long and it suffers from the fact that nobody really knows what they’re doing, but there’s a sense of genius at work here. Script editor Andrew Cartmel took over at the start of the season, with no scripts. Time and the Rani came from John Nathan Turner’s reliable Pip and Jane Baker, so Paradise Towers is the first script where Cartmel has been allowed to make his mark.

And it’s precisely what the show needed. The execution is significantly flawed, the pacing is all wrong and there’s a sense that not everybody between the script and the camera realised what was going on, but it has a distinct energy to it. Time and the Rani was essentially Doctor Who struggling to keep its head above water. Paradise Towers sees the show diving right into the eighties.

"... where the grass is green and the girls are pretty..."

“… where the grass is green and the girls are pretty…”

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Doctor Who: Time and the Rani (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Time and the Rani originally aired in 1987.

Right, that all seems quite clear. Just three small points. Where am I? Who am I? And who are you?

– the Doctor

A Doctor’s first story is always difficult. Even if it’s not as explicit as it was in Power of the Daleks, the new actor his constantly fighting against the weight of expectation, trying to cast off the spectre of their predecessor and make the show their own. There’s also a sense that the production team is trying to reinvent the show around their new lead. It’s transitional, and it’s not too difficult to see how the task could be daunting.

If that’s a typical first story, imagine how frustrating Time and the Rani must have been at the time. Hastily cobbled together in a rush, coming out of a season that had been a spectacular failure and with the shadow of cancellation looming heavy, there’s a lot of pressure on Time and the Rani. It is a story that is routinely trashed and mocked, and perhaps deservedly so. However, I must concede, it’s not as bad as it could have been and I’d be very reluctant to rank it among the worst Doctor Who serials of all time.

He's got an umbrella and he's not afraid to use it!

He’s got an umbrella and he’s not afraid to use it!

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Doctor Who: The Reign of Terror (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

The Reign of Terror originally aired in 1964.

Hush, child. Say your goodbyes and remember, we shall be leaving almost immediately

– the Doctor, about two minutes into the first part of a six parter

The Reign of Terror represents a fairly disappointing conclusion to a reasonably solid first season of Doctor Who. I won’t argue that the show’s first year can be ranked among the finest in the fifty-year history of the show, but I do think that the stories generally did quite a decent job of introducing the characters and concepts and setting them up so that they could support a lot more. It’s interesting to compare the title character introduced in An Unearthly Child to the version presented in The Sensorites.

While The Sensorites is still a story far too long and far too generic for its own good, it still feels like it solidifies a version of the character who – broadly speaking – resembles the Doctor we know and love. While I’d argue the Doctor was only absolutely solidified as a hero in The Dalek Invasion of Earth, there’s a very clear through-line from An Unearthly Child to The Sensorites which charts the evolution of the character. The Sensorites would make a decent (if unspectacular) place to end the first season.

Unfortunately, the first season continues on for one more episode. The Reign of Terror is just as over-long and just as padded out as The Sensorites, but it suffers because it feels like a massive step backwards in a season that has been very clearly moving forwards.

An animated sort...

An animated sort…

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Doctor Who: Timelash (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite (and not-so-favourite) stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Timelash originally aired in 1985.

I don’t trust you. You’re being too reasonable.

– Peri’s on to him

Timelash is on the short list of serials broadly agreed to be “the worst Doctor Who stories ever.” Given how prone science-fiction fans are to bickering about absolutely everything, and how impossible it is to find consensus, that’s really saying something. More than that, it ranks with quite a few Colin Baker stories among that list. I can’t help but wonder if part of the problem with Baker’s tenure isn’t a lack of classic episodes (Revelation of the Daleks and Vengeance on Varos surely count), but the batting average skewed by so many truly terrible stories.

Any season containing Timelash would be ridiculed, but it’s hard to imagine that any year of television containing Attack of the Cybermen, Timelash and The Mark of the Rani couldn’t help but raise questions about the show’s future at the BBC.

The face of evil...

The face of evil…

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Doctor Who – School Reunion (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

School Reunion originally aired in 2006.

You can tell you’re getting older. Your assistants are getting younger.

– Sarah Jane to the Doctor

Coming at the start of the revived show’s second season, School Reunion changed the way that the show related to its long and complex history, explicitly confirming what had been implied at least as early as Dalek and Aliens of London, that this was indeed the same Doctor who had had all of those adventures for all those years on British television. Bringing back the iconic pepper pots was one thing, as was name-dropping the paramilitary outfit from early in the original show’s run.

However, bringing back the most fondly remembered companion of the classic television show and affirming that she had travelled with this man for several years provides a firm anchor to the past. Looking back now, it’s hard to appreciate how dramatic a shift this was, and just what it represented. However, it’s hard to imagine that Doctor Who could get to the point where the Doctor could recruit a Silurian detective and her Sontaran butler in Victorian England without School Reunion.

It changed the game.

(Anthony Stewart) Head master...

(Anthony Stewart) Head master…

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Doctor Who: The Rescue (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

The Rescue originally aired in 1965.

Oh, but Doctor, the trembling’s stopped.

Oh, my dear, I’m so glad you’re feeling better.

No, not me, the ship.

– Barbara and the Doctor

The Rescue is a surprisingly sturdy two-parter, following directly on from The Dalek Invasion of Earth. Despite the fact it’s noticeably brief, the adventure is fairly important in the grand scheme of Doctor Who, representing the first time that the show has a recruited a new companion since our bunch of time-travelers departed Earth. However, it’s also a well-told little story, and one which emphasises the relatively subtle shift in the Doctor’s character and role in the story.

While An Unearthly Child and The Daleks presented the character as a cantankerous and untrustworthy trickster, the show has gradually pushed the character into the role of the hero, culminating in the Doctor’s successful attempt to save the whole planet Earth in The Dalek Invasion of EarthThe Rescue continues this trend, presenting the Doctor as a genuinely sympathetic and compassionate old man, pretty far from the grump we first met.

The version of the Doctor we see in The Rescue feels a lot more like the character we’d come to love over the rest of the show’s fifty-year history.

Here' there be monsters...

Here’ there be monsters…

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Doctor Who: The King’s Demons (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

The King’s Demons originally aired in 1983.

Do our demons come to visit us? Bid them attend us.

Demons? Very odd indeed.

Makes a nice change for you not to take everything in your stride, I must say.

– King John, the Doctor and Tegan set the mood

The show’s twentieth anniversary deserved better than this. Okay, there are a number of qualifications that can made, excuses that can be offered. The King’s Demons was never intended to close out the season, and was instead intended as a two-part episode to bridge into the triumphant return of the Daleks, a return that ended up postponed a year and reworked into Resurrection of the Daleks. There’s also the fact that The King’s Demons wasn’t the last piece of Doctor Who to air as part of the show’s twentieth anniversary year, even if it was the season finalé. The Five Doctors would be broadcast later in the year to celebrate the anniversary.

However, none of these excuses take away from the fact that The King’s Demons is an exceptionally weak piece of television, and a demonstration of everything wrong about how John Nathan Turner and the Doctor Who production staff approached the show’s twentieth season.

Hardly a Master piece...

Hardly a Master piece…

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Doctor Who: Logopolis (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Logopolis originally aired in 1981. It was the second instalment in the “Master” trilogy.

It’s the end… but the moment has been prepared for.

– the Doctor finally figures out what this year has been about

I don’t think the departure of a Doctor has even been a bigger deal than it was with Tom Baker. Sure, Christopher Eccleston’s first season was so fixated on death that his departure seemed preordained, even in the episodes written before his decision to leave. Similarly, Peter Davison’s final year seems designed to demonstrate that the universe is no longer suited to this particular iteration of the Doctor. Maybe David Tennant’s final year is focused on his passing, but the episodes are so spaced out that it makes little difference. However, we’ve just spent an entire year focused on the idea of entropy and decay, the inevitably of change and the notion that death is just a nature part of the cycle of things.

When the Doctor assures his companions that “the moment has been prepared for”, he may as well be looking at the camera, assuring those of us at home that the past year has been spent readying them for the unthinkable: the time when Tom Baker might not be the Doctor.

Final destination?

Final destination?

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Doctor Who: Warriors’ Gate (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Warrior’s Gate originally aired in 1980. It was the third instalment of the E-Space Trilogy.

We found it.

Yes, well, that’s one of the advantages of living in a rapidly shrinking micro-universe.

What are the others?

Other what?

Other advantages?

Ah, well, it’s difficult to say.

– Adric, the Doctor and Romana discuss modern living

I’m actually very, very fond of Warriors’ Gate. It’s a piece of bold science-fiction that actually manages to accomplish what a lot of these stories in Tom Baker’s final season try to do. It offers an effective bit of speculative fiction while playing to the theme of entropy, decay and collapse. Both Stephen Gallagher’s fine script and Paul Joyce’s direction come together to produce a very thoughtful and clever Doctor Who story that manages to avoid a lot of the problems facing this era of the show.

More than that, though, it turns some of those disadvantages into advantages. After all, when else is the show’s tiny production budget going to produce something this beautiful?

Shades of grey...

Shades of grey…

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