Shada (2017)

When the rumours about this release started circulating, I wasn’t convinced that the world really needed another version of Shada. Then when the details started coming out about what it actually involved, and how ambitious it was, I decided quite quickly that yes, we did need this after all. Suddenly the pictures I’d seen on Facebook of Mike Tucker and Peter Tyler dressed in seventies clothing made a lot more sense.

I was surprised to discover that, unlike the previous attempts, the story is presented as one big two-and-a-bit-hours special, and not in its original six parts. With the opening Think Tank scene moved to before the titles, it’s clear that a decision has been taken to convert the original footage into a modern production, rather than a simple recreation of how it would have been presented in 1979. This is fair enough – I don’t mind deviations from historical accuracy if historical accuracy isn’t the main aim – but it was a little annoying for me, as I’d anticipated spacing this out over the course of six days.

I didn’t have time to watch it in one go during the working week, and I was buggered if I was going to lose five of my seven remaining viewing sessions at this stage, so I ended up consulting an episode guide and hitting pause whenever I reached what would have been the end of a part. It wasn’t too bad, the only issue being that some of the cliffhangers didn’t quite work in this format, with footage from either side of the break having been smushed together to form continuous scenes.

Despite this, this is by far the easiest version of the story to follow, and the most likely to engross. Regardless of the modern format, the attempts to make the material as consistent as possible really pay off. The music sounds like it could have been recorded in the 70s, in sharp contrast to the 90s VHS version, and the model shots are absolutely spot on. The location filming looks lovely on Bluray, and the animation is great – it’s a curious mix of 2D and 3D, which took me a few scenes to get used to, but it came into its own in the various spaceship locations, which were very impressive indeed.

Thanks to all of this effort, it’s far less jarring than you’d expect when they cut between old footage, new footage and animation. Well, the Doctor’s voice does noticeably age by a few decades every now and then, but that can’t be helped, and all the voice performances are pretty good regardless. The only shame is that they didn’t take the opportunity to get John Leeson in to dub over the shit K-9, but you can’t have everything.

The ending is of course absolutely lovely. I’m not convinced that it makes complete sense, but I don’t really care. This production is a labour of love, by the fans for the fans, and while an octogenarian Tom Baker, in his actual costume in the actual TARDIS, grinning like a loon down the camera might be an odd way to end a proper episode, it feels perfectly apt for this.


One episode to go. One day to go. Crikey.

The Day of the Doctor

The Last Day (prequel): I was so excited to get on to today’s main feature that I forgot to watch the prequel beforehand. I watched it afterwards, so it was naturally a bit of an anti-climax to see the events leading up to the Fall of Arcadia after I’d seen the actual Fall of Arcadia. I’m sure it would have been fine the correct way round.

Quite simply, this is the best episode of Doctor Who of all time. Saturday 23rd November 2013 was the last time our big group of friends all got together to watch a new episode, and will probably remain so now that we’ve all got busy jobs and people have started moving away and getting married and having babies. But what a high to go out on. Everyone came round to mine at around lunchtime, and we watched An Unearthly Child (just the first ep, not the full thing), The Three Doctors, The Five Doctors, Dimensions in Time, Time Crash, The Name of the Doctor and The Night of the Doctor as a warm-up.

None of this information is pertinent, but I mention it because it was a very happy day that will forever be lodged in my memory. It’s what makes Doctor Who so special to me, the way it’s intrinsically linked to certain times and certain people. The Day of the Doctor gets that, and it’s the perfect celebration. You don’t need me to write a review telling you why, and I don’t feel capable of doing so. So let’s see if I can do something different. In no particular order, here are fifty things I love about the fiftieth anniversary special.

  1. The original titles and music
  2. I.M. Foreman
  3. Coal Hill School – and having Clara work there is the first step in her transition from the mystery girl into a real person that we can begin to care about
  4. Riding a motorcycle into the TARDIS
  5. Kate Stewart – this is the first time she gets to take control in the same way that he dad used to, having been a bit of a passenger in her first story
  6. Osgood – she’s mostly just a cute fan representative at this stage, but the moment with the inhaler hints at the depth that’s to come
  7. “Codename: Cromer. 70s or 80s, depending on the dating protocol”
  8. Finally seeing the Time War, and it not disappointing after such a build-up
  9. It’s got Billie Piper in it
  10. It doesn’t have Rose Tyler in it – how wonderful to give Billie the chance to do something different, rather than further chip away at Rose’s resolution
  11. The design of The Moment itself is just gorgeous
  12. The way the three main settings – modern London, the Time War and Elizabethan England – are each given their own establishing scenes, one after another, before the Doctors are united, like a more in-depth and expensive version of The Five Doctors
  13. The trail of fezzes leaping from location to location, tying them all together
  14. It made me like Tennant again, having become a bit sick of him by the time he’d left three years earlier
  15. Specifically, I think it was the bit with the rabbit that did it
  16. A silly gag four years ago implying that Tennant shagged Queen Elizabeth I is now a key element in the fiftieth anniversary episode
  17. The fact that Smith and Tennant are quite matey with each other, which at this stage is a subversion of the norm for a multi-Doctor episode
  18. Conversely, how grumpy the War Doctor gets with how young they are, how they use their screwdrivers, and their silly catchphrases
  19. The War Doctor being so much more than just a substitute for Eccleston – he represents the classic era itself, and how despite the different approaches, it’s clear that the new regime owes it all to the original
  20. Just the fact that John Hurt is a Doctor now. John Hurt!
  21. The way that our introduction to him is so bad-ass – a machine-gunned message of defiance
  22. Smith and Tennant’s delight at both having put their clever specs on
  23. The War Doctor assuming they’re both the companions
  24. Smith calling Tennant “Dick van Dyke”
  25. The realisation of why the stone dust in the statue room was relevant
  26. The Black Archive, with its many pictures of old companions in bizarre combinations
  27. The choice of Zygons as the main baddy in only their second appearance – they must have the best average hit rate for any returning monster ever
  28. The relative restraint in only bringing back them and the Daleks – unlike previous anniversary specials, this story is about the Doctor, not any of his friends or foes
  29. Coming up with a brilliant plan to set the Sonic a 400-year task of disintegrating the cell door, only to discover it wasn’t locked
  30. The code for the vortex manipulator being the time and date An Unearthly Child aired
  31. John Hurt asking if there’ll be a lot of kissing in the future
  32. The multiple TARDIS interiors, and the reference to “the round things”, and of course the inevitable “you’ve redecorated” line
  33. The Space Time Telegraph turning up, of all things
  34. That weird, sinister-sounding phone call the UNIT guy takes towards the start suddenly making sense towards the end
  35. The various instances of people having to figure out which is the real person and which is the duplicate reminding me of Red Dwarf‘s Psirens
  36. The tension of that Kate Stewart vs Kate Stewart scene, and the parallel between her threatening to nuke London and the War Doctor’s dilemma
  37. The fact that it lead directly to The Zygon Invasion/Inversion, which is another of my all-time favourites
  38. “Never cruel or cowardly. Never give up, never give in”
  39. The fact that this episode doesn’t actually change anything about the Time War – this is what always happened, it’s just that the Doctor thought that it happened differently. Moffat-haters still can’t grasp this.
  40. “Calling the War Council of Gallifrey. This is the Doctor.”
  41. “No sir, all thirteen” and Capaldi’s eyebrows – I cannot describe how exciting this was at the time. That screenshot was my Facebook cover photo for years.
  42. “Geronimo!” / “Allons-y!” / “Oh, for God’s sake.”
  43. Hurt’s reaction to his regeneration – we’ve never seen the Doctor *happy* to change before
  45. The whole idea of the Doctor reusing his previous faces – “but just the old favourites, eh?”
  46. Tom Baker appearing in Doctor Who in 2013. I cried then, I cried tonight. A wonderful, wonderful surprise – the greatest the show has ever pulled.
  47. For all its dodgy effects, the shot of the twelve Doctors all together was a beautiful thing to end on
  48. The fact that it’s still very much Matt Smith’s story, as per Pertwee in 1972 and Davison in 1983
  49. The faces in the closing titles, and the return of the middle eight
  50. The fact that it wasn’t just me and my friends gathered together to witness Doctor Who celebrate 50 years with the finest piece of television it’s ever produced, but 12.8 million people watching on BBC One, and millions more watching at cinemas or on TV in 98 countries around the world simultaneously.

And then afterwards, we all watched Zoe Ball desperately trying to get One Direction’s thoughts on fifty years of Doctor Who, over a satellite connection with a delay of what felt like fifty years itself, while Moffat watched on with his head in his hands. What. A. Night.

In case you hadn’t guessed:


Dimensions in Time

Technically, the 1992 VHS version of Shada should come next, but I’ve already watched that, knowing that the animated version is coming up shortly. So instead, today’s treat is a rewatch of what would have been the first Doctor Who I ever saw. I was seven, and distinctly remember sitting down with those 3D glasses from the Radio Times. The version I watched today thankfully included the Noel’s House Party links, in which Jon Pertwee accurately predicts the success of Deal Or No Deal.

We all know that this is awful, but it was slightly more coherent than I remembered (not from when I was 7 – I last watched it at a gathering for the 50th in 2013). The Rani’s plan is not dissimilar to Borusa’s in The Five Doctors, and it seemed like the special was an attempt to do similar things to that story, but in ten minutes, which would have been a tall order even without the added element of the EastEnders crossover. The problem of certain Doctors being unavailable/dead is not handled nearly as well. I could see what they were going for with trapping the first two Doctors in time, but representing Hartnell and Troughton as floating, lifeless, disembodied heads was ill-advised.

Meanwhile Tom Baker phones it in, with his eyes never breaking contact with the page of script that’s clearly just out of shot, and the worst title sequence in the show’s history is sped up and accompanied by a “updated” (read: “shit”) theme tune remix. But once it gets going, it’s actually rather lovely to see just so many familiar faces taking part. It seems harsh to criticise the endeavour when all these people gave up their time for free, purely to celebrate Doctor Who whilst raising money for charity.

However, it’s obviously not very good. It’s impossible to disguise the fact that the story is cobbled together based on who and what was available, and almost every actor is playing a generic catch-all character, with no time to display any of their own traits. They whizz by so fast it’s hard to clock them all on first viewing, although obviously the fact that they’ve all aged by up to 30 years is a hindrance to instant recognition. It’s the same problem with the menagerie of random monsters that turn up halfway through – it was just a bunch of moving costumes, and none of them got a chance to do… anything, really.

I’m not particularly familiar with EastEnders, so I can’t judge how successful it would have been for fans of the soap, but Mike Reid chewing the scenery was a highlight. Obviously there are troubling continuity questions surrounding the likes of Mel and Leela turning up in Albert Square when they look so similar to people who’d live there in the future. And wasn’t Pauline Fowler dead by 2013? I think Kathy Beale was too, but she got better…

Inevitably, the flimsy conceit completely fell apart by the end. The Rani is suddenly back in her TARDIS after she was defeated by Mandy bumping into her (should’ve been Big Ron), and an attempt to clear up the nature of the time-slips ends up making the story much more confusing. When Leela tells The Doctor that she was in the form of Romana, that implies that all of this is happening to the Seventh Doctor and Ace, but that they’re reverting to previous incarnations at times. Aside from the fact that that doesn’t really make sense for the companion, what about when there’s more than one companion on screen? Or when Romana is on her own, hiding in the Mitchells’ lock-up? They even had K-9 turn up out of nowhere seconds after the explanation!

If this was an attempt at a full-on revival of Doctor Who for the 30th anniversary, then it was a fucking disgrace. But it wasn’t – it was a daft little comedy sketch for charity, and seeing such a huge number of characters from throughout the show’s long history all at once is obviously a joy. It’s just indicative of the show’s standing at the time – in an ideal world, a big anniversary would be marked by a blockbuster episode of a current series, but that simply wasn’t the case for the 30th or 40th. Sadly, Dimensions in Time suffers simply because it’s an emblem of the darkest time in the show’s history.


The Five Doctors

That was a load of silly nonsense that barely held together to form any kind of coherent plot. It was just an excuse to line up as many old faces as possible, for little to no reason other than to create a cheap thrill for hardcore fans. Basically, it was absolutely perfect.

I’ve probably seen it more times than any other classic story; I’d often turn to it as a way to get a quick fix of virtually all of Doctor Who‘s best bits. Placing it into context made the Borusa stuff work better; when you know that he’s one of The Doctor’s oldest friends, it means a lot more, plus his descent into full-on villainy makes sense when you see how he’s become a bit of a shit since becoming Lord President. I could buy it a lot more here than in Arc of Infinity.

It’s interesting that Borusa’s plan essentially has him doing the same thing as JNT, Saward and Terrence Dicks (surely the ideal candidate for this particular job) – creating a narrative by picking up a bunch of characters from the toybox and chucking them together in various combinations. Maybe the whole thing was an elaborate marketing ploy for a range of action figures.

It’s undeniably a shame that it’s actually only really three Doctors at best, with one refusing to play ball and another refusing to remain alive. In the end, they got around these unavoidable obstacles well; the Shada footage works fine alongside the specially-shot abductions, and Hurndall does a passable impression of Hartnell. I mean, it’s definitely jarring to have someone pretending to be the First Doctor, but there’s not much they could have done differently.

It was arguably even weirder to see Susan as an adult; her character was almost entirely based on being a childish liability, so she couldn’t really do the same thing here. Instead, it was interesting to see some unusual pairings of Doctor and companion; obviously you have the First going off with Tegan, but also the Second and Third are not the Doctors you’d most associate with the Brig and Sarah Jane respectively.

I could have done with more scenes of the various Doctors together, but what we had was so much fun. I loved that the Second still thinks the Third is a bit of a dick, after last time. It was also interesting to see the Fifth Doctor acknowledge the First’s attitude towards women, it the same way people react awkwardly to a racist grandparent. It was apt and pleasing that the Fifth should remain the protagonist; all the others were resolutely guests in his story, and he outshines them all.

There were so many returning companions and villains that it’s hard for any of them to stand out; I just enjoyed them as players in a series of vignettes. It was a celebration of all things Who, and not of any particular character or era over any other. My only gripe would be that Sarah Jane was written as fairly slow-witted, which she just isn’t. The Brig was reliably excellent and I enjoyed seeing glimpses of some less obvious returnees, such as Yates, Liz and Zoe.

As for the villains, the little Dalek cameo was more than welcome, and The Master was on pretty good form. It’s the first time since perhaps Logopolis that he’s been written with any particularly grey shades; he’s always much more effective when you’re not quite sure of his motives. The new addition – the Raston Robot – threatened to steal the show, with a great design and a formidable style. The way it dispatched all those Cybermen was like a version of Robot Wars where it’s men in costumes fighting with explosives. Weird that platoons of Cybermen got their asses kicked on two separate occasions, but to be fair it’s probably the best way to use 80s Cybermen.

Elsewhere, the Hartnell clip at the start was a lovely touch, as was the slightly modified opening theme. The amalgamated closing theme was less successful to my ears, but their heart was in the right place. Also exciting to see a glimpse of a brand new TARDIS console. I was mightily impressed by how new and different it looked in the opening shots, but I went off it a bit the more I saw it. I’ll reserve judgement for now.

All these touches combine to make this feel like a real special occasion. Me and a big group of friends watched it as part of our 50th anniversary celebrations, and even tonight, my girlfriend and her brother couldn’t help watching along with me. It feels like a film, with its extensive and sumptuous location work, and the picture quality is superb.

I loved it so much that it took me until half an hour after it finish to notice that Kamelion wasn’t even referenced, despite having watched his introduction just yesterday. I’m aware that I’m about to delve into a very difficult period in Who‘s history, and I’m hurtling ever closer to the end of the original run. But whatever happens next, this stands out as a near perfect celebration of the first twenty years, and indeed the journey I’ve been on for nearly two years. I love Doctor Who so much.



It’s the end. After more than six months of nearly nightly Fourth Doctor episodes, I’ve reached the end of Tom Baker’s tenure. It’s weird. I remember saying around the turn of the year that he’s so good in the role that I just wanted to watch all his stuff immediately. Now that I’ve seen it all, it’s less emotional than I thought it would be. Instead of eulogising the Fourth Doctor, I feel more like talking about how brilliant this serial was.

There are so many great moments of joy, right from the start. The TARDIS materialising around an actual police box! The Master’s TARDIS inside The Doctor’s! The tissue compression eliminator! This sense of fun then gives way to a much darker vibe, which is equally as brilliant. The Watcher is a great addition, providing an ongoing sense of doom and foreboding, for audience and characters alike. Thanks to him and the first appearance of the Cloister Bell, The Doctor knows throughout that he’s about to die. Chilling.

Meanwhile, the companion roster is growing even further. Unlike the usual drill of The Doctor picking people up at the end of a standard adventure, Tegan’s introduction is much more along the lines of the modern series – we see her going about her daily life and even meet a member of her family, before she stumbles across the TARDIS. Then even that is given a dark twist, as she learns her aunt has been killed by The Master.

Meanwhile, Nyssa just gets dropped off by The Watcher in the middle of the story; neither new companion seems to have much say in the matter. Her story is even more tragic. Not only does she see her home planet get destroyed, but the man responsible is a zombie version of her father. Our first proper taste of Ainley’s Master is promising, but with some caveats. He plays the dialogue very well, but I do wish he’d stop chuckling to himself every few seconds. It’s seems a little too “look at me, I am being evil”; the character needs a bit of ambiguity to really work.

Still, accidentally triggering the destruction of the universe, collaborating with The Doctor to fix it, and then trying to use it all as an opportunity to gain absolute power is so very him. The stakes were very high here, as they should be in any self-respecting regeneration story, let alone the one for this Doctor. I liked how both TARDISes were integral to the plot, with The Doctor making several trips during the course of the story, providing a different feel to the usual routine of landing in one place and The Doctor fixing everything from there. Seems like ages since we’ve been on contemporary Earth too, and it’s astonishing that Tegan is the first contemporary human companion since Sarah Jane.

Meanwhile, something quite strange has happened – I’m beginning to not hate Adric. It helps that he’s now incredibly useful to The Doctor, which he’s managed to become whilst dialling back on the smugness. His relative level of experience compared to Tegan and Nyssa makes him a co-lead at times here, although still nowhere near Romana levels. I remain to be convinced that having so many companions is a good idea, but I’m open-minded, and am looking forward to seeing how it all pans out next season.

This was a serial that had a huge job to do, but did it incredibly well. The mentions of Romana and K-9 at the beginning were interesting, and all part of the long farewell. The flashbacks at the end were a nice touch, closing the door on an unbelievably long era. Tom has been in the chair for so long that you almost forget that other people are allowed to play The Doctor. This isn’t a good thing – the success of the show hinges on its ability to change – so it’s undoubtedly about time for him to bow out. I’ll miss his unpredictable yet consistent brilliance, but I’m looking forward to seeing something new.

And he couldn’t have asked for a more suitable send-off. Up until now, this season has been hard to get a grip on, but now that it’s over, you can see how well constructed it all is. The E-Space Trilogy has much more reason to exist now that there’s an explanation for the CVE that lead The Doctor there, and all the entropy stuff tied up nicely. It feels like there’s been a proper plan for this run of serials (even more so than The Key To Time); it’s neat, and very modern.

This serial was so much better than I remembered, although the very last line – “he was The Doctor all the time!” – is just as daft as I’d remembered. But sod it, Paddy Kingsland’s music incorporating the signature tune at the moment of regeneration is glorious enough to smooth over any tiny imperfections.



  • Seasons/Series watched: 18 of 35
  • Stories watched: 115 of 263
  • Individual episodes watched: 553 of 826

But before I see the new guy in action, a short pause for the all too brief return of two old friends…

The Keeper of Traken

I’ve watched this one before, along with the next two serials, thanks to the New Beginnings boxset – as with The Key To Time, I bought it due to the appeal of watching a continuous story unfold over several episodes. I remember all the big things that happen, which isn’t surprising considering they’re some of the biggest things in the show’s history, but none of the little details.

For instance, I was surprised when Nyssa was left behind at the end, considering I know for a fact that she’s in Logopolis. It’s odd, and I’m looking forward to (re-)discovering how and why she joins the crew full time. As of right now, I don’t have any particularly strong opinions on her based on this serial. She seems pretty handy to have around, and she works well with Adric, although I’m not sure I’d have picked her out as a potential companion on the strength of her debut.

It was tricky to know what to make of her father too. I didn’t trust him at first, but I can’t tell whether that was deliberate, or just because he has the same face as Anthony Ainley. However, once he was on the run with The Doctor and Adric, he simply became a great one-shot companion, and it’s a credit to Ainley that he can play loveable just as successfully as he plays evil. Tremas is great; so much more than just a body for The Master to take over.

Yes, The Master is back, and I’m very happy about this. It’s been so long since he was a regular part of the series that his return comes across as a breath of fresh air, rather than an attempt to recapture past glories. He looks a lot better than his last appearance even in his emaciated state, and the slowly-building, fleeting glances are very effective. I kind of wanted him to reveal himself a little earlier, but that’s just because I knew it was coming and I’ve missed him so much.

And ultimately, the story had enough going on to justify delaying the inevitable for as long as possible. There was an interesting framing device, effectively filling in the backstory on VT in order to get to the action quicker. Traken is a very interesting place, and Melkur would still be a great villain even if he didn’t turn out to be an even greater villain in disguise.

It’s interesting to compare it to Utopia, which does a lot of the same things – spending the majority of the running time telling a seemingly standalone story which doesn’t quite add up, leaving a few clues for the characters and viewers to pick up on, before unveiling The Master just as the audience has finished figuring it out. He then finds a new body and we’re left with the promise of huge adventures to come. Bring it on – I just hope my banner rotation can cope.


Warriors’ Gate

Two very long-serving companions have just left, and I’m not sure how I feel about it. Although, I definitely seem to care about their departures more than JNT and/or CHB did. That goodbye between Romana and The Doctor was far too hasty considering all they’ve been through, and poor old K-9 didn’t even get to speak, being unceremoniously carried from actual pillar to actual post.

I was absolutely fuming when K-9 was put out of action once again during Part One, knowing that this was his last serial as a regular. Would everyone please stop killing K-9? For the amount of screen time he’s had this season, John Leeson needn’t have bothered coming back. It’s a disgraceful way to treat a character that was so brilliant at his peak, even though the last time he hit those heights was during The Key To Time.

But that little coda with them both happily walking off into a monochrome sunset did a lot to smooth things over, and to provide an emotionally satisfying conclusion to their travels. I love that they’ve immediately got work to do, and that it’s such noble work. And leaving the TARDIS at this point makes sense for both characters – Romana so that she can escape Gallifrey, and it being the only place K-9 can function properly. Both of which easily beat marrying some bloke you’ve only just met.

I’m sad to see them both go, but I can see that it’s probably for the best. This season makes it perfectly clear that the current team are not fans of K-9, so there’s no point him being there if he’s going to get blown up at the start of each serial. At least there are further guest and spin-off appearances to enjoy, where hopefully he’ll be back to his best. With Romana, it’s a shame to lose the chemistry between Ward and Baker, but he’s leaving soon anyway, and I like that all the cast changes are being staggered over the course of a season. It’s becoming a whole new show, but not rushing it.

Meanwhile, this was a cracking end to this strange little trilogy, and one of the most imaginative stories in a long time. Admittedly, I had no real idea what was going on half of the time; I thought at one point that The Doctor had gone off to shag a sexy lion lady. But it was pleasantly baffling rather than just confusing, and like The Deadly Assassin before it and Heaven Sent afterwards, it all makes perfect sense in retrospect when you know how it ends.

I’m always a fan of moral ambiguity, so I particularly liked that we were kept guessing as to the motives of both factions of guest stars. The ship’s captain was clearly a prick throughout, but you ended up sympathising with some of his crew, despite them being slave traders. The two engineers were a great double act, reminiscent of Parker and Brett from Alien.

The Tharils, who I’ve now decided to rename The Timey-Lioneys, were even better in terms of grey areas. They’re slaves, and that’s obviously bad, but they were absolute shits beforehand. The moment of violence when a past Timey-Lioney hits a serving girl is genuinely shocking, and The Doctor’s furious reaction captivating. The highlight of a consistently brave and bold story.


PS. Just realised I didn’t mention Adric once. Oh well, being totally non-noteworthy is a clear improvement.

State of Decay

The E-Space adventure continues with a story that shares a hell of a lot of similarities with the last one. Three rulers preside over a populace that descended from survivors of a crashed ship. There’s a band of rebels that fight alongside The Doctor, and nothing ever gets done due to chronic procrastination. Is this a theme, or bad script editing?

The similarities were a bit of a distraction in the end, along with the fact that The Doctor and Romana spent ages figuring out that the baddies were vampires, despite it being obvious just from looking at them. They’re pretty tame vampires too – all creepy fingers and no fangs. The Doctor got bitten by a bat really early on and suffered no effects whatsoever.

I rarely get along with stories that are based on fantasy and mythology, and although this one was decent enough in itself, it does feel out of place amongst the heavy science of the season so far. The bits that focused on exploring the old spaceship, and the rebels rediscovering technology, were the most enjoyable. They had teletext and everything!

Adric was a little better here, which is encouraging. It was interesting to see his duplicitous side; I enjoyed him tricking K-9 into letting him out of the TARDIS, just because that’s a far better use of his intelligence than just using it show off. But he has the air of a bastard about him, to the extent that I didn’t bat an eyelid when he declared he’d sacrifice Romana in order to become a vampire. When it was revealed that it was mere subterfuge, it was kind of undermined by how pathetic and useless his rescue attempt was.

I’ve a feeling that this is a story I’ll struggle to remember clearly, despite a few very good moments. I really liked The Doctor being so nice to Romana when she remembered that the crucial information was on the TARDIS – you know that the Fourth Doctor is just as fond of his companions as any other Doctor, but he’s rarely so open about it.

That reminds me – was this the episode that started the cliche about everything from Gallifrey being called “The X of Rassilon”? It certainly seems to be an early sign of the preoccupation with mythology that I’m aware is said to be a particular trait of JNT. I’m starting to see the name Ian Levine mentioned a lot when I do my reading up after each story, so I assume he’s got a hand in it.

One last thing: the vampire that was dressed like a king really looks like Mark Heap. I think specifically Mark Heap as Ming The Merciless.


Full Circle

Ah, The E-Space Trilogy. It’s one of those little landmarks I’ve always been aware of, simply because three serials in the middle of a season having its own umbrella name is an unusual and noteworthy thing. Before watching, I vaguely knew what it was all about, but none of the specifics of how it all unfolds. I know that by the end of this boxset, Romana and K-9 will have gone, with Adric taking their place, but I didn’t know when exactly these changes would take place, having deliberately tried to avoid lists of first/last appearances.

This serial plants the seeds for Romana’s departure well, especially in reminding us that she was only supposed to be there to help with The Key To Time, and the nice continuity nods to the last time The Doctor was on Gallifrey. I know that the JNT era is notorious for its obsession with the show’s past, but neat little references like this are very welcome. I’m guessing/hoping that Romana doesn’t end up going back to Gallifrey, and will continue adventuring in some way.

Then as soon as we saw a bunch of people in pastel-coloured pyjamas, I figured out that we were on Adric’s home planet. It’s a nice idea to have the companions gradually overlapping, especially as so many things are in the process of changing. I’ve seen bits of Adric before, and know how he’s viewed by most fans, but I’m trying my best to approach his presence with fresh eyes and an open mind. His background is interesting; neither belonging with the Elite or hardcore enough for the Outlers… but unfortunately, he just comes across as a bit of a prick.

His smugness when he proclaimed that his badge was for mathematical excellence was excruciating, and he can’t seem to do anything right – he accidentally lures the Decider to his death, then he leads the Outlers right to the TARDIS, before eventually failing to save his brother. If the intention was to provide an identification figure for nerdy teenage boys everywhere, the lesson is that they probably deserve to have their lunch money stolen. It’s apt that he ends up as a stowaway, as it’s not clear why The Doctor would want him.

Which is a shame, as the story itself is a very good one. The unfolding mystery behind the weird society is consistently interesting, whilst also making a great deal of sense, which wasn’t always the case during the Williams years. I liked the notion that the whole thing was about saving face because they’ve forgotten how to pilot the ship, but the eventual reveal that them and the Marshmen are different evolutionary stages of the same species – whilst being a little bit The Mutants – is thoroughly satisfying.

The Marshmen themselves are decent enough, if unspectacular, and Lalla was very good when Romana was possessed – as with Tom so far this season, it’s nice to see her given new and different things to do before she leaves. Paddy Kingsland’s music was particularly lovely, and K-9 even got his own little leitmotif, before some fucker killed him. Seriously, can everyone please stop killing K-9?

I also enjoyed the two lads enjoying a swim together in just their see-through pants. Damn JNT and his gay agenda.



You know the drill by now. I come to an episode that’s apparently one of the worst of all time, and I completely fail to see why. I guess it’s all a bit lightweight, and it’s not exactly original – we’ve seen doppelgangers of The Doctor before, and the science vs religion debate, and megalomaniacs with dopey mercenaries. But it’s by no means bad television, or bad Doctor Who.

The principal reason for this is Tom Baker. The defining characteristic of his final season so far seems to be putting him in make-up and getting him to give a different take on the character. It’s just great to see him get the opportunity to try something new, and it’s no mean feat after such a long time. Unsurprisingly, he successfully assumes the role of villain with great ease.

It’s not so convincing with Jacqueline Hill – and what a surprise it was to see her face on the DVD cover! – simply because she seems far too nice to be a baddy. All I could see was Barbara, specifically Barbara as Yetaxa in The Aztecs. But this is not her fault, and it was absolutely lovely to see her again, even though I’d have much rather seen what Barbara and Ian were up to nearly 20 years on.

The serial had a very odd structure – our heroes are barely in Part 1 at all, and then they get stuck in a timeloop. It’s common to see a quick glimpse of the guest characters before the regulars get involved, but this one kept going, and then it continued to cut back and forth between them and the TARDIS to the point where it felt like two parallel stories running side by side.

But that’s absolutely fine when both sets of characters includes Tom Baker, and the fact that The Doctor and Romana arrive to the story late means there’s no need for the pace to slack in the middle, aside from Romana leading the mercenaries on a wild goose chase around the planet. Otherwise, the story of The Doctor and Meglos follows the same pattern as The Doctor and Salamander – narrowly avoiding each other for ages while everyone gets them mixed up, while the solitary coming together is saved til right at the end.

It’s nowhere near as good as that doppelganger story, obviously, but it’s way better than the first one, and honestly, it’s not amazing but it’s all pretty decent. My only major quibble is that K-9 is once again barely in it, as I know that he’s about to be written out before too long. The Doctor has been summoned to Gallifrey (I’m enjoying these loose links from story to story, it’s like the black and white era), and I’m faced with a box-set that marks the start of an extremely turbulent time for my current-Doctor-and-companion(s) banner rotation, and lists of recurring characters…