The Mind Robber

Oh yes. That was superb. I’ve seen it before, having owned the DVD for a while, but it still blew me away, thanks to the context provided by having seen all that came before it. It’s like a not-rubbish version of The Celestial Toymaker, and it’s the most batshit mental thing I’ve seen since The Feast of Steven.

Episode One in particular is just insane, and that cliffhanger – with the TARDIS exploding and Zoe’s beglittered arse as she clings to the floating console – is one of the finest that the show’s ever done. They’re all fantastic cliffhangers, thinking about it – a charging unicorn being properly threatening, a claymation Medusa coming to life and the companions being trapped in a comically massive book. Trust me on that last one – it works in context.

As does the quite disturbing thing that happens to Jamie in Episode Two. I’m glad they did something interesting to deal with Frazer Hines’s illness, when they could have just had him go missing for a week. Hamish Wilson has a good stab at mimicking Frazer’s speech patterns and mannerisms, but is let down by having a genuine Scottish accent, rather than the usual slightly-inaccurate-but-incredibly-endearing one.

I’ve seen some people say that the serial goes downhill after that amazing first episode, but I strongly disagree. The Land of Fiction is such a compelling and unpredictable setting that you’re hooked throughout. I loved the riddles and the traps, and the cavalcade of fictional characters who popped up throughout. The final battle of wits between The Doctor and The Master (not that one… man, that would have been interesting) plays out like a pair of eight year-old boys trying to outdo each other, which tells you so much about The Doctor’s character, in this incarnation in particular.

The only downside is that the episodes are all a good five minutes shorter than normal, which is particularly noticeable when you’re watching them one at a time. There’s only slightly more than four episodes’ worth of material here, which shouldn’t be the case given that a whole extra episode was written when the serial was extended from four to five. But still, at least having short chapters helped to make this story such a page-turner.

RATING: 10

The Dominators

44 dominatorsDo you feel the power of The Dominators? Do you have the will and the skill?

Sorry, that’s been in my head for five days. Anyway, I went into this one with extremely low expectations, as I’d spotted that in the latest Doctor Who Magazine poll, it was ranked one place below The Rings of Akhaten. And I can’t imagine how it’s even possible for an episode to be worse than The Rings of Akhaten.

Fortunately, this isn’t. It’s certainly not a standout, but considering that the Troughton era is almost entirely composed of all-time classics, that doesn’t necessarily mean it’s rubbish. There’s plenty of good stuff here – it’s pretty pacey, the location work looks great, and there’s some entertaining, if a little scenery-chewing, performances to keep you interested.

I really like the Quarks, the cute little buggers with their child-like voices and ability to fling people at walls. They’re not very good at actually killing, though – great when blowing up buildings (thanks to some impressive pyro work), but their aim is atrocious when they’re chasing a Scotsman and a fat bloke wrapped in a curtain.

The Dulcians being fanatical pacifists was a good concept, but it didn’t really go anywhere – it looked at one stage like the council were about to snap and take action following the murder of Brian Cant, but they never showed up in the end. Fortunately, the necessity for the youngsters to rebel in order to save themselves allowed Zoe to continue to kick arse, when she rallied them to stand up and fight. It’s so refreshing to have a companion who’s intelligent enough to talk to The Doctor at somewhere near his level, and also to have a young woman on board who’s equally as brave as the male companions.

Overall though, the implication that pacifism is an inherently bad thing, and that violence is a necessary feature of a civilised society, makes me a little uneasy. The Doctor always believes in peace, but the show’s authorial voice doesn’t always agree.

I found the power struggle and in-fighting between The Dominators much more interesting – they’re both ruthless in the pursuit of their goals, but the smarter one realises that it’s counter productive to be evil for the sake of it. It’s fitting that they were literally hoist with their own petard.

So Season 6 starts with a solid if unspectacular episode, but looking back on past season openers, that’s surprisingly common so far – Tomb being the only exception. I know for a fact that this season gets much better, having seen a couple of them before, but it’s also the last of its kind. The last in black and white, the last ridiculously long run, the last where there’s episodes missing, and unfortunately the last of the Troughtons. Not looking forward to that particular change, so while I’ll be excited when I enter a whole new era, I’ll be making the most of Season 6 while I wait.

RATING: 7

The Wheel In Space

Huh, it’s the Cybermen again, is it? I do love them so, but it’s curious that the Daleks have only recently been retired following over-use, and yet no lessons seem to have been learned. This is their fourth appearance in 15 stories – the Daleks appeared in seven of 35, so there’s a far higher level of Cyber saturation in this period than there ever was with Skaro’s finest during Dalekmania.

As for this story in particular, it’s a hell of a good setting, but the overall plot isn’t much to write home about. After the Cybermen took a huge leap forward in Tomb, becoming more ruthless and scheming, it’s a shame that they’re returning to a bog-standard base-under-siege set-up. I’m still liking the majority of base-under-siege eps, but Tomb showed that the Cybermen are so much better in a more ambitious story. There’s an attempt at that here, with their plan being so complex and gambit-based, but really, for the most part, they could have been substituted for any other villain.

The Cybermats, on the other hand, are much improved from their first appearance, although that could have been because the bulk of this story is missing, and thus we’re unable to see them in motion. But the star of the show, mechanoid wise, is the Servo Robot from episode one. It later retired on the Moon, where it cleaned up after tourists and dreamed of going skiing.

The Wheel setting was an intriguing one, and it was another good ensemble piece. But one character in particular stood out right from her first appearance. I think that was the best introduction to a new companion we’ve seen in a long time, because Zoe is not your standard companion of this era. It goes beyond the fact that she’s so smart, and seems so unlikely to be subservient – there’s something other-worldly about her. Her super intelligence and devotion to logic is at the cost of emotional empathy and social skills. She’s got Asperger’s, basically, and she’s wonderful. It’s going to be fascinating to see how she fits in.

Last time, I spoke about there hardly being any decade-spanning mythology left to fall in to place, but I forgot one. Hello, John Smith. Hopefully I’ll have forgotten a few others, so that I’ve got plenty more grin-making moments of realisation to come.

The serial ends really weirdly, with The Doctor putting Zoe to the test by playing The Evil of the Daleks on the TARDIS Scanner via his brain. The broadcast of this serial lead directly into a repeat of Evil, and having a repeat being set up as part of an original episode is an utterly bizarre decision.

And so, unlike the previous three, the show’s fifth season ends on a bit of a whimper, exciting new companion aside. I reach another milestone, and it’s one I’ve been looking forward to, for now there’s only one more mostly-missing serial left. I’ve only got seven more missing episodes ever, and two of them are animated. So much joy awaits me.

SEASON AVERAGE RATING: 8.28

RATING: 7

  • Seasons/Series watched: 5 of 34
  • Stories watched: 43 of 253
  • Individual episodes watched: 209 of 813

Episodes wise, that’s a quarter of the way through! That’s weird. Although, there will be another couple of series by the time I get to the end, then there’s all those spin-offs to consider…

Fury From The Deep

Once again, a companion exit completely takes me by surprise. I had no idea it was happening before I started watching, but at least this time it was built up to within the story, rather than coming completely out of the blue at the end. Victoria had spent a few episodes questioning the value and morality of being a TARDIS traveller, and was being worn down by the constant peril. I don’t quite buy her new foster parents being so enthusiastic to take her on, but at least her desire to leave made sense.

The Victoria coda is probably the strongest part of the story, particularly her and Jamie’s poignant farewell chat – it felt very modern. I’m a bit sad to see her go, as it feels like she only just got here. I don’t feel like I completely know her, but I did like her. I’m glad that her final episode featured her penchant for sudden and ear-piercing screaming being used as a plot point.

The rest of the story took a while to get going, and seemed to tread water for the first four episodes or so. I get the feeling it would be one of those that would be vastly improved by actually existing. I’m especially curious to see how exactly they realised The Doctor as a stunt helicopter pilot in episode six.

On the plus side, there was yet another strong guest cast, with Mr Oak and Mr Quill being the highlights. They’re wonderfully creepy and strange, and the infamously scary open mouthed gas attack bit is indeed scary. Oh, and it would be remiss of me not to point out that Rimmer’s Dad is in it.

But this story’s greatest legacy will undoubtedly be the little device The Doctor uses to unscrew something in the opening scenes. Another piece of the jigsaw falls in to place – I think we’ve only got Time Lords, Gallifrey and the proper introduction of UNIT to go before all the mythology is ticked off.

RATING: 7

The Web of Fear

Remember when I said this story would have to go a hell of a long way to top The Enemy of the World? Well, it did. And then some. Technically I’d seen this story before, but that was in all in one go, in a big group of people, with us all talking through it – hardly the ideal circumstances to appreciate what is an absolute masterpiece. What a fantastic time in the show’s life this is.

It works so well to have a sequel so quickly after the original, not least because it’s instantly apparent just how much the returning foes have improved in such a short space of time. Last time, the Yeti were a little too slow and lumbering, but the tweaks in the design make a real difference, and the addition of their web-gun weaponry adds an extra dimension. This story also does a much better job of clarifying what The Great Intelligence is and why it’s being such a dick than in any of its other appearances, including in the new series.

It’s also great to have Professor Travers back, with his aged appearance and new mannerisms instantly giving so much context and back-story from the off. And he’s just one of an interesting ensemble of characters, most notably the slimy reporter, the freakish Welsh one and the slightly ropey Staff Sergeant.

The former two are the main suspects in the ongoing subplot regarding the possibility of a traitor in the camp. That layer of intrigue makes the story so gripping – all week I’ve found myself thinking about it all day, longing to be home in front of my DVD. In the end, the traitor turned out to be the other one, and – like last time – it’s a twist that I didn’t see coming, but that made perfect sense as soon as I knew. The slight ropiness was intentional!

Of course, there was supposed to be an extra suspect, but for some reason I never truly believed that this Lethbridge-Stewart chap would turn out to be a wrongun. That’s not to say I didn’t appreciate how well he was written – all the qualities we’d come to love, but under a veil of caution and fear. He didn’t yet trust The Doctor, and so acted in a way that made The Doctor distrust him.

You can tell just from this that The Brigadier Colonel was always destined to become a regular fixture. A few villains aside, he’s by far the most well-rounded, memorable and watchable guest character in the show to date – more so than a number of companions, in fact.

You can also see the seeds of UNIT being sown, and again it’s so easy to see why the producers latched on to the concept, even in this primitive form. It must have been so joyful in the production office when they realised they could take the show in yet another brilliant new direction, because even 47 years later, it’s utterly joyful to watch.

I’m going to have to take another short break, as my sister is selfishly getting married. But I will come back, oh yes I will come back, and dive into the last really big block of missing episodes…

RATING: 10

The Enemy of the World

Well, that was bloody brilliant. Maybe it was because it was all fresh to me, or because it’s such a novelty to see a complete story, but that’s even surpassed Tomb to become my favourite Troughton story so far.

Key to that is Troughton himself, who is utterly, breathtakingly superb in both of his roles here. Salamander is so much more than a dodgy accent and an even dodgier choice of make-up – he’s fully fleshed out, with his own distinct mannerisms, and so much depth. He shits on the Abbot of Amboise and no mistake.

The guest cast are great too. Astrid is up there with Ping Cho and Bret Vyon as one of the greatest non-companion companions I’ve seen. Bill Kerr does such a good job as Giles Kent that, while the twist revelation about his character comes as genuine surprise, his characterisation throughout the serial is such that it instantly makes perfect sense. But for me, the stand out (other than the manically depressive chef in episode three) is Milton Johns as Benik – deliciously camp and creepy. I could watch his face all day.

It was such an ambitious and unusual story, which really stands out amongst the (perfectly decent in themselves) base-under-siege / monster-of-the-month stories from this era. It’s full of twists and turns, and plenty of moments that actually made my jaw drop. The reveal of Salamander’s secret underground society is astonishing, and there’s also a pleasing amount of violence and menace throughout. And the climax to episode six is just superb. It’s only a shame that The Doctor and Salamander didn’t meet a little sooner.

Add to that the genuinely impressive action sequences (most notably the helicopter stuff in episode one), The Doctor taking another leap forward in establishing his pacifism and positive morality, the fact that it was the first serial that Barry Letts worked on, plus Jamie and Victoria’s matching arran jumper/tartan skirt combo, and you’ve got yourself an absolute classic. When the missing episodes were discovered, I recall being far more excited about the iconic Yeti-in-the-Underground story, but it’s got a hell of a long way to go to top this.

Incidentally – weird thing I’ve noticed. You can break this season so far down into a set of thematically linked pairs. Tomb and Snowmen deal with mind control, the latter and The Ice Warriors are both set in icy tundras, while that one and this one both have plots that stem from advanced technology being used for food production, leading to unexpected natural disasters. I can’t tell whether this was intentional, or if I’m just reading too much into it.

RATING: 10

The Ice Warriors

Aaaand I’m back, with the rare sight of a custom title sequence, suggesting that this should be approached as being a very special episode. So is it?

Well, the premise and setting are brilliantly compelling. Human race develops artificial food, has no need for vegetation, destroys plantlife just for the extra space, and unwittingly triggers an ice age. Scientifically questionable, but it does the job of keeping your interest. Less successful is the anti-computer moral weaved throughout – similar ground to The War Machines, but because the message is over-egged, it feels more dated as a result.

Getting on board with the concept wasn’t an issue, but after a while I found my attention waning. Admittedly, this could be entirely down to me – between a  Red Dwarf convention, being busy at work and staying up for 27 hours straight to watch the election coverage, it’s not been the ideal environment to follow a 1960s-paced story. But even so, it definitely could have been tighter – there are a couple of episodes where all parties just stand around speculating about what the others might do, rather than doing anything useful themselves.

Another issue I had was that the main three characters are mostly kept separate throughout most of the story. It allows for some good moments – particularly the various traumas that Jamie goes through – but I really like the three of them as a team. We got a good glimpse of some flirty bantz between Jamie and Victoria at the start, and I want more of that kind of thing.

As for the eponymous Ice Warriors themselves, I liked them, but I wasn’t particularly blown away. They look good and imposing, but they need a little something extra – much was made of how ruthless they are, but this was largely told to us rather than shown to us. Plus, their whispery, hissing voices were a little bit annoying. (As was the computer voice by the usually excellent Zippy.) But I’m looking forward to seeing them again, to see if they can improve in their second outing as much as the Cybermen did.

On the plus side – and it’s a very big plus – Peter Motherfucking Sallis. Those warm, reassuring tones are instantly recognisable, and instantly create the impression of a likeable and trustworthy character. I recognised the voice before the face – I think I was thrown because despite the fact that this was nearly fifty years ago, he is still by no means a young man here!

Coming up next, I become incredibly grateful that I didn’t start this project a couple of years earlier…

RATING: 7

The Abominable Snowmen

You know I was saying last time about how I knew the big headlines of what was coming next but didn’t know about the specifics? Well, I knew that this story would introduce the Yeti (the clue was in the name, really), but not that it would also see the debut of The Great Intelligence!

I mean, I should have remembered that the two are intrinsically linked (I watched The Web of Fear shortly after it was released), but it had completely slipped my mind, so it rather blew me away when it was revealed in episode three. It’s a weirdly appropriate sign of the timey-wimey nature of this project. Most of the time, I’m getting the same experience as viewers would have done when the episodes first aired, but my knowledge of what’s to come sometimes gives certain things an extra significance and alters the experience. Nobody would have gasped at the name “The Great Intelligence” in 1967, because they hadn’t seen The Name of the Doctor. I feel privileged to find even more to enjoy in those episodes than those feckless 60s idiots did.

The notorious TGI himself was suitably mysterious and intimidating, even if it was all a little Wizard of Oz (we had the same thing not long ago in The Macra Terror). His presence as the overall big bad kind of undermined the Yeti, as they were never quite as threatening once they were revealed to be merely remote-controlled henchmen. But they were great for what they were, the big cuddly lumbering murderers.

Victoria finally managed to announce herself after a couple of false starts. There seems to be a trend for companions to only show a personality on their second or third outing – Vicki, Polly and Jamie were the same. But she’s on good form here, establishing herself as inquisitive, crafty and clever when she insisted on investigating the inner sanctum. There was a hefty deal of high-pitching screaming too, but that’s to be expected and mostly tolerated in this era.

While all the ingredients to this story were good, it did perhaps go on a little too long – it felt like an excellent four-parter stretched to become a pretty decent six-parter. The ending was a tad disappointing too – it basically boiled down to smashing a load of shit up and hoping for the best, when you’d hope that The Great Intelligence would be defeated by The Doctor’s greater intelligence. But still, I know they’re all coming back in just a few serials’ time, so that’s a chance to right that small wrong.

Finally, a small notice to say that the next entry will take place in slightly longer than six days’ time. I’m going to have to hit pause for four days due to my other sci-fi passion. Four days without Who is going to feel like the gap between Survival and Rose.

RATING: 7

The Tomb of the Cybermen

Oh, what a joyous couple of weeks it’s been. Every episode has made me want to watch the next one immediately after. Only the fact that I’d seen this serial a couple of times before allowed me to keep my discipline here. For me, the gold standard for Cybermen has always been the “we-a will-a survive-a” versions from this story, and seeing it in context has made me appreciate what a significant step up in their mythology these episodes represent. It’s certainly a smart move to beef up the show’s second biggest villains, having just portrayed “the final end” of its first biggest villains.

It has a similar type of ensemble cast to The Tenth Planet and The Moonbase, even sharing many of the same stock tropes. It’s weird that all the Cyberman stories so far are all so similar. Where this one differs, however, is by replacing the base-under-siege set-up of the previous stories with a plot that’s all together more pacey and thrilling, with ever-increasing stakes.

The guest cast themselves are a mixed bunch. The hamminess worked for the villainous Krieg, but less so for Captain Wow, or whatever the American rocket ship pilot was called. I’d always remembered Toberman as being a godawful racial stereotype, but after Kemel last time, well… at least they let him talk occasionally. It’s worth pointing out that the overall portrayal of both of these characters is broadly positive – they’re heroic and noble, particularly with Toberman’s eventual supreme sacrifice here. It’s just that their mannerisms and the way they’re treated by the other characters only served to reinforce the contemporary audience’s prejudices, and that’s regrettable.

Back to the numerous plus points. Tomb’s reputation as a classic hangs on several stand-out moments, all of which are utterly fantastic. It starts with the very first scene, as The Doctor gives Victoria a brief intro to himself and the TARDIS. The most famous is the cliffhanger to episode two, which has the Cybermen heroically yet tentatively breaking out of their cling-film tombs. The downbeat ending to the overall story is another highlight – very bold and affecting. There are real consequences to the events we’ve just witnessed.

But my absolute favourite moment is a scene in episode three, which took me by surprise with its tenderness and emotional edge. The Doctor talks to Victoria about her recently deceased father, and shares his feelings regarding his own family. We learn so much about his outlook on life, and it’s quite frankly one of the best Doctor speeches of all time.

However, for a story with this good a reputation, I was surprised to note that it’s not without its production problems. At one point a Cyberman hoists Toberman up with the aid of a large wire, and later Toberman throws a hollow, lifeless dummy of the Cyber Controller through the air. Not quite sure what to make of the Cybermats – love the concept, but the execution varied. Overall, there was an off-putting lack of cohesion between the pre-filmed inserts and the studio footage, resulting in a slightly disjointed and confusing sense of geography – not ideal when a large chunk of the plot concerns the navigation and exploration of the setting.

These are quibbles, though. The script, the performances of the regulars and the continuing brilliance of the Cybermen make this serial one of the all-time greatest. I note that this was the first story helmed by a new producer, Peter Bryant, so perhaps the issues were just teething troubles. I’ve very little notion of the specific details of stories from the rest of this season, but I do know that I’ll be seeing Ice Warriors, Yetis and UNIT before it’s out. Bring it on.

RATING: 10

The Evil of the Daleks

Hi. Hope you had a good week. I bloody well did, watching this. That can be safely categorised as an “epic”, and also one of the most successful “long” serials (over four parts) since Dalek Invasion of Earth. Okay, there’s a bit of a lull in the middle few episodes, but as soon as the action transfers to Skaro… fuck me.

It’s a tour de force for The Doctor, and the success of the story hinges on playing with the audience’s expectations of him. He’s incredibly morally dubious throughout – he tricks Jamie in order to collaborate with the Daleks, and it’s not clear why until around episode six. This brings The Doctor and Jamie into quite a visceral and disconcerting level of conflict, just as the two of them were being established as BFFs. We’ve seen companions call The Doctor out on his shit before (such as Steven in The Massacre), but never this viciously. Utterly compelling – two fantastic actors at the top of their game.

It’s not just The Doctor who’s behaving against established conventions. The Human-Factor-infused Daleks are a joyful way to “break” a villain that the viewer thinks they can predict. The child-like mannerisms are equal parts disturbing and hilarious, and the overall effect can only be described as “fucking awesome”. Roy Skelton – at his all time peak Zippy-ness – is outstanding in his delivery of lines such as “I will not obey”.

And then there’s the Dalek Emperor, and the Dalek civil war, and the ultimate destruction of the Dalek City… there’s just so much amazing mythology built in to those last couple of episodes. The Doctor states that this could be “the final end” for the Daleks. It wasn’t, of course, but if it had have been, it would have been a fitting end for them. The fact that I can’t see another “of the Daleks” in my spreadsheet until mid-Pertwee suggests that it served as a “last ever Dalek episode” for some considerable time.

Regardless of that, it’s hard to think of a better way to end a season. While previous finales have been exciting because of the potential they open up (The Time Meddler being the first to blend history and sci-fi; The War Machines being the first to be set on contemporary Earth), this one was an epic finale in its own right and on its own terms. They went out on a bang, with a story that had seeds stretching back throughout the preceding weeks. Russel T who?

There had to be a downside though. It’s the return of 1960s Attitude Watch! Maxtible introduces a henchman, who he describes as being “dumb”, “simple” and “underdeveloped”. Enter: one of only a handful of non-white people we’ve seen in the show so far. Fair enough, Maxtible is a Victorian, but it seems like the production was also using Kemel’s ethnicity as a shorthand for his lack of intelligence and savage nature.

Luckily, it transpires that Kemel is a more nuanced character than anyone gives him credit for. Elsewhere in the guest cast, it was nice to see Windsor Davies pop up, and Waterfield was great in the “good man doing bad things because kidnapped daughter” role. As for Victoria, well, she didn’t have much to do beyond being locked up, rescued and being told she’s an orphan now, but I’m looking forward to seeing her in action as a companion.

RATING: 10

So yes, it’s another milestone reached.

SEASON AVERAGE RATING: 7.56

  • Seasons/Series watched: 4 of 34
  • Stories watched: 36 of 253
  • Individual episodes watched: 169 of 813

Ah, I like that. I often feel like I’m hurtling through this thing, but looking at those stats reconfirms just how much longer I’ve still got to go. This is a very good thing – I currently feel like I never want this journey to end.