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[December 10, 1969] Night Gallery: A Frightening Tableau

December 10, 2024 Amber Dubin 4 Comments

by Amber Dubin

As we close in on the end of the final year of the 60s, it seems the lengthening nights are seeping into my psyche more than usual. I find myself wishing I were more hopeful for the coming of a new decade, and maybe if I paid less attention to politics or the state of the world I could retain more resistance to the gloomy morale of our divided and unrested country. Thankfully, a timely distraction arose: just think how pleasantly surprised I was to discover that there was to be a diverting new work from Rod Sterling to grace our airwaves November 8, 1969!

I was a step beyond devastated when Twilight Zone left the air, as it remains one of my all-time favorite science fiction pieces to date. To know that Rod Sterling would once again be on my television just before the dawn of a new decade sparked a hope in me that’s just enough to disrupt the gloom I’m feeling at the end of this one.

Rod Serling's "Night Gallery", shown on NBC Saturday Night at the Movies

Given the climate of our cultural atmosphere, however, I am not surprised that although the work that Rod Sterling chose to create is star-studded in cast, it is otherwise physically and emotionally dark. The macabre tone sets in right away as an eerie opening theme tinnily whines from the upper register of a harpsichord. The audience is led down a black and white drawing of a hallway, interrupted regularly by the chalky outlines of featured actors, not unlike how it would feel if one were to walk through a series of taped off crime scenes with final resting places similarly marked in each. This tense opening sequence maintains stress on the audience as the illustration gives way to the darkly enshrouded silhouette of the show’s host and final name featured in the credit sequence, Rod Serling.

Serling returns to the small screen, six years after he left it, in the resolute and deliberate fashion we’ve come to expect from him. Ever our guide through the mysterious and strange, he acts as curator of the mysterious in a black void of a presentation room featuring nothing but three portraits, their faces glamorously shrouded in red velvet curtains. He describes each of these covered works of art as suspended “in time and space, a frozen moment of a nightmare.”

Entering the scene associated with the first painting, "The Cemetery," this description is immediately validated as we are confronted with a room occupied by a once wealthy patriarch, bound both by a wheelchair and the living death that is the cognitive and physical decline of age. The elderly man, Mr. Hendrix, is waited on with care by famed film and TV veteran Ossie Davis (Mr. Ruby Dee), playing the sharply dressed and precise butler Osmond Portifoy. In a heartbreakingly relatable way, the rich and ailing painter is depicted as incapable of speaking, walking, or even holding a paint brush as he barely clings to life in his old-monied estate home. By contrast, we are confronted by his shiftless rapscallion of a nephew downstairs, who we are made to immediately dislike as he twitters about the house, disrespectfully upsetting its previous order and chirping our patient butler’s name in mockery as he puts his cigarettes out on the tray of discarded food he is carrying away from Mr. Hendrix’s room.

Portifoy is not amused

The obnoxious youth wastes no time in murdering his uncle once he has confirmed his inheritance of his estate, brazenly directing his uncle’s view to the window overlooking the family cemetery so the poor man can ‘view his future residence’ as he is slowly poisoned by the cold air from the purposely opened window that his frail body is unable to withstand. The greedy nephew makes no attempt to hide his disrespectful glee when the man dies, and he rudely directs the responding home-doctor and estate manager to hastily clear away as many traces as possible of the deceased man’s control over his wealthy home. Condescendingly, he allows Butler Portifoy to stay on staff, despite their obvious and open distaste for one another. However, Portifoy finds it almost more curse than blessing that he is allowed to continue to serve the Hendrix Estate under new management.

Just when it appears nothing could stop the young man’s wonton disrespect for all things dignified, his drunken carrying on hitches on a disturbing detail he notices in one of his uncle’s paintings hanging over the hallway stairs. When his uncle is interred in the family cemetery, it appears that the estate painting changes to depict an open grave in the corresponding area of the portrait. At first, he tries to brush off this change as a trick of the light, or his faulty memory, but the more time he spends in the home, the more fixated he becomes on the painting. When his paranoia grows to the point of inducing sleeplessness, he lashes out, ripping it off the wall and throwing it into the fireplace, only to find it back on the wall where it was before. He responds with violence to Portifoy’s insistence that there is nothing wrong with the painting and burns the man, finally breaking the man’s tolerance for his behavior. Portifoy quits on the spot, leaving the younger man to continue swiftly losing his mind alone in this apparently haunted house.

A rather satisfyingly contentious dynamic

In predictable fashion, the man fares poorly on his own, and he eventually succumbs to the battle with the paranormal forces at play, launching himself off the staircase entangled in the canvas of his dead uncle’s likeness. To my surprise, however, this is not where the story ends, and it appears that the doomed youth was not the only man in the house compelled by greed and willing to play with paranormal forces he did not understand. It's a twist too good to spoil here.

The second story, “Eyes,” features the fascinating combination of a winning performance by storied actress Joan Crawford and the professional debut of a young director named Steven Spielberg. Although it was rumored that this segment’s veteran star was originally reluctant to take a chance working with the inexperienced director, it appears her fears were unfounded. In fact, I’d go so far as to say that the direction of this segment was Rod Serling’s best choice of the featured three. From the elevator door closing on Joan’s character’s disgruntled employee as we open the scene, to the acrobatic shots we get from the ceiling looking through chandelier crystals, the cinematography and dynamic story telling are movie-quality.

An ambitious shot that inverts the surgeon as he has inverted his moral code.

The story in question revolves around the aging debutant Miss Claudia Menlo, played by Joan Crawford, whose nightmare appears to be the life-long curse of blindness. It seems as if the finery she surrounds herself with and the technology with which she’s been able to make her life self-sufficient has steadily transformed into bars of a gilded cage. She has become so obsessed with the idea of the sight that she has been robbed of, that she interprets it as a cruelty that she must turn into a weapon to settle the score. It is from this space that she discovers an opportunity to right the universal wrong, and she stops at nothing to seize it.

Through the perspective of the conscripted surgeon, we discover that Miss Menlo has bribed, extorted and blackmailed enough professionals and poor slobs to direct a procedure to take place where one man will lose his vision forever to give her but twelve hours of precious sight. It’s clear we are meant to condemn Joan Crawford's character’s actions, and to be sure her victim is pathetic enough to deserve all of one’s compassion, but I cannot help but understand her desperation. Yes, her vanity, decadence and aggressive way of tearing through everything that gets in her way is indefensible, but it’s hard to say if given the same circumstances I wouldn’t make similar choices. As a senescent ice queen of an empty decaying palace, the woman that life has made of her is twisted into an unlovable shape now, but I cannot help but imagine what torture it must have been to live a whole life of such beauty without the ability to see any of it.

No matter how thoroughly we are meant to have shut her out, I cannot help but feel a pang of ache when she screams about color, while decorated in such fine examples of the same. I understand the bad intentions she paved to her own destruction, but when the irony she earned comes to call, I cannot fully say it would have been a doom I could have avoided myself.

I am always hesitant to call a woman a nightmare, but when the shoe fits…

The last story for me is the weakest of the three. “Escape Route” features an ex Nazi officer from a concentration camp hiding out in Buenos Aires after the end of World War II. As many men with this description did (do?) in real life, he is haunted by paranoia of being found and held responsible for his cruelty and past actions as he lives a life of poverty and insignificance in a foreign country he does not seem to enjoy any aspect of. I felt like this had the least compelling premise because even if he wasn’t a war criminal, the protagonist seems to be a completely irredeemable, unlikable nightmare. While he is haunted, he appears remorseless and even defensive of his past behavior. It also seems to have turned him into a miserable, belligerent drunk who verbally abuses the only person in his life that knows his secret: his consistently drunk, lady-of-the-night neighbor. Even though she is the only one who seems to tolerate him, she still uses his secret to twist the knife of insults she slings right back at him.

A well-deserved haunting

One day, in hiding from the detectives attempting to get him to answer for his crimes, he seeks refuge inside a closing museum and is unexpectedly moved by a painting of a fisherman who he hallucinates as having his face. It is here that his personal moment is interrupted by an elderly Jewish man emotionally connecting with another painting that expresses the agony of a holocaust victim. Based on how often he is drunk and/or hallucinating, I am not entirely convinced that the other man, Herr Bleum, isn’t a physical manifestation of the ex-Nazi’s guilty conscience.

In fighting against the web of his own weaving, he predictably hangs himself, using the thread of magic he has discovered in his story to yoke himself to a punishment far worse than any he could have received at the hands of real-life avengers.

Rod Serling, in all his glory

Whatever unevenness exists in this trio of stories is overwhelmed by the sheer quality of production, and also the joy at having an old master back at the game. The gilded tapestry Rod Serling has woven with The Night Gallery is a welcome masterpiece capable of warming my heart in these cold and dark winter months. The papers say that Serling is uninterested in serialized television work after Twilight Zone, and that these three episodes were a one-off set. However, after turning out such well-crafted, well-acted and well-directed gems as these, I cannot imagine this vignette not inspiring a sequel or two in the coming decade, either penned by Serling or a successor he designates. That hope alone gives me something to look forward to as the curtain draws this year to a close.

5 stars

[New to the Journey? Read this for a brief introduction!]

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Science Fiction/Fantasy, TV

[June 22, 1969] Game Over (Doctor Who: The War Games [Parts 8-10])

June 22, 2024 Jessica Holmes 1 Comment

By Jessica Holmes

"The War Games" draws to a close, bringing us a thrilling conclusion, revelations of the Doctor’s origins, and some heartbreaking farewells.

"If I join you, do I also have to grow the silly moustache?"

In Case You Missed It

You really missed out if you didn’t happen to catch it, because I really think "The War Games" is one of my favourite Doctor Who serials. And I’ve been thinking about the ending ever since.

But, first things first. A small clarification: I misinterpreted the dialogue last time, it turns out the War Lord is NOT a “Time Lord” (despite the name) but the War Chief is.

And so is the Doctor.

Up to now, I had mostly dismissed the War Chief as little more than a high-ranking lackey with a temper, but a new dimension within him emerges in the latter episodes of the serial. Sure, he still has a temper, but he’s no lackey. Unlike the Doctor, who left their homeworld in order to see the galaxy, the War Chief desires to rule it. And the Doctor can join him, if he wishes. He's not such a bad chap after all, so he claims. When the galaxy is conquered, there will finally be peace. Yes, War Chief, you’re a real humanitarian.

With no clear way to rescue the Doctor, Jamie and Zoe throw their efforts into carrying out his plan and recruiting the other Resistance groups. The leaders agree to assemble their armies in the American Civil War Zone. The forests will be a good place to hide, and then when a SIDRAT next turns up, they can take it over.

In preparation, they start taking out the control units in each zone, taking out their communications one by one, and drawing out the War Lord’s guards. By the time they’re done, there won’t be anyone left to defend central control.

With only one control unit left, the Security Chief has a pretty good idea of where the Resistance must be gathered, and wishes to wipe them all out with a neutron bomb. The War Lord however has a more subtle idea…

At the barn, Jamie, Zoe and the Resistance leaders are surprised to receive a call from the Doctor, who tells them that he has a plan to take over central control, and that he’s sending a SIDRAT to bring them to him. They meet the Doctor at the landing bay, where the War Lord’s guards promptly arrest them. It seems that the Doctor has betrayed them all.

And if you believed that for a second, I have a bridge to sell you.

As the prisoners are taken away, the War Chief pulls the Doctor aside to discuss plans for the future with his new ally. The Doctor infers that it’s not really him the War Chief needs for his plans to work, but his TARDIS. The SIDRATs have more bells and whistles than the old TARDIS, but it comes at a cost: longevity. The SIDRATs are at the end of their lifespan, and before long the War Chief will have nothing more than a load of surprisingly spacious cupboards, and he'll be of no further use to the War Lord.

What was his plan if a fellow Time Lord hadn’t happened to land in the middle of his games?

To prove his newfound loyalty to the War Lord, the Doctor offers to improve the processing machines, using the prisoners as test subjects. It’s all Jamie can do to prevent the others from killing the Doctor on sight, but the Doctor eventually manages to persuade them that he’s really on their side, and to play along with his ruse.

Unfortunately, things have all gone a bit pear-shaped. The Security Chief, suspicious of the Doctor and the War Chief, has been spying on their conversations. Having arrested the War Chief, the guards are now on their way to grab the Doctor.

The Resistance manage to overpower the guards, and the War Chief has another proposition for the Doctor. He can help them, and save his own skin into the bargain. The guards at the landing bay don’t know he’s been arrested. He could escort the Doctor and his allies there and steal them a SIDRAT. The Doctor accepts, on one condition: that they first go to the War Room and put an end to the games.

The Security Chief’s depleted forces quickly fall to the small band of Resistance fighters, with the Security Chief himself falling at the War Chief’s own spiteful hand. Unfortunately, he didn’t kill him fast enough to prevent him sounding the alarm. They can call an end to the games, but there’s not time for the Doctor to send everyone back to their proper time and place. Not without help, at least.

It’s time to call the Time Lords.

There's only room for ONE ruler of the Galaxy with weird facial hair, and it ain't gonna be you, War Chief.

The War Chief tries to leave the others behind and make a break for it, but the War Lord catches up to him as he attempts to steal a SIDRAT. The War Lord has his would-be betrayer executed on the spot. The Resistance arrive at the landing bay and quickly overpower the War Lord’s guards, but leave the man himself for the Time Lords to deal with. Not the Doctor though, who plans on being far, far away by the time they arrive. See, Time Lords aren't meant to meddle in the affairs of other worlds, and the Doctor does little else. And they’re probably going to want their stolen TARDIS back. To tell the truth, I’m not even surprised that the TARDIS is stolen. Have you seen how he pilots that thing?

Doctor, you naughty boy.

With Jamie, Zoe, and Carstairs (who is just tagging along to look for Lady Jennifer), the Doctor hurries off back to the 1917 Zone. But not fast enough. The coming of the Time Lords is heralded by an eerie drone on the air. Ominously, the War Lord tells the Doctor’s allies that soon the Doctor will wish they’d killed him when they had the chance.

Can we please appreciate Troughton's funny little run?

As the group get in sight of the TARDIS, Carstairs suddenly vanishes, no doubt whisked away to his proper time. The closer the Doctor gets to the TARDIS, the slower time itself seems to become. With an immense struggle, he and his friends manage to get inside and leave the battlefield. But they aren’t free yet.

The Time Lords find them wherever they go, whether it be the depths of the ocean or the depths of space. There’s no resisting the nigh-omnipotence of the Time Lords.

After all his travels, the Doctor must finally come home.

The Time Lords bring the Doctor and his friends to their homeworld, where the War Lord’s trial is already underway. It’s a rare thing for the Time Lords to put anyone on trial, let alone someone from another planet.

Forget everything I said about the War Lord being impressively powerful in my last review. Before the Time Lords, he’s nothing more than a scared little man, though he tries not to show it. A handful of his surviving guards turn up in an attempt to rescue him, taking the Doctor hostage in the process, but they don’t get far.

The Doctor helps the Time Lords to recapture the War Lord, and the justice of the Time Lords proves to be swift and uncompromising. They quarantine the War Lord’s planet away from the rest of the universe, and erase the War Lord himself from reality. It will be as if he never existed.

Despite the Doctor aiding them in bringing justice to the War Lord, the Time Lords aren’t going to give him a pass on his own supposed misdeeds. There's a funny sort of symmetry to this serial; the Doctor's tribulations begin and end with a trial.

"In my defence, Your Honour… it seemed a good idea at the time."

At least unlike last time, the Doctor has actually committed the “crime” of which he’s being accused. The Time Lords have one rule about interfering with the wider universe: don’t. And the Doctor not only admits to flouting that rule, he’s proud of it. Time and again he’s helped to defeat the evils of the universe, all while the Time Lords have failed to lift a finger to prevent the injustices happening before their eyes.

It’s not him who should be guilty, it’s them.

Agreeing to at least consider his point, the Time Lord jury goes into recess to think it over, and Jamie and Zoe are allowed to make their farewells to the Doctor.

Not that they don’t try to escape, but it’s futile trying to evade the Time Lords. I don’t think I’ve ever seen the Doctor so completely and utterly defeated. He’s beyond begging, beyond tears, just… tired. Resigned.

To the Time Lords: I hope you're pleased with yourselves.

The goodbyes are brief, too brief really for all the three have been through together. Especially the Doctor and Jamie. Three series of instinctively reaching out to one another and clinging together in times of stress, and they part with a simple handshake.

Promising never to forget him, Jamie and Zoe turn their backs on the Doctor for the last time. But they don’t get a choice. Determined to erase every trace of the Doctor’s illegal travels from the universe, the Time Lords wipe Jamie and Zoe’s memories of their travels.

They’re allowed to keep their first meeting with the Doctor, but nothing more. To Zoe, he’s just that funny little bloke who turned up on the Wheel when the Cybermen invaded. And to Jamie, he’s just a man with a penchant for disguises, who helped his Jacobite comrades escape the English, and nothing more.

That’s… tragic. More than tragic, it’s cruel.

They’ve not just stolen memories, they’ve stolen something even more precious: friendship. Poor Zoe, lonely Zoe, whose colleagues thought of her as an inhuman machine because she saw the world differently to them. In the Doctor she finally had a true friend, a kindred spirit even, someone who understood the way she thinks and didn’t think less of her for it. And she’ll never know.

And dear Jamie. Oh, my poor, sweet Jamie. What’s he meant to do with himself now, alone in the Highlands, with everyone he knew dead or in exile? His relationship with the Doctor was closer than any other companion we’ve seen so far, except for Susan I suppose, but the dynamic feels different. I definitely wouldn’t call it paternal, at any rate.

At least they don’t know what they’ve lost, for what little comfort that is. The Doctor gets to live with the knowledge that he’ll never see his friends again. And his punishment has only just begun.

Seeing as he’s put so much effort into keeping it safe, he will be exiled to the planet Earth. He can keep the TARDIS, but in a disabled state, with even his knowledge of how to work it purged from his mind. Until such a time the Time Lords deem fit, he’ll be confined to one time, one planet, that isn’t even his own. And he won’t even be allowed to keep his face.

Such is the power and the judgement of the Time Lords.

The Peerage System: Even In Space, It Stinks

If the Time Lords are all such sticks in the mud, I’m not surprised the Doctor left home. Who died and made them "Lords" of Time? How terribly pompous.

It’s quite striking really, how much the Doctor has changed from when we first met him. In the early days, the Hartnell Doctor wasn’t such a far cry from the Time Lords, only really getting involved in local goings-on when he didn’t have any other choice. Look at him now, putting them in their place. I may or may not have cheered at the television set in support of the wee chappie.

That said, I don’t think he was ever as cold and detached as the rest of the Time Lords seem to be. His wanderlust and sense of curiosity was there from the start—something sorely lacking in the rest of his people.

It’s unsettling, this dispassionate power. One gets the sense that the Time Lords are to us as we are to insects. And we would have just as much luck arguing with them as an ant does to a boot. Perhaps the wider universe is lucky that they don't want to get involved.

The Doctor may have returned to his planet of origin, but it wasn't much of a homecoming. That would require warmth. It didn’t even occur to the Time Lords at first that his human friends would want to say goodbye to the Doctor. What sort of society is that, where affection and attachment are strange concepts? I don’t think they went out of their way to be cruel, but I don’t think it occurred to them that they weren’t being kind.

Speaking of unkind: The War Lord’s people. It seems a bit extreme to essentially imprison an entire planet for the actions of a few of its leaders. Even if they were abhorrent. I still have questions about them. We didn’t even get a name for the species as a whole. That said, I do have a theory. It’s ironclad, trust me. I think they could be "Dals", at a point in their history before they turned into screaming pepperpots. I have two compelling pieces of evidence:

The Security Chief’s oddly Dalek-like cadence to his speech.
I enjoy the idea, and I am always right. Except when I'm not.

So, there.

Final Thoughts

Wow. The end of a marathon serial, and the end of an era.

I’ll get my final thoughts on "The War Games" out of the way first. It was great! Genuinely one of my favourites in all of “Doctor Who”. It’s a creative romp through time, with the stakes for the Doctor and his friends higher than ever before. What’s not to like?

Well. If I must… I was a tad disappointed that the War Lord didn’t turn out to be quite as big a deal as I thought he was going to be. He makes such an impression upon first arriving, but then he’s barely involved in the goings-on thereafter.

However, the revelation of the War Chief’s ulterior motives almost makes up for the letdown. They have interesting chemistry, him and the Doctor. It’s ambiguous how well they knew one another prior to meeting here, but they definitely knew of one another. Both being runaway Time Lords, there’s a degree of understanding between the two, much as the Doctor would hate to admit it. Pity the War Chief had to die. He could have made quite the nemesis.

The ending for the captured humans is also a bit abrupt. They do at least get to have a climactic battle (well, more of a skirmish) for control of the War Room, but once the Time Lords get involved, poof! They all vanish. It does serve to establish the immense power the Time Lords possess, but it’s not entirely satisfying.

But this is me deliberately looking for fault. These quibbles are there, but to me they’re not a significant hamper on my enjoyment of the story. I just enjoy the good bits too much to let the less-good bits bother me.

And now, it’s time to close out an entire era of Doctor Who. I’m more than a little heart-broken; I adored the current iteration of the TARDIS crew. They’re like a proper little family.

I’ve especially enjoyed the relationship between the Doctor and Jamie. They’re just so comfortable with each other, and the chemistry between Troughton and Hines has always been wonderful. I’ve always found it endearing how affectionate they are with each other, the banter, the absolute undying loyalty. It’s so sweet, and so sad to have their travels together brought to such an abrupt end.

They're adorable. Even if the Doctor did forget what Jamie looks like that one time.

And as for saying goodbye to the Second Doctor, well. It hurts. But I cannot stress enough how much I have loved Patrick Troughton’s take on the Doctor.

Really, it’s extraordinary. It’s an unenviable task, having to take over a beloved character from a great performer like William Hartnell. And yet..! He rose to the challenge, and performed admirably. Troughton's Doctor is very much his own, distinct from the first incarnation, yet still having the same soul. The curiosity is still there, the mischief, the sense of justice. He's a continuation, not an imitation. Just as it should be.

I loved that little man, his wit, his endearing clownishness, and the incredible warmth. How could I not? And then the flip side, the cunning, the moments where the clown mask slipped to reveal glimpses of the much more serious, contemplative, sometimes even melancholic man underneath it all. That’s where the magic is. That’s what makes the Troughton Doctor so compelling.

Thank goodness he ditched that hat, though.

And what comes next? Or rather, “Who”? Well, I had been getting a little nervous at the lack of announcement thus far, but have no fear, because a few days ago the BBC finally made the announcement. Next time we see the Doctor, he’ll be played by Jon Pertwee.

There’s a pretty decent chance you’ve seen Pertwee in one thing or another. He’s been doing plenty of work for the BBC for the last couple of decades, and his film career is certainly nothing to sniff at. If you’ve seen the 1953 film “Will Any Gentlemen…?”, you’ve even seen him perform alongside William Hartnell. I choose to take that as an encouraging sign.

I’m sad to see Troughton go, but I have faith. If Doctor Who can pull off a change of Doctor once, it can do it again.

Thank you for being a wonderful Doctor, Patrick Troughton… and good luck, Jon Pertwee.

5 stars out of 5 for “The War Games”.

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Science Fiction/Fantasy, TV

[June 12, 1969] Heavy on the Bitters (Star Trek: Turnabout Intruder)

June 12, 2024 Janice L. Newman 9 Comments

by Janice L. Newman

The mood was bittersweet as we gathered to watch the final episode of Star Trek. It also held a hint of trepidation: would we get another instant classic, like All Our Yesterdays, or another disappointment, like the string of episodes before it?

As it turned out, the final episode of Star Trek, probably the last new one that will ever be aired, was compelling, well-acted, well-paced, well-directed…and disappointing for an entirely different reason.

The episode opens with Kirk encountering a former lover, a woman by the name of Janice Lester (not to be confused with Janice Rand, his former yeoman). Lester is ill, having received a dose of unknown radiation, and Kirk stays at her bedside to discuss their shared past, which was rife with emotional upheaval. Then Lester utters a sentence that gave every one of the watchers pause: “Your world of starship captains doesn't admit women. It isn't fair.”

This, on the face of it, makes no sense. I will discuss why later in this piece.

Kirk agrees with her that, “No, it isn’t.” When he turns away from Lester for a moment, she sits up and remotely triggers an alien machine which causes their “souls” to be switched. Kirk’s mind is now in Lester’s body, and vice-versa.

The plot that then unfolds is simple: Kirk must try to convince his crew that he is himself, despite being in Lester’s body, while Lester must convince them that “Janice Lester” is dangerously insane and that she is Captain Kirk. Lester is hampered by the fact that she is emotionally unstable, to put it mildly, and clearly unfit to be a starship captain. Spock uses Vulcan telepathy early on and believes Kirk, and the rest of the crew slowly come to support him as well, despite no medical tests showing anything off about Kirk (this is another implausible point—surely brain scans, psychological tests, or gauges of emotional stability should have shown that something was different.)

I have to give both Shatner and Sandra Smith, who played Janice Lester, credit here. Shatner does a good job playing someone not himself, particularly with body language (small touches like primly sitting with his knees together in the captain’s chair, for example). Smith also does an excellent Kirk impression. It's clear she studied his mannerisms before the role, and the tight, narrow-eyed, watchful look she has throughout definitely evokes him.

Eventually, apparently with the help of Spock’s telepathy, Kirk is able to force a reverse mind-transfer. Lester breaks down, and Kirk ends the episode with a mournful, “Her life could have been as rich as any woman's, if only. If only.”

There are a couple of ways to interpret this story. You could, as we tried to do, simply say that Lester sees sexism where it none exists, blaming an outdated concept for why she couldn’t get promoted rather than her own mental and emotional instability. Unfortunately, this is undercut by Kirk’s agreeing with her statement that, “It’s not fair,” and Kirk’s own final words that her life could have been as rich as “any woman’s”.

On the other hand, taking it at face value seems wildly counter both to previous episodes and to current (present-day) trends. “Number One” from The Menagerie was a woman, and even acting captain of the Enterprise back in Pike’s day, years before Kirk was put in charge. Perhaps there hasn’t been a female starship captain yet (there are only 13 Enterprise-class ships, per Tomorrow is Yesterday) but you don’t make someone First Officer if there’s no avenue for them to eventually become a captain. And in “our world”, two world leaders are women: Golda Meir became the Prime Minister of Israel just two months ago, while Indira Gandhi has been Prime Minister of India since 1966! In every other way, the “Federation” has been shown to be an organization freer of prejudice than our own time. Race hatred is a thing of the past, so much so that the very idea causes revulsion in Day of the Dove and helps Kirk realize that they are being controlled. Yet we are to believe that this same future somehow bars women from holding certain positions of power?

Perhaps…yes. The ugly truth is, no matter how we spin it, those lines on the face of them say to female viewers, “Stay in your role. You are allowed to do certain things, but not everything a man can do. To want more is madness.” This, from a show that made so many women into science fiction fans, and for which female fans have fought so hard and created so much support, is doubly insulting.

In summing up, I can’t put it better than a friend who goes by Greenygal, who has had thoughtful and interesting commentary on a previous episode as well:

Do I prefer to think that all the dialogue of women's limitations and hating womanhood and "as rich as any woman's if only" is just about Janice Lester's own issues and not institutional and societal sexism in the Star Trek universe? Sure, of course. Are those lines perfectly innocent? No. Do they hurt? Yes.

Bittersweet indeed. Four stars, despite the script, because the production and acting were just that good.

Despite Itself

by Lorelei Marcus

While it's true that the episode sets out to send an egregious message about female incompetence in the realm of leadership, I think the result is quite the opposite. In the world of literature there is an emphasis on showing rather than telling the audience any information that needs to be conveyed. Not only is presenting a concept visually rather than verbally more engaging and complex, but also more impactful because of our dependence on sight as our number one sense of reality. We may not believe everything we hear, but we almost always believe what we see. Perhaps that is why I was so moved to see a woman unquestionably in the captain's role, with no epithets to belittle her importance.

The person on screen may be the soul of a man trapped inside a woman's body, but what we hear and see is a woman's voice and a woman's face speaking with the same determined spirit of Captain Kirk, receiving the same respect from the male first officers as any leader of the Enterprise. She is not a "beautiful" Captain, or an "ice cold" Captain, or even a "woman" Captain. She is simply, The Captain, a person with a role beyond her appearance.

Before this episode I had not realized the extent of the limited portrayals of women in television. I had heard the first season of The Avengers was remarkable because the co-star role had been written for a man, but ended up being cast as a woman, and the characterizations were excellent because of it. I never saw this first season for myself though, and when I tuned in later several seasons in, it was to a new female co-star relegated only to being the seductress, beauty, and potential romantic interest for the lead.

Nearly everywhere, women characters are written differently than men, and severely restricted in the roles they can play in a story. Even in the lauded Is There in Truth No Beauty?, the female guest star is primarily interacted with on the basis of her beauty and her ultimate destiny is to fall in love, despite her being a talented ambassador and telepath. Female characters, no matter how intelligent, or complex, or interesting, will always be confined by the expectations of the characters around them and the audience. The first thing noticed about them will always be appearance, and unless they're meant to be the villain, they will always end up in some sort of romantic scenario, because that is the way it is. But Turnabout Intruder made me realize that it's not the way it has to be.

No one calls Janice's body “beautiful”. No one tries to court her. Once the first officers understand her authority, they never question her intent or her orders. And thanks to brilliant acting and slow pacing, there were moments when I forgot that she was meant to be Kirk at all, and simply believed a woman was the Captain of the Enterprise. In much the same way that seeing Uhura on the bridge for the first time was world changing, seeing Janice sit confidently in the captain's chair, or at least the witness chair, which is much like it, was inspiring. She is a symbol that makes me believe that even I could become a starship captain someday.

I can only hope that this is one of many examples to come. Television is a reflection of our larger society. If women of the silver screen can break free from the bonds of limited expectation, then so can those of society. For the positive role model, and a good viewing experience, I give the episode four stars.

Painfully Familiar

by Jessica Dickinson Goodman

"Your world of starship captains does not admit women."

That one line hit like a phaser to the back. It was just one of the many times I had a strong, visceral reaction to lines and moments in this episode, vacillating wildly between recognition and revulsion.

It is a hard thing, to hear true words spoken by a villain. Dr. Lester has to be a villain, because she hurts Kirk, and then gloats about it. She killed her team, has never moved past her and Kirk's young connection at Starfleet Academy, and declares that she never loved him but instead loved "the life he led," his "power."

This poisons the powerful truth telling of her words.

Watching Dr. Lester-in-Kirk’s body back up when the officer in orange is menacing her-in-his-body, was so recognizable, so clear an experience known to many of the women and perhaps fewer of the men watching. Likewise, when Dr. Lester-in-Kirk stands over the young communications officer and hollers at her, that too, is painfully recognizable. That she-as-he treats Spock with the same overbearing arrogance is just another reminder how tenuous a protection gender is to anyone deviating even a blue eye shadow’s swipe away from the straight and narrow.

After that dominance-driven performance on the bridge, with all its uncomfortable complexity, we are back to the same sexist clichés that too many people explicitly and implicitly trot out to force women out of so many leadership roles: "hysteria" and "emotional instability" and "erratic mental attitudes." This too is a danger of science fiction, taking cruel characterizations that rarely if ever entirely encompass a real, living human being, but on screen can flow out to fill the edges of a full character, leaving no complex internality to explore or expose.

These characterizations perfectly match what we see on screen, and what we see other women believe about Dr. Lester on screen. I was particularly disappointed by Nurse Chapel's easy agreement that the woman in front of her was insane, with no one but a strange man's say-so. Chain of command means passing little to this crew when it suits the plot, but in this instance it turns Nurse Chapel into a tool as if she has no other purpose or will but to obey.

Setting aside the male chauvinism that made my skin crawl and neck itch throughout the entire episode, if we treat Dr. Lester as a whole person, desperate for a chance to engage in leadership, it is fascinating to see what an incredibly bright woman, kept outside of the power structures that she still chooses to serve, sees as the motions and emotions of power. Though Bones's recitation of Dr. Lester-in-Kirk's body's mental changes is one correct summary, there are other aspects to highlight.

Dr. Lester-in-Kirk thinks that leaders—or perhaps just Captain James T. Kirk—has power by virtue of his title and rank, his smirking glad-handing relationships with his staff, his willingness to bully and raise his voice, his knowledge of and position within the legal and hierarchical systems of Starfleet, and when in a moment of extreme danger to Dr. Lester-in-Kirk's masquerade, his willingness to use violence. Yes, Bones was horrified to see Dr. Lester-in-Kirk hit Kirk-in-Lester. And yes, and Spock brought it up chidingly later. But one slapped Dr. Lester-in-Kirk in irons, threw him in solitary, or drugged him with sedatives because he'd laid hands on a nearly-naked, nearly-dying ill colleague (I would have wished for the actor's sake that the director would have tried for one more take of that scene, perhaps one where her half her bottom wasn't visible when she was lifted by the crew).

This vision of brute-force leadership is both cruel and perhaps one most of us have seen in our own lives or that of our country.

But then I swing back to recognition during the interrogation by Spock and the trial, not from the actions of Dr. Lester or Captain Kirk, but by Spock. Spock's argument and method of discovery are both deeply, traditionally feminine: in a system designed by human men, his forms of evidence are not accepted, the reality of his perceptions are not honored as evidence in their systems of justice, and his entire position is mocked and undermined, from the smirking guards to the giggle of the young communications officer we saw Captain Kirk dominate over earlier.

And yet, in the best of feminine traditions, Commander Spock persists. He insists on hearing Kirk-in-Dr. Lester. He believes his own mind, his own way of knowing things, is valuable, and while he is disappointed not to have it confirmed by the methods and sources acceptable to Starfleet tribunals, he does not waver and does not drift from his convictions.

"Her intense hatred of her own womanhood," is Captain Kirk-in-Dr. Lester's summary of why he dumped her. And that is one way of viewing her. But a fuller version of her, one made less glassy and plastic by the world of our own viewers, has the potential to be more Beatrice than Cruella de Vil.

Beatrice cries out in Act IV, Scene I of Much Ado About Nothing, after the young rake Claudio has ruined the life of Beatrice's even younger cousin Hero:

Beatrice: You dare easier be friends with me than fight with mine enemy.

Benedick: Is Claudio thine enemy?

Beatrice: Is he not approved in the height a villain, that
hath slandered, scorned, dishonoured my kinswoman? O
that I were a man! What, bear her in hand until they
come to take hands; and then, with public
accusation, uncovered slander, unmitigated rancour,
—O God, that I were a man! I would eat his heart
in the market-place.

That fantasy of Beatrice's is so much more violent and explicit than anything Dr. Lester-in-Kirk ever says, ever does: eat his heart in the marketplace.

Wow.

While Dr. Lester first simply aims to have Kirk warehoused on a strange planet, a cruel and earthbound life for a starship captain that provides some deep irony, it is not as explicitly violent as it could have been.

It is nearly as cruel as having her colleague take ownership over Dr. Lester when she finally loses, her body and life given to him because he promised to "take care of her."

That was a final, deeply disturbing moment in an episode that gave me such a strong and impenetrable mix of feelings, I found myself wishing for a Vulcan mind-meld to sort them all out with me.

I was however heartened by the final lines. "Her life could have been as rich as any woman's, if only … if only."

One read is, "’if only’ she had surrendered earlier in her life to a gender role of vastly limited scope and ambition." But it just as likely could have been, "’if only’ she had lived in a more enlightened time, when her leadership yearnings were treated with respect, honed, corrected, and empowered so she could become the powerful, effective starship captain she so clearly wanted to become."

Three stars.

Love and Ambition

by Joe Reid

If the woman I loved were so jealous of her ex-boyfriend that she pretended to be him to take everything he had accomplished, could I still love her? My answer is a resounding NO! However, in this week’s episode of Star Trek, titled “The Turnabout Intruder,” we meet a man who would answer yes: Dr. Arthur Coleman. I have rarely seen anyone, woman or man, as committed as Dr. Coleman was to Dr. Janice Lester.

We meet both doctors on the planet Camus II. The Enterprise arrives in response to a distress call from the planet. There, we find an infirmed Dr. Lester under the care of Dr. Coleman, the last two surviving members of a research party. Kirk recognizes his former girlfriend and speaks kindly of her. Then, as signs of life appear elsewhere, the crew and Dr. Coleman leave to assist, hoping to find another survivor. Kirk is left alone with Dr. Lester. In the ensuing silence, Lester springs her trap, using an alien machine to swap bodies with Kirk. Lester now inhabits the healthy body of Captain Kirk, while Kirk lies struggling, trapped in Lester’s weakened body. What follows is a secretive cat and mouse game as Lester, in Kirk’s body, tries to eliminate the man trapped in hers, all while avoiding the suspicious gazes of the Enterprise crew and later matching wits against a fully recovered Kirk in female form. Through it all, Dr. Lester could fully rely on Dr. Coleman, who would do almost anything for her.

In this episode, Coleman proved his incredible loyalty to Lester. As someone who had not fared well in his career, Coleman and Lester appear to be kindred spirits, with her feeling held back herself due to her sex. Lester apparently concocted her plan upon discovering the alien mind transfer machine that lured Kirk, her former mate and the man who had achieved all the accolades she felt she deserved, to Camus II. In carrying out this scheme, Lester eliminated the other members of the research party. Through it all, Coleman stood by her side. He himself refused to kill anyone, allowing Lester to pursue her intent. Even when Lester, in Kirk’s body, gave Coleman senior medical authority on the Enterprise and asked him to murder the new Janice Lester. Bloodying his own hands was the only line he would not cross for her. Coleman’s devotion to Lester proved to be heartfelt. At the climax of the episode, the mind switch was reversed. Kirk and Lester being once again in their own bodies, left Lester insane with grief and devastated. It was here where Coleman professed his love for Lester and vowed to care for her going forward.

Coleman’s love for Lester was unquestionable, his loyalty steadfast. This raised the question in my mind of what Coleman would have done had Lester remained a man. Would his love for Lester find expression if she were in a man’s body? Perhaps he hadn’t thought things through, or perhaps it wouldn’t have been an issue for them. We saw, during one of their private moments, how Lester related to Coleman in a feminine manner as she touched his shoulder, attempting to coerce him into killing for her.

In the end, Coleman got exactly what he wanted. He was given permission to love and care for the woman he would go to almost any length for. Arthur Coleman proved more valuable to Lester than all she had hoped to gain in Kirk’s skin. Although her ambition for power failed her his love didn’t.

Overall, “Turnabout Intruder” was very well acted, with heavily nuanced performances by Mr. Shatner and Ms. Smith. Kirk delivered subtle femininity, softness, and female exacerbation convincingly. Lester grew more stoic and strategic as the story reached its climax. For its complex character dynamics and fine acting I’m willing to say this is among the better episodes of Star Trek.

Four stars

The End?

by Trini Stewart

After finishing "Turnabout Intruder", I’m inclined to reflect on Star Trek as a whole. I can’t help but acknowledge that my expectations for the episode are largely influenced by the loss of the beloved series. My first instinct is to be let down by the episode as a finale, since I hold the series so dear and the final episode had a fairly weak delivery as far as the intended message goes. What we got was an antagonist who, despite her compelling acting, I didn’t quite resonate with, even as a woman who regularly faces systematic sexism in a male-dominated work environment. While I found that Dr. Janice Lester’s challenges are inherently relatable and frustrating, her excessively drastic, vengeful means of getting her way made it more difficult to connect with her or understand her exact desires.

Nevertheless, instances of imperfect composition from Star Trek have never been enough for me to write off an episode or feel this kind of complete malaise about one as a result. There were enough ingredients for an enjoyable Trek episode in this one; there was convincing character work from everyone on the Enterprise, good teamwork from the close-knit crew to determine what was best for the well-being of the ship, plenty of Spock being the competent knock-out he ought to be, and an ending that avoids a high-stakes threat for a crew member. Regardless of whether I could relate to her, I was still intrigued by the consequences of Dr. Lester's futuristic and unconventional solution to systemic sexism, and I was curious about what exactly prevents women from being in leadership positions like being a starship Captain in the future.

Maybe what was more disappointing to me than the actual content was that there was a lot of lost hope for something more profound: a grand episode that needn't be perfect or anything, but at least answered some long-standing questions or gave hints of where the crew would be after we could no longer join them. There’s so much in this universe left to discover and explore, and many more discussions to be had with other fans. Not only that, but there is plenty of content I have yet to see from seasons one and two—I realize that my experience of the series is incomplete in more ways than one, and feeling robbed by the series’ cancellation doesn’t help.

Like thousands (millions?) of others, I fell in love with this show for its characters, its sense of adventure in uncharted territory, and the community that has grown around it, and I am simply not ready for all of that magic to end. "Turnabout Intruder" turned out to be a good episode overall, and a decent one to end the series on, all things considered. I’ll be looking forward to the reruns and continuing to celebrate Star Trek with so many others who treasure it, too.

3.5 stars.

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Science Fiction/Fantasy, TV

[June 8th, 1969] Dissension In The Ranks (Doctor Who: The War Games [Parts 5-7])

June 8, 2024 Jessica Holmes 1 Comment

By Jessica Holmes

When I said this serial was long, I wasn’t exaggerating. We’re getting closer to the end—but we’re not there yet.

Let’s check up on how the Doctor and company are getting on in “The War Games.”

In Case You Missed It

We last left the TARDIS team scattered, the Doctor on his own in the sprawling futuristic central command, Jamie with the Resistance in the 1860s, and Zoe about to be shot as a spy for the Kaiser. Suffice to say, I’m having a lot more fun than they are.

Fortunately for Zoe, she’s more valuable alive than dead, so while the Security Chief hauls her in for questioning, the Science Chief takes Carstairs for more thorough reprogramming. And he has an eager audience of one: the Doctor, who the Science Chief hasn’t yet realised isn’t meant to be here.

As for Jamie, he manages to persuade the Resistance not to kill their prisoner Von Weich, and also reveals to them their puppet-masters’ true means of communicating with central command and moving troops from zone to zone; not tunnels, as they had assumed, but the big green (or so he says) travelling box that's bigger on the inside. It turns out later that it's called a SIDRAT (pronounced 'side-rat'). Funny acronyms on a postcard, please.

The Doctor takes the opportunity to rescue Carstairs when the Science Chief de-programs him in preparation for proper reprogramming, and the pair of them strap him into his own machine before running off to find Zoe. Zoe’s a little the worse-for-wear following her interrogation at the hands of the Security Chief and his truth-seeking visor/bizarre binoculars. On the one hand, the Security Chief now knows about the Doctor and the TARDIS. On the other, he made the mistake of showing Zoe images of all the Resistance leaders—along with their names and their respective time-zones. Thanks to Zoe’s perfect memory, they now have the information they need to start finding these separate pockets of resistance and bringing them together.

They’d better get a move on, because the War Chief is already dispatching guards via SIDRAT to the American Civil War Zone to investigate the disturbance there— and they’ve already killed Harper, the soldier who came to Jamie and Lady Jennifer's rescue earlier. Pity. I hoped he was going to stick around for at least a little while longer. Survival rates of Doctor Who side characters are already pretty low. Looks like they drop to zero if you’re not white.

The other members of the Resistance manage to overpower the guards, however, and Jamie takes a ride back to the base in the SIDRAT, accompanied by his Resistance allies (save one who gets held back from the adventure to keep Von Weich company. That one happens to be played by David Troughton. The surname is not a coincidence. What's the opposite of favouritism?)

Fortunately for the Science Chief, the Security Chief finds him before he gets his brains too badly scrambled, but the Security Chief is too suspicious of the War Chief’s true motives to report the incident to him. It turns out that the War Chief and War Lord are not from this world; unlike him and his cohorts, their people have the secret of time-and-space travel. If the Doctor has this secret too, thinks the Security Chief, perhaps his overlords are bringing in more of their own people to sabotage the experiment.

Well, their technology does seem similar. Same function, familiar design, and SIDRAT is literally just TARDIS backwards. But the Security Chief called them 'Time Lords', and I don’t know about you but the Doctor does not strike me as terribly lordly.

Jamie and the Resistance get a rather frosty reception when the SIDRAT arrives at central command, stunned by a barrage of ray-gun fire. The guards drag him and his allies off to the reprocessing room for examination, and the Doctor heads to the neighbouring room to attempt a rescue from the other side.

Finding that Jamie has never been through the reconditioning process, the Science Chief sends him to the Security Chief for interrogation. Taking advantage of the distraction, the Doctor and Carstairs break into the reconditioning room through a wall panel, quickly overpowering the Science Chief and his guard.

It’s not long before they’ve also rescued Jamie (while the Security and War Chiefs are running round like headless chickens searching for them), and with some handy disguises they all pile into the SIDRAT, the Doctor managing to make it work with surprising ease. Sending Zoe on ahead with the Resistance, he hangs back with Jamie and Carstairs to steal the reprocessing machine.

The SIDRAT arrives back at the barn not a moment too soon, because Von Weich is trying to hypnotise his way out of captivity. His guard manages to fight off his control, however, and shoots him dead.

Meanwhile, the Doctor nicks the processing machine, and it looks like he’s about to make a clean getaway when his stolen SIDRAT grinds to a halt. The pod is impregnable, just like the TARDIS, but what happens if the dimensions inside suddenly match the dimensions outside? It becomes rather snug, that’s what. And with the War Chief outside pushing the dimensional control dial down even further, it won’t be long before the trio are pressed to a pulp.

With no choice but to surrender, the Doctor emerges from the SIDRAT, only to drop a gas grenade from his stolen WWI gear a moment later. While the security guards are reeling, he rushes to the control panel, stealing the navigation circuit rods and restoring the inner dimensions of the vehicle. Just to be safe, he snaps off the lever for good measure, and absconds with the SIDRAT.

Unable to track him while the SIDRAT is still moving, the War Chief prepares for the arrival of the War Lord (Philip Madoc). This man is rather a different beast to the War Chief. He’s quieter, surprisingly soft spoken until he gets angry, and there’s no doubt that this is the most dangerous man on the planet right now. And he is very, very tired of the War and Security Chiefs’ bickering.

On board the SIDRAT, they’re no clearer on where they’re heading, least of all the Doctor. No matter the specific model of Space-Time machine, one thing is guaranteed: the Doctor is a lousy driver.

Landing in the Roman zone, the Doctor, Jamie and Carstairs have to make a hasty break for the time zone barrier, lest they end up on the wrong end of a centurion’s spear.

They aren’t really any better off for stepping into 1917, with General Smythe immediately ordering his gunners to fire on them. Fortunately, they aren’t pinned down for long before Zoe arrives with a small band of Resistance troops. However, more troops arrive to arrest the Doctor, bringing him and his friends back to the chateau, where Smythe sentences him to death…again.

Once again they get about as far as tying him to the post when a surprise attack scuppers the execution, this time coming from the Resistance. Smythe gets himself killed while attempting to escape, and the Resistance secure the chateau.

Wishing to avoid spoiling his little experiment by using his elite security forces, or destroying the valuable equipment at the chateau by simply bombing it off the map, the War Lord orders the local forces (British and Prussians and Frenchmen, oh my!) to assault the chateau on all sides.

With the attackers closing in, the Doctor has an idea. Finding a control device for the local time zone barrier in Smythe’s quarters, with Zoe’s help he’s able to create a new barrier encircling the chateau. The Resistance can come and go as they please, but the programmed soldiers outside will find themselves unable to approach. A single soldier managed to get into the chateau before the barrier went up, and the Doctor is quickly able to deprogram him with the processing machine. It's encouraging to see that it works, but deprogramming every single one of the untold thousands of soldiers throughout the zones will take until doomsday. Until the Doctor gets his hands on some more equipment, this will have to do.

Unfortunately it’s not certain that he’s going to get that chance. Now isolated from the zone outside, there’s nothing stopping the War Lord sending a SIDRAT of his own security forces. And so the Doctor falls into the hands of the War Lord.

A WHAT Lord?

Well, well, well. Things are really getting interesting. This War Lord seems to be an entirely new kind of enemy, with a power level beyond any we’ve yet seen, save for perhaps the Great Intelligence or the Toymaker. The strong implication that he and the Doctor may be of the same world is a tantalising one.

Time Lords: quite a grandiose name for an alien race, don’t you think? Are they just too pompous for their own good or is that a title with actual meaning? It’s hard to imagine this Doctor as any kind of lord—though I think I could see it with his previous incarnation. It’s an interesting notion, but I hope we’re not going to spoil all sense of mystery about the Doctor. That’s part of the fun.

I’m happy to report that astonishingly for a serial of such length, the pacing still works. It’s a really fun ride with no signs of slowing down. We’ve not seen much of the War Lord yet, but he’s very promising so far. Philip Madoc’s presence on-screen is magnetic. I’m looking forward to seeing what happens when he comes face to face with the Doctor.

Final Thoughts

It’s a funny thing, simultaneously being eager for the conclusion of a story, yet at the same time wishing it didn’t have to end. I’ve grown very fond of this incarnation of the Doctor, and it’s strange to think that the next time I sit down at the typewriter to hammer out my thoughts on his escapades, it will be the last. Of course, the Doctor himself will keep on going (for however long the BBC sees fit), but not as the funny little chap with the recorder. I could wax lyrical about him— but I will save that for next time.

Still, no point grousing about it. The wheel of history keeps on turning, and so does Doctor Who.

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Science Fiction/Fantasy, TV

[May 18, 1969] Whirr Hum Bang Bang (Doctor Who: The War Games [Parts 1-4])

May 18, 2024 Jessica Holmes Leave a comment

[Join us for ongoing LIVE coverage of the Apollo 10 flight—going on right now!]

By Jessica Holmes

I’m a bad-news-first type of person, so I’ll get this out of the way: this is the last serial of the current series of Doctor Who. And, per the Radio Times, that makes this serial Patrick Troughton’s last as the titular Doctor. But here’s the good news:

We’ve got a good while to go yet, because this is a very long serial.

And better still, “The War Games” is brilliant.

In Case You Missed It

From the moment the TARDIS lands in the middle of a sodden battlefield, the crew within are in terrible danger. Emerging to find themselves caught in the midst of the First World War, it’s not long before the team are captured under suspicion of being German spies.

However, it soon starts to become apparent that there’s something rather wrong here. Other than, you know, the total war and unimaginable horrors and all that. No, it’s a bit weirder than that. It certainly looks like we’re in France in 1917, and everyone is talking as if that’s the case, but the personnel have no backstories. Not in the ‘these people are badly written’ sense, but in the sense that when they ask one another about where they’ve been or what they’ve been doing, they have absolutely no idea.

It’s all to do with General Smythe (Noel Coleman) at the local British base, and the decidedly anachronistic communication device in his office. It soon becomes apparent that he’s collaborating with forces far beyond British high command, using mind control to manipulate the men and women under his command towards his own ends.

The new arrivals threaten to upset his control, and he wastes little time in court-marshalling the travellers. They don’t get a chance to defend themselves, and Smythe pronounces all three guilty. Jamie’s sent to a military prison to await trial on further charges of desertion from the highland regiment, Zoe is placed in the custody of a WVR until she can be sent to a civilian prison, and as for the ringleader of their little ‘spy ring’? The Doctor is sentenced to death.

This is treated with more gravity than we’ve usually come to expect from Doctor Who. Sure, everyone’s been in mortal peril plenty of times, but we get the feeling that the characters believe they’ll get out of it in one piece. That’s not the case here. If it were, the Doctor would have told his friends ‘see you soon’ rather than ‘goodbye’. And it’s played by all involved with real sincerity.

After a damp squib of an escape attempt that only succeeds in delivering the Doctor into the hands of his executioners, a surprise German attack grants Zoe and the Doctor an opportunity to flee.

Elsewhere languishing in military prison, Jamie’s very surprised when a Redcoat is thrown into the cell with him. Yes, a Redcoat. This chap seems to think that the year is 1745—and just like the WWI soldiers, he can’t remember how he got here.

We now arrive at a delightful sequence: the Doctor’s method of breaking into a prison. Does he go for brute force? Of course not. The stealthy approach? You’d think, but no. What he goes for is pure cheek. He flags a car down, berates the driver, and demands to be driven through the front gates.

Upon arriving, he pretends to be an examiner from the War Office, and goes on the opposite of the charm offensive. The offence offensive, you could say. He is very, very cross and hell-bent on making it everyone else’s problem. It’s adorable. And funny. Like being yelled at by the world’s angriest penguin.

You see it too, right?

And it works! Not only does the warden buy the ruse, he shows the Doctor layouts of the prison, the logbook, and is about to approve of a visit to a particular Scottish prisoner when a phonecall comes in. Unfortunately, said Scottish prisoner has just tried to escape, aided by his unlikely Redcoat accomplice, who ended up shot in the attempt.

Thinking fast, the Doctor demands that the guards bring him the escaped prisoner. However, his bluster is starting to wear thin, and the warden grows suspicious of the pair of them. The best laid plans of mice and men often go awry, let alone off-the-cuff schemes that run on pure chutzpah.

Recaptured, it looks like the three are back where they started. However, two of the General’s subordinates, Lt. Carstairs (David Savile) and WVR Lady Jennifer Buckingham (Jane Sherwin), have started to become suspicious of the General’s conduct. Realising that they both have a sense of missing time, they’re a little more willing to listen to the ‘spies’ side of the story.

Having discovered it earlier in the unsuccessful escape attempt, Zoe shows the group the communication device in Smythe’s quarters. Smythe for his part isn’t around. He departed some time ago for a conference, travelling via a strange transportation pod that fades in and out of existence with a somewhat familiar sound.

Convinced by the evidence presented (which they couldn’t even see until they concentrated), Carstairs and Lady Jennifer agree to help. The group escape together in an ambulance moments before the General’s return, soon disappearing into a sea of fog… and reappearing on a Roman battlefield.

This is the moment where I fell in love with the serial.

Reversing away from the oncoming onslaught, they find themselves back (ostensibly) in 1917. The Doctor surmises that they crossed the boundary into another time zone. Two thousand years is quite a long way to wind your watch, to say nothing of the jet lag.

It turns out that what seemed to be northern France in 1917 is nothing more than a small part of a greater patchwork of historical periods and places. In one zone, it’s the 1640s in England. The next, 1860s America. The one thing all have in common is that in each zone, there’s a war on.

In the middle of all these warzones is an empty space. Logically, that must be the domain of whoever is orchestrating all this.

Their attempt to reach this central zone gets off to an inauspicious start with the group being captured by the Germans before very long (if I did have to complain about anything in this serial, it would be how often everyone gets captured), though they do escape quite quickly through some quick talking, the assistance of the sonic screwdriver, and perhaps most importantly, a gun.

Next stop: the American Civil War.

Their escape garners the attention of Smythe’s superior, the War Chief, a man of bad character and worse facial hair choices. Soon, all the armies of all the zones are under instructions to capture the time travellers.

The ambulance has a narrow escape from an ambush, with Lt. Carstairs staying behind to aid the others’ escape. The War Chief notes his loyalty with approval, and arranges to have him brought back to the central hub for re-processing. The War Chief (and the as-yet-unseen War Lord who commands him) have a great interest in the warriors of Earth, but to what end? It’d be funny if they were in some sort of futuristic unethical historical reenactment society.

Soon running out of petrol, the group take shelter for the night in a barn. The familiar electronic sound comes back, a travel pod fading into existence before their eyes. A band of soldiers emerge, but how did they all fit? Well, the pod must be bigger on the inside.

Once the soldiers have departed, the Doctor can’t help but take a look inside. As the sound of gunfire approaches, Zoe follows him in, the door suddenly shutting behind her. The pod de-materialises, separating Zoe and the Doctor from Jamie and Lady Jennifer.

The pod is indeed bigger on the inside—much bigger. There are multiple rooms filled with hypnotised soldiers standing shoulder to shoulder (try saying that five times when you’re drunk), all waiting to disembark at their appropriate time zones.

A gang of Union soldiers meanwhile arrest Jamie and Lady Jennifer, accusing them (much to Jamie’s frustration) of spying. It seems they’re to be granted a reprieve when a bunch of Confederates assault the Union troops, freeing them in the process. They’re even quite friendly. However, their leader, who we previously saw as the German commander in the 1917 zone, hypnotises them into believing that Jamie and Lady Jennifer are spies.

To their surprise, a man in the uniform of a Union soldier comes to their rescue. However, Harper (Rudolph Walker) is no Union solider: he’s one of a growing number of soldiers who have learned to resist the War Chief’s brainwashing. Together, they’re mounting a resistance. Recognising them as being from another time zone, he tries to help. It’s a noble effort, but doesn’t pan out, all three ending up in the Confederates’ clutches. Harper tries to win the Confederates over and break their brainwashing, but being a Black Union soldier, historical context is not on his side.

Fortunately for them, the rest of the Resistance aren’t far behind, but to Jamie’s distress they don’t plan on taking any prisoners.

The Doctor and Zoe eventually end up at the travel pod’s origin point, and emerge to explore the sprawling facility. There are dozens of people working to keep this whole system going, and the pair disguise themselves as part of their number to sit in on a lecture given by the chief scientist.

Keeping thousands of people fighting perpetual fake wars takes quite a bit of brainwashing to accomplish, and it’s no good if people keep resisting the process. As such, he’s been working on improving the mental conditioning device. Lt. Carstairs is the guinea pig, and once the process is complete, he’s entirely willing to accept the reality presented to him. The year is 1917, he’s among his fellow officers, and the two strangers sitting in the front row are German spies.

You could make a drinking game out of this. Take a shot every time the Doctor and company get accused of being spies. Finish your glass if someone gets sentenced to death. You might need to get your stomach pumped afterwards.

Thinking he’s just got a bit carried away in the fantasy, the lecturer doesn’t believe Carstairs and has him wheeled away for further examination. The Doctor takes the opportunity to critique the mental conditioning device, and thereby learn how it works and how it might be used to de-condition a subject.

As he’s about to leave, the War Chief turns up, immediately realising that the Doctor and Zoe don’t belong. They have to run for it, getting separated in the chase. In all the chaos, Carstairs gets loose, and so does what he thinks he’s right: he goes after the ‘spies’. He soon catches Zoe, and there’s only one way to deal with a spy in the field. He’s going to have to shoot her.

It's called fashion, darling.

The Mystery Box

This is an adventure that is yet to fully unfold, but the slivers we’ve uncovered thus far are a delight. “The War Games” invites curiosity, and rewards us for it with even more to be curious about.

The TARDIS team getting caught in a wartime spy drama was already rather exciting, but throw in all these different time periods clashing with each other and we’re really cooking on gas. It’s imaginative, it’s thrilling, it’s exactly what Doctor Who should be.

Who are the War Chief and War Master? I get the sense that what we’ve seen so far is part of a grander and more sinister scheme. Whatever it is, it’s far from benign. Looking at how many untold thousands (likely more) of people they’ve abducted and fed into these endless wars and the level of technology they possess, one gets the sense that these people, whoever they are, are far more formidable than your average foe.

Special offer: brainwash and mental conditioning now offered free with your cut and blow-dry!

Final Thoughts

“The War Games” is off to a terrific start.

It’s got a good pace to it, lingering a moment to let the emotional beats resonate, keeping up a steady rhythm when the action gets going. As such, despite the recurring plot point of the group getting captured, it doesn’t feel padded out. I like the characters, particularly the smart and self-assured Lady Jennifer. With all the different time periods, this feels like a properly big and sprawling adventure—an adventure I’m excited to see more of.

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[May 8, 1969] Cooked in the Chrysalis (The Monkees TV special: 33 1/3 Revolutions Per Monkee)

May 8, 2024 Lorelei Marcus Leave a comment

by Lorelei Marcus

I recently watched and reviewed the new Monkees movie, Head—a depressing and existential capper to both the TV show and The Monkees band itself. I ended the article questioning whether the members of The Monkees would be able to weather the deliberate self-sabotage of their band, or be doomed to obscurity by disappointed fans. While I appreciated Head for what it was, reception has been mixed and, in the main, less than positive. It seemed the end of The Monkees would be a quiet, tragic one.

Until April 14 of this year. Scheduled opposite the Oscars, NBC broadcast a TV special entitled 33 1/3 Revolutions Per Monkee. While half the country was dazzled by movie stars and award ceremonies, I watched the last hurrah of Pisces, Aquarius, Capricorn & Jones Ltd. It was an unusual finale, and not far removed from Head stylistically and, perhaps, in intent. But in contrast to the grim movie, I thought I saw a glimmer of hope.

The special starts strong with the surreal introduction of a pair of musical brainwashers: ebullient Brian Auger (he introduced "Drimble Wedge and the Vegetation" in the movie Bedazzled) and the enigmatic Julie Driscoll—the front-folk for the popular British band, The Trinity. The Monkees are summoned in on Star Trek-ish transporters and then trapped in giant tubes, hypnotized by a strange machine until they have lost all identity and free will, rejecting their own names for "Monkees No. 1-4". This and their subsequent (though not immediately following) musical number, "Tinman", wherein they play wind-up versions of themselves, make clear their still strong feelings of being manufactured and forced into the band-idol role.

But unlike Head, the TV special offered glimpses of what The Monkees could be if given their freedom.

Even trapped with the tubes, The Monkees are given license to dream their most desired fantasy (essentially, what songs each might sing if they had complete license), and we view these dreams in the first four vignettes of the special. Micky sings a soulful duet of "I'm a Believer" with Julie Driscoll. He is at home on the stage, comfortable with being a vocal performer.

Peter sings a soft, mystical ballad with plenty of Indian influence. The artistry of both the lyrics and the music emphasize his skill as a storyteller and musician. They also echo his role in the pivotal Eye of the Storm scene in Head.

Mike's act involves a warring duet…with himself. There is both humor and commentary as the stereotypical Texas country boy Mike and the slick, suit-wearing, city boy version of Mike compete for dominance in the song.

Finally, Davy stars in the most fantastical and theater-like number where he sings and dances in an oversized room with several female partners dressed like fairy-tale-inspired dolls. He also demonstrates his prowess as a performer, and he seems the most entwined and comfortable with his (manufactured?) Monkees persona.

These acts are perhaps the best part of the special, with each Monkee getting to express his own personality and talents. However, it does not last, and from there, the show begins to lose its way.

First, we get a random and slightly out of place modern dance piece performed against a volcanic/lava-lampy/biological matte background, that seems to be a depiction of evolution and creation. This is in service to a motif introduced by Auger as Charles Darwin, describing the evolution of music.

Then, we get a musical skit where the Monkees are dressed as actual monkees. It might also be an homage to the first act of the movie 2001, the music is only passable, and a bit too similar to the next skit.

Here, the Monkees reach their ultimate form as a manufactured rock band in a full blown '50s nostalgia concert, poking fun at the success of idols like Elvis and The Beatles. There are some impressive guest stars, including Fats Domino, Jerry Lee Lewis, and Little Richard, but as with the prior two segments, the scene goes on for much too long, losing meaning with every new dancer and musical guest brought on.

As the concert reaches its climax, the film literally burns apart, and we are left with Auger and Driscoll declaring (in their native accents, as opposed to the weird German of Auger and the…alien harpy of Driscoll) that they're tired of their brainwashing role. All they want is total freedom. They warn, however, that such freedom could result in total chaos.

At first, their caution seems unfounded as we cut to Davy singing a normal and pleasant song atop a set of scaffolding. Then, in the ensuing silence after he finishes, the camera pans to the cluttered ground floor, reminiscent of a theater storage room. Peter arrives, and without a word, sits and plays a masterful Baroque fugue on an electric piano. His performance is a poignant moment, and it feels like a long-deserved recognition of his immense musical talent…also a kind of goodbye, for the papers have since announced that Tork left the band after this special.

Then, just as casually and quietly, Micky sits at his drumset and Mike picks up his guitar. They take a moment to tune, and then they begin to play a new song: "Listen to the Band." For a little while, everything feels right again. The band is together, the music is good. They appear to be where they want to be.

The mood elevates as suddenly a whole orchestra joins in, and a new singer takes over for Mike. There is excitement in the dancing and flashing colors and swelling music—it's all a bit reminiscent of the final recording of The Beatles "All You Need is Love" as seen on year-before-last's satellite broadcast of Our World. But then confusion sets in as the Monkees disappear from view in the massive crowd, and the music itself devolves into a cacophony of blended, formless sounds. This also goes on for far longer than is comfortable, until the iconic Monkee's gorilla himself closes the book on the special, its cover titled, "The Beginning of the End."

Overall, I didn't enjoy this special as much as Head. It felt much less thought-out and clever, lacking a cohesive narrative. To a degree, I think this was intentional. Time and again, both The Monkees and their music gets lost, drowned out by other musicians and strange editing. In a specific sense, it is a direct metaphor for what happened to The Monkees. In a general sense, it symbolizes the fear of being lost in the tide of change and innovation. Or perhaps it represents simply being overwhelmed by the pressures of modern sociery. Either way, it didn't make for the best viewing experience.

Still, I see a future where The Monkees do pull through. Each of them has immense talent and an ambition to succeed in some aspect of show business. In the beginning of the special, we see what they can do, and even if it's drowned out by the end, that doesn't mean they can't resurface. In fact, as their band crumbles apart, disappearing may be the best path for a while, until they've thoroughly shaken off their former legacy and started fresh.

It's bittersweet having to say goodbye, and I wish it could have been done more elegantly, but I doubt this is the last we'll see of Micky, Peter, Davy or Mike. It'll just be when they do come back, they'll have created something completely new.

"Listen to the band…"

33 1/3 Revolutions per Monkee was a paving stone in the path toward that innovation, and while it wasn't fully successful, I can see the potential within it for future success.

Three stars.

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[May 4, 1969] Navigating the Wasteland #3 (1966-69 in (good) television)

May 4, 2024 Gideon Marcus 8 Comments

by Gideon Marcus

Well, I've waited too long to do one of these!

In 1961, I got myself a television. Not just any television—I went straight to a color set (an RCA), even as hardly anyone in the nation owned one. Heck, we still had stations that weren't broadcasting in color yet. I think NBC is the only one I can remember that touted its weekly day of color programming.

Anyway, I made up for lost time, watching a lot of (too much) television. I quickly came to agree with then-FCC commissioner Newton Minow's assessment of visual broadcast. He described it as "a vast wasteland."

Still, I found some worthy shows, and back in 1962, I put out a guide to the good shows on television at the time. In 1965, I came out with a sequel.

Why haven't I published a TV guide since? Well part of it is because we've given focus to individual shows. For instance, our Star Trek coverage has been very thorough. Janice wrote about The Green Hornet in 1967. Last year, our UK friends watched The Prisoner, which made a big splash when it hit American shores last summer. Also, Victoria Silverwolf covered the spy craze back in 1966, and that included a lot of TV shows, some of which are still on.

Nevertheless, as we head into the rerun season this year, it's a good time to look back on what's sprouted in the wasteland since our last update. After all, while some of the shows have since gone off the air, or are about to, you'll still get to catch them (often at more convenient times) in syndication.

Star Trek (1966-1969)

Obviously, this is the biggie. Star Trek was (well, there's one more episode to be aired, so technically "is") the first real science fiction series on television. Sure, there was kiddie fare before that, like Space Patrol (both the Corn Flakes-sponsored one and the puppet import from the UK) and Man in Space, not to mention (please don't mention) the profusion of Irwin Allen shows starting with Voyage to the Bottom of the Sea through Lost in Space to Time Tunnel and still going with Land of the Giants.

And yes, The Twilight Zone had SFnal episodes, and The Outer Limits was more explicitly sci-fi, but both shows were mostly inspired by the pulp era, the science fiction content primitive in the extreme.

Star Trek, for all its faults, derived from the science fiction of the '40s and '50s while spotlighting some of the social issues of today. The Enterprise essentially flew out of the pages of classic Astounding—which makes sense; Gene Roddenberry said as much to one of our friends at the 1966 Worldcon. We even had bonafide SF authors like Norman Spinrad, Robert Bloch, Jerome Bixby, Harlan Ellison, and Ted Sturgeon writing episodes…though the practice of soliciting pros quickly stopped when they began demanding too much money. Luckily, many of Trek's best episodes were written by newcomers. Indeed, one of the more gratifying things about the show has been that is has helped launch the careers of a number of women writers, Jean Lisette Aroeste and D.C. (Dorothy) Fontana being the names that immediately come to mind.

So even though the show is cruising toward a premature end of its five year mission, it is a must see when it inevitably gets rerun after this summer.

Mod Squad (1968-)

“One black, one white, one blonde”

If any show has heralded a sea change on the boob tube, it's Mod Squad. Cop shows have been a dime a dozen for a long time. Highway Patrol, 87th Precinct, Dragnet, Felony Squad, The F.B.I., Ironside, N.Y.P.D.—even Car 54, Where Are You? (admittedly, that one was a comedy). Indeed, shows about the police are starting to rival Westerns in terms of airtime dominance. Just this year, we got three of them: Hawaii Five-O, Adam 12, and the subject of this section.

But whereas the only distinguishing characteristic of the first one is its location (beautiful Hawai'i), and the second one is as bad as a patrol cop show from the makers of Dragnet and starring that program's worst guest actor could be, Mod Squad is Something Else.

Mod Squad is the story of three young adults, all with minor criminal rap sheets, all who decide to become undercover cops rather than do time. They quickly form a bond with each other and with their Captain, Adam Greer. Over the course of the season, they have busted narcotics rings, carjackers, helped nab corrupt cops, and otherwise proven their value to the force.

The difference? Heart. Mod Squad is oozing heart, with genuine chemistry amongst all the four leads. The cops in the other shows tend to be portrayed as benevolent(?) automatons. Pete, Julie, and Linc (and Adam) are human beings—compelling, vulnerable, admirable.

Beyond that, there's been a quantum leap in production. Everything in Mod Squad is on location, with mobile cameras and lots of action. Car chases, foot races, you name it. The show bursts with energy. Its lineage traces from the hip globetrotting of I, Spy and the philosophical earthiness and camaraderie of Route 66, and oft times, it surpasses both shows.

Watch it. Dig it. This one's going to be around a while, I predict.

The Monkees (1966-1968)

Debuting at the same time as Star Trek and on the same network, The Monkees flamed out more quickly. No surprise—comedy is hard to maintain, especially the kind of frenetic, innovative stuff you saw on that show. Beyond that, when you make a show about four charismatic musicians, you run the risk of said musicians actually having talent and wanting to do their own thing. No matter what the papers or the sneering cognoscenti say, The Monkees are all pretty talented people. After all, Peter Tork is an accomplished guitarist and folk singer, Mike Nesmith has penned a dozen hit songs (and not just for himself), and Micky and Davy are both decent performers as well as skilled actors.

It's no surprise that the show went off the rails, and then The Monkees demolished it entirely with their deconstructive movie, Head (not to mention their freak-out of a TV special: 33 1/3 Revolutions Per Monkee).

But if you get a chance to catch the show in rerun, it's worth it. It's genuinely funny, the musical interludes feature complete songs (get your tape deck ready!), the songs are excellent, and the foursome has magical chemistry. When they are a foursome—for some reason, Mike was on vacation for about a fifth of the episodes…

Laugh-In (1968-)

Speaking of successful comedy, it's hard to miss NBC's smashiest of smashes, the psychedelic, wild ride that is Rowan and Martin's Laugh-In. We've covered the show previously, so I won't go into too much detail. I will note that the program has evolved in the two years it's been on the air. This year, we got several new performers: Dave Madden, whose shtick is tossing confetti to signify he's having dirty thoughts; Chelsea Brown…The Black One (I hope they broaden her role next year); Alan Souse…The Homosexual (I hope they broaden his role next year).

It is impossible to understate the influence the show has had on pop culture. From "Here Come the Judge" to "Sock it To Me" to "Very Interesting", Laugh-In-isms are everywhere. On the last Bob Hope special, we counted three or four clear references to the show. Arte Johnson is doing Mustang commercials—in his Nazi persona (at least he's not shilling for Volkswagen). Half the cast guest starred (as themselves) on I Dream of Jeannie. Every week, you can see at least one of the team on some variety/talk show or another.

It is a very funny show, and hosts Dick and Dan have a natural rapport. Beyond that, the cast manage to come up with unique musical numbers every week, which is amazing. The women performers, in particular, are amazingly talented.

There are some warning signs: since Nixon got elected, perhaps with Laugh-In's help—Tricky Dick had a cameo earlier this year: "Sock it to me?" he exclaimed stiltedly—the show has tacked rightward in its commentary. In the last episode, the Reverend Billy Graham was the special guest, making rather unfunny jokes, and ending the show with a straightfaced endorsement of John 3:16. I'm not sure if Arte Johnson (in full Wehrmacht regalia) agreeing with the sentiment was intended to be ironic or not.

On the other hand, at least the show isn't as sexist as it used to be. The worst of that last season was when they had Cher Bono as a guest, and the musical number was about grasping wives. If anyone's the grasping wife in the Bono clan, it's Sonny.

Anyway, I don't need to tell you to watch it. You probably already are. Let's hope next season is even better.

Hollywood Palace (1964-)

When I was a very young, Vaudeville was king. Live song and dance—forget this radio and television jazz. Well, ABC's Hollywood Palace, put on in the building of the same name owned by none other than Bing Crosby, is the closest you'll get to the old Vaudeville days. Comedy, acrobatics, singing, magic…the works. All live (but taped).

Every week, there's a different host (Bing always claims the first and last nights for himself). Sometimes they're terrific, like the times Sammy Davis Jr. gets the job; sometimes we get Burl Ives. I'd say the show is pitched mainly at folks of my generation, maybe a touch older. The jokes, the guests, most were big a decade or two ago. That said, the Palace keeps things hip with acts like the Supremes and Gladys Knight. It's definitely not Lawrence Welk (for my parents), nor is it American Bandstand (for my kids).

Lorelei and I have been regular watchers of the show ever since we heard Tony Randall hosted it once. We're grateful it's had such longevity.

The Carol Burnett Show (1968-)

If you took Laugh-In and Hollywood Palace and shmushed them together, you'd get The Carol Burnett Show. Less frenetic than Laugh-In, but hipper than the Palace, it's a bit like if the latter show had just one host the whole time. Carol starts out each show with a question an answer segment that feels genuine and unrehearsed. The musical acts are a mix of looped and live performances. The skits range from domestic comedy to fractured fairy tales, utilizing the supporting cast of the prissy Harvey Korman, the hunky Lyle Waggoner, the adorable Vicki Lawrence (who usually plays Carol's sister; I'm amazed they aren't related), and whomever is guest this week.

It's a terrific show, and Carol is an excellent host. If I have any complaint, it's that the family skits play a little too hard into the marital discord bit. Also, as much as I love Ms. Burnett, eventually you can get too much of a good thing—week after week, skit after skit.

Still, definitely in the upper tiers of television!

That's Life (1968-1969)

Remember how I marveled that Laugh-In manages to produce a new musical number or two each week? Well That's Life tried to make a romantic sitcom that was a complete, hour-long musical on the same schedule!

Robert E. Morse (How to Succeed at Business Without Really Trying) and E.J. Peaker starred in a whirlwind tour of courtship, marriage, and family as they sang and danced through their lives. Each episode had a coterie of special guests (of course, our favorite was Tony Randall), and the whole thing was funny and fast-paced.

Well, you knew it couldn't last. After one season, it's gone. And having only gone on one season, it's likely we'll never see it in syndication. ¡Qué lastima!

Wild Kingdom (1963-)

One show that shows no sign of quitting is Mutual of Omaha's Wild Kingdom. Hosted by the Director Emeritus of the St. Louis Zoo, Marlin Perkins, this is quite simply the coolest nature program to be found. We get a new half-season at the beginning of every year. Marlin opens up each episode with a bit of in-studio discussion, often partnering with one of his fellow rangers (usually Jim, but occasionally Stan Brock, the South African mountain) and W.K., the chimpanzee.

Then it's off to the field: either a prerecorded feature narrated by someone else, or footage from a real safari that Marlin has gone on. Usually the latter involves tracking an endangered animal or rescuing some creature for scientific study. Marlin is no joke—at age 60+, you can still find him netting lions or sleep-darting elephants. Of course, Marlin doesn't hold a candle to Stan wrestling hippopotami or saving drowned calves.

I'm sure some of the editing is artfully done for drama, but it's still a great show, emphasizing the importance of preserving the natural abundance to be found in the Wild Kingdom.

Since this article is running long, I shan't bother listing the shows not worth watching. I won't even mention the C+ and B- television that I won't flip the idiot box off for, but which aren't worth seeking out. With just the shows I've recommended, you'll have plenty to watch out for!

Until next time… stay tuned in.

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Magazine, Science Fiction/Fantasy, Serial, TV

[April 30, 1969] Eulogies (May 1969 Analog)

April 30, 2024 GalacticJourney 5 Comments

by Gideon Marcus

Goodnight, Percy

If you're anything like me, Peyton Place is something that happened to other people. After all, last season, the first primetime soap opera was scheduled opposite Laugh In, and before that, the 9:30 PM slot in the midst of ABC's insipid Tuesday-night line-up.

But now I feel a little bad that the groundbreaking show is being taken off the air. Based on the 1956 book of the same name by Grace Metalious, the Massachusetts-set serial was salacious for the time, involving as it did a lot of S-E-X, divorce, blackmail, murder, and more. Jack Paar called it "Television's first situation orgy." Johnny Carson quipped that it was "the first TV series delivered in a plain wrapper."

Stars Diana Hyland (standing), Pat Morrow (in can), and Tippy Walker

At one point a few years ago, some 60 million folks tuned in each week for the fun. But nowadays, when the local theater is going blue/stag, and Candy is a mainstream hit ("Is Candy faithful? Only to the book!"), Peyton Place all seems a bit staid. They tried to mix things up by bringing in more teen storylines and also integrating the cast by hiring Percy Rodrigues (Star Trek's Commodore Stone) as the local doctor.

with Ryan O'Neal

Still, you can't beat Dick and Dan, and the series plummetted in the ratings (really—what were they thinking, scheduling it across from Rowan and Martin?) After 514 episodes, the show is going off the air. Which, of course, just means we'll see it endlessly in morning reruns opposite the regular soaps—and you can bet we'll get a revival sometime in the future. In the meantime…

"Goodnight, Lucy. Goodnight, Marshall Dillon. And goodnight to all you kooks on Peyton Place."

Goodnight, Johnny

by Kelly Freas

ABC at least knew when to pull the plug on its sinking stone. Analog editor John Campbell, while he did some brilliant work in the '30s and '40s, seems content to stuff his magazine with the dullest dreck that science fiction has to offer. The latest issue is Exhibit 1 for the prosecution:

Dragon's Teeth, by M. R. Anver

by Kelly Freas

A peace conference on a neutral asteroid promises to end a brutal war between humanity and the alien Cadosians. But a faction of extraterrestrials has plans to distrupt the summit by introducing a deadly virus. The question is how they'll smuggle it in…or in whom?

This is a competently put together adventure/mystery—no more, and no less. As such, it's a fine first effort from Mr. Anver, but nothing to write home about.

Three stars.

The Chemistry of a Coral Reef, by Theodore L. Thomas

Science writer and fictioneer Ted Thomas offers up a long piece on coral reefs and how they're made. For an article on stuff that takes place in our oceans, it's awfully dry. Well, at least I know now what they're made of: calcium carbonate. Good for all those fish with indigestion, I guess.

Two stars.

Operation M. I., by R. Hamblen

by Leo Summers

Three weeks of hyperspace are crushingly dull, and the intergalactic service is worried about the morale of their solo couriers, who have to endure the period without diversion. Apparently, books and booze aren't enough.

So the ship's computer on the latest FTL ship is programmed to act like a nagging mother-in-law so each pilot is more irritated than bored.

Terrible piece. One star.

Persistence, by Joseph P. Martino

by Kelly Freas

This is a sequel to the story Secret Weapon. The Terrans have now got a leg up on their war with the Arcani, now destroying 3-4x as many vessels as they are losing. However, this proportion is still below what the Big Brains in military intelligence expected. Our hero, Commander William Marshall, is certain that the aliens have developed Faster Than Light ("C+") communications and are using them to thwart our patrols.

The story is devoted to the reverse engineering of a captured Arcani corvette, tediously going through each electronic gizmo to see how it is wired and what it is wired to. Eventually, the existence (or lack) of a C+ radio will be proven.

Once again, the story is dull as dirt, and worse, poorly edited. There's an art to writing successive paragraphs using different words. Martino will repeat set phrases several times in a row, the sign of an unfiltered brain-to-typewriter stream of consciousness.

Also, women of the future still remain in the 1950's, socially.

Two stars.

The Five Way Secret Agent (Part 2 of 2), by Mack Reynolds

by Kelly Freas

As we saw last month, Rex Bader, last of the private dicks in the People's Capitalism of America's late 20th Century, had been tapped by no fewer than five organizations to spy on each other as Bader went off to Eastern Europe and make contacts. This passage explains it all:

He stared at the screen in disbelief.

This whole thing was developing into a farce. Roget wanted him to make an ultra-hush-hush trip into the Soviet Complex to contact his equal numbers with the eventual aim of creating a world government based on the international corporations.

Sophia Anastasis, of International Diversified industries, thought such a world government would upset the status quo to the detriment of what was once called the Mafia, and wanted all details.

John Coolidge and his group [the successor to the FBI] were afraid such changes would upset the governmental bureaucracy and the military machine and wanted to prevent it from happening.

Colonel Simonov felt the same from the Soviet viewpoint, and wanted to maintain the status quo.

Dave Zimmerman was all in favor of world government but wanted the Meritocracy which would run it to be elected from the bottom up in each corporation, rather than being appointed.

And every damned one of them thought that their part of the operation was a secret.

Once Bader gets to Czechslovakia and Romania, the book reads like typical Reynolds: historical parallels (none after 1969, of course), tourism (we learn about the national drinks of the Warsaw Pact), and mildly droll high jinks. It seems that Bader's cover is blown wherever he goes, suggesting a traitor somewhere in the works among his five employers.

There could have been a good mystery here, but it's all thrown in too little, too late. Moreover, it's clear that this two-part serial is really just the first half of a longer book.

As a result, the whole is lesser than the sum of its parts. I give this segment three stars, and three stars for the book as a whole (so far).

Initial Contact, by Perry A. Chapdelaine

by Kelly Freas

The Eridanians are coming! Responding from signals broadcast by Project Ozma, an alien ship has been dispatched from Epsilon Eridani. After twelve years at near light speed, the vessel is about to arrive—and the press is filled with concerns of an impending alien takeover.

It all stems from a mistranslation of their latest message, suggesting their intent is conquest rather than coexistence. In the meantime, there is a lot of Keystone Copping as the head of the Ozma IX project tries to tamp down on the paranoia.

by Kelly Freas

The best part of the story is the "universal message" broadcast by the Eridanians, hatched up by author Chapdelaine. He explains it in the story—see if you can figure it out yourself.

But in the end, the story is rather pointless and forgettable. Two stars.

Goodnight May

Doing the math, I find that April (postmarked May on the magazines) was a dreadful month for short science fiction. Not a single magazine topped 3 stars, and Analog came in at a dismal 2.3. For posterity, the rest were New Worlds (2.7), Venture (2.7), Amazing (2), Galaxy (3), and IF (3), and Fantasy and Science Fiction (2.7)

Even more disheartening: you could take all the 4-star works (nothing hit 5 stars this month) and barely fill a Galaxy-sized thick digest. Women wrote 20% of all the new pieces published in April, which sounds impressive until you realize that six of the works were short poems in New Worlds, all by Libby Houston.

I am already hearing rumblings about Galaxy and IF's editor Fred Pohl getting the heave-ho, and Amazing's editorial musical chairs is legendary. ABC dumped Peyton Place—is it time for someone to cancel John Campbell?

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Science Fiction/Fantasy, TV

[April 14, 1969] My Least Favourite Kind Of Cereal (Doctor Who: The Space Pirates [Parts 4-6])

April 14, 2024 Jessica Holmes 1 Comment

By Jessica Holmes

The last we left the Doctor and company, they were at the mercy of a gang of not-particularly-swashbuckling space pirates. The first half of this serial was a rather bland affair—let’s see if the second half improves things.

In Case You Missed It

Having just been chased down a hole, the Doctor and his friends are dismayed to discover that they have not in fact found a cunning escape route from the pirates, but the entrance to a prison cell. A prison cell they’re now trapped within. And they’re not alone. The sole survivor from the beacon attack, Sorba, is in there with them. One might think that he’s going to become pivotal to the plot and their survival, but—well, you’ll see soon enough.

Meanwhile, the leader of the pirates, Caven, is beset by dissension in his crew. His subordinate, Dervish, is hesitant to travel to collect the beacon segments, fearing the Space Corps, who are also en-route. However, he’s more afraid of Caven, who has placed a remote control on his ship, and could kill him with the push of a button.

Dervish arrives at the beacon debris to find that one of the sections is missing, and remembering that Sorba had said something about intruders, Caven sends a couple of men to collect Sorba for interrogation.

These men arrive at the prison cell just in time to find the Doctor and his friends escaping with the assistance of Milo Clancey. He shoots one of them, but the other escapes, and soon the whole base is searching for the missing captives as they flee through the tunnels.

The Doctor and company make it to Madeleine Issigri’s office, where they beg for her to call the General—only to realise too late that not only is she aware of the pirates living right under her, she’s in league with them. Caven arrives to collect his captives, and Sorba attacks him. It doesn’t go well for Sorba.

Madeleine intervenes before Caven can kill the others, as she’s only in this for a little space theft, not outright murder.

Caven throws the prisoners into Madeleine’s father’s old office, and who should they find there but…Madeleine’s father, Dom Issigri. It turns out that Caven has been holding him captive all this time to use as leverage against his daughter. Who doesn’t know he’s down there. But was helping him anyway. I have to wonder if Caven fully understands the point of taking a hostage.

Having had enough of Caven’s cruelty, Madeleine appeals to Dervish, who turns out to be too much of a coward to turn against Caven and help her. She instead attempts to contact Hermack to ask for help, but Caven catches her in the act. It’s only then that he reveals to her that her father is alive and at his mercy.

And he’s escaping, with the Doctor’s help. And a little arson. There are many ways to trick a guard into entering one’s cell so you can tackle him and escape, but setting a small fire is probably the most dramatic.

Little do they realise that this time the pirates aren’t going to chase them. Caven has laid a trap, a scheme that will deal with his enemies and shake the Space Corps off his tail. The pirates have planted a remote control device on Milo’s ship, so that they can pilot him towards the stolen beacon, allowing the Space Corps to catch him ‘red-handed’. And he won’t be able to tell the Space Corps that he isn’t in control of the ship, because by the time they’re close enough to see him, he’ll be already dead, because they can remotely cut off the oxygen supply.

That’s the plan, anyway. But Jamie and Zoe lag behind, and when the Doctor doubles back for them, the ship takes off without him, almost burning him to a crisp in the exhaust. Jamie and Zoe catch up to find him lightly toasted and talking like he just gargled a tub of gravel.

Realising that his trap has failed to snare all the intended victims, Caven takes off to search the tunnels, leaving Madeleine alone with Dervish. She tries to convince him to turn against Caven as she has, but he’s in too deep and he’s too much of a coward to try.

The Doctor and company find their way to Madeleine, Jamie successfully subduing Dervish— but not without a little accident. In the scuffle, Dervish’s gun goes off, fusing the wires on the remote control unit. The Doctor manages to repair it enough to get the ship’s oxygen supply back online, but as for disabling the auto-pilot, that’s down to Clancey. Thankfully he’s good at following the Doctor’s instructions, and is soon on his way back to Tar to rescue the Doctor and company.

Drawing near, Hermack radios Clancey’s ship, and Milo gets the chance to tell him what’s really going on, that Dom Issigri is alive, and that the real villain is Caven. Hermack assures him and Madeleine that he’s coming to help.

But they’re not safe yet. If Caven can’t have access to Madeleine’s mines, nobody can. He’s setting charges on the atomic fuel stores. The moment he’s clear of the planet, he’s going to blow Madeleine’s base sky-high—and Milo’s ship won’t be fast enough to get them to safety in time.

Hermack tries to intervene to stop Caven before he can get far enough away to detonate the device, but Caven, seeing the approach of Hermack’s attack ships, threatens to detonate the bomb early and take them with him.

For the people stuck down on the planet, their only hope is for the Doctor to defuse the bomb. All they can do is watch from outside the radiation room as the Doctor slowly, methodically, sets about his work. Hitchcock, it is not.

The Doctor succeeds just as Caven pulls the trigger on the detonator, and then the serial is very abruptly over. Hermack’s ships blow up Caven, Madeleine reunites with her father off-screen, and Milo offers the Doctor and company a ride back to the TARDIS. Considering his driving, Jamie would rather walk.

A Lack Of Flavour

There are two fundamentals missing from this story, two things which should have reinforced one another and the story itself: tension and an emotional core. The ingredients for both are all there, but feel like an afterthought.

Madeleine’s separation from her father should be a lot more emotionally impactful than it actually is. I feel like we do feel the pain of the separation from his perspective, but not from hers. Perhaps because the first time we learn of the separation, it’s part of a dispassionate information dump between Madeleine and Hermack. As far as she’s concerned, he’s dead and has been for years. There’s a lot more emotional distance for her. Yet for Dom, the trauma is ongoing. This mismatch could be played for tragedy, but the narrative doesn’t do anything with it. Worst of all, we don’t even get to see their reunion, for what little catharsis they might have been able to wring out of it. And if the serial doesn’t care enough to show them being reunited, why should I care that they were?

As for the lack of tension, it’s harder to put my finger on. I think this might be more of a directorial issue than a writing issue. Or perhaps a bit of both. There’s something dispassionate about the entire story, possibly caused by the heavy, characterless exposition in the first half. I just don’t feel what the serial wants me to feel.

A prime example is the climactic scene where the Doctor has to defuse the bomb. Sure, we know they’re not actually going to blow up the entire main cast, but other stories have managed to deliver ample tension despite that. I’m told that time is running out but I don’t feel it, that’s the difference. It’s all about the feeling. Bomb disposal scenes should be positively nail-biting but this one just…isn’t. It’s dry.

That’s it. That’s why I don’t like this serial: it’s the television equivalent of bran flakes.

Final Thoughts

How can something with a title as promising as "THE SPACE PIRATES" (Pirates! In SPACE!!!) be such a dull affair? The most it has going for it are a few cute moments between the Doctor and Jamie. They’re basically an old married couple at this point. At least, they certainly bicker like one.

I do hope that the next serial is better. It’s not just the last in the current series. It’s Mr. Troughton’s last spin in the TARDIS as the current Doctor.

And I’m not ready for him to go.

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Science Fiction/Fantasy, TV

[April 2, 1969] A New Beginning? (Out of the Unknown: Season Three)

April 2, 2024 Kris Vyas-Myall 1 Comment

By Mx Kris Vyas-Myall

The National Radio Astronomy Observatory may have discovered clues to the origins of life in space. Looking at interstellar clouds, believed to be where planets and stars are formed, traces of formaldehyde have been detected.

140’ Radio Telescope at Green Bank, responsible for this discovery

The reason this is important is that it is a sign of the presence of methane, formaldehyde occurring in the oxidation process. From the Miller-Urey experiments, it is widely believed that for primitive life to occur, you need a reducing atmosphere to allow complex molecules to form. Along with already detected ammonia and water, these appear to show the elements needed for a reducing atmosphere are already present in these clouds.

If this is found to hold up, we may be a step closer to understanding the birth of life on Earth.

On British television, we are also seeing a kind of rebirth. Of Out of the Unknown without the driving force of Irene Shubik.

Out of the Unknown

With Shubik’s departure for The Wednesday Play, following the commissioning of scripts, it has been up to new producer Alan Bromly to make them a reality.

In many ways Bromly is the opposite of Shubik, an old hand at directing and TV production back to the early 50s, but with little experience in Science Fiction. Rather he has made a name for himself across a range of different productions, most notably the anthology slot BBC Sunday Night Theatre, soap opera Compact and films such as The Angel Who Pawned Her Harp.

So how did it turn out?

(I would like to take a brief moment to thank my colleague Fiona for using her contacts at the BBC to provide us with colour publicity photos. I am still using a Black & White set at home).

Big Prophets, Short Returns

The hunt for good science fiction begins.

This series of plays opens with a well-known novel, Robert Sheckley’s Immortality Inc. Even though this does a reasonable job of condensing the story into a 50-minute slot, and it bounces along quite nicely, I find both versions a bit soulless. I just find I am not really invested in who gets the body, which is a big problem for the central conflict.

Whilst it has some notable fans, our editor gave the original story three stars and I think that is about right for this production.

“Why, yes I do look a lot younger than Cushing did, let’s not go on about it…”

Different issues plague the other novel adaptation of the season, Asimov’s The Naked Sun.

The script makes an effort to place this as a sequel to the 1964 production of The Caves of Steel, with Bailey opening the story talking about “Caves of Steel”, his delight at being partnered again with Daneel, and Secretary Minim referencing the previous case in Brooklyn. Even if Paul Maxwell (Fireball XL-5’s Steve Zodiac) is no Peter Cushing, he still does well paired-off against relative newcomer David Collings.

As people know of the original novel, the case is pretty interesting and, even if at times it feels a bit overwrought with all the yelling, the twists and turns of the story kept me engaged. The problem stems from the conversations largely being communicated through viewscreens. Unfortunately, whilst Rudolph Cartier is an experienced director (and did a great job on Level Seven), he fails to give it flair Saville did in The Machine Stops.

Herbie awakes to find himself in yet another Asimov adaptation

Of course, Shubik could never choose just one Asimov script, so our second is Liar! Robot romantic comedies seem to have become a regular feature of Out of the Unknown (see also Andover and the Android, Satisfaction Guaranteed) but this one missed the mark for me somewhat.

This has never been my favourite of Asimov’s Robot stories and the teleplay has similar issues. I find the psychic robot too contrived and I really don’t enjoy how much of it is built around Calvin’s attraction to her colleague.

It is well-made and Gifford gives a great performance as the robot psychologist (now her third on-screen depiction), so it will probably appeal more to others. But it is not entirely to my tastes.

“I am no longer just Captain Blue, I am now also Captains Lilac, Pink, Fuschia, Green and Khaki”

The third big name writer to be adapted in this run is Clifford Simak and his stories are the ones that tread into the most traditionally SFnal territory, starting with the first contact tale of Beach Head.

I will concede that it looks excellent, with the unusual design of the robots and the aliens being particularly noteworthy. However, this was the weakest installment for me, with three different problems.

Firstly, not all of the performances are pitched right, particularly Ed Bishop playing the lead role very broadly. This is more important in this story where neither the robots nor the aliens speak or emote. As such we rely on the human actors to carry the weight.

Secondly, the action in the first half is divided between robots outside and humans inside, making the pacing glacial until the aliens arrive.

Finally and most significantly, as Victoria said in her review of the original tale, this is not a particularly good example of a puzzle story and it doesn’t add up to much. So, however much it is nice to look at, you spend your time going through a lot of dull content for a rather empty ending.

Set course for planetfall…again!

The other Simak marks another first for Out of the Unknown, Shubik electing to remake a script already done for Out of this World, Target Generation.

Even those SF fans who did not catch its first use will find the tale a familiar one. It is not that it is not a good exploration of the standard themes about blind faith and static thinking leading to our doom, just not one with many surprises. Possibly one for the casual viewer not so aware of science fiction cliches.

Medical Marvels

Channeling his inner Timothy Leary to find the truth in a pill

The Yellow Pill is also a script reused from Out of This World, actually being the first episode of that series, yet I felt its restaging works better than the Simak. This is because it is somewhat more unusual in its content.

Whilst its staging could feel a bit old fashioned, largely only utilising a single set, this play-like feeling adds to the sense of unreality we are meant to experience. Add into this a strong script, great performances and the questioning of what is real, and it still feels fresh.

The most important use of futuristic medical devices, removing bags under the eyes

The Yellow Pill is only one of several scripts that concentrate on the medical aspects of technological progress. Kornbluth’s The Little Black Bag looks at what might happen if future medical equipment ends up in the past.

Even though I feel this has a solid idea at its core, the episode could have done with a bit of a reworking. It does have some great moments (particularly in the last ten minutes), however the pacing goes back and forth too much for my tastes. I also found that parts are over-explained, whilst other vital questions are left hanging.

The generation gap on show

Michael Ashe’s The Fosters (an original for OOTU) seems at first like it might be a piece of domestic drama about the conflict between respectable middle-class families and rebellious youth. But it unfolds nicely in little moments, with the titular couple’s unusual knowledge and strange eating habits bringing with it unease and tension. Even though the end reveal is a bit of a letdown, the journey is a strong one.

Pregnancy screening has come a long way from HIT

Even though the UK’s fertility rate has been steadily declining for the last few years, overpopulation is still a major topic among SF writers. Brian Hayles (of Ice Warrior fame) continues that discussion in 1+1=1.5, an original where the wife of a population control officer becomes pregnant for the second time.

The result is a bit of a mixed bag. It has interesting elements with the catchy jingles on population control, reminiscent of The Year of the Sex Olympics, and it has in its lead roles the great pairing of Bernard Horsfall and Julia Lockwood.

However, I found the mystery of how Mary got pregnant was overemphasized, resulting in a rather dull conclusion, when I would have preferred a focus on the more interesting human side.

The Human Element

“I wonder if I can get the cricket on this?”

This human element can be seen in the final of the original productions, Donald Bull’s Something in the Cellar. This is a Nigel Kneale-esque production, putting a science fictional twist on the gothic haunted house story.

I will concede it does stretch out a bit, but it is still spooky and character driven, with the voice of the “mum” being particularly unsettling.

Two Worlds, how to choose between them?

This kind of character-driven storytelling is also present in John Wyndham’s Random Quest, a story of dual time-scales.

Whilst I was never as much of a fan of this Wyndham as some of his other works, and found the script a bit drawn out, I cannot fault the production overall. The design of the parallel universe England is well realized, with the Edwardian touches being very clever. It would also be easy to find the whole conceit rather confusing, but the crew did a great job of helping the audience understand the split in the narrative.

Apparently, this has gone down extremely well and there has even been interest floated in adapting it for the big screen.

An inebriated Hale doesn’t realise the trouble coming to him

After the great production of Some Lapse of Time back in the programme’s first run, I was pleased to see another Brunner for this series with The Last Lonely Man.

Even though the original story, as Mark noted, is nothing special, this is a largely straight adaptation raised up by a number good choices:
• The casting of George Cole and Peter Halliday as Hale and Wilson respectively.
• Jeremy Paul expands the wider implications of the tale, making mentions of problems of inflation, sexuality and psychological breakdown.
• Making the death of Wilson the mid-point of the story, rather than the ending.
• Douglas Camfield’s direction making it a creepy tale of paranoia instead of a farce.
I do find it curious Shubik chose it for the same season as the conceptually similar Immortality Inc., but this one shines rather than dulls in comparison.

“It is all quite simple. You are actually a science fiction writer, in a dream, that is drawing from SF cliches, that is part of a teleplay on BBC2, which is adapted from a novelette, originally published in Astounding Magazine.”

The series is finished with one of its finest ever productions, Get Off Of My Cloud.

Adapted from the excellent story Dreams are Sacred by Peter Phillips (well known to British readers due to its inclusion in the highly regarded Spectrum III anthology) it is a comical take on the cliches of pulp science fiction whilst also asking questions about the nature of fantasy versus reality.

As well as transferring the setting to the UK and adding in some wonderful Britishisms (Raymond Cusick did the design work for this episode and his incorporation of Daleks and the TARDIS are marvelous) it also builds on the idea of our childhood fears and looks at how we conquer them.

The Queen is Dead, Long Live the King

Just a few of the excellent SF anthologies currently available at your local bookshop

Whilst there have been teething troubles in a few of the stories, overall, I have enjoyed this season. It continues to show the value of the science fiction anthology series which, just like its paperback equivalent, offers a great way to explore a multitude of themes and ideas.

Whatever mysteries are unlocked by scientists, I have no doubt that SF writers will continue to find interesting questions to explore and there will be a place for this kind of television.

Long may it continue.

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Galactic Journey

Category Archives: TV

[December 10, 1969] Night Gallery: A Frightening Tableau

[June 22, 1969] Game Over (Doctor Who: The War Games [Parts 8-10])

[June 12, 1969] Heavy on the Bitters (Star Trek: Turnabout Intruder)

[June 8th, 1969] Dissension In The Ranks (Doctor Who: The War Games [Parts 5-7])

[May 18, 1969] Whirr Hum Bang Bang (Doctor Who: The War Games [Parts 1-4])

[May 8, 1969] Cooked in the Chrysalis (The Monkees TV special: 33 1/3 Revolutions Per Monkee)

[May 4, 1969] Navigating the Wasteland #3 (1966-69 in (good) television)

[April 30, 1969] Eulogies (May 1969 Analog)

[April 14, 1969] My Least Favourite Kind Of Cereal (Doctor Who: The Space Pirates [Parts 4-6])

[April 2, 1969] A New Beginning? (Out of the Unknown: Season Three)

55 years ago: Science Fact and Fiction