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[March 16th, 1970] The Fatal Flaw (Doctor Who: Doctor Who And The Silurians)

March 16, 2025 Jessica Holmes 2 Comments

By Jessica Holmes

Welcome back to our Doctor Who coverage, where today we’re wrapping up the latest serial: “Doctor Who And The Silurians”. With lives lost on the Silurian and human sides, will the Doctor be able to persuade those left behind to see sense?

In Case You Missed It

I’ll begin with a correction from last time: the bloke the Silurians captured, Major Baker (Norman Jones), isn’t from UNIT, he’s head of site security at the research centre. I got my notes mixed up.

Anyway, we’re halfway through the serial when we finally meet our cast of Silurians. There’s… Um. A small problem. None of them have names and I’m bad enough at telling human people apart. So there’s the shorter older-sounding one who is the leader (Dave Carter), and the taller younger-sounding one who needs anger management training (Nigel Johns). We’ll call them the Elder and Younger for the sake of clarity. There’s also a Scientist but he’s only important in one scene.

The Younger Silurian attacks the Doctor, claiming to have already seen soldiers down in the caves and killed them. The Elder stops him, urging restraint. Fortunately it turns out that the UNIT men, including the Brigadier, aren’t dead but trapped. Less fortunately, their air is running out.

Despite Major Baker’s protests, the Doctor insists on trying to have a dialogue with the Silurians. He manages to persuade the Elder to let him out of the cage, and from there they get on quite well, with the Elder bestowing a pile of useful exposition on him. He explains that the Silurians used to live on the surface, but have been in hibernation ever since they saw a cataclysm approaching millions of years ago. What they didn’t realise was that this cataclysm was actually the Moon coming into orbit. By the time that became clear, their hibernation units had developed a fault and they couldn’t wake up without an outside power source.

So they had a very long wait while humanity crawled out of the mud and started banging rocks together. Now that they have access to the power from the nuclear reactor, they can wake everyone up and reclaim the Earth.

Given there’s already people living there, the Doctor urges the Silurians not to do that, instead offering to broker a deal with humanity where humans and Silurians might share the planet. Sharing? What a novel idea!

The Elder is listening, but unsure. There’s already been bloodshed, after all. Will the humans even agree to talk? The Doctor can only try, certain that all-out war would be catastrophic for the Silurians. Agreeing, the Elder releases the trapped UNIT troops.

However, a catastrophe is brewing. Mistrustful of the humans, the Younger Silurian urges the Scientist to join him in a coup. Together, they concoct a plan that will allow the Silurians to have the planet to themselves without having to risk going to war. They have a biological weapon in the form of a bacterium engineered eons ago as a form of pest control against humanity’s ancestors.

Don’t think too hard about the mangled pre-history. It will only give you a headache.

The traitor Silurians dump a disease-riddled Major Baker back into the caves and leave him to wander back to the research centre. Learning of their plan too late to stop them, the Elder Silurian gives the Doctor a sample of the bacterium to take back to the lab in the hopes that he’ll be able to discover a cure before it’s too late.

The traitors reward him for this act of compassion by killing him.

What follows is a masterclass on ‘How Not To Handle An Unknown Biological Contagion’. Against the Doctor’s instructions, Baker takes an ambulance ride to the local hospital. He’s dead by the time he gets there, and only the first of many. What’s worse, while the Doctor was trying to chase Baker down at the hospital, the man from the Ministry, Masters (Geoffrey Palmer), picks now as the best time to go back to London. Via train.

Somewhere, an epidemiologist is crying.

The disease bumps off Dr. Lawrence, Masters, and a few dozen Londoners by the time the Doctor manages to find a cocktail of drugs that will kill it. But the day’s not saved yet. The Silurians have another plan.

Unfortunately this one is stupid and will make physicists cry.

The Silurians are going to destroy the Van Allen belt. Okay. And?

Well, their idea is that without the Van Allen belt (or belts if we’re going to be pedantic. Which we are. It’s my raison d’être.) the sun’s rays would make Earth too hot for mammals, but reptiles like the Silurians would be fine.

Setting aside for a moment the total ecological collapse that would happen which would have knock-on effects for all life on Earth, that’s just not how the Van Allen belts work. Think of the Earth’s magnetic field as a fly trap but for charged solar particles. The Van Allen belts are a pile of flies. Not the safest place to traverse, but not a shield either. Get rid of the magnetic field on the other hand and then we’re in trouble from ionising radiation. But last time I checked, reptiles weren’t immune to cancer or radiation sickness.

I don’t know, I found the plague more compelling. That bit was more tense with a greater sense of mounting dread. This plot thread gets resolved a lot faster and it’s just not as interesting to me.

This attempt at eradicating humanity goes even more poorly for the Silurians, as the Doctor double-crosses them the first chance he gets, overloading the nuclear reactor and sending them scurrying back to their hibernation pods in fear of an impending explosion. The Younger Silurian even shows altruism for the first time in his life, volunteering to stay behind to die so that he can operate the hibernation mechanism.

The reactor isn’t actually about to explode, but they didn’t need to know that.

All’s well that ends well, it seems. The Doctor gets the reactor shut down, the Silurians are having a kip (well, except for the Younger Silurian, but the Brig takes care of him), and the Doctor’s hopeful that if he wakes them gradually he’ll be able to have some much more productive conversations.

Wouldn’t it be nice if that’s where the story ended?

Unfortunately the Brigadier has other ideas.

Waiting for the Doctor and Liz to leave the research centre, the Brigadier orders his men to place charges at the entrances to the Silurian base. When the charges go off, the Doctor can only watch in horror as he realises what the Brigadier has done. Liz assumes he must have had orders, but the Doctor is (rightly) no less disgusted. Orders or no orders, the Silurians were a race of intelligent beings, a people, a culture. There was hope for reconciliation with them, and the Brigadier snatched it away in the blink of an eye. You can’t reconcile with the dead.

Green-And-Grey Morality

I love stories with messy morality. Doctor Who isn’t usually all that messy, but this serial does a great job of shaking things up a bit. Malcolm Hulke might have a wobbly grasp on physics but he gets how people tick. Very few characters come across as morally unimpeachable in this serial. Most commit actions that are at best selfish and short-sighted, and at worst morally reprehensible. That’s not to say that most of the characters in this are evil. Far from it.

It would have been easy to cast one side or the other as straightforward villains, but really they’re all just people. Silurians suffer from the same fatal flaw as humanity: thinking of everything as ‘Us’ vs ‘Them'. For ‘Us’ to win, ‘They’ have to lose. Everything done to protect ‘Us’ is not only justifiable but imperative, or else ‘They’ might do it to ‘Us’, like the barbarians they are.

What I see is a bunch of people—human or otherwise—who are neither 'Good' nor 'Bad'. Every one of them is capable of either kind of action. I don't think they're simply hateful or angry, though of course both sides display a fair amount of that. More than that, I think they’re scared, which makes them a lot more dangerous.

Fear started this mess. Everyone was ready to assume the worst of everyone else from the outset, and it became a self-fulfilling prophecy. Fear exacerbated the situation, sowing distrust not just between humans and Silurians but also between the members of each respective group, eroding their ability to work together.

And finally, fear drove members of each side to commit the unthinkable in the belief that it would protect them.

It’s one thing to try and persuade someone to set aside anger and hatred based on the past. It’s not an easy thing to ask, by any means. But it’s a lot easier than asking them to set aside fear of the future, and what their enemies may do if they fail to stop them in the present. And while you’re waiting for that miracle, the cycle of violence keeps on turning, drilling a deeper and deeper well of fear and of hatred. The longer it goes on, the harder it is to break. And there’s only two real ways that can happen: either everyone finally agrees to draw a line under the past and build the future together, or they run out of people to fight.

It’s almost as if the best way to end a cycle of violence is not to start one in the first place.

Final Thoughts

“Doctor Who And The Silurians” might take a little while to get going, but once the Silurians turn up this turns from a ‘pretty decent for a base-under-siege’ serial to a genuinely great serial. Pertwee’s on excellent form (a few very funny facial expressions aside) and the cast is solid with a bunch of characters believable enough that they sometimes gave me a migraine.

I’ll be curious to see how the Brigadier’s actions at the end of the serial affect the Doctor’s relationship with UNIT going forward. He’s stuck on Earth and I can’t imagine him turning his back on humanity, but I don’t know that he’ll ever see eye-to-eye with the Brigadier again. I hope that the Doctor makes the Brigadier better. I fear the Brigadier might make the Doctor worse.

I had expressed concern that the prominence of UNIT would result in problems being solved with killing which the Doctor could have solved with talking, but I didn’t expect to be proven right so quickly. Perhaps UNIT and the Brigadier will learn from this experience and do better the next time they encounter an alien intelligence. It’s a tragedy that the Silurians won’t get the same opportunity.

This is no surprise coming from the man who co-wrote The War Games, but "Doctor Who And The Silurians" is one of the more mature serials we’ve seen on this programme. Hulke asks the viewer to reject binary thinking and realise that two peoples can both have a right to live in the same place, and neither has the right to destroy or eject the other. People we assume are good can do bad things; and people we think of as monsters can do good. The righteousness of your cause and the righteousness of your actions are not the same thing.

As long as people continue to make these mistakes, this serial will always be relevant.

4.5 stars out of five for "Doctor Who And The Silurians".

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Science Fiction/Fantasy, TV

[February 22, 1970] An Es-scale-ating Conflict (Doctor Who: The Silurians)

February 22, 2025 Jessica Holmes 2 Comments

By Jessica Holmes

Welcome back to another month of Doctor Who coverage. Jon Pertwee’s run as the Doctor continues in the same strong fashion in which it started with an intriguing serial from the pen of Malcolm Hulke. We’re about halfway through, so let’s catch you up on the latest happenings in “Doctor Who And The Silurians”. No really, that's how he titled it. Yes, it is an odd choice, but don't let it put you off.

In Case You Missed It

The Doctor’s new job with UNIT sees him summoned to a nuclear research centre located deep within a pre-existing cave network. They’re making exciting inroads in some new kind of fusion reactor, but there’s a problem: their workers keep going missing in the tunnels. And those who don’t go missing end up dead. Or, as in the case of one man, so traumatised by whatever happened down there that he regresses into a caveman.

What’s more, the cyclotron (read: the thing that makes the atoms go smashy smashy) keeps inexplicably losing power, potentially destabilising the reaction. And unstable nuclear reactions are…bad. Someone has tampered with the records, however, and it soon turns out that people who work in the cyclotron room have an oddly elevated chance of having a nervous breakdown. Said room is the closest in the whole complex to the natural caves.

Ditching the fabulous cape for a pair of overalls, the Doctor goes caving to investigate, and it doesn’t take long to find what’s been killing and/or traumatising workers who go spelunking. It’s a dinosaur! One of the UNIT soldiers falls afoul of it as he attempts to hunt a suspected saboteur skulking in the shadows. While everyone is attending to him, something escapes to the surface. Not the dinosaur, but certainly not a human, either. And now it’s loose on the moors.

Dr. Quinn, the lead scientist in charge of the cyclotron, turns out to know more than he’s letting on about the current state of affairs. Unbeknownst to the other characters, he descends into the caves on his own to meet with the inhabitants, an advanced reptilian people that come to be known as the Silurians. It appears they ruled the Earth eons ago, but for whatever reason they’ve been slumbering underground since the time of the dinosaurs. And now, borrowing energy from the cyclotron, they’re waking up.

He warns them that UNIT is planning a full-scale invasion of the caves, and asks them to stop taking power from the cyclotron. However, the Silurians have their own bone to pick with the humans. One of their own is injured thanks to UNIT’s intervention, and is now stuck on the surface. They want him rescued, and to that end, give Quinn a communication device to track and command the stranded Silurian.

Said Silurian, however, has accidentally killed a farmer on the surface and vanished. There are claw marks on the man’s body, but the cause of death was heart failure. I think they’d call that manslaughter. The farmer’s widow, hospitalised with sheer fright, barely manages to tell the Doctor that the creature is still in her barn… where Liz is currently conducting a forensic examination.

The Doctor and UNIT rush back to the barn, where they find Liz unconscious but mostly unhurt. Quinn checks in, supposedly on his way to the lab from his cottage. But he’s far out of his way, and this, in concert with other odd behaviour, makes Liz and the Doctor suspicious of him. The Doctor later drops in on Quinn’s house, finding that he keeps the place very warm. Almost like the reptile house at the zoo, in fact.

Quinn gets him to leave, and the Doctor sets about investigating his office at the research centre. Quinn meanwhile turns out to be holding the missing Silurian hostage. Far from benevolently trying to help them, he’s trying to extort information out of his ‘guest’. If he doesn’t take the Silurian back to the cave, it’ll die. And despite his assistant, his one confidant, begging him to accept the Doctor’s help, he won’t admit that he’s in over his head.

So of course it’s not that much of a surprise when the Doctor finds him dead in his living room a short while later.

Finally about halfway into the serial we get to meet the creature from the black lagoon. I mean, a Silurian. It doesn’t seem hostile to the Doctor, who just wants to talk, but unfortunately it runs off before answering any of his questions.

Meanwhile, the previously injured UNIT soldier goes back down to the caves, determined to find the ‘saboteur’ he saw earlier. He gets a bit more than he bargained for. The Silurians take him captive, though they don’t come out of the encounter unscathed.

With matters escalating, the Doctor recommends that the research operation should be shut down immediately, followed by a careful scientific expedition into the caves. However, even considering that he hasn’t told anyone about Quinn’s death to avoid causing a panic, he doesn’t have a sympathetic audience. Despite the lack of backup, he and Liz go back to the caves by themselves, following Quinn’s map to find the Silurian base and the abducted soldier. They don’t get the chance to free him however, and when they return to report their findings, things go from bad to worse as the news of Quinn’s death finally breaks. Now the Doctor hasn’t a cat-in-hell’s chance of dissuading the Brigadier from a full-scale invasion.

Having had no luck with the humans, the Doctor instead tries to reason with the Silurians. They’re every bit as rational as we are, after all. And unfortunately every bit as irrational. They promptly take him prisoner. From behind bars he warns them that the humans are coming, and urges them to meet with them in peace.

But like the humans, they don’t seem very interested in listening to reason. Can he change their minds before there’s a massacre?

Between A Rock And A Hard Place

The Doctor’s first outing with UNIT as their scientific consultant is already off to a rocky start. When you default to taking the military approach against the extra-terrestrial, you’re liable to cause as many problems as you solve. The Brigadier has barely set foot on base when he’s already butting heads with Dr. Lawrence, the head of the research station. He doesn’t appreciate the intrusion or the interruption to their work, complaining about UNIT’s presence more or less every time he’s on screen. Caught between the two is the Doctor, who begrudgingly needs UNIT’s help, but would rather it didn’t come with firearms. To put it succinctly, it’s not an ideal work environment for anyone involved.

And that’s before mentioning the lizard-man in the room. What we have here is a very volatile first-contact scenario that’s being conducted with all the delicacy of a bull in a china shop. An escalating sense of paranoia and exchanges of tit-for-tat violence are bringing both species to the brink of disaster. We’ll have to wait and see how it pans out, but if matters carry on as they are, the situation will get a lot worse before it gets better — assuming it even does get better.

I think we may be heading for a tragedy, because this is a conflict that absolutely doesn’t have to happen, but both sides are so determined to assume the worst of one another that everything they do just reinforces that idea. But the fact is that while we take for granted that humans are not monsters, neither are the Silurians. Some of them are hostile, yes. But they’re not without reason. They don’t kill unless their life is threatened. The one in Quinn’s cottage didn’t even attack the Doctor. There’s even one which, much like the Doctor, wants to take a scientific approach to learning more about humanity, rather than just extracting intelligence from their captive via brute force. I appreciate that, as there is a bit of a tendency in Doctor Who to treat ‘alien’ species as a bit of a monolith.

Technically speaking though, the Silurians aren’t even aliens. They’re another of Earth’s native species with just as much right to be here as us. If enough people on either side are willing to listen, there’s no reason things can’t be resolved through diplomacy. Unfortunately it doesn’t seem like either side is very interested in talking right now. Can cooler heads prevail?

Final Thoughts

On a lighter note, the Doctor did get the car the Brigadier promised him. She’s a charming bright yellow Siva Edwardian which the Doctor has christened ‘Bessie’. He serenades her as he tunes her up and drives her as if he’s got lives to spare. Which, to be fair, he has.

We’re only halfway through the serial so my appraisal of the themes can only go so deep, but there’s very promising indications of moral complexity and a nuanced conflict building. There’s a maturity to the writing and a willingness to trust the audience to ask themselves: Are we jumping to conclusions about who is good and who is bad? And is that even the right question?

For answers, and probably more questions, we’ll have to wait and see when “Doctor Who And The Silurians” concludes. Until next time.

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Science Fiction/Fantasy, TV

[January 26, 1970] Over The Rainbow (Doctor Who: Spearhead From Space)

January 26, 2025 Jessica Holmes 2 Comments

By Jessica Holmes

It’s been a while, hasn’t it? It’s all change in the new season of Doctor Who: new Doctor, new companion, new visuals. And it's now in colour!

But is it worth the increased rent on my new television set? Let’s catch up on “Spearhead From Space”.

In Case You Missed It

The last season of Doctor Who ended with Second Doctor Patrick Troughton being separated from his longtime companions Jamie (Frazer Hines) and Zoe (Wendy Padbury) and sentenced to exile on Earth in the 20th century. “Spearhead From Space” picks up where “The War Games” left off, with the new Doctor, Jon Pertwee, tumbling out of the TARDIS in the middle of a field in England. And he’s not the only extraterrestrial arrival to Earth. Remember UNIT from “The Invasion”? They’re back again, this time investigating an unusual spearhead-shaped shower of unidentified flying objects that landed in the local area. Brigadier Lethbridge-Stewart (Nicholas Courtney) remains in charge, and his curiosity is piqued when he learns of the arrival of a mysterious patient to a nearby hospital: a man found next to a peculiarly-situated police box.

The Brigadier gets a bit of a shock when he sees that this is not the Doctor he knows—and yet this Doctor knows him, greeting him like an old friend. Which of course, he is. Unfortunately for the Brig, for the moment the Doctor isn’t feeling up to doing much more than drifting in and out of consciousness and raving about his shoes, so he needs an alternative scientific consultant. Enter Liz Shaw (Caroline John), an acid-tongued skeptic who is less than impressed with the Brigadier for pulling her away from her research to go chasing after UFO nonsense.

When word gets out about the Doctor’s alien biology, it attracts the attention of local alien ne’er-do-wells, the Nestenes. There’s an advance party of Nestenes already on Earth, being controlled remotely by a sort of shared mind. They’re planning to take over the world by replacing powerful individuals with living plastic duplicates. And also shop window dummies that shoot people. The plan is nearing fruition, but there’s a snag: they’ve quite literally lost their mind. Rather than transport the mind to Earth in a spacecraft like any self-respecting alien conqueror, they put it into a bunch of plastic shells (perhaps they couldn’t find one big enough for the whole thing), flung it in the direction of England and hoped for the best. That was the meteor shower seen earlier. And now some of those shells are missing.

Hoping he can help lead them to the missing shells, the Nestenes attempt to abduct the Doctor from UNIT. The attempt fails, and if anything, puts UNIT and the newly-recovered (and marvellously dressed) Doctor on their trail. A race ensues to recover the shells, and discover what makes them tick. Though the Nestenes manage to recover the shells, even sending in an impostor to steal one from HQ, it’s not long before UNIT track the Nestenes down to a local plastic doll factory.

You don't really get the effect in a still image, but trust me, it's really scary in motion.

Just in the nick of time too, as the Nestenes’ blank-faced Auton servants are wreaking havoc across the country. The Doctor pulls an all-nighter to create a device capable of blocking the Nestenes’ telepathic signal to the Autons, and accompanies UNIT to an assault on the factory. Though the assault fails (plastic dummies don’t really care about bullets), it creates enough of a distraction for the Doctor to infiltrate the factory and confront the big blobby tentacle thing controlling them. According to the Nestenes that’s the ideal vessel for their consciousness: a big blobby tentacle thing in a tank. The Big Blobby Tentacle Thing has a good go of throttling the Doctor as he tries to cut it off from the main Nestene mind off in outer space, but Liz manages to save the day with some last-second adjustments. The Earth is safe… for now. They’ve stopped the Nestenes this time, but all Nestenes share a mind, and the rest of it is still out there somewhere. All the Doctor did was essentially cut off a limb. Who knows if or when they’ll be back? And if not them, who else might be plotting against humanity? We know by now that the Nestenes aren’t the only extraterrestrial threat out there, not by a long shot. With our advancing technology, Earth’s getting noisier every day, and the rest of the universe is taking notice.

Fortunately for UNIT (but not for the Doctor) the TARDIS isn’t going anywhere. It looks like the Doctor will be sticking around on Earth for a bit—and rest assured UNIT will find plenty to keep him busy.

All Change? Not Quite!

It’s a new decade, a new format, a new Doctor, even a new title sequence, but long-time viewers will be glad to know that Doctor Who isn’t shedding the past entirely. With more Earth-bound stories to come in the coming series, and with a new Doctor without companions from his past life, I did have worries that it would feel more like a revival than a continuation of the past 7 years. However, we have UNIT and returning character Brigadier Lethbridge-Stewart to bridge the gap between past and present. Indeed, in terms of tone this serial is reminiscent of last year’s ‘The Invasion’. If we’ve got more of that sort of thing on the way, I say ‘Brig’ it on.

I am so sorry.

Yes, I was glad to see the Brigadier again, though I hope that the increased focus on UNIT’s activities won’t send the programme in an overtly militaristic direction. That said, it wasn’t going in guns blazing that won the day. It was military intelligence and technological expertise. It’s all rather James Bond.

The name's Smith. Doctor… John Smith.

Though Doctor Who remains connected to its past, this serial is an excellent starting point for anyone wanting to start watching for the first time. With all the exposition flying around, you’ll easily get the gist of what the show is all about. If you’re an occasional viewer, a bit of a refresher is also probably welcome by now. But you're still never going to learn his name. Not his real name, anyway.

We were all sad to say goodbye to Jamie and Zoe at the end of the last season, but it looks like the Doctor won’t be too lonely on Earth. Not only is the Brigadier going to be around for the foreseeable future, but he has a new companion in the form of no-nonsense scientist Liz Shaw. She’s less than impressed to have been dragged off her research at Cambridge to go chasing after UFOs, and it shows. Especially when the men around her start commenting on her looks rather than her brains. I’m immediately rather fond of her, and so too is the Doctor.

Speaking of whom, let’s properly introduce you to the Third Doctor, shall we?

Gracefully flopping his way into the world.

Doctor Who?

So. Doctor number three. If Troughton had the hardest job that any actor has ever had on Doctor Who, proving that the show can survive recasting the main character, then Pertwee has the second hardest. He has to prove that it can work more than once.

But who is Jon Pertwee, anyway? Well, he’s certainly got chops as a comedic actor, with a great many appearances on radio, television, film, and stage, including the original West End production of Sondheim’s musical comedy A Funny Thing Happened On The Way To The Forum, and later its film adaptation. And of course there’s his appearances in the Carry On… series of films, which starred Bill Hartnell (Doctor No. 1) in its first outing. So he’s in good company there. Does he have the range to make his Doctor more than a clown, however? From what I’ve seen so far… Yes!

Right out the gate, he seems to have taken a leaf out of Troughton’s book, which is to not base his Doctor too heavily on his predecessor. There’s a delicate balance required to find a unique take on the Doctor’s character while keeping him still the same man at heart. Well, hearts. Apparently he’s got two.

Pertwee’s Doctor is a much more confident and authoritative figure than Troughton’s, that much is clear right away. He’s very charming when he wants to be, and abrasive when he doesn’t. And cool. He is undeniably cooler. He’s like James Bond from space. Of course, like both Doctors before him, there’s an element of childishness that he can’t quite suppress. Every now and then, traces of the old Doctor creep in, a sort of Troughton-esque haplessness when things go wrong. I like it.

Of course, the Doctor wouldn’t be the Doctor without a streak of mischief (plus a total disregard for authority), and this Doctor’s more than qualified in that regard. He starts off by nicking himself a new set of clothes. Whereas his predecessor was all for the shabby-chic (emphasis on shabby), this Doctor has rather more refined—if ostentatious—taste. Rather than settle for the first basic shirt and trousers he can dig out of the lost-and-found, he pilfers a frilly shirt, trousers, smart velvet jacket, fedora and, of all things, an opera cape from the (doctors-only, naturally) changing room. But—and this is important—it is a smashing look for him. So morally I’m pretty sure it’s fine.

I also didn’t expect Doctor Who, of all programmes, to have a shirtless scene. Much less getting to see the Doctor with his top off. If you’ve an eye for a silver-haired gent, you’re in luck—there’s a shower scene, too. I wasn’t looking or anything, but I did notice that the Doctor now has a forearm tattoo. Maybe he dropped by an outer space tattoo parlour on the way to Earth.

Sorry to barge in on you, Doctor!

So, yes. I think the new Doctor is working. He charmed Liz in two shakes of a lamb’s tail, and it’s safe to say he’s charmed me too. It’s early days, but I think Jon Pertwee is off to a good start.

Final Thoughts

Plot-wise, this is a pretty fun serial, with a slow but satisfying first half and some exciting action in the second. Come to think of it, the first half reminds me of a film from a few years ago, 1966’s Invasion, directed by Alan Bridges, written by Roger Marshall… and based on a story by Robert Holmes. And guess who wrote this serial?

If an idea’s good, you might as well re-use it.

There’s quite a lot of moving parts which I simplified in the summary, but it’s not hard to follow, just pleasantly complex, with vivid side characters and an air of intrigue to the whole thing.

That said… the ending is a bit weak. Not weak enough to bring down the whole thing, but not as good or smart as all the build-up had been.

I’d better discuss the Big-Blobby-Tentacle-Thing in the room. Yes, the final confrontation between the Doctor and the Nestenes is a bit naff. Yes, the rubber tentacles are silly, and yes, Pertwee pulls a very, very funny face when being ‘strangled’ by them.

The Autons, on the other hand, are a much more impactful villain. I don’t think I’ll ever look at a shop window dummy the same way again—and neither will the nation’s children. The moment in the last episode where the dummies in the window suddenly come to life with a start is truly chilling. Even when they’re not attacking people, they just look wrong. They sit perfectly in the uncomfortable area between human and not-human. The more human-like Nestene duplicates with their waxy faces are pretty creepy, but the Autons are a standout for me.One of the best monsters we’ve had in a while, I reckon.

If we’re starting as we mean to go on, I think we’re in for a cracking season.

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Science Fiction/Fantasy, TV

[January 6, 1970] Can you tell me how to get to Sesame Street?

January 6, 2025 Janice L. Newman Leave a comment

by Janice L. Newman

The term “vast wasteland” has become something of a catchphrase for Journeyfolk, a reference to Newton Minow’s castigation of the offerings on television all the way back in 1961.

There have been quite a few good shows in the interim, including standouts The Twilight Zone, Dangerman (aka Secret Agent) and of course our favorite, Star Trek. We’ve also seen cases where television has been used to educate and bring awareness to social issues, such as the NET Journal series and the special, The Rejected.

Maybe it’s because so many theatrical releases are targeting adults these days, or maybe it’s just an idea whose time has come, but a group of educators, philanthropists, and television producers have turned their eyes toward the glass teet as a way to educate and entertain the very youngest of us. The idea, as I understand it, is to harness the things that make television addictive and use them to teach basic educational concepts as well as important life skills. The show began airing on November 10, 1969. I didn’t catch its premier episode, but I did manage to sit down and watch a couple over the following weeks.

There's a signpost up ahead…

Sesame Street is a bit like a daily Laugh-In for the five-and-under set. It’s a conglomeration of short pieces, most of them independent of each other and self-contained. Some pieces have live actors in them, some have puppets, some have both people and puppets interacting with each other. These pieces are interspersed with animated or live-action movies that are a bit like commercials – if commercials taught “counting to ten” or “words that start with the letter ‘D’”. Many of the pieces are funny, and some have an unexpectedly surreal aspect that I found wildly entertaining.

Stills don't convey the frenetic feeling of some of these shorts, like this one about counting to ten

For example, the first skit features “Gordon”, one of the actors, playing a good-natured joke on “Ernie”, one of the puppets (voiced by Jim Henson). Indicating four items, three plastic instruments and a banana, Gordon asks Ernie which one doesn’t belong with the others. Ernie chooses the banana, carefully explaining his reasoning. Gordon suggests Ernie try playing the banana like an instrument, whereupon Gordon honks the bike horn he has hidden behind his back, leading the startled Ernie to believe that his banana can toot, until Gordon shows him the trick.

Gordon shows Ernie what makes the banana go toot

Ernie chortles, and the two of them decide to play the same joke on another puppet, a passing blue monster. The blue monster, however, proceeds to eat the plastic instruments and somehow play the banana such that lovely flute music fills the air, leaving Gordon and Ernie very confused. “Nice tone on that banana,” the monster comments, “and the harmonica was delicious!”

Cookie Monster plays the banana

It is absolutely hysterical, even with the repetition of ideas which form the foundation of the skit, and it makes me wonder if the show is targeting parents along with their children. (I did also wonder if showing the blue monster eating the small plastic instruments was a good idea. I can imagine children swallowing plastic whistles and harmonicas in imitation.)

The rest of the skits and interstitials weren’t quite as funny to my adult eyes, but many still had a slightly surreal edge. It wouldn’t surprise me if Sesame Street becomes popular with college-age kids who enjoy mind-altering substances.

Three muppets demonstrate three types of vehicles…and then smash them into each other

The other episode I saw featured an ongoing story where “Oscar the Grouch”, an orange puppet who lives in a trash can (apparently by choice), loses his trash can lid. The lid, he is careful to explain, is round. If there were any doubts about the Laugh-In connection, they are put to rest when Oscar says he’s going to go play his ukelele (which starts with the letter ‘U’, we are reminded) to feel better. He disappears into his can and the strains of “Tip-toe Through the Tulips” issue forth from it. Oscar’s full story is told in skits interspersed with more of the same frenetic “shorts” about letters and numbers, a cross between commercials and Laugh-In’s “Quickies”. Reinforcing the “educational commercial” idea, each episode has a “this episode was brought to you by” a particular letter and number at the end.

Oscar is planning to leave, now that his trash can is no longer a home. Most of the cast are here: (l. to r. Gordon, Susan, Jenny, and Mr. Hooper)

It’s fun, but does the show do what it sets out to do? Obviously, a couple of episodes is not enough to tell whether the lofty goal of improving early education (especially among underprivileged children) will be achieved. For that, we will have to wait a year or two and compare the progress of children who watched the show to those that didn’t. From the two episodes I watched, though, I saw more than just numbers and letters and animal sounds being taught. The cast is made up of people of different races, with Black and White actors working together as equals. The puppets are both human-looking and monstrous, but most of the monsters are actually kind and shown to be people just like everyone else. Some of the stories identify and give names to emotions: sadness, anger, fear, happiness. Themes of kindness, sharing, and cooperation are subtly interwoven into many of the skits.

Two muppets demonstrate the value of sharing

I don’t know if educational television will save the world, but I’m looking forward to seeing the world it helps create. Hopefully it will be one a little bit closer to that place where, as the theme song says, “the air is sweet”: Sesame Street.

This article brought to you by the letters "G" and "J", and the numbers "1", "6", and "1970".

Susan gets the last word and waves goodbye from Sesame Street

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

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Horror, Science Fiction/Fantasy, TV

[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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Galactic Journey

Category Archives: TV

[March 16th, 1970] The Fatal Flaw (Doctor Who: Doctor Who And The Silurians)

[February 22, 1970] An Es-scale-ating Conflict (Doctor Who: The Silurians)

[January 26, 1970] Over The Rainbow (Doctor Who: Spearhead From Space)

[January 6, 1970] Can you tell me how to get to Sesame Street?

[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)

55 years ago: Science Fact and Fiction