Spring has sprung, and rather than going outside to look at the flowers, I’ve been on my settee watching science fiction serials. All is as it should be. So, what do we have this month? Let’s take a look at The Ark, written by Paul Erickson and Lesley Scott. Going by my records, we've never had a woman writer credited on Doctor Who before. Hopefully Lesley Scott will be the first of many!
I will admit it's clever to get the actors to hold their 'eyes' in their mouths.
The month of spring is upon us, and with it comes the withdrawal of the frigid cold, swaths of buds peeking from their branches, and the boisterous emergence of new life. It's a wonderful time of year, warming the earth until "California Dreaming" is no longer necessary, and promising renewal in general. Yet the most important part of March is not the spring equinox, or another green-centric holiday, or good weather, or flowers, or the fresh start of life.
The most important part of March is the fact that it contains my birthday.
And it just so happened that my special day fell right between two old movie reruns, each of them starring the love of my life, Tony Randall.
I couldn't have asked for a better gift.
Many Happy Buryings
Of course my obligation to consume every piece of media Randall has ever been in is what drove me to watch an obscure TV special of Arsenic and Old Lace . It took that initial incentive, because I have been wary of Arsenic and Old Lace since I'd previously had to watch it (the 1944 film with Cary Grant) in my drama class. Needless to say, the experience was both exasperating and unpleasant. Luckily, this version was neither of the above, and had me hooting with laughter throughout the program.
For those who are unfamiliar with the show, Arsenic and Old Lace is a dark comedy about two sweet old ladies who murder for fun, and their poor nephew, Mortimer Brewster, who discovers their nasty habit and tries to clean up the whole mess. Further conflict arises when Boris Karloff- I mean Jonathan Brewster, Mortimer's brother and a notably malicious murderer, returns home to hide out for a while. As you might imagine, insanity ensues.
The Brewster sisters
I was pleasantly surprised by just how funny this rendition of the classic chaotic plot was. I have to credit the sublimity of the production to three main parts: the acting, the script, and the pacing. I would round off my praise with compliments to the set design as well, but my TV sadly went on the fritz that evening, and I could hardly see what was happening through the snow. Apparently there are still problems the magic of color television cannot fix.
(Not) Boris Karloff and his associate, Dr. Einstein
Yet I still managed to enjoy the show, thanks to some excellent casting choices. Dorothy Stickney and Mildred Natwick play Aunt Abby and Martha Brewster perfectly, with just the right amount of sweetness and charm to build sympathy for these lovely old women, despite their homicidal tendencies. Their banter with each other and their nephews is hysterical, and the contrast of their outwardly harmless appearance with their dark secret is very fun.
Our hero
Boris Karloff is, of course, excellent in his dark, monstrous role. He plays a great foil to the aunts, defining the line between true evil and simply misunderstood. The ladies murder for the claimed benefit of their victims, and they take great delight in their charity work. Jonathan, instead, clearly murders out of spite and has no redeeming qualities whatsoever. The difference is key in establishing who the audience should root for; the homicidal aunties seem a touch less bad and un-relatable when compared with a literal scourge of the Earth.
Sibling rivalry
Though the rest of the cast is marvelous, I'd have to say Tony Randall gives the best performance as Mortimer Brewster, the straightman nephew. You may believe I have a slight bias in favor of Randall at this point, and that's probably true, but I think it's also fair to say that his execution of Mortimer ties the whole show together. Mortimer is a complex balance of a character, always in between being both capable and yet on the edge of a nervous breakdown. If he falls too far in either direction he's either unfunny, annoying, or both. This was the downfall of the first version of Arsenic and Old Lace that I'd watched. That Mortimer was too excitable to get anything done, and spent the entire show whining and floundering around insufferably. Randall was the complete opposite.
He struck the perfect equilibrium of distressed yet productive that made his character both likable and hilarious. The scene where he tries to call his boss to alert him that he can't come into work had me rolling with laughter. I may be severely biased, but here, Randall is deserving of the praise.
Tom Bosley has a humorous turn as Teddy Roosevelt.
The other two great aspects of the show go hand in hand. The dialogue is witty, fun, and delightfully self-aware. I found all the jokes about Jonathan looking like Boris Karloff particularly funny and ironic (given that they got Karloff to play Jonathan!) Alongside the script was the masterful direction, which ensured that the jokes never fell flat and the pacing never dragged. The presentation was very tight and complemented the other positive aspects perfectly. Overall, this version of Arsenic and Old Lace was a splendid time watching the wild antics of the nutty but charming Brewster family. There's not a single flaw that I can find, just a great time, therefore I give it five stars.
Down to New Orleans
The second film, The Adventures of Huckleberry Finn , aired a week later as the local Saturday night movie. It kept in keeping with the theme of dark yet funny classics. Based on the 1884 novel of the same name, the film follows a young Huckleberry Finn as he runs away from his abusive father and takes a raft down the Mississippi with his friend and runaway slave, Jim. Finn and Jim encounter a variety of obstacles on their journey, including a feuding family, slave hunters, and a couple of cunning swindlers who rope them into their con. Eventually, they get through it all thanks in part to Finn's ability to lie through his teeth, and the story ends bittersweetly as the traveling pair must seperate and pursue their own paths.
A pensive Huck contemplates a world without shoes
I definitely enjoyed the movie, though I think I would rather read the novel if I would ever consume the story of Huck Finn again. The pacing drags at the beginning, probably due to some poor direction choices and Eddie Hodges' (Huck Finn) stiff acting. Both improve as the show goes on, but the first hour could benefit from being about 20% shorter.
Jim convinces Huck to board his raft
This also may have been a case where Tony Randall's superb acting skills actually hurt the production. Randall plays "The King of France," the brains of the two grifters who force Finn to play along in one of their plots. Unfortunately, he gives the role such charisma and personality that it took me nearly the whole movie to realize his character was supposed to be the villain! Perhaps in hindsight the child-threatening and attempted gold theft should have tipped me off, but truly, who can hate a man that competent at what he does? (Especially one that looks like Tony Randall)
The villain?
My favorite part of the movie was the nuanced way it conveyed its abolitionist themes. Despite explicitly stating several times how "freeing slaves is wrong," the story develops Jim just enough that we empathize with him and hope that he acquires his freedom. Archie Moore's lovable performance also aids in building rapport and getting the audience to root for Jim, especially in heart-wrenching scenes like when he tearfully describes regret at hitting his daughter. This subtle antiracism is a bit new to me, compared all the (justified) current protests and riots that are explicitly denouncing unequal treatment of the black community. It gives me hope that perhaps art like this can be used to bridge the gap of understanding to those who insist on marching in white sheets.
Poignant stuff — who can but wince when seeing a man in chains?
The film is also fairly amusing, with a few solid jokes, and some good physical comedy and dialogue. The funnest part was seeing all the crazy tall tales Finn comes up with to get out of tight situations. I found it very funny that Finn ultimately never gets punished for any of his fibs, subtly implying that the only way to successfully get through life is to flat out lie all the time. I personally haven't read The Adventures of Huckleberry Finn , so I don't know if this theme is an artifact of Mark Twain's writing, or just some poor script and direction choices. Despite its flaws, the movie successfully told the story and conveyed the messages it was trying to, all while being fairly entertaining along the way. I give it three stars.
Bittersweet parting
Seventeen candles
And with that, my birthday festivities have come to a close. I think it's time I step away from the silver screen and instead take a walk outside and appreciate the dawning spring. The experience of another year has granted me new wisdom, and I'd like to see what life has to offer outside the artificial television set.
At least, until the next Tony Randall movie comes along.
And we’re off! We are officially in general election season as British Prime Minister Harold Wilson hopes to gain an increased majority for his Labour government.
Harold Wilson meeting miners in the ’64 election campaign
Wilson is touting his achievements of helping to bring about social equality by such measures as the repeal of the rent act, moving towards comprehensive education and the race relations act.
Heath, on the other hand, has been concentrating “equality of opportunity” proposing to put more restrictions on unions to strike, reforming welfare to target the most in need, controlling immigration and entering the EEC.
Labour is, however, also using their budget preview to make the economic case for getting an increased majority, pushing for an increase in exports, making it easier for people to get mortgages and a plan to introduce decimal coinage by 1971.
Edward Heath campaigning in his own constituency
The Conservative’s main objection is that these measures will likely result in a weakening in pound sterling which should be the government’s first priority.
The other main flash point is over the Rhodesian crisis. Whilst Heath wants to resume talks with Ian Smith’s government and stop economic sanctions, Wilson believes that only keeping up pressure will end their racist policies.
Former Avenger, Honor Blackman, campaigning for Liberal candidates in London
The biggest question remains what will happen to the Liberal vote that seems to be in decline. With in-fighting and a lack of funds a survey has suggested up to 35% of voters are now undecided. Will these middle-of-the-road and anti-establishment voters be more interested in Mr Wilson’s interventionism or Mr. Heath’s free market approach?
Mr. Heath doesn’t appear to be helping himself so far on the campaign trail, not being able answer legitimate criticism. For example, when asked about one of his candidates being accused of taking funds from a racist organization and making inflammatory speeches, the Conservative leader simply responded that he had made his views clear and local MPs were allowed their own opinions.
Christopher Soames, Conservative MP for Bedford, (L) & Brian Parkyn, Labour candidate (R)
For myself I am out campaigning for Labour candidate Brian Parkyn to attempt to unseat Conservative Christopher Soames. All of us in the local party know it will be an uphill struggle. Soames is Shadow Foreign Secretary and Bedford has been almost continually Conservative since 1922 with a brief one term Labour MP during the 1945 landslide winning by just 288 votes.
But we still all fired up for this campaign. For many of us it is about trying to move the country forward whilst the current Conservative policies seem more interested in returning us to Victorian era.
This brings me to ABC’s latest television series, which is distinctly Victorian and is definitely not the better for it.
Mystery and Imagination
Mystery & Imagination Titles
The idea behind Mystery and Imagination seems obvious. ABC’s Armchair Theatre has been a successful fixture of the ITV lineups for the last ten years showcasing a number of great plays (including the pilot of Out of This World). However, it can only run for so many episodes a year and something needs to fill the slot for the other half of the year. Last year we had a combination of mystery and suspense anthology series, none of which seemed to capture the public’s imagination.
SFF anthology series such as Out of the Unknownand import The Twilight Zone have been critical successes. Even Doctor Who to a certain extent works on an anthology format, simply having the regulars go into totally new situations each week thanks to the TARDIS. At the same time gothic horror is doing well at the cinema thanks to Hammer and Amicus productions.
Fontana’s tie-in Anthology
And Mystery and Imagination seems to have been a ratings success, with a second set of stories commissioned for later in the year. They even have released a book with a selection of stories related to the series.
However, as an audio-visual experience it was terrible. I found it even less watchable than ABC’s SF thriller, Undermind, they aired last summer (one of the few pieces of British speculative television I gave up on before the conclusion). This had all the ingredients to make something I would adore. So, let us look at the ways it went wrong:
Failure of Imagination 1: Richard Beckett
David Buck as Richard Beckett in Fall of The House of Usher
The use of a regular character to go through the series is, in itself, not a bad idea. Much like with Doctor Who, it allows for a connective thread and a reason to keep watching week to week.
The problem in this show is they do not seem to know what to do with him. Sometimes he arrives and is a passive observer of what happens, sometimes he gets involved, others he just does a Rod Serling style frame to the tale. None of these arrangements prove satisfactory. It possibly doesn’t help that David Buck does not have magnetism of either Serling or Hartnell to draw us through the tale.
But perhaps a bigger problem is that he is not allowed to develop from his adventures. Whilst The Doctor is not the same person in Ancient Rome as he is when he is trying to murder a caveman, Beckett feels like he is cut from the same cloth throughout these episodes. He is merely a foppish idiot stumbling between weird circumstances and adds nothing whether he is in the tale or merely introducing it.
Failure of Imagination 2: Poor Direction
The Open Door
Whilst this may be a series of plays, I think it is the role of a great television director to bring us into the story and make us feel like we are seeing into the world that the characters inhabit. For a fantasy tale this is even more important, in order that we can have a willing suspension of disbelief.
Unfortunately, I was so far outside of these tales, I almost wondered if it was a Brechtian experiment. The shots are arranged like they are on a stage, all the actors' performances are generally pitched far too over the top (even for a gothic tale) and the pacing is glacial without being intriguing.
I was surprised to find this was a significant issue as many of the directors have done work on The Avengers which has always been very good at making the action exciting and the world seem to be more expanded than the three walls of a studio set.
Failure of Imagination 3: No Atmosphere
The Lost Stradivarius
When making gothic horror, the most important feature is surely atmosphere. Few people would read The Castle of Otranto if it was just the mystery of death by a giant helmet. Rather it is the atmosphere that Walpole creates which makes for an intriguing reading experience.
Unfortunately, Mystery & Imagination has little to none of that. The setup feels more like I am watching an episode of Code of the Woosters, wondering if it is meant to be played for laughs. The only acknowledgement for horrific setup is the music, which is near-constant, blaring and more distracting than anything else.
Rather than terror, the only emotion it evoked in me is boredom.
Failure of Imagination 4: Unimaginative Reinterpretation
Roger Corman’s version of House of Usher vs. Mystery & Imagination’s interpretation
Perhaps the biggest issue of all is that no real effort seems to have been made in reinterpreting these stories for the screen. The original pieces are usually very short, rich on atmosphere but not so on character and plot. If you are not able to do any good with the direction or feel, you at least need to make sure there is enough happening to fill up the 50 minutes we are meant to be paying attention. Instead characters regularly repeat themselves, wander around the same sets and just seem to be killing time until the next occurrence in the script.
By comparison Roger Corman has been spending this decade adapting Poe’s stories, but he has been combining them, changing them and giving us new ideas based on the texts whilst still staying true to their spirit. Hammer has also been at its best when it is willing to take risks with its monster stories rather than slavishly following the originals. Maybe the writers of Mystery & Imagination could try taking some lessons from the silver screen?
Neither Mysterious nor Imaginative
And so I remain fully unsatisfied by this run of episodes. Beckett will be returning later this year to lead us through another set of gothic tales, but I do not believe I will be watching. Saturday evening we will instead turn off the box after Morecambe and Wise and settle in with some good books.
May I suggest people pick up M. R. James’ original Ghost Stories of an Antiquary or Panther’s collection Tales of the Supernatural? Try reading read some of the original masters of horror and hopefully these books will scare you with quality writing, rather than merely deafen you with blaring music!
The Journey is once again up for a Best Fanzine Hugo nomination — and its founder is up for several other awards as well! If you've got a Worldcon membership, or if you just want to see what Gideon's done that's Hugo-worthy, please read his Hugo Eligibility article! Thank you for your continued support.
Welcome back, everyone! We finally, finally get to move on to a new story. Jumping off the back of the behemoth that was The Daleks’ Master Plan, The Massacre of St. Bartholomew’s Eve is a breath of fresh air at just 4 episodes long.
It’s also a pure historical (goodness, I’ve missed them), and what’s more it centres on a topic I don’t know much about. It’s time to put Doctor Who’s educational value to the test.
There were times watching this serial when I began to wonder if I would ever be free. I began to fear that long after all has come to dust and the cockroaches inherit the Earth, I’ll still be there, sat in the rubble, praying for the Daleks to get on with it and put me out of my misery.
You might say I’m being overdramatic, and perhaps I am, but I can say with sincerity that I’m thankful this is the last article I have to write for this one serial.
On the Ecuadorian coast, the Valdivia archeological site is creating a great stir in the academic world. Renowned American archeologists Clifford Evans and Betty Meggers (along with colleagues from the Smithsonian) have put out a paper in Scientific American claiming the artefacts on the site bear a strong resemblance to those from Japan in the same period (c. 3000 BC).
Meggers (L) & Evans (R)
This conclusion is disputed by other archeologists, who claim the finds are of native origin, but whichever is the truth it is likely to rewrite our historical understanding. If the site is Asian in origin it shows both an advanced degree of navigation and Asian influence on the development of the Americas millennia before the arrival of Europeans.
Is this parrot figure a result of Japanese or native Ecuadorian culture?
Alternatively, if the site is indeed of native finds it will add to the continued evidence of a thriving advanced Americas at a time when Egypt was still trying to domesticate the camel.
Trying to rediscover and reinterpret is just as important in science fiction as it is in archeology. As such I was excited to discover Irene Shubik was reviving the format of ABC’s Out of This World for a series on BBC2, under the new title Out of the Unknown.
Travelling Into The Unknown
There are a couple differences between Unknown and World I want to point out before we start. Firstly, there is the obvious format point, that there is no longer a presenter to introduce each story as we usually expect on these anthology shows (although apparently a robot was considered for some time). More importantly are the stories themselves. Whilst World tended to choose faster paced stories more likely to entice the casual viewer (e.g. Asimov’s Little Lost Robot and Dick’s Impostor), Shubik seems to have selected more slower and meditative pieces, to really explore concepts.
As this is an archeological dig, I want to divide this series into three periods:
Episodes 1-4: An Emerging Concept
No Place Like Earth by John Wyndham – Unscientific but poignant
I think it is appropriate to start with the opening shot of the first episode (No Place Like Earth) of a lone human sailing across a sea on Mars to visit a native Martian. This divided viewers with some annoyed that the series was taking such an unscientific approach, whilst others loved the fairy tale quality of this fable. Personally, I was in the latter camp, just enjoying seeing something very different from the usual.
The Counterfeit Man by Alan Nourse – Tense but uninspired
For those unimpressed with Wyndham, they got to enjoy The Counterfeit Man, which felt like a hangover from Shubik’s previous series. It is a tense tale of an alien impostor on a spaceship heading back to Earth and the attempts to discover who it could be. But there seemed little point to it other than atmosphere.
A Stranger In The Family – An original play by David Campton – A source of nihilism
The same can be said of the first of the two original contributions to the series, A Stranger in the Family, which would probably not feel out of place in New Worlds magazine. Telling of a teenager with incredible psychic powers and the corrupt means to which they are put. It is certainly unnerving, but comes to naught except showing the corruption of power.
The Dead Past by Isaac Asimov – A talky but loyal adaptation.
The final of this early quartet is The Dead Past from Shubik’s favorite writer, Issac Asimov. In this we get one of the best encapsulations of the strengths and flaws of the early period. It is a faithful adaptation of a problem story with a twist in the tail and gets across the themes of nostalgia and privacy, with good actors bringing it to life. However, it does not stray from the text by more than half an inch and the episode is largely just people debating ideas in front of dull backgrounds.
It is notable that with these four stories together you get many of the standard concepts used in science fiction writing. An Earth apocalypse, alien worlds, oppressive society, doppelgangers, spaceships, psychic powers, time travel, dangerous inventions and more.
If nothing else this gives viewers the vocabulary to help them through what is to come.
Episodes 5-8: The Dark Ages
Sucker Bait by Isaac Asimov – Dark in more ways than one
Unfortunately, this is where things start to go wrong.
There are some technical issues we need get out of the way. Halfway through the transmission of Time In Advance the broadcast cut out, and we were instead treated to some Joan Baez music whilst we waited for the problem fixed. Also, the lighting in much of Sucker Bait was just abominable, even on the new 625-line broadcast resolution, it was impossible to tell what was going on in some sections. I found I had to rely instead on the dialogue and I had trouble really understanding what was happening on screen.
Time in Advance by William Tenn – A story that ends up being rather basic
However, the real problem with the stories selected and the direction the production team take them. Time In Advance by William Tenn is an inherently silly concept to begin with. What if you could serve time on a hazardous planet in exchange for a free pass for a future crime? The conclusion being, maybe the crime you committed wouldn’t go as planned. And whilst the technical issue above may have resulted in things being missed by myself, the whole logic played out in front of us seemed contrived.
Come Buttercup, Come Daisy, Come….? – An original play by Mike Watts – Not Firmly Rooted
The second original play also seems to have no direction to it. Come Buttercup, Come Daisy, Come…? is the story of a man obsessed with his tropical flowers, sent to him by a mysterious advert, which may be eating people… or he may just be mad. Neither conclusion would be satisfying nor make much sense. When silly spy comedy The Avengers does something better with the concept, you probably should take another look at your scripts.
The Fox and The Forest by Ray Bradbury – A significant lack of growth
However, the two worst offenders are from the two biggest names, Ray Bradbury and Isaac Asimov. Neither The Fox and The Forest, nor Sucker Bait have enough in the original text to justify their inclusion here. Bradbury’s piece is barely more than a vignette and Terry Nation seemed to think the best solution was just to keep stretching the plot out until the conclusion without adding anything more.
Sucker Bait, on the other hand, is a long novella, but the story is largely told through arguments in small rooms on a dingey spaceship. Whilst this may be fine for a piece of text (although I personally dislike the magazine serial) it does not make for compelling television. What is worse, the main character is a human computer, meaning most of the expositing we are getting is from someone meant to lack normal characteristics and mannerisms.
It would be easy to conclude at this point the series had fallen down without hope of getting up. However, after these missteps, something wonderful happens.
Episodes 9-12: The Renaissance
Andover and the Android by Kate Wilhelm – A revelation
Andover and the Android and The Midas Plague succeed in a similar way. The writers (Bruce Stewart and Troy Kennedy Martin respectively) are much more willing to take liberties with the original stories to great effect and produce dark satirical comedies. Both of these episodes, I would argue, are better than the original texts. The Midas Plague, in particular, should be called out for its excellent use of modern maxims turned on their head to highlight the ridiculousness of our consumer society.
Some Lapse of Time by John Brunner – Dark but fulfilling
Our own John Boston gave the short story of Some Lapse of Timea four-star review and it is indeed an excellent choice to adapt, by combining a creepy atmosphere, an unfolding mystery and a single concept added into a contemporary society. However, this adaptation tightens up some of the looseness of the original story and Roger Jenkins excellent direction of the dream sequences really helps connect everything together.
Thirteen to Centaurus by J. G. Ballard – A great character study with brilliant twists
Finally, Thirteen to Centaurus is a fantastic character piece, using largely the same story as was published in Amazing (which was given four stars by John once again) albeit with a different ending, we get to see the multiple twists in the tale unfold. But the excellent performances by Donald Houston and James Hunter, elevate this story into an excellent character study where we see power dynamics invert and their senses of reality change.
A Rich History
The Midas Plague by Frederik Pohl – Join the robots in toasting a successful first series
Overall, watching this series is like reading a great anthology. Not all stories will be to my tastes, but they are varied enough to complement each other and give a good picture of science fiction. A second season has already been commissioned, and so, just like with many of the other British anthologies that are ongoing, I look forward to the next release.
One last addendum, whilst the BBC appears to be hopeful of a US sale, others are not as optimistic. Isaac Asimov writing to Shubik:
It does make me long to see the show. I am terribly afraid that you haven’t made any of them sufficiently badly to interest American TV producers.
Let us hope The Good Doctor’s cynicism is not warranted and this gem of a series can be shared with the rest of the world.
Hello, everyone! I hope everyone had a nice time over the holiday season, because I had to watch some pretty DULL television. Will this serial ever end?
The holidays are here! In other times and places, people gather or huddle around a bright, crackling fire, drinking hot cider and pressing close to keep out winter’s chill. In the Traveler’s house, here in Southern California in the year of 1965, we gather around a bright, staticky TV screen, watching movies and sipping Ovaltine as the Santa Ana winds bluster outside our windows.
And that is how we came to see a pair of Christmas-themed features on our small screen in the first half of December.
Yes, I am quite proud of myself for that title. This month, we’re taking a trip back to a time where the line between myth, legend and fact becomes blurred. Doctor Who has a new producer in John Wiles, who has some big boots to fill, and a new writer for this serial, one Donald Cotton. Let’s dive in and see how they got on.
![[March 28, 1966] Typhoid Doctor (<i>Doctor Who</i>: The Ark)](https://galacticjourney.org/wp-content/uploads/2021/03/660328monoid-672x372.jpg)
![[March 24, 1966] Dark Comedy and Birthday Wishes (a Tony Randall double feature)](https://galacticjourney.org/wp-content/uploads/2021/03/660324b04-672x372.jpg)
![[March 16, 1966] Sometimes Older is not Better (<i>Mystery and Imagination</i>)](https://galacticjourney.org/wp-content/uploads/2021/03/MI-Titles-672x372.jpg)
![[February 28, 1966] A Bloody Return To Form (<i>Doctor Who</i>: The Massacre of St Bartholomew’s Eve)](https://galacticjourney.org/wp-content/uploads/2021/02/660228pub-672x372.jpg)
![[February 4 1966] What A Waste. What A Terrible Waste. (<i>Doctor Who</i>: The Daleks' Master Plan [Part 3])](https://galacticjourney.org/wp-content/uploads/2021/02/660204fleeing-672x372.jpg)
![[January 18, 1966] New Discoveries of the Old (<i>Out of the Unknown</i>)](https://galacticjourney.org/wp-content/uploads/2021/01/Out-of-the-Unknown-Titles.jpg)
![[January 10, 1966] Kingdom Come (<i>Doctor Who</i>: The Daleks’ Master Plan [Part 2])](https://galacticjourney.org/wp-content/uploads/2021/01/660110hmmmm-672x372.jpg)
![[December 12, 1965] Something Old, something New (<i>The Bishop's Wife</i> and <i>A Charlie Brown Christmas</i>](https://galacticjourney.org/wp-content/uploads/2020/12/651212feature-672x372.jpg)
![[December 6, 1965] Are You Sitting Comfortably? Then I'll Begin (<i>Doctor Who</i>: The Daleks’ Master Plan [Part 1])](https://galacticjourney.org/wp-content/uploads/2020/12/651206dalek-672x372.jpg)
![[November 8, 1965] You Must Be Mythtaken (<i>Doctor Who</i>: The Myth Makers)](https://galacticjourney.org/wp-content/uploads/2020/11/651108horseofdestruction-672x372.jpg)
