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[December 6, 1965] Are You Sitting Comfortably? Then I'll Begin (Doctor Who: The Daleks’ Master Plan [Part 1])


By Jessica Holmes

Buckle up, everyone. We’re about to start the longest serial of Doctor Who yet. I hope you’ve got a comfy chair and a pot of tea.

Bret Vyon

THE NIGHTMARE BEGINS

Poor Steven isn’t feeling too well since his run in with the sharp end of a poisoned sword, so the Doctor leaves him in the care of Katarina while he goes to search for an antitoxin.

Wait, no, apparently we’re not following that, we’re following two blokes called Bret and Kert, who are sitting in a rainforest and trying to contact their superiors.

Nope, no, we’re actually watching a couple of nameless bald men doing… something or other. To be more accurate, we’re watching a couple of people watching the bald men and having a nice chat rather than paying attention to the call coming in. It seems that the men we just saw were from the Space Security Service that those men were from in that one-off episode a few weeks ago, come to search for their long-dead comrades.

Mavic Chen

The fate of the universe can wait though, because the people in the control room are busy watching a television interview with a man with very silly eyebrows. This is Mavic Chen, and he’ll be important later. From the name and the lousy makeup, I think he’s meant to be Chinese. The makeup’s distracting and more importantly, racist. There’s no excuse for this sort of thing, common as it may be. At least they had the good sense not to give him a ridiculous fake accent.

Chen’s banging on about how the solar system has enjoyed tranquility in recent years, promising that they can look forward to an everlasting period of peace and prosperity that will spread throughout the universe and it’ll be sunshine, lollipops, rainbows, et cetera. Laying on the dramatic irony pretty thick, aren’t we?

In the jungles of the planet Kembel, the two men begin to fear that something’s following them. I will give you three guesses what that something could possibly be.

A Dalek looms over Kert.

Surprise! It’s a Dalek.

Injured, Kert tells Bret to go on without him, and he bravely goes to face the Daleks — who promptly shoot him dead.

Bret flees through the forest, tripping over his own feet and dropping the transmitter, breaking it. Well, it’s not very well made if it broke that easily. He should get his money back. He’s on the brink of despair when the TARDIS materialises close by.

The Doctor and Katarina emerge, and the Doctor sends Katarina back inside to look after Steven while he searches for some antitoxin. Finding the door locked, Bret follows after the Doctor, and orders him at gunpoint to hand over the key.

The Doctor stares down the barrel of a gun.

Inside the TARDIS, Katarina tends to Steven, still under the impression that she’s dead and travelling through the underworld. Bret enters the TARDIS, and Katarina, bless her, thinks he’s come to help, and he tricks her into locking the Doctor out of the TARDIS.

However, he doesn’t get away with it for long, because like an absolute numpty he left the key in the door and didn’t pay enough attention to Steven, who whacks him over the back of the head when he’s not looking.

Bret doesn’t strike me as one of the SSS’ best operatives. James Bond, he is not.

As the Doctor lets himself back into the TARDIS, a spaceship passes overhead, and at the Dalek base the Daleks prepare to receive guests.

Bret is restrained in a chair.

The Doctor restrains Bret in the TARDIS with a ‘magic chair’ (magnetic), but the cross-examination will have to wait, because he still needs to look for the city he spotted in his earlier foray into the forest. He narrowly misses a Varga plant as he explores and soon comes upon the skeletal remains of Corey, his tape recording lying just a few feet away from him.

He collects the tape and proceeds to the city, where he realises to his horror who the occupants are.

Back in the TARDIS, Bret inquires as to what’s wrong with Steven. When Katarina explains he has poison in his blood, Bret actually makes himself useful and offers her the use of some tablets he has to hand. Katarina decides to trust him and gives Steven the medicine. Let’s just hope it doesn’t backfire.

As the Daleks greet their guest and newest ally, Mavic Chen, the Doctor hurries back to his ship, only to find the door open and a gang of Daleks surrounding the box.

Uh-oh.

Two Daleks sit outside the TARDIS.

DAY OF ARMAGEDDON

Hiding in the bushes, the Doctor watches from a distance as the Daleks examine his ship. They speak of something called Operation Inferno, which will require them to retreat to a safe distance.

Meanwhile, Mavic Chen makes a friend. Say hello to Zephon, the master of the Fifth Galaxy.

Zephon

Zephon expresses surprise that Chen, being from our solar system (Why is our solar system THE Solar System? Surely any system with a star and things orbiting that star is a solar system, isn’t it? Why do we qualify for the definite article?) is allying himself with the Daleks. Well, being in charge of one star system is nice enough, but Chen has greater ambitions.

The Daleks are all too aware of Chen’s ambitions, which is why they’re planning to exterminate him and all their other accomplices when they’ve outlived their usefulness. That sounds very in-character for them, but I don't know how pragmatic it would be, considering that the galaxies the leaders represent would likely consider the Daleks' actions to be an act of war and retaliate in kind.

Stephen lies in the forest with the Doctor and Katarina kneeling beside him.

Stephen wakes up in the forest feeling very confused, but looking a tad healthier. The tablets seem to have worked. He has Bret and Katarina to thank. When the Daleks came, Bret convinced Katarina to release him so that they could all escape. The Doctor finds the group, and Katarina fills him in on what happened while Bret spies on the Daleks, who have flamethrowers now.

The Doctor and Katarina help Steven limp back towards the TARDIS before the flames reach them (wait, I thought it was his shoulder that was hurt, not his leg?), but Bret points out that it’s probably a trap. I suppose they’ll have to just stay put and roast then.

Stephen and the Doctor start bickering over what to do until Bret interrupts and tells them essentially to shut up, leaving the Doctor speechless for once in his life. He recovers quickly.

Daleks use flamethrowers to burn vegetation.

The Daleks get to work burning the forest. I obviously need more sleep because for a moment I thought they were toasting marshmallows on the fire. In my defence, the Dalek flamethrowers are shaped just like a marshmallow on a stick.

The fire slowly catches up to the gang as the Doctor and Bret have another bickering match, and the Doctor finally comes up with a third option: hide in the Dalek city. It’s the last place they’ll expect!

Chen has a chat with Zephon before the gathering of PT Barnum’s freakshow rejects comes to order, with Zephon waiting outside a while, for plot convenience’s sake I presume.

4 humanoid aliens approach a table with a Dalek waiting to greet them.

The Doctor and company arrive at the Dalek city and admire the pretty shiny spaceships, at least until Bret recognises Mavic Chen’s. He's deeply troubled, but the others see their getaway vehicle: they decide to steal it.

Along comes Zephon, and they run for cover. Come to think of it, I suspect that he might walk like that because the chap in the costume can’t actually see where he’s going. Bret subdues him, and the Doctor steals his clothes so that he can disguise himself and sneak into the meeting. I’m in awe at the sheer audacity of the plan. He gives Bret the tape for safekeeping before he goes, and even Bret, who doesn’t particularly get along with the Doctor, is impressed with his courage.

While the others go to steal the ship, the Doctor arrives fashionably late to the meeting. He learns that the Daleks have almost completed something called a Time Destructor, which needs only a core and it’ll be ready to use. Mavic Chen smugly presents the core, an emm of pure Taranium, the rarest substance in the universe.

Mavic Chen holds the Taranium core.

Outside, Zephon wakes up and begins to struggle against his restraints as the others barge onto Chen’s ship and start tying up the crew.

All seems to be going well, until Zephon manages to set off an alarm. It might be a blessing in disguise however, as in all the pandemonium the Doctor is able to swipe the Taranium core from under Mavic Chen’s nose.

He’ll have to hurry, though. Bret’s about to take off– and he’s not planning to wait for stragglers.

Bret leans over a control panel, as Katarina pleads with him.

DEVIL’S PLANET

The Doctor shows up in the nick of time, and off they go, fleeing the Daleks. The Daleks don’t fail to notice them going, but refrain from blowing the ship out of the sky. They’ve realised that the Taranium core is missing, and they need to get it back.

Chen’s all too happy to throw Zephon under the bus for the loss of the core. Sure, it was Chen who went and left it unattended on the table, but the Daleks see fit to blame Zephon, as it was his lateness to the meeting that allowed the Doctor to infiltrate it and steal the core. The Daleks find him guilty of negligence, and execute him for his failure.

Born diplomats, the Daleks are. Really this should start a war but apparently Zephon's galaxy won't mind their leader being murdered.

Bret, the Doctor, Katarina and Stephen look at the Taranium core.

On the ship, the Doctor’s coming to like having Katarina around. She learns by watching and listening, sparing him from constant questions. He’s eager to teach her though, and I find his enthusiasm endearing.

They finally get around to playing the tape, which doesn’t really tell them anything new but will come in handy when urging Earth to take action, and the Doctor proclaims that “The Daleks will stop at anything to prevent us!”

Well, if that’s the case, all you have to do is mildly inconvenience them and they’ll leave you alone. I’m well used to Hartnell’s line flubs by now, but that one did amuse me.

The Daleks make their move as the ship passes by a prison planet, Desperus, an entire world used for dumping convicts. Basically, it’s Space Australia. Sorry, Kaye. I couldn’t resist.

Then the Daleks force the ship to land on Desperus, where a gang of convicts soon learn of the ship’s arrival and begin plotting to take it for themselves.

The three convicts gather closely. All are unkempt and filthy.

As the rest of the crew work on getting the ship up and running again, Katarina spots lights in the distance. It’s the three convicts, Kirksen, Garge and Lars, approaching. Kirksen ends up being waylaid by an aggressive bird, and the other two carry on without him.

In preparation for their arrival, the Doctor drops a cable from the ship into the murky swampwater beneath the entrance, and Katarina activates the current as Garge and Lars attempt to approach. There’s a flash of light and both men scream, then drop down unconscious.

It’s not long before the ship’s ready for takeoff once more, and Bret notices that the outer door is open for some reason, but it’s probably nothing to worry about. The crew leave Desperus as the Daleks crash-land, and it looks like everything’s going brilliantly for about five seconds.

Then Kirsken pops out of the airlock, grabs Katarina, and all hell breaks loose.

Kirksen grabs Katarina.

THE TRAITORS

Holding Katarina hostage, Kirksen demands to be taken to Kembel. It wouldn't be my first choice for a hideaway, that's for sure. I don't do well with humidity or screaming Nazi space monsters with cooking and plumbing tools for arms.

Back on Kembel, the Daleks receive a message from the pursuit fleet, saying they’re ready to continue the mission. The Daleks kindly take the burden off their plungers and tell Chen to go instead, having worked out that the fugitives are heading for Earth. With that settled, the Daleks treat the pursuit ship with patience and understanding, inviting them to return to Kembel.

Of course, the moment they break communications, they order the ship blown up as punishment for failing the mission. I think a lot of us have had bosses like that.

Stephen watches through the airlock window as Katarina struggles against Kirkesn.

Back on the stolen ship, Bret obviously isn’t about to turn and fly back the way he came. He tries to catch Kirksen off guard with a sudden change of direction, but it doesn’t work, causing Kirksen to retreat into the airlock, dragging Katarina with him. They could open the exterior doors and rid themselves of him, but that would kill Katarina too. However, he’s not coming out until they agree to take him to Kembel. The longer they take to make a decision, the longer Katarina’s in danger from him. He’ll kill her if they don’t change course.

The Doctor finally cracks and orders Bret to do as Kirksen says, with Stephen backing him up. However, there’s one person whose opinion nobody asked, and she’s taking matters into her own hands.

Katarina manages to get one arm free of Kirksen’s grip, reaching desperately for something on the wall. By the time the others realise what she’s about to do, it’s too late. The airlock blows open, sucking both Kirksen and Katarina into the vacuum of space.

Katarina's arm stretches out, with Kirksen's trying to pull her back.

At last, a moment of silence as everyone processes what just happened. Stephen isn’t sure that Katarina did it on purpose, but the Doctor gives her more credit than that, and I happen to agree with him.

“She didn't understand. She couldn't understand. She wanted to save our lives and perhaps the lives of all the other beings of the Solar System. I hope she's found her Perfection. Oh, how I shall always remember her as one of the Daughters of the Gods. Yes, as one of the Daughters of the Gods."

Excuse me, I have a little something in my eye. Does this count as the first death of a companion? She wasn’t around for very long, but do you need to be to count as a Companion? To me, if you’ve travelled in his TARDIS by the Doctor's consent, you’re a companion, even if you were only around for a handful of episodes. It’s a proper punch to the gut. We always assume, don’t we, that whatever happens the Doctor and his closest friends will always make it out alive. Here is a stark reminder that travelling with the Doctor is not safe. A single lapse in judgement can snatch defeat from the jaws of victory.

It’s a bit of a pity, because I thought Katarina still had a lot of potential. I suppose that makes it even sadder in a way. The Doctor was so keen to show her the wonders of the cosmos, and now she’ll never get to see them.

Katarina's body floats through space.

And just to rub it in, there’s a shot of the poor girl’s lifeless body drifting away through the void. I hope it was at least quick.

Let’s check in with the baddies. With the threat of the ultimate punishment for failure hanging over his head, Chen meets with his subordinate Lizan, and Karlton, the head of the Space Security Service. He tells them to recall all available agents to Earth so that they can catch Earth’s greatest traitor: Bret Vyon.

It turns out that Karlton is in on the plot with Chen to sell Earth out to the Daleks. Chen will be at the Daleks’ right hand, and Karlton will be at Chen’s, if all goes according to plan. Karlton puts one of his best agents on the job, Sara Kingdom. The actress might look familiar to you if you also watched The Crusade earlier this year.

Karlton briefs Sara Kingdom.

The Doctor and company make a bumpy landing at the ‘Experimental Station’, and Bret cautiously leads the group inside, where he hopes to meet with someone he can trust with the information.

Chen briefs Kingdom on her mission, conveniently leaving out the bit about the Daleks. She’s apparently unwaveringly loyal, but there’s no sense in risking it.

Bret fills his ally Daxtar in on the things they’ve learned, and it seems that Daxtar is eager to help. However, when Daxtar asks about the whereabouts of the Taranium, the Doctor realises he’s not to be trusted. Why? Because they never mentioned that the core is made of Taranium. Bret turns on his ally, and shoots him dead before the Doctor has a chance to find out who else might be in on the conspiracy, prompting the hero’s anger.

Sara Kingdom threatens Stephen, the Doctor and Bret with a gun.

Moments later, Kingdom shows up. It would seem that she and Bret know one another. For a moment, Bret is pleased to see her, hoping that she might be on their side. All hopes are dashed when she demands the Taranium. I don’t think Bret is a very good judge of character.

Bret struggles with Kingdom, buying the others enough time to get out, but leaving him alone with a woman even more trigger happy than he is. He barely gets his hand an inch towards his gun before Kingdom fires on him, killing him instantly.

We’re racking up quite a body count of major characters, aren’t we? I don’t know that I’d call Bret a companion, as he only appears in this one serial, unlike Katarina who was introduced at the end of the previous serial. Additionally, he never actually travels in the TARDIS. He tries, but just ends up tied to a chair, which doesn’t count. I had quite liked having him around, though. It might have been interesting to see how his character might have developed.

With Bret dead and the Doctor and Steven on the run, Kingdom orders her subordinates to secure all the exits. The fugitives must be killed on sight.

Sara Kingdom gives orders to another agent.

Final Thoughts

This would be a much better start to the serial if it didn’t take so long to get to the point. This serial could have benefited from a more ruthless editor: I often noticed scenes that would have benefited from being trimmed down, and a fair amount of characters telling one another things that the audience already knows.

How will it turn out? Will the story unfold into a grand epic, or a bloated mess? We’ll have to wait and see. I just know that, with eight episodes more for me to write about, I’m going to need to drink my body weight in coffee.




[November 8, 1965] You Must Be Mythtaken (Doctor Who: The Myth Makers)


By Jessica Holmes

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.

TEMPLE OF SECRETS

Let’s establish one thing immediately: this serial makes a number of breaks from the popular accounts of the siege of Troy. To establish a second thing, I don’t mind this. It’s a legend. There might be a kernel of truth in there somewhere, but most of it was probably made up so that it would make a good story. Well, except for the bit about fighting the river god. That definitely really happened.

The real problem here is the music. Who in the world signed off on this?! It sounds as if they fitted a below-average marching band with shock collars, gave them sheet music that had been half-eaten by a dog, then made them perform drunk with no rehearsal, and giving them an electric jolt every few seconds.

It’s just noise! I have heard more pleasant primary school music recitals.

It would perhaps be more bearable if I had something to watch, but my picture quality is very poor once again. I think it must be the weather where I live.

Inside the TARDIS, the Doctor and his companions watch the unfolding fight between Achilles and Hector on the monitor, and the Doctor makes the spiffing decision to go and ask these nice chaps where and when they’ve landed.

It’s at that point that Hector practically dares the Fates to toy with him, as he mockingly challenges Zeus himself to come down and save Achilles, who is at his mercy. So when there’s a bright light and an old man pops out of a magically appearing box, he’s more than a little taken aback, and that gives Achilles the opportunity to run him through.

Achilles mistakenly believes the Doctor to be Zeus, having appeared to him in the guise of an old beggar (which made me chortle), and the Doctor doesn’t bother to correct him.

Having learnt where he is, the Doctor attempts to return to his TARDIS, but Achilles begs him to stay, showing him the camp of Agamemnon, where the Greeks have spent the last ten years sitting outside the walls of a rather well-executed miniature model of Troy.

The Doctor and Achilles meet Odysseus (yes, THAT Odysseus), who is just a total jerk, as my American friends would put it. The Doctor has a quiet giggle to himself as Odysseus sarcastically comments that Achilles probably just chased Hector around the city until he got tired rather than facing him in honest combat.

Odysseus isn’t at all convinced that the Doctor is Zeus, and after examining his tiny ‘temple’, insists that he accompany them back to the camp. After they all leave, a Trojan patrol comes out of hiding, recovering Hector’s helmet and discovering the ‘temple’ for themselves.

Steven gets tired of waiting inside the TARDIS and goes to find the Doctor, leaving Vicki behind to rest her injured ankle, which I had forgotten all about.

In the Greek camp, Meneleus, husband of Helen (the face that launched a thousand ships, but doesn’t appear in this story) is frankly bored of this whole siege. If Paris wants Helen, he can keep her.

…I see why she left him.

Agammemnon, however, is not ready to give up, and he threatens to issue a challenge to Hector on Meneleus’ behalf.

Luckily for Meneleus, that’s when Achilles gets back and informs them that Hector’s crossed the Styx.

Odysseus arrives shortly after with the Doctor in tow. The Doctor tries to prove his divinity by revealing hidden truths, such as the fact that Agamemnon’s wife is unfaithful, but it seems just about everyone knew that except the kings, who refuse to believe it without proof.

Agamemnon finds himself in a difficult position, and decides to imprison the Doctor, unwilling to risk killing him and incurring the wrath of the gods, or releasing him and having him spill all their secrets to the Trojans.

Desc: Odysseus and Cyclops

Odysseus eavesdrops outside the tent, where he’s met by a mute spy, Cyclops. Probably no relation. Cyclops tells Odysseus, through hand gestures, that he spotted a stranger coming to the camp. Investigating, Odysseus finds Steven and takes him captive, accusing him of being a spy.

Attempting to maintain his cover, the Doctor prevents the Greeks from killing Steven on the spot, telling them that if they take him to his temple tomorrow, he’ll perform a miracle and smite the spy.

Well, they’ll be quite happy to take him to the plain, but he’d better hope for bad weather… because the TARDIS is gone.

Again.

He really does have a habit for misplacing it, doesn’t he?

Desc: an empty plain, with a disc with the image of a horse on it lying on the ground.

SMALL PROPHET, QUICK RETURN

I can’t decide whether I like this pun or whether I want to steal all of the writer’s pencils.

When the time comes for ‘Zeus’ to do some smiting, the Doctor finally caves and admits that he’s not Zeus, leading to him and Steven being captured and interrogated.

Meanwhile, the TARDIS has found its way behind the walls of Troy. Paris, Hector’s brother, is feeling rather pleased with himself for having captured a Greek shrine of some sort.

His sister Cassandra tells him to get rid of it. Naturally, he ignores her. She points out that it was unguarded, and it’s about the right size for somebody to hide inside. Has he perhaps considered it’s a trap? Doesn’t this all sound rather familiar?

Their father, King Priam, soon joins the party and attempts to prise the door open, as inside Vicki frantically searches for something to wear. For heaven’s sake, just put on a bedsheet and you’ll fit right in.

After listening to the Doctor and Steven’s true accounting of who they are and how they came to be here, Odysseus figures that they wouldn’t dare tell him such a blatantly absurd story unless they were actually telling the truth, which is questionable logic but then again none of the great thinkers have been born yet (and boy, does it show!), so perhaps we shouldn’t be too harsh. He agrees to release them on the condition that they help him take the city. Oh, and they only have two days to do it.

In Troy, Cassandra is about to burn the TARDIS as an offering to the gods when Vicki finally emerges, introducing herself as a traveller from the future. All that time in there and you couldn’t come up with any cover story at all?

Cassandra accuses her first of being a pagan goddess of the Greeks (which is confusing, as at least in The Iliad’s version of events, which is what this serial is mostly based on, the Trojans worshipped the same gods), and then of being a false prophet, though Paris points out that Cassandra doesn’t have a monopoly on reading entrails and having weird dreams.

Vicki explains that she’s not prophesying, she’s just recalling her knowledge of history, which is different. Cassandra still insists that they should kill her, while Paris argues the opposite. In the end, Priam kindly assures Vicki that she shall die when HE says so, and not a moment earlier. How very…comforting.

Oh, and the name will have to go if she’s staying. Vicki sounds far too weird for their liking, so the king re-names her Cressida. How rude.

But that name does ring a bell…

Meanwhile , the Doctor and Steven are trying to come up with ideas for breaching the city, and Steven brings up the wooden horse. The Doctor shoots the idea down, as nobody would actually be stupid enough to fall for that.

A messenger arrives to inform Odysseus that he’s been volunteered on Achilles’ behalf to go and answer a challenge from Paris, but Odysseus isn’t about to fight heel-boy’s battles. Steven volunteers to go instead, and allow Paris to take him as his prisoner so that he can search for Vicki. Odysseus thinks it’s suicide, but acknowledges that it is at least very brave.

With him gone, the Doctor keeps coming up with ideas. Tunnelling’s been tried already, but how about flight?

Steven surprises Paris as he very quietly and hesitantly calls out for Achilles, necessitating a change of loincloth on Paris’ part. He astutely observes that Steven isn’t Achilles. Lowering his voice, he admits to thinking that really this whole thing seems to have got a bit out of hand, and he doesn’t really fancy killing anyone who isn’t Achilles anyway.

Desc: A man in Greek armour fights a man in Trojan armour.

Well maybe you should have thought about that before running off with a married woman, hmm?

That said, he has a point.

He reluctantly starts fighting, and Steven has to pretend to lose, because let’s face it, Steven could eat Paris for breakfast if he were actually trying.

It’s very funny when a baffled Paris asks ‘I beg your pardon?’ and then Steven has to actually talk him into accepting his surrender, buttering him up by pretending that the Greeks tell all sorts of extraordinary tales about Paris. He sure would like to tell some of those tales within earshot of the Trojans, and gosh, wouldn’t they all be very impressed with Paris for capturing this great Greek warrior? Cough, cough. Hint, hint.

Nonplussed but a little flattered, Paris agrees to take Steven back to the city, and the pair leave, watched by Cyclops as they go.

In the city, Priam treats Vicki to a slap-up meal courtesy of his cousin Aeneas’ smuggling operation, and regales her with tales of just how much the Trojans like horses. They really, really like horses. There’s such a thing as liking horses too much, you know.

Vicki recalls a legend she once heard regarding Troy and horses, and Priam tries to press her about it. She changes the subject by asking about Troilus, the king’s youngest son. He’s rather good looking, isn’t he?

There’s a bit of a random, out-of-nowhere line on not putting too much stock into good looks, as that will only get you into trouble. Just take Paris and Helen. Paris is a nice looking bloke, popular with the ladies, and also a total cowardy-cowardy-custard. He got all taken with Helen’s beauty, and before you know it there’s a decade-long war.

‘Shame he didn’t meet a nice sensible girl like you,’ he tells Vicki. ‘It’s character that counts, not good looks.’

Ouch! Talk about a back-handed compliment.

Priam hastily apologises, insisting he didn’t mean it like that, and is about to press Vicki on what she knows of the war again when Paris marches Steven into the room, pleased as punch.

Shocked to see each other, Vicki and Steven blurt out one another’s names, and Cassandra realises at once that they must know each other.

If ‘Cressida’ knows this Greek, what more proof do they need that she’s a spy? There’s only one thing to be done with spies. They must be put to death.

Desc: A soldier in ancient Trojan armour brandishes his sword.

DEATH OF A SPY

I was quite disappointed that this episode didn’t start with a punny title. Some might consider that a good thing, though.

Tired of Cassandra’s zealotry, Paris intervenes to stop the guards dispatching Vicki and Steven. Priam is willing to believe Vicki when she says she’s not a spy, but she’ll have to prove herself. She will have to use her divine powers to aid Troy against the Greeks. If not, she’ll be burnt. In the meantime she will have to stay in the dungeons, but Priam assures her that it’s actually rather nice down there.

At least he’s affable, but I think all the men in this story have one brain cell between them and they’re playing pass-the-parcel with it.

Don't look so unimpressed, Odysseus. It's not as if you've got any better ideas.

The Doctor continues to pursue his idea for a very anachronistic flying machine. I think if you left him to his own devices for long enough he’d end up inventing the aircraft carrier several millenia early.

However, he’s not too keen on the idea of testing his invention, something Odysseus would very much like to see him do.

In the dungeons of Troy, Vicki and Steven are visited by Cyclops, who Steven tells to warn the Greeks not to attack until the day after tomorrow, so that they can buy Vicki some time. It’s then that the king’s youngest son, Troilus, visits ‘Cressida’ in her cell.

He brings her some food, and she coaxes him into sitting and talking with her.

Meanwhile, the Doctor abandons his idea of using flying machines, claiming to have made a mistake in his calculations. If you ask me, I think he was just scared of trying out his contraption.

With no better options available he finally suggests the idea of building a wooden horse. He explains the legendary plan, and Odysseus actually seems quite taken with it. So is Meneleus, once the Doctor explains to him that they’re building the horse, not looking for an actual fifty-foot-tall equine.

Maybe there is someone stupid enough to fall for it, after all.

In Vicki’s cell, she’s getting rather cosy with Troilus, and poor Steven no doubt feels very awkward as the chatting turns to outright flirting. Troilus even asks at one point whether Steven is really just Vicki’s friend or if he’s something more. Someone’s a little jealous!

When he finally leaves, Steven mocks Vicki for being so unsubtle. She retorts that she was only doing what she could to get them both out of prison. But was that really all there was to it?

Unfortunately for the pair of them, it looks like their message to delay the attack won’t reach the Greeks. Cyclops gets caught as he leaves the city, and is swiftly killed by a Trojan soldier.

The Greeks finish building their horse in an astonishingly short amount of time. Wait, where did they get the wood? There don’t seem to be any trees nearby. They’d have to travel and cut the lumber and transport it back and assemble it…and they did all that in a few hours? Yes, I’m nitpicking a fictional retelling of a pseudo-historical event that almost certainly did not happen, but it’s my job.

Desc: The head of the Trojan horse

The Doctor waits with Odysseus and his soldiers inside the horse, but the Doctor isn’t at all happy about it. In one memorable line that I am very, very surprised made it past the censors, Odysseus snaps that the Doctor is making him “…as nervous as a Bacchante at her first orgy.”

I beg your pardon?

I think you’ll find that a Bacchante is a female ROMAN follower of the ROMAN god, Bacchus. The Greek equivalent would be a Maenad, a female follower of the Greek equivalent, Dionysus.

The nonsense they’ll allow in children’s television these days!

Soon Troilus comes to Vicki in her cell and tells her that the Greeks have all left. The king thinks that she’s been a good luck charm after all, and has ordered her release. Unfortunately Steven isn’t as lucky.

The Trojans start bringing the horse into the city, much to Cassandra’s dismay. As annoying as she can be, she's the only person in the city with half a brain.

The Trojans think they’ve won… but it’s only a matter of time.

Desc:: The Trojan horse stands on a hill.

HORSE OF DESTRUCTION

The title of this episode sounds like it lost its nerve halfway to being a pun. That, or it’s just a stupid title. I know that Doctor Who likes ‘Noun of Adjective’-style titles, but ‘Horse of Destruction’ just sounds silly.

Cassandra says that the horse is a trick, an obvious trick, and the arrival of the ‘temple’ has brought nothing but bad luck, just as she said. Well, a stopped clock is right twice a day.

They notice ‘Cressida’ seems to have vanished, and Troilus goes to look for her while Cassandra sends her maidservant, Katarina.

Desc: Paris, Priam and Cassandra all look out the window.

Vicki releases Steven from the dungeon, telling him about the horse problem, and Steven wonders if his message got through. Well, chum, take a look at the great big horse standing in the town square and tell me what you think.

Perhaps it’s something in the water?

Troilus finds that his ‘Cressida’ has gone missing, and Cassandra starts screaming, yet again, about finding her and burning her. Cassandra, I like the mythical version of you, but all that screeching is giving me a headache.

Vicki returns to the palace, and they grill her on where she’s been. She manages to placate them, and the king goes with his children to investigate the horse, leaving Vicki alone with Katarina.

The Doctor grows thoroughly sick of Odysseus’ company, and finally snaps. He thoroughly tells him off, but the 'hero' pays him no mind.

Is there a Doctor in the horse?

Troilus returns for Vicki, who warns him to leave the city and find Steven (or as Troilus knows him, Diomedes) out on the plain. He takes her advice and takes his leave. Moments later, the Greeks emerge from the horse and begin dispatching the Trojan sentries. The Doctor looks on helplessly, dismayed at all the bloodshed.

Troilus doesn’t find ‘Diomedes’ out on the plane, but he does find Achilles. He doesn’t have long to wonder if ‘Cressida’ played him false before Achilles attacks. It’s a tough fight, but Achilles catches his heel on a bush and stumbles, enabling Troilus to deliver him a mortal blow. However, the dying Achilles summons the last of his strength and thrusts his sword at Troilus, gravely wounding him. So much for sending him out of harm’s way.

Desc: Achilles lies mortally wounded.At least it's more dignified than dying of an arrow to the heel.

The Greeks open the gates of Troy, letting the rest of the army inside the city. The royal family barely have time to realise what’s happening before Odysseus bursts into the palace, and they realise that all is lost.

Vicki and the Doctor find each other in the chaos, and Vicki sends Katarina to find Steven before taking the Doctor into the TARDIS to talk to him.

However, wearing the guise of a Greek soldier doesn’t do Steven any favours. He gets a nasty wound in the shoulder before Katarina finds him and brings him safely back to the Doctor.

Vicki emerges from the TARDIS. In a curious gesture she hugs the ship before turning and walking back into the city. The Doctor watches in concern as she goes, but makes no attempt to stop her.

Odysseus attempts to prevent the Doctor from leaving, but the Doctor doesn’t have to put up with his nonsense any more. As the TARDIS vanishes, Odysseus wonders if he really was a god after all.

But where’s Vicki?

Desc: Vicki and Troilus arm-in-arm.

Out on the plains, Troilus is wailing over ‘Cressida’s betrayal quite hilariously, thoroughly chewing the scenery. He settles down once she turns up and explains herself. She couldn’t just leave him and allow him to think she’d betrayed him. Besides, she belongs here now.

Excuse me? You flirt for five minutes with this guy and you decide to go and live in the Bronze Age? Vicki, that’s the teenage hormones talking. What was the Doctor thinking letting her go?

Aeneas conveniently shows up, and Troilus and Cressida go to join him in building a new Troy. I can think of a lovely spot on the Italian peninsula which should do quite nicely.

And then they kiss. How romantic.

No, I don’t buy it. I’m sorry, but I just don’t. That’s twice now that Doctor Who has written off a teen-aged companion by making her fall in love with a bloke she’s just met, This time it feels less believable than it did with Susan, for whom it made sense as an ending to her arc, but Vicki showed no signs of being ready to stop travelling. In addition, Susan and David had been through more together, whereas Vicki apparently falls in love with Troilus after one chat in a prison cell.

The Doctor is a terrible guardian. Who in any universe would think it’s a good idea to leave a teen-aged girl in a warzone? Absolutely nothing good could come of that.

However, he’s more worried about Steven right now, who has taken a turn for the worse and badly needs drugs. I suppose whatever the Doctor is a Doctor of, it’s not medicine.

Katarina, who looks to be well on her way to being Vicki's replacement in the TARDIS crew, think she’s died and that the Doctor is a god. Who does that make him, I wonder? Hades?

Desc: Katarina and the Doctor

Final Thoughts

The Myth Makers is a very enjoyable serial with many funny moments. I found myself laughing aloud in parts, having fun all the way. Donald Cotton does appear to have the knack for comic writing. With a number of cast members already established as comic actors, it’s no surprise that it turned out to be as funny as it did. Conversely, I think the serial is at its weakest when it’s trying to be more serious.

Vicki’s sendoff doesn’t make much sense to me, as it feels like too abrupt an ending for her story. I cannot speak to what may be going on behind the scenes at the BBC, but I suspect that Maureen O’Brien might have been a casualty of whatever shake-ups the new producer has in store. Only time will tell, but this has been the weakest companion departure so far. That's a real pity, as I liked Vicki a lot. She was witty, intelligent, kind, inquisitive, and just a delight to have around. O’Brien and Hartnell had excellent chemistry together. I feel quite sorry for our leading man now that all of his old long-term castmates have left.

Perhaps Katarina will be able to fill the hole Vicki left. It would be quite interesting to see how a girl from ancient Troy would react to all the weird, wonderful and horrible things out there in the Doctor’s universe.

I wonder what she’d make of a Dalek?

Text reads: Next Episode, THE NIGHTMARE BEGINS

3.5 out of 5 stars




[October 10, 1965] Doctor Where? (Doctor Who: Mission To The Unknown)


By Jessica Holmes

Probably weren’t expecting me to be back so soon, eh? We’ve got a very, very unusual story this week, courtesy of Terry Nation. Why is it so unusual? Let’s find out.

MISSION TO THE UNKNOWN

We see the man from last week’s preview waking up in the middle of the forest, and saying he must kill. Kill who? Well, that doesn’t really matter. The killing is the important part. Don’t get too attached to him.

Nearby two men, Cory and Lowery, are trying to repair their spaceship. They are apparently with the UN Deep Space Force. I don’t know what that is but it certainly sounds cool. They’re starting to wonder where Garvey, the other bloke who woke up with a craving for murder, has vanished to. He shows up before long, and corners Lowery alone outside the ship. However, before he can kill him, Cory pops out and shoots him dead.

Rather than reacting with gratitude, Lowery is very upset with Cory for shooting his friend without giving him a chance. Cory makes a reasoned and sensitive response to his protest, introducing Lowery’s cheek to the palm of his hand.

He then shows Lowery the thorn behind Garvey’s ear. It’s a Varga thorn, he says, and this is what drove him into a murderous state.

The pair go inside the ship, and outside, Garvey’s hand starts to move, the flesh beginning to mutate into something else…

Inside the ship, Cory fills Lowery in on information he probably ought to have been given in the first place, but then again, if he already knew it then there wouldn’t be an opportunity to do an exposition dump. Cory is an agent with the Space Security Service: licence to kill, naturally. About a thousand years have passed since the last Dalek invasion of Earth, but they’ve been rebuilding their power in the meantime, and just last week a Dalek ship was spotted in local space.

As Cory explains all this, a now-transformed Garvey rises from the dead. He is more plant than human now.

Cory goes on to explain that he’s investigating this planet because, as the most hostile planet in known space, it could be a hidden base for the Daleks. Bringing up the thorn again, he tells Lowery that it’s a Varga thorn, and the Varga plant only grows naturally on the Dalek homeworld of Skaro. Logically, if there are Varga here, the Daleks must be too. Well, thinking about it, they could have been here, done some gardening, and then left, but he doesn't seem to consider that.

Sure enough, in the next scene we see a few Daleks. They’re expecting to receive emissaries from seven planets soon. Before they can hold their meeting, however, they’ll be needing to do something about the alien spaceship they’ve found. They’re going to destroy it, and any occupants. Big shocker, there.

The human astronauts are in big trouble as they set up their rescue beacon outside the ship. They’re surrounded by Varga, and the Daleks are closing in on their position.

Spotting a huge rocket ship flying overhead, Cory surmises that something very big is going on here, and if the Daleks are involved then the whole galaxy is in danger. They need to record a message and send the rescue beacon as soon as possible.

Before they can send it however, they hear the approaching Daleks, and grabbing the rocket they head for the cover of the jungle.

The Daleks find the human ship and set out to search for the crew, but not before blowing their vessel to smithereens.

As the pair move through the jungle, disaster strikes when Lowery brushes against a Varga, and it pricks his hand. Frightened, he conceals it from the other man. Have you watched no horror flicks ever, man? Everyone knows that nothing good ever comes of concealing the fact that you're about to turn into a bug-eyed monster/zombie/shrubbery with legs.

Meanwhile, an assortment of strange alien envoys are meeting with the Daleks. However, the meeting can’t begin as one of the aliens knows of a hostile influence on the planet, but the Daleks assure them that the humans are in the process of being hunted down and destroyed.

The assembled aliens agree to an alliance with the Daleks in a historic first which is very bad news for the rest of the galaxy. They represent the greatest invasion force ever assembled, and where are they planning to begin? Earth, of course.

It’s a very nice planet but why are aliens always so obsessed with it?

It’s interesting to me at any rate to see Daleks making alliances with other powers in space. They always seemed like loners to me, but I suppose pragmatism wins out in the end. I'll be curious to see how this all turns out. I wouldn't be surprised if the Daleks turn on their allies as soon as they outlive their usefulness.

Things go from bad to worse for the humans, as Lowery is quickly succumbing to the Varga’s poison. Cory returns from scouting to report having found a Dalek city hidden in the jungle, and he heard an announcement that the invasion of the galaxy is about to begin.

However, the Varga venom has consumed Lowery, leaving Cory with no choice but to shoot him dead as he reaches for his gun. Alone and with the Daleks fast catching up to him, he hurriedly records a message to warn the rest of the galaxy.

And then the worst-case scenario happens.

As he tries to attach the message to the beacon, the Daleks surround him. With a cry of ‘Exterminate!’ they blast him with everything they’ve got. Moments later, Cory lies dead, and his message will never be sent.

The galaxy won't know what hit it.

Final Thoughts

No, really. That’s it. That’s the whole story. This is the first Doctor Who story to be a single episode long. Not only that, it’s the first one in which neither the Doctor nor his companions make an appearance. I suppose he got his day off after all!

And to top it all off, this is the only episode so far in which the baddies win.

It is surprisingly dark. Doctor Who has never really shied away from character death, but it’s normally just the bad guys and one or two goodies at most that end up kicking the bucket. If this is setting the tone for the upcoming behemoth of a serial, which will also be by Terry Nation and featuring the Daleks, then we might have some grim television ahead of us.

Don’t get me wrong, though— I like it. It does admittedly feel more like a prequel to a bigger story than an actual standalone story of its own, but it’s tightly paced, they’ve managed to squeeze in a little characterisation which is pretty commendable given the very short runtime, and the Daleks are back to feeling like a real threat again, plus a tease of a number of other potentially interesting enemies.

It looks like our pal the Doctor is going to have his work cut out for him. We’ll have to wait and see how he gets on…

And for one final thing, I hear that this is Verity Lambert’s final episode as a producer on Doctor Who. I think we all owe her a big thank you for her role in bringing the show to life in the first place, and as a woman I thank and commend her for being the BBC’s first woman producer, paving the way for the many talented women who will follow in her footsteps. Thank you, Verity, and we all wish you the very best of luck for the future.

4 out of 5 stars




[October 4, 1965] Galaxy Bore (Doctor Who: Galaxy 4)


By Jessica Holmes

Hello, dear readers! Summer’s passed, there’s a cold snap in the air, and Doctor Who is back on our television sets, which means that I get to waffle on to you about it at great length. Did you miss me?

We’re kicking things off with a strange new world and a new writer. I don’t believe we’ve had William Emms pen an episode before, so shall we see how he got on?

FOUR HUNDRED DAWNS

The TARDIS materialises in a rather barren landscape, with a great big load of nothing as far as the eye can see. Well, as far as I can see, anyway, as my television set is malfunctioning. I managed to hear the audio just fine, but I did end up losing the picture quite often, so please do bear that in mind.

Aboard the TARDIS, Vicki’s giving Steven a haircut as the Doctor surveys the outside environment. He notices that the conditions are perfectly conducive to life, but there don’t seem to be any signs of it outside.

Not at first, anyway. Before long, a strange little thing scoots along. It looks a bit like a beehive on wheels, and it’s feeling its way around the TARDIS.

Leave it to Vicki to call it cute and nickname it a ‘Chumbley’.

It doesn’t stick around for long, enabling them to emerge from the TARDIS and spot the three suns in the sky. However, another arrives, this time toting what appears to be a gun. After witnessing it set a bush on fire with a single blast, the group allow the Chumbley to escort them off.

Two women watch as the Chumbley leads them away from the TARDIS. As it comes close to them, they throw a metal mesh over it, deactivating the device.

The explorers are glad of the rescue, and Steven in particular is pleased to see it comes in so fair a form. The women introduce themselves as Drahvins, sent by their leader to rescue the newcomers. They say that the Chumblies are under the control of the ‘Rills’, who sound jolly unpleasant. However, they don’t explain why their leader took an interest in them in the first place, and Vicki doesn’t trust that they have good intentions. Steven, however, is all too happy to trust a pretty face. For his part, the Doctor isn’t sure either way, and opts to be compliant, but cautious.

More Chumbleys arrive, and the group have to flee. The Drahvin women escort the travellers to their ship, a beat-up old rustbucket that isn’t flying anywhere any time soon.

I can’t help but roll my eyes as the men seem rather giggly as the women order them to be silent for the arrival of their leader, Maaga. Fellas, they might be women, pretty ones at that, but they have guns and look like they mean business.

Maaga arrives on the scene, and after debriefing her troops, informs the travellers that the Drahvins are at a state of war with the Rills, with total obliteration of the other side being the only possible outcome. They themselves may end up obliterated.

Why are they at war? The planet will explode in two weeks’ time according to the Rills, who have the only working spaceship.

Maaga doesn’t seem the type to try asking nicely.

As for why the planet’s about to explode, your guess is as good as mine. I’m no physicist, but I’d imagine the three suns exert enormous tidal forces on the planet, so perhaps it’s more accurate to say that it’s about to be torn apart.

The reason they’re on this doomed world in the first place is that their planet is overpopulated, and they were looking for suitable planets for colonisation. Steven asks if the population of Drahvin are all women, prompting another eye-roll from me. I can’t imagine he’d ask the same of an all-male crew, would he?

For the record, there are indeed men on Drahvin– just the few they need to breed the next generation. The rest are killed for being a waste of resources.

It’s an interesting society for sure, made even more so by the revelation that Maaga’s soldiers were grown in test tubes for the purpose of fighting and killing. She insists they aren’t real people, and they certainly act more like robots than sentient creatures, but that in my opinion could be more a matter of conditioning than anything else, which makes their poor treatment far more sinister.

Maaga finishes off the dump of exposition by telling the Doctor that the Drahvins and Rills shot one another down, the Rills having opened fire first, and then the Rills murdered one of her soldiers shortly after crash-landing.

A Chumbley approaches and attempts to send a message, but Maaga opens fire on it before it can, scaring it away.

It’s at this point the Doctor raises a pertinent question: why did the Rills tell the Drahvins that the planet was going to explode?

Maaga’s assumption is that they were trying to get the Drahvin to come aboard their ship so they can kill them.

Well, if that’s what she thinks, then who’s to say if the planet is actually in any danger at all?

Lucky for them that the Doctor is a scientist. He can find out one way or the other.

Vicki volunteers to stay behind while the men go back to the ship, ostensibly to make sure that the whole crew aren’t putting themselves in danger, but everyone including the audience knows that in actuality she’s a hostage.

The Doctor and Steven find a Chumbley trying to break into the TARDIS when they get back, but it gives up before long, and they get inside and the Doctor gets to work. He soon learns to his horror that the planet is indeed going to be destroyed– but the timing is way off! This planet doesn’t have fourteen dawns left… it has two.

Tomorrow is the last day this planet will ever see.

TRAP OF STEEL

Talking of things going BOOM, the fellas had better watch out for the Chumbley outside the TARDIS. It’s got a bomb!

The blast knocks the pair off their feet, but the ship itself is unharmed, surviving a second blast unscathed. The Chumbley leaves in defeat, and the men leg it before it can come back with an even bigger bomb.

On arriving back at the Drahvin ship, the Doctor tells Maaga that the planet is indeed going to explode, but he doesn’t share his knowledge of how little time they truly have left.

If the Drahvins are going to escape, they’ll need the Doctor’s help. Rather than ask for something reasonable, like a lift in the TARDIS, Maaga insists that the travellers help to capture the Rills’ ship. The Doctor refuses, as he’s not in the business of killing people, and he’s not about to start now.

The gang are starting to get suspicious of her version of the story and her insistence that they can’t possibly work together with the Rills, and it seems they’re right, as when asking nicely doesn’t work, Maaga threatens them with a gun. Steven tries to subdue her, but he’s no match for all her soldiers.

Left with no choice, the Doctor reluctantly agrees to help. However, his initial hesitance has made Maaga suspicious of him, and she threatens to kill Vicki unless he admits what he’s not telling her. He tells her how little time they really have, and she orders the men to go out immediately to capture the ship, intending to hold Vicki hostage. However, Steven insists on taking her place, and the Doctor and Vicki set off alone to try and capture a spaceship.

It doesn’t make sense to me. Surely it’d be better if they had the soldiers with them? There must be somewhere that Maaga could safely hold a hostage.

How about the air lock?

While awaiting the return of the others, Steven gets chatting to one of the soldiers, pointing out that it doesn’t seem very fair that Maaga gets better food and weapons than them, despite them being on the front lines and taking all the actual risks. He suggests to her that if she were to give him her gun, and she took Maaga’s, they could go out together and kill Chumbleys, and Maaga would be pleased with her. The soldier, being both naive and not terribly bright, which is presumably by design, is very nearly taken in, before Maaga shows up and puts an end to Steven’s short-lived escape attempt.

Maaga suggests to Steven that he could leave in the TARDIS and take her and her soldiers with him.

Why didn’t you ask that in the first place?!

Steven echoes my sentiments, and Maaga more or less tells him to shut up.

Charming. It’s a bit late now, though. Without the Doctor, Steven couldn’t take them off the planet even if he were so inclined.

Near the Rills’ base of operations, Vicki and the Doctor observe the movements of the Chumbleys, and Vicki realises that aside from being blind, the Chumbleys can’t detect sounds directly behind them. A suspiciously convenient design flaw, if you ask me. By exploiting this they manage to tail a Chumbley all the way to the Rills’ base, where they find a drill rig, and some sort of air purifier.

In summarising this, I am editing out the many, many pauses in the action in which a Chumbley rolls past agonisingly slowly, making a deeply irritating noise, while the Doctor and Vicki wait for it to pass. The pacing of this episode, and indeed the whole serial, would be a lot tighter without all these lulls, though I suspect it might end up a whole episode shorter.

Oh, and we finally get a glimpse of the Rills, observing them through a viewport inside their ship. I was half-expecting the Rills to turn out to be ordinary men, as it seemed to me that as Maaga was likely stretching the truth about their villainy, she might also be fibbing about them being monsters. Plus with her distaste for men to the point of absurdity, it would have been funny.

To give her credit, she was telling the truth– to a certain extent.

See, there’s one thing we can confirm about the Rills: they are most certainly NOT men. Not even close, appearing less like a person and more like a rotting whale carcass with lamprey mouths for eyes.

But are they as scary as they look?

AIR LOCK

A Chumbley arrives on scene, and the pair make a run for it. However, Vicki isn’t quite fast enough, and ends up trapped inside the Rills’ base. The Doctor quickly comes up with a plan to flush the Rills out of hiding, which will hopefully force them to open the doors, by messing with their air converter. However, it’ll take time, so he counsels Vicki to be brave and try to stay out of trouble, and go with the Chumbley.

Back at the Drahvin ship, Maaga’s finding that lab-grown soldiers with hardly any minds of their own make for poor conversation partners, as she tries to get through to them that the situation has changed, so no, they can’t go out on patrol. The soldiers are confused by the loyalty Steven shows to his friends, and Maaga, too, finds it confusing. She knows on an intellectual level that such creatures exist, but it would appear that Drahvin culture doesn’t share this concept with our own. Perhaps it’s her society, or just how she’s wired.

Still, inspirational speeches seem pretty universal, as Maaga gives her soldiers a lovely pep talk about stealing the Rills’ ship, and looking back on the exploding planet and imagining the horrible deaths the Rills are experiencing.

Nice lady.

As for the Rills, well, it turns out they’re rather polite. Using a Chumbley to translate his thoughts into speech that Vicki can understand, the Rill at the porthole apologises to her for separating her from the Doctor, and asks her who she is and what she’s doing here. When she explains that the Drahvins are forcing her to help steal the Rills’ ship, the Rill within is quite perplexed, as they had offered to take the Drahvins with them.

This Rill’s side of the story is that they encountered the Drahvins in space, and had halted their flight for fear of provoking an attack. He claims that the Drahvins fired first, so the Rills retaliated. Interesting.

Unable to breathe the local atmosphere, they nevertheless set out to help the Drahvins, finding one badly injured. However, before they could help her, Maaga intervened and drove them off, and as they left they witnessed her kill the injured soldier.

Curious, Vicki wants to properly know what the Rill looks like. However, he can’t come outside, as he can’t breathe oxygen at all.

That seems inconsistent with them having attempted to help an injured Drahvin, but it’s not terribly important.

Vicki realises with horror that the Doctor’s plan to flush them out will actually kill them.

Meanwhile, a dozy Drahvin provides Steven with another opportunity to escape, as he manages to sneakily subdue her and take her gun. However, on reaching the airlock, he finds himself stuck. On one side is Maaga, demanding he come back in. On the other is a Chumbley, which as far as he knows is unfriendly. He’s trapped.

Vicki manages to stop the Doctor from accidentally killing the Rills, and the Rill at the porthole explains to the Doctor that they’re drilling for oil to refuel their ship. The Doctor warns them that they don’t have as much time as they think. However, he can help.

Before he can elaborate much further, a Chumbley gets a message, and the group learn that Steven is trapped in the Drahvin airlock.

It’s worse than that, though. Tired of Steven’s misbehaviour, Maaga gives him three options: he can come inside and surrender, he can go out and face death by Chumbley, or she can depressurise the airlock with him inside.

Realising that Steven is in big trouble, the others rush off to help, taking a couple of Chumbleys for backup.

Struggling to breathe as the airlock depressurises, Steven decides to try his luck with the Chumbley. However, now that it’s depressurised, the outer door doesn’t work any more. His three options are down to two: surrender or suffocate.

THE EXPLODING PLANET

Arriving in the nick of time, one of the Chumbleys accompanying the Doctor and Vicki manages to blast the airlock open, and Steven staggers out gasping for breath. As the other two help him recover, a smoke bomb sends the Drahvins coughing and spluttering out of their ship. However, they find themselves outgunned by Chumbleys. As the travellers retreat with a Chumbley in tow, the Rills tell the Drahvins that though they’ve tried to be friendly, they won’t tolerate their new friends being attacked. They order the Drahvins to go back into their ship and stay there.

Maaga and her soldiers retreat and regroup, but they certainly don’t intend to stay put. With only one night remaining to capture the Rills’ ship, Maaga comes up with a plan to sneak out and destroy the Rills’ air converter.

The Doctor meanwhile offers the Rills a jump-start, heading off to hook up his ship to the Rills’ ship. Steven stays behind alone with the Rills, and it’s a bit awkward at first, made even more so when he asks if the Rills will actually let them go if they can’t power the ship in time. However, the Rills are not the Drahvins. If time runs out, so be it. Having seen the code the Doctor lives by, it would be a terrible waste if he were to die here for no reason.

Steven sheepishly apologises for mistrusting them, and tells them that the Drahvins will still be planning to steal their ship, and he gets to work on fixing the power cable.

Vicki and the Doctor arrive back at the TARDIS and connect the power line. It’s not very important, but there is a pretty line of dialogue in response to Vicki’s musings about this all soon exploding into nothingness. Not nothingness, the Doctor corrects her, but hydrogen gas spreading out among the stars like molten silver. It interests me how the Doctor finds the beauty even in destruction.

The first foreshocks of the planet’s destruction hit the Drahvin ship, and they begin to panic. Maaga may be about to reap what she’s sown, but I feel bad for her soldiers, because they don’t really understand their situation or how they’ve been manipulated. One of the Drahvins sneaks out of the ship and manages to smash the sentry chumbley with a pipe, enabling the others to escape.

The Rills usher the travellers to shelter inside their ship, which doesn’t sound very safe. I’m pretty sure ammonia and humans don’t mix. A Chumbley paralyses the first Drahvin to attempt entry into the Rills’ base, and more emerge to confront the Drahvins outside.

Finally coming face to face, the travellers, though initially a little taken aback by the Rills’ appearance, reckon that they probably look just as strange from the Rills’ perspective, so why treat them any different? It’s not the most subtle delivery of the moral of the story, as I’d have thought even a child could have gathered the ‘don’t judge people by how they look’ message, but there you go.

They can’t stay inside for long, as the ammonia starts to make Vicki feel ill, and the ship is almost fully powered. The Doctor insists that they don’t hang around to make sure that the travellers get back to the TARDIS safely, and they prepare to take off.

The Drahvins notice the sudden absence of Chumbleys, and see the Rill ship leaving. Their only hope now is the TARDIS, and they chase after the travellers. However, they aren’t fast enough, and the gang slam the doors shut and dematerialise as fast as they can, abandoning the Drahvins to their fate.

Maaga and her soldiers watch in terror as they realise they have no means of escape, and moments later the planet explodes in a flash of blinding light. Maaga may have made her own bed, but I’m not sure how I feel about abandoning her soldiers, as they really didn’t seem to have the capacity to go against Maaga. They might have had a limited degree of free will, but they could still feel pain and fear.

Safely away, the Doctor remarks that just once, he would like to land somewhere where he isn’t immediately surrounded by danger. They spot a likely planet, and we get to see a vibrant jungle, where a man sits with his gun, chanting under his breath ‘I must kill’. So it doesn’t look like the Doctor’s getting a break any time soon.

Final Thoughts

Honestly, there’s not that much to say about Galaxy 4. It doesn’t feel like anything particularly new, given we’ve had multiple stories in which the travellers find themselves in the midst of a conflict between two races on some other planet, one side being the baddies and the other the goodies.

As for tension, there’s really not much. The Chumbleys were too cute to be a threat in the first place, and as we learn they weren’t actually a threat at all. The Drahvins are just too incompentant to feel threatening, and the Rills immediately turn out to be nice. The whole thing has quite a plodding pace that doesn’t make me feel the urgency of the situation.

As a minor note, I feel like there was a point being made with the Drahvins, but I’m not sure what that point was. It could be taken as pro- or anti- feminist, depending on your outlook. On the one hand it’s a female-led society and a bunch of powerful warrior women. On the other, the society is misandrist to the point of absurdity, only one of the Drahvins actually has a name, the others being portrayed and described in-story as woman-shaped objects, Maaga’s leadership is deeply questionable and founded in manipulation, and the warrior women can’t even defend themselves from an unarmed teenage girl, as happens in one moment in the story where Vicki disarms a lone Drahvin.

If the intention was pro-feminist, the writer severely undermined his own message. And if it wasn’t, that doesn’t surprise me. Other than that it’s just not a terribly interesting serial to me. It’s not terrible or anything, but you’re not missing much.

Next time we’re going on a very brief trip, so hopefully there will be plenty of action packed into the next adventure.

Until next time!

2 out of 5 stars




[September 8, 1965] Still a Stranger in a Strange Land (THE STRANGER SERIES 2, AUSTRALIAN TV SF)


by Kaye Dee

Back in April, I wrote about The Stranger, Australia’s first locally-produced science fiction television show. The second series completed its run on the Australian Broadcasting Commission (ABC) in late July, so this month I wanted to look at how the story of the Soshunites and their Earthly friends has played out across six new episodes.

The new series of The Stranger opens with the same credits sequence and eerie theme music, although the otherworldy script used for the title has been slightly modified for series two

The ABC Takes Another Chance

When the first series came to its dramatic conclusion, the Soshunites had been granted permission by the United Nations to leave Soshuniss, their moon-turned-spaceship, and settle on Earth. This could have been a suitably happy ending for the story. However, after taking an initial gamble with producing a children’s science fiction adventure for television, the ABC decided on a second bold step. The ratings success of The Stranger, and its popularity with adult audiences, encouraged the national broadcaster to refocus the new series towards an older age group, with a significantly larger budget and a prestigious family audience timeslot at 7.30pm on a Sunday night, making it Australia’s first locally-made prime-time science fiction series.

With Mr. G. K. Saunders again writing the script, all the original cast and production crew have returned for a story that is considerably more complex than the earlier series, involving international politics, intrigue and a ruthless business mogul planning to exploit the Soshunites’ arrival on Earth for his own profit.

Episode 1

Broadcast on Sunday 20 June, the opening episode of series two picks up immediately after the events at the end of the previous series: in fact, together the episodes could be considered a two-part story. The UN’s decision to allow the Soshunites to settle on Earth has been prematurely leaked to the press by a US Senator. Panic ensues, with newspaper headlines proclaiming that an alien invasion is imminent.

In Australia, Soshunite emissaries Adam Suisse (whose Soshunian name, we now know, is Sinsi) and Varossa await the return of Prof. Mayer, who has been acting on behalf of Soshuniss at the UN. Suddenly, the home of their hosts, the Walsh family, comes under siege by the press and television crews. Seeking to protect the aliens, Col. Nash, the Security chief, confines them in Adam’s former home on the grounds of St Michael’s School, with a police guard. While Nash has so far been friendly, his attitude begins to change when Adam, rankled by what he sees as imprisonment (he clearly doesn’t understand the persistence of newshounds!), informs him that there has been a change of leadership on Soshuniss.

In one of Mr, Saunders’ characteristics twists, the female Soshun, whose policy was that her people would only settle on Earth if invited, has been replaced by a new male leader. This new Soshun is determined to establish his people on Earth, and when Adam says he agrees with this policy, Nash begins to suspect that perhaps the Soshunites are not as peaceful as they have portrayed themselves up till now.

The hypnotic stare of a Soshunite pilot as he uses his mind-control abilities to kidnap Peter Cannon!

Meanwhile, Peter Cannon, one of the three teenage children who befriended Adam and the Soshunites in series one, secretly uses Adam’s space radio to contact Soshuniss, trying to advise the Soshun of the situation. Unaware of the change in leadership, when a Soshunian spacecraft arrives Peter approaches it. The pilot then induces him to board the ship using the Soshunites’ mind-control abilities…

Episode 2

In New York, Prof. Mayer receives a visit from Rudolph Lindenberger, the world’s richest man. (Imagine, he claims to be a billionaire! And even though a US billion is considerably less than a British billion-that’s still a fantastical amount of money to be anyone’s personal fortune). Lindenberger tries to persuade Mayer that, as an American, he must use his influence with the aliens to ensure that their scientific knowledge is handed over to the United States. Mayer believes that Lindenberger is a misguided patriot, but his son Edward smells a con and believes Lindenberger is looking to line his own pockets.

Arriving on Soshuniss, Peter is taken to the new Soshun and learns that the Soshunites are now desperate to land on Earth because their computers have determined that there is no other suitable planet that they can reach. The Soshun tells Peter that his people have a powerful weapon that will be used if they are not given permission to land. With Adam and Varossa still on Earth, Peter has been kidnapped to be held as a hostage to ensure their safety.

Lindenberger's aide, Blake, tries to pump Edward Mayer for information about the Soshunites as they fly to Australia

Once Mayer and his son, Edward, arrive in Australia, plans are made to move Adam and Varossa to the Parkes Radio Telescope, in country New South Wales, which will be turned into a space communications facility. Joining them, will be the Mayers and teenagers Bernie and Jean Walsh. Along with Peter, these are all the people who have been to Soshuniss. This will keep them safe from the reporters, but is there another motive?

Adam has now decided that he does not trust Nash. Using their mind-control powers, he and Varossa subdue their police guards and escape. Varossa is shot and captured by another police officer, but Adam jumps into Nash’s car and uses his hypnotic ability to make the driver obey his will.

Episode 3

Varossa is in hospital, recovering from his wounds, although Nash keeps this secret from Mayer and the Walshes. The Security chief discovers that no-one can remember anything after being under the Soshunites’ mind control, including Nash’s driver: Adam has disappeared, his whereabouts unknown. Nash proceeds with his plan to move everyone else to Parkes. Although they evade the pursuing newshounds, Lindenberg’s henchman, Blake, realises where they must be heading. Adam, too, is also travelling to the vicinity of Parkes.

The Parkes Radio Telescope is Australia's most significant scientific instrument and the largest fully-steerable radio telescope in the world. It features in the opening credits of both series of The Stranger and plays a prominent role in series two. A pity the Soshunites destroy it in Episode 5!

Visiting the General Manager of his Australian subsidiaries, Lindenberg reveals that his plan is to make sure that the Soshunites are settled somewhere under his control. He intends to exploit their advanced knowledge to generate huge profits for his businesses – “in the billions”! Edward Mayer was right to distrust his motives.

On Soshuniss, the Soshun decides to demonstrate the Soshunites’ advanced knowledge. Peter is placed under mind control and forced to write a letter to the Prime Minister of Australia. His arrival in Canberra from Soshuniss, it says, will be proof of the power of the Soshunites. Meanwhile, Nash and the others have now arrived at the radio telescope, which is searching the skies for signals from Soshuniss in orbit. As the episode ends, they think they have found it!

Searching for Soshuniss. Professor Mayer joins senior telescope operator Dr. Scott in the control room of the Parkes Radio Telescope

Episode 4

With Soshuniss located, Mayer learns that there is a plan to “fit Moon rockets [presumably American] with nuclear warheads” if no peaceful agreement can be reached with the Soshunites. Meanwhile, Jean has experienced a strange dream that Adam wants her to collect a letter from the post office in a village not far from Parkes. Convinced it is a telepathic message from the Soshunite, Jean escapes secretly from the living quarters at the radio telescope and retrieves the letter. Unfortunately, Lindenberg’s assistant, Blake, who has now arrived in Parkes, manages to tail Jean, and overhears when she calls the boys to tell them where Adam is hiding.

When the three teens reach his hideout, they realise that Nash has been less than truthful, as they know nothing about Varossa’s shooting when Adam enquires about him. Adam asks the youngsters to bring him his radio, which has been brought to the telescope’s lab for study, so that he can contact a Soshunian spacecraft. Blake has been eavesdropping and phones Lindenberg with the news. The ruthless businessman immediately flies to one of his company properties near Parkes.

Even though Adam hides in an old country showground, the persistent Blake manages to track him down

Mayer, as yet unaware there is a new, militaristic Soshun, tries to convince Nash that the Soshunites are completely peaceful. However, his arguments are destroyed when Peter is discovered in a deep coma, of a type unknown to Earthly medicine, in the private Members Courtyard at Parliament House. A threatening letter from the Soshun to the Prime Minister is clutched in his hand, delivering an ultimatum: Earth must allow the Soshunites to land, or they will use their weapon.

Meanwhile, Jean, Bernie and Edward take a risk and enlist Mayer’s help to retrieve Adam’s communication device. Mayer is shocked to learn that, as with the information about the new Soshun, Nash did not inform him that Varossa was shot and captured.

Episode 5

As Mayer attempts to obtain the Soshunian radio, one of Lindenberg’s henchmen tries to steal it at gunpoint from the radio telescope’s lab. In the ensuing confusion, Bernie manages to grab the device and races up the through the telescope building chased by Blake. Desperate to escape, he climbs up onto the telescope’s antenna and makes his way precariously across the dish surface, still pursued by Blake. Suddenly the antenna begins to tilt alarmingly, and they both begin to slide.

The radio telescope operators have realised Bernie is in danger and moved the antenna so that he can slide safely down the surface of the steeply tilting dish and leap off as its rim nears the ground. Blake on the other hand, is left clinging for his life on the elevated side of the antenna. Dr. Scott, the senior telescope operator, then sneaks down to the lab and coshes the gunman holding Mayer and the others at bay. The radio telescope personnel help Blake down from the dish, but he and the gunman escape. Like Mayer, Edward and Jean, Blake follows after Bernie, who is already on his way to Adam with the space radio. Meanwhile, Bernie and Jean’s father has arrived at the telescope, after hearing news of Peter’s mysterious appearance in Canberra.

Hanging on for dear life! Lindenberger's henchman, Blake, clings to the tilted dish of the Parkes radio telescope during his pursuit of Bernie. This scene was actually filmed on the telescope

Mayer tells Adam what has happened to Peter and the three teens are shocked at this ruthless move by the Soshun. Mayer also decides to divulge the secret information about the plans to attack Soshuniss with nuclear weapons. To persuade the Soshun that the scientific community and most people on Earth are of goodwill and would welcome the Soshunites, Mayer offers to travel to Soshuniss on the spacecraft that is coming to collect Adam, to act as a human shield for the Soshunites.

Blake secretly records this conversation. When Lindenburg hears it, fearing the collapse of his plans to exploit the Soshunites, he devises a new strategy. Blake will kidnap Adam and transport him to a private island owned by Lindenberg, off the east coast of Australia. It has facilities large enough to house the entire Soshunian population (numbering just 300). Adam will be persuaded to invite the Soshunites to settle there in secret, so that they will be safely away from Soshuniss if it is attacked – and completely under Lindenberg’s control.

As revenge against Mayer for not falling in originally with his plans, Lindenberg also decides to use Blake’s recording to convince Nash that the professor is a traitor who has betrayed the Earth’s defence plans.

Nash’s Security team, Blake and his henchman, Walsh and the Soshunian spacecraft all arrive at Adam’s hideout at the same time and chaos ensues. Blake kidnaps Adam, who escapes using his hypnotic powers. Nash shoots Mayer in the leg to stop him boarding the Soshunian spacecraft, which hastily departs without either Mayer or Adam.

Episode 6

The final episode of the series is action-packed! Thinking Adam safe, the youngsters have returned to the radio telescope, but Nash arrests Adam, Mayer and Walsh. As they stop at Lindenberg’s farm for medical assistance to the professor, it becomes clear that the Security chief no longer trusts the businessman and now suspects his motives. Mayer persuades Walsh to escape and make a dash to Canberra. He must convince the Prime Minister that the threat from the Soshun is real. If the Soshunites are refused permission to settle, they will crash their moon-ship into the Earth: this is their weapon! Since they will be condemned to a lingering death wandering in space if they cannot land, they have nothing to lose.

Nash takes Adam to the radio telescope, where Bernie, Jean and Edward are now also under house arrest. When Adam realises that the antenna is being used to track Soshuniss so that it can be targetted by the nuclear-armed rockets, he secretly radios the Soshun. High-powered signals from Soshuniss destroy the telescope’s control system, rendering it useless.

Following Walsh’s meeting with the Prime Minister and the destruction of the radio telescope, Nash, Adam and Mayer are summoned to a meeting in Canberra. Dr. Kamutsa, the UN Secretary General’s personal representative, has also arrived. The Prime Minister has astutely realised that the current situation with Soshuniss has arisen from confusion since the initial information leak. He wishes to send Dr. Kamutsa to Soshuniss to discuss a “peaceful and harmonious” resolution and indicates that he already has a search underway for an area in Australia where the Soshunites can settle. 

When Adam contacts the Soshun, the leader insists that Bernie, Jean and Edward, whom he trusts, be sent to Soshuniss as emissaries and hostages, to demonstrate the good faith of the Earth. It is eventually agreed that Dr. Kamutsa will accompany the children as an advisor and they are all transported to Soshuniss. 

Upon arrival, Jean uses a ploy to persuade the Soshun to send medical aid to Peter, who is still in hospital in a coma. The Soshunite leader agrees and negotiations begin. Meanwhile Lindenberger makes a final attempt to gain control of the Soshunites, by publicly offering his private island as their new home – to which he will have access as the owner. However, Mayer and the Prime Minister adroitly outmanoeuvre the businessman, who is trapped into donating his island freely to the Australian Government: it is then placed under UN administration as the Soshunites’ new home.

Welcome to Earth. The Lord Mayor of Sydney formally welcomes the Soshun and his entourage to the Earth and Australia in front of Sydney Town Hall

With a resolution to the Shonunite’s desire to settle on Earth, and Varossa and Peter now out of hospital, Mayer reveals to Adam that he deliberately overplayed the Soshunite threat to crash their world into the Earth: he knew that Earth’s gravity would actually break up the spaceship-moon before it could strike the planet. Adam confesses in turn that the Soshunite’s strategy was all a tremendous bluff. Not only did they know that Soshuniss would be unable to destroy the Earth, they were so lacking in power that they were, in fact, unable to break the spaceship-moon out of its orbit around the Earth. The Soshunites would have died in orbit if their gambit failed and they were prevented from settling on our planet.

The story ends with a grand civic reception at the Sydney Town Hall, in which the Soshun and his people are welcomed to the Earth and Australia. In the final scene, Adam and Varossa depart from the steps of the Town Hall in a small Soshunian spacecraft, flying across Sydney Harbour and out to sea – towards their new home….

A Successful Transition

To judge from its ratings and the generally positive response from the television critics, the ABC should be satisfied that its experiment in prime-time science fiction television has paid off. Certainly, my sister’s family were engrossed, and even though I detected a few holes in the plot and more than a few holes in the science, I give Mr. Saunders full credit for creating a complex, multi-faceted story that turned the children’s adventure of the first series into an exciting family thriller. The story built and maintained its tension and air of uncertainty well, especially with the mistrust created by the multiple twists of Mayer’s bluff and Soshunites’ desperate double bluff. It also included moments of wry Australian humour to appeal to adult audiences, with jibes at bureaucrats and politicians, the military mindset, big business and even our “great and powerful friend”, the United States.

War of the Worlds! The fear of an alien invasion that generates tension in series two of The Stranger is highlighted in this preview article in TV Times

This series’ switch from the juvenile to family/adult category certainly gave more scope for the storyline, enabling it to move beyond the purely Australian focus of series one, to a more international outlook. Particularly interesting is the inclusion of the character of Dr. Kumatsa, a black African diplomat (played by American Negro actor Mr. Ronne Arnold, who has recently decided to live in Australia) as a representation of the role that the newly independent nations of Africa may one day play in the world.

Location, Location, Location

The noticeably higher budget for the second series, enabled producer Mr. Storry Walton to indulge his love of location filming. The Canberra scenes were filmed in Parliament House itself. Prime Minister Menzies even gave his personal permission for the scenes involving the Australian Prime Minister (played with suitable gravitas by veteran Australian actor Chips Rafferty) to be filmed in the private Prime Ministerial offices. Similar official approval was granted for filming at the Sydney Town Hall, which required the construction of a mock-up Soshunian spacecraft at the top of the forecourt staircase, as part of excellent special effects sequences showing the arrival of the Soshun and departure of Adam and Varossa to inspect the Soshunites’ new home.

Flying saucer lands at Sydney Town Hall! The imposing entrance to this iconic Sydney building is transformed into a set for location filming in the final episode of The Stranger

Various other outdoor scenes were filmed around Sydney, the Blue Mountains and Parkes, but ironically, the situation with the Walsh home was reversed. Although the original scenes of Headmaster Walsh’s house in the first series were filmed at a private home, to minimise disruption to the generous owners the house was faithfully replicated in a studio for the remainder of series one and series two. 

The Commonwealth Scientific and Industrial Research Organisation (CSIRO) also gave unprecedented co-operation, presumably in return for the undoubted publicity it provides for the agency. The chase across the Parkes radio telescope in Episode 5 took place, not on a studio set, but on the telescope itself, which was manoeuvred as required for the filming. Actors playing the roles of telescope staff were even permitted to be filmed at the actual controls of the multi-million pound instrument. As with the first series, the CSIRO also provided general scientific advice to the production, which even found its way into some of the dialogue with reasonable accuracy.

The Future?

The sale of the first series to the BBC means that those of you in Britain should be seeing it within the next twelve months, and a sale of the series to the US is also nearing finalisation. While the second series has drawn the story of the Soshunites’ search for a new home to a satisfying conclusion, the ending still leaves open the possibility of a third series. It would be interesting to see how our alien friends cope with the challenges of living in, and adapting to, a new world. I guess only time will tell if the ABC decides to take on another challenge with science fiction television.






[August 8, 1965] Navigating the Wasteland #2 (1964-65 in (good) television)


by Gideon Marcus

Oases

Three years ago, I reported on the state of television in the wake of former FCC-chief Newton Minow's pronouncement that television was a 'vast wastelend.'  Since then, I have remained a devoted fan of the small screen, if not completely addicted to 'the boob tube.'  Indeed, the Young Traveler and I have our weekly favorites we do not miss if we can at all help it.

And so, as we sail through the sea of summer reruns, gleefully anticipating the Fall line-up, I take delight in awarding the Galactic Stars of Television for the 1964-65 season.

Burke's Law 1963-65

Amos Burke is what would have happened if Bruce Wayne's parents had never been shot – he's a Beverly Hills playboy millionaire who also happens to be the dapper Captain of Homicide for the L.A. Police Department.  In each episode, Amos, with the aide of grizzled Sergeant Hart and youthful Detective Tilson (and occasionally the doe-eyed Sergeant Ames), solves a murder mystery.

It's light, it's fun, and in many ways, it's the last example of the great tradition of noir, bantering cinema.  I understand that Amos will be ditching his side characters and the expensive celebrity cameos to go full Secret Agent next season. That's a pity, though it's also possible that the format has exhausted its supply of stories.  How many people can get murdered in the Valley, after all?

The Addams Family (1964-)

In Fall 1964, there was not one, not two, but three sitcoms that debuted with a fantasy premise.  The most popular of them has been Bewitched, about a spell-casting housewife (Elizabeth Montgomery) married to a drip of an adman (Dick York), and who is not allowed to use witchcraft.  Suffused with marital strife, unfulfilled womanhood, and all-around dreariness, I can only imagine it's doing so well because it's the only one of the three in color.

The second of them is The Munsters, a lowbrow family comedy starring a cast of movie monsters: head of the household is Fred Gwynne as a Frankenstein retread; his wife, Lily, is a cross between Bride of Frankenstein and Bride of Dracula; their son is a wolf boy; their father is an old Transylvanian bloodsucker.  It's basically The Flintstones set in Disney's Haunted Mansion (coming soon, we're told).  I'm afraid it mostly sails under my head.

But the third.  Oh the third.  The Addams Family, based on the venerable comics of Charles Addams, is thematically similar to the Munsters and tonally the opposite of Bewitched.  John Astin plays Gomez Addams, the Man (though not the head) of the Addams house, which is a gloomy old mansion filled with an Alexandrian Library of oddities.  The indescribably beautiful Carolyn Jones is the severe and queenly Morticia Addams.  Other members of the family include the falsettoed weirdo, Uncle Fester; Morticia's knife-throwing mother (funnier by spades than "Granny" from the ongoing The Beverly Hillbilies); and the adorable and explosives-loving Pugsly and Wednesday Addams.  The towering butler, Lurch, and the disembodied hand, Thing (both played by Ted Cassidy), round out the cast.

Both Addams and Munsters play up their family's kookiness relative to their neighbors.  What makes Addams so much more effective is the subversive and clever humor.  For one thing, Gomez and Morticia (unlike virtually every other TV couple) are absolutely in love.  They respect each other completely, they support each other's ambitions, fight for causes together.  Of course they had to be played as complete whackoes… otherwise, who would believe it?

For another, Astin and Jones play their roles with more subtlety than their counterparts on Munsters.  There is more casual absurdity (Gomez' cigar lights itself on occasion), less stopping the action to showcase each gag.  Each comedic element, from the door knock that pulls out, releasing a foghorn bellow, to the omnipresent noose that, when pulled, shakes the entire house and immediately summons the butler ("You raaang?"), to the bear rug that growls when stepped on, to the fish mounted on the wall with a half-eaten leg still sticking out – they never fail to entertain.  Indeed, every time someone is newly introduced to them, their reactions are always funny.

Of course, I may be biased.  In many ways, Janice and I are Morticia and Gomez.  We have been known to sword-fight in our living room, we still adore each other after decades of marriage, "our house is a museum", and some would say "we really are a scre-am."

So, if for nothing else, you should watch The Addams Family to get a window into the lives of the Traveler family!  Just mind you don't trip over Lorelei's blasting caps…

My Living Doll 1964-1965

This is one of the few SF shows this season, though only just barely.  Bob Cummings plays… Bob Cummings… playing a psychiatrist who inadvertently becomes custodian to Rhoda, a high-functioning android who happens to look just like Julie Newmar (you may remember her as the highlight of the otherwise terrible Twilight Zone episode Of Late I Think of Cliffordville).  Cummings takes it upon himself to teach Rhoda how to be more human.

This should be an awful show.  There are a million opportunities for Doll to be an anti-feminist nightmare, and indeed, Cummings doesn't help matters, being about as slimy as a Bob Cummings playing a sitcom character can be.  But Julie Newmar saves the show, electrifying every scene she's in (not enough, often!) with her incredible comic poise and line delivery.  Every gawkily precise movement, every hilariously echoed line, every uttered "Does not compute" is an absolute show-stealer.

Apparently Bob Cummings didn't enjoy being upstaged by his co-star, and he departed in a huff five episodes before the season's end.  Sadly, Doll will not be renewed for next year; but at least we're getting a promising show in its time slot called Lost in Space.

Here's hoping we see more of Julie Newmar in the future.  She's a riot.

Secret Agent (Danger Man) (1964-)

We don't get too many English imports, but of the few we get, Danger Man is easily the best of the lot.  This is actually the second iteration of the show, the first having aired back in 1960 and arrived in the States the following year.  Back then, it was a half hour in length; now it's a full hour.

The subject is John Drake, deftly played by Patrick McGoohan.  He is the anti-Bond: competent, unswervingly good, respectful of women. 

I'd go into more detail, but I don't have to; The Young Traveler has already extolled the virtues of the show at length.  I urge you to explore her review.

Password (1961-)

A game show?  Really?

I was surprised as you, actually.  Game shows, in general, are at the same level of soap operas – low budget affairs churned out on a daily basis to fill time and move products.  On paper, the concept of the show should not be compelling: two celebrity guests are given a succession of words, which they then try to get their series of non-celebrity guests to utter.  Each is allowed just one word at a time as a clue, play alternating back and forth between the teams.

But host Allen Ludden (Mr. Betty White) really takes his program to a higher plane with his witty banter and knowing glances to the camera.  Plus, it's always a delight to see a Lucille Ball or Carol Burnett or Sammy Davis Jr. or (especially if you're The Young Traveler) a Tony Randall get to be their effervescent and clever selves.

Rocky & Bullwinkle (1959-1964)

Technically, Rocky & Bullwinkle completed its five year run last year.  However, it has gone into syndication, and we are getting to catch up on the episodes we missed.  It's as funny now as it was when I first reviewed it, three years ago.  Catch it if you can!

Twelve O'Clock High (1964-)

Three years ago, COMBAT! set the bar for World War Two shows.  The quality of that show has decidedly declined over time: Rick Jason and Vic Morrow are still trying to liberate that same French town in an effort that has taken several times as long as the actual European campaign. 

Enter Twelve O'Clock High, COMBAT!'s aerial counterpart (and a rough adaptation of the Gregory Peck movie from 1949).  Robert Lansing plays General Savage, leader of a B-17 bomber group based in England.  Episodes have had a wide variety of subjects.  Some have dealt specifically with bombing tactics – in one episode, the formation experiments with "bomb on leader", the practice of one plane determining the time that the entire group would release their payloads.  Another episode is built around an elaborate decoy mission that is planned to hide the formation's true objective.

But most of the episodes deal with the raw human nature that is revealed when exposed to the harsh environment and moral quandaries inherent in warfare by mass bombing.  There are group leaders afflicted with battle fatigue, a pilot who gets court-martialed for breaking formation to cover the forced descent of a comrade plane, a conscientious objector who must decide which principles he wants to live by.  And anchoring all of it is Lansing's gruff but expressive performance as a tired leader driven to see the war to the end, and desperate to preserve the life of each of his men.

Sadly, it looks like Lansing has been given the heave-ho after just one season, to be replaced by a more blandly handsome person (whose profile isn't entirely composed of crags).  This is unfortunate, and I have trouble believing that show will maintain its quality and gravitas without him.  Still, it was great while it lasted.

and finally…

Voyage to the Bottom of the Sea (1964-)

Don't be surprised.  I come here not to praise Voyage but to bury it.  Since I spent so many inches talking about the best shows of the season, I wanted to showcase the other end of the quality scale.

Wow, what a stinker of a show, as bad as the movie that launched it.  Insipid plots, hackneyed dialogue, ludicrous science.  Production so bad that Harlan Ellison wouldn't let them use his name on the episode he wrote. 


(Fans of Burke's Law will recognize the byline — it's the name of the hack writer played by Sammy Davis Jr., who appeared in one of the several episodes Ellison penned).

Feh.  Don't fail to miss.

The Steppes

Inbetween the aforementioned bright spots and the Marianas Trench of TV that is Voyage, you've got all the rest.  The decent stuff like The Fugitive, Andy Griffith, The Man from U.N.C.L.E., The Lucy Show.  The drab sitcoms like Mr. Ed, Petticoat Junction, The Cara Moore Show, My Favorite Martian.  And the countless other programs that maintain television's other derogatory nickname, 'The Idiot Box.'

But then, Ted Sturgeon always said that 90% of everything is crap.  That we get anything worthwhile out of the small screen is miracle enough for me…

And hopefully now for you!



[Come join us at Portal 55, Galactic Journey's real-time lounge! Talk about your favorite SFF, chat with the Traveler and co., relax, sit a spell…]




[July 26, 1965] Too much Monk-y Business (Doctor Who: The Time Meddler)


By Jessica Holmes

Hello, everyone! Following the harrowing experience inflicted upon me earlier this month, with The Chase proving to be a disappointment, and the affront to my very soul that was Dr. Who And The Daleks, I had begun to fear that I would never recover. However, The Time Meddler has been a balm for my poor soul. Dennis Spooner, thank you. Thank you for giving me some Doctor Who that I can genuinely enjoy.

Text reads: The Watcher

THE WATCHER

The TARDIS feels a lot emptier without Ian and Barbara, that’s for sure. However, Vicki and the Doctor soon realise they aren’t alone, and find Steven Taylor from the previous serial in their living quarters.

The Doctor doesn’t look one bit impressed with his stowaway. It doesn’t help that Steven keeps referring to the Doctor as ‘Doc’. Who does he think The Doctor is? One of the seven dwarfs?

Img description: Steven stands in the foreground. In the background, the Doctor uses his coat as a shield and Vicki wields a shoe.
I love their choice of tools for self-defence.

The TARDIS materialises at the base of a coastal cliff, its arrival spotted by a monk up on the clifftop, who regards the box with a strange sense of understanding.

Before we can get to that, however, the Doctor and Vicki had better show Steven the ropes, the Doctor rattling off the names of every bit of kit in the control room, including the furniture for the sake of facetiousness.

Steven accepts that the TARDIS is bigger on the inside, but refuses to believe that it’s a time machine. Mate, you literally just came from a planet populated by walking mushrooms where you were held captive by Christmas tree baubles until a bunch of angry pepperpots turned up. Does time travel sound any more absurd to you?

Ticked off, the Doctor decides to prove to Steven that his ship really can time travel.

Image description: Two men and a woman. All are dressed as medieval peasants.

Meanwhile, in a village nearby, a bunch of unwashed peasants are discussing the mysterious box that just washed up on the beach. A couple of the men decide to go and look for it.

On the beach, Vicki finds an affront to history. Sorry, I mean she finds a Viking helmet. With horns on.

The Doctor sarcastically asks Steven if he thinks it’s actually a space helmet for a cow, seeing as he still refuses to accept it as an authentic Viking helmet.

Image description: Vicki and the Doctor stand in front of the TARDIS. The Doctor is holding a horned Viking helmet
Frankly, he’s absolutely right for the wrong reasons. Vikings did not wear horned helmets – not to battle, at the very least. Just think how impractical it would be.

I think the Space Cow explanation is quite a bit more likely.

The group decide to go exploring a bit and see if they can prove to Steven that they really have time-travelled, because apparently an actual Viking helmet wasn’t good enough.

I rather enjoy Steven and the Doctor taking sarcastic jabs at each other. It’s quite funny. I’m really warming to Steven in general, actually.

Once the group moves off, the Doctor going one way and Steven going another with Vicki, the monk from the clifftop approaches the ship and attempts to get inside, thankfully to no avail.

Image description: The Monk listens at the door of the TARDIS

The Doctor eventually arrives at the village and meets a woman, Edith, who gives him a horn of mead once her initial caution wears off. Through a little discussion, the Doctor manages to glean that King Edward died earlier this year, making Harold Godwinson the new king. Much to the Doctor’s delight, he realises that must mean it’s 1066.

And the absence of a history teacher doesn’t mean we don’t get History Lesson Time, as the Doctor talks to himself (while mugging into the camera) about the soon-to-come invasion of Harald Hardrada, and then William the Conqueror.

Image description: Edith and the Doctor sit together.

The village is not far from the Monk’s monastery, the rhythmic chanting easily audible from Edith’s house. However, as the Doctor listens, the singing slows, distorting as it stops…rather like stopping a record.

Well, something dodgy is going on here.

He asks Edith, and she tells him she’s never actually seen the monks at the monastery, which had been abandoned for years until recently, but she hears them often.

Could it be that the Doctor isn’t the only one around here that doesn’t belong?

Steven and Vicki stop to rest, having got themselves lost. They spot a man, who finds something shiny on the ground, and against Vicki’s advice Steven jumps up and tackles him, having apparently forgotten his manners after two years of isolation. I wouldn’t have thought ‘rugby-tackling people is considered impolite’ would be an easy thing to forget, but I’ve never been marooned anywhere.

Image description: Steven holds up a wristwatch. Vicki is looking at it.

Steven manages to wrest the mysterious shiny object from the man’s hands, and makes an interesting discovery: it’s a wristwatch.

The Doctor travels up to the monastery and follows the sound of the singing, tracing it to a gramophone record player. However, he pays for his curiosity as a cage door comes down on him, trapping him as the Monk arrives to laugh at his misfortune.

This is pretty interesting so far. Consider my curiosity piqued.

Image description: The Doctor stands behind wooden bars. The monk looks in at him.

THE MEDDLING MONK

The Monk takes the Doctor prisoner, but he’s nice enough to bring the Doctor quite a decent breakfast in the morning, prepared with some very anachronistic kitchen appliances, like a toaster. Elsewhere, Vicki and Steven come under attack in the woods, the Anglo-Saxon men springing from the bushes to capture these strangers.

To be fair, there is the looming threat of invasion. In fact, the first party of Vikings is already approaching. The Monk seems to have been anticipating their arrival.

Image description: Vicki and Steven with three Saxon peasants.

The Saxons take Vicki and Steven, who is finally starting to believe that he really has travelled back in time, back to their village, where the headman, Edith’s husband, stops them doing anything rash for long enough for Edith to inquire if they’re looking for an elderly man with long white hair.

Vicki and Steven answer in the affirmative, and the headman lets them go, satisfied that they’re just travellers, sending them on their way with a pack of provisions.

Image description: The Viking leader wearing an elaborate helmet topped with an eagle. In the background, another Viking is hidden behind a decorated shield.
Do you think he knows how silly he looks? Also, I can't find any similar helmets in my research, so this may be silly AND inaccurate.

A band of Vikings come ashore close by. Strictly speaking, we should call them Norsemen, seeing as they’re here to scout ahead for the rest of the fleet, and not to go viking, which is more of a job than a culture. Being pedantic is a hobby of mine.

Vicki and Steven reach the monastery, where they meet the Monk, who claims to have seen no sign of the Doctor. If that’s true, then, how is it that he rattles off a perfect description of the man when nobody has even told him what the Doctor looks like?

Vicki is suspicious, however, thinking that he gave himself away far too easily. Steven wants to break into the monastery right then and there, but Vicki cautions him that that is probably exactly what the Monk wants them to do, so they wait until nightfall.

Image description: Edith's husband and another woman look down on Edith as she lies down. She appears traumatised.

With nightfall comes the arrival of the Vikings to the little village, and poor Edith, alone at home, bears the brunt of their brutality. They don’t kill her, and it’s not shown on screen what they did to her, but her husband finds her virtually catatonic from the trauma, so I think we can make an educated guess as to the implication.

Hopefully it will just fly over the younger viewers’ heads.

Edith manages to come around a bit and tells the others that it was the Vikings, and the men ready themselves to track Edith’s attackers down. It doesn’t take long, and a very unconvincing brawl ensues, killing one and driving the others off.

Vicki and Steven break into the monastery. It’s quite funny how they keep trying to vie for the leadership of their little group, trying to boss each other around. I say that seeing as Vicki’s been at this time-travelling lark for far longer than Steven, she gets to be in charge.

The headman brings one of the wounded Saxons to the monastery, distracting the monk as Vicki and Steven snoop about, soon finding the record player. They manage to find the Doctor’s cell, and Steven picks the lock, only to discover that the cell is empty, the shape on the bed they had assumed was the Doctor revealed to be nothing but a bundle of rags. He’s vanished!

Image description: In the foreground there is a gramophone record player. Vicki and Steven are behind it, looking at one another.

A BATTLE OF WITS

Vicki and Steven soon discover that the Doctor has escaped through a tunnel hidden behind a loose stone in the cell, prompting Steven to remark, “Who’s a clever girl, then?” For goodness’ sake, Steven, she’s a young woman, not a well-trained poodle. No need to be so patronising.

Image description: Vicki looks over her shoulder

The pair follow the passage, and the Monk returns to an empty cell, much to his confusion.

The Doctor, meanwhile, has safely made his way back to the village and meets up with Edith, who tells him about the Viking attack. He rushes off in a hurry, pausing, however, to let Edith in on a little secret: the king will defeat the Vikings.

He doesn’t mention the Normans who turn up a few weeks later, though. Got to have some surprises, I suppose.

Vicki and Steven emerge from the tunnel, Steven finally believing that he has time-travelled, but he still can’t stop thinking about the anachronistic things they’ve seen. The pair decide to find the Doctor and investigate further.

Image description: The wounded Saxon lies in an alcove. The Monk feeds him something, as the headman watches them with his sword drawn.

Back at the monastery, the Monk continues to be a curious individual. I very much enjoy his character. He’s the antagonist of the serial, that’s for sure, but I don’t think I’d characterise him as a villain. Yes, he did kidnap the Doctor, but then the Doctor’s no stranger to a little kidnapping from time to time. He gives the wounded Saxon some penicillin, telling him that it’s just a special herb. The headman leaves his friend with the monk to recover, to the monk’s reluctance, and leaves to prepare for the arrival of the very badly-dressed Vikings.

Really though, they look dreadful. They’re practically wearing potato sacks! By this point in history a Norseman and a Saxon would look pretty much alike on the battlefield, save for the shape of their shields. This lot look as if they just raided a rubbish fancy dress shop.

Image description: Two Vikings crouch together.

A couple of the Vikings find themselves isolated from the group, and decide their best option is to request sanctuary at the monastery. After all, it’s not as if the Monk can refuse, but the Monk already has a surprise guest: the Doctor, cane in hand and demanding answers.

Vicki and Steven struggle to track the Doctor down, but they stumble across something interesting in their search. Atop the cliffs, they find some sort of advanced weapon pointing out to sea. Figuring this has something to do with the mysterious Monk, they start heading back to the monastery via the secret tunnel.

Image description: The Doctor stands behind the Monk.

Back at the monastery, the Doctor and the Monk are in something of a battle of wits, as the Doctor tries to coax information from the Monk, who keeps dodging his questions and trying to get rid of him. There’s a knock at the door, and the Doctor agrees to keep up the Monk’s ruse a little longer if it’ll get him answers, so dons the appropriate robes and invites the Vikings inside. I say ‘invites’, but really the Vikings just went straight for the death threats, which is rather rude of them.

By morning, the Viking on guard finds the Doctor’s cell apparently empty, and rushes to the secret exit, which has been left wide open. As he looks into it, the Doctor emerges from behind the cell door where he was hiding, and clobbers him.

Image description: The Doctor steps from behind a door, wearing a monk's robes.

The Monk gets down to the village, where he tries to enlist the men to help him light signal fires. However, the Saxons are suspicious, and Edith tells her husband about the Doctor’s warning of an impending invasion.

Vicki and Steven finally make it into the monastery as the Doctor confronts the Monk. In the monastery’s chapel, Vicki and Steven find a large stone sarcophagus, which for some reason has a power cable plugged into it.

Upon investigating further, they find that the sarcophagus is big enough to climb inside. It looks a bit of a snug fit at first sight, but wouldn’t you know it’s bigger on the inside? That’s right. It’s a TARDIS.

The Monk has a TARDIS.

Image description: Vicki and Steven stand in the doorway of a TARDIS.

I really enjoyed this episode. The reveal at the end honestly made me gasp. We know of course that there are other ships that can time travel in the Doctor’s universe, but more TARDISes? What is the plural of TARDIS? Tardises? Tardii? Tardodes? Or is it like ‘sheep’ where the plural of TARDIS is TARDIS?

The whole dynamic between the Doctor and the Monk is delightful to me. The pair have a real chemistry with each other, making them a joy to watch.

Let’s see how it all turns out, shall we?

Image description: The Doctor looks over the Monk's shoulder. He looks very angry.

CHECKMATE

The Monk reveals to the Doctor that he’s going to lure the Vikings to the cliffs, where he’ll destroy them.

Inside the Monk’s TARDIS, Vicki and Steven find the Monk’s ‘collection’ of pilfered artifacts from various cultures and time periods.

Oh, so it’s like a time travelling version of the British Museum?

Image description: Vicki and Steven examine an assortment of historical artefacts.

That’s not all he’s been getting up to, though. As he tells the Doctor, he gave Leonardo da Vinci the idea to try making a flying machine, and also had the rather clever idea to put a few bob in the bank, hop forwards a couple hundred years, then collect on the compound interest.

The Doctor vehemently disapproves, of course, but the Monk insists that time travel is more fun this way. And it’s not as if he hasn’t put his footprint on history before. After all, could the ancient Britons really have built Stonehenge without the assistance of anti-gravity devices?

The Monk explains his plan to help Harold Godwinson beat William of Normandy. It’s simple enough at its core: just make sure he doesn’t have to fight Harald Hardrada.

Image description: The Monk and the Doctor.

He’s come to the site of Hardrada’s landing, and positioned an atomic cannon on the cliffs. When the invasion fleet shows up, he’ll blow them sky-high, so that Harold Godwinson doesn’t have to fight Harald Hardrada. That’ll save him thousands of casualties weakening his army, and his troops won’t be exhausted from weeks of marching and fighting when they get to Hastings. With any luck, he’ll be able to drive the Normans back, and Britain will remain Anglo-Saxon.

If nothing else, maybe English spelling would be a bit more consistent in the future.

The knocked-out Viking comes around and releases his comrade, the pair deciding to stick around for the sake of safety (but probably realising they need to be a lot more wary of the old men).

The Monk shows the Doctor to his TARDIS, teasing him about being unable to fix the cloaking device of his own. As he’s doing that, the wounded Saxon sneaks out of the monastery.

The Doctor notes that the Monk has a newer, shinier TARDIS than he does. Jealous, Doc?

Image description: Vicki, the Doctor, Steven and the Monk stand in the Monk's TARDIS.

They find Vicki and Steven, who themselves have discovered the Monk’s checklist. The Doctor confirms that the Monk is from the same place as him (wherever that is), but probably from about 50 years in the future from the point the Doctor left home, going by his TARDIS.

Really, the Doctor and the Monk are a lot more alike than the Doctor would probably like to admit. Both are eccentric and mysterious time-travelling old men, and like the Doctor, the Monk does actually want to help the people he comes across. He just has a different way of going about it. Whereas the Doctor tends to avoid interfering too much with recorded historical events, the Monk sees no problem with it. He figures that a few changed history books is worth keeping Harold on the throne, and keeping French nobility away from the English crown might avoid the subsequent centuries of wars over succession.

I’m already very doubtful, but it gets worse.

With a little nudging, the English might have aeroplanes by the 14th century, and perhaps rather than at the Globe, Shakespeare might be putting his plays on television. I’m sorry, but no. You can’t change possibly the most significant historical event in English history and expect there to be no massive ripples.

Sorry, Monk, but I’m with the Doctor on this one. You can’t possibly predict the end results of a change that big. The Doctor wastes no time in telling the Monk exactly what he thinks of his plan, but the Monk isn’t really open to constructive criticism, choosing to make a break for it. He doesn’t get far before running into the Vikings, who he gets away from by hailing King Harald and pointing out the other three as enemies of the Vikings.

Image description: The wounded Saxon is with the headman of the village and Edith. A number of other villagers are visible.

In the village, Edith and her husband tell the other villagers about the impending invasion, and share their suspicions about the monk. The wounded Saxon makes a timely appearance, and tells everyone that there are already Vikings at the monastery. With no time to lose, the whole village takes up arms (yes, even Edith!) and heads up to the monastery.

They find the Vikings en-route to set signal fires for the Monk, who told them that they would aid the invasion fleet. Successfully chasing them off, Edith enters the monastery and frees the travellers, before heading out again, spear in hand, to chase down the invaders. I heartily approve, and I think the Doctor does, too. He seems quite taken with her, in fact.

Image description: Vicki, the Doctor, and Steven stand with Edith. Edith is holding a spear.

The Monk continues to flee with the Vikings, and distracts them so that they get delayed and captured, enabling him to slip away. Little does he know, however, that back at the monastery the Doctor is tampering with his TARDIS. Satisfied with his handiwork, the Doctor leaves a note for the Monk, and leads the others back to his own TARDIS. Job done?

Back at the cliffs, the gang find the TARDIS safe and sound, undamaged by its time underwater.

We’ve also got a nice moment of character development, as the Doctor cheerfully declares he’s quite happy to have Steven along for the ride with Vicki. He’s come a long way from threatening to abandon his companions for annoying him.

Image description: Steven, Vicki and the Doctor stand outside

But what of the Monk?

Rather the worse for wear and with his plan in ruins, the Monk decides he’d better be moving on. He finds the note left for him, saying that the Doctor might release him at some point if he’s a good boy. But what does he mean by that? Well, when the Monk looks into his TARDIS, he gets a nasty shock– it’s the same size on the inside as it is on the outside. The Doctor’s nicked the dimensional control, and marooned the Monk!

That’s karma for you. Perhaps he’ll learn his lesson?

Image description: The Monk peers through the doors of his shrunken TARDIS. Only his head is visible.

Final Thoughts

Needless to say, I really enjoyed this serial. It was a fun twist on the pure historicals we usually see, blending that fantastical element into the historical setting in a fun way. I hope to see more experiments like this.

I think I can confirm I definitely like Steven. Peter Purves is funny and charming, and Steven reminds me of a lot of blokes I know. That could just be Purves’ Lancashire accent, though.

A special mention has to go to Peter Butterworth for his portrayal of the Monk. It’s not often that an antagonist on Doctor Who delights me so much, but he gives a thoroughly entertaining performance. His entire demeanour is very Doctor-like, though a bit more mischievous, and with a self-serving streak. He’s like how I imagine the Doctor might have turned out if he didn’t have anyone around to keep him in check. Not particularly malicious, but definitely a law unto himself. He plays very well opposite Hartnell, and I’d enjoy seeing him again at some point.

Additionally, going over my notes I’ve just realised that Edith’s actress, Alethea Charlton, has been in Doctor Who, all the way back in The Firemakers. She was Hur, the cavewoman. I’ve really no memory for faces.

I can go on at some length when I’m not particularly impressed with a serial, but it’s quite hard when it’s the other way around. What can I say? I’m English. We like complaining.

There really isn’t much to complain about, though. I suppose if I did have to nitpick, I’d have liked the Vikings to be a bit more fleshed-out. They’re the weakest part of the serial, not being especially interesting to me. They serve a purpose, but not much beyond that. And the helmets are still a travesty.

I suppose the same goes for the Anglo-Saxons. I can’t remember the names of any of them except Edith, and she was the only one I really cared about, because of her extra screen-time.

Even so, that’s really a minor quibble. It’s simply a well-written, well-acted serial which doesn’t overstay its welcome and doesn’t rush itself either. What more could you ask for, except for more serials like this?

4 out of 5 stars




[July 10, 1965] "Since I fell for you" (a Young Traveler's crush)


by Lorelei Marcus

Love. The fluttering of butterflies, entire acceptance of another, passionate desire, comradery, compassion, a word. Love is used so often and means so much that it's practically a cliché. I hear it applied to numerous names on the radio, such as "Johnny," "Wendy," and "my darling in Michigan." Nearly every man on television has a woman to love or fall in love with. And perhaps the most visible example at the moment is the squealing masses of girls my age who claim to be in love with the Beatles. I once, foolishly, saw myself above it all. Sure I like to date, and I love my parents, but those gooey feelings that seem to saturate every cranny of our culture were beyond me and my maturity.

That is, until America's most charming actor came along.

This is how I fell hard for handsome, clever, talented teen idol of the century: Tony Randall.

My first real encounter with Tony Randall (one Password game I don't remember aside) was his starring role(s) in Seven Faces of Dr. Lao. The movie itself was whimsical and fun, but it was certainly Randall's acting that made it a memorable experience. He blends into each of his seven roles perfectly, to the point that I first believed they were played by different actors!

He's at his best though, when he is playing Dr. Lao; specifically when he drops the stereotypical façade of a foolish Chinese man and becomes the traveled scholar underneath. Suddenly he is standing straight and tall, almost regal in his confidence. His voice is deep and carrying, but his demeanor is kind, wise, and gentle. He speaks in a perfect and precise manner and his words discuss the magical secrets of the universe. I hadn't known it at the time, but despite all the makeup and effects, this role was one of the closest to Randall's true self.

At this point, I was awed by Randall's performance in the movie, but felt little beyond that. Dr. Lao was a few thousand years too old for my tastes, and I had yet to see the man behind him more clearly. Then my father's and my weekly Password viewing happened to feature a very special guest. I was quite excited, not necessarily because it was Tony Randall on Password, but simply because it was an actor that I recognized and admired. At least, that's how it started.

I was folding laundry while watching the TV, and I found my attention frequently drifting away from my linens and to the man on screen (no, not host Alan Ludden.) Randall was fascinating to watch. He always sat with perfect poise and spoke with wonderful rich tones. And he was absolutely erudite, forcing me to pull out a dictionary a few times. His brilliance aided in his gameplaying as well, as I believe he is the only player in Password history so far to win four games in a row!

It was an experience. The feelings crept up on me and changed. I admitted later that night to my father that I may have had the teensiest tiniest insignificant little crush on Tony Randall. After a bout of laughter and teasing, suddenly our dining room table was covered in TV guides and movie schedules in a desperate search for a single starring name. This wasn't just a harmless crush anymore, but rather a crusade to expose myself to as much Tony Randall content as possible.

That's how the family ended up at the local theater watching one of the last viewings of Boys Night Out, a movie starring James Garner, Tony Randall, and a host of others. Three married men and one recently divorced make a plan to share a luxurious apartment where they can each escape from their lives at home with a beautiful girl for a night. Except the beautiful girl they find turns out to be a sociologist, so those nights don't go quite as expected. It was a cute film with hopeful messaging and a good ending. Not to mention how amazingly colorful the sets and costumes were.

Unfortunately the direction wasn't the best, making the movie a little boring in parts. It didn't help that Tony Randall was only in some of the scenes. Even when he was on screen he played a man meant to be weak, average, and unintelligent. Randall did a fantastic job portraying the character, down to the deliberate slouching, but it was infuriating to watch because he was playing the complete opposite of the man I wanted to see– himself! Sadly this would become a trend…

Next we found a drive-in playing a double feature revival night of Barbara Eden movies. Funny enough both films also happened to star Tony Randall. First we watched The Brass Bottle, your typical genie story. Randall plays a young up and coming architect (a role better suited for literally any other male actor in Hollywood) who accidentally frees a genie of near limitless power who now answers to his every whim. Of course the genie is a few thousand years out of date, so how he executes those orders varies from inconvenient to disastrous for Randall's character.

Overall the movie was terrible, even with Randall's superb acting (once again wasted on a slouching, sputtering fool.) The one good scene is when Randall gets to interact with the mule and has to ad lib. for part of it. Randall also executes quite a few fantastic girly screams. That's it though; otherwise it's a one star movie.

The second movie carried a little more promise: Will Success Ruin Rock Hunter? was Randall's breakout role into cinema, after all. Randall plays a young up-and-coming marketing executive – I'm noticing a pattern here – who accidentally seduces a movie star and is turned into the world's best lover overnight, causing chaos to ensue in his life. The movie had too much it wanted to do. It took time in the introduction and halfway through for comedic bits poking fun at television and marketing. Its main plot sacrificed character development for ridiculous slapstick that wasn't particularly funny, and ultimately the ending was thrown out too, to fit in a speech about the moral. Despite all these flaws, it was still a better movie than Brass Bottle. It was clever in a few parts, and watching Tony Randall be mobbed by teenage girls was hilarious.

Both films are a testament to Randall's acting skills. He takes these roles of such generic characters and plays them to a T. This means aside from some very brief moments where the mask slips, I don't actually get to watch the actor that I know and like. For instance, I know that Tony Randall started in stage productions and is a professionally trained dancer. Yet twice in Rock Hunter he is forced to dance poorly, going against all his instincts and training, and he succeeds (at dancing poorly)!

Randall has so much potential as an actor, and yet no one can seem to cast him in anything but comedic romps (excluding the unusual case of Dr. Lao)! It makes me wary of the new Fluffy movie that's just come out. Especially considering Randall himself had an unpleasant time filming with the lion. I will still see it of course – I have a duty to uphold – but I've found that Randall's name in the credits doesn't guarantee I'll enjoy a film he's in.

On the bright side, television has been kinder (both to him and me) than the movies. I got to see Randall on What's My Line? last week and he was as composed and well spoken as ever. I hear he'll also be on Password again in the next few weeks, so have something to look forward to.

I also hope to see him in one of his stage shows. With all the character and energy he brings to each role on the screen, I bet he really shines under the spotlight. Nevertheless, whatever he's in next, be it on film, video, kinescope, or (if I'm lucky) on a stage, I'll be there to watch it.

Because I have a big old crush on Tony Randall.

This is the Young traveler, signing off.



If you want to see more of the Young Traveler, come register for this week's The Journey Show

We'll be discussing the latest fashion trends of 1965, and we have some amazing guests including the founder of Bésame Cosmetics.  Plus, you'll get to see the Young Traveler show off her newest outfits!

DON'T MISS IT!




[June 28, 1965] An Hour Of My Life I Will Never Get Back (Doctor Who: The Chase [parts 4-6])


By Jessica Holmes

The title of this article says it all, really. This serial is… well, it’s really quite something, and I don’t mean that in a good way. So, to recap: the Daleks are chasing the TARDIS through time and space, taking them to exotic places like a desert world beset by monsters, a mysterious ghost ship, and… a New York tourism hot-spot. Let's see where they wind up next.

Image description: In the foreground there is a staircase with smoking braziers. In the midground are Barbara, Ian and Vicki. The Doctor is in the background.

JOURNEY INTO TERROR

Well, here we go, I suppose. The TARDIS makes a landing in a dusty old mansion, and the Doctor drags Ian off to explore while the women make the much more sensible choice to stay near the TARDIS. The mansion is quite thoroughly spooky, infested with bats and goodness knows what else.

It doesn’t take long for things to take a creepy turn, as skeletons drop from the ceiling and ghosts rudely barge through people.

And then Frankenstein’s Monster shows up.

No, really.

Image description: In the foreground, Frankenstein's Monster is sitting up, partially covered by the sheet. In the background, Ian and the Doctor regard him with apprehension.

The Doctor and Ian find a laboratory upstairs, and within, a familiar scene: the strange machinery, the lumpy shape under the tarp. And then the monster rises, giving the pair quite the fright.

Meanwhile, downstairs…

I cannot believe I’m typing this.

Downstairs, Barbara and Vicki meet Count Dracula.

Image description: Image is of a pale man with fangs (Count Dracula)

He doesn’t do much other than introduce himself and then leave. In the time Barbara takes to see where he went, Vicki manages to disappear, and a woman appears on the balcony above to scream something unintelligible. Nope, I have no idea what her problem is.

Anyway.

Barbara leans into a moving wall because no haunted house is complete without a few secret passageways.

Upstairs, the men note that something feels strangely familiar about the house. Oh, like the numerous public domain characters running about the place?

I’ll bet you Walt Disney had something to do with this.

The Doctor comes up with a theory on this house being some sort of physical manifestation of the collective fears of humanity. I don’t know what the physical manifestation of existential dread would be, but perhaps that’s a bit too heavy for teatime telly.

If his theory is true, the Daleks shouldn’t be able to land here, seeing as it's all just a figment of the imagination.

Image description: Image is of an entrance hall. In the midground are two Daleks and their time machine.

And a couple of minutes after making his case, the Daleks land. So much for that, then.

Ian and the Doctor can't find the women downstairs, and beginning to worry they reluctantly venture back into the laboratory, where a Dalek politely asks Ian where the time travellers are.

Let’s just take a moment to process this. You mean to tell me that the Daleks have been chasing these humans across time and space for three and a half episodes, and don’t even know what they look like?

Image description: Frankenstein's Monster stands in the centre of the frame, arms outstretched.

Ian and the Doctor scarper as Frankenstein’s Monster rises to do battle with the Dalek. Now, there’s a sentence I never imagined writing. Time to place your bets, folks. Who would win, the Monster or the Dalek?

You might be surprised.

The men make it back downstairs, where they manage to meet with the women again.  Where did they go and how did they get back? Pssh, who cares? It’s time for the Hammer Horror showdown.

A Dalek arrives on scene to accost the gang, but before it gets the chance to blast them to kingdom come, Count Dracula pops out. The group make a run for it while the Dalek is distracted, Vicki stopping to warn the Count of the grave danger he’s in. Bless.

Image description: In the foreground with their backs to the camera are Vicki, Ian and Barbara, with the Doctor partially visible. In the background are Dracula and a Dalek.

However, she needn’t worry, as the Dalek’s blast does nothing at all to him. Well, I say she needn't worry, but that's not quite true. The Count's fine, but the Doctor's neglected to do a headcount and the TARDIS just left without her.

Then things really descend into madness.

As the Count repeatedly informs the Daleks ‘III AAAM COOOUNT DRAAACULA’, Frankenstein’s Monster tosses the plunger-toting menace about like dustbins, and the woman on the balcony incessantly screams gibberish. Amidst the chaos, Vicki sneaks aboard the Dalek capsule.

Image description: A man lifts a Dalek over his head.

The Daleks, realising they’re beaten, beat a hasty machine into their own capsule. So, that wild fever dream is over. What was really going on, though?

The Doctor stands by his theory, but Ian thinks a simpler explantation is more likely. Sure enough, he’s right, though he'll never know it.

The cameraman lets us in on the secret by panning the camera down to the the ticket stand for ‘Frankenstein’s House Of Horrors’, $10 entry, which further signs indicate was the highlight of the "1996 Festival of Ghana." Well, it would have been if the event hadn’t been "cancelled by Peking."

Text reads: Frankensteins (sic) House Of Horrors, Price $10

I only have more questions now.

So, anyway, aboard the TARDIS the adults eventually realise they’ve left their ward behind. Mr Chesterton and Miss Wright, I am very disappointed in you. You’re meant to be the responsible ones.

Aboard the Dalek ship, they’re in hot pursuit, and about to deploy their secret weapon: a ‘perfect’ robot copy of the Doctor.

I will get to this in a moment.

Vicki attempts to contact the TARDIS to no avail. The rest of her team are feeling tremendously guilty as well they should. However, they apparently can’t go back for her for important time-travel reasons, but if they could capture the Dalek ship, they could get her in that.

Let’s just go with it.

On the Dalek ship, the roboDoctor is almost ready. Or perhaps I should call him Roboctor? Let’s have a look at him.

Image description: A man resembling the Doctor but with different facial features stands in a dark box

A perfect copy, the Daleks insist. Sure, apart from the face, the height, the build, the general bearing, and, well, everything about him. Hartnell voices him in a very dodgy dub. I don't know why he couldn't just play the doppleganger fully.

You know what? I’m going to call it Doctor What.

The final shot rolls in as Doctor What affirms his orders to infiltrate and destroy and this time… he is played by Hartnell. I despair. Why? I just do not understand. It’s so jarring.

Stick around, we’re not done yet.

Image description: Barbara, The Doctor and Ian stand amongst giant mushrooms

THE DEATH OF DOCTOR WHO

It might well be if things carry on like this.

The TARDIS lands in a swamp populated by walking mushrooms that are scared of bright lights. That’s neat, I suppose.

There’s a trail of lights overhead, which the companions decide to follow, reasoning that this might be a decent place to fight the Daleks. The Daleks arrive soon after and decide they should kill anything that moves, because of course they do.

Vicki creeps out from hiding and flees into the swamp, promptly running into a walking mushroom. It doesn’t kill her because ‘killed by a giant mushroom’ is too embarrassing a fate to foist upon any character. The universe won't abide it.

Image description: Ian and Barbara look at the Doctor as he shows them a lit wand.

The rest of the group find a cave at the end of the trail of lights, and in it they find a sort of glowing wand which they can use to ward off the mushrooms. It’s more of a glorified torch than a weapon, but that doesn’t stop Barbara waving it about and making adorable shooty sounds.

Ian’s been toting the Doctor's device around since they left the TARDIS, but the Doctor warns everybody that they can't use it in an enclosed space. Honestly I’m not convinced that it isn’t just a transistor radio. You could do some damage if you threw it hard enough at someone’s head, I suppose.

Image description: Ian looks off into the distance, holding a box similar in appearance to a homemade transistor radio.

Vicki manages to fight off the giant mushroom because, well. It’s a mushroom. She finds the TARDIS, but it’s locked, and the mushroom is still following her. Maybe it just wants to be her friend? Consider the mushroom’s feelings, Vicki.

Having tried absolutely nothing to get out of her situation such as, I don’t know, running away and looking for the others, Vicki is all out of ideas. And as you do when you run out of ideas, she starts screaming her head off.

Though they’re probably miles away, the rest of the gang hear her, and the men run out to see what’s making that dreadful racket. With them gone, Doctor What slips into the cave.

The Doctor and Ian find Vicki unconscious with a mushroom standing over her. Now, this looks bad for the mushroom, but I have to reiterate that it’s a mushroom and probably can’t hurt anyone, unless Vicki tried eating it, I suppose. I bet she just fainted.

Doctor What continues to frustrate me as the episode keeps flipping between having him played by Hartnell and Hartnell's double. It’s just so visually confusing.

Doctor What tells Barbara that Ian’s dead, and she could try acting a little sadder if you ask me. He lures her out of the cave to look for his body, and the real Doctor and Ian come back to find her gone. While Ian goes to look for her, the Doctor stays to look after Vicki.

Image description: Vicki lies on the floor while the doctor crouches over her, feeling her forehead.

However, upon awakening to find the Doctor leaning over her, Vicki panics and hits him, thinking that he’s Doctor What. It’s then that Ian returns, and they work out what must have happened to Barbara.

Ian manages to have an appropriately horrified reaction to Barbara being in mortal danger, and runs out to look for her.

Hearing Ian calling out for her, Barbara is overjoyed to realise he’s alive, but her joy turns to horror as Doctor What attacks her. Luckily Ian’s soon on the scene and Doctor What beats a hasty retreat.

Image description: In the foreground is the Doctor with his back to the camera. Vicki, Ian and Barbara are in the midground. There is another Doctor in the background facing the first Doctor.

They return to the cave, but the gang seems to have acquired an extra Doctor.

One tries to attack the other, but Ian intervenes, to which this Doctor threatens him too. Well, that was a clever idea, wasn’t it? The very-obviously-not-Hartnell Doctor watches from the sidelines, urging Ian to destroy the ‘fake’ Doctor with a rock.

However, before Ian gets the chance (he didn’t even pause to think!), Barbara realises the deception and stops him.

Now comes the one point in the serial where there’s any point to using the double: a Doctor fight!

Image description: The two Doctors duel with their canes. The real Doctor is on the left.

Ah, but which Doctor won? Now, that would have been fun to play with, but nothing comes of it, so I’ll chalk this up as a missed opportunity.

The Daleks find the TARDIS, but come under attack by a mushroom and decide to call it a night. Meanwhile, the companions get some rest. Their presence hasn’t gone unnoticed, however. As they sleep, a camera descends from the ceiling and observes them.

Upon awakening, the companions spot a city suspended high above the canopy. It’s a nice design, very organic, so a thumbs up from me to the art department.

Image description: A cardboard miniature of a city built on large, tree-like stilts.

However, they might pay more attention to the sights at ground level, as the Daleks have found their cave.

Ian comes up with the bright idea for the Doctor to pretend to be the robot, and as the group argues over whether that’s a good idea (and decides that it’s not), the Doctor, listening in the background, heads outside to give it a go. I’m proud of him. He’d never have taken a risk like that back when he first met the Daleks, now here he goes putting himself in danger to help his friends.

Still, the companions weren’t wrong when they decided it was a bad idea, as it only takes a Dalek about ten seconds to realise that the Doctor isn’t a robot, and the Doctor flees back into the cave as the Dalek shoots at him, shaken up but unharmed. Ah, well. It was worth a try.

Image description: Ian, Barbara and Vicki support the Doctor

He’s about to use his device as a last resort when the rear wall of the cave opens up to reveal a massive Christmas tree ornament. This thing is called a Mechanoid, and it sounds like a Dalek that’s lost its voice from all the screaming. With no better options, the gang decide to follow it.

There’s one good thing I can say about this point of the serial: one more episode and it’s over!

Image description: A machine shaped like a geodesic sphere sits in a lit doorway.

THE PLANET OF DECISION

The group follow the Mechanoid into a lift, and it’s just as awkward as any time one shares a lift (or ‘elevator’ for the Americans) with a perfect stranger, with the Mechanoid ignoring any and all attempts at small talk.

The Daleks are momentarily confused to find the cave empty, but soon realise that the group must have escaped through a wall somehow.

The lift arrives at its destination on the elevated walkway, and the group begin to make their way to the city. The Mechanoid meets another Mechanoid and they perform a strange gesture which could be a greeting, but could just be a result of them being too bulbous to move past one another.

Image description: Two Mechanoids.

The Mechanoid takes them to a building and ushers them inside, where they find a bed, some scaffolding, and a man by the name of Steven Taylor. You might find him a little familiar, as his actor, Peter Purves, appeared a few episodes ago as the man from Alabama at the top of the Empire State Building.

Honestly, Steven might be the one new character in this whole serial I don’t loathe. In fact, I’d go so far as to say I really rather like him. He’s a little odd, as anyone would be after two years of isolation, but he’s a nice bloke and good-humoured.

Image description: A young man with a hopeful expression.

Steven explains that Earth decided to colonise this world about fifty years ago and sent the Mechanoids on ahead to get started on the building, but then humanity got itself involved in another war and all plans for colonisation fell by the wayside. Cool, but I have to ask how do the Mechanoids build anything? Look at them! They’re less dextrous than Daleks, and that’s saying something.

He’s been their prisoner since he crash-landed two years ago, and it looks like the companions are the new exhibits in the Mechanoids’ human zoo. Why are the Mechanoids keeping people like zoo animals? Honestly no idea.

Image description: One Dalek in the foreground facing away from the camera. Another Dalek in the background facing towards the camera, standing in a lit doorway.

The Daleks manage to get at the lift shaft and head in, despite reservations about the potential firepower of the Mechanoids. I think the Daleks might have been humbled a little by their string of misadventures.

It turns out that the scaffolding in the human pen leads up to the roof, which is unguarded. That’s all well and good, but it’s 1500 feet up. Bit of a big jump.

The Doctor finally thinks to mention that he has a functioning spaceship, giving Steven hope that they might finally escape. Ian finds a coil of cable, and while he unravels it, the Doctor reports to the girls the plan to climb down. They aren’t terribly keen, to say the least.

Image description: Barbara, Ian, the Doctor and Steven hold onto a rope that is tied around Vicki's waist. Vicki is blindfolded.

However, they don’t get chance to protest too much, as the Daleks arrive at the city for a showdown with the Mechanoids. Everyone rushes onto the roof and prepares to get going, as the Doctor primes his device, leaving a little something for the Daleks to remember him by.

They have to blindfold Vicki and tie the cable around her waist to get her down, but otherwise that part of the plan goes without a hitch as the Doctor’s device explodes and incapacitates exactly one Dalek. However, Steven realises he left his lucky stuffed panda mascot behind and rushes back into the burning building to look for it.

Oh, and the Daleks and Mechanoids fight. Being as awkward and unwieldy as the pair are, it’s about as thrilling as you’d expect. The Mechanoids do have flamethrowers though, which I suppose is neat. Honestly I’m rooting for the Daleks in this fight,  because I find the Mechanoids’ voices that annoying.

Image description: Three Mechanoids surround a Dalek.

The companions make it down to the forest floor sans Steven, and moments later the city collapses in flames.

The group make it to the Dalek time capsule, and find it empty. They’ve won.

So, what do you do with a spare time-and-space-ship? You go home in it, that’s what.

Though it seems the programme forgot about it long ago, Ian and Barbara have been trying to get back home since they first came aboard the TARDIS, hindered by circumstance and the Doctor’s dodgy piloting skills. Here’s their chance to get home, and they’re going to take it.

I am deeply, deeply annoyed that this couldn’t have come at the end of a better serial.

At least Steven turns out to be alive after all.

The Doctor is apoplectic at the suggestion of the teachers piloting the Dalek ship home, citing the immense risks involved. And, well, I think he got rather used to having them around.

It gets quite heated as Ian complains that he’s tired of all this aimless drifting through space, which is basically the Doctor’s entire way of life. The Doctor insists he’s been trying to get them home all this time, seeing as he never wanted them aboard to begin with.

Image description: In the foreground, Barbara talks to the Doctor. Both appear angry. Ian glares at the Doctor from the background.

It’s only when Vicki intervenes and reassures the Doctor that she won’t leave him alone that he finally relents and shows the teachers how to work the machine.

The Doctor and Vicki leave them to it, the Doctor saying that it’s fifty-fifty whether they make it or not. The Dalek machine dematerialises. Did they make it?

Welcome to London, 1965. Newest arrivals: Ian Chesterton and Barbara Wright.

Image description: Ian with his arm around Barbara in front of a 'No Parking' sign. Both appear very happy.

Ian sets the machine to self-destruct and then the pair run off into a photo montage in which they’re attacked by pigeons, make silly faces and just generally lark about London like a couple of drunken students. It’s sweet seeing them being so overjoyed to get back home, and when they eventually flop onto a bus seat and ask for the wrong fare, Ian has the perfect answer when the conductor asks him if he’s been living on the moon: “No, but you’re getting warm.”

The Doctor and Vicki survey them on the Space Telly, and though Vicki is thrilled to see they made it safely, the Doctor is thoroughly down in the dumps. Tearfully he admits that he shall miss Ian and Barbara, and I think my heart just broke a little bit.

Image description: Vicki and the Doctor stand in front of the Time And Space Visualiser. Vicki is smiling, but the Doctor appears morose.

Final Thoughts

I think we can all agree that that ending deserved a better serial than The Chase. Ian and Barbara deserved a better final story than The Chase. William Russell and Jacqueline Hill certainly deserved a better serial to end on.

I think I’ve gone on for long enough about this serial’s many failings: the meandering plot, the frequent slow moments, the way it renders the Daleks as more of a joke than a menace, and that’s without mentioning the Dracula in the room. Oh, and the humour's pretty weak, too.

So, that said, let’s give Ian and Barbara some love. I noted earlier that I don’t think the Doctor would have pulled his stunt with the Dalek had this situation come up back when he first met them. What changed his character for the better? Ian and Barbara. Back in The Daleks, they’d barely met him, yet they’d already stopped him from acting on his worst impulses in the previous serial, steering him away from homicide. From the start they’ve been the moral backbone of the show, supporting the Doctor as he developed one of his own. The character we see in this serial is almost an entirely different person from the selfish, grouchy man in the junkyard.

For much of the show’s run, I’ve seen Ian and Barbara as the only real adults in the group. While they were introduced to the show to give it an educational component, I think we can agree the scholarly side of that has fallen by the wayside. What didn’t, however, was the moral education they gave both the audience and the other characters. They constantly challenged the Doctor and the people they met to rise to a better standard. And although we can’t say for certain the impact they left on all the people they left behind, the result with the Doctor speaks for itself.

It would have been easy for Ian and Barbara to have become irritating and sanctimonious, but they managed to remain thoroughly likable throughout their travels. Part of that must surely go to the talent and charm of Russell and Hill, who I’m sure have long, successful careers ahead of them. They made a fantastic pair. Though I’m sad to see them both go, I must admit that it makes sense, as having one without the other wouldn’t be the same.

So, thank you, Ian and Barbara. Thank you William and Jacqueline. And thank you all for your continued interest in all things Doctor Who.

2 out of 5 stars





[June 22, 1965] Standby for Action! (Gerry Anderson’s Stingray)


by Kaye Dee

“Standby for Action!” is the dramatic opening line of the opening titles for Gerry and Sylvia Anderson’s most recent marionette science fiction series, Stingray, which then go on to promise us “Anything can happen in the next half hour!” And with over 39 episodes of undersea adventure Stingray lives up to that promise.


World Aquanuat Security Patrol Commander Shore warns us that “Anything can happen in the next half hour” in the Stingray opening titles. Note the caption “in Videcolor” in the background, telling even viewers watching in in black and white that the show is made in colour

Stingray completed its first Australian screening run a few weeks ago on June 9, having commenced on the national broadcaster, the Australian Broadcasting Commission (ABC), on September 16, 1964. As I’ve recently discovered from my friend at the ABC, this was, unusually, three weeks before the show commenced screening in Britain: as you might recall from my article about the long-delayed arrival of Doctor Who in Australia, we are more likely to be months, if not years, behind in screening television series from overseas. In fact, the Andersons’ earlier series, Fireball XL5, still hasn’t arrived on our shores, but I’ve heard that it will be shown on one of the commercial television channels later in the year.


The Stingray, series title. I’ve read that Gerry Anderson said an undersea show was the next logical step after the land and space exploits of his earlier series Supercar and Fireball XL5

Although I haven’t yet seen Fireball XL5, I discovered Stingray alongside the Andersons’ first Supermarionation puppet creation Supercar, which has been repeated this year on the ABC after first screening in 1963. While Supercar is good kiddie fun (thanks to my niece and nephew for introducing me to both these shows), Stingray shows an order of magnitude of improvement, technically and in the imaginativeness of its storyline.


Stingray, the most advanced submarine of 2065 and titular star of the show

Stingray is a science fiction undersea adventure series, set in the twenty first century (in 2065, as one episode informs us), following the exploits of the crew of Stingray, the most advanced submarine in the World Aquanaut Security Patrol (better known as WASP), one of the armed services of the World Government, charged with policing and protecting civil activities on and under the world’s oceans. However, in Stingray’s world, there are many peoples and civilisations under the sea and, although they have been largely unknown to the surface world previously, many of them have become angered by the “terrainean” exploitation of the resources of the oceans.


The Stingray crew, Troy Tempest, Phones and Marina, the mysterious woman from the sea.

In the first episode, the crew of Stingray, Captain Troy Tempest and his navigator/hydrophone operator, nicknamed “Phones” (apparently his full name is given in the promotional material for the series, but it never gets mentioned on screen), are captured by Titan, King of undersea city of Titanica. When his god (represented by a giant fish that looks like a cross between a grouper and a coelacanth!) rejects Troy and Phones, Titan condemns them to death, but they escape, aided by Marina, the mute daughter of the ruler of another undersea kingdom, whom Titan has been keeping as his slave. Marina returns with Troy and Phones to the WASP home-base of Marineville and becomes a member of the Stingray crew, using her knowledge of the undersea world to assist in their missions.


Titan, the evil King of Titanica, the arch-enemy of the Stingray crew, and his minions, the Aquaphibians.

This sets the stage for the series, with Titan and his creepy henchmen X-20 and the Aquaphibians, becoming the WASPs’ main undersea adversaries. While many stories involve battles with, or thwarting plots against, the WASP, or the surface world in general, by Titan and his allies, there is plenty of other action for the Stingray crew as well: we see them involved in exploration, participating in marine archaeology, undertaking rescue missions, investigating piracy and terrorism, assisting undersea peoples, becoming embroiled in international diplomacy and even discovering the truth about the Loch Ness Monster! Of course, being a children’s show, some of the stories are silly, and there are too many ‘dream episodes’, where strange things happen, for my taste – but many have a tongue-in-cheek humour that can be appealing to adults, and others touch on grown-up ideas such as whether or not we should exploit the mineral resources of the ocean floor.


Stingray in its pen under Marineville, awaiting the call to “Action Stations”

Unlike many kids’ adventure shows, the storyline is not completely static but has some developments over time, with Marina being initially somewhat under suspicion as a possible agent of Titan, but gradually becoming accepted, especially by Atlanta Shore, who was romantically involved with Tempest before Marina arrived on the scene. Troy finds himself enthralled by Marina but seems unable to make up his mind between the two women. It must be a first for a children’s television show that it not only portrays a ‘love triangle’ but also makes it the focus of its closing credits, which incorporate the love song “Aqua Marina”.


Atlanta Shore, Troy’s original love interest and her father WASP Commander Sam Shore in Marineville Control. A person with paraplegia in a hovering ‘wheelchair’ as a military commander has to be a role model for disabled children: in the future you can do anything!

I also find it interesting that Stingray includes two handicapped characters among its main cast, both of whom are shown to be vital members of the WASP. Marina may be mute – and episodes deal with her crewmates wanting to help her learn to speak, and the problem of Marineville Control communicating with Marina by radio – but she is intelligent and more than capable of rescuing Troy and Phones on more than one occasion. The Commander of the WASP, Sam Shore, is a paraplegic, who gets around using a hover chair – and an entire episode is devoted to the story of how he was crippled on active duty — but he is in overall charge of the organization. These have to be heartening role models for children afflicted by polio and other disabilities. 


Gerry and Sylvia Anderson and some of the Stingray production team with one of the models of Stingray

Stingray is impressive technically. Those dramatic opening statements at the beginning of the title sequence introduce a series of action shots of Stingray, a lot of explosions, Stingray’s home base Marineville going to red alert (which means the entire base sinking underground and ICBM’s being deployed into launch positions), and an amazing scene of Stingray leaping out of the water, chased by one of Titan’s submarines in the shape of a gigantic mechanical fish. And it’s all accompanied by a staccato, jazzy theme that really works with the visuals.


I’d love to know how they created this dramatic scene of Stingray leaping out of the water, chased by one of Titan’s submarines

The models of futuristic submarines, aircraft and other technology of the twenty first century are beautifully detailed, and the finely crafted miniature sets perfectly match the size of the marionettes, which I understand are about 20 inches tall. I’ve read that the AP Films production team moved into a completely new studio to produce Stingray, which included two sound stages, so that they could shoot two episodes at a time, plus a special stage for filming special effects and huge indoor tanks for filming ocean surface scenes. The ‘underwater’ scenes are apparently shot on a dry set, but filmed through a special fish-filled aquarium in front of the camera, to create a forced perspective of an undersea environment: the kids certainly think it has actually been filmed underwater.


The beautifully detailed model of WASP Headquarters Marineville. The sequences of parts of the base sinking underground during an alert are really impressive

I like the Stingray marionettes, too: they are less caricatured than in Supercar, in fact some of them look like they’ve been modelled on real people. The Troy Tempest puppet reminds me of James Garner, and badguy X-20 looks – and sounds – a lot like Peter Lorre! The puppet faces are also given added realism by having glass eyes, unlike the painted eyes of the earlier puppets. Something I find really interesting is that the marionettes can apparently be fitted with different heads, sculpted so that the face is smiling or frowning, which allows them to express emotion in a way that wasn’t possible in the earlier puppets.


Tell me Troy Tempest isn’t modelled on James Garner!

Stingray also has another claim to fame, it seems, as the first television series in the UK to be filmed completely in colour, even though it will be some years yet before Britain gets colour television (and probably a decade yet before we see it in Australia). I understand has been done in order to improve the possibility of sales into the American market, so I hope it works, and the Andersons make enough profit from Stingray to embark upon a new series in the not-too-distant future.

In the meantime, I look forward to belatedly seeing Fireball XL5 and enjoy it as an interim step between Supercar and Stingray!



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