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[January 16, 1965] What a Difference a Year Makes (The Outer Limits, Season 2, Episodes 13-17)


by Natalie Devitt

About this time last year, I was writing glowing reviews about The Outer Limits. It is a little disappointing that it is already time to say goodbye to the show. But with a number of changes behind the scenes, a new timeslot that certainly has not helped with ratings, and good episodes becoming few and far between, it does not entirely come as a surprise that the show did not even make it through a full second season. That said, it is with some sadness that I look back at the final five offerings from The Outer Limits.

The Duplicate Man, by Robert C. Dennis

In this adaptation of Clifford D. Simak’s 1951 story Goodnight, Mr. James, it is the year 2025 and “an alien life of unimaginable horror” called a Megasoid is on the loose, despite the fact that Megasoids “haven’t been permitted since 1986.” The creature is living in an exhibit at the Space Zoological Garden, unbeknownst to the site’s staff or visitors. Luckily, the Megasoid is currently less of a threat to the general public due to the fact that it is in the middle of its “reproductive cycle.“ Once the cycle ends, the alien’s instinct to kill reactivates.

It is up to the man responsible for bringing the Megasoid to Earth, a researcher named Henderson James, performed by Ron Randell of 1961’s King of Kings, to hunt the creature down. Rather than put himself in danger, James hatches a plan, which involves creating a duplicate of himself that can be “programmed to find and kill a Megasoid.” But he has to be careful because duplicates can be very realistic, with the ability to recall more and more of the original person’s memories the longer they exist, which can make it nearly impossible to differentiate between the two. This means that the duplicate must be destroyed as soon as its task has been completed. Unfortunately for James, that does not quite happen before the doppleganger has an opportunity to meet his wife, played by the lovely Constance Towers, who I must say has been making some interesting movies with director Samuel Fuller lately.

The premise of this episode could work in the right hands. Here, there are too many pieces that never quite seem to quite fit together; perhaps it simply tries too hard. Artistically, it certainly is ambitious, with its very stylized lighting, atmospheric musical score provided by Harry Lubin, great filming locations (which include the Chemosphere in Los Angeles), and some shots which appear to be fairly carefully composed. The costume design, while sometimes odd, takes some bold risks. On the topic of odd costumes, the episode’s creature looks a cross between a bird and a gorilla.

The dialogue and performances can be awkward at times. Even though it is a misfire, I have to give the show some praise for trying with The Duplicate Man. Two and a half stars, mainly for the art direction and production design.

Counterweight, by Milton Krims

Counterweight is based on the short story by the same name from writer Jerry Sohl. In this telling of his story, a group of five men, which include Michael Constantine (The Twilight Zone’s I am the Night- Color Me Black) and one woman, played by Jacqueline Scott (The Outer Limits’s The Galaxy Being), participate in an experiment that spans several months, a simulated journey in space to a planet called Antheon, in hopes of winning a cash prize. Inside their mock spacecraft is a panic button that anyone on board can press at any time for any reason if they want out of the experiment. In the event that the panic button is pressed, the entire experiment is terminated, and each of them goes home empty-handed. Once aboard, it is not long before strange and difficult to explain things begin happening to each of the crew members and they all start to blame one another, which jeopardizes the fate of the experiment. Is it all psychosomatic or is an outside force trying to sabotage them?

Perfectly good actors can not save Counterweight from itself, probably because there is absolutely no character development. Instead what we have is stereotypes, like the uneducated construction worker or the lonely spinster career woman. Growing worse as it unfolds, the hour’s final act is an absolute disaster, aside from a brief but memorable appearance by a much more entertaining stop motion plant creature.

Those factors combined with some seriously slow pacing overall, makes Counterweight extremely difficult to watch from start to finish. Having said that, there are a few effectively spooky moments, especially when each of the characters is trying to fall asleep, while unknowingly being targeted by a mysterious entity. Also, during these sequences, the musical score is especially effective. Still, one and a half stars is about all I can offer to Counterweight.

The Brain of Colonel Barham, by Robert C. Dennis

The United States is eager to be the first country to put a man on Mars. Colonel Barham (Anthony Eisley of Hawaiian Eye), with his “specialized knowledge about space technology”, is the perfect man for the job. The only problem is that he has been diagnosed with a terminal illness. His superiors in the military think they have the solution to solve everyone’s problems, so they propose that “his brain would be saved, perhaps forever, only the diseased, worn-out body would be discarded.“ Barham’s brain would then be attached to devices and sent into space.

Barham decides to save his precious brain and all of the esoteric information it contains. Once the procedure is completed, it is stored in a vat and hooked up to machines, which allow his brain to communicate with others. A short time later, it begins “developing new tissue.” It turns out there is an unforeseen complication of removing the brain from the body: it grows increasingly difficult to control. Anthony Eisley’s former Hawaiian Eye cast mate and star of 1957's The Incredible Shrinking Man, Grant Williams, also appears in the episode as a psychologist.

I love a good brain-in-a-jar story as much as the next girl, but this is not exactly the best rendition of the concept that I have seen. Sure, The Brain of Colonel Barham has its share of enjoyable silliness, but the episode is often bogged down by Barham’s cruelness. The voice-over used for Barham’s voice once his brain is removed is laughably bad, too. Two stars.

The Premonition, by Ib Melchior and Sam Roeca

When pilot Jim Darcy, played by Dewey Martin (The Thing from Another World (1951) and The Twilight Zone’s I Shot an Arrow Into the Sky) crashes his test plane at the exact same moment his wife, Linda (1953's The Wild One's Mary Murphy), loses control behind the wheel, time suddenly freezes, or so it seems. Reunited outside of time, they are given a glimpse of life ten seconds into the future. What they find is their daughter only seconds away from being hit by a truck. Do they try to intervene, even if it means that they risk remaining stuck in time?

Another time-related story from Ib Melchior (The Time Travelers, 1964), The Premonition is very flawed. Yet it is also easily the episode out of this entire batch that has stayed with me the most after viewing it, even though I must confess I did not care much for the character Jim.

The special effects are decent, though do not always stack up against last season's effects. There is also the fairly creative use of still photographs to explore time, which kind of reminds me of Chris Marker’s La Jetée (1962). Being a huge fan of the Left Bank directors from the French New Wave, that sort of thing is right up my alley. Much like many art house films, it leaves the viewer with a number of questions, but somehow I do not really mind. All in all, this hour of the series earns three stars from me.

The Probe, by Seeleg Lester

While aboard a plane flying over Japan, a crew, which includes actors Mark Richman (revisiting The Outer Limits for the first time since The Borderland), television western actor Ron Hayes and Juvenile Oscar winner Peggy Ann Garner, find themselves in a hurricane. After abandoning their plane, they incorrectly assume they are floating in their life raft, only to discover that they are not on water at all. They have actually been captured and are being held in a space probe. To make matters worse, they are being stalked by a strange creature, which they later believe to be “a mutant, a strain of germ that grew, and grew, and grew” that is also capable of duplicating itself.

I have some mixed feelings about The Probe. On the one hand, it can be incredibly corny, with its absolutely ludicrous creature, a microbe. During the scene where it duplicated itself, I nearly laughed so hard that I cried. On the other hand, the entry probably has the most convincing bunch of actors playing the most likeable, fleshed out cast of characters that I have seen on the program over the past five weeks, including the single most memorable female character.

Now, I am not usually one to get on my soapbox, but The Outer Limits has seemed to be growing less progressive in its depiction of women over the course of the second season, mostly relegated to playing nagging wives, victims or sad career women. Last season, the female characters were allowed to be much more complex and sympathetic, so Peggy Ann Garner’s character is a breath of fresh air. As a whole, I am not completely sold by The Probe, especially since it drags a little in the middle. Nevertheless, it is fairly entertaining, with actors who bring a degree of believability to even the weakest scenes, which is why it earns two and a half stars.

What now?

Reflecting on the last five entries of The Outer Limits, and on the series as a whole, The Duplicate Man was not as rewarding as it could have been, Counterweight had few redeeming qualities, The Brain of Colonel Barham could be amusing at times, The Premonition was worth the watch, and The Probe was nearly saved by its great cast. While there certainly were some great episodes from time to time towards the end of the program's run, this is pretty representative of the second season of The Outer Limits. A show that I truly hate to say became a shell of its former self.

Sadly, this was not the farewell anyone could have wanted for the series, especially since its departure (and the ending of Alfred Hitchcock Presents this spring) means an end to more than a decade of science fiction/fantasy/horror anthology shows.

When will we ever see their like again?



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[January 10, 1965] A Little Breather (Doctor Who: The Rescue)


By Jessica Holmes

Hello again! I hope everyone had a good time over the holidays. We’ve got a nice short serial to ease us into the new year, and thank goodness for that. I think another behemoth like The Dalek Invasion Of Earth would have killed me.

THE POWERFUL ENEMY

The Rescue is a story from David Whitaker. For some, that name may ring a bell. For me, that ringing is ominous and filled with doom. Why? Because the last time he wrote for Doctor Who, he gave us this little gem: The Edge Of Destruction.

So, that’s… encouraging.

We begin with a crashed spaceship. Admittedly I didn’t immediately realise that it was a spaceship, as the model looks far smaller. The ship’s split in two, and inside, there are two humans awaiting rescue: Vicki and Bennett.

Vicki’s just picked up a signal, and rushes to tell Bennett that their rescue ship has arrived. But how can that be? The rescue isn’t due for a few days yet. Bennett tells Vicki to double check with the rescuers, and warns her to watch out for someone called Koquillion, who will kill them if he finds out about the rescue.

Vicki is dismayed to find out that the rescue hasn’t actually arrived. But whose signal did she pick up?

Why, the TARDIS' of course. The Doctor’s having a nice little kip, much to the bemusement of Ian and Barbara, who’ve never seen him sleep through a landing. He’s acting quite oddly indeed, being terribly confused when they wake him up and inform him that they’ve landed. He decides to go out to have a look, and begins asking Susan to open the doors, before remembering that she’s gone.

There’s a moment where Susan’s absence is palpable, but it quickly passes and the group leave the TARDIS, emerging into a dark cave. His curiosity satisfied, the Doctor goes back inside for a nap.

No, you’re not alone in thinking this is weird. Ian and Barbara think so too. Ian suggests the Doctor’s age might be catching up with him, but Barbara counters that it’s more likely to do with Susan’s absence. Poor bloke’s going to need some time to deal with this big change. Amusingly, he hears the pair of them talking about him, and yells at them from the other side of the door. He might be getting older, but there's certainly nothing wrong with his hearing.

Ian and Barbara head off to explore, and it’s revealed that they weren’t alone in the cave. No, they were being watched, by a rather frightening-looking chap with claws absolutely everywhere. Even coming out of his face.

This is Koquillion, and he will be making a guest appearance in my nightmares tonight.

Ian and Barbara emerge from the cave onto a cliff, and spot the downed ship in the distance. They’re just about to go and fetch the Doctor when Koquillion shows up and asks them who they are, how they got here, and if they’re alone. Not suspicious at all. Not having much of a choice, however, Ian and Barbara give him an honest answer. Koquillion asks Ian to go and fetch the Doctor, after which he will escort them to the city. Not trusting him as far as they could throw him, Ian and Barbara try to both go back to the TARDIS, but Koquillion blocks Barbara’s way.

Brandishing a staff which seems to be some sort of weapon, he asks the obviously scared Barbara if she’s frightened of him, and assures her that he’s her friend…

…Right as he pushes her off the cliff.

Getting some mixed signals from you, Koquillion.

Back at the TARDIS, the Doctor is awake and having a little chat with himself. He’s been to this planet, Dido, before, and remembers it fondly for the very friendly people. Well, it looks like he might be in for a nasty surprise.

Outside, Koquillion blasts the cave with his staff weapon, causing a cave-in and trapping Ian and the Doctor inside. The Doctor comes running out at the noise, finding an unconscious Ian.

Meanwhile at the bottom of the cliff, Barbara’s not so well herself. She seems to have broken her fall with a branch, but she’s out cold, and somebody’s just found her. But is it friend or foe?

As he comes round and catches his breath, Ian tells the Doctor about his encounter with Koquillion. Thankfully it hasn’t left him too badly hurt, though I’m not really sure how the Doctor worked that out, as he admits that he didn’t get that degree. And I'm pretty sure he doesn't have x-ray vision. Well, let’s just hope Ian doesn’t drop dead of a bleed on the brain or a collapsed lung.

Back in the downed spaceship, Koquillion comes to interrogate Vicki about what she was doing outside the ship, having spotted her dragging something around outside. He seems to be holding her and her companion captive, while acting as if he’s protecting them from his people. He departs to speak with Bennett, and Vicki pulls back a pile of blankets to reveal Barbara, looking safe and sound and pretty good considering she just fell off a cliff.

Vicki explains her situation to Barbara. There used to be many more passengers aboard this ship. When they first crash-landed, the local people invited everyone aboard to a meeting. However, Vicki wasn’t well, so didn’t go. It turned out a lucky thing, because later that evening she heard an explosion, and Bennett was the only one who made it back. Not long after, Koquillion showed up, and has been keeping a tight hold on them ever since. They're just trying to survive long enough for the rescue to arrive.

In the cave, Ian and the Doctor are trying to find a way out. I have a question: why? The TARDIS can move through space, last time I checked. Why don’t they just move the ship?

Then again, with the Doctor’s piloting skills, they might just end up on Venus.

The Doctor is beside himself worrying about what happened to the people of this planet. Violence was utterly alien to them. They couldn’t afford to hurt each other; their population only numbered in the hundreds when he last visited.

At the crashed ship, Vicki mentions that Koquillion is the only one of his people she’s seen. She thinks the others are in a village not far away. Well, that sounds a bit fishy, doesn’t it?

Vicki hears someone coming, and rushes to hide Barbara, but it turns out it’s just Bennett, so she reveals Barbara to him. However, he doesn’t look too pleased to see her.

Back in the cave, Ian and the Doctor are edging along a chasm when they hear a deep roar, and shining their torch down, reveal a creature lurking below that looks sort of like a lobster and a scorpion had a baby. An ugly baby.

Where was this neat creature design back when we needed it with the Slyther (the Dalek pet from last serial)? It's cool, it's a bit scary, and most importantly it doesn't look like a sleeping bag. The noises it makes are also unearthly, ferocious, and quite unnerving. The sound department did a good job on this one.

They carry on, and find some handholds that were clearly man-made. That’s handy. However, Ian accidentally pulls one off the wall, revealing it to be a trap. Spikes emerge from the wall, penning him in. Then more start to emerge, pushing him towards the edge.

So, this is…fine. I don’t think there’s anything else to describe The Rescue. It’s just fine. It’s not stupid like The Edge Of Destruction but it’s not particularly clever or exciting so far either, so I don’t have an awful lot to dig in to or poke fun at. Let's press on, shall we?

DESPERATE MEASURES

So, what's a man to do when blades emerge from the wall, pushing him towards certain doom? Start stripping, of course.

Thinking quickly, the Doctor tells Ian to remove his jacket. By using the jacket to cushion the edges of the spikes, Ian is now able to climb around the spikes trapping him and rescue himself. Bit of a rubbish death trap, isn't it? And Ian's jacket doesn't even seem to have split a seam.

Back at the ship, Bennett informs Barbara that according to Koquillion, her friends are dead, but she doesn’t believe him. It takes more than a mountain falling on him to kill Ian Chesterton.

Barbara has an idea to set a trap to surprise Koquillion, but Bennett thinks it’s a bad idea. They just need to sit tight until the rescue arrives, because if they fail to subdue Koquillion he’ll kill them.

He then returns to his bed, refusing Barbara’s aid.

Back in the cave, the Doctor resets the trap, clearing the way. What’s it even there for? Is it for feeding the beast below? I thought these people were peaceful? Why in the world do these lovely kind pacifistic people have a death trap that belongs in some haunted tomb straight out of an old adventure serial?

Then they find a door, but can’t find a way to open it, so carry on along the edge. The Doctor hopes nobody comes through and starts creeping up behind them.

It’d be pretty dramatic and cool if someone did but… they don’t.

Why even bring it up, then?

Meanwhile, Vicki is lugging things around outside, but the scary lobster-scorpion thing is watching her. Barbara spots it, and rushes out with the flare gun to save her. Vicki screams at her to stop, but too late: Barbara shoots the creature. The poor thing makes a pathetic sound as it dies, apparently in great pain.

Vicki is furious. Why? Because that big ugly lobster-scorpion was her pet. It was called Sandy.

She’d trained Sandy to come to her for food. It was a herbivore, and perfectly harmless, if a bit scary looking, and it was her only companion besides Bennett, who spends all his time in his own quarters.

And Barbara killed it.

Barbara, you monster.

Ian and the Doctor arrive to a very tense situation.

Back in the cave, the mystery door opens and Koquillion emerges. I can’t help but think it would have been more efficient and also a bit sinister and interesting to have him emerge just after Ian and the Doctor passed the door. See, I really am starved for things to talk about beyond summarising, so my internal editor is emerging.

Back at the ship, the Doctor and Ian are telling Vicki that she looks a bit of a mess and to cheer up.

Wow.

For one thing, that's uncharacteristically insensitive.

And for another… well, to express the other, I'd have to use some rather family-unfriendly language.

Nobody looks good when they’re crying for heaven’s sake, and what does that even matter?

Look, you insensitive jerks, that thing was clearly her only source of comfort for however long she’s been here. I’d be really, really upset too if someone shot my pet. Good grief.

And everyone’s just so patronising towards her, ignoring all her requests not to do anything to jeopardise her rescue as if she’s just being a silly little girl.

She’s understandably very upset about all this, coming to the point of outright rejecting all their help. I just want to give her a hug, and stick up for her.

Ian and Barbara leave, but the Doctor beckons Vicki over, turning on full kindly grandfather mode. Looks like we’ve found a replacement Susan. That was fast.

He basically just tells her everything they’ve been telling her for the last few minutes, only now he’s doing it with every ounce of grandfatherly twinkle he can muster. And this time it works. For some reason.

She tells him that once the rescue comes, Bennett’s going to tell everyone on Earth that Dido should be wiped out, so Koquillion doesn’t get away with what he’s done.

We have a word for that, Bennett.

The Doctor says he’ll have a talk with Bennett (and hopefully knock some sense into him), so Vicki leads him through the wreckage of the ship. He tells her to go back and wait with Ian and Barbara while he talks. Vicki is not too eager to spend time with Barbara, but the Doctor tells her to give Barbara a chance. She’s nice.

Yes, Doctor, she is nice. I like Barbara. And I know she really didn’t mean any harm. I know that she genuinely thought she was rescuing Vicki. However, that doesn’t actually change the fact that she killed Vicki’s pet lobster-scorpion very painfully while Vicki screamed for her to stop.

The Doctor does explain all this to her, but really I do think Vicki is fully entitled to be upset with Barbara, and it doesn’t feel fair to be treating her as the unreasonable one.

Bennett responds to the Doctor’s knocking with a refusal to let him in, so being a reasonable person, the Doctor starts trying to break the door down.

Vicki returns to the other room, and Ian and Barbara come back in a little sheepishly.

Vicki apologises to Barbara for being upset with her, and Barbara apologises too, for shooting her pet in the face.

Can you tell that I’m ever so slightly taking Vicki’s side here?

Ian reassures her that he and Barbara do understand her loneliness. When they ask her when she left Earth, she tells them she left with her father after the death of her mother in 2493. Then they tell her that they’re from 1963. She’s astonished, as that makes them about 550 years old.

I’m sure they’re very flattered that she thinks the two of them are around 20.

But they explain that the Doctor is a time-traveller. She doesn’t know whether to believe it. Well, Vicki, it depends on what sounds more likely: that they have a fantastic skincare regimen and a penchant for vintage fashion, or got into a magic blue box.

The Doctor manages to break into Bennett’s quarters, finding them empty. Then who said he couldn’t come in? A tape recording.

Oh , and what’s more, there’s an intercom system allowing him to hear what’s going on in the other room. Vicki is criticising his fashion sense. To be fair, Doctor, you do dress as if Edward’s on the throne. One of them, anyway.

Then he finds a trap door…

Ian wonders where the Doctor’s got to, and goes to investigate. Hearing no response, he enters the cabin. However, the Doctor shut the trap door behind him, leaving the others none the wiser. Seriously Doc, why? Couldn’t you have left a note, in case you got hurt and were in need of rescue?

The Doctor explores the hidden passage, arriving at something resembling a temple. He hears Koquillion coming, and cool as a cucumber, invites him in for a chat.

The set for this room is impressively big and well-dressed, and there's lots of atmospheric mist around. The curious thing is that it doesn't actually seem abandoned, with everything well-kept and lit. The music also pulls its weight in creating a solemn, somewhat ominous atmosphere.

The Doctor comments that this used to be the people’s hall of judgement, which is fitting considering the circumstances, and asks Bennett if he’s aware that the robes and mask he’s wearing are only used on ceremonial occasions.

I admit I was genuinely surprised. I had assumed that the scary mess of claws was simply what the people of this world looked like. After all, the costume is about the same quality as the other alien costumes we've seen on this series. Perhaps even a little better.

I have to hand it to Whitaker: that was a genuinely clever move, counting on the audience's suspension of disbelief with the alien costume, then pulling the rug out from under us.

So, Bennett’s got quite a lot of explaining to do. Which he does, with a great deal of self-satisfaction. He explains that this whole ruse was to save his life. He killed a crew member on the spaceship, and was arrested, but the ship crashed before the crime could be reported back to Earth. He realised if he dealt with the other crew, he could avoid the consequences of his actions.

When the people invited the shipwrecked crew to a meeting, he arranged the explosion, killing both the inhabitants and crew. Remember how the Doctor said there were only a few hundred native inhabitants? Bennett wiped them out. A whole people.

The claws and the lobster-scorpion distracted us all from the only real monster in this episode.

He concocted the ruse so that Vicki would support his story when he got back to Earth. Now it's time to clean up the mess. The Doctor and Bennett fight, with Bennett getting the upper hand. Just when all hope seems lost for the Doctor, a pair of strange men turn up, and they don't look at all pleased with Bennett.

Cornered, Bennett releases the Doctor and cowers away, shuffling all the way to a familiar door as the men advance. He's so busy trying to avoid them that he doesn't pay attention to where he's going… and falls right into the chasm. Bye, Bennett. You will not be missed.

The Doctor wakes up back in the TARDIS, his friends having found him outside the cave. Who were the mysterious men who came to his rescue? Nobody seems to know.

The Doctor speaks with Vicki, who is despondent, now having absolutely nobody in the world. No friends, and no family. No ties to home. The Doctor, realising this, and considering his own loneliness, offers to take her with him in the TARDIS. They can go anywhere at all, and if she likes adventure, she’ll be sure to find it.

Well, you’ve sold me.

Vicki agrees, and gets her own ‘it’s bigger on the inside!’ moment.

Back at the downed ship, the rescue craft is attempting to get in contact, when the mysterious men from earlier turn up and destroy the communications equipment. It seems that a few of the native people survived Bennett’s butchery, and that they’d rather not have any more visitors for the time being.

Can you blame them?

Back in the TARDIS, the Doctor has just made a safe landing… at the very edge of a cliff.

The others protest and tell him to move the wobbling ship, but before he can do so, it topples right over the edge.

Honestly. Parking is really not that difficult. Does this man even have a licence?

Final Thoughts

Well, here we are. How did I find The Rescue? Fairly unremarkable.

If I must, I will scrounge up a handful more words: it was mildly engaging, though it doesn't help that the most engaging part was the one I got most frustrated at. However, it is much, much better than The Edge Of Destruction.

We're welcoming a new companion aboard the TARDIS, in the form of Vicki, played by Maureen O'Brien. I quite like Vicki. She seems nice, and has a sweet and gentle nature. I do hope, however, that she does develop more defining characteristics than ‘sweet, kind and gentle’, because we don’t just want a replacement Susan, we want a fresh new character. Is she fresh? I really can’t tell yet.

I would certainly be grateful for less screaming at anything that looks scary.

In a way, I am glad for the general ‘okay’ness of The Rescue, and the brevity– I think we all needed a bit of a breather after the last. Still, I think we’re ready for something a bit meatier. Until next time!

3 out of 5 stars


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[December 27th, 1964] No tears, no regrets, no anxieties (Doctor Who: The Dalek Invasion of Earth, Parts 4-6)


By Jessica Holmes

Hello, hello, everyone, I hope you’ve all had a lovely winter holiday. So, let’s recap: The Dalek invasion of Earth is well underway and everything is going wrong. That’s the gist of it. Can the Doctor and company make it right? Let’s see.

THE END OF TOMORROW

Tick tock goes the bomb, counting down the Doctor, Susan and David’s last few minutes. To make matters worse, the Doctor’s still woozy, and he passes out when he’s most needed, so Susan and David have to try and disarm the bomb themselves. David uses some acid from Dortmun’s acid-bomb to get through the casing of the device, melting through it in seconds flat. Once the casing is removed, David manages to remove the activation mechanism. Crisis averted.

Now they’re no longer about to be blown to bits, David takes charge, because…well, he’s the only available bloke, I suppose. Anyway, David decides that the Doctor should hide while he and Susan look for a way out of London.

Meanwhile, Barbara and Jenny are preparing a lorry. Suppose it’s handy they went to a transport museum!

Ian and Larry are on the road, and they spot a bunch of human slaves towing along a cart for the Daleks. Has all the coal run out or something? I know, I’m nitpicking the logistics of the Dalek invasion.

Ian and Larry get spotted by one of the workers, a man called Wells, who manages to cover for them with some quick thinking when a Roboman asks what they’re doing. The Roboman still demands they come with him, and hits Wells. Ian and Larry stop to help, but the Roboman orders them to desist. When they don’t, he says ‘You must obey orders!’ to which Ian snaps back, ‘Get new orders.’

It seems to fry the robo-bloke’s head a bit. He’s still mulling it over as they escape. I don’t know why; perhaps the Robomen just aren’t very bright.

The Roboman eventually gets himself sorted out and comes to apprehend the men, only to be clobbered over the back of the head by Ian for his troubles. Safe for now, Wells tells the men about a smuggler called Ashton who might be able to help them get out of the work camp.

Back in London, Barbara and Jenny are taking their time getting out of the city. Jenny is frustrated that Dortmun would throw his life away just to prove a point. Barbara retorts that he sacrificed himself so they’d have a chance to escape and thwart the Dalek invasion. The Daleks seem to have assumed that Dortmun was alone, so haven’t come poking around. Because apparently the Daleks only have a couple of brain cells between them.

It seems like a bit of a weak justification for killing off the only disabled character, if you ask me. It’s almost as if it was just more convenient to kill him off. No need to keep lugging a wheelchair around. Sorry if I sound a bit cynical, but we wheelchair-users don’t tend to be included in adventures, and when we are? Things like this happen.

Later on Jenny and Barbara’s road trip, they come to a gang of Daleks blocking the road. Does Barbara stop? Try a different route? Nope. Barbara doesn’t even slow down. The Daleks tumble like bowling pins, and there isn’t even a scratch on the lorry! Poor Dortmun. Bloke works for years perfecting acid-bombs that don’t work, and some 20th-century lorry makes scrap of the Daleks.

On the Dalek saucer, they prepare to intercept. Hearing the saucer coming for them, Barbara and Jenny leap from the vehicle, just before a ray from the saucer turns it into a toy lorry which then blows up. Oh. Oh, sorry. Same lorry, bad model. My mistake.

Down in the sewer, Susan and David ran into Tyler, who warns them that the sewers are full of alligators. Yes, alligators.

He decides to lead the two back to the Doctor, and curtly informs Susan that he hasn’t seen Barbara or Ian. Susan laments his apparent lack of caring, and David explains that he resists getting at all close to people, because he’s known too much killing. Or maybe, Susan, he just has a bit more on his mind at the moment than exchanging pleasantries.

David assures Susan that one day the Dalek invasion will be over, and they’ll be able to have a fresh start.

Up in Bedford, Ian and Larry hear an unearthly growl, and we can see… something skulking in the back of the shot. It took me a moment to decide whether or not it was just part of the set. That was until it moved. It slithers away at Ian’s approach, leaving the men none the wiser as to what on Earth they just heard. The men head off, meeting up with Ashton the smuggler, a terribly friendly chap who greets them with a loaded pistol.

Luckily for them, Wells turns up and vouches for the pair. Ashton relents and they sit down to have some food.

Ian asks what the thing is outside. It’s called a Slyther, and is something of a pet to the Daleks. It eats people. Of course the Daleks like it. Where did it come from, though? Is it the only one of its kind? We will never know.

Meanwhile in the sewer, Susan almost gets herself eaten by a young alligator. It’s actually quite cute. Entirely the wrong takeaway from the scene, I know. Tyler fires on the alligator, and also manages to find the Doctor.


Look, he's only a baby.

Meanwhile, the blokes are finishing up supper when a rubbish prop… hand? Tentacle? I’m not sure. A prop whatever-it-is pops out and grabs Ashton.

It turns out that the Slyther was a lot scarier when we couldn’t really see it. It looks more like a bloke stuck inside a tattered sleeping bag than the monstrosity suggested by the excellent audio effects. To say it’s a letdown is an understatement.

The men make a run for it, but Ashton is lost to the Slyther. However, Ian and Larry don’t get far before coming to the edge of the quarry, and the Slyther is a quick eater.

THE WAKING ALLY

So, the Slyther’s closing in on Larry and Ian. Larry almost falls off the cliff, but catches himself on a conveniently placed waste bucket, which Ian hops into and helps him up. The Slyther hops over too, and there’s a little scuffle before it falls off, to its doom.

Well. That was a bit of a damp squib.

What is the point of teasing a scary monster if the monster turns out to be a) not scary, and b) defeated a couple of minutes after it turns up?

I suppose it was just there to pad out the runtime, but I would rather have no monster and a shorter runtime than a rubbish monster that couldn't even scare a baby. I doubt any of the kids watching stayed behind the sofa for very long once the Slyther appeared in the flesh, that’s for sure.

Larry wants to leg it, but Ian says no, because someone might have heard them. All the more reason to run, I’d have thought, but if they did that then the next bit of plot wouldn't happen. The waste bucket starts moving.

Down in London, the Doctor’s recovered, and the gang are being pursued by Robomen.

Once the Robomen catch up, we see why humanity is in such dire straits: the resistance is absolutely rubbish at fighting. Susan and the Doctor have to intervene to save David and Tyler from the Robomen, and the Doctor also saves one of the Robomen from Tyler, who was about to shoot him. Oh, you never take lives except when yours is threatened, Doctor? What about that cave man?

No, I’m never going to let that go.

Barbara and Jenny run across a woman and her daughter who have been scratching out a living making clothes for the slave workers. It’s not much of a living, as they’re starving and beside themselves with joy when Barbara offers to share her food. In return, the mother offers Barbara and Jenny a bed for the night. However, the daughter excuses herself and runs out on an errand. Suspicious.


And just look at Jenny's balaclava.

Meanwhile, Ian and Larry are on the long ride down the mineshaft. So long, in fact, it’s started to get noticeably warmer, and the pressure is increasing.

Back with the women, they’re chatting about London as the daughter comes back, with a Dalek trailing behind her. They’ve turned the women in, collaborating with the Daleks in return for some fruit and sugar.

Down in the mine, Ian decides to go  and see if he can find the main shaft, but a bunch of slaves being escorted by Robomen come along, so he and Larry decide to blend with the group.

However, a Roboman stops them, and Larry recognises him as his brother, Phil. Phil, however, doesn’t have a shred of humanity left within him. Larry tells Ian to run while he’s got the chance, before grappling with Phil as his brother turns his electric whip on him, electrocuting the both of them. Poor Larry. Poor Phil.

At least David and Susan are having fun. They’re in the countryside throwing fish at each other. What ever happened to just going on a date? All this fish-throwing must have an aphrodisiac effect, because before very long they’re kissing.

The Doctor turns up before the couple can corrupt the youth any further, and explains his hypothesis on the Dalek invasion: it’s to do with the mining operation. Well, duh. He then starts banging on about ‘controlling the flow of living energy’ and ‘tampering with the forces of creation’. So much for being a strict man of science.

Down in the mine, Ian is evading the Robomen when a slave patrol comes along, and he spots Barbara amongst them. Don’t worry, Ian. She’s not panicking.

In fact, she’s just realised she’s still got Dortmun’s notes. They’re a handy bargaining chip to get Barbara a meeting with the top Dalek brass, where she’ll tell them all about the rebel plans for attack.

Don’t worry. She’s got a plan… probably.

Now we get to meet the head honcho, the Dalek leader, the one with the creative name. It is called…the Black Dalek.

Because it is black. And a Dalek.

But now we’re going to find out the true purpose of the Dalek invasion.

The Daleks are going to blast open a fissure in Earth’s crust, which will blow a hole in it, and allow the Daleks to remove Earth’s molten core, removing the magnetic and gravitational effects. Why? So that they can fill Earth back up with a power source (because apparently the immensely hot ball of solid iron surrounded by liquid metal surrounded by lots of hot squishy rock wasn’t enough of a power source) which will enable the Daleks to pilot the Earth around like a spaceship.

Where do I even begin?

Well, Earth is in layers, so I’ll pick it apart in layers. I apologise in advance; I’m going to go on a bit. You might want to get comfortable.

The Crust Of The Matter

For one thing, England’s an absurd location to start digging. For another, you expect me to believe that manual labour dug all the way through a couple of dozen miles of rock, perhaps more? Just think of the heat and pressure the men working in our deepest mines today have to endure. Never mind the impossibility of digging through the semi-solid mantle, or the matter of what on Earth you’re going to do with all the liquid metal from the outer core, or the solid inner core.

And that’s just the logistics.

Spaceship Earth

Why. Just… why? You’re a technologically advanced civilisation, why not build your own planet-sized space station? And why Earth? Earth surely isn’t the only celestial body this side of the galaxy with a load of squidgy rock and metal in the centre. Why not go somewhere uninhabited and use machinery to mine?

Oh, and how is this Earth-ship even going to generate thrust?

This is giving me a headache.

Why, Oh Why, Oh Why?

Why do I care so much about the silly spaceship thing? Because it is a let-down.

It is such a disappointing a motive. Had this plot turned up in a different serial I think I would have appreciated how silly it is. I like silly sci-fi. However, here it’s created something of a mood whiplash, and watered down the story.

See, it really does seem completely absurd when you consider the fact that the Daleks are quite obviously based on the Nazis.


I don't think the symbolism could be any clearer.

The parallels to the Nazi regime and their occupation of Europe have been explicit and well done throughout the serial. For example, we have the genocide of large swathes of the human population, we have the survivors being imprisoned in forced labour camps, or being subjected to barbaric medical experiments. This parallel is what makes Daleks scary. I must give Nation credit, because he has clearly put a good deal of thought into it.

I can only suppose that Nation wanted to give us a more concrete reason for the Dalek invasion than ‘they want to get rid of us’, which is generally more satisfying in a narrative, but I think that weakens the parallel. Because sometimes conquering isn’t done for wealth or land or whatever material purpose, though those are bad enough. Sometimes it’s done in the name of getting rid of the people you feel are inferior, so you can claim supremacy. Isn’t that so much more powerful and horrifying?

It does make me wonder if someone higher up the food chain held Nation back from properly following through on the allegory he’s been building for the last few episodes. After all, it’s not exactly family-friendly. However, I do think that it would have been an important thing to show the children watching: the danger of ideologies based on supremacy and hatred going unchecked, and coming to their natural conclusion.

It's about applicability to real life. I don't think there are many people out there who want to scoop out Earth's insides and turn it into a space ship. However, there are many people out there, too many, who would gladly inflict unspeakable atrocities and indignities in the name of advancing their ideas of their own so-called superiority. There was an opportunity here to illustrate this in the Dalek invasion, but it wasn't taken.

Okay. I am done ranting. I promise.

So, where were we? Ah, yes. In the control room. They’re about to launch a device to blow the Earth open. And now, because we’re really getting quite silly, we see the device. Ian’s hiding in it. And of course, he gets trapped.

Bon voyage, Ian.

This is a weaker part of The Dalek Invasion Of Earth. The tonal issues are a real problem. We go from ‘a starving family betray their fellow man in exchange for food’ to ‘the evil plan to turn Earth into a spaceship’ in the space of a few minutes.

FLASHPOINT

Where do you think you're going? I have more to waffle about.

Ian manages a narrow escape from the capsule thanks to yanking every wire he can find, and starts climbing down the cable. However, the Daleks have caught on to his presence, and one severs Ian's escape route, sending him plunging into the mineshaft. Somehow, this doesn’t kill him.

Barbara and Jenny are brought before the Daleks, who now have everything they need, so they can go about enacting their ‘final solution’ and exterminate all the humans. See what I mean about the clear metaphor?

Barbara realises that if she could commandeer the communication device the Daleks use to control the Robomen (it’s basically hypnosis with a silly hat), she could give the Robomen new orders.

Now Barbara has to bluff. It took me a moment to realise what she was doing, but it’s pretty wonderful. She’s a history teacher by profession, remember? And the Daleks haven’t been reading up on theirs, so they’re oblivious as Barbara starts concocting a tall tale of a rebel attack, pieced together from snippets of Earth’s military history, from the Punic Wars to the American Civil War. I love her.

In a moment of distraction, Barbara tries to give orders to the Robomen, but the Daleks foil her and restrain the women.

Outside, the Doctor and Tyler are surveying the dig site. The Doctor gives Susan and David orders to use their remaining bombs to sever the cables carring things to and from the mine.

Deep in the Earth, Ian wakes up, and finds a way out of the mine shaft. Rather than make good his escape, he finds some discarded mine supports and uses them to block the shaft. This comes in useful moments later, when the Daleks fire the device. It becomes stuck on the blockage, preventing the Daleks' plan coming to fruition, and leaving them none the wiser.

The Doctor and Tyler make it down to the Dalek command, somehow. There was something about disabling the alarm systems. Seems a bit too easy if you ask me.

Then again, Daleks do seem oblivious, as they don’t spot the two hiding in their peripheral vision.


For heaven's sake, it looked right at him.

Soon enough the Doctor manages to rescue Barbara and Jenny. He’s aghast when Barbara tells him the ultimate goal of the Dalek invasion, because 'it’ll upset the entire constellation'. Earth isn't a star, Doctor. And constellations change. Because stars move.

I’m beginning to think that Nation is good at sociological stories, but maybe not the ‘science’ bit of science fiction.

I know. I am no fun.

The Doctor shows the women security footage of David and Susan working to destroy the mine cables, in the hopes of immobilising the Daleks.

However, a Dalek has spotted the Doctor and company, and is moving in for the kill.

Susan and David do their thing in the knick of time, which makes the Dalek overheat, for… some reason. I have to admit that the sight from the Dalek’s eyestalk as it approaches, with the Doctor staring it down, is pretty cool.

Barbara shows the Doctor the thing that controls the Robomen. I LOVE her Dalek impression. Oh, I have a little thing for you to try: shout directly into an electric fan. It makes you sound just like a Dalek and provides hours of amusement.

But Barbara doesn’t have time to have fun making silly voices . She orders the Robomen to turn on the Daleks. Vive la résistance!

Ian reunites with the gang, and on the surface, we see Robomen literally throwing Daleks around as everyone legs it out of the mine.

The Doctor is pretty sure that the Daleks’ plan won’t work with the bomb jammed, but it’ll still be a bloody big boom, so they’d better evacuate.

The music’s not bad here. It’s a bit basic, mostly just a repeating rising scale, but it does the job of creating tension quite nicely.

The device activates, and sure enough it is one heck of a bang. Through some pretty obvious stock footage, we see the gargantuan plume that billows from the mine, and the molten rock now surging to the surface.

And it turns out that the Dalek saucers were caught up in the plume, so they’re all gone. You're telling me every Dalek on the planet was hovering over Bedford? Whatever. I’m pretty sure that means that the blast should have killed the gang, who were watching from a nearby cliff, but let’s just enjoy the spectacle.

And with that, it’s all over. Well, the Dalek invasion of Earth is, anyway.

It looks like the TARDIS survived the firebombing, proving itself to be a sturdy little ship.

Susan, however, is quite morose. She doesn’t manage to spit out what’s upsetting her to the Doctor, but being her grandfather, he knows something’s wrong, and gives her a hug.

They have a little talk where there’s a lot more going on than what’s actually said aloud. It’s like they’re dancing around the issue, Susan all but screaming that she wants to stay, the Doctor realising that his granddaughter isn’t a little girl any more, all while on the surface they're talking about a broken shoe. The Doctor excuses himself to go check on the TARDIS and ostensibly repair Susan’s shoe, pausing for a moment to look back on her and David, together.

With the Dalek invasion over, David’s dreams of being able to build a new world have finally come true. He’s going to work the land, and he wants Susan to come with him. Poor Susan is on the verge of tears as David begs her to stay.

Her grandfather needs her. However, with David, she could have what she’s always wanted: her own place in the universe.

It’s a heart-wrenching dilemma, and well acted by Carole Ann Ford.

And it’s one the Doctor is all too aware of. In the end, he takes it out of her hands.

With Susan still outside, he shuts and locks the TARDIS doors. What follows is, in my opinion, one of the most wonderful speeches anyone in Doctor Who has ever given. It’s so full of love and confidence that Susan will thrive without her grandfather. It’s like the essence of growing up distilled into about thirty seconds of dialogue.

I will transcribe a few lines for you, because it is a special piece of dialogue:

One day, I shall come back. Yes, I shall come back. Until then, there must be no regrets, no tears, no anxieties. Just go forward in all your beliefs, and prove to me that I am not mistaken in mine.

Once the TARDIS is gone, Susan looks up in the sky, forlorn, as if hoping to spot that big blue box. David offers her his hand. She takes it, lets her TARDIS key fall to the ground, and they walk off hand in hand.

It’s a very bittersweet moment. Susan gets her time, her place, her love, but she has to leave the Doctor and her friends to build a new life on a planet scarred by the Dalek invasion. But in this grief comes the opportunity to create something new, and that’s quite beautiful.

Goodbye, Susan.

Final Thoughts

So, that was The Dalek Invasion Of Earth. What a serial! Though I must admit, I found the first half stronger than the second half, which would have been a bit disappointing had it not been for that wonderful speech.

I had planned to save the examination of the Nazi parallels for this section, but I found it more relevant earlier. I’ll just re-iterate the main points: the Daleks are clearly Nazis, and it’s not shy about showing the horrors of Nazi oppression. However, the silly thing with the Earth-spaceship dilutes the overall symbolism of fighting nationalist imperialism.

Of course, some might disagree with me, that giving the Dalek invasion an absurd goal actually undermines them, taking them (and fascists in general) down a peg or two. Or perhaps some may think going too far on the Nazi parallels may be too dark for teatime television, and that the earlier bits are enough. That’s fair.

Susan’s finally got some meaningful character development, but it did come at the cost of losing her from the TARDIS crew. I wonder how this will affect the group moving forward?

With Susan’s departure also comes the departure of the talented Carole Ann Ford. She really brought Susan to life, and I’m sad to see her go.

Here’s wishing her the best of luck in her future endeavours, and hoping that she pops back in from time to time for a guest appearance.

Until next time, then. See you all in the new year.

4.5 out of 5 stars


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[December 9, 1964] Out of Left Field (The Outer Limits, Season Two, Episodes 9-12)


by Natalie Devitt

Only a year ago, I would eagerly wait for the latest from The Outer Limits. These days, being a fan of The Outer Limits has become a bit of rollercoaster ride, with some pretty high peaks, but far too many valleys. For this reason, the most recent entries of the series took me a little bit by (pleasant) surprise. Allow me to elaborate.

I, Robot, by Robert C. Dennis

I, Robot introduces the first two stories of Eando Binder's metal protagonist, Adam Link (Amazing Stories, 1939), to a whole new generation. The episode tells the story of a robot that is so advanced and almost human that he stands trial after being accused of murdering the very scientist who created him, Doctor Charles Link (Peter Brocco of The Twilight Zone’s Hocus-Pocus and Frisby and The Four of Us Are Dying). The “all-functional” machine, is able to read, “to think, to reason, to perform.” Not surprisingly, the robot goes by the name of Adam. It is assumed that the robot killed his creator simply because, “Doc was alone in his lab. Nobody else could have done it.“

Leonard Nimoy of The Twilight Zone’s A Quality of Mercy makes his second appearance on The Outer Limits — this time in a meatier role, after a very minor role in the less-than-stellar OL ep, Production and Decay of Strange Particles. Here, he plays reporter Judson Ellis, reporting on the case, which he refers to as “Frankenstein killed by his own monster.” Charles’ niece, Nina (television actress Marianna Hill), insists that Adam is “kind and gentle,” so she enlists the help of Attorney Cutler (Broadway star Howard Da Silva) at Ellis‘ recommendation. Throughout the trial, Adam insists that an accident caused Doctor Link‘s death, but Adam may be more human that anyone realized. So much so that he and the doctor were seen arguing right before Link’s untimely death.

I, Robot has an intriguing premise and a pretty remarkable cast of characters, which includes robot Adam Link, who has to believable enough for the episode to work. I, Robot could have benefited from slightly more creative photography, though. Another complaint I have is that little Christine Matchett, who is adorable, seems a bit miscast in the role of Evie, the girl who first encounters Adam. I do, however, find the flashbacks of the doctor assembling and training Adam with Nina to be quite charming. I have never been a fan of court dramas, but I may be a bit partial to this entry due to my weakness for references to Mary Shelley‘s Frankenstein (1818), and there certainly are a lot of them. Perhaps too many. In any case, I, Robot is an enjoyable entry of the series, so it receives three stars.

The Inheritors Parts 1 and 2, by Seeleg Lester and Sam Neuman

This two part episode marks Robert Duvall’s second time on The Outer Limits (last season‘s The Chameleon), and he certainly does not disappoint. In The Inheritors, Duvall stars as Mr. Adam Ballard, the Assistant Secretary of Science, who is investigating four soldiers who have been shot in the skull during combat. The men not only miraculously survive, but seem to actually grow smarter as a result of their injuries. Ballard believes that “when the bullet was removed, another brain, an intelligence, got in and took over.” He sets off on a mission to find the “ore from which those bullets were made”, because he suspects that the bullets all came from the same meteoroid and that aliens may have “each man working independently under the compulsion of that brain in his head” on a top secret project.

Like many episodes this season, The Inheritors lacks any type of creature or "bear", and this entry is more than strong enough without one. Besides, Duvall’s Ballard character meets a pretty worthy opponent in Lieutenant Philip Minns (played by Czechoslovakian actor Steve Ihnat). Just superb performances all the way around. The writing does require some suspension of disbelief, but everything is so masterfully told that it almost doesn't matter. A number of scenes are nothing short of exquisite. Everything ends with an unexpectedly uplifting conclusion, which is enjoyable, assuming that you can tolerate an overly sentimental ending. Four stars.

Keeper of the Purple Twilight, by Milton Krims

Warren Stevens of The Forbidden Planet and The Twilight Zone’s Dead Man’s Shoes is scientist Eric Plummer, who is worried about losing funding for a project before he has a chance to finish it. Contemplating suicide, he is stopped by an alien named Ikar, who is capable of vanishing into thin air and also disguising himself as a human being (played by Robert Weber of 12 Angry Men), but is unable to feel human emotions. Eric trades with the extraterrestrial his emotions in exchange for the knowledge he needs to complete his project. Needless to say, things do not go according to plan, and Eric’s relationship with his girlfriend only complicates matters.

Interested in the episode’s title, I was really looking forward to watching Keeper of the Purple Twilight. Sadly, a memorable name is practically all that the episode has to offer. This hour of the program has some nicely atmospheric moments early on and decent special effects, but the episode soon grows less interesting the more things go on. Keeper of the Purple Twilight is filled with unsatisfying writing, wooden performances and incredibly irritating characters. Though, I have to praise the costume design, because all of the aliens are pretty sharply dressed in their crushed velvet suits. Two stars for Keeper of the Purple Twilight.

Things seem to have improved dramatically on The Outer Limits since this time just one month ago. I, Robot was a pleasure to watch, and both installments of The Inheritors were, hands down, the best offerings all month. Even with my complaints about Keeper of the Purple Twilight, this has without a doubt been the strongest month of the second season thus far. I can only hope this is an indication of what is yet to come.



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[December 7, 1964] Panic On The Streets Of London (Doctor Who: THE DALEK INVASION OF EARTH)


By Jessica Holmes

Are you ready for the most ambitious serial Doctor Who has yet done? I hope so, because that’s what I’ve got for you today: The Dalek Invasion Of Earth! We’re welcoming Terry Nation back into the writer’s chair, and coming face to face with a familiar foe.

WORLD’S END

A promising title if I ever saw one.

There are two things you’ll immediately notice when this episode starts: one, the bloke with the silly helmet, and two, the great big poster informing us that it is forbidden to dump bodies in the river. Well, I’d have thought that was a given, but I guess not, because without so much as a glance at the poster the man walks down to the water, rips off his helmet, and drowns himself.

Moments after the man’s body goes floating off, the TARDIS arrives, and the gang pile out to see what’s what, and come to the conclusion they’re in London. Probably.

No sooner have they started looking around than there’s a terrible rumble, sending a bridge collapsing on top of the TARDIS. It’s not the most subtle way the gang have been kept in a location long enough for a story to happen, but I’ll take it.

Susan hurts her ankle trying to climb a wall, and being the caring, nurturing grandfather he is, the Doctor scolds her for being irresponsible and threatens her with “…a jolly good smacked bottom.”

Susan is how old, now? Fifteen? Perhaps Sixteen?

I don’t even know what to make of it.

I didn’t take the Doctor as one for corporal punishment. If we pretend the incident with the rock and the caveman didn't happen, he’s pretty pacifistic. So, yes. Weird.

Moving on!

The Doctor and Ian go off to a nearby warehouse in search of cutting tools, and we’re shooting on location again! It’s nice to let the actors stretch their legs. They don’t like being cooped up. In the warehouse, the Doctor finds a calendar, and at last we know the year they've landed in: 2164.

Back by the river, Barbara spots the man from earlier floating in the water, and as she scrambles away, a stranger accosts her, urging her to come with him.

In the warehouse, Ian and the Doctor discover a body, wearing the same strange helmet as the man in the river. The doctor theorises that it’s an ‘extra ear’ for picking up high-frequency radio waves. Upon closer examination, they realise this man was stabbed to death. Things are looking a bit grim in future-London.

The Doctor and Ian can’t disturb the dead for long, as a strange noise outside calls them to the window, where they spot an actual flying saucer.

Why are alien spaceships always saucers? How do they even launch? Do the little green men throw them from a mechanical arm like an intergalactic space frisbee?

Susan and Barbara arrive at some sort of hideout, where they meet a bunch of men who are part of an underground resistance movement. They’re in need of cooks. I am going to be very generous and assume that everyone else is too busy to cook, and that they weren’t just waiting for a woman to turn up so they could have something other than spam.

I’ll get around to introducing people properly when they become relevant to the plot. It’s hard to keep track of names when lots are thrown at you at once. Even harder when everyone talks fast and their diction isn’t quite clear. I did spend longer than I’m proud of referring to each character in my head as ‘that guy’, or ‘that other bloke’.

Up rolls another chap, and I mean that literally because he uses a wheelchair. This is Dortmun, and he’s a scientist. Am I imagining things or are folks who use wheelchairs in sci-fi always the sciency type? Or evil. Or both.

Barbara’s introduced to him with the fact she can cook, and when Susan is asked what she can do, she responds, “I eat.” I wish she was funny like that more often. Sometimes I wonder if the writers forget she’s a teenager, because she doesn’t do much teenager-ish stuff, like this sort of backchat.

Back by the river, Ian and the Doctor spot the ‘no dumping bodies’ poster, and the Doctor’s only comment is that it’s a stupid place to put a poster, under a bridge where nobody’s likely to spot it. Great sense of perspective you have there, Doc.

They don’t get to ruminate on the sign for long, as they find themselves surrounded by a whole gang of men wearing those strange helmets. They don’t look at all friendly. Ian decides to try the diplomatic approach, but all that gets is a bunch of raised whips (of all the weapons, why a whip?) and a droned order for them to stop. The two prepare to jump into the river and swim for it.

However, there's something in the water…

The surface ripples, and out comes a familiar eyestalk, followed by a plunger, and the Doctor and Ian turn to find their way blocked by none other than a Dalek. The reveal is absolutely fantastic, and a delightful/horrifying surprise. Well, if you didn’t know the title of the serial, that is.

Now we’re cooking on gas.

THE DALEKS

The Dalek, having made a suitably dramatic entrance, questions the robo-men (yes, that’s what the men with helmets are called, and yes, I do think it’s a very silly name) as to why these two humans were allowed to get so close to the river. I wonder why they’re so keen on keeping people out?

The Doctor gets lippy as per usual with the Dalek, who informs him that it’s heard that kind of talk before from many different leaders of humans, and all were destroyed. Because the Doctor has more gob than sense, he keeps on taunting the Dalek that you can’t really be the master of Earth unless you’ve killed everything else on it, which seems to get under the Dalek’s metal skin. After all, it’s only the humans they’ve conquered. They’re not the masters of the dung beetle. Or the guinea pigs.

Down in the rebel hideout, we see about a dozen or so members of the resistance. Ah, I’ll let them off on the cooking thing, then. They aren’t all blokes. Mostly, but not all. There’s a very brisk blonde woman who seems to be in a leadership role. She’s Sally.

Meanwhile, Dortmun and Tyler, a resistance fighter, are discussing an attack. Tyler is of the opinion that it’s a stupid idea, doomed to failure. I don’t know. Just climb some stairs and throw rocks at their eyestalks. What are they going to do, scream at you?

Dortmun, however, has perfected a new bomb, that should in theory destroy the Daleks’ outer shells. However, he insists it doesn’t need testing because it works on paper. Sure, Dortmun. That’s how science works. No need to test your weaponry to make sure it a) won’t blow up in your face, and b) will actually kill whatever you want dead.

No wonder the Daleks took over.

Ian and the Doctor arrive at the flying saucer they saw before, where there’s even more Daleks about. Ian is confused, as when they last met the Daleks, they were all destroyed. However, as the Doctor points out, that was about a million years in the future. The Dalek invasion of Earth is a much earlier part of Dalek history. Time travel is fun!

These Daleks have discs on their backs, perhaps accounting for their increased mobility, as if you recall on Skaro they could only move on metal. As an invasion force, they’ve had to adapt. I don’t know why they didn’t keep that adaptation into the future, but there you have it. I mean, there's an obvious Doylist explanation, that being 'the Daleks were meant to be a one-off villain', but that's not as fun as speculating the in-universe reasoning, is it?

Back in the resistance hideout, Susan makes the acquaintance of a young rebel, David. David examines some headgear recovered from dead robo-men, and Jenny explains to Susan that the robo-men were once Dalek prisoners, before they were operated on and turned into mindless drones to aid the invasion. The same thing happened to her brother. However, the effect of the operation eventually wears off, so over time, the robo-men lose their minds and start trying to kill themselves. That’s what the man who jumped in the river was doing. What a truly grim idea.

On the Dalek ship, the Doctor and Ian remark on how impressively built the saucer is, and how inescapable it seems. Or it might just be that they really want the viewer to notice how nice and big and not-made-of-cardboard the set is. Still, the Doctor has hope that he can figure a way out of this mess. However, the Daleks are taking an interest in him, and his clear intelligence.

The Doctor and Ian are shoved in a cell with a man called Craddock, who is a total pessimist, but does give us a lot of useful exposition. Ready? Here we go.

The Dalek invasion of Earth began with a bombardment of meteorites about ten years ago. Then, after the showers had passed, people started dropping dead of some strange new plague, absolutely devastating the human population, and wiping out the continents of Asia, Africa, and South America.

All that remained of human civilisation was divided up into little communities of survivors, too small and spread too far apart to mount any sort of resistance.

Then the saucers started landing, and the Dalek invasion of Earth began in earnest, razing cities to the ground. The few humans left were either captured and made into robo-men, or shipped off to toil in mines.

The only thing they don’t know is why. What is it the Daleks want? For some reason, the Daleks are making humans dig a deep hole in the ground in Bedfordshire. Why Bedfordshire? I don’t know. I don’t even know what’s in Bedfordshire. Bedford, I presume. Look, I’m a northerner; we don’t pay much attention to anything south of Birmingham.

The Daleks make a final ultimatum to the rebel humans. Surrender, and they will be spared. Rebel, and the Daleks will destroy London, and with it all the males, females, and "descendants". Honestly I’m a little surprised there are many kids left in this harsh world. This is a genuinely dark serial, and do you know why? It's because it feels real.

There’s nothing here that hasn’t happened in the real world, only with us it was humans doing it to other humans in the name of land, wealth, or ideology. Genocide, torture, slavery. It's all-too-familiar, and may hit uncomfortably close to home for some viewers.

So, the strike against the Daleks will go ahead as planned. If it succeeds, it might just be the kick up the backside humanity needs to turn the tide of the war.

But how will they get close enough to the Daleks? Barbara has a plan. Some of the rebels will don the robo-men’s headgear, and escort a bunch of 'prisoners' right into the Dalek ship. They won't know what hit them!

In the saucer, Ian finds a Thing. I’ll call it the puzzle-box, because I was puzzled watching the whole thing. There’s a magnet inside, and with some faffing about with a magnifying glass, another magnet, and some light, the Doctor manages to get it out. With the two magnets, he’s able to break the magnetic lock on the cell door. However, his success is short-lived, as it turns out that the Daleks put the puzzle-box in the cell as a test to find prisoners intelligent enough to turn into robo-men.

Night falls, and the rebels prepare to attack, while inside the saucer, the robo-men prepare the Doctor for his operation.

Hold on a moment. I have to adjust my glasses, because unless I’m very much mistaken, I believe some of those Daleks aren’t Daleks at all. In fact, I think they might be cardboard cutouts. They’re in the shadows, but when light passes over them they appear curiously flat. It’s a blink-and-you’ll-miss it thing, so I think it’s quite a clever way to make the invasion force look bigger without breaking the budget.

And the attack begins! Barbara, David and Susan start lobbing bombs, and in the ensuing chaos the rebels slip aboard the ship.

However, the Daleks order the robo-men to proceed with the Doctor’s operation as planned. He’s unconscious, on the table, and the operation is about to begin.

DAY OF RECKONING

These episode titles are quite biblical, aren’t they? I suppose that’s one way to get the kids into church. ‘Go to Sunday School or the Daleks’ll getcha!’

The rebels find and release the Doctor before it’s too late, but an absolutely awful high pitched whistle distracted me from the struggle. I don’t know what the sound effect was supposed to be, but it made my ears very unhappy.

Ian rushes into the ship to help the rebels escape, and Barbara leaps into the fray. What follows is a battle that could do with some more foley work, as there’s no real sense of impact whenever bombs go off or someone gets hit with a Dalek deathray. The ray makes a noise, yes, but not at the point of impact. The result is a scene which looks and feels not like a hard-fought battle with lives on the line, but like a bunch of people throwing themselves around a soundstage.

The music’s annoying too. It’s very repetitive. While repetition can be used to great effect in a score to create a sense of tension, it isn’t here. It's just irritating.

After the battle, most of the rebels are dead or wounded. Dortmun’s bombs were useless. What's worse, Barbara is the only companion to make it back to the rebel hideout. The others are nowhere to be found.

However, Dortmun still has hope for his ultimate bomb. He prepares to head across London to the Civic Transport Museum (the most alluring and exciting of all London’s museums) to work on his weapon.

He’d better be quick about it. The Daleks aren’t going to forgive an attack like that. Their saucer departs, and we spot a member of the missing gang: Ian! He’s alive, for now, and his suit is in surprisingly good condition.

Along comes a robotised Craddock with a rebel prisoner in tow, Larry, and Craddock informs Ian that he’s to be robotised. But Ian's not going down without a fight!

In the struggle, Larry succeeds in ripping Craddock's headgear off, killing him. With the immediate threat dealt with, he and Ian hide the body, and crawl into a hiding space under the floor.

Meanwhile, Susan is alive, and on the run with David. They listen in horror as they hear some unseen survivor running from the Daleks, screaming for the family they killed, and his agonising execution. It’s quite a harrowing scene that has echoes of real, recent history.

Traumatised, Susan proposes to David that he could come with them in the TARDIS, and get away from this horrible invasion. However, he says he can’t just run away. This is his planet. His fight.

It’s a bit of an alien concept to Susan, who has never really belonged in any time or place.

They run into another survivor, and who should he have with him but the Doctor! He doesn’t look too good, but at least he’s alive.

The man drops off the Doctor and hurries on his way. He’s making for Cornwall. It's quiet down there. The weather's pretty nice too. Lovely spot for a summer holiday. He gets about ten paces before running straight into some Daleks.

Elsewhere in London, Barbara and Jenny are helping Dortmun get across the city, which even in the 2200s still isn’t properly wheelchair accessible.

But this sequence is the best part of The Dalek Invasion Of Earth (so far). Why? Well, see for yourself.

Daleks outside the Palace of Westminster. Amazing. Absolutely iconic and I mean that sincerely. I want a poster of this. I want it on a T-Shirt. I want it printed on a mug.

Cue the montage! Daleks in Trafalgar Square! Daleks at the Albert Memorial! This is what location shooting is for. I don’t care if the rest of the series takes place in my shed, it’s worth it to see a Dalek surrounded by pigeons, further proving that Daleks are not the masters of Earth, because pigeons bow to no man, or alien pepperpot.

Unfortunately, we don’t get to see Daleks at Buckingham Palace, which makes me very sad.

Anyway, they get to the museum and Dortmun perfects his bomb, now totally guaranteed to pierce the Dalekenium casing of the Daleks. Bit on the nose, but fair enough.

He’d like to run it by another scientist, though. He’s learned from his earlier mistake. What he needs is a Doctor. Barbara theorises the Doctor might have started heading north to the mines, while Jenny, ever optimistic, is doubtful he’s even alive.

All the same, there’s nothing left for them in London, so the group decide to start making for Bedford. However, before they leave, Dortmun slips away, leaving his notes behind, and goes to face the Daleks. He rises from his chair (yes, ambulatory wheelchair users exist, and I’m glad that the episode doesn’t make a huge deal of it), and lobs his new bomb at the Daleks. They gun him down without hesitation.

I'm not sure if his bomb really worked. There was an explosion, but I couldn't tell if it did any damage. What I’m also unsure of is why he did it. He might have limited mobility but he’s by no means expendable. They don’t even know if the Doctor’s alive! What if there’s nobody to take over his work?

It strikes me as a senseless sacrifice.

Elsewhere in London, the Doctor is regaining some of his mobility. Susan wants to head north to meet with David, but the Doctor would rather head back to the TARDIS, causing them to butt heads as the Doctor questions whether Susan still respects his authority.

David comes back, and reports sightings of Daleks on the river. The Doctor, appearing to have had a change of heart, decides that when he’s more mobile they should start heading north as planned. I’m not sure what changed his mind, but as I think I’ve said before, it’d be a bit of a rubbish story if they just went back to the TARDIS and vworped off whenever they got into trouble.

On the saucer, Ian’s talking to Larry, who mentions something about the Daleks possibly wanting to get at Earth’s magnetic core, as the ship lands. Welcome…to Bedford! It’s not the most exciting spot to pick as the epicentre of an alien invasion, but there you go.

Back in London, some robo-men come along, carrying something heavy. The Doctor, Susan and David have yet to leave, so they hide, and listen, as the large box begins to tick.

It would appear they're sitting right next to a bomb!

So ends this episode, which in all honesty I found a bit limp. Once it was established that the main characters all made it through the battle, most of the plot threads were stuck spinning their wheels, taken up by characters discussing whether or not they should go to Bedford. However, the chase sequence through London saved it and turned it into my favourite of these three episodes.

Final Thoughts

What a serial! This is definitely the most ambitious yet, the sort of story you’d normally only see on film. It has an impressive scope and sense of scale; most stories up to now have only concerned a few dozen people at most. This concerns the future of humans as a species! The Daleks look absolutely great, as does the interior set of the Dalek saucer.

We’ve also got some interesting characters knocking about. Except David. Sorry, Susan, I know you like him, but he’s dull as ditchwater. Sally and Dortmun, on the other hand? I'd be interested in getting to know them better.

I’m going to hold fire on a more in-depth analysis of the story, the world, and the Daleks themselves until I’ve seen all there is to see, but believe me, there’s a lot to dig into here. Not only is this a big story on the surface, I do believe it to be even bigger on the inside. I’m genuinely excited to see where this goes from here, and to come back here and prattle on about it later this month.


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[November 17, 1964] A Continuing Adventure In Space And Time (Doctor Who: Planet Of Giants)


By Jessica Holmes

Hello again, everybody, and welcome back to our adventure through Time and Space on Doctor Who! This second series is off to an excellent start, courtesy of Louis Marks, and I can’t wait to tell you all about it. In excruciating detail, no less. Let’s get stuck in to Planet Of Giants, shall we?

PLANET OF GIANTS

AWOOOGA, AWOOOGA. We’re barely a minute in and already things are going wrong aboard the good ship TARDIS. As the Doctor brings her in to land, the doors start opening by themselves. Fortunately, the companions manage to get them closed and they land safely. Or do they? The Doctor is very agitated about the doors opening, but doesn’t do a good job of explaining what it is that’s bothering him. Something strange is afoot, that’s for sure.

The companions struggle to close the TARDIS doors

Something very strange indeed, as the Doctor sincerely apologises to Barbara in case he was rude to her under pressure. Goodness, he really has mellowed out, hasn’t he?

However, when they try to look outside with the scanner, it blows up, as if it were trying to display something ‘too big for its frame’. Pardon? I am quite certain that the Doctor is a bit more than 12 inches tall, yet Bill Hartnell has yet to explode out of my television screen in a shower of glass.

Oh, and apparently the reason that the doors opened during landing was the ‘space pressure’ being too high. No, I’m not sure what that means either.

Still, it’s all over now. Time to see what sort of planet we've landed on.

A rocky one, by the looks of it. So far, so normal.

And then Barbara finds a dead earthworm. Sound ordinary? You haven’t seen the size of it.

The Doctor and Barbara examine a giant earthworm.

A few moments later, Ian and Susan come upon some massive ant eggs, followed by a giant dead ant.

I think we can guess what’s really happening on this so-called 'planet of giants'.

Ominous music builds as Ian comes upon a gigantic matchbox. Prepare for me to gush over the set design quite a lot over the course of this article. It really is very good and creative, and there has been a definite step up in quality, boding well for the rest of the series. That, or they spent all the budget on Planet Of Giants, and the rest of the series will be taking place in my back garden.

Image: Ian and Susan discover a giant matchbox the size of a car.

And the points go to Susan for working out what’s going on first: this isn’t a planet of giants after all. They’ve shrunk!

So, the rock formations? Paving stones. They’re between the paving stones on someone’s charming garden path. Basically, when the doors opened during landing, the space pressure made the TARDIS and all its occupants shrink… or something. No, I don’t buy it either.

But then everything goes dark and there’s a thunderous sound, as a man walks overhead on the garden path. Susan runs to hide, but when she comes out, Ian is nowhere to be found. He fell inside the massive matchbox. And he’s stuck inside!

Watching William Russell fling himself from side to side to simulate being jostled about in the matchbox is hilarious but slightly undermines the drama of the situation.

Oh dear. Mr Regular-Sized-Human (or, as he’d probably prefer, Farrow) has a cat. That might be a bit dangerous. What also might be dangerous is the scientific research he’s involved in. Something involving a powerful insecticide, one so powerful it’ll kill absolutely everything it touches that isn’t a plant.

Naturally, he’s withholding approval on the project on account of the risk to the ecosystem. However, the financier of the project, a man called Forester, stands to lose an awful lot of money if this doesn’t go through. Farrow, however, isn’t budging.

So, what’s a man to do? He pulls a gun, that’s what.

Forester brandishes his gun.

Now we have the first indications that the dealings going on at full scale are going to be important to the Doctor and his companions, as a dead insect drops out of the sky, carrying with it a strong chemical whiff. And Barbara raises a pertinent question: can whatever’s killing the insects kill them too?

They don’t have long to worry about that, as they hear the sound of a distant cannon. Well, that’s what it sounds like to them, anyway. A few minutes later, they come across Farrow’s lifeless body, and as the Doctor notes, there’s a whiff of gunpowder in the air.

Farrow's face fills the frame. The companions are shorter than his nose.

I have to say, we’re off to a great start. Creative set design and cold-blooded murder in the first twenty minutes of story. And, what’s more, a cute little enormous kitty just showed up. What’s not to love?

DANGEROUS JOURNEY

Not to worry, folks. The Doctor and Ian know just how to avoid being eaten by a gigantic housecat. You just stay still until it gets bored and wanders off. I’ve never had a cat before, but that sounds about right.

Close-up of cat's eyes
You know what I'd like to see? A planet of giant cats.

The companions wonder if they should do something about the whole murder problem, but the Doctor points out they’re tiny and it’s not as if they can do anything right now.

Along comes an enormous leg to imperil them, and Ian and Barbara make a break for the closest shelter they can find: Farrow’s briefcase.

Up at normal scale, Forester has been joined by a scientist. He’s got a white lab coat and everything, because I suppose scientists dress like that all the time. Forester tells him that it was an accident, but the scientist isn’t fooled, concluding upon examination of the body that Farrow was shot through the heart from some feet away. There are no powder burns around the bullet hole.

Forester makes Smithers his accomplice.

Neither of them are too upset about the death of an innocent man, though. The scientist, Smithers, is more upset that this means he’ll have to scrap the research.

Smithers does have a somewhat noble motive, though. He wants to save people from famine, which is very commendable of him. Thing is, if you go wantonly killing every single living thing that isn’t a plant in your field, you’re really just sowing the seeds of a future famine that’ll be far worse. I’d think a scientist would know that, especially one specialising in research into pest control with regards to agriculture.

The men head into the lab, taking Farrow’s briefcase with them, before heading out to hide the body. Ian and Barbara don’t enjoy the ride much. In Barbara’s words, it’s worse than the Big Dipper. I have to admit, as much as I like the Big Dipper, it is a rather rough ride. Grand National (the rollercoaster, not the horse race), on the other hand, is a must-do if you ever happen to visit Blackpool.

Barbara rubs her ankle as Ian looks on.
To be fair, bumps and bruises do tend to happen when you ride the Big Dipper.

The Doctor and Susan emerge from hiding, and seeing the briefcase gone, realise that it must have been taken inside. The Doctor attempts to climb into a drainpipe, finding that it stinks to high heaven of the stuff on the dead insects. So of course they decide climbing into it is a great idea. Um, guys? Does the phrase ‘toxic fumes’ mean anything to you?

Inside, Ian and Barbara come upon some enormous grains of wheat that are covered in some sticky stuff. Not knowing what the sticky stuff is, Barbara goes ahead and touches some of it. Smart.

Unnoticed by Ian, Barbara picks up a giant seed.
You'd think after the debacle with the Aztecs, Barbara would refrain from picking up everything she sets eyes on.

Ian has a good idea about using the paperclips in the briefcase to make a chain they can climb down, and hopefully make it back to the others. Barbara would like a look in the briefcase for herself, as her suspicion grows that her hands are covered in insecticide.

Meanwhile in the pipe, the Doctor is regretting every single decision he’s made in his life. It’s not as bad as it could be, though. The chemical runoff from the lab has corroded the inside of the pipe, so there’s plenty of hand and footholds.

Back in the house, as Ian struggles to get the briefcase open, a housefly turns up behind Barbara. It’s quite a lifelike puppet, with moving joints and everything. Barbara sees it, and faints, though it’s not clear if it’s the sight of the bloody big fly or the symptoms of poisoning setting in.

Barbara is confronted by a giant housefly.
Imagine a planet of giant insects, though. I'd be having nightmares for weeks.

Meanwhile, Smithers and Forester have hidden the body, though Smithers is very upset with Forester for involving him in this whole sordid business.

Susan and the Doctor make it up the drainpipe and emerge at a plughole which is really pretty neat. We haven’t had so many unique sets before, I’m sure of it.

The Doctor and Susan stand at the rim of a gigantic plughole.
Incy Wincy Doctor climbed up the water spout…

Barbara wakes up from her fainting spell, to be told by Ian that the fly flew off, then landed on the seeds and died instantly. Well, that doesn’t bode well. Barbara, now might be a good time to tell Ian about the fact you touched them, too.

But that’ll have to wait, as they hear Susan calling from the sink, and begin climbing down the plug chain towards her and the Doctor.

Outside, Smithers and Forester have just finished mopping up the blood. Now it’s time to wash their hands.

Uh-oh.

Hearing the men coming, Ian and Barbara climb back up the chain, and the Doctor and Susan start heading down the pipe.

Smithers notices the dead fly, and gets excited about how effective the insecticide is, and we get into a scene which did seem a bit inconsistent to me. Forester says something about Farrow lying about the effects of the insecticide in the report, which I don’t quite understand. I thought Smithers and Forester were on the same page about Forester killing Farrow to prevent him revealing the destructive truth of the formula and putting an end to the project. Unless Smithers thinks his work is perfectly sound, and Farrow was going to turn in a false report for his own gain? I don’t know.

The point is Forester is going to doctor the report.

Meanwhile, Farrow fills up the sink and washes his hands, while the Doctor and Susan cower in the drainpipe below.

And then he pulls the plug.

CRISIS

Ian announces to Barbara (and the viewer) that the tap has been turned on with the Doctor and Susan still being in the sink. Thank you, Ian, we can see that.

Barbara fears the Doctor and Susan have drowned, so she and Ian go to find out.

Not to worry, Barbara. It turns out that the Doctor and Susan were hiding in the overflow pipe, so managed to avoid the deluge, and out they pop, reuniting the gang at last. I swear this lot get separated so often they should make a habit of holding hands everywhere they go. Or perhaps the Doctor should put his companions on a leash.

The Doctor and Susan hide in the overflow pipe
Down came the rain and washed poor Doctor out…

The sink set is my favourite from this serial. It’s quite simple, but the layout makes for some really cool looking shots, and it’s a very good replication of a kitchen sink.

Forester finishes doctoring the report, and puts in a call to Farrow’s department in Whitehall, pretending to be the dead man. However, the operator on the other end doesn’t seem convinced.

Forester uses a handkerchief to muffle his voice as he makes a phone call.
Now is not the time to be making a prank call, Mr. Forester.

Our companions continue their trek across the lab and come across a notepad, upon which is written a chemical formula. Could it be the pesticide? Barbara suggests that knowing what it is might help them find a cure for it. Nobody else sees the value in curing it if they can simply prevent it from being used, as Barbara still hasn’t told anyone about her predicament. It’s rather pertinent information, Barbara. I suppose she doesn’t want to make a fuss. That’s… very British of her. I’m so proud.

The notebook is too big to read, so they map it out into Susan’s own notebook, and discover, after a bit of chemistry talk that goes over my head, that the insecticide doesn’t wear off or weaken over time. Meaning? Once you put it on a field, there it’ll stay. Forever. Seeping into the soil, into the groundwater.

The companions stand on a large pad of paper.

To say that would be a disaster would be an understatement. Apart from the ecological collapse that would ensue, imagine eating food contaminated with a pesticide this deadly. Even touching contaminated produce would slowly kill us.

At the sound of all this, Barbara gets quite agitated, but she still, for some reason, doesn’t tell the others. Come on, Barbara. They might start getting their bums in gear if you mention the teensy little fact that you might be about to drop down dead.

It’s not as if the others haven’t noticed. They ask her if she’s all right, but she just brushes them off. It’s a bit of a contrived way of ramping up the tension. At least, I assume that’s the intention. Can’t we have the tension ramped up with everyone being tense and worrying if they’ll manage to get Barbara back to full-size before her itty-bitty insect-sized body goes kaput?

The group decides to make an attempt at using the phone. For some reason. It struck me, as I was brushing my teeth later that night (sorry, I’m feeling a bit slow on the uptake lately), that it’d be quicker to just go back to the TARDIS, get back to proper size, and then use the phone to get the authorities.

The Doctor, Susan, and Ian shout into a giant telephone receiver.
I don't know what they were expecting.

Then again, the sight of everybody bellowing down the phone, loudly and slowly like a Brit in Benidorm trying to order some sangria, is pretty funny.

It doesn’t work, of course. Worse still, Barbara isn’t doing well at all, and she collapses. She comes around before Ian comes along, but the game’s up. She tries to tell him that she’s fine, but he grows suspicious when she won’t let him touch her hands or her handkerchief, and then she passes out again. Sniffing the handkerchief, the Doctor realises she’s suffering from the effects of the insecticide.

The rest of the companions examine an unconsious Barbara.

Barbara comes around just in time for a good scolding from the Doctor for not telling anyone sooner. Thank you, Doc. I was about to climb into the screen and tell her myself. However, Barbara won’t let the others take her back to the ship until they’ve put a stop to the insecticide threat. Now, that’s very nice and noble and all, but I think it’d be a lot easier at full-scale, don’t you?

Speaking of full-scale, Forester and Smithers are finishing up their dirty business, when Smithers says he wants to go back to the lab and have another look at Farrow’s notes. Behind his back, Forester pulls the gun out again, and loads it.

Back with the companions, the Doctor and Ian are being wonderful role models for children, by which I mean they decide to start a fire in order to draw the attention of the neighbours. The Doctor quite literally giggles and rubs his hands with glee at the thought of a bit of arson. I love him.

A man listens in on a telephone call with the phone operator.

A call comes through for Farrow, but all is not as it seems, as the operator has Farrow’s superior listen with her as Forester ‘hands over’ the phone to Farrow. The pair of them agree that it sounds like he’s just impersonating Farrow.

The group are working on their arson plan. They’ve found themselves a gas tap, so now all they need to do is find a way to light it. Ian enlists Susan to help him strike a match, not an easy task when said match might as well be a battering ram.

Ian and Susan handle a giant matchstick.
And I struggle to get a normal match lit.

The plan’s simple enough. The Doctor has spotted a pressurised flammable canister nearby the gas tap. If they light the gas, the can will heat up, and eventually explode. The difficult part will be getting far enough away from the can before it goes boom.

While they’re doing that, Forester finally admits to Smithers the full truth of why he murdered Farrow— with a gun pointed at his chest. Looks like he’s tidying up all the loose ends.

The companions take cover, and the two men come back into the lab just as the can blows, scattering shrapnel in Forester’s face. With Forester blinded, Smithers grabs the gun, which is promptly taken from him by the police constable who has just materialised. Did the operator call him? I can only assume so, but that was a bit quick, wasn’t it? Or did he just hear the can explode? Pretty convenient that there was a passing bobby.

A police constable arrests Forester and Smithers.

As the companions make a break for it, the Doctor grabs one of the contaminated seeds, wrapping it in his cloak to ensure he doesn’t poison himself. The group get back to the TARDIS without any trouble, and the Doctor sets about restoring them to proper size, Ian watching in amazement as the seed the Doctor brought appears to shrink before his very eyes. Of course, the seed isn’t shrinking— they’re growing.

Now at full size and having managed to get a good drink of water, Barbara does seem to be doing better. Gee. That’s just a bit convenient. The scanner’s still broken, though, so who knows where they’ll end up next?

The companions are back in the TARDIS.
I wish I could cure all my illnesses with a sit down and a nice glass of water.

Final Thoughts

So, here we are, at the end of the first serial of the new series.

I can’t help but think that this story would have been over in five minutes if Barbara had just told everyone about the pesticide on her hands. They could have just gone back to the TARDIS to fix their size problem, then given the police a quick ring. Barbara healed, day saved, devastating environmental disaster averted. Easy.

That issue of the plot being over instantly if everyone used their brains aside, this is a very enjoyable serial. I found the three episodes to be just the right length for this story. The three-act structure is tried, tested, and approved by generations of storytellers. An issue I found with the previous series of Doctor Who was that the serials were sometimes quite poorly-paced, with some of them overstaying their welcome by an episode or two. Planet Of Giants, however, keeps up a lively pace all the way through, with no filling.

We’ve also seen a pretty excellent demonstration of the phrase ‘the road to Hell is paved with good intentions’. It applies pretty well to Smithers. Not so much with Forester. But with Smithers, yes. In his hopes of ending famine, he became an accessory to murder, and almost poisoned all our farmland.

Also, perhaps the most important factor for why I like this serial: it’s fun. Everybody wrestling with comically-oversized household objects is funny, there’s a bit of ick-factor with the giant bugs, and we’ve also got a serious murder drama subplot with an environmental twist!

It’s a scarily plausible story, tiny people aside. Modern pesticides can, and have, saved millions of lives from their boost to crop yields, but at the same time, it’s important to be careful that we’re using them safely and responsibly, with proper oversight (q.v. the troubles with DDT, and the issues brought up in Rachel Carson's Silent Spring). Honesty and integrity won out on Doctor Who, but will the same be true for us? I don’t know.

4 out of 5 stars


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[November 13, 1964] Beat the Devil (The Outer Limits, Season Two, Episodes 5-8)


by Natalie Devitt

Take Two

You may recall that the first month of the second season of The Outer Limits marked a big shift in the series, not just because the show experienced a number of major changes behind the scenes, but because the program only produced one truly memorable entry, The Soldier. Has the show returned to greatness or even surpassed expectations since we last met? Join me for a closer look at the latest from The Outer Limits.

Demon with a Glass Hand, by Harlan Ellison

Demon with a Glass Hand marks Robert Culp’s third appearance on The Outer Limits, after his previous roles in The Architects of Fear and Corpus Earthling. The third time is absolutely a charm. In this episode, Culp transforms into Trent, a man who recalls nothing of his past, but in the present is being pursued by human-like extraterrestrials called the Kyben.

The Kyben are after Trent to gain possession of his glass computerized hand, which “holds all knowledge.” His hand speaks, providing guidance to Trent to help him avoid capture. The Kyben already possess three of his fingers, which Trent needs in order to collect more information about his past. Along the way, he meets and is helped by a charming seamstress, Consuelo Biros, played by Arlene Martel of The Twilight Zone episodes Twenty Two and What You Need.

Harlan Ellison has done it again. Just like with The Soldier, Ellison‘s writing has helped The Outer Limits dive much deeper into science fiction. Ellison combines a lot of different things that, in the hands of a less skilled writer, might not work as well as they do here. The episode has an interesting premise, drama, action, and just a little bit of everything. Culp and Martel deliver spectacular performances. Back in the director’s chair is Byron Haskin, director of The War of The Worlds (1953) and this summer’s Robinson Crusoe on Mars.

I do have one complaint, though, which is that the makeup and costumes for the Kyben (essentially mime foundation, raccoon eye shadow, and white body suits) look very uninspired, especially after all the intricate makeup and elaborate costumes used to create different creatures last season. One thing that Demon with a Glass Hand certainly has going for it, however, is its location. Los Angeles’ Bradbury Building, which was also used in the noir classic D.O.A. (1949), heightens the episode’s film noir atmosphere. The special effects and the musical score are great, and everything is topped off with an interesting twist at the end. Demon with a Glass Hand has a cinematic quality to it, which is why it earns four and a half stars.

Cry of Silence, by Robert C. Dennis

Andy (Academy Award nominee Eddie Albert) and Karen Thorne (veteran actress June Havoc) take a trip from their current home in the city to the small town Wild Canyon to get a look at a property that they are considering purchasing. While driving, their convertible hits a large rock, leaving the couple stranded. As Andy assesses the damage, Karen falls down a hill and injures her ankle. Andy is unable to carry his wife back uphill to their car. Karen, being the more perceptive one in the relationship, begins to notices that some nearby tumbleweeds seem to be closing in on them. Andy expresses doubt, until the tumbleweeds begin to randomly fly at the them despite there being no wind. Karen fears the tumbleweeds are controlled by some kind of “force.”

Andy and Karen decide to build a campfire for the night, which is spotted by a man named Lamont, performed by character actor Arthur Honeycutt (The Twilight Zone’s The Hunt). Lamont invites the Thornes back to his farmhouse. He tells them that since a recent meteorite fall, the number of tumbleweeds in town has dramatically increased, his livestock have disappeared, and his telephone and electricity have stopped working. Lamont suspects that “there is a malignant intelligence in the weeds” and it will prevent any of them from leaving the canyon. Is it a demonic presence, or simply extraterrestrials too alien to effectively communicate?

What Cry of Silence lacks in artistry, it almost makes up for in charm. With its menacing tumbleweeds and killer flying bullfrogs, Cry of Silence is probably (unintentionally!) the funniest offering of the series thus far, even though I know Controlled Experiment attempted (deliberately) to add a little humor into the often dark and serious show. This entry does succeed in creating a few genuinely spooky moments, especially as the characters lock themselves inside Lamont’s farmhouse and the being from space begins to possess Lamont's body, but its just hard to sustain the terror for long when people are being stalked by tumbleweeds, and eventually rocks and frogs. The episode’s weak writing is improved a little by actors who play their roles with conviction, sometimes a little too much conviction. Objectively, it is not the greatest episode, but it can be fun, so two and half stars for Cry of Silence .

The Invisible Enemy, by Jerry Sohl

Adam West (Robinson Crusoe on Mars) plays Major Charles Merritt, who with his fellow astronauts, set out on an expedition to Mars to determine what became of a crew that landed on Mars three years earlier but never returned to Earth. It has been assumed that some kind of ghost is the only explanation for the last group’s disappearance. But when the latest crew arrives, they discover something that swims towards them from underneath the planet’s sandy surface, like “a blood-thirsty shark in the ocean.” To make matters worse, it turns out that there is not just one creature, but an entire “army of them.”

The Invisible Enemy is so very slow. Most of its characters are not terribly smart or likeable. There were also a number of weak performances by otherwise decent actors. Scientifically, The Invisible Enemy has quite a few problems. I got a kick out of things like one of the astronauts saying that helmets are not needed on Mars.

That said, this installment of the series is incredibly atmospheric. Kenneth Peach’s photography of the exterior shots of Mars’ surface combined with the set design, sound effects and the screeching violins in the musical score make for some beautifully eerie moments. But all of that comes crashing down the second that one of the growling space fish comes swimming by with their ridiculous claws extended out of the sand. Sure, they are not quite Creature from the Haunted Sea (1961) bad, but pretty bad. Two stars, mainly for the production design and art direction.

Wolf 359, by Seeleg Lester

Wolf 359 is the story of scientist Jonathan Meridith (Patrick O’Neal of The Twilight Zone’s A Short Drink from a Certain Fountain), who has recreated a smaller version of much larger existing planet “eight light years away” in his lab. Jonathan calls it Dundee Planet. Time moves faster on Dundee: from a primordial state, the planet experiences changes in weather and begins to show signs of life. Its new form life begins evolving at a fast rate and even senses when others are watching it.

Jonathan is excited to be able to “watch evolution at work.” However, his wife, Ethel (Sara Shane of Douglas Sirk’s Magnificent Obsession (1954)) calls the creature “pure evil.” Eventually, Jonathan pushes away his wife and lab assistant rather than “expose them to the dangers of this creature.”

Wolf 359 is not the first nor best episode of The Outer Limits involving a scientist speeding up evolution, but it is interesting, even if it is not entirely successful. The episode is generally nice to look at and had some decent performances. It certainly has an odd if less than effective creature, which resembles a floating white glove. The writing is not quite strong enough to carry such an ambitious concept. Wolf 359 is worth the watch, but not quite good, so two and half stars.

Prognosis

The Outer Limits is not quite firing on all cylinders, but it has improved a little over the course of the past month. Looking back at it, there was the terrific Demon with a Glass Hand, Cry of Silence was amusing, The Invisible Enemy often looked great but lacked substance, and Wolf 359 almost had something. All in all, most episodes were intriguing, even if they were not as strong as they had potential to be.

Is it enough to warrant renewal?


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[October 14, 1964] Back in Session? (The Outer Limits, Season 2, Episodes 1-4)


by Natalie Devitt

The second season of The Outer Limits is now underway! As someone who is pretty devoted to her favorite shows, I anticipated the return of the science fiction anthology show with excitement. But something seems different. Could it be the result of the departure of producer Joseph Stefano, who contributed his creative vision and a number of scripts? Maybe changes in the show’s budget, time slot or its music? Read on, and tell me if you share my concern.

Soldier, by Harlan Ellison

Broken Arrow (1956-58)’s Michael Ansara plays Qarlo, a futuristic soldier who is unexpectedly teleported to the present day while in the middle of a conflict. Wandering the streets armed and dressed in plate armor with a space helmet, it does not take long before he ends up in a psychiatric hospital. There, one of the men assigned to Qarlo’s case is philologist Tom Kagan, played by Lloyd Nolan of 1957’s film adaptation of Peyton Place. Kagan tries to understand Qarlo’s language in order to interview him.

Unaware of Qarlo’s origins, Kagan soon realizes that the strange man has heightened senses and knows about things that scientists predict will occur in 1800 years. Additionally, the philologist determines that Qarlo did not come from another country, but another time. Qarlo simply views other living beings as either enemies or not enemies, and that “he doesn’t understand hate, or love, or compassion.” Kagan figures that this is because Qarlo “is really a Soldier. There is nothing about him that is not a Soldier. He is the perfect, ultimate infantry man. I don’t think he knows anything else.”

Even after taking all of this into consideration, Kagan vows “that given enough time, I’ll establish absolute communication“ with Qarlo. He thinks that one month should do the trick. Kagan requests that Qarlo be released into his care and he is reluctantly granted permission. Despite any initial reservations by his superiors and his loved ones, Kagan’s adorable family welcomes Qarlo into their home with open arms. Fascinated by their guest, the Kagan children are forbidden to tell their friends about Qarlo. But despite Kagan’s best efforts to keep his guest a secret, it does not take long for an enemy from Qarlo’s time to locate him.

Soldier certainly gets the month and the season off to a great start. While not quite the show’s finest hour, it certainly is one of the better entries. Gone is the man in the alien costume I have come to expect from the series. The sequences showing Qarlo in the future are beautifully filmed on impressive sets, and the special effects are effective. The makeup and costumes are not quite as not as strong as other aspects of the episode, but fine for a weekly program. The writing is exceptionally strong and provided by Harlan Ellison, author of the short story “Soldier from Tomorrow”, which served as a basis for episode. All of the actors deliver convincing performances. Overall, I give Soldier fours stars for an imaginative and well-crafted hour of television programming.

Cold Hands, Warm Heart, by Dan Ullman

In Cold Hands, Warm Heart, William Shatner (The Twilight Zone‘s Nick of Time and Nightmare at 20,000 Feet) is the charismatic Colonel Jeff Barton, who has just arrived home after becoming the first man to travel to Venus. Not long after being back, he is promoted and begins preparing for his next assignment, Project Vulcan, which will send him on a journey to Mars.

In the role of Jeff’s adoring wife, Ann, is Geraldine Brooks, making her second appearance on The Outer Limits after last season’s The Architects of Fear. Ann notices that Jeff has not been himself since his return. Whether he’s chugging scorching hot coffee or barricading himself in the local steam room, he just cannot seem to stay warm.

Jeff’s wife is not the only person to notice that something is off. After seeking medical attention, Jeff learns that his body temperature is only 91 degrees and he is told, “the whole chemistry of your body is changing.“ Soon, the skin on his hands begins to change, so much so that he eventually starts developing webbing between his fingers. Blood test reveals that “his blood isn’t human” and is actually impossible to classify because it does not seem to match any animal known to man. But what is perhaps most traumatic for Jeff is that he is haunted by terrifying visions of an extraterrestrial he encountered while in space.

This installment of the series was a bit of a disappointment, especially after watching Soldier just the week before. It does, however, deliver some unexpected laughs with a rather over-the-top performance by William Shatner and one goofy-looking alien, complete with glowing eyes, scales and long, flowing locks of hair. Special effects are not nearly as impressive as the show's vastly superior season premiere.

Brooks’ performance gives the episode a much needed boost. I know I often complain about romantic subplots, but I think the bond between Jeff and Ann is the episode’s greatest strength. On the topic of the episode’s writing, it is a little frustrating that it is never really explained what is really wrong with Jeff. I was waiting for some sort of payoff at the end, but the story lacks a satisfying conclusion. Taking all of these factors into consideration, two stars is all I can offer to Cold Hands, Warm Heart.

Behold, Eck!, by John Mantley

Veteran actor Peter Lind Hayes (The 5000 Fingers of Doctor T (1953)) plays Doctor James Stone, who arrives at work one morning to find that someone has ransacked his lab. To get a better look at things, he puts on a pair of special glasses that he designed from meteoric quartz. He discovers a two-dimensional creature, Eck, that can only be seen while wearing the glasses. The being attacks Stone, stealing his glasses. Eck also takes a list of the names of Doctor Stone’s clients who own matching pairs. Now, Doctor Stone is in a race against time to track down the patients before Eck gets to them. The only problem is that nobody believes Doctor Stone. Even his own brother thinks he is sick.

Behold, Eck! is pretty slow moving. It probably does not help matters that I hear the actors talking about action, but I do not see much. The episode tries to balance some serious and more light-hearted moments, though not very successfully. Most performances are adequate, but the real problem here is the writing. To make matters worse, a lot of things mentioned by characters just do not make much sense. One thing the episode has going for it is the sequence where Eck sparkles like a Christmas tree following an accident that made it luminous. Maybe if you do not give the episode too much thought, it works as pure escapism, but I am leaning towards two stars for Behold, Eck!.

Expanding Human, by Francis Cockrell

When someone breaks into a university lab, the authorities arrive on the scene, where they determine that someone has ripped the lab’s door off its hinges using only their bare hands. Inside the lab, they discover the body of a university night watchman. Upon further inspection of the lab, it is noted that “consciousness expanding“ drugs are missing. The same drugs that were recently being used for experiments that became part of a scandal that tarnished the university‘s reputation, resulting in threats to the school’s funding.

Those incidents are followed by more seemingly unexplainable events locally, all of which involve someone with incredible strength and/or advanced intelligence. It is not long before all signs point to one man in particular, Professor Roy Clinton, played by former child star Skip Homeier. The only problem is he has no memory of any involvement. Turns out, Clinton has been conducting some experiments of his own, using the drugs that he has been stealing from the university. Partaking of the substances not only improve his consciousness, but also his strength due to the fact that he transforms into a nearly indestructible monster.

This update of Strange Case of Dr. Jekyll and Mr. Hyde , filled with references to Timothy Leary, has potential that it never really fulfills. It does not help that the episode feels a little padded to add time. One thing it has going for it is that Canadian actor James Doohan (The Twilight Zone‘s Valley of the Shadow) is quite convincing in his role as Lieutenant Branch. Skip Homeier, on the other hand, is believable in his role as Clinton, until he transforms into the creature with gigantic cheekbones and ridges on the sides of his forehead, then things begin to fall apart very quickly. Though, I do have to give Expanding Human some credit for attempting to tackle such timely subject matter, so it earns just two and half stars.

As you can see, after the first episode, there was a sudden drop in the show’s quality. To recap things briefly, this past month only gave us one memorable episode, Soldier. Cold Hands, Warm Heart was a letdown, Behold, Eck! was downright ridiculous, but Expanding Human had its moments. I consider myself a loyal viewer; is it premature to worry about the direction The Outer Limits seems to be headed?


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[14th September, 1964] Hold Off The Execution (Doctor Who: The Reign Of Terror [Part 2]))


By Jessica Holmes

Put away the guillotine, we don’t need to be chopping anyone's head off for boring me. Not today, at least. The Reign Of Terror doesn’t magically turn into an oeuvre of magnificence at the halfway mark, but it did turn out decent in the end.

THE TYRANT OF FRANCE

Apologies everyone, my television set is playing up again, so there’s a chance that I’ll have missed some details in this episode, but hopefully it won’t be anything too important.

So, in the previous episode of The Reign Of Terror the Doctor got himself a pretty fantastic hat and managed to blag his way into a meeting with Robespierre, so they can talk about how fantastic his hat is. Or lists of people whose heads have been chopped off, but I think the hat should take precedence.

Lemaitre gives Robespierre the execution list.

So, how does this meeting go? Entertainingly. Not one to hold his tongue, the Doctor immediately starts debating a hostile and suspicious Robespierre on the benefits of his Reign Of Terror. I rather admire his guts. Come to think of it, it’d be pretty funny to see the Doctor popping about through time to give tyrants a good scolding. As for Robespierre, he’s showing signs of paranoia, convinced that even his allies are plotting his downfall. Well, Max, if you are going to insist on guillotining everyone who so much as looks at you funny, what do you expect?

Oh, and we actually have a name for the other man, now. The one the Doctor came with. He’s called Lemaitre. Translates to ‘the master’. Quite a good name for a villain, I’d say.

Back at the maison, Susan is still feeling poorly, the poor love, but she’s brought some brandy, so she’ll feel even worse in a second! According to Barbara, a short while earlier Susan kicked off all her clothes and was found shivering upstairs, which sounds to me like she’s suffering from hypothermia. Leon is wary of calling a physician for her (after all, we only know one Doctor we can trust), but after some thought he decides to risk it for her. Good old Leon.

Jules carrying a body through the window

Outside the maison, Jules and Jean (did I introduce Jean last time? I can’t recall. Introducing: Jean) are smuggling a body into the house. Just when we start to worry what sort of people Barbara and Susan have fallen in with, they pull back the tarp covering the body to reveal that it’s Ian!

At the prison, Lemaitre says the Doctor made a good impression on Robespierre. I’m not sure I’d say the same, but if he says so. The Doctor tries to make his excuses and leave, but Lemaitre insists that the Doctor stay, and calls for the jailor to arrange accommodations.
Well, I hope he enjoyed his little game of dress-up.

Remember the treacherous tailor? He’s still here, and now he’s got Lemaitre all to himself. The Doctor tries once more to leave while Lemaitre is busy, but the jailor pulls a gun on him. If he were to let the Doctor go, it’d be his neck on the line.

Dear, dear, Doctor. You’re in trouble now!

Back at the maison, Ian is coming around, and joyfully reunites with Barbara. Does anybody else think they might be a little more than friends, or is that just me? Now conscious, Ian takes the opportunity to ask Jules if he knows the Englishman his dead cellmate told him to look for, one ‘James Stirling’. Unfortunately, Jules hasn’t a clue, which is a shame, because Ian had gone looking for Jules in the hope that he would. Unfortunately for Ian’s poor head, Jules found him first, and, thinking him an enemy spy, clobbered him. That man is going to have serious brain damage before long.

Jules posits that ‘James Stirling’ is an alias, though if anyone knows him, it’d probably be Leon. In fact, for all they know Leon might actually be James. It’s easy to pretend to be English when everyone in France speaks in Recieved Pronunciation. Not that I’m complaining. I find using English regional accents to be vastly preferable to forcing the actors to attempt a dreadful foreign accent. A lot of films and programs do it and it drives me up the wall.

Sadly, Susan is getting worse, and the physician won’t come, so Barbara has no choice but to take Susan herself. The physician takes a bit too much of an interest in how Susan came to be ill, but eventually decides that a spot of blood-letting should do the trick, to the womens’ horror. I mean, what were they expecting? Panadol?

Susan reclines on a couch as Barbara watches over her.

They’d probably do better to just make her some hot water with honey and lemon.

See, here’s the problem with time travel to the past: lots of diseases that the modern immune system doesn’t know what to do with. I hope the Doctor got Susan her vaccinations when they landed on Earth. Imagine if she were to come down with smallpox, or TB!

It seems that Leon was right to be wary about trusting a physician, because the medical man, on the pretence of fetching leeches (lovely), heads up to the prison and turns the women in! Having locked the door behind him, the women are sitting ducks when the soldiers come to arrest them.

Well, with them free, there wasn’t anyone for the rest of the characters to make a daring rescue of, was there?

Ian begins to worry that they’ve been a while, but he has a meeting with Leon to keep, so he heads off in hope of tracking down the mysterious James Stirling.

Back in chains, Susan’s chucked into a cell, and Barbara is marched off for questioning…to none other than the Doctor!

Ian arrives at the crypt of an abandoned church, which is a cool place for a clandestine meeting if I ever saw one. The set’s rather good too. There’s a better attempt at the illusion of size here than we’ve seen in a lot of other sets on this programme.

The set of the crypt, with the background painted to create the illusion of depth.

However, while we’re all admiring the set, a bunch of soldiers turn up. Ian’s walked right into a trap.

Leon, you scoundrel!

Leon points a gun at Ian, offscreen

A BARGAIN OF NECESSITY

The following week, my television continued to act up, rendering visible perhaps one frame in twenty. I tried hitting the top of my tv with a mallet, but it didn’t seem to do anything. Ah, well.

Ian captured, Barbara and Susan in chains once more — things don’t look too good for our companions. So, it’s the perfect time for Barbara to have a nice catch-up with the Doctor. Lemaitre tries to listen in, but the jailor arrives to summon him to a meeting with Robespierre. Lemaitre reluctantly agrees to go, but orders that Susan must be kept in the prison on pain of death. He knows something.

Barbara and the Doctor plot her escape.

With Lemaitre gone, the Doctor reveals his cunning plan to spring Barbara from prison. Get ready. It’s very complicated. She’s going to walk out the front door.

See? Complicated. But it’s actually brilliant, wait and see.

The Doctor spins a tale to the jailor that Barbara is actually deeply involved in the grand conspiracy against Robespierre. So deeply involved, in fact, that she knows the names of every traitor in France! Of course, she’d rather die than give them up, but the Doctor and the jailor are clever, aren’t they? What they’ll do, is they’ll let her escape, and then, when she runs off to her traitor friends, they can follow her, and arrest the whole lot!

Now, a person slightly smarter than a guinea pig would probably be able to see through this plan, but that’s part of why I love it. I love the Doctor’s ability to talk utter nonsense with such authority that it sounds perfectly reasonable.

Down in the crypt, Leon’s giving Ian the trademark villain speech, revealing that he’s always been loyal to the revolution. He thinks that Ian’s in on the English spy ring, so demands that Ian tell him the truth.

Well, you asked for it, Leon.

For reasons nobody could ever hope to fathom, Leon doesn’t believe Ian when he says he’s from the year 1963, and his soldiers are on the point of shooting Ian when Jules arrives, having come back to the maison to find it empty.

A fight ensues, and it might have been exciting, but my television chose that moment to stop showing the picture, leaving me with a bit of generic fight music and the occasional grunt, ending with a gunshot, which I assume hit Leon, because the next time I can actually see the scene, Leon’s dead and Jules is Ian’s knight in frilly armour.

Back at the prison, things become amusing when the jailor asks the Doctor why he isn’t tailing Barbara, and the Doctor retorts asking HIM why HE wasn’t doing it. Whoopsie-daisy! Piling on, the Doctor actually tries the same trick on the jailor again, but to let Susan out this time. As funny as it would have been had he agreed, it’d be a bit convenient, so of course the jailor refuses. He’s not going to risk his neck!

Lemaitre goes to meet Robespierre, who fears that the Convention will turn against him at their next meeting, on the 27th of July… 1794. Hands up, who knows their history?

(Is it still paranoia if they really are all out to get you?)

Now it’s time for Historical Nitpicking With Jessica, where I answer the historical questions that literally nobody asked.

It’s about the date of the meeting: July 27, 1794. This is absolutely correct…by the Gregorian calendar. However, during the Reign Of Terror, France was not using this calendar. They were on the French Republican calendar, so for them, the date was 9 Thermidor. Weird, I know. What’s even weirder is that aside from the timing of the start of the year (the autumn equinox rather than the summer solstice), the French Republican calendar is identical to the ancient Egyptian calendar. Just thought that was interesting.

I would call the French calendar and their decimal time ridiculous, but then I remember how English money works, and how we measure distance, and how an English mile is actually how far Charles II could run in a three-legged race before falling over (or something), so perhaps I shouldn’t throw stones.

Ian makes it back safely, and meets up with Barbara, who is also safe now. They think the Doctor’s antics are pretty funny. And they are. It rather spoils the mood, however, once Jules tells Barbara what happened with Leon. To the men’s surprise, Barbara feels quite sad for him. To them, he was a traitor, but to the Revolution, he’d have been a hero. After all, the Revolution did have a point. Perhaps too sharp a point, but a point all the same.

See, Barbara gets it. History is a bit more nuanced when you look at it from the outside. There’s a difference between believing that a republic would be better for everyone than a monarchy, and wanting to chop the heads off anyone who looks a bit too posh.

Back at the prison, the Doctor lets Susan out, but Lemaitre catches them as they try to escape, and the scene following is a bit awkward, with a noticeable line flub from Hartnell (not for the first time, but I usually give him a pass as it works for the character), and a strange bit of awkward silence which made me wonder if somebody forgot their line or wasn’t on their mark.

Lemaitre reveals to the Doctor what he knows

Once we’re off smoothly again, Lemaitre shows the Doctor the ring the tailor gave him. Lemaitre’s quite a bit smarter than the poor jailor. He’s known full well that the Doctor wasn’t who he claimed to be, and strongly suspected his relation to Susan, which is why he was determined to hold on to her. And now he has iron-clad leverage over the Doctor.

Back at the house, Jules explains to Ian and Barbara that he’s not actually of the aristocracy, he’s just against those who would rule by fear, which is fair enough, I’d say.

As he finishes up the explanation, along comes the Doctor… with Lemaitre.

The Doctor brings Lemaitre to Jules, Barbara and Ian

PRISONERS OF CONCIERGERIE

This one is actually genuinely good. Even more so because my television started working again.

Dun dun duuuun, Lemaitre has arrived to crash the party, sweeping in and explaining at everyone just how clever and cunning he is. So clever and cunning is he, in fact… that he is James Stirling.

That did catch me off guard, I have to admit. It certainly explains the accent.

Lemaitre/Stirling says that he can get safe passage back to England for everyone as soon as his business in France is concluded, and asks Ian what was the message he needed to deliver. Ian wracks his brain to remember it, and they piece together that it was a coded message giving away the location of important meeting which Paul Barras will be attending.

Time for a little espionage. They go to the inn, and pose as staff. Ian dusts off his acting skills and I absolutely love it. He goes to the trouble of putting on a fake voice and everything. I think somebody may have been part of the drama club at Coal Hill!

Barbara and Ian in disguise as innkeepers.

Barbara, on the other hand, is as awkward as anything, and simply asks Barras how many people he’s expecting to meet. Fortunately he doesn’t suspect anything, and tells her it’s just the one, and here he comes now.

It’s Napoleon Bonaparte.

Yes. Really.

A cool reveal? Yes. Ahistorical? Absolutely.

I will leave it to you to decide which is the more important factor in your mind. At any rate, it’s little more than a historical cameo, as he’s only in the episode for as long as it takes to promise Barras his support in return for a role as Consul, and then he swans off to make his own history.

Napoleon Bonaparte conspires with Paul Barras to bring an end to Robespierre and his Reign Of Terror

I hope we get an episode centred on Napoleon some time in the future. Well, I could write a list of historical figures I’d like to see an episode based on, but it’d take me all night.

Stirling is aghast to learn of Napoleon’s intentions, knowing that being Consul won’t be enough for a man like Napoleon. He’s absolutely right, but there’s nothing he can do about it. Or is there?
Well, no. We know that. The Doctor and Barbara know that. Nevertheless, Stirling rushes off to try and prevent the arrest of Robespierre.

Now, I do think this is a bit of a missed opportunity. Had the earlier episodes been better paced, I think this turn of events would have been interesting to devote more time to, with Stirling (and possibly the others) trying to save Robespierre as history stubbornly refuses to be knocked off course. Instead all we get is the same old stuff about history being unchangeable. I am simply intrigued as to how exactly that works. What would happen if, for example, I grabbed myself a musket, aimed it squarely at Napoleon’s head, and fired? Will some unknown law of Time make the gun misfire?

The Terror comes to an end as Robespierre is hauled into the prison, clutching his wounded jaw.

History progresses as it’s written. Robespierre is arrested, shot in the jaw, and hauled off for his appointment with Madame Guillotine, bringing the Reign of Terror to an end. The Doctor returns to the prison and orders that it be made ready for Robespierre and his allies, which of course means clearing out the old cells, which means freeing Susan!

I do think it’s a shame that Susan had nothing to do in this serial other than sit and wait to be rescued.

Back at the TARDIS, Ian, much like myself, wonders what would have happened if they had tried to contact Napoleon and tell him about the future. According to Susan, he’d have lost the information, or forgotten it. I suppose that means we aren’t likely to see time paradoxes and alternate timelines in Doctor Who.

Final Thoughts

All in all, I think the second half of this serial was much better and more interesting than the first half. However, I think that Robespierre should have been given more of a focus in this serial. Imagine watching him unravel as his Reign Of Terror comes to a close and the vultures start circling, not in just a couple of scenes, but gradually, over the course of the story. To add to that, I’d have liked to have seen more of the coup against him, beginning earlier in the story, rather than in the last episode. It was the most exciting bit of the plot and it had hardly any time devoted to it.

All the same, I think the serial did redeem itself. It’s not one I’m a big fan of, but it’s not quite as rage-inducing as that one with the stuck button, which makes it okay in my book.

And with that, this first series of Doctor Who comes to an end. I’ve certainly enjoyed the ride, and I hope you’ve been entertained by my ramblings. Though perhaps not as educational as was first intended, Doctor Who has turned out to be an interesting science fiction programme with a real charm to it, and it has tremendous potential in the future. The only limit is the imagination.

As the crew head off to their next adventure, we end on a rather nice quote which, to me, captures the essence of Doctor Who.

“Our lives are important, at least, to us. But as we see, so we learn … Our destiny is in the stars, so let’s go and search for it.”

Next Episode: Planet Of Giants

3 out of 5 stars

 


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[September 10, 1964] Bewitched, Bothered and Bewildered (September 1964 Television Debuts)

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by Rosemary Benton

Roll 'em!

Television this year has been a dry well in terms of new programming. With the exception of Jeopardy on NBC and the extremely fun variety show Hollywood Palace there haven't been any new programs to really dig into. Granted, most networks don't add new material until September and October roll around, but ever since the finale of The Twilight Zone and with the impending finale of Outer Limits next year, September could not get here fast enough. Given the wealth of new science fiction and horror programs scheduled to debut this month one can only hope that one of these new series will fill the void of these two departing titans of science-fiction/horror TV.

Since the beginning of the year when TV Guide's first January 1964 issue came out there has been significant buzz circulating about this year's September lineup. In particular five shows premiering this month promise to be a real thrill: the action-adventure cartoon Jonny Quest, undersea science fiction adventure series Voyage to the Bottom of the Sea, the charming and fantastical Bewitched, and the kooky horror-themed family sitcoms The Addams Family and The Munsters.

Voyage to the Bottom of the Sea, premiering Monday 9/14

This might not be the best example of quality science fiction television coming out this Fall, given its direct connection to the poorly written 1961 nautical science-fiction movie of the same name. But Irwin Allen (writer, director and producer of the 1961 film) is convinced that this is a worthwhile premise for an ongoing adventure series on ABC, and since most of the sets from the movie were apparently still in storage I'm sure that saved the production companies (Cambridge Productions, Inc. and 20th Century Fox Television) a ton of money. The fact that the show will be in black and white certainly can't hurt the budget either.

As Irwin is a director infamous for his liberal use of stock footage, and given that the movie sets are going to be reused for the TV show, I am hesitant to put much faith in the further low-budget adventures of the S.S.R.N. Seaview and her crew. I wouldn't say that Irwin Allen is a stellar talent as a writer, either, the abysmal plot and bizarre science of the 1961 movie being the most concerning threats to the success of this show. But I can at least rest easy knowing that Voyage is just one of this Fall's science fiction, fantasy and horror show lineup.

Bewitched, premiering Thursday 9/17

Bewitched is a lighthearted sitcom centered around the misadventures of newly married witch Samantha (played by Elizabeth Montgomery) to well meaning but insecure Darrin Stephens (played by Dick York). Situational comedy will abound as Samantha tries to adapt to living in the mortal world, and we will surely get a good laugh out of Darrin's attempt to reconcile with a wife who is not only more powerful than him, but whose mother is determined to make his life miserable. 

As if the versatile, powerful acting of Agnes Moorehead as the nosy and witchy mother of Montomery's character wasn't reason enough to tune into this show on the 17th, Bewitched's executive producer is the highly successful network executive and program developer Harry Ackerman. His time as the executive producer on the wildly popular family shows Dennis the Menace and Leave it to Beaver has surely given him invaluable experience managing sitcoms. And with his legion of connections within the entertainment industry I would be shocked if the best and brightest talents weren't brought on board for Bewitched. This show, although advertised as rather fluffy, will undoubtedly become a family favorite.

Jonny Quest, premiering Friday 9/18

Jonny Quest is the next science-fiction themed show of note set to premier this month. Upon its 9/18 release on ABC at 7:30 PM EST Jonny Quest will be the 11th animated television series (closely preceded by their 10th series debut The Peter Potamus Show on September 16th) from the powerhouse duo William Hanna and Joseph Barbera of Hanna-Barbera Productions, Inc. From the look of the artwork provided to advertise for the show, this is going to be a very different series in tone and direction compared to earlier Hanna-Barbera creations.

It isn't unfair to characterize the vast majority of Hanna-Barbera shows as goofy looking and brimming with slap-stick humor. Their characters are usually bulbous and colorful with expressive, over the top movements clearly designed to be amusing to young children. Jonny Quest, on the other hand, looks like a comic book come to life!

If one is familiar with science fiction-fantasy anthologies like Alarming Tales from Harvey Comics and DC Comics' Tales of the Unexpected, or any number of western titles from Atlas Comics, then you might recognize the tell tale heavy shadowing and strong jawlines signature to veteran comic book artist and writer Douglas Wildey. To develop the cast and tone for the series Hanna-Barbera brought in this perfectly suited talent to work some artistic magic. It is my sincere hope that this series, with its crisp art and larger budget, will be to Hanna-Barbera what Superman was to Fleischer Studios.

Since writers in comic books are unfortunately not often credited, it's not really feasible to point to a significant number of Wildey's writing assignments in order to predict what type of voice he will bring to the scripts for the show. However, given William Hanna and Joseph Barbera's comments on the upcoming series in their TV Guide interview with Dwight Whitney, I imagine it's safe to say that the signature wacky antics of Hanna-Barbera Productions' earlier works will be tamped down in favor of more gripping story telling. Barbera did say, “If a kid leaves his seat, I'll eat the chair”, after all.

The Addams Family, premiering Friday 9/18

The 18th is going to be a red letter day. Not only do we get Jonny Quest at 7:30 EST on ABC, but at 8:30 EST we get the show I am personally the most excited for – The Addams Family! At long last Charles Addams' New Yorker cartoon about an eccentric and socially clueless gothic family is going to make the jump to film!

Charles Addams did not flesh out his individual characters too much following their initial appearance in 1938. The single panel comics instead focused on the odd juxtaposition of the grandiose macabre behavior of the Addams clan and the astonishment expressed by their wholly average neighbors. Despite the chaos or discomfort that follows in their wake, the Addams' always proceed with unconcerned or oblivious confidence. If the writers can maintain this aloof quality to the central cast of the Addams household then they will have done their job well.

In terms of casting I couldn't think of anyone more fitting to play Morticia Addams than the slim, angularly beautiful Carolyn Jones. John Astin, with his similarly angular face, large eyes and overly enthusiastic smile, is the perfect choice for Gomez Addams. Visually the black and white filming of the show will be right at home with both the macabre fashion sense of the titular family, but it will allow for possible satire of the horror genre as it is now – with Victorian motifs coming off as cliché, and a nostalgic pining for the Universal Studios monsters of the early-mid 20th century.

The Munsters, premiering Thursday 9/24

“Science-Fiction Times” issue 418 sneeringly describes the simultaneous September release of The Addams Family and The Munsters as proof of “just how derivative things can get on TV”. Undeniably, The Munsters is CBS' rival programming to The Addams Family. The main characters in The Munsters are also an extended family of morbid weirdoes living in a crumbling towering manor that is out of place in the nice suburban neighborhood surrounding it. And true, there is a witchy mother figure, along with an eccentric uncle and a Frankenstein's monster-type character.

What immediately stands out between the two shows is one glaringly different character. While the Addams family is unanimous in their attire and foreboding nature, the Munsters' household includes a young conventionally attractive woman. Marilyn Munster (played by Beverly Owen) is a white sheep among dark horses. In sitcoms such a character serves the role of showing contrast and causing plot conflicts. I predict that the main way that this show will stand on its own against The Addams Family by readily acknowledging what the Addams do not – that they are different and that not all of society can coexist harmoniously with theirs.

In some ways this could be viewed as a more mature route to take a sitcom, but I don't think TV audiences need to be worried about The Munsters getting too heavy. After all, the makeup on Herman Munster (played by Fred Gwynne) more closely resembles layered blocks of acrylic paint than makeup designed to look gaunt and sickly. Gwynne's constant dopey grin and hooded eyes also lend a comedic air to his character. Al Lewis' grandfather character is likewise hilariously designed to look like an elderly Dracula ala Bela Lugosi who has really let himself go in the last hundred or so years. Yes, it is superficially similar to The Addams Family, but unless the evidence proves otherwise I think we can safely assume that the two shows will be distinct enough to warrant recognition for their own individual strengths.

Final Thoughts

It seems that for now science-fiction and horror on television will be predominantly paired with a heavy helping of comedy. The use of these genres to critique social concepts will continue unhindered in Bewitched, The Addams Family, and The Munsters, but if the most “serious” science-fiction we can expect this fall is coming from Irwin Allen then it seems like we will need to wait a little longer for the spiritual successor to Twilight Zone and Outer Limits. In the meantime young viewers can enjoy the adventures of the Quest family, and the whole family can tune in to the antics of three new paranormal families trying to make their way in American suburbia. It may be a campy, kooky, and spooky year of TV, but at least it will be fun.


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