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[August 23rd, 1964] The Reign Of Boredom (Doctor Who: The Reign Of Terror [Part 1])


By Jessica Holmes

Ready for another historical episode? This serial of Doctor Who comes from the mind of Dennis Spooner, who I don’t think we’ve had a story from before. Interestingly, this is the first Doctor Who serial to be partially shot on location, instead of the airing cupboard at the BBC they usually use.

I want to start with a couple of things. One: I am not, by any stretch of the imagination, an expert on the French Revolution. And two: my opinion on this episode is objective fact and I shall not be tolerating any dissenters.

Let’s get on with it, shall we?

A LAND OF FEAR

The TARDIS lands in a nice spot of countryside, and in keeping with his promise at the end of the previous serial, the Doctor curtly informs Ian and Barbara they can go now, and not to let the door bang their backsides on the way out. However, considering this is the Doctor we’re talking about, Ian and Barbara aren’t about to just waltz off when they’re not even sure they’re on the right planet, so Ian manages to coax the Doctor out for a drink while they scope out the area.

Hearing some loud bangs as they leave the TARDIS, Ian rummages around in the bushes and drags out a small boy, who kindly informs them that they’re in France. To be fair, it’s not far off from Old Blighty. Get a ferry from Dover and you can make a day trip of it.

The boy runs off, and the others track him to a deserted house.

Ian and Barbara admit to themselves that they wouldn’t really be disappointed if they weren’t in England in 1964. Or should they come back to 1963? I’m not sure if it’s been as long for them as it’s been for us.

Finding the house empty, the companions promptly start plundering the owners’ belongings. Aside from some fancy frocks and dusty candlesticks, they find documents signed by Robespierre…and realise where and when they are.

And just to round things off, while exploring alone (always a bad idea) the Doctor gets a nice whack over the back of the head.

Meanwhile, the rest of the companions are helping themselves to some contemporary clothes. The garments look quite accurate to the location and time period, though I couldn’t say if the lack of corsets is excellent historical attention to detail (the corset having fallen out of fashion during the revolution in favour of simpler garments), or simply a lack of budget or modern clothing standards getting in the way of accurate period costuming.

That might all be a bit nit-picky, but I think the Doctor would appreciate my twaddle on whether or not everyone should be wearing a corset. This is, after all, his favourite historical period. I don’t know what that says about him but I think we should probably keep him away from any members of the aristocracy, just in case.

Oh. Too bad, because a couple just showed up. This farmhouse, it turns out, is their hideout. I’m not going to tell you their names because for one, I didn’t catch them, and for two, they’ll be dead in a couple of minutes so there’s no point.

They prepare to make a brave stand as a gang of soldiers come to capture them, only for one of them to chicken out and run outside, necessitating the other to come out and rescue him. He’s doing well at persuading the soldiers not to shoot them, right up to the point that he tells them that even if they have uniforms, they’re still peasants underneath.

To literally nobody’s surprise, that’s not a very clever thing to say to a bunch of gun-toting peasants.

R.I.P, French blokes whose names I don’t know.

Meanwhile, Ian’s trying to find where they stashed the Doctor, who is still out cold, but the soldiers barge in before he can, and drag everyone (except the Doctor, who is still having a nice nap) out into the courtyard.

The Doctor finally wakes up just as the soldiers are about to execute his mates. However, their leader persuades the men that they should take the companions to Paris, where they’ll be rewarded for delivering them to ‘Madame Guillotine’. How nice.

Before leaving, they decide to burn the house down, just to be thorough. Things sure don’t look good for the Doctor. Pity I literally don’t care. Of course I always know the Doctor or whoever is imperiled in the cliffhanger-of-the-week is going to be fine, but I am usually enjoying the episode enough that I can suspend my disbelief.

I didn’t know 24 minutes of television with multiple shootings and a house burning down could actually be this boring. Yes; this is the end of the episode! Is it just me, or would all these events normally take place within the first fifteen minutes?

2 out of 5.

GUESTS OF MADAME GUILLOTINE

I think I like the title more than I like the episode.

With the Doctor being slow-roasted French-style, the companions arrive in the city of lights, and Paris gives them a lovely warm welcome, by which I mean they’re immediately sentenced to death for being in the company of traitors of the revolution.

There we go. Show’s over, everyone’s dead.

…Sadly I don’t think I’ll get out of doing this write-up that easily.

Unfortunately there’s a backlog of necks that want chopping, so Ian, Barbara and Susan are going to have to wait a bit, in the company of a delightfully charming jailor who makes creepy implications about what Barbara could do for him to secure her release. Barbara gives him a slap instead. That’s my girl. Susan, on the other hand, wallows in misery, convinced everyone’s going to die. Tsk.

Oh, and the Doctor’s alive too. The little boy from last episode went into the house and dragged him out, which is nice of him. Don’t expect him to stick around, though, nice as it might have been for the Doctor to have a plucky young sidekick. The Doctor’s off to Paris!

On a real, actual road! With real sky! And a fake Bill Hartnell! Two out of three isn't bad. See, they didn't actually have the budget to transport any of the cast out to the filming location, so they had to make do with a double shot from a distance. That's pretty neat!

Ian, meanwhile, is sitting in a cell with a chap who is not feeling his best. He’s got a nasty gunshot wound, and it’s clear he’s not long for this world. The wounded man tells Ian to find an Englishman in Paris, who is in the city to gather information. There’s a war coming between England and France, because the day ends in a Y. I can’t even remember which historical war they’re gearing up for. There’s too many, and a ridiculous number of them are simply called the ‘Anglo-French War’. We’ve been at war, or preparing for it, pretty much ever since that William bloke paddled across the Channel.

I digress. The man imparts his wish, and dies, and I swear this should be more interesting to me than it is. It’s just not doing anything for me.

Out in the sunshine, the Doctor is having a nice walk in the countryside, and comes upon some ‘tax-dodgers’ being forced to work on the road. He tells their foreman that they might work faster if he actually picked up a pick. Astute observation, Doctor, and a great way to illustrate the difference between intelligence and wisdom, as this makes the foreman take offence, and investigate the Doctor's lack of travel papers. No papers, eh? Probably up to no good. And what do we do with people who are up to no good? We put them to work!

In Paris, Barbara and Susan are making progress on digging their way out of their cell. It looks like the ladies might be coming to the rescue.

Meanwhile, the man who was commanding the soldiers who captured the companions (I’m sorry, I didn’t hear his name) has come to investigate the death of the man in Ian’s cell, and asks if he and Ian spoke before he died. Ian lies to him, and says that they didn’t, but the jailor tells the commander otherwise, though he didn’t hear what was said.

Back in the ladies’ cell, Susan and Barbara find some rats in the hole they’ve made, and go into hysterics, because we womenfolk literally melt if we see a rodent, don’t you know? I don’t know. You cross the universe fighting priests who cut people’s hearts out and bug-eyed monsters and pepper-pots with death rays, and you go to pieces over a few rats?

Look. I’m scared of spiders. But if I’m going to be decapitated in the morning, and the only way out of it is to crawl through a tunnel filled with tarantulas, I’d absolutely, positively, definitely…get my last rites in order and sort out a will.

Perhaps I can’t really talk.

Meanwhile in the countryside….

Sometimes I do wish the characters would stay together for longer than five minutes so I don’t have to come up with a new way to re-introduce them every other paragraph to prevent things getting repetitive.

But meanwhile à la campagne, the Doctor gets in a boring and stupid and unnecessary scene that, unless there is some deep meaning in it that I’m too thick to get, is there just to pad out the episode. This whole thing with the roadworks is so pointless.

The Doctor distracts the foreman by making him stare at the sun, then steals his money, throws it on the ground, and while the foreman is digging through the soil, whacks him over the back of the head. Our hero, everyone!

Okay, so he was actually using the foreman’s greed against him by making him think he’d found a treasure trove, but he still knocked a man out cold while he wasn’t even looking.

To be fair, I was already thinking ‘why not just hit him with your pick’, and then he did, but that doesn’t reflect well on either of us.

Back in Paris (see? This is what I mean), the guards come for Susan and Barbara, and they’re taken with a bunch of other prisoners to the guillotine.

And all Ian can do is watch helplessly from his cell.

And how have I managed to write so much about an episode of little substance?

2 out of 5.

A CHANGE OF IDENTITY

Let’s introduce this one with a little scrap from my notes:

My chippy tea is going cold and I’m having to watch this.

Jessica from the past, you put it into words.

At least we’re finally getting to the bit where people’s heads start getting chopped off. Please?

The Doctor makes it to Paris, just as the women are on their way to have a little off the top, though of course he doesn’t know that.

In an alleyway, two men, noblemen by the looks of it, are lying in wait for the prisoners and soldiers heading their way.

And back in prison. Oh, back in prison. I can barely bring myself to go on. The jailor leaves the key to Ian’s cell…in the lock. Of Ian’s cell. And then rushes off because the commander chap is calling him. Leaving Ian free to grab the key-ring, nick his key, and put it back how he found it before the jailor remembers what he did with the keys.

I don’t even have the will to make a joke or be annoyed about it. It’s just not worth it.

Out on the streets of Paris, the horse towing Barbara and Susan on their way to certain doom throws a shoe, and Barbara plans to make a run for it when the guards unhitch the horse. Susan, however, has suddenly developed a very inconvenient illness and so can’t be running off anywhere, and Barbara, bless, won’t leave her.

Luckily the two men are nearby to save them because goodness knows they couldn’t possibly have rescued themselves in the face of this sudden narrative contrivance.

The Doctor, meanwhile, is shopping for new clothes. This is Paris, after all. Being in possession of no actual money, he trades in his old clothes and also a rather ugly ring, in return for…well. Wait and see.

Barbara and Susan make it to a safehouse. The blokes who saved them are called Jules and Jean, and they are posh, upper-class, and might as well have a dotted line around their necks labelled ‘chop here’.

Ian, meanwhile, is escaping, but not without notice.

I’ll just say, it’s not a very thrilling escape when the jailor is passed out on the floor and the only conscious witness is presumably hoping Ian will just lead him to the English spy, and so doesn’t lift a finger.

Susan and Barbara tell Jules and Jean about the farmhouse and the men they met there. They realise that their escape route has been compromised. A messenger arrives for them, a man called Leon.

Back in the dungeon….

Forget everything mean I’ve said about this episode. It’s just redeemed itself.

Behold the Doctor’s new outfit:

Besides being a genuinely funny reveal, the Doctor’s new outfit serves another purpose. It enables him to walk right into the prison in the guise of a regional officer, and interrogate the jailor as to the whereabouts of Ian, Barbara and Susan!

He learns of their escape, but before he can go off to be their knight in fabulous plumage, along comes the commander, who asks to see the Doctor’s papers. Of course, the Doctor remembered to forge some this time (perhaps the only worthwhile thing to come out of his little interlude in the countryside), so he’s not rumbled…yet.

However, the commander is on his way to have a chat with Robespierre himself about the execution lists, and extends an invitation to the Doctor, who can’t very well say no.

At least that might be interesting next time.

In what the French call le safehouse, Leon and Barbara make small-talk. Barbara tells him that she’s English, which he takes as an encouraging sign that she doesn’t really have a side in the whole revolution thing.

Look, she’s a history teacher. I can bet you she has opinions.

So that’s nice. And dull.

However, back at the prison, qu’est-ce que c’est? Or, as the English prefer to say, what is this that this is?

It’s the man from the clothing shop. He informs the commander that he has evidence of a traitor, and then (all together now), dun dun DUUUUUUUN…!

He produces the Doctor’s ring.

See, this is why I don’t wear jewellery. You never know when a duplicitous merchant of clothes might buy it off me and use it as evidence of me betraying the ideals of the revolution.

Okay, that’s it. I’m free. For now. I really hope things start picking up next time.

2 out of 5.

Final Thoughts

Well, having spent quite a lot of this review just making my own stupid jokes, how engaging do we think I found this serial so far?

Not very.

I can’t quite put my finger on it, but if I was going to hazard a guess, I would say that it’s the pacing. There is not enough plot here to stretch over a six-part serial, and so in dragging out individual plot points that might actually have been interesting in a more densely-plotted story, all the flavour is drained out of them. Think of it like jam scraped over too much bread.

Now, that’s not to say that a story must have a dense plot to be good. Not by any means. However, what a good story may lack in plot it absolutely must make up in terms of interesting character insight and development, and apart from the core cast, I don’t even know the names of any other characters here! The jailor’s a drunken lecherous lout, an embodiment of contemporary Royalist stereotypes about the Revolutionaries, right down to the tatty uniform. The commander? Well, I’d give you my judgement only I don’t have one. I don’t recall one thing about him! As for the young aristocratic men, they seem nice enough but about as interesting as white bread. At least the men in the first episode had the distinguishing characteristics of being a snob and a coward. Not the best characteristics, but I remembered them, didn’t I?

We’ll have to see how the rest of the serial pans out for me to lay down any greater judgement one way or another, but between you and me? I wouldn’t hold my breath.


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




[August 5, 1964] A Bit Of A Flub (Doctor Who: The Sensorites [Part 2])


By Jessica Holmes

So, where did we leave off last time we watched Doctor Who together? Let me check my notes. I can’t tell aliens apart, psychic powers are a bit rubbish, and Ian’s come down with a nasty case of Dramatic Cough of Doom Syndrome (or DCDS for short. It’s pronounced like the sound your typewriter makes when it gets jammed).

A RACE AGAINST DEATH

I hope Ian’s got his affairs in order.

With his life hanging in the balance, the Doctor and Susan go over everything they've done since arriving on the Sensesphere, and realise the only thing Ian did differently to them was drinking the local tap-water. Tsk, tsk. They do tell you in all the travel brochures not to do that.

Meanwhile, John’s having his brain fixed, and the city Administrator comes in to whine about it. He was the one who wanted to disintegrate everybody last episode, if you recall. He doesn’t seem to like anything about the humans. Not their names, which he reckons are absurd (cheek!), not their culture of egalitarianism (though I could dispute that), and not their stupid, ugly faces (pot, kettle!)

The conversation turns to Ian’s troubles with the water, and of course the Administrator doesn't believe that there's anything wrong with the water supply. No, Ian must be a great big faker.

John perks up a bit at this talk of the water, and goes off on his Goodness detector powers, yelling 'EEEEEEEEEEEEEEEEEEVIL' at the Administrator. Shockingly, nobody pays him any mind.

And then he conks out. Well, at least he tried.

Carol comes along and asks how John is. The Admin gets his knickers in a twist over this. How dare she assume he's a mere doctor when his collar of office CLEARLY marks him as the city Administrator! She apologises and says that without the collars and badges, the humans would be unable to tell the Sensorites apart.

Gee, I wonder what’s going to happen with that.

We rejoin the Doctor attempting to convince the First Elder to let him back onto the TARDIS so that he can make use of the facilities aboard to cure Ian. It’s not going terribly well. The First Elder tells the Doctor he can use the lab on the planet, or no lab at all, prompting the Doctor to decry him as a fool in such a way I think he started to turn into an owl mid-phrase.

His hoot of indignation doesn’t go down well with the Sensorites, who interpret it as an acoustic attack. Susan apologises and gently explains that they didn't mean to use sound as a weapon. She's doing a really good job as a mediator, what with her gentle nature and her psychic abilities.

So of course the Doctor just leaves her behind to nurse Ian and leaves to check out the lab.

The Sensorites say they've tested the water and found nothing, but the fact remains that the current death rate is three in every ten citizens. Last year it was two in ten. Well, sounds like it's on the rise, whatever's going on.

Eventually, the Doctor finds atropine poison in the water in certain districts. Why only some districts, and why is the poison not always present when tested for? That’s not clear right now.

With the poison identified, it’s a simple job working out the antidote. The Doctor orders that the first batch of the antidote be sent to the First Elder's quarters and given to Susan, who can then administer it to Ian.

Well, that was easy. All’s done and dusted, right?

Wrong.

The antidote never makes it to Ian. Instead, on their way to deliver the antidote, the courier is waylaid by the Second Elder…or so they think. The real Second Elder is actually tied up in the disintegrator room, missing his sash of office. Who’s parading it about? Who do you think?

While that’s going on, the Doctor travels to the entrance of the aqueduct. It gets even more mysterious when it turns out that for some reason, the Sensorites can't seem to light it up, so it's kept in perpetual darkness. Hence, they instinctively avoid it. This seems fishy.

The Doctor insists on going in, but the Sensorite scientist tries to dissuade him. There are monsters in there. They've heard them.

Monsters in the dark, you say? That’s only going to encourage him.

The scientist reports back, and Ian, though literally dying right now, insists that the Doctor needs help, and he tries to get up and go himself. See, this is why I love Ian. Poor bloke is at death's door, feeling like absolute rubbish, but he still steps up when he thinks a friend's in danger.

Ian and Susan arrive safely at the aqueduct, which is pretty impressive considering Ian’s been drifting in and out of consciousness for most of the episode.

Inside the aqueduct, however, things are amiss. There’s deadly nightshade growing all around!

Belladonna? On another planet?

Hold that thought. Something just roared off-camera.

KIDNAP

Ian and company find the Doctor unconscious, with his jacket torn to shreds. What on Earth (or rather, the Sensesphere) happened to him?

Oh, and apparently Susan went all the way back to the laboratory and got more antidote. That explains why Ian seems to be so much better. I was beginning to worry my grandpa might actually be right about the health benefits of a brisk walk in the fresh air.

John tries to warn Carol of the plotters threatening them. The doctor (no, not that one) treating him thinks it's impossible. It's just not in the Sensorites' nature. On the bright side, they’re getting closer to fixing his mind.

The Sensorite doctor explains that, in essence, the bit of John’s brain that controls fear is broken, leaving him afraid all the time. Poor John. I get how he feels.

The Administrator continues with his plotting, forcing the Second Elder to summon the Senior Warrior and tell him to bring the firing key for the disintegrator. Before the Administrator can put it in, however, the Second Elder snatches it. He's killed in the struggle, but not before breaking the key.

Will that stop the Administrator? Of course not. He turns the situation to his advantage immediately, and toddles off to tell the First Elder that his second is dead, and what’s more, his associate saw the whole thing, and has proof of what happened.

Who murdered the Second Elder? The Doctor, of course!

They produce the broken firing key as evidence. His minion claims that the Second Elder was carrying the firing key through the courtyard, where he was set upon by the Doctor, who took something from his jacket and struck the Second Elder dead with it.

To be clear, they’re talking about the jacket that was torn to shreds at the start of the episode.

So the charge immediately falls apart, the mook is arrested for bearing false witness, and most importantly we don't have to sit through some utterly tedious plot of proving the obvious. Thank heavens.

Now the Admin starts up a story accusing the poor dead Second Elder of everything he himself is guilty of, which everyone buys hook, line and sinker. For his loyal service, the First Elder rewards the Administrator with a promotion to Second Elder, for real this time. I’m still going to keep calling him the Admin, however, to avoid confusion. It’d be much more helpful if he was just called Kevin.

John, meanwhile, seems to be on the mend. Gosh, he's actually smiling. Wouldn’t it be nice if mental illness was so easily treated in real life? On the downside (because there has to be one, hasn’t there?), his memory of his time with a frazzled brain is quite fuzzy.

But on the upside, while examining the items left behind by the humans who came to the planet years ago, someone brings up the city Administrator, giving Susan a bright idea. She asks John what it was about the one particular Sensorite he tried to warn everyone about. Something different about his clothes? His…collar?

And the penny drops.

The Admin, meanwhile, has released his minion from prison, and has him tamper with some devices.

The Doctor and Ian report their findings, and announce their intentions to make another expedition into the aqueduct. The Doctor also asks that Barbara be brought down to the planet's surface. I don't know why she didn't come with them in the first place. I can only assume that her actress was unavailable for filming.

They're given weapons, but it's the ones that the Admin had his minion fiddle with. He also manages to get his hands on the plan of the aqueduct that the Doctor is going to be using, and has it altered. Not only will Ian and the Doctor get hopelessly lost, they won’t even be able to defend themselves from whatever they encounter down there.

The First Elder laments over the death of his original second, and realises that if the humans didn't kill him, it must have been a Sensorite. But who? And why?

Carol and John begin to wonder where the Doctor and Ian are. Carol decides to go and see where they're at. Now that John’s better, we can see how smitten he is with Carol. It’s written all over his face.

That’s a pity. He’s going to be so upset when Carol doesn’t come back from her investigation.

A DESPERATE VENTURE

Carol falls into the clutches of the Administrator, who forces her to write to John and tell him that she’s gone back to the ship.

Cut to John reading the letter and not being at all convinced. More importantly, however, Barbara’s back! I’m sure she’ll sort this all out. It can’t be a coincidence that this is the final episode of the serial.

The First Elder agrees the letter is dodgy, but still clings to his belief that no Sensorite would have nefarious intentions, prompting John to very nearly lose his temper with him. It doesn’t really matter what the First Elder believes or doesn’t believe. Carol’s in danger, but they have all the clues they need to find her. The ink on the letter is still wet, so they realise it was written very recently, so it must have been written inside the palace, and according to the First Elder, only one room of the palace would make a suitable hiding spot: the disintegrator room.

Back with Carol, the Admin’s accomplice is being a nasty little git and gloating at her, but who should pop up over his shoulder other than John!

Bear in mind, however, where they are. The accomplice has but to touch Carol with the disintegrator device and she’ll turn to dust. However, while the accomplice’s attention is focussed on John, Carol yanks out the power lead to the disintegrator.

I suppose the Administrator couldn’t find himself a more competent accomplice.

Along comes the First Elder to arrest the minion, and thankfully he’s not so naive as to think this traitor acted alone, as he discusses with our friend the Administrator in a delicious little bit of dramatic irony.

Luckily for the Administrator, his accomplice is a loyal servant who refuses to confess who he’s working with. Unluckily for the minion, the Administrator is perfectly happy to throw him under the bus.

With all this sordid business wrapped up (or so they think) Barbara asks for a map to the aqueduct, so that she can lead a rescue mission for the hapless blokes.

Barbara had better hurry, because Ian and the Doctor aren’t alone in the dark. However, this labyrinth of tunnels has no minotaur– it has a man! Perhaps not all of the first humans to come to the Sensesphere perished, after all.

Back at the palace, Barbara asks to use one of the mind transmitters so that she can communicate with Susan as she travels through the aqueduct. The First Elder is impressed that Susan can psychically communicate without the transmitter. She says she's always been able to read the Sensorites' minds, but only when they allowed her to.

I wonder if, now that we're comfortable with the main cast, the writers of Doctor Who are going to continue building the mystique of the Doctor and Susan. After all, this whole adventure started because they were mysterious, and because Ian and Barbara were nosy. Who knows what sort of things might start coming out about them, and what new questions might come up?

In a quiet moment as Barbara prepares to leave, Susan and the First Elder get time to talk about more personal matters. The First Elder can sense that Susan is torn between wanting to go home, and an insatiable wanderlust. Susan hasn’t seen her home planet in ages. The sky is a burnt orange at night, and the leaves on the trees are silver. It’s definitely an alien world. And a beautiful one, by the sounds of it. I hope we get to see it.

Ian and the Doctor continue blundering around the aqueduct, and soon run into more company, although the Doctor doesn't immediately realise it, because he's too busy enjoying the sound of his own voice.

Barbara arrives at the entrance to the aqueduct, and takes the opportunity to test out her long-distance communication with Susan. It works, but Susan asks that she say her words aloud as she thinks them. It makes it clearer for her, she says. Cheers, Susan. It’s a lot clearer for me, too. I don’t understand the language of slide-whistles, or whatever they’re using to make the psychic sound effect.

Oh, we've got yet another human living in the aqueduct. It would appear that Ian and the Doctor have stumbled upon the three humans who were presumed to have perished in the spaceship explosion. This last human is known as the Commander, but he doesn’t look like one. He’s certainly not any cleaner than the others, to say nothing of his posture.

It seems these chaps are the culprits in the whole matter of the poisoned water supply, poisoning the supply to random sections of the city at random times using a logic only they can follow. For some reason, they think they're at war with the Sensorites.

Hold on a moment. They’re performing chemical warfare on a civilian population with the intent of destroying said population. I suppose we don’t have the Geneva Convention in the future?

The Doctor and Ian lie that the war is won and the planet is theirs. Unfortunately, the Commander gets quite defensive when Ian mentions the richness of the planet’s resources, fearing that he might get cheated out of his spoils. It looks like things might get quite nasty, and then to add the cherry on top, Barbara turns up with John. It takes some quick talking and faster thinking from the Doctor to get them all out of this mire and out of the aqueduct, where the Sensorites are waiting to take the ragged humans into custody.

With everyone safely back at the palace, the First Elder sadly laments that their minds must have been broken from all the exposure to the Sensorites’ psychic signals, so they were left playing their little game of war, and the innocent Sensorites of the city ended up paying the price.

And what of the Administrator? The discovery of the tampered map has revealed the Admin's treachery, so he's been banished.

Sadly we don't actually get to see the scene of all his schemes coming crashing down, some satisfying confrontation where everyone reveals themselves to be alive and produces evidence of his duplicity, and he's left with nothing to say before being booted out in disgrace.

I’d give bonus points if he got zapped with the disintegrator weapon which appears to be little more than a jammed Chekhov’s Gun.

Back in the TARDIS, Susan laments that because of the high-frequency signals on the Sensesphere (whatever that's supposed to mean), her latent psychic abilities won't really work anywhere else. Still, she clearly has potential in that area, so the Doctor promises her that they'll see if they can refine her abilities back at home.

Home? Could we perhaps get to see the Doctor and Susan’s homeworld?

It’ll be a wonder if he ever manages to find it with his navigational skills, but I wouldn’t say that to his face.

Not going by his reaction when Ian makes a good-natured quip that at least the human astronauts know where they’re going. He declares he’s going to put Ian off the TARDIS. I’ll believe it when I see it.

Touched a nerve, eh, Doc?

Final Thoughts

Here we are, at the end of another serial. I think the first half of this serial was the stronger, as the exploration of the mental effects of telepathy was more interesting there, but in the second half, the Sensorites just stick John in a machine to fix his brain and that’s that.

Also, I know the earlier humans had been mentioned before the reveal, and that the Sensorites weren’t sure what had happened to them, but I liked my own personal theory on what was happening with the poison better than the actual explanation.

A bunch of humans running around in the aqueduct like Gollum, fighting an imaginary war against the tricksy Sensoriteses? It’s not that it doesn’t make sense. It does, it makes perfect sense. It’s also just not terribly interesting.

Now, consider this: what if this had turned out to be the Administrator’s doing?

Nothing seemed to really be made of the fact that there’s a caste system in this society. Sure, we have the word of the elders that everyone’s happy in their place, but I’m sure that’s been the majority opinion of the ruling class in every heavily stratified society ever. It would not have surprised me one bit if it had turned out that the Administrator was targeting certain sections of the city in order to keep the hierarchy in place. Dark, yes, but thematically fitting.

Frankly, the ending was a bit naff. The humans in the aqueduct are introduced and dealt with too quickly for it to feel at all satisfying. There was justice for the Administrator, but I like to actually see events happen on-screen rather than just be told about them.

One more comment before I start saying nice things:

There are quite a few obvious line flubs in this serial. Did they genuinely run out of budget to reshoot, or at least over-dub?

Okay, now I’ll be nice.

As I said before, I liked the first half better than the second, but that was a really solid first half. I also got quite attached to the minor characters, which I don’t often. Especially John.

Though some opportunities were missed, there was some intelligent writing in this serial, with real consideration being given to the negative effects of mind-reading. It could be a public service announcement from the future against the perils of careless telepathy. And, as I believe I mentioned in my last review, I liked the bit of (intentional or not) societal commentary in how the astronauts treated John before he got treatment for his affliction.

It was also exciting to learn a little bit about where the Doctor and Susan come from, and I’m eager to learn more, hopefully sooner rather than later. Not too soon, though. That’d take all the fun out of speculation. Maybe they’re from a future Mars colony? They do look human, after all, and are from, as Susan put it: “…Another time, another world.”

This was an enjoyable enough serial, but I don’t think I'd have any particular urge to watch it again (if it is ever rerun). Still, I’ll be happy to watch more offerings from Peter R. Newman in future.

Until next time, then!

3 out of 5 stars


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[July 12th, 1964] Mind Over Matter (Doctor Who: The Sensorites [Part 1])


By Jessica Holmes

Can I admit to something silly? I am a little bit scared of mind-readers. Don’t get me wrong, I don’t actually believe in telepaths. Then again, who knows what sort of freaky experiments certain entities get up to.

I just think the idea of someone reading my mind, or even manipulating it, is one of the most horrifying concepts out there.

And it looks like Doctor Who agrees with me.

STRANGERS IN SPACE

Before setting off on their next adventure, the companions take a moment to reflect on how far everyone has come, in the literal and metaphorical senses.

"Yes, it all started out as a mild curiosity in a junkyard, and now it's turned out to be quite a…great spirit of adventure!"
The Doctor

Nice quote aside, the conversation feels a bit like it was yanked out of a children’s television programme, where the viewer needs the moral of the story spoonfed to them. It doesn’t belong at the start of this serial, for another thing. It just feels wrong for the pacing. We should be diving head-first into an adventure, not cautiously dipping a toe.

After stumbling over that scene, we can at last slide into the next adventure. Where has the TARDIS landed? A spaceship! And what should they find but a dead bloke slumped by the controls.

Bodes well, doesn't it?

There's another crew member nearby, also dead. Both are still warm.

Sensing danger, the companions turn back to the TARDIS, when the dead man suddenly moves.

The not-so-dead man grunts out a request for an unknown device, which revives him within seconds. He tells Barbara to use it on the dead woman, Carol. The man, Maitland, explains the device is a heart resuscitator, and that they weren't dead, just very deeply asleep.

Maitland explains that they’re orbiting a planet called the Sensesphere. Its people have been preventing them from leaving this region of space. How? By controlling their minds. Whenever the astronauts have tried to get past them, the Sensorites have used the control they have over the astronauts' brains to put them into a death-like sleep.

While he explains, we cut away to see a mysterious hand probing at the keyhole of the TARDIS, before waving an unknown device in front of it.

When we cut back, Barbara catches a whiff of something burning, and by the time we return to the TARDIS, the device has managed to extract the lock, as the Doctor and company discover a few minutes later, when they attempt to leave before running into any trouble. That’ll be the day.

No time to worry about that now, as the ship begins barrelling towards the surface of the Sensesphere. It’s only with the Doctor’s intervention that the ship doesn’t go smashing into the surface of the planet, leaving Maitland to wonder why he couldn’t do anything to stop it.

The Doctor postulates that it was the Sensorites' doing; an exercise in fear, to remind everyone that they could take control of their minds and kill them with ease, if they wanted to. However, it seems that the Doctor and his companions are immune to their influence.

Puzzled, the Doctor asks the astronauts if they've ever seen any of these Sensorites. Carol informs him that John, the third member of the crew (who we have yet to meet) has. However, when the Doctor expresses his desire to talk to John, he’s firmly shut down by Maitland.

Susan and Barbara go off to look for a drink, but someone closes the door behind them, and it’s not long before they find themselves trapped with a man who we can only presume must be John. The fellow doesn’t look particularly well as he shuffles about, blank-faced and glassy-eyed.

When Ian wonders aloud where the women have got to, the astronauts dart for the doorway Barbara and Susan just went through, but find it locked. They remark that they should have warned them. That your crewmate is a zombie? Yeah, probably worth mentioning!

Carol admits to Ian that John's brain has been pretty much turned to mush by the Sensorites. He gets violent sometimes, and is frightened of strangers.

This doesn’t bode well for Barbara and Susan, who have just been cornered by him. Rather than attack them, however, he breaks down in tears and asks who they are. Barbara, he says, looks like his sister. Have they come to help him?

Oh, poor bloke.

He's clearly just frightened and upset, so being decent human beings Barbara and Susan do what they can to comfort him.

I sense a metaphor here for the treatment of the mentally ill. Think about it. The other astronauts have locked him away, they're terrified of him, thinking him violent, when the poor chap is just scared, confused and unhappy.

A god-awful noise distracts the others from their attempts to break through the door, probably for the better. The last thing John needs is any hostility. There's something outside the ship, approaching fast.

Here come the Sensorites.

A pretty good start to the serial, with a nice build of tension and dread. Interested to see where it goes from here. 3.5 stars out of 5.

THE UNWILLING WARRIORS

Everyone tries to remain calm, but the astronauts seem a bit too good at it. They're completely frozen.

John breaks down again and starts speaking in response to an unseen voice. He's refusing to do something for them. To frighten Barbara and Susan. But why do the Sensorites want him to frighten the women?

It seems that the key to resisting the Sensorites is not allowing yourself to give in to fear. Fear opens the mind up to their influence, and that’s why our companions have been able to resist the Sensorites thus far. With everything they’ve been through, they’re hard as nails.

Susan suggests that she and Barbara could try using their minds to help resist the Sensorites. They have to be thinking in unison, and concentrating hard. To my surprise, it actually works, but the mental exertion makes Susan faint. It looks like she was doing most of the psychic heavy-lifting, as the Doctor discusses with Carol, once they manage to get the whole group back together.

He mentions it might be possible for Susan's thoughts to resist the Sensorites. Now, it's interesting that he specifically singles out Susan, not Barbara. Does Susan have an increased level of psychic ability? Why? How different exactly are the Doctor and Susan from the rest of the companions?

Meanwhile, Maitland and Ian are worrying about John, and trying to figure out why he bore the brunt of the Sensorites’ attack. Ian suspects that, as the ship’s mineralogist, John discovered something the Sensorites wanted to keep secret.

And now it's time for the science lesson, because there is probably someone at the BBC who is paid to come into the production offices of Doctor Who every so often and remind everyone that the programme is supposed to be educational.

The lesson doesn't get far before Susan tells Ian that she knows what a spectrograph is.

The Doctor takes a closer look at the spectrograph, and has a eureka moment. John found molybdenum.

We get another science lesson as Ian explains the properties of molybdenum, mainly its very high melting point, which makes it highly valued in certain industries. And the Sensesphere is a veritable goldmine of the stuff.

At his proclamation, there's a psychic attack, rendering the astronauts helpless, and Ian and Barbara go to look for the attackers.

After a long scene of them walking through the ship that feels like it goes on forever, they find the aliens. However, the Sensorites don’t attack, and once everyone’s calmed down, Ian figures they were probably as scared of him as he was of them.

Susan begins speaking to an unheard voice. Apparently the Sensorites have made contact, and are asking if they can talk. The Doctor agrees, as long as the Sensorites do them no harm.

The Sensorites reveal that the reason that they won't let the astronauts leave the Sensesphere is that humans have been to the planet before, bringing with them a terrible affliction. They won't let it happen again. However, knowing that this isn’t an ideal situation, the Sensorites have prepared a place for the humans to reside on the Sensesphere, where they’ll be well looked after, and everyone will be safe.

To be honest I think that’s fair enough, though it would have been helpful if they’d just explained that earlier. You’d think people with telepathy would be better communicators.

The Doctor doesn’t agree, however. He just wants the lock to his TARDIS back. Or else. That’s not a threat, but it is a promise.

The Sensorites go away to think about it. While they're making their own plans, the Doctor figures that they probably can't see in the dark, because their eyes were fully dilated in the full light of the ship’s bridge. I’ll take his word for it.

However, the Sensorites have another mental chat with Susan, and to everyone’s surprise, she declares that she’s made a deal with them. She’ll go with the Sensorites down to their planet.

In return, they won’t kill everyone else.

The serial is continuing strongly. 4 stars out of 5.

HIDDEN DANGER

This is why you don't accept lifts from strangers.

Ian and Barbara promptly go into surrogate-parent mode and leap into action to try and rescue Susan. They offer to talk to the Sensorites, who are resistant; they've had bad experiences in the past where other species have come offering peace, only to turn around and deliver destruction.

With the Doctor also attempting to intervene, the Sensorites contemplate stunning the humans and making their escape. However, before they can do that, Ian kills the lights, leaving them cowering in fear as they’re completely blinded. It’s quite pitiful to watch.

The Doctor tells the Sensorites that he simply want his lock back and to go home, so the Sensorites, the poor, timid things, start communicating with their superiors on the Sensesphere.

Ian wonders if he and Barbara were to use the Sensorites’ telepathy devices, could they read each others' minds? Gee, Ian, that's a bit intimate. At least buy her a drink first. Ian wonders if the Sensorites hypnotised Susan, but Barbara says, (with perhaps a hint of pride) that no, she's just growing up.

The Doctor and his granddaughter butt heads over her decision to go with the Sensorites. I don’t think the Doctor is quite ready to face up to the fact that his granddaughter is becoming more independent and starting to make important decisions on her own.

The Sensorites finally agree to let the Doctor talk to their leader, and at last everyone’s happy. Ish.

Well, everyone except for John. He’s tormented by the voices in his head. He’s so unhappy, I desperately want to give the poor man a hug. Carol is dismayed to see him like this, saying that he might as well be dead. Gee. How supportive. Poor man's desperately unwell and his fiancée abandons all hope. Oh, yes! They were planning to get married!

Before heading down to the Sensesphere, the Doctor interrogates the Sensorites further on why they attacked the astronauts.

They explain that ten years ago, five humans came to the Sensesphere. The Sensorites welcomed them, but the humans' minds were closed off. In time, they quarrelled, and two of them took off, their ship exploding a mile into the atmosphere. The other three, the Sensorites assume, must have snuck aboard, and in their struggle for control of the ship, caused the explosion.

Ever since that day, their people have been dying in greater numbers every year. The situation seems similar to how Europeans brought smallpox to the Americas.

Barbara, Maitland and Carol stay with the ship, and the others go down to the Sensesphere.

Meanwhile, the ruler of the Sensorites argues with his fellow elders about his decision to invite the humans down to the planet. He explains his rationale to them, and it's perfectly sensible. The Doctor’s a man of learning. Perhaps he can help them.

I'd have them go through decontamination procedures and keep them in an airtight room, to be on the safe side.

One of the other Sensorites objects on the grounds that humans are ugly. For one, rude. For two, the ruler observes that ugliness really depends on cultural context. The Sensorites think humans are very ugly, but the Elder acknowledges that the humans could well think them ugly.

Not wrong there, mate. You look like a partially-deflated rugby ball with a bad toupee glued onto the wrong end.

No offence.

Still, the Sensorite leader seems like a nice, very reasonable chap. I like him. It’s interesting to see human-alien relations from the other perspective. It does a lot to underline that the Sensorites are just people. Weird-looking people who can read minds, but still people.

The others are rather uncertain about the Earth creatures, untrusting of them. I think both sides of this discussion have merit. They have perfectly valid concerns about potential aggression.

Well. One of them does.

The other doesn't think they'll be safe until all the humans are dead.

I'd argue with him but I’ve read history books and I know what humans are like.

Upon arriving on the Sensesphere, our companions learn that the Sensorites have a caste system. The Elders think and rule, the Warriors fight, and the Sensorites work and play. Everyone's happy, and some are happier than others, as Ian remarks. The Sensorites don't get his point.

Curious. I’d have thought they’d have a more egalitarian society, what with their advanced technology. Then again, technological advancement does not necessarily equal enlightened attitudes.

Also, is Sensorite the name of the species or just that one caste?

Unbeknownst to them (I do so love that word), one of the Sensorites is preparing an assassination. Once everyone is seated, the humans will be struck in the heart with a disintegrator beam.

Meanwhile, the other Sensorites say they can help heal poor John, who seems to be able to tell if people are good or not. Somehow. He's in good company…for now.

Barbara goes with him, and the others go to sit down. The suspense is killing me!

Before they can be assassinated, however, another Sensorite foils the plot, admonishing the murderous Sensorite. I do with they had names. It’d be much easier to keep them straight.

The Elder confirms the group’s assumptions about how John came to be the way he is. He found out about the molybdenum, got overexcited, opening up his mind, and the Sensorites caught him thinking about human mining fleets coming in to mine the resource, so they decided they had to imprison him. They didn’t mean to drive him out of his mind. They put the others to sleep, but his mind was so open, it was as if they hit him with the psychic equivalent of a bus.

The Elder notes that his guests have been brought different water to him, and orders that some of the better water be brought for them. Isn’t water just water?

Ian, not being too fussy, drinks some of the bog-standard water, and a few minutes later, begins to cough. As we all know, coughing in any story is a sure signifier of doom. Nobody ever coughs unless they’re about to drop down dead.

And I've already worked it out:

  • Fact the first: The Elders do not get the disease that plagues their people.
  • Fact the second: The Elders drink water from a different source to the water the common people drink.
  • Fact the third: Ian had some of this poor-people water.
  • And now Ian is coughing.

Something is polluting the water supply.

They don’t call me Holmes for nothing, you know.

I get to feel clever for figuring it out before the Doctor, who takes forever to notice that Ian sounds like he’s about to bring up a lung. The key to understanding the mystery plague is sitting right next to you, man!

However, he can’t fail to notice when Ian begins to choke, and drops to the floor, unconscious.

According to the Elder, there's no hope. He's dying.

Now look here, Mr. Newman. You are not allowed to kill Ian. I like Ian, and I shall be very cross with you if you kill him.

Some nice character moments in this episode. This is shaping up to be a very good serial. 4 stars out of 5.

Final Thoughts

So, that’s the first half of the Sensorites. Personally? I really like it. It’s already taken us to some pretty dark places, and I have a feeling it’s going to get darker before the end. Telepathy has no real limit to how disturbing it can be; it all depends on how brave the writer is feeling (or what the BBC will let him put on television).

I’m also enjoying the presentation of the Sensorites not as villains, but as people with their own problems and their own perspective. Can they work together with the Doctor and company to solve their problems, or will sinister forces hinder their efforts at every turn?

We’ll have to wait and see.


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[June 26, 1964] Curtain Call (Twilight Zone, Season 5, Episodes 33-36)


by Natalie Devitt

Back in January, it was announced that this season would be The Twilight Zone’s last. In the show’s five year run, Rod Serling’s brainchild has produced more than 150 episodes and brought a new level of sophistication to science fiction and fantasy entertainment on television. Even with some decline in the program’s quality, The Twilight Zone still remains incredibly impressive as a whole — as the series comes an end, the show still manages to deliver some strong performances:

The Brain Center at Whipple’s, by Rod Serling

In The Brain Center at Whipple’s, Richard Deacon of The Dick Van Dyke Show plays factory owner Wallace Whipple, who unveils a new device: the X109B14 automatic assembly machine. If it works as expected, it will eliminate the need for nearly all of his employees, most other machines in his factory, and it also will decrease the number of days needed to complete tasks. Whipple plans to transition into an almost entirely automated factory within the next four months, because he prides himself on the belief that “at Whipples, we only take forward steps.”

Mr. Whipple’s plant manager, Mr. Hanley (M Squad alumnus Paul Newlan), expresses concern about displacing workers in a “heartless manipulation of men and metals”, but Whipple remarks, “that is the price to pay for progress.” Whipple discourages his employees from taking things personally, though one man in particular, a long-time foreman named Dickerson (The Enforcer‘s Ted de Corsia), does take things very personally. Deciding to take matters into his hands, he declares that the X109B14 is "not a machine. It’s an enemy, it’s an opponent."

The Brain Center at Whipple’s is more thought-provoking than it is entertaining. Rod Serling's script revisits some of the themes he explored in his screenplay for Patterns, which aired on Kraft Television Theatre. Despite some strong performances by the actors and Whipple‘s character arc, this episode feels too much like a bunch of one-dimensional men having one-sided conversations.

In addition to the flat characterizations and even flatter dialogue, nothing seems to happen visually, that is unless you count yet another cameo made by Robby the Robot in his second appearance just this season. Further, this episode does not really rank among Richard Donner’s best work as a director on the series, but it is not his worst, either. In any case, I may look back on this entry more favorably with the passage of time, but right now I feel that two and a half stars is all I can offer to The Brain Center at Whipple’s .

Come Wander with Me, by Anthony Wilson

Come Wander with Me is the story of Floyd Burney, a singer also known as “The Rock-A-Billy-Kid.” Floyd is played by Gary Crosby of the very talented Crosby family. His character is on a mission, driving through remote regions, searching for unreleased songs. Unlike folklorist Alan Lomax, Floyd wants to purchase the rights of the songs so he can transform them into hits for himself. Floyd visits a music shop tucked away in the hills, offering to pay “top dollar” for an undiscovered folk song under the condition that the song is authentic. There, he meets Petticoat Junction’s Hank Patterson, who is returning to The Twilight Zone for his third time (see Kick the Can and Ring-a-Ding Girl) playing an old shopkeeper who proves not be very helpful, but all of that is forgotten once Floyd hears the sound of a young woman singing a haunting ballad.

As if in a trance, Floyd takes off by foot, carrying a guitar. He follows the sound of woman’s voice, through the fog, up a hill into the trees. Obsessed with owning the song he hears, he fails to notice some pretty ominous signs as he travels through the woods. He finally comes face-to-face with the young lady he heard singing, Mary Rachel, performed by newcomer Bonnie Beecher. Assuming that everything has a price, Floyd tries to buy the song, but she insists “that song is secret.” Floyd continues to pressure Mary Rachel to sell him the song, which he soon realizes has lyrics that can foretell some pretty tragic events in his future.

The episode starts off incredibly well, but ends up being too predictable, even without the main song’s lyrics. Come Wander with Me’s greatest strengths are without a doubt its cinematography and Jeff Alexander’s song written specifically for the episode. I love how as the song unfolds it becomes like a murder ballad. While the screenwriting leaves plenty to be desired, mainly that it lacked suspense and that it never really answered some questions regarding Floyd’s fate being predestined, the entry was not without some merit.

Some of the scenes in the woods are genuinely spooky. Also, with rockabilly now showing some influence on the music coming out of Britain and some of rockabilly’s promising stars, like Buddy Holly and Eddie Cochran, having died tragically, I found the episode flawed but oddly fascinating. Three stars.

The Fear, by Rod Serling

Trooper Robert Franklin, played by Peter Mark Richman (The Outer Limits episode The Borderland) visits a nearby cabin after receiving reports that its owner, Charlotte Scott, had been telling strange stories about noticing bright lights in the night sky. Appearing as Scott is British beauty Hazel Court, an actress who has performed in a number of my favorite horror films (Terence Fisher's The Curse of Frankenstein and Roger Corman’s Poe cycle).

Having suffered a nervous breakdown not too long ago, Scott convinces the officer that her comments were harmless and just an attempt to “inject something new into the dialogue.” But as Franklin is about to return to his squad car, the two of them hear loud sounds overhead and see bright lights. Both of them rush outside, trying to find the cause, even though Franklin assumes it must have been “a meteor or maybe an aircraft off its course. Those would be rational explanations.”

Franklin’s squad car begins operating without a visible driver and eventually tips over, leaving him unable to radio for help. Scott’s phone is not working, either. It is not long before they start hearing unusual noises on the roof of Scott’s cabin. Franklin heads outside to investigate, only to discovers his car has been returned in its original position. Stranger yet, his car is covered in abnormally large finger prints, presumably left when moving the car back. Franklin concludes that “if they are finger prints, we shouldn’t have any trouble finding our invader, because he must stand better than 500 feet high.”

The Fear succeeds in telling a pretty basic story about two seemingly different characters growing closer as they face an unknown adversary. The episode’s leads are not spectacular but believable. The entry does suffer a little when it reveals what we are led to believe is the being, even though some of the special effects employed in the scene are actually pretty good for a television. The final unveiling is a tad sillier than I imagined, but it does not matter much because at the end of the day, The Fear is well worth the watch, even if Sterling’s screenplay simply rehashes earlier episodes of the series. It earns three stars.

The Bewitchin’ Pool, by Earl Hamner

A mother, played by Dee Hartford (The Outer Limits episode The Invisibles ) and father announce to their son and daughter, Jeb and Sport (Mary Badham of To Kill a Mockingbird) that they are filing for divorce in The Bewitchin’ Pool. The Sharewood children are instructed to pick which parent with whom they want to live. Blaming themselves for their parents' marital problems, the kids promise to “be good” in a desperate attempt to keep the family together. But when that fails to work, the children try to escape their sadness by jumping into the family’s swimming pool. Of course this being The Twilight Zone, it is not an ordinary pool. As Rod Serling’s opening monologue points out, “this pool has a secret exit that leads to a never-neverland, a place designed for junior citizens.”

They go underwater and find themselves in a new place that seems heavily influenced by Hansel and Gretel and Huckleberry Finn. There, they meet an elderly lady named Aunt T., who takes them in and gives them the care that they so desperately desire. After the children have been missing for a while, they hear what sounds like their parents calling them, but Auntie T. tells them, “Those voices you hear calling, at first, they seem quite strong. But after a while, they fade. Then one day, you just simply can’t hear them anymore.”

The show’s finale was a bit of a mess.  The teleplay is uncharacteristically weak for Earl Hamner, Jr, and that is coming from someone who has always had a soft spot for stories about children who use their imagination to escape reality. I did, however, find it interesting that the kids were given some control to change their lives. I also want to give the show some credit for trying something new with the very noticeable change of tone, and also for having the courage to not shy away from a tough topic like divorce.

The single most disappointing aspect of the entire episode was by far the bad looping used for the character Sport, who is clearly voiced by June Foray (The Rocky and Bullwinkle Show). Then there is the acting, which did not help matters because it featured some unusually bad performances by otherwise capable actors. It feels like a missed opportunity to have done something truly magical. One and a half stars.

Submitted for Your Approval

With the curtain about to fall on The Twilight Zone, I had hoped for one last great episode, but that did not happen. Nevertheless, the last month included two enjoyable episodes, another one with some intriguing ideas — and an entry that is memorable, even if it is for all the wrong reasons. The show was clearly running out of steam towards the end, continuing on a little longer than maybe it should have.

But I somehow doubt that changes how much it will be missed.


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[June 14th, 1964] A Whole Lot Of Heartache(Doctor Who: The Aztecs)


By Jessica Holmes

Friends and enemies, welcome back to another installment of Doctor Who. We’re diving into a pure historical serial today from the pen of John Lucarotti, concerning a fascinating Mesoamerican civilisation with quite the reputation: the Aztecs.

THE TEMPLE OF EVIL

The TARDIS lands in a burial chamber, and Barbara unleashes her inner magpie as she pokes around the grave goods, identifying the remains as belonging to an important Aztec who died around the 1430s. While admiring the grave goods, Barbara puts on a pretty bracelet she finds. That’s called stealing, Barbara. I don’t think he’s been dead long enough for it to count as archaeology.

Barbara exits the tomb onto a rather impressive set, showing us that we’re high above an Aztec city (possibly Tenochtitlan), presumably at the top of a pyramid. This is a bit curious, because as far as I’ve been able to find out, the Aztecs didn’t entomb their dead in their pyramids. Yes, I am going to continue being this pedantic through the entire review. No, I’m not sorry. You have been warned.

However, Barbara doesn’t get far before running into an Aztec priest.

The others emerge from the tomb and wonder where Barbara is. While they’re wondering, the door closes behind them, so they can't get back to the TARDIS. This does seem to happen a lot. You’d think the Doctor would get into the habit of parking in a more accessible location by now.

They’re met by a pair of priests, and in a pleasant surprise these holy men are downright friendly to the newcomers. I suppose it's too much to ask for authentic casting here. These priests are Tlotoxl, high priest of sacrifice (and also hammy acting, glorious hammy acting), and Autloc, high priest of knowledge. The Doctor is immediately suspicious of them, but the gang follow along and soon reunite with Barbara, who is a god now.

Don’t you just hate it when that happens? Put on a bit of bling and suddenly it’s all ‘hear my prayer’ and ‘please accept this sacrificial goat’.

Joking aside, the Aztec priests, having witnessed Barbara emerge from a sealed tomb with that stolen bracelet on, have come to the conclusion that Barbara is a goddess: Yetaxa.

I’m pretty certain that there is no Yetaxa in the Aztec pantheon, but who am I to argue with the chaps with the obsidian daggers?

Unable to get back to the TARDIS, the companions realise that they're going to have to keep up the ruse for as long as it takes to find a way back into the tomb, which doesn’t open from the outside.

Ian finds himself being groomed to lead the Aztec army. He is a servant of a god, after all. Who better to lead the mighty army of the Aztecs? Well, a man called Ixta, for one.

Ixta’s trained his whole life to be a warrior. He’s strong, he’s fearless, and he’s clever.

Ian is a science teacher.

They’re a little mismatched is all I’m saying.

Meanwhile, Autloc takes the Doctor to the Aztec equivalent of the old folks' home, where people in their golden years go to live out their days in peace and tranquility, doling out wisdom to any visitors. While exploring a lovely terrace garden, the Doctor takes a shine to a lady called Cameca, and the two get to talking about the architecture of the garden, and the pyramid it’s built upon.

Ian arrives to interrupt their nice little chat. He's not enjoying his time here nearly as much as the Doctor is. Why? Because there’s a drought on. You know what that means. Human sacrifice time!

To his shock, the Doctor urges him to just go along with things, both to maintain their cover, and not to interfere in the religious practices of the Aztecs. Easy for him to say, really. He’s not the one who’s going to get covered in blood.

In this sacrifice, however, Barbara sees an opportunity to flex her godly muscles. She’s a goddess, right? And everyone has to obey a goddess. Her idea is that if she can enact social change and eliminate the more disturbing aspects of Aztec society, by the time Cortez arrives they'll be perfect angels.

Perfect angels, Barbara, who will still be all but wiped out, either by the sword of the Conquistador in his lust for land and gold, or the uncaring indifference of smallpox.

I suppose her heart’s in the right place.

“You can’t change history. Not one line!”
The Doctor

Barbara doesn’t heed the Doctor’s warning, however, and when the time comes, she calls a halt to the sacrifice.

The victim, however, isn't grateful for the reprieve. By stopping the sacrifice, Barbara has denied him honour. Accounts suggest that many Aztec sacrifices weren’t just willing, they were eager for the honour of going to meet their gods.

Then again, the Aztecs did also like to sacrifice conquered enemies by the thousands. I don’t imagine they were quite so enthusiastic about the whole ordeal.

The victim, having been denied the obsidian blade, takes matters into his own hands as he flings himself off the pyramid. And lo! With death came rain.

And with this, Tlotoxl comes to an inescapable conclusion: whoever Barbara is, she’s no god. And for that, he shall destroy her.

A pretty good start to the serial, all in all, but nothing that really made me go ‘Wow!’. 3.5 out of 5.

WARRIORS OF DEATH

We pick up where we left off, and the high priest of scenery-chewing reaffirms his declaration that he shall see Barbara destroyed.

The Doctor and Barbara argue over her intervention, and how much danger it's put them in. The Doctor points out the victim wanted to be sacrificed, but Barbara wanted the Aztecs to see that the rains could come without it. The Doctor briefly loses his temper, upsetting Barbara. Realising what he’s done, he apologises for being harsh with her. I absolutely love this scene. There’s something so wonderfully human about it the emotions here. The anger, frustration, desperation, distress, remorse. It’s wonderful.

The Doctor goes off to meet with Cameca, leaving Barbara to verbally spar with Tlotoxl, who tries to trick her into revealing her lack of divinity. However, Barbara’s sharp wit parries every one of his jabs.

Meanwhile, Ian's with Ixta, and he has a trick up his sleeve; or rather, at the end of it: his thumb.

By pressing his thumb into the back of Ixta’s neck, Ian manages to knock him out cold.

I want to know both how he can do that, and how to do it myself. It’d come in handy. My brother can be quite annoying sometimes.

Ixta is humiliated, but he has one chance left to prove himself: a duel with Ian, at sunset.

Meanwhile in the garden, the Doctor enjoys the company of Cameca very much. For all his early causticness, it looks like the Doctor’s becoming a bit of a softie.

Cameca arranges for the Doctor to meet with the son of the architect who designed the pyramid. As it turns out, it’s Ixta! He agrees to meet the Doctor, and cryptically remarks “What better way to destroy your enemies than to let them destroy themselves?”

Sounds rather Sun Tzu.

Susan, meanwhile, is learning how to be a good Aztec housewife. It is not very interesting. I’m not going to even ask how she’s reading Aztec writing, let alone apparently speaking fluent Nahuatl.

Ixta tells the Doctor about his upcoming fight, but leaves out the fact that it's to be against Ian. Assuming that he wins, he’ll bring the Doctor the plans for the pyramid after the fight. In order to ensure Ixta's victory and continued assistance, the Doctor offers to help him. He gives Ixta a little concoction: a cactus spine stuck into a leaf. Impressive. The poison won't kill his opponent, but it'll slow him down.


Don’t look quite so pleased with yourself, Doctor.

When the Doctor tells Barbara what he’s been up to, he’s shocked to discover that he’s actually helped sabotage Ian’s chances of victory against Ixta. However, he’s unable to warn Ian in time, and in the heat of the fight, Ixta pricks Ian with the cactus spine.

The poison overcomes Ian, and he’s completely helpless as Tlotoxl urges Ixta to finish him off.

It looks like Barbara’s going to have to cook up a bit of divine intervention.


Just look at this costume, though. Isn’t it marvellous?

This was rather a good episode, possibly my favourite of the serial. 4 out of 5.

THE BRIDE OF SACRIFICE

Real or pretend, it’s a bad idea to mess with Aztec gods.

Sadly, Barbara doesn’t have the ability to call down bolts of lightning and start smiting people, but she finds herself the next best thing: a knife. With the dagger pressed to Tlotoxl’s throat, Barbara orders Ixta to leave Ian alone, or she’ll kill the high priest.

With Ian safe, Barbara talks with Autloc, who seems to be coming around to her way of thinking. In a few days there’s to be a sacrifice to the sun god, as there’s going to be an eclipse, and only blood will bring back the sun.

Ian wakes up from his little drug-induced nap to find Ixta standing over him with a knife, which is mildly alarming. Luckily, Ixta doesn't fancy killing him right now. He'd actually like to be friends, at least for the little while Ian has left to live. Next time, Ixta will kill him. Nice bloke.

Along comes Tlotoxl. He asks about the drawings Ixta has agreed to show the Doctor. It turns out he never had them! The secrets of the tomb died with Ixta’s father.

Back at the garden, Cameca's got some cocoa beans. The Doctor proposes that they take a cup of cocoa together. From the way she reacts, I think we're headed for a misunderstanding straight out of a romantic comedy.

…They do make a cute couple, though.

Ian sneaks up to meet Barbara and warns her that Tlotoxl is up to no good, as if she couldn’t have already guessed. In their conversation, Ian tries to convince Barbara that Autloc is the outlier among the Aztecs because he’s ‘civilised’ and not as eager for blood as the other Aztecs they’ve met. Um, what about Cameca? She seems nice and normal.

The conversation just leaves a bit of a bad taste in my mouth. Don’t get me wrong: the Aztec rulership and priesthood were incredibly cruel; it’s a big contributor to the neighbouring tribes turning on them with the arrival of Cortez. I just don’t like writing off an entire culture as Evil.

Along comes Tlotoxl, all smiles and friendliness, to offer Barbara a drink.

Barbara orders Tlotoxl to drink first. When he refuses, she flings the poison at his feet. He admits that he was trying to test her, and, furious, Barbara lets him in on her little secret. She’s not Yetaxa. She’s not any kind of goddess. But it’s her word against his, and if he tries any more funny business, she can have him killed.

Well, this has all taken a rather dark turn, hasn’t it? Let’s see what the Doctor’s up to.

The Doctor makes Cameca a nice cup of cocoa, but when Cameca delightedly says that she accepts his proposal, the look on the Doctor’s face is a joy to behold. Whoops!

Still, we can’t really blame the Doctor for this misunderstanding, and must instead shake our fists vigorously at whoever did the historical fact-checking here, because that’s not how the Aztecs proposed marriage. Marriages in Aztec society were arranged between the families of the couple-to-be, facilitated by an elderly female matchmaker.

I’m willing to forgive this outright fabrication, however, because it’s hilarious. And apparently the Aztecs did sometimes use chocolate as an aphrodisiac, so it’s not that far off.

Our two lovebirds retreat to the garden, where Cameca gives the Doctor a medallion with the seal of Yetaxa. It was given to her by Ixta’s father, who used to be in love with her. Oh my!

The Doctor shows Ian the medallion, and tells him of his suspicion that there's a tunnel linking the tomb and the garden; both have Yetaxa's seal on the walls. Oh, and he casually mentions his engagement. Ian's reaction is priceless.

The night before the ritual, Ian gets up, and sneaks off to the garden. However, he doesn’t go unnoticed.

Ian helps the Doctor pry open the seal on the garden wall, revealing a secret tunnel into the pyramid. Ian goes in to have a look, but while he’s in there, along comes Ixta, who blocks off the tunnel.

If that wasn’t bad enough, Ixta reveals another piece of information about the construction of the pyramid: these tunnels are used to carry water. A pretty impressive feat of engineering, but bad news for Ian! They’re bone dry at the moment, but not for long…

Uh oh.

This episode isn’t quite as good as the previous, but the hilarity of the accidental proposal makes up for the shortcomings. 3.5 out of 5.

THE DAY OF DARKNESS

Ian manages to lift up a slab in the ceiling and crawl through before the water takes him. Did you really think they’re going to kill off one of the main characters?

The Doctor begs Ixta to open the wall, admitting that Ian is in the tunnel. Ixta just laughs and walks off, leaving the Doctor thinking he's just got Ian killed.

On the contrary, Ian’s found his way into the tomb! He wastes no time rigging up some leather straps so that the door can be levered open from the outside.

Exiting the tomb, he runs into Barbara and the Doctor, who are very relieved to find him alive and well, if a bit dusty. All they need now is to get Susan and go, so Ian goes to look for her.

However, Tlotoxl has put Susan under Ixta's watchful eye. Ixta tells Susan that Ian is dead. We know better, but what Ixta doesn’t know can certainly hurt him, as Ian sneaks up from behind and subdues him with the old back-of-the-neck trick.

Off they go to leg it back to the TARDIS, but it seems that levering the tomb open is easier said than done. The door is just too heavy.

Ian and Susan head off to try the tunnel again, so that they can let the Doctor and Barbara through the other side.

However, on their way to the garden, they find Autloc on the floor, injured, and beside him is Ian’s club. He’s been framed! As Ian and Susan are hauled off, Autloc declares them servants of a false goddess. Our companions are fast running out of Aztec allies.

Up at the garden, the Doctor is whittling a wheel. He has an idea about making a pulley system to get the door open. The Aztecs don’t have the wheel, so he has to make his own. Cameca offers to intercede on Ian’s behalf. I like Cameca, and I like her dynamic with the Doctor. It’s a very nice relationship.

This makes it a bit confusing, then, when Cameca and the Doctor discuss the Doctor’s hopefully imminent departure. It’s rather cold and wooden, whereas their other scenes have been very warm and genuine. Maybe it was an attempt to show the pair of them putting on a brave face? I don’t know. I don’t know whether it’s the acting or the writing or what it is, but the scene doesn’t really work for me.

Autloc gives Cameca a Special Shiny Thing which basically represents all his wealth. She’s to give it to the man guarding Susan, in order to turn his head. Then, Cameca is to escort Susan up to the temple. Autloc, for his part, has a lot of thinking to do about his life choices, so he decides to leave the city and become a hermit.

We’ve all been there, Autloc.

The guard takes a while to think about the bribe, so Ian makes his mind up for him and clobbers his neck.

Cameca and Susan make a break for it, while Ian starts stripping the guard.

Cameca arrives at the tomb with Susan, and the Doctor sends her away. This farewell is a bit sadder and more sincere. Cameca only asks that the Doctor should think of her.

Let’s try not to think about what the likely consequences are for Cameca’s aid to the false goddess and her servants.

The ceremony arrives, and Tlotoxl tries to kill Barbara. However, he should have taken a closer look at the guards first, as one of them turns out to be Ian! Tlotoxl calls for Ixta’s aid, and it’s time for the ultimate showdown.

They fight atop the pyramid and unfortunately there are so many close shots that it's really hard to tell what's going on. That is, until Ixta has Ian on his back at the top of the steps. As Ixta goes to make the killing blow, Ian succeeds in throwing him off balance, sending Ixta tumbling down the deadly steps of his father’s pyramid.

Victorious, Ian rejoins the others, who have managed to get the tomb open with the Doctor’s pulley system. They all rush inside, and the Aztecs turn up too late to stop them.

Tlotoxl allows them to go. The eclipse has arrived, and the victim’s heart isn’t going to rip itself out.

Inside the tomb, Barbara is depressed about failing to save the collective soul of the Aztecs, and making Autloc doubt his faith. The Doctor tries to reassure her. She couldn’t save them all, but at least she saved Autloc.

It’s not really much comfort, is it? The sacrifices are going ahead, a good man has had his life ruined, goodness only knows what’s to become of Cameca, and in a few short decades, this civilisation will fall, and the native population of Mexico will decline over the following century by as much as 90%.

With a sense of defeat, the companions head off in the TARDIS once again, but it looks like they aren’t safe after all. The ship starts to make a funny noise, and one set of instruments says they’ve stopped, but another says they’re moving.

How can this be?

Perhaps they’ve landed on something.

Or…

In something.

Not a bad one, but lacking the intrigue of the earlier episodes, and a pretty lacklustre climax, I think I have to give this 3 out of 5.

Final Thoughts

In editing down the frankly absurd word count I had for the initial draft of this review, I found myself having to excise commentary on entire plot threads in order to get the article down to a reasonable length. It was while doing this that it occurred to me, that as I could excise these scenes from the review, a lot of them could have been taken out of the serial itself, and the story still would have made sense. There’s a fair bit of wheel-spinning (well, the Aztecs didn’t have wheels, but you know what I mean) in this serial. A lot of quite similar scenes keep popping up. Barbara talks to Autloc about human sacrifice. Tlotoxl tries to unmask Barbara as a false god. A companion is arrested, and released a scene or two later. I cut some of these out of the review because they just didn’t go anywhere.

That’s not to mention the many scenes where characters discuss in detail their plan to do something or other, then are shown doing that something or other. It just seems redundant. Just show the latter.

There’s clearly a lot of interest in Aztec culture on display here, though I do think there’s more interest in the more bloody aspects of Aztec culture and religion than there is in the more mundane side of things. That’s a bit of a shame, really, because I like seeing the aspects of a society that are often left out of the popular narrative. However, the Aztecs as depicted here are certainly interesting, so I hope that this serial prompts a young lass or lad to crack open a history book– provided that their parents let them watch the story in the first place!

That’s about all I have to say on The Aztecs. I hope you enjoyed my rambling and armchair history, and I’ll see you next month, when I’ll be reviewing the first part of the next serial of Doctor Who.

My overall rating: 3.5 out of 5 stars


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[May 28, 1964] Down to the Wire (Twilight Zone, Season 5, Episodes 29-32)


by Natalie Devitt

It is that time of year again. The days get longer, the weather gets warmer. For me personally, given that I work in education, things get pretty intense in that crazy race to the end of the school year. Also, this time of year, everyone’s favorite television programs usually go on hiatus. In the case of The Twilight Zone, it sounds as if their break from filming is expected to be permanent. Sure, the show is not quite what it used to be, but that still makes it better than your average television; I can only criticize it for setting the bar so high. As one of the few programs that I still make the time to follow regularly, I find myself not quite ready to give up the ritual of watching it. Luckily, we still have another month ahead of us. So, before I get ahead of myself, it is time to review the episodes this past month, to see which entries made the grade.

The Jeopardy Room, by Rod Serling

Martin Landau pays a visit to The Twilight Zone for the first time since Mr. Denton on Doomsday. In The Jeopardy Room, he portrays Major Ivan Kuchenko, a defector fleeing the Soviet Union after years of imprisonment. While hiding out in a hotel room located in a neutral country, he receives a strange phone call: on the other end is Commissar Vassiloff, who has followed Kuchenko, and is watching him through his hotel window from a building next door. Dutch actor John van Dreelen plays Vassiloff.

Following a brief conversation, Vassiloff decides to grace Kuchenko with his presence. During their visit, Vassiloff confesses, “You possess information that we would find embarrassing to have released elsewhere. So, it is not really to our advantage that you leave here.” But Vassiloff does not plan to simply kill Kuchenko. Thinking of himself as “the last of the imaginative executioners,” he turns the whole thing into a twisted game.

Vassiloff convinces Kuchenko to partake of some wine, which has been laced with an unknown substance. Kuchenko almost immediately collapses on the floor. When he regains consciousness, Kuchenko finds a tape recorder with a message informing him that while he slept, a bomb was hidden in his room. Kuchenko is warned that, “It is not visible, but it is attached to a very common object. If you trigger this object, it will be immediately blown up.” If he disables the bomb within a few hours, he is free to leave. If he turns off his lights or tries to escape, Vassiloff will not hesitate to have one of his men shoot and kill Kuchenko. In this race against the clock, will Kuchenko make it out alive?

The Jeopardy Room offers a break from the science fiction or fantasy stories. It is more like a slick thriller than your usual The Twilight Zone fare. Like most entries in the series, all the actors deliver fine performances, though I must admit that I was a little disappointed by Landau’s accent. Most of the episode takes place in one room, but because it is photographed with so much style, you barely notice it. The ending, while not totally unpredictable, is enjoyable if you do not take it too seriously. Overall, The Jeopardy Room earns a pretty solid three stars.

Stopover in a Quiet Town, by Earl Hamner, Jr.

Nancy Malone follows up a terrific role in The Outer Limits’s Fun and Games with Sleepover in a Quiet Town. Her character, Millie, and her character's husband, Bob, wake up one morning after a wild night spent partying in what they believe to be a quiet suburb. Mary Mary's Barry Nelson plays Bob. Neither one of them remembers how they drove there, but slowly they begin to notice that things seem a little off. At breakfast, all they can find is artificial food. When Bob tries to make a phone call, the phone comes right out of the wall.

When Millie and Bob venture outside, they find that they are in a ghost town. The couple discover fake animal and plant life. They listen for birds chirping, but all they hear is the sound of a little girl giggling, wherever they go. One of them assumes that the residents in small towns prefer to “peek from behind curtains.” As Millie and Bob continue to look for additional signs of life through all the artifice, all they notice is the constant sound of the child's laughter. The couple assumes there is an explanation for what they are experiencing, but what could it possibly be?

The episode’s script does not waste time getting started or setting things up. The audience does not see the party. What they see is a married couple waking up to a nightmare the morning after. If this month’s The Jeopardy Room did not quite feel like The Twilight Zone, Sleepover in a Quiet Town could not be more representative of the series, in terms of content and quality. The two leads are quite believable in their roles. Things wrap things up quite nicely at the end, and if someone has an idea of where the story is headed, that does not diminish how much fun the journey is. Sleepover in a Quiet Town does not break any new ground, but it is well-executed, which is why it receives three and a half stars.

The Encounter, by Martin M. Goldsmith

Neville Brand of Birdman of Alcatraz stars as Fenton, a veteran of World War II. While rummaging through his old stuff in his attic, a Japanese gardener named Taro comes to Fenton’s house, at the recommendation of a neighbor. In the role of Taro is George Takei, who has appeared on other programs like, Playhouse 90 and Perry Mason. The two men have a brief discussion about Taro maintaining Fenton‘s yard, which leads to Taro agreeing to help Fenton clear out some junk .

During their time together, Fenton reveals that he served in World War II. He also shows Taro a samurai sword from his war days, which reads, “The sword will avenge me.” But Taro, born in the United States, pretends not to speak Japanese. Fenton, all friendliness above a barely concealed racial contempt, invites Taro to share some beers. When Fenton leaves the room for a moment and returns to find his sword missing, he accuses Arthur of having stolen it. Tensions rise as the two men are stuck together in the attic, recalling their painful memories related to the war.

Most of the episode’s acting is decent, but the performers cannot save it from its writing. I hate complaining about Martin M. Goldsmith‘s script, because he also wrote 1945’s Detour, which is a fantastic movie. Then again, he also wrote the earlier episode What‘s in the Box, which I was not really a fan of. Anyway, the narrative to The Encounter starts off fine, then gets progressively worse as it goes on. The sequence of events often involves things like drinking beer, getting upset, drinking some more beer, then getting upset again. The whole thing made me feel like I was a rollercoaster ride that I could not get off of. The conclusion was also pretty disappointing. At the end of the day, I respect the show for having the courage to do a story like this. I realize that tackling such sensitive subject can be difficult to get right. But with The Encounter being far from a masterpiece, two stars, which mainly go to its actors, is all I can award.

Mr. Garrity and the Graves, by Rod Serling

Character actor John Dehner plays the title character in what is his third appearance on show, Mr. Garrity and the Graves. The scene is 1890 in a place called Happiness, Arizona, into which Garrity rides in a horse-drawn carriage. Shortly after arriving, Garrity visits the local bar, where he meets a bartender, who inquires about his occupation. Garrity tells him, “I bring back the dead.” Of course, it is not long before the news about the mysterious stranger spreads all over town.

When Mr. Garrity returns to the bar, he is asked by the townspeople about his profession, but he says he does not care to share the secrets of his trade. But around this time, a dog is killed by a wagon in the street just in front of the bar. Garrity vows, "I shall resurrect that dog!" Sure enough, he brings the dog back to life. He promises to bring back even more of the dead later that night, but not everyone is pleased with Mr. Garrity’s work.

I enjoyed Mr. Garrity and the Graves for the most part, but I must admit that at times it almost goes overboard with all of the hammy performances. This entry combines several seemingly different things — western, humor and horror — to create something pretty unique. The second half of the episode is better than the first half because what this story really excels at is horror. There are twists and turns at the end that stayed with me long after the episode was over. Three stars.

Passing Marks?

With four more episodes behind us, we are now approaching the final stretch of the show. Taking a closer look at the entries from the penultimate month of the series, one failed to meet expectations, two were good, while one was very good. With only one month still ahead of us, things could go any direction. Guess we will just have to tune in to see whether Twilight Zone graduates with honors.


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[May 20th, 1964] Completing The Collection(Doctor Who: The Keys of Marinus, parts 4 to 6)


By Jessica Holmes

We’re halfway through our adventure across the planet Marinus, and we’ve seen some extraordinary sights so far: acid seas, screaming trees and brains with weird eyestalk things. Soon to come is a lot of snow, caves of ice and most extraordinary of all…a courtroom!

Let’s get stuck in, shall we?

THE SNOWS OF TERROR

We rejoin Ian and Barbara freezing on the mountainside. Fortunately for them, a trapper finds them and brings them to his cabin, where he gets them warm drinks and gives Barbara a rather tender hand-rub, ostensibly to stave off frostbite.

I don’t know enough about frostbite to say whether that’s a good treatment or not, but it did strike me as creepy.

I can’t speak for Barbara, but if I passed out on a mountainside, woke up in the cabin of a complete stranger, who then started caressing my hand, I wouldn’t have alarm bells going off in my head, it’d be an air raid siren.

They learn from the trapper that they aren’t the first to come to his cabin. He saw Altos not long ago, and aided him as he went up the mountain to look for Sabetha and Susan.

Off Ian goes to look for him, leaving Barbara with the trapper.

‘There,’ he says. ‘We’re alone.’

Oh, boy. Looks like my misgivings weren’t unfounded. Ian soon finds Altos slumped unconscious in the snow, with his wrists bound.

Back at the cabin, things are getting uncomfortable. Barbara, growing wary of the trapper, finds Sabetha’s chain as she pokes around the cabin, along with a number of wrist dials.

Barbara is ready to defend herself if the trapper tries anything, but she's got nowhere to go, and he has all the time in the world. Is this really appropriate for a family show? It’s giving me a bit of a queasy feeling.

Thankfully, Ian and Altos get back to the cabin just in the nick of time. With the trapper overpowered, Ian forces him to lead the way to where he last saw the girls, who are trapped up the mountain in an ice cave.

The group arrive to find the cave empty, so they head deeper into the labyrinthine passages to discover where Sabetha and Susan have gone. The trapper is reluctant to enter; there are demons in these caves.

Crossing a wobbly rope bridge over a crevasse, Susan and Sabetha come to a chamber, within which is a bunch of what look like medieval knights. Are these the demons the trapper was talking about? They don’t look demonic to me. The second group arrive at the same bridge, and all but the trapper cross over, meeting the girls as they come back the way they came. Hurrah!

You can see where this is going.

The trapper sees an opportunity. Everyone else is on the other side, so there’s nothing to stop him untying the other end of the bridge, leaving the others stranded.

I am shocked, shocked at his betrayal.

The group decide to look for something they can use to make a makeshift bridge, which leads them right back to the cavern with the knights/warriors/extras from the set of Becket.

They're all stood around a block of ice, and in the middle of the ice is the key. That’s handy. Half of the group work on sorting out the bridge problem, while the others see if they can find a way through the ice. Running around the ice block is a pipe which brings up hot water from volcanic springs under the mountain, melting the ice in a jiffy. Funny how these things work themselves out.

However, the key isn’t the only thing to thaw out. The knights wake up from their nap, and advance on the intruders.

Very…

Slowly.

Ian fights to delay the warriors while the others cross the crevasse with the newly-restored bridge, which seems a bit pointless given that I’m pretty sure I could outpace the warriors, and I’m barely mobile!

Back at the trapper’s cabin, he’s admiring his trinkets when the others return to reclaim their property. Fearing the consequences of his actions, the trapper flees, then comes charging back inside, screaming that the devils are on the march, and they're coming here!

The trapper gets his comeuppance at the end of a sword, and with no time to spare, it’s off to the next destination: the inside of a bank vault.

Well, that’s a bit dull.

What’s not dull, however, is what’s in it: the key!

Oh, and also a dead body.

Ian, having arrived alone (why? I’m not sure), notices the key, but as he investigates, someone clouts him over the back of the head, plants a club in his unconscious hand, and steals the key.

I didn’t enjoy this episode as much as the previous few.  It’s fine, but it’s nothing special. A lot of it felt a bit clunky, and in what is perhaps only an important metric for me, but something I weigh quite heavily in my ratings, it wasn’t as fun to write about.

3 out of 5

SENTENCE OF DEATH

Ian wakes up with a hell of a headache to find out that he's not alone. In the vault with him is a man, Tarron. However, this isn’t a friendly wake-up call. Tarron’s an investigator, and Ian’s under suspicion of murder.

Unable to convince Tarron that he didn’t commit the crime, Ian finds himself charged with murder. I was quick to yell at the television that the evidence was purely circumstantial, and do you know what, I think it must have worked, because a moment later Ian says so too.

However, we are on another planet. Here, Ian’s guilty until proven innocent.

Ian’s not totally out of luck. The others manage to find him, and what’s more, the Doctor has been brushing up on the local legal system and will serve as his representative.

Proceedings commence, and no matter where in the universe you go, the officials of the court will always wear very silly head coverings. Proceedings halt a minute later, when the Doctor submits a motion to examine the evidence before proceeding with the trial, which is granted.

I adore a good legal drama, but is the average young member of the audience going to be quite as enthusiastic?

It turns out that the murdered man was Altos' friend. He’d met up with the Doctor earlier. They'd met and arranged to get the key, but for some reason he went early. Someone else must have known about the plan and killed him before he could.

But what happened to the key? If it had been taken from the room, it would have been detected, wouldn’t it?

The Doctor has an idea about who did the killing. The solution lies in the escape plan. Rather, that there wasn’t one. The killer didn’t get away, but instead, pretended to be first on the scene. So, who did the deed? The relief guard, Ayden.

Now they've got to prove it.

Ayden’s wife Kala can’t give them any information, but when Ayden arrives home, he promptly puts his foot in his mouth by denying the amateur detectives’ assertion that they know where the key is hidden.

This is why you don’t talk to any sort of police without your solicitor with you. After Ayden’s dreadful impression of an innocent man and their ejection from the house, Susan and Barbara listen at the door, and hear Ayden strike his wife for having the gall to talk to them.

What a charmer.

The Doctor, relishing his role as lawyer, treats the court to a dramatic opening statement, then calls Sabetha to the stand. He asks if she knows where the key is, and in a clever bit of trickery, she produces one of the other keys from her pocket, bamboozling the audience.

Cue a stunned courtroom, and a flabbergasted Ayden, who Sabetha identifies as the man who gave it to her. He denies the accusation, insisting that she can’t have found the stolen key, before stopping himself with his foot already firmly lodged in his gob. He might as well run around screaming ‘I’m guilty!’

Caught up in his lie, Ayden attempts to flee the courtroom, but the guardians catch him, and as he is about to confess, there’s a bright flash, and Ayden drops down dead.

Have their hopes of finding the final key died with Ayden?

That’s something to worry about later. Let’s keep Ian’s head off the chopping block for now.

The prosecution submits that Ian made Ayden help in his scheme, and killed him to protect the secret. The judges concur, and it looks like Ian’s fate is sealed.

While this is going on, Barbara and Sabetha leave the chamber with a guardian, who delivers a message: there will be another death if they disclose where the key is truly hidden.

The phone rings, and it’s Susan on the other end. She’s in trouble!

This part of the serial had some nice twists and turns, but again I have to say I’m not sure how much a child would be likely to enjoy the courtroom scenes. Also, it rather disrupts the pacing of the story, as all the little adventures up to now have been wrapped up in a single episode, yet this story doesn’t seem to be anywhere near its conclusion.

All the same, I liked it a lot, and I’m the one with the power over the ratings, so I’ll give Sentence Of Death 4 out of 5.

THE KEYS OF MARINUS

With Susan’s life hanging in the balance, Barbara, Altos and Sabetha must find her, ideally before Ian is executed.

Ayden’s widow denies knowing anything and breaks down in tears in a touching display of grief, which ceases the moment they leave. She struts over to the closet, opening the door to reveal Susan tied to a chair. I wasn’t expecting Kala to be involved, to be honest, but that’s what makes it a good twist.

Clever Barbara realises that Kala somehow knew that she’d spoken to Susan on the telephone. But how could she? Barbara never mentioned the call to her, and Kala wasn’t with Barbara when she received the call, therefore she must have been with Susan. Barbara goes dashing back, arriving just in time to stop Kala putting an end to Susan’s short life. 

Things aren’t looking so good for Ian, however. The Doctor is all out of options. While speaking with the prosecutor, complimenting one another on their legal skill, one of the court officials enters the room, bringing the evidence for storage. There's a lingering shot of the murder weapon, the club.

Is it bad that it took up to this point for me to twig where the key is hidden?

Barbara contacts the authorities, and Kala is arrested. However, in her statement she states that Ian was her accomplice.

It’s not over yet. Susan has an ace up her sleeve: she overheard a telephone conversation between Kala and her true accomplice while in captivity. The accomplice is coming to the court to collect the key. There's an opportunity to catch him red-handed!

The Doctor watches, hidden, as an unknown figure comes into the courthouse, unlocks the evidence cabinet, and retrieves the murder weapon, inside of which is the key. I am very pleased that I managed to solve a mystery aimed at children after being all but told the answer. I am very clever.

And who is the mystery figure? None other than the prosecutor himself.

Ian’s free to go, the court allows the group to take the key, and now it’s back to Arbitan, but I don’t think they’re going to like what they’ll find.

Sabetha and Altos arrive ahead of the rest of the group, and are quickly apprehended and interrogated by the Voords. They do what they can to resist, but when Sabetha’s life is threatened, Altos cracks and admits that the Doctor has the final key.

The leader of the Voords, Yartek, begins inserting the keys into the Mind of Marinus, while another Voord heads out to find the Doctor. He’s no match for them, and the Doctor and company realise that something has gone terribly wrong. The Doctor entrusts Ian with the key, and the group splits.

Ian and Susan head to the main chamber, where they meet Yartek, who has disguised himself as Arbitan. Poorly.

To my great frustration, Ian hands him the key. I spent a good while shouting things at the television, things which I had better avoid repeating here.

So, I felt quite the fool when Ian reveals a few minutes later that he knew full well that he wasn’t speaking to Arbitan and gave the imposter the fake key he found back in The Screaming Jungle.

Inserting the key into the machine causes things to a tad wrong, by which I mean it goes boom.

With the threat dealt with, it’s time for the (frankly boring) goodbye scene. The Doctor imparts a few words of encouragement to Sabetha, who doesn’t seem as upset as you’d expect about the death of her father, and the inherent terror of the Mind of Marinus is left unexamined. The closest we get is the Doctor saying that machines shouldn’t rule over men, but that’s it.

I find that disappointing. Perhaps if the murder mystery had been confined to a single episode, there could have been a chance this episode to see the Mind of Marinus in action, and have an exploration of its virtues and drawbacks.

So, this was not the most satisfying conclusion to the story. It did the job, but that’s all.

3 out of 5 for the episode The Keys Of Marinus.

Final Thoughts

Here we are at the end of another adventure. So, what do I have to say about The Keys Of Marinus?

We’ll start with the good. I did genuinely enjoy this serial. It was a fun story, with lots of twists and turns, and for the most part very well paced, with some interesting and creative concepts on display.

However, it lacks the depth of Nation’s previous work in The Daleks. I think that this may be due to the fact that the Daleks had a Big Moral Question: is pacifism always the right choice? However, it only sustains this question because we have the same enemy and the same setting throughout, keeping the question always relevant to whatever situation the characters found themselves in.

With the exception of the first and last episodes, The Keys Of Marinus has little to do with the machine at the heart of everything, other than the keys to make it work being ‘plot tokens’. It feels like a tease to make the machine so interesting and leave it by the wayside. There aren’t even any thematic ties between the episodes that I could see, which could have served to add some depth to the story.

Is it fair to compare the two? I don’t really know. Part of me says no, that this story is meant to be more like an old adventure serial, but then another part of me asks why these thrilling adventures can’t also have depth or make us think.

I also found the first half of the serial more engaging than the second half, and I must add that I found the characters of Altos and Sabetha quite boring. They certainly participate in the plot a fair amount, but I couldn’t tell you anything about them.

Still, I did like the serial despite the issues I had with it, which are quite minor in the grand scheme of things (it’s certainly no The Edge Of Destruction), and I don’t think they’d make a lick of difference to the younger members of the audience.

Time to tally up the scores, leaving us with 3.75 for The Keys of Marinus as a whole.

Until the next adventure then, and looking forward to more stories from Terry Nation, ta-ta for now.

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1964, dr. who, the keys of marinus, jessica holmes, science fiction, television, united kingdom, terry nation

[May 12, 1964] Secrets Beyond Human Understanding (The Outer Limits, Season One, Episodes 29-32)


by Natalie Devitt

No matter how much scientists, inventors and aliens try to control all the conditions for the experiments they conduct on The Outer Limits, things almost never seem to go as anticipated, and often result in them veering into much stranger territory. The most recent month certainly did not stray from the usual formula of experiments going wrong. Episodes included the following: aliens teleporting a suburban neighborhood and its residents to another planet to determine whether or not to enslave humans, only for the humans to discover this before the study is completed; an accident occurring during a test in a research facility releases an energy that takes over people‘s bodies; an intelligence agent goes undercover as an alien, only for him to adapt to his alien form a little too well; and two women deal with unforeseen complications when they meet an inventor capable of bringing the man they murdered back to life.

A Feasibility Study, by Joseph Stefano

A Feasibility Study is the story of a group of neighbors that wake up one morning to find that things seem a little off. At first, they notice the unusual weather, then some vehicles have difficulty starting and the phones lines seem to be down. One character tells her husband, "It’s not raining, but it’s doing something, and I’ll bet it’s radioactive." As it turns out, things are much more serious that they ever could have been imagined. Their entire neighborhood, including their homes and everything surrounding them, have been teleported while everyone slept to another planet called Luminos.

The people are imprisoned on Luminos for one reason and one reason only; as the opening narration states: "The Luminoids need slaves, and they have chosen the planet off which those slaves will be abducted." The whole thing is part of a feasibility study to see if humans would make suitable slaves for the Luminoids, who grow mentally sharper but less mobile with age. The only problem is that the inhabitants of the neighborhood realize that they have become "human guinea pigs" sooner than the Luminoids expected.

People always compare The Outer Limits and The Twilight Zone, and though they really are two different beasts, this episode is a real treat for fans of The Twilight Zone because most of the actors in it have made appearance on that show. Such actors include David Opatoshu, who starred in Valley of the Shadow, Joyce Van Patton, who was in last season’s Passage of Lady Anne, and then there is Phyllis Love of Four O’Clock.

A Feasibility Study includes incredibly realistic acting and impressive set design. The episode is also extremely atmospheric, with no shortage of fog. The score has a noticeably different and more experimental quality to it than most other entries in the series. Nowhere is it more effective than in a scene where one of the characters is driving through the fog as an alien hand reaches out and touches his car’s windshield. All of the subplots in the script work together very well, and only help to elevate the main plot. Overall, the episode was a easily one of the high points of the season. It deserves four stars.

Production and Decay of Strange Particles, by Leslie Stevens

Production and Decay of Special Particles involves an accident at a research facility, which ends up allowing an energy alien to possess the bodies of the employees at the facility one by one. The situation is explained as being similar to "a hole torn in the universe.” All of this leaves the head of the facility, played by none other than George McCready, who appeared in The Twilight Zone‘s The Long Morrow and in the vastly superiorThe Outer Limits’s episode The Invisibles to team up with his character’s wife in order to stop the creature, which is characterized as "something from another dimension" and capable of presenting itself in "a human form". He must also prevent it from getting beyond the confines of the property.

I have to admit that, as much as I was excited to see the show really dive into the hard sciences, this episode required a little too much outside knowledge for the average viewer to understand it, much less appreciate it. With little to no explanation, combined with the issue that the episode does not have much going on visually, things begin to drag real quick. In addition to these problems, there is some stock footage awkwardly edited into the episode and plenty of over-acting.

When I was not brushing up on my physics vocabulary, I spent much of the episode watching men in suits barely moving, with constant crackling noises in the background. While I am happy to see the show do something different with an episode more heavily-rooted in science, even if it involves yet another energy being, the episode needed something else to maintain an audience‘s attention. After taking all of these things into consideration, two stars is all that I can give to Production and Decay of Special Particles.

The Chameleon, by Robert Towne

Robert Duvall, who made The Twilight Zone‘s Miniature worth watching, plays Louis, a man with nothing to lose. Louis is hired by his former employer, the CIA, to undergo a dramatic transformation in order to play the role of an extraterrestrial. He is instructed to "become one of them.” He is provided with a cover story, which includes directives like, "once you are with them, you will tell them that you landed long ago on Earth, crash landed. You remember nothing of your origin. What little language you know, you got from humans.”

All of this is being done in order to collect information on an alien spaceship that landed and has already killed the last group of men to patrol the area. It is feared that the aliens in charge of the ship may be carrying "nuclear material,” so people are understandably reluctant to attack the aliens. The only problem is that things go a little "too well.” Louis becomes increasingly difficult to control, and once he is in alien form, his sympathies begin to shift.

Duval brings a vulnerability to the role of a washed up agent before he undergoes the transformation. He then becomes a man-made extraterrestrial, not unlike the man-made creature in The Architects of Fear. The aliens in The Chameleon, are of course odd-looking, with beady eyes and wrinkled faces. They also have veins that bulge out of their bald heads. The major twist with Louis changing sides was interesting enough, but at the end of the day, it is really Robert Duvall’s skills as an actor that earns this episode its three stars.

The Forms of Things Unknown, by Joseph Stefano

Psycho’s Vera Miles plays Kassia, one of two young women who poison the drink of a very unpleasant man named Andre, played by Scott Marlowe in his second appearance on The Outer Limits. Kassia’s accomplice is named Leonora. The ladies stuff Andre’s body into the trunk of a car, and drive around looking for the perfect place to dispose of it. Leonora ends up leading them to a big, old house, where they are told that they are welcome to warm themselves by the fire.

While inside, they notice the sound of several ticking clocks. They are told that the noise comes from "a special room upstairs.” Inside the room is where an inventor named Mr. Hobart "tinkers with time.” His experiments with time have become so sophisticated that he can cause the past to "tumble into the present.” Such experiments could bring Andre back to life, with some pretty disastrous results.

The part of the narrative involving Lenora and Kassia murdering Andre reminded me an awful lot of the 1955 French film Diabolique. Similarities aside, the plot in The Forms of Things Unknown, is a little flimsy. But that almost does not even matter, because the episode’s cinematography and set design are nothing short of perfection. The acting, however, was a little short of being consistently good. That said, Vera Miles delivers a fine performance and has a number of amusing lines. David McCallen returns to the show for another memorable performance after the great The Sixth Finger. Even veteran actor Cedric Hardwicke, who recently appeared in The Twilight Zone‘s Uncle Simon, shows up playing host to all the episode’s craziness. Despite some flaws this hour of the series is still definitely worth the watch. The Forms of Things Unknown earns three and a half stars.

All in all, it has been an interesting month on The Outer Limits.  Most episodes featured the kinds of stories and the quality I have come to expect of this series, while only one entry was a bit of a letdown. With this being the last set of episodes of the season, I have to say it has been a lot of fun watching this show really hit its stride. I cannot wait to see what new creatures and stories are in store for the series in the fall.


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[April 26th, 1964] The Start Of A Wild Ride (Doctor Who: The Keys of Marinus, parts 1 to 3)


By Jessica Holmes

Hello, everyone, and welcome back to my monthly ramblings on Doctor Who. We’re in for a treat this time: Terry Nation’s back with another serial! This story sends the companions zipping about a planet with screaming forests and acid seas in a twisted scavenger hunt where the prize is a bit more special than a bottle of bubbly or a box of chocolates: the TARDIS.

THE SEA OF DEATH

Our journey begins on a pretty beach, and being interplanetary tourists, the companions immediately set out to explore. However, they aren’t alone on what turns out to be an island. A small fleet of one-man submarines makes landfall, and soon they have an unwanted tag-along shadowing their steps.

That’s not the only danger on the island. When Susan tries to go paddling in a tidal pool, she loses her shoe. No, it didn’t wash away: it dissolved!

Well, the sea doesn’t seem quite so appealing any more, does it?

One of the poor chaps in the mini-submarines learned that the hard way. One little crack, and all that’s left of him is his rubber suit.

Spotting a pyramid-like structure in the distance, the group investigate. Time for the educational content. This time, we’re looking at architectural history!

When Ian and Barbara notice that there's no mortaring on this pyramid, because the stonework is so precise, Barbara offers up real-world examples in the Egyptians and the peoples of central and south America. I wonder if it’s in the contract that the writers have to include an educational element, because it does feel a bit shoehorned.

Meanwhile, Susan’s off in her own little world, and her uncanny knack for putting herself in mortal peril sends her falling straight through a wall. Moments later, the Doctor enters the pyramid the same way.

Susan narrowly avoids death when a knife conveniently finds itself buried between the shoulderblades of her web-footed assailant, but she’s not out of the woods yet; there’s someone else in this pyramid.

Ian makes it through the spinning wall too, and to Barbara's surprise, so does she, with an unsettling shot revealing the hooded figure to be waiting just on the other side.

Moments later, Ian comes to the defence of the stranger when one of the web-footed invaders tries to kill them, and their tussle ends with Ian shoving him into a pit in the floor, which leads right to the sea.

The sea of acid.

So, I have to linger here for a moment, because I have a couple of things to say.

For one, who on EARTH (or rather, Marinus) put that in? If I built a house over an active lava lake, which is of course my life's ambition, I wouldn't put a great big hole in the floor where anyone could fall or be pushed in, for heaven’s sake.

For two, Ian just killed someone. A family show!

We finally get to meet the hooded figure, whose name is Arbitan, and it seems that he’s friendly. Or at least friendlier than the wetsuited invaders, who are called the Voord. Ian says he should have thought the pyramid impregnable, to which I say: pardon? Ian, the whole lot of you breached the outer walls by accident.

Arbitan shows the companions the device this pyramid was built to hold: the Mind of Marinus, which Arbitan’s people used as a moral arbiter, and later, a moral enforcer, actively manipulating the minds of men to force moral correctness.

Well, that is extremely creepy.

I don’t care that everything was supposedly hunky dory. Taking away the free will of a populace, even for a noble goal, is a genuinely frightening concept. However, unlike with The Daleks, it doesn’t appear, for now at least, that Nation is interested in interrogating this idea as he did with the virtues and pitfalls of absolute pacifism.

No, instead the companions are roped into a plot to restore this machine to full functionality, but not of their own free will — Arbitan holds the TARDIS hostage.

Oh, and the Voord came to be when one person managed to resist the machine, and freed a bunch of other people from its control.

Are we sure the Voord are the baddies, here?

There are five Keys Of Marinus, scattered far and wide, and they need to be retrieved if the Mind Of Marinus is to regain control of the Voord. Arbitan provides the companions with a set of teleport dials, worn on the wrist like a watch, and asks them to keep an eye out for his daughter while they’re looking for the keys.

And because Doctor Who is surprisingly comfortable for a family show with showing on-screen death, no sooner have the companions departed than Arbitan gets knifed by a Voord.

The Doctor, Susan and Ian arrive at their destination to find that Barbara has vanished. Ian finds her travel dial on the floor. And there's blood on it!

Fun episode, this one. An easy watch.

4 out of 5.

THE VELVET WEB

This is where things get weird.

Very weird.

It doesn’t take long for the rest of the group to track Barbara down. What fate has befallen her? Oh, it’s simply dreadful.


Honestly. Leave her alone for five minutes and she turns into Cleopatra.

She’s lounging on a daybed, dressed in fine silks, while servants feed her fruit.

Along comes a young man to hopefully clear a few things up. In this city, everything is perfect. It’s a post-scarcity society. Everyone is perfectly content, because you can get whatever you want, whenever you want. If it sounds too good to be true, that’s because it probably is. That’s both commentary on the episode and life advice.

Once the group have gone to sleep, one of the servants comes back into the room and places a mysterious device on each of their foreheads. However, Barbara’s device falls off, and when she awakens, she sees this place for what it really is. The fine silks? Rags. The crystal glasses? Dirty old mugs. This city of luxury? A trap that’s about to snap shut.

Barbara flees, unable to convince the others, and their host reports her perception to his own masters…who are brains in jars. With eyestalks, no less. They look silly and unsettling at the same time. These are the true rulers of this society, all the humans in the city being mind-controlled slaves.

The inherent horror of mind-control aside, it’s funny to watch the others fall over themselves in amazement when presented with worthless junk.


"Never seen anything like it!"

Barbara runs into the servant who placed the devices, Sabitha, and quickly works out that this is Arbitan’s disappeared daughter. However, though she remembers that Arbitan sent her here, she can’t remember anything else. She manages to save Barbara’s life, however, when the creepy host attacks her. She can’t save her from a brainwashed Ian, however, who drags her before the rulers of the city.

Then they order him to kill her.

Barbara manages to escape his grasp, but does she make a run for it? No way! She goes straight for the brains in jars, who for all their intelligence, haven’t accounted for the fragility of glass, or how good humans are at breaking things when we feel like it.

With the brains all smashed up, the humans of the city are freed, and what’s the first thing they do? Burn the place to the ground!

Barbara, you sparked a revolution…and found a key!

It turns out that the young man is actually one of Arbitan’s folk, and he was sent out to complete the same task that has fallen to our companions: recovering the keys. A friend of his was also sent out, but it appears he has got into trouble. The Doctor volunteers to see if he can track the friend down, and if not him, the key. The rest of the group decide to look for the other keys, and they agree to meet up in a week.

I’m sure it’ll go fine.

Susan, not one for long farewells, is the first to leave, but to her detriment, for she winds up in the middle of a forest…and all the trees are screaming.

This was a real cracker of an episode. Loved it.

4.5 out of 5.

THE SCREAMING JUNGLE

As the forest quiets down, the rest of the group catch up with Susan, but she’s still in a state of terror.

I think Susan could do with a bit of toughening up. For someone who ends up in trouble so often, you’d think she’d be a bit harder to scare. Apart from being a poor example to set for girls her age, it’s just getting to be a bit annoying.

Barbara spots a strange idol down a dark, almost hidden path, and in her infinite wisdom goes and starts poking at it. She finds the key attached to the statue, but as she attempts to retrieve it, the arms of the idol come to life and grab her, and the wall swivels, taking away both Barbara and the statue.

Well, at least they got the key. Or did they?

It’s a fake! The others go on ahead to look for the next key, leaving Ian to stick around to recover Barbara, and the real Key of Marinus.

Still, this is Ian we’re talking about. He makes his way to the other side of the wall the same way Barbara did, and on the other side finds another statue, this time wielding an axe. Unwittingly triggering a pressure plate, it’s only Barbara’s timely intervention that saves his head from splitting like a watermelon when the axeman takes a swing at him. It looks like this whole place is booby trapped!

The pair start looking for a way out. A door opens, and Barbara, channelling the first person to get bumped off in any horror flick, goes inside, promptly gets trapped in a net, and then the wall above, covered in bamboo spikes, starts to descend.

For goodness’ sake, Barbara, don’t just bleat at Ian for help. It’s a fishing net. I’m sure you can manage.

Luckily for Barbara, before she can become a human pincushion, a hooded man intervenes. However, while he’s trying to confirm that Barbara isn’t a Voord, an inconvenient vine pops through the window and starts strangling him.


You just can’t trust nature. This is exactly why I never go outside.

Ian and Barbara save him from the overgrown ivy bush, but it’s too late. The old man holds on just long enough to give Ian a cryptic string of letters and numbers, then drops down dead.

So, they have a code, but what for? A safe? It doesn’t look like it. They get to combing the room, and Ian finds the old man’s diary, learning from it that he was working on growth acceleration, speeding up the natural world. Well, I think we can guess as to why the forest is so weird. When night falls, its growth accelerates so much that it can overrun the building within minutes.

That doesn’t really explain why the plants have minds of their own, or why it’s just at night (unless I missed something), but there you go.

As the plants are on the verge of overwhelming Ian and Barbara, they realise that the code is not a code at all, but a chemical formula, and when they find the right jar, they find the key. In the nick of time they hop to their next destination: a freezing mountainside.

I can’t wait to find out what happens next!

I don’t think I liked this episode quite as much as the previous, but it was still a jolly good romp.

4 out of 5.

CONCLUSION

In this serial, Nation seems to be going for a more episodic than serial format, stringing together a series of smaller adventures to build a greater whole. I think it works very well, building up a breathless momentum which I hope will hold with the next few episodes.

Doctor Who can sometimes suffer from slow pacing, and if that’s a problem for me, an adult, I can only assume it’s a problem for the younger members of the audience too. Nation has found a way to mitigate this problem, and while I don’t think it can be used for all stories (nor should it be), I do hope that Doctor Who makes use of this format more often.

All in all, I have thoroughly enjoyed these episodes, and I look forward to watching the rest with all of you.


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[April 24, 1964] Some Justice to Mete Out (The Twilight Zone, Season 5, Episodes 25-28)


by Natalie Devitt

Exploring how a person’s conduct can shape the direction their life takes has been a big part of The Twilight Zone, and this past month has been no exception. In some episodes, poetic justice seems to have been achieved by the episode‘s conclusion. Other times, characters are given punishments that do not quite seem to fit the crime. This month’s morality plays include a story about a dying man’s last wish to make sure his greedy relatives get what he thinks they deserve, a town is blanketed in darkness the morning it is scheduled to execute someone who may have been wrongly convicted of a crime, a man that annoys those around him with obnoxious noises is suddenly unable to block out sounds that he finds unpleasant, and a broke ventriloquist who pays the price when he is convinced by his dummy to take up robbery to improve his finances.

The Masks, by Rod Serling

Actress-turned-director Ida Lupino and star of The Twilight Zone’s The Sixteen-Millimeter Shrine returns to the show for The Masks. This time, she is not in front of the camera but in the director’s chair. The Masks is set in New Orleans against the backdrop of Mardi Gras. In the episode, character actor Robert Keith plays Jason Foster, a rich and elderly man, who is told by his doctor that he can measure what is left of his life “in moments.” After receiving his grim prognosis, Jason vows to live at least until midnight in order to take care of some unfinished business, which includes gathering with his family for a very unusual farewell.

During the family gathering, Jason states in a very matter-of-fact tone, “You all came here for one purpose: to watch me go and cry bon voyage, to put coins on my closed eyes, and with your free hands start grabbing things from my shelves.” He tells them in order to inherit his entire fortune, they must wear hideous masks until midnight, which proves to be much harder than expected. The masks he provides them with are from “an old Cajun” and “they have certain properties.” They are told that each mask represents the “antithesis of the wearer.” But what they do not realize is that each person wears a mask that actually reflects their true nature. Also, that Jason has one final surprise planned for them at the midnight unmasking.

With a story like this, I cannot help but wonder about the events that led Jason’s family to where they are when the episode starts. The anger and the resentments building up over the years, and whether Jason may have contributed to the situation. In any case, this episode featured one of Rod Serling’s better scripts this season. In addition to Rod Serling’s stronger script, The Masks featured a mostly good cast and some of the more impressive special effects makeup I have seen on the series in recent memory. Overall, the month got off to an impressive start with this episode, which is why it earns four stars from me.

I Am the Night, Color Me Black, by Rod Serling

The Hustler’s Michael Constantine plays Sheriff Charlie Conch, who arrives at work nervous about the day’s planned execution. Oddly, it is past the time the sun usually rises and the sun still is yet to come up. One of his deputes mentions to him, “It’s 7:30 in the morning and it’s pitch black outside. I’ve never seen it any blacker.” What is strange is that surrounding towns do not seem to be experiencing the same phenomenon.

Paul Fix of television’s The Rifleman plays Colby, a reporter who questions the department’s handling of the case. Colby reminds the men at the sheriff‘s department that, “ The murdered man was not a decent man. He was a cross burning psychopathic bully who attacked the man in there.” The accused is named Jagger, and he was protecting members of a church from a racist when the alleged murder took place. Ivan Dixon, who appeared in the earlier episode The Big Tall Wish, stars as the church’s reverend.

Practically everyone in town shows up for the hanging in “the remote, little mid-western village.” It is getting closer and closer to the execution time and the sun still has not risen. While the rope is being prepared for Jagger’s hanging, the journalist asks one of the deputies, “Did it ever occur to you that there is something odd going on around here? Perhaps we better dispense with business as usual until we find out exactly what is going on.”

I Am the Night, Color Me Black, looks great and features a number of outstanding performances, but it would have benefited from being a little more subtle. For anyone willing to look past how heavy-handed the moralizing in this entry can be, it is a good but not amazing episode. Three stars.

Sounds and Silences, by Rod Serling

John McGiver returns to the The Twilight Zone after appearing in The Bard. In Sounds and Silences, he plays Roswell G. Flemington, a man who takes delight in making noise. As Rod Serling’s opening monologue states, Roswell’s “noise-making is in inverse ratio to his competence and his character.” Roswell runs a model ship company, spending much of his free time blustering around the office like a modern day Queeg, and listening to blaring recordings of fighting battleships, much to the dismay of those around him.

One day, his wife tells him that she just cannot take it anymore. She complains, “What was once an idiosyncrasy of yours is now an obsession. This insistence on blaring noises and running a household like it was a destroyer escort on convoy duty- the combination has now become quite impossible and I can’t live with it.” After a couple decades of marriage, they are finished. But Roswell is happy about his marriage ending, because now he can devote more attention to making noise.

Shortly after, while trying to sleep, he wakes up to the sound of a leaky faucet, unusually loud and unpleasant. Once the faucet stops making noise, another sound begins to bug him. Soon little noises are driving him to the brink of madness. Eventually, he has to seek professional help. Is this punishment for what he has put others through all these years?

The episode has few redeeming qualities. The script leaves a lot to be desired. I think this entry is supposed to be funny, but it I do not remember laughing once. The main character acts like a giant child, which I know is kind of the point, but that begins to wear thin after a while. Most of the characters, which include his wife and his employees, are not much more tolerable than he is. It was hard resisting the urge to change the channel, so one and a half stars is all that I can give to Sounds and Silences.

Caesar and Me, by Adele T. Strassfield

Former child star Jackie Cooper is perfectly cast as Jonathan West, a penniless ventriloquist in Caesar and Me. He and his dummy, Caesar, perform under the name Little Caesar and Jonathan. Jonathan has difficulty securing a stable source of income, but he dreams that one day Little Caesar and Jonathan will be a headlining act. Jonathan has an unhealthy attachment to Caesar and tells the dummy that they are “together forever.” Caesar is mentioned in Rod Serling’s opening monologue as being a “small splinter with large ideas.” Jonathan considers supplementing his income with a side job until his work with Caesar starts to bring in the big bucks. The only problem is that Jonathan has never held down a “real job.”

But Caesar has been paying attention. One day Caesar asks him, “Just a little money for food and rent, is that it? Is that all you want out of life?” Caesar convinces Jonathan that robbery is the solution to his money woes, saying “Open your eyes. Look around you. The streets are paved with gold, and it’s sitting out there, waiting for us.” Caesar feeds Jonathan more lines like, “After tonight’s job, we’ll be on easy street.” Of course, things do not go exactly as planned.

I tried to watch Caesar and Me with an open mind. It is not really bad, just frustrating because it feels too much like a rehash of The Dummy. It brings absolutely nothing new to table. In fact, they even reused the same dummy. The talented Jackie Cooper could not completely save this episode. Then there was the ending, which while mildly entertaining, is hardly fair. Poor Jonathan just cannot seem to catch a break. Caesar and Me receives two and a half stars.

Characters during the past month of The Twilight Zone have encountered some interesting and sometimes unexpected outcomes as a result of their actions. Regarding the quality of the episodes, however, two were enjoyable while the other two offerings were a little disappointing. With only two months left before the end of the season, I hate to admit that I am a little nervous about the forthcoming episodes.


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