Tag Archives: television

[April 12, 1964] Mold of a Man (The Outer Limits, Season One, Episodes 25-28)


by Natalie Devitt

Recently The Outer Limits has primarily featured storylines about intellectually superior aliens and mutants treating people like something easily controlled or shaped to suit their needs. Episodes have included stories about a man-turned-mutant using his telepathic abilities to keep members of his crew prisoners on another planet, an alien holding a group captive in an old mansion until they can provide him with important information, a man and a woman being thrown into a deadly game for the entertainment of creatures from another planet, and an alien posing as a tutor so he can recruit children as tools for his nefarious plans.

The Mutant, by Allan Balter and Robert Mintz

In The Mutant, Larry Pennell, an actor you may have seen in anything from Thriller to Have Gun – Will Travel, plays Evan Marshall, a man who travels to a planet that seems to be “suitable for colonization by Earth‘s overflowing population.” The planet, Annex One, resembles Earth. He arrives there intending to investigate the death of a scientist stationed at planet.

Marshall is instructed to wear special goggles while outside as protection from the planet’s harsh weather conditions, which can include anything from “constant daylight” to severe storms. A member of the team, played by Warren Oates (he recently appeared on The Twilight Zone’s Number 7 is Made Up of Phantoms), plays Reese Fowler. Fowler assures Marshall, “You begin to feel like they [the goggles] are a part of your person, which is the way that we feel.” Fowler fails to mention to Marshall that he rarely removes his goggles in order to hide his swollen eyes, which started protruding after he was accidentally caught in a storm without his protective eyewear. This incident resulted not only in bulging eyes, but it also gave Fowler telepathy and the ability to kill people with just a touch of the hand.

Fowler is abusing his new powers, keeping everyone on Annex One as “his prisoners” as he frantically searches for a cure to his mutations. Members of the group try to warn Marshall about Fowler. All the while they try to prevent the mutant from reading their minds as they devise a plan to return to Earth. But as Fowler warns them, it is nearly impossible for anyone to quiet their thoughts for long.

Between Fowler’s telepathic powers being almost inescapable and the effects of endless daylight on a person‘s sanity, The Mutant does a pretty good job of establishing a sense of dread. Further, I think the sight of Fowler’s eyes will be forever seared into my mind. One aspect of the episode that certainly did not work very well was the romantic secondary plot, which was not very convincing and did not do much to support the main plot. But overall, I would say The Mutant is strong enough to deserve three stars.

The Guests, by Donald S. Sanford

The Guests, opens on an elderly man being pursued on foot by an alien through the woods. The man collapses as a young man, Wade (Geoffrey Horne, from The Twilight Zone’s The Gift), stops to offer a hand. As the extraterrestrial vanishes, a mansion appears in its place. Wade picks up the old man’s pocket watch, inside of which is a very old picture of a young woman that appears to have been taken in the 19th century. As Wade approaches the house, the front door seems to open itself.

Upon entering the house, he spots the same young woman in the picture, Teresa, looking exactly as she did in the old man’s photo. Wade also meets another fellow, and two other women, one of which is played by none other than the famous Gloria Grahame. They are all wearing clothing from different time periods. Not thinking much about their outdated clothing, Wade goes on to tell them about the old man. Teresa does not miss a beat, responding rather coldly with he must be “gone by now.” She then adds, “He’s been dead for a long time.”

Wade tries to leave the house at once, but he is pulled back in, then up the stairs, where he finally comes face to face with their host: a glowing version of the creature from this season's The Mice. Their captor says he is looking for “the factor that will balance the equation.” After being interrogated by the alien, Wade is told by the others, “You won’t leave here, young man. None of us will ever leave here.” The other guests may be content to remain frozen in time, but Wade is determined to escape.

The whole alien holding people captive in a big strange mansion sounds an awful lot like this season's Don’t Open Till Doomsday, and while The Guests is not quite as strong, it almost succeeds in capturing the same creepy atmosphere. If there is one thing that The Outer Limits does extremely well, it is create mood. While you can predict this story‘s outcome, there is a scene involving a character rapidly aging that has stayed with me since I watched it.

I am kind of disappointed that I did not enjoy Gloria Grahame in this entry as much as I would have liked. I have seen the Oscar winner shine in a wide range of roles.  This performance is not bad, just a little uninspired. Given her impressive body of work, I am not sure that matters very much. In any case, this entry receives three stars.

Fun and Games, by Robert Specht and Joseph Stefano

Fun and Games tells the tale of a man and a woman, played by Nick Adams (whom you might know from the TV show, The Rebel) and television actress Nancy Malone. They are teleported to another planet, Andera, where they are informed by a shadowy figure that they have been selected to represent the men and the women of Earth in a “rather terrible kind of game” for the amusement of their kind. The humans, Mike and Laura, will fight against one male and one female representative from another planet, the Calco, in a fight “until the death.“ The creature insists that they will not be forced to participate, but if they choose to not join, their “opponents will win by default.“ Most importantly, if they lose the game, Earth will be destroyed.

The Calco resemble apes, and are so primitive that they use boomerangs as weapons instead of guns. Participants are prohibited from using guns at any time during the game, but when Mike and Laura discover that one of their adversaries murdered its own partner in order to stretch out its own food supply, they realize just what they are up against. Do they really stand a chance against such a ruthless opponent?

The two lead actors really deliver some fine performances in this hour of the series, which almost succeeds in distracting from how goofy and unthreatening the Calco appear. Fun and Games revisits important moments in the story, exploring different decisions characters can make. I imagine watching the same thing over and over is enough to drive some viewers insane. Personally, I really enjoyed it, but I could see how it could feel like padding to fill the entire hour. Luckily, the conclusion has some interesting twists. Fun and Games is in my opinion the best entry of the series this past month, which is why it earns three and a half stars from me.

The Special One, by Oliver Crawford

One stormy night, a family is visited by stranger who goes by the name of Mr. Zeno. He claims to be “from the Educational Enrichment Program,“ and expresses his interest in tutoring their son, Ken. But not long after studying with Mr. Zeno, who is really an extraterrestrial in disguise, Ken begins behaving strangely. When Ken’s dad (played by Hitchcock-thriller Shadow of a Doubt’s MacDonald Carey) wants him to do anything besides homework, Ken tells him, “Sorry, Dad. I’ve got to study. Mr. Zeno will be here in a minute.” Also, Ken’s father, Roy, thinks it is strange that Zeno does not seem to give advance notice when he is coming over to their house, and how he seems to be spending an increasing amount of time with his son.

Roy stumbles on a periodic table that Ken has been working on. The strange thing is that it includes 23 extra elements. This leads to Ken‘s father to tell his buddy about the situation, who states, “I wouldn’t let my boy join the group.” When Dad confronts his son about the extra elements on the his periodic table, Ken simply states that they are not there “yet,” but that the “balance is in the future.” Ken’s mother accuses Roy of being jealous of Mr. Zeno. On top of all of that, the Education Enrichment Program’s office has never heard of Mr. Zeno and claim their tutors do not do house visits. So, what does a creature from outer space need with Ken?

The Special One is not really my favorite episode about aliens plotting to take over the world, but it's not really a bad one, either. The acting is strong, except for a somewhat awkward scene where Mr. Zeno tries to get Ken’s dad to commit suicide, which also reminds me of a similar scene in a previous episode, Corpus Earthling. One thing the episode really has going for it is its special effects, which are surprisingly good, especially for television. Three stars.

It has been another enjoyable month of the series, which seems to have been filled with even more than usual number of narratives about people being easily influenced by extraterrestrial beings. Given that this month included one very good episode and three good episodes, I am confident the remaining month of the season will also entertain.


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[April 8th, 1964] Pooooolo! (Doctor Who: Marco Polo, Parts 5 to 7)


By Jessica Holmes

The caravan winds ever onwards across Cathay. Let’s catch up, shall we?

We’re a bit over halfway through our first historical serial, tagging along with Marco Polo as he travels across China to meet with Kublai Khan. With him are Tegana, a Mongol warlord and obvious baddie, Ping-Cho, a young lady from Samarkand on her way to be married, and of course, our Doctor and his companions. Tegana has been trying (and failing) to bump off our tag-alongs so he can nick the TARDIS for his master, Logai, a rival to the great Kublai Khan. And now a guard has just turned up dead. Could this journey be about to come to a sudden and bloody end?

RIDER FROM SHANG-TU

Our companions find the murdered guard, and are quick to raise the alarm. The men arm themselves, and prepare to fight. There’s a bandit attack coming (a gold sticker for whoever guesses who orchestrated that), and they’ll need all the fighters they can muster.

So they send the women into the tent.

On your own heads be it, lads.

The Doctor advocates taking shelter in the TARDIS, but to no avail, because Marco is just bit too stubborn for his own good. Tegana tries to convince Marco that the Doctor and his companions murdered the guard. To be fair, they did have the motive and opportunity, but what about the means?

I suppose Ian could have made use of the forgotten art of war crockery.

Marco doesn’t really listen to Tegana, so his stubbornness can be good for something, it seems.

Still, they’re going to need more than a few swords if they’re going to win against a pack of bandits. Ian comes up with the ingenious idea to throw bamboo on the fire. Bamboo is a hollow grass, so there’s air inside each stick. What happens to air when it heats up? It expands. And what happens if the grass can’t expand with it?

Pop!

The bandits turn up, and we’re treated to a bit of swashbuckling action as the battle commences. In all the hubbub, Tegana kills the leader of the bandits, sending his secret complicity to the grave with him, and the Doctor dusts off his fencing skills.

Ian’s exploding bamboo trick pays off, and the bandits scatter, leaving the caravan free to lick its wounds and get going again. The Doctor is smart enough to figure out that Tegana was in league with the bandits (well, duh), and Marco starts to warm to the companions again.

A courier from the great Khan arrives, to the surprise of everyone, for they are many, many leagues yet from Shang-Tu. He explains that he had a fresh horse waiting for him at waystations every league, and he wears bells on his clothing to let the ostlers know when he’s about to arrive, so as to waste as little time as possible.

You see, he had an extremely important message for them. A matter of grave urgency.

Kublai Khan says: Hello, how are you?

Oh. Nice of him, I suppose.

Then off we go to Cheng-Ting, the ‘white city’.

The set and costumes here are lovely. I’ll be waxing lyrical about this in a little bit.

What I will not be waxing lyrical about, however, is this fellow here, whose name I never did catch, because I was so distracted by how bizarre his intonation and mannerisms are. He’s the most pompous prat in all of China.

The Doctor’s uncharitable but accurate impression of him is very funny. So, perhaps it was deliberate.

A one eyed man, Kuiju, meets Tegana in the stables, and they strike a deal. Kuiju will steal the TARDIS for Tegana. In great trade caravans, it is so easy for things to be misplaced, after all.

I just had a thought. How heavy is the TARDIS? We saw a few additional rooms during The Edge Of Destruction, so we know that the TARDIS is at least the size of a house on the inside. So, does the weight of the TARDIS match the outer dimensions, or the inner dimensions, or both?

I’m just wondering how they’re managing to transport it. They seem not to have had any problems loading it onto the wagon, so perhaps it does only weigh as much as the outer dimensions. That’ll make it easier to steal, I suppose.

I feel like that probably breaks some law of physics. Don’t ask which. I’m not a Science Lawyer.

Well, it looks like it’s soon to be a moot point, because Ping-Cho’s stealing the keys to the TARDIS! She promised Marco that she wouldn’t reveal to the others where the keys were hidden, but she didn’t say anything about not taking them herself.

I would honestly love it if Ping-Cho came along with the companions as a permanent addition to the crew. Susan gets a friend her own age, Ping-Cho doesn’t have to marry a man old enough to be her grandfather, everybody wins!

But it’d also bring the serial to an end two episodes early, and I’m quite enjoying myself, thank you very much.

Let’s throw a Tegana in the works.

4 out of 5.

MIGHTY KUBLAI KHAN

Tegana foils the companions’ attempt to escape, and Ian ‘confesses’ to taking the key, to protect Ping-Cho. With that, the caravan moves on, and our next stop is at an inn between Cheng-Ting and Peking.

Ian tries once again to convince Marco to give the TARDIS back, and this time, he throws all caution to the wind and flat out tells him that he’s from the future, the TARDIS flies through time and space, and no, they can’t just hang about and get a ship back home from Venice.

Marco, though having seen some wild things in his travels across the far east (like a burning black stone!), has to draw the line somewhere, and the notion of travelling freely between tomorrow, today and yesterday is about a hundred leagues over that line.

What’s more, Marco figures out that Ian lied about stealing the key, and deduces that the only reason he would lie is to protect the real thief: Ping-Cho, who is nowhere to be found.

She has slipped out and is now making her less-than-merry way back to Samarkand, so Ian offers to ride back to look for her.

Ian, can you actually ride a horse? I mean really, properly ride a horse? No, plodding along the beach on a donkey when you’re holidaying in Blackpool doesn’t count.

Ping-Cho makes it back to the way station, and runs into Kuiju as he puts his scheme into action, posing as an envoy from the Khan and tricking that pompous official into letting him take possession of the TARDIS. Oh, and while he’s at it, he scams Ping-Cho out of all her money when she tries to book passage to Samarkand with his caravan.

Nice chap.

Just when it seems Ping-Cho is royally stuffed, along comes Ian! And with the arrival of the real envoy from Shang-Tu, it doesn’t take anyone long to realise that the TARDIS has been stolen.

I think I’d have really liked Ian if he’d been one of my teachers. In another life he’d have been a hero in one of those old adventure serials. Ergo, a cool teacher.

Ian figures the TARDIS is most likely being taken on the road to Karakorum, which was the capital of Genghis Khan’s empire, though by now it’s little more than a field. The Mongols were, and still are, a nomadic people, after all. Their cities don’t tend to stay in one place.

Meanwhile, in Shang-Tu, the companions have finally arrived!

The set for the summer palace is gorgeous. Throughout this serial the sets have been impressive, and the palaces are sublimely ornate. I’ve managed to procure a few colour images taken from production, so as we can see they’re even more beautiful when not viewed on a monochrome television set. The level of detail and care that’s gone into every inch of the production certainly shows, and sells the palace as the splendid heart of this mighty empire.

Still, for all the majesty of the Yuan dynasty, the Doctor isn’t about to kowtow to some puny Earth ruler. He has a bad back, anyway. Perhaps he should try a curtsey?

And now, dear readers.

The moment you’ve been waiting for.

Enter the mighty Kublai Khan!

Were you expecting him to come galloping in on horseback or something? That’s more his grandfather’s style. Kublai Khan is, as Marco Polo notes, ‘the greatest administrator the world has ever seen’, which is a weird boast, but I’ll take his word for it. His vizier is a bit uptight, but the Khan turns out to get along with the Doctor quite well, and it’s not long before the pair potter off to have a soothing bath in the local healing waters.

Back at the way station, Ping-Cho and Ian track down Kuiju (and also the TARDIS), and at knife-point the thief admits that Tegana paid him to steal the ‘caravan’.

And speak of the devil, here he comes!

3.5 out of 5. Nothing extraordinary, but not bad.

ASSASSIN AT PEKING

The confrontation turns deadly when Kuiju ends up on the wrong end of a knife, and moments later the courier from Shang-Tu arrives. Tegana claims Ian was trying to steal the ‘caravan’, Ian claims Tegana was plotting against the Khan, and the courier, having just come to deliver a message and being far too busy to play judge, more or less throws up his hands and says it’s up to the Khan, who has left Shang-Tu for Peking.

Speaking of Peking, we have a lovely set once again. I don’t know much about Chinese art, so I couldn’t say for sure if it’s appropriate to the right period of Chinese history, or whether it’d be like seeing a Norman Rockwell painting in George Washington’s study.

Period accurate or not, it sure does look pretty.

The Doctor and the Khan are getting along happily, drinking tea and playing backgammon. Oh, and betting colossal amounts of lands, goods and chattel on the outcome. I think the Doctor owns about half of the empire now. What’s more, the Doctor seems to have got over his aversion to bowing, as he manages just fine when the Empress shows up.

Lovely costumes once more. Very pretty fabric and some lovely cuts, as can be expected of Chinese textiles.

However.

They’re the wrong period.

Yes, they’re Chinese. They look very authentic. Some nice, authentic, Qing dynasty clothing. The Qing dynasty was last in power in 1912. The last Qing Emperor is actually still alive.

This serial is set during the Yuan dynasty, which ended in 1368. Oh, and we have the entire Ming dynasty separating these two periods.


Courtesy ofWikimedia Commons

This fresco, dated to the Yuan dynasty, shows some differences in the style of clothing. What jumps out to me most are the abundance of flowing fabrics and wrapped robes fastened with a belt. I could be wrong, but the costumes just don’t look like Yuan dynasty clothes to me.

I can’t claim any expertise but I think this might be comparable to seeing Charlemagne in a ruff.

The betting heats up when the Doctor asks to put up the TARDIS as stakes in their game. It’s a big risk, but it might be his best chance of reclaiming his ship. The Khan, however, would much rather he took something a bit less valuable, like the island of Sumatra.

I’m fairly certain that’s not yours to give, Kublai. Do you even have a navy? From what I know of the Mongols they were more into land-based empire building. Horses don’t do all that well on water.

Along comes Marco, and shortly after Ian turns up with Tegana and Ping-Cho, and I will give you three guesses as to whose accounting of events the court sides with. Because of course, Tegana is a Mongol, and Ian is not.

Oh, and Ping-Cho is getting married tomorrow. Now, I think weddings are great. Everyone has fun and you get free cake. But I’m also a big fan of this neat concept called ‘consent’ which seems to be glaringly absent in this marriage. Poor Ping-Cho.

Marco finally admits that laying claim to the TARDIS was wrong of him, but what’s done is done, and Kublai won the game of backgammon anyway.

A sentence ago I said ‘poor Ping-Cho’, but it looks like she’s in luck! Her husband-to-be? A little less so.

Her fiancé, so excited to get to spend the rest of his life with his pretty young bride, decided to try and extend his time on Earth with an ‘Elixir of Life’.

…Made of sulfur and quicksilver.

Something similar happened to the first Qin emperor, and the first man to unify China, Qin Shi Huang, who took mercury pills in the hopes he would live forever.

He did not live forever.

Ping-Cho is much relieved at the old man’s death, though she is smart enough not to be too open about that fact. She does, however, decide to stay in the court of Kublai Khan. Who knows, perhaps she’ll meet someone nice. It’s a bit too convenient for my liking, but still a nice little nod to Chinese history.

Marco, however, is feeling defeated. His gift didn’t work and the Khan no longer trusts him. It looks like Tegana’s won.

Good for him, but what does he want? What is Tegana’s game? Logai, his master, could attack Peking, but Kublai’s superior numbers would surely crush him.

But what is an army without a leader? Kublai is an old man, after all. It wouldn’t be hard to kill him. Especially if you’re a strong young warlord who has been welcomed into the city with open arms.

Oh, dear.

Realising the danger, the companions rush to the Khan’s chambers, warning Marco along the way, just as a messenger arrives and informs them that as they feared, Logai’s army is marching on Peking!

In the throne room, the Khan narrowly escapes death when Tegana kills his vizier by mistake, and it buys him just enough time for Marco and company to arrive, and we at last get the duel we’ve been waiting for, a thrilling clash of steel, a dance of blades, between the warlord and the explorer.

Marco succeeds in disarming Tegana, but before he can be brought to justice, Tegana grabs a guard’s sword and falls upon it, and all his schemes, along with the man himself, come to naught and slump onto the throne room floor.

With Tegana defeated, Marco hands the Doctor the keys to his TARDIS. Everyone says a hasty farewell, and the companions pile in, with the ship vanishing into the ether a moment later as the court looks on in astonishment.

Marco apologises to the Khan for giving away the gift from under his nose, but the Khan shrugs and quips that the Doctor would only have won it back in a game of backgammon anyway. Still, it’ll be quite a tale to tell everyone back in Venice. That is, assuming anyone believes it.

Well, poor old Marco Polo had great trouble convincing any of his contemporaries that most of what he wrote was true. Even the bit about seeing unicorns. Look it up.

4.5 out of 5, largely for the swordfight.

CONCLUSION

So, that was Marco Polo. I quite enjoyed our journey across China, though the serial is not without its flaws. It drags in places, I began to find everyone’s obliviousness to Tegana’s obvious scheming quite irritating after a while (the perils of invoking dramatic irony), and as I noted last time there’s the disappointing casting choices, along with I think some issues of historical accuracy when it comes to design. Also, the ending is a bit abrupt.

However, this is the most impressive production the Doctor Who team have put on for us yet, bringing the grandeur of a Hollywood epic to the small screen. It’s not quite Cleopatra in terms of scale (or budget), but I definitely feel a similar sense of ambition in this story of great journeys, great rulers and great treachery.

All in all? Well worth the watch, and more of this sort of thing, please and thank you.

THE SCORE

Now, the maths says (factoring in the score I forgot to include for The Wall Of Lies) that this serial gets a 3.57, but I’m feeling generous, and because of the quality of the latter half I’ll be nice and bump it up to a 4.

4 out of 5 stars


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[March 25, 1964] The Face of Terror (The Twilight Zone, Season 5, Episodes 20-24)


by Natalie Devitt

The quality of the episodes on The Twilight Zone has been pretty inconsistent this past month. One thing that did remain constant was that most of the main characters found themselves in some pretty frightening situations. The month’s entries include a story about a young woman being chased by a stranger dressed in black, a man waiting for his execution, a journalist interviewing an actress who may be keeping a deadly secret, and a man discovering that his television set shows his infidelities for his wife to see.

Spur of the Moment, by Richard Matheson

A young woman named Anne, portrayed by Diana Hyland (who you may have seen on Alfred Hitchcock Presents) goes horseback riding on the grounds of her family’s sprawling estate in Spur of the Moment. While out riding, “a strange nightmarish woman in black” riding a black horse appears, looking down on Anne from on top of a hill. The lady lets out a scream. Then, Anne is chased on horseback by the older woman wearing a long black cloak. She shouts out Anne’s name and begs her to stop, but the woman’s pleas fall on deaf ears as Anne rides to the safety of her home.

Once inside, a disheveled Anne tells her parents and her fiancé about the woman. She cries, “I think if she caught me, she would have killed me.“ In the role of her mother is Marsha Hunt, who just appeared in The Outer Limit’s episode ZZZZZ. Anne’s mother assures her that the whole thing must be a misunderstanding, while Anne’s fiancée, Robert, jokes that the whole incident could be “a warning” to her to cancel their upcoming nuptials.

Just then the bride-to-be is visited by her ex-fiancée, David. He tells Anne, “Break your engagement. You broke ours.“ Anne’s father (Philip Ober of From Here to Eternity) forces David to leave by gunpoint. With this many bad omens, will Robert and Anne’s wedding go on as planned?

Spur of the Moment has so much potential that it never seems to totally fulfill. The premise is interesting enough, even with the identity of the woman in black being pretty easy to figure out. The real twist is actually much less predictable and quite good. That said, the screenplay could have used a little more character development because most of the characters are pretty one-dimensional. This is especially true when it comes to Anne, who is obnoxious and entitled.

In addition to the screenplay, the episode is marred by over-acting by otherwise decent actors. Then there is the makeup used to age some of the actors, which is a bit of a distraction. As much as I wanted to love this episode with its striking image of the lady with the black cape on the stallion, two and a half stars is all I can give to Spur of the Moment.

An Occurrence at Owl Creek Bridge, by Robert Enrico

An Occurrence at Owl Creek Bridge is as the opening monologue announces, “a film shot in France” and it is Robert Enrico’s adaptation of Ambrose Bierce’s classic short story by the same name. Playing Peyton Farquhar is French actor Roger Jacquet. Peyton is about to be hung by Union soldiers during the Civil War. Prior to his scheduled hanging at Owl Creek Bridge, Peyton looks back on his life, thinking mainly of his family. Somehow as Peyton is falling from the bridge, his noose miraculously snaps and he falls into the water below. Peyton swims away, narrowly escaping the soldiers. He then travels through the woods in order to be reunited with his loved ones, or does he?

An Occurrence at Owl Creek Bridge is easily the most impressive episode this month. As Peyton is escaping, the audience see things from Peyton’s perspective, watching his senses grow stronger and he notices everything around him. Visually, this is episode is incredibly ambitious. There is underwater photography, and nature shots that appear to employ a wide variety of camera lenses and filters. The episode also uses quite a few different type of camera shots with plenty to stare at in each and every shot.

There is not much dialogue in this short film, but what little spoken word that is used really helps to put the viewer in Peyton‘s place. This includes an exchange between the Union men, which is slowed down as they try unsuccessfully to catch him. There is also the sound of birds chirping and Peyton’s watch ticking. An Occurrence at Owl Creek Bridge is a far cry from your usual television fare; this 1962 Cannes Film Festival winner for Best Short Subject screams European art house cinema. It is a fantastic episode, even if aside from the conclusion, it seems a little bit out of place with the series. In any case, the episode earns its five stars.

Queen of the Nile, by Charles Beaumont

In Queen of the Nile, Ann Blyth of Mildred Pierce plays “Pamela Morris, renowned movie star, whose name is a household word and whose face is known to millions.” Lee Philips, who last appeared on The Twilight Zone in the haunting Passage on the Lady Anne, plays cynical reporter Jordan; he has an appointment to interview the ageless actress at her mansion.

During the interview, he notices some other things. Despite more than 20 years passing since she was painted in one of her portraits on display in the house, she looks exactly the same. He cannot resist the urge to ask her, “Just how old are you?” She tells him that, “A woman in my position can’t afford to have any secrets.” After playing some games, she claims to be 38. But in order for that to be true, she would have had to have made some of her biggest pictures when she was a small child, which would have meant that she was too young to have made her 1940 breakout performance in Queen of the Nile.

Later, he learns that there were two Queen of the Nile movies, one of which was made during the silent era. The actress in the original died in a tragic accident and her replacement looked remarkably similar to the Pamela Morris. Is it possible that Pamela Morris really starred in both films and has not aged a single day in all in the years since? If so, what is her secret staying so youthful?

Queen of the Nile not is not terribly creative or deep. Everyone ages around Pamela while she stays the same, like some sort of Dorian Gray character. We have all seen similar stories countless times. In fact, The Twilight Zone’s Long Live Walter Jameson had one such story. Luckily, the acting and overall execution adds credibility to this television equivalent of a B movie. Simply put, Queen of the Nile is entertaining, which is why it receives three stars.

What’s in the Box, by Martin Goldsmith

What’s in the Box tells the story of a couple that hires a new repairman to fix their television set. Rod Serling calls the man “factory-trained, prompt, honest.” Academy Award nominee Joan Blondell plays Phyllis, who has her suspicions about her husband’s faithfulness. Once the repairman finishes the job, her husband Joe, played by fellow Academy Award nominee William Demarest notices the television is showing what he thought were private moments with his mistress.

In the meantime, he tries to prevent Phyllis from watching the television. Not long after, he notices that the television has begun showing recent arguments with his wife. Thinking his wife is responsible, he begins to ask her questions: “Are you sure you never saw that repair guy before?” She calls him “cracked.” Unfortunately for Joe, things continue to get worse and the television begins predicting the couple’s future conflicts.

What’s in the Box revisits some of the ideas explored in the previous episode, A Most Unusual Camera. This time around, the story had some incredibly annoying characters played by extremely talented actors in what is probably the most depressing entry since Uncle Simon. The episode lacked sympathetic characters and even the faintest glimmer of hope. Two stars is all I can give to What’s in the Box.

This month on The Twilight Zone featured characters in some terrifying circumstances. Perhaps the most shocking thing is how much the quality of the episodes vary these days. Two entries were enjoyable. As for the remaining two offerings, one had potential and the other was a bit of a disappointment. At this point, I think it is safe to say that we are witnessing the last gasps of a once great series.

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[March 15th, 1964] Maaaarco! (Doctor Who: Marco Polo, Parts 1 to 4)


By Jessica Holmes

Welcome back, everyone. Get comfy, because this is our first proper historical episode. This means that I’m about to go off on about a dozen different tangents before we’re done.

(I'd like to note that I was having some difficulty with my television set whilst watching this episode, so if I seem to have missed anything, that's why, and I apologise in advance.)

I must admit that I didn't know much about the historical Marco Polo going in, so I've gone along with my notes to the library and examined the facts in order to compare them to the episode, and see if there are any slip-ups. Other than obviously no time travellers in a phone box turning up halfway in.

THE ROOF OF THE WORLD

In which the companions find themselves in the Himalayas, but soon discover they are not alone. Are they about to fall victim to the terrible Yeti? No, it's the Mongols! And who should be with them but Marco Polo himself.

With the TARDIS in need of repairs, Marco invites the companions to travel with him to Shang-Tu, where he plans to meet with the great Kublai Khan himself. Also accompanying him are Ping-Cho, a young lady of around Susan's age who is on her way to be married (!), and Tegana, a Mongol warlord.

Ping-Cho, as far as I can tell, is not a real historical figure; however Marco Polo did once escort a wedding party from China to Persia, so this could perhaps have been the inspiration for her character. Tegana isn’t real, either, though Marco Polo probably would have travelled with Mongols of high status like Tegana many times, being something of a favourite of the court.

We get our first dose of educational entertainment when not long into the episode, Barbara, being the history teacher, explains to Susan who Marco Polo is.

For anybody unaware, Marco Polo was one of the earliest European travellers to document his travels across Asia. In his lifetime, and for a good long time afterwards, many doubted the veracity of his claims, but we now know that much of what he wrote was indeed accurate. He spent many years at the court of the leader of the Mongols, Kublai Khan, grandson of the legendary Genghis Khan. Did you know that Genghis Khan simply means 'great leader'? That's how highly the Mongols thought of him, that even today we don't refer to him by his true name (which, for those curious, was Temujin).

Basically, Kublai Khan had a hell of a legacy to live up to. Genghis Khan may have carved out the empire, but going by the records, Kublai made it truly great. Fabulously rich, high education rates, freedom of religion. If you ignore the truly biblical death rate, the Mongol Empire was rather amazing. Still, a lot of people died to make it happen.


And their yurts look very cosy, too.

Not a minute later, Ian steps in to fulfil his role as a science teacher, when he explains to Marco Polo why the water is boiling at a lower temperature than it should: because they are at high altitude and the air pressure is low. Indeed, the low air pressure is also causing the Doctor to suffer from altitude sickness. He doesn’t go into the mechanics of why, but that’s perhaps beyond the scope of the show.

While certainly educational, and fulfilling the stated goal of Doctor Who as a programme, these little bits of educational exposition do feel a bit jarring and clunky, as if the show suddenly remembers it’s supposed to be edifying.

Travelling with Marco soon proves to be a bad idea when he informs the time travellers of his true intentions. He's going to present their TARDIS as a gift to the Khan in hopes that the Khan will see fit to release him from his service.

Oh, and to make matters worse, Tegana is planning to poison everyone and take the TARDIS for himself.

At this point it would be remiss of me not to bring up the casting of this serial. I have to say…I'm disappointed.

I am disappointed that more people of Chinese or Mongolian heritage were not cast in speaking roles. I know that casting actors of one ethnicity and putting them in heavy makeup to look like another ethnicity is pretty much par for the course in the current film and television industries. It’s not even unusual for the BBC. Just tune in during Saturday evening primetime and you’ll see what I mean.

I had hoped that Doctor Who might make more of an effort to cast authentically, but alas, most of the Asian characters in this serial are portrayed by actors of no Asian heritage. After all, isn’t speculative fiction supposed to go against the status quo, not uphold it? It’s a real missed opportunity.

Three and a half out of five.

THE SINGING SANDS

In this honestly pretty dull episode, the caravan winds its way across the Gobi desert, the Doctor spends the entire time sulking, the girls get lost in a sandstorm while tailing Tegana, who for some reason changes his mind about his plan. Rather than poisoning the water gourds, like he said he was going to do, he just slashes them open and hopes everyone will die of thirst.

Why?

I don't really know.

Two and a half out of five.

FIVE HUNDRED EYES

The caravan makes it to Tun-Huang and the plot starts getting interesting again.


Ping-Cho tells us a story.

We get a little bit of linguistic history, which is a bit of history I am fond of because I'm that sort of a person. Never end up alone with me at a party. When I start talking, I don't stop. You've probably read enough of my articles by now to have gathered that.

Anyway, it's in the telling of the tale of the hashshashin, though quite heavily mythologised. The hashshashin were an Islamic sect present from the eleventh to thirteenth centuries in what is today Iran, roughly speaking. They were known for fighting their enemies in a most unconventional way: with espionage, assassinations and psychological warfare. Oh, and for smoking a drug called hashish, which is a resin derived from the cannabis plant. Everyone who can spot the potential etymological link please raise your hands.

So, Ping-Cho regales the group with the tale of a wicked lord named Aladdin who lived in the mountains and gave his men a powerful drug which made them feel rather marvellous, and all they had to do for him in return was go out and kill people for him.

This is not exactly how it went but it's a very interesting group with an intricate history. Also I can't find out who this Aladdin is, or who he's meant to be.

Following the not-entirely-accurate history lesson (you should probably pick up a book on the Assassins, more formally known as the Nizari Ismailis; they were an fascinating bunch), Barbara tails him to the eponymous cave of five hundred eyes, where she gets caught, and also the budget suddenly runs out, for this ‘cave’ looks an awful lot like it’s made of plywood.


Tegana, on the hunt for the budget.

The girls are quick to notice Barbara's absence however, and rush to tell the Doctor, who, having had a marked change for the better in terms of personality following his brief absence, immediately sets out with them to find her. Could it be that the Doctor is learning to care about…other PEOPLE?

I think I might faint.

Three and a half out of five. 

THE WALL OF LIES

Marco learns what the others have been up to, and rushes to the cave. He is the one to save Barbara's life, but he's cross at her for putting herself in that position, and at the others for sneaking off without telling him. What's more, he doesn't believe that the girls were following Tegana at all, for Tegana denies having ever been to the cave before.

Tegana is has long been poisoning Marco's mind against our companions, and it seems to be taking root when he orders that the girls be separated. I really enjoyed the relationship between the girls. It feels very natural, and it's lovely to see Susan having a friend her own age. These girls are from different times and cultures entirely, but they get along like two peas in a pod.

The caravan pushes ever onward, and in the city of Sin-Ju (A city which I can’t seem to find out anything about. The name doesn’t come up anywhere that I can find.), Ping-Cho tries to prove to Marco that Tegana lied about having been to the cave before the group rescued Barbara, when he asked earlier about a passageway. It's important to note that this passageway is in fact a secret passageway, which is of course about ten times cooler than any other passageway.

Marco scoffs at her evidence and gets rather cross with her, trusting Tegana over her, even though Tegana might as well walk around with I AM UP TO NO GOOD tattooed on his forehead.
Speaking of Tegana, he's now plotting, yet again, to kill all the travellers. This guy is so rubbish at plotting it's unbelievable. I could have killed all these people five times over by the time we got to this point.

Don't believe me? Let’s go through them right now.

  1. Back in the desert, I could have poisoned the water gourds. You know. Like Tegana said he was going to do and then didn’t.
  2. I could have slashed the gourds open and taken the last entirely for myself, and ridden off to the oasis, there to relax and sip water while the others die. After all, this plan almost worked, only they managed to drink a bit of condensation from the TARDIS. That wouldn’t have been enough if they didn’t have that last water gourd.
  3. Assuming I didn't poison the water, I could have poisoned any of the meals. Then again, everyone does eat the same thing. Also then again, I could just go without one meal. Better hungry than dead, right?
  4. Tegana has a sword. A very sharp sword. Wait until everyone is asleep, tiptoe about, kill them one by one. Nobody gets a chance to fight back. Simple.
  5. The capture of Barbara was the ideal opportunity to bait the others into an ambush.

In conclusion, Tegana is absolutely rubbish at murder plots, and nobody should have me as a travelling companion. Especially not if you’re prone to snoring.

What he is good at, however, is getting Marco to turn against the Doctor and his companions, who become prisoners rather than guests.

Not that that’s going to stop Ian cutting his way out of captivity. With plates!

I was mildly disappointed when it turned out he meant literally cutting his way out of the tent with shards of ceramic, as opposed to taking on the guards armed with a set of fine china. But shock, horror, as Ian goes to subdue the guard, it turns out that someone's beaten him to it!

I'm not saying it was Tegana…
But it was definitely Tegana.
And if he can't manage to kill them next time, I'll just be embarrassed on his behalf.

CONCLUSION

So, that was the first half (ish) of Marco Polo! We’ve travelled a long, long way over these last few episodes.

One thing I do have to commend about this serial is its ambition. It's clear this is where most of the cost-cutting on previous episodes went, with far more detailed sets and some wonderful costumes. I also enjoyed our foray into real history, with real people, and I am really looking forward to meeting Kublai Khan. The Mongol Empire was a real marvel, and I am excited to see more of it. 

[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…]




[March 11, 1964] Brought into Focus (The Outer Limits, Season 1, Episodes 21-24)


by Natalie Devitt

Last month’s episodes of The Outer Limits really raised the bar for the series. The newest batch of stories are mostly good, but do not quite meet last month‘s contributions to the series. This month, many characters make some pretty important realizations. Episodes include a story about young man who finds out the real identity of his father after being accused of a heinous crime, a group of scientists that learn some pretty scary things about a plant that they discover in space, amusement park attendees who find out first hand that a spaceship simulator ride is really equipped to handle space travel, and a team of scientists that discover the contents of a moonstone.

The Children of Spider County, by Anthony Lawrence

In The Children of Spider County, “four of the most magnificent and promising young minds in the country suddenly disappear off the face of the Earth.” All of these young men have a lot in common. Not only are they all smart, but they are “physically superior.“ They were born during the same month of the same year in a little place called Spider County. The men also share the same middle name, Aros, a planet in another galaxy. Each one was born prematurely and does not know his father.

The fifth and final member of this group, Ethan, is the only one not missing and he is behind bars, accused of murder. Ethan is played by Lee Kinsolving, who just starred in Twilight Zone’s Black Leather Jackets. Ethan has been having strange dreams of a creature from outer space following him. Turns out, he is being followed by an extraterrestrial, who is also his long lost father.

His father, Aabel, is played by Kent Smith, who appeared in Val Lewton's Cat People. Ethan’s father helps his son escape the police. Aabel warns Ethan that, “Fear, suspicion and ignorance will sentence you to die, not facts.” He offers to take him “home” to Aros, where he can be with others that are like him in a place “where superstition and fear can never reach you.” Meanwhile, an investigator is trying to get to the bottom of the “abductions by representatives of an alien planet.”

In this episode, Aable has an interesting appearance. For starters, he always wears a suit. Also, he switches between looking like a human and an alien (thus fulfilling in two senses The Outer Limits' trademark of featuring a "man in a suit"). A trait of Ethan’s father that I did not particularly enjoy was his penchant for very long monologues. Luckily, most of the speeches were followed by action, picking up the pace. One thing this entry does have going for it is the way it is photographed; the director of photography, Kenneth Peach, uses anything from Dutch angles to birds-eye views to really create the mood for the episode. The Children of Spider County was intriguing, but it was just too uneven to really be satisfying, which is why it earns two and a half stars.

Specimen: Unknown, by Stephen Lord

Men aboard a space station in Specimen: Unknown discover small mushrooms-shaped objects. The episode stars western actor Stephen McNally and Come Back, Little Sheba ‘s Richard Jaeckel. Also, Gail Kobe, who recently appeared in The Twilight Zone’s The Self-Improvement of Salvadore Ross is another performer in Specimen: Unknown. Thinking that the objects are “dormant spores,” the crew members take them to their lab and put them underneath a heat lamp, where the objects quickly grow into large plants with flowers. In the lab, the flowers begin to spray “some kind of vapor,” killing a member of the crew.

Worried about bringing the deceased member home to Earth and possibly spreading the illness to others, the crew disposes of his body in space. Following the funeral, a member of the crew notices another “mushroom thing” attached to the space station. He decides to study it, completely unaware that it is the same type of plant that is responsible for his colleague’s tragic death. Not surprisingly, the plant grows much quicker than anyone could have ever anticipated and it starts “shooting off spores.”

They isolate the “alien plant life” and store it in metal storage containers, where they believe that plant will no longer pose a threat any humans. That is, until said containers are accidentally tipped over and the alien plants are once again able to start releasing more spores in the air, which leads to a number of the men falling ill with the “alien virus.” With a crew this oblivious, will they be able outwit these plants from outer space and stop the illness that they spread?

Specimen: Unknown seems to have been heavily influenced by The Day of the Triffids. That said, one of the things the episode has going for is its space creatures, which offer a nice break from the usual men in monsters suits. I know objectively, this far from the best entry in the series. I mean, the plants seem to be much more intelligent than just any of the people in the episode. But if you like schlock as much as I do, then Specimen: Unknown is kind of fun. That is why I am giving the episode three stars.

Second Chance, by Lin Dane and Lou Morheim

Employees and attendees at an amusement park realize that a spaceship simulator attraction is really capable of space travel in Second Chance. Actor Don Gordon (Self-Improvement of Salvadore Ross) makes another appearance in The Outer Limits as the simulator‘s operator, Dave. Simon Oakland, who everyone has seen in anything from The Twilight Zone to Psycho is completely unrecognizable as the episode’s extraterrestrial, Empyria. He has been watching over the attraction, studying human behavior and preparing it for just the right time to make his journey back into space.

For the trip, Empyria wants company for so he can have assistance with setting up a colony is space. He walks around the park, passing out free tickets for the ride, pretending to be a employee in character, intentionally picking people “who would have the least regret, and would have the most to gain in a new chance in a new undistorted world,” telling people things like, the “universe may be just the place to go and start over.“ But shortly after taking over the attraction, Empyria realizes he does not know humans as well as he thinks he does.

I am not totally sure I am convinced of Empyria’s reasoning for abducting the people, but I really liked this episode. Empyria had a lot of great one-liners. The sequences involving him hiding in the simulator and sneaking around the park were pretty creepy, but it is really the acting that made the story work. Also, everything from the set design and the costumes were great, too. Second Chance was easily the most fun I had watching The Outer Limits this past month, so I give it three and a half stars.

Moonstone, by William Bast

Ruth Roman of Strangers on a Train stars as part of a team of scientists exploring the moon’s surface, who discover a “mysterious moonstone.” The sphere-shaped stone is examined. During the examination, a laser that is said to be so strong that “it can drill holes in diamonds“ has no effect on the moonstone. They assume that it must be made of metal and be used for “collecting data for transmission to Earth” by the Russians.

As it turns out, the moonstone does not belong to the Russians; on the side of the stone are eyeballs that appear and watch everything. Inside the moonstone are aliens that became stranded while trying to flee their tyrannical government that wants to use them for their knowledge. There is not much time before the aliens will be forced to return home. Until then, everyone has to decide what they are willing to sacrifice to make sure that esoteric knowledge does not end up in the wrong hands.

Moonstone has a few of storylines going. The storyline with the aliens is pretty solid. There is also a romantic subplot and some workplace drama that I did not find quite as compelling. In addition to the storylines, the set design and the paintings used for exterior shots of the moon’s surface were quite stunning. The moonstone with eyeballs floating around was really pretty creative. Overall, I would say that Moonstone deserves three stars.

It was another mostly strong month on The Outer Limits, filled with some pretty creative discoveries. With rumors having been confirmed of Twilight Zone's cancellation, The Outer Limits is probably guaranteed another season.

[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…]



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[February 19th, 1964] The Edge Of Disappointment (Doctor Who: The Edge Of Destruction)


By Jessica Holmes

Welcome back to your regularly scheduled ramblings on Doctor Who, folks. Let's get on with it, shall we?

Today I'm covering a shorter serial, a little two-parter set entirely aboard the TARDIS, where the ship has crashed with no apparent cause, and the crew must work out what happened to the ship and how to fix it before time runs out. With tensions running high, will the crew break apart before the ship does?

I'm making this sound much better than it turned out to be. You'll scream when you find out what the cause of all the problems is. Trust me.

THE EDGE OF DESTRUCTION

In this episode, the TARDIS lands with a bump, knocking our entire crew out cold. As they come to, one by one, it becomes clear something is very wrong with our crew. Wandering about in a daze, they appear confused at their company, as if they've forgotten the last couple of adventures, their relationship to one another, and their personalities.

Shortly after they come to, they make a startling discovery: the TARDIS doors are opening and closing by themselves. Susan begins to fear that there's something aboard the TARDIS with them.

Upon approaching the console, Susan has the most dramatic faint ever put to film. Ian ever-so-gently gives her a fireman's lift and plonks her down on a bed that can't be at all comfortable if you like to sleep in any other position than on your back. I wouldn't get along very well aboard the TARDIS, even if it is wheelchair accessible.

Susan, it seems, still feels a wee bit poorly when she wakes up, given that when Ian comes near her she threatens to stab him with a pair of scissors.


Look, we’ve all had mornings like that, haven’t we?

Now, stabbing Ian would be a rubbish idea. We like Ian. He’s nice. Susan instead screams and cries and stabs the bed, I can only imagine as punishment for it being so dreadfully uncomfortable.

As a highly responsible adult, Ian confiscates the scissors, by which I mean he leaves them lying around for Susan to pick up again.

The Doctor, bastion of logic and reason, thinks it very illogical to consider the idea that someone or something is aboard the ship with them, even though he was unconscious for a good six minutes at the start of the episode (I checked), during which the TARDIS doors were open for an uncertain amount of time, and his companions were either unconscious or highly dazed.

I don't know what planet's logic he's following, because it certainly isn't ours. If I left my front door wide open for a few minutes, I’d almost certainly end up with somebody else’s cat.

Susan returns to her bed with the pilfered pair of scissors, and when Barbara tends to her, a struggle ensues for the potentially deadly implement. Susan is still suspicious that there is something aboard the TARDIS with them, perhaps even hiding within them.

The Doctor manages to get the scanner working, which comes as a surprise, as he and Susan have been unable to touch any part of the console without suffering terrible pain up to now.

When activated, the scanner displays a sequence of images:

First, an idyllic expanse of English countryside.

The doors begin to open, and an unearthly bellow roars outside. The doors close, and we get the next image, an alien world, one that Susan and the Doctor visited recently. I would rather see that adventure than this one.

Then we see a heavily cratered planet, followed by a solar system, followed by what appears to be a galactic belt, which vanishes in a flash of white.

Ian would like an explanation too, but when he asks, the Doctor throws the question right back at him, because while he reckons the idea of something having crept aboard the TARDIS is absurd, apparently the idea that Ian would sabotage the TARDIS of his own free will is not. Why would he sabotage the TARDIS? To blackmail the Doctor into taking him home, of course!

To blackmail. The Doctor. Into taking him home. In the TARDIS. The TARDIS he has supposedly sabotaged. That TARDIS.

I feel like I'm stating the painfully, horrendously, agonisingly obvious here, but this is an absolutely rubbish blackmail plot.

Barbara also points out that it would be wildly out of character for her or Ian to perform any sort of sabotage on the TARDIS of their own free will, and then it's her turn to clutch her head and scream dramatically, because something has happened to the clock.

I think it melted.


That, or the Doctor is a fan of Salvador Dali.

Susan has a bit of a meltdown, too, while Ian looks a bit confused and checks his watch, which, funnily enough, is exactly what I did at that moment.

Once everyone has turned in for the night, the Doctor goes around checking on everyone with his mischievous chuckle, only this time it's a lot more creepy than endearing, and as he bends over the console to do… I don't know, something, somebody grabs him.


Goodness gracious me, who could it possibly be.

And here ends the first part, with the mystery not any closer to being solved, no real action being taken, and everyone being downright useless.

THE BRINK OF DISASTER

A truer episode title has never been written.

So, it turns out it was Ian trying to seize the Doctor, but not to worry, he promptly keels over, so no harm done. Not to the Doctor, anyway. Ian, on the other hand, is in deep trouble.

The Doctor now reckons Ian and Barbara want to steal the TARDIS and fly back to Earth themselves, to which I say: Pardon?

Even if Ian and Barbara were planning to commandeer the TARDIS, how in the world could they? It's not contemporary Earth technology! They could no more pilot the TARDIS than I could nick an aeroplane from the nearest R.A.F. base and fly to France.

Still, it’s enough for the Doctor to make up his mind to throw Ian and Barbara off the TARDIS.

I am frustrated. I dearly and sincerely hope that this is coming through. Because I have already seen that this programme can be much, much better than this.

An alarm goes off, alerting the Doctor to a Thing. I'm calling it a Thing because I never did quite catch what they called it. Faulticator? Faulplicator? Hot Potater? And as it turns out, literally everything is wrong.

For fear of flogging a dead horse I will not be making the obvious joke.

The central column of the console flashes and begins to move by itself The Doctor calculates that they have around ten minutes to live based upon…something, and the crew work out that the machine has been trying to tell them, through the various strange happenings aboard the ship, what the problem is, because as it turns out this funny little big ship has started to think for itself, after a fashion.

The machine could really do with working on its communication skills.

Barbara figures the power at the heart of the machine has been trying to escape— but why? It's like a wounded animal lashing out at anyone who tries to access the controls…except for the scanner.

There's an entire bit of them unravelling the sequence of the scanner images, the long and short of it being that it's representative of their journey so far. Why is the TARDIS trying to take the Doctor for a trip down memory lane? What’s drawing the energy from the core of the TARDIS? What incredible catastrophe has brought this remarkable ship to the brink of destruction?

A stuck button.

The Doctor pressed the Fast Return switch to get back home at the end of the Dalek adventure, and it got stuck.


Are you pulling my leg?

There we have it, folks. Susan nearly stabbed Ian, the Doctor almost abandoned him and Barbara, everyone completely lost their heads and it was just because a little spring was broken and a button got stuck.

So, Ian and the Doctor prise it up, fix it, and Bob's your uncle, off we go.

Yes.

It's really that simple.

So, we're all friends again, having gotten over our inexplicably odd behaviour. The Doctor says he's proud of Susan even though she contributed absolutely nothing and, might I remind you, almost stabbed both of her teachers. Back in my day that was most certainly grounds for expulsion.

Then, having still not managed to arrive on Earth, everyone goes off to play in the snow because we've all forgotten what we're doing.

And behold! Someone with very big feet has been through here.


Looks like one of my eldest brother’s footprints.

FINAL THOUGHTS

Where to begin?

I did not particularly enjoy this story.

This wasn't terrible, though. Don’t get me wrong.

It was mediocre. That's all. Just mediocre.

And I think that might be worse.

Nothing happens. Threads of mystery are half-heartedly picked up, toyed with, and then cast aside in favour of the next idea to pop into whichever character’s head, as if the narrative was being played with by a bored cat. Everyone's having mood swings, and as soon as everyone gets back into character, it's over in a few minutes, because of course it would be!

Everyone in this story was acting very strange and as if they only had a vague grasp of their characters (and on reality itself), and there was no actual cause for it, in the end. Now, a red herring is a good tool in building a mystery, but the red herring does have to have its own explanation within the story. Otherwise, it’s just characters acting weird for the sake of acting weird, and that’s not good writing. I could, if I was feeling very generous, chalk it up to concussion, but it wasn’t consistent enough for concussion, and I’m not feeling generous, so I shan’t.

It's nowhere near as good as The Daleks which I think makes it seem worse by comparison. Thank the stars it was only two episodes and I only lost about fifty minutes or so of my life watching it, plus however long I ended up spending doing the write-up.

I am confident that you will miss nothing by skipping this one. I don't really think the companions come out of this any closer than they were at the end of The Daleks. They were pretty friendly at that point, took about ten steps backwards in their relationship, then in a flash they're all best chums again. It doesn't feel organic. There isn’t enough tension remaining within the group to make the infighting seem justified, and given how nasty it got at one point, how quickly they snap back into being friends makes the whole thing seem pointless. If someone threatened to stab me with a pair of scissors, or throw me out of their car based upon some imagined slight, it’d take me a little while to start trusting them again. I think I’d have preferred it if there really was an entity on board. That would have at least been exciting. Especially if it was controlling one of the crew.

I like to end on a positive note, so I will at least say this: the Doctor admitting how proud he is of Susan was really very sweet, and it was something I'd like to see more of. Hopefully we shall do next time, when with any luck we'll find ourselves an adventure worth the watching.

1.5 out of 5 stars.




[February 11, 1964] To Gain Ascendancy (The Outer Limits, Season One, Episodes 17-20)


by Natalie Devitt

This past month of The Outer Limits presented more than its fair share of stories filled with aliens, insects and humans that all attempt to dominate those around them: an alien from another dimension that holds captives all in an attempt to bargain for more power to achieve his goals, a queen bee that tries to mate with a human in hopes of strengthening her species so that she can rule the world, a secret society that uses creatures to possess the bodies of government officials so that they can rise to power, and a tale about a woman’s desperate attempt to kill an alien and steal his magic shield in a quest for fame and status.

Don’t Open Till Doomsday, by Joseph Stefano

The Outer Limits goes back in time to the year 1929. Following a busy wedding day, newlyweds Mary and Harvey find themselves in their suite with all of their unopened wedding gifts. David Frankham, who was featured in The Outer Limits episode Nightmare, plays Harvey, who is drawn towards one gift in particular. Its card reads, “Don’t Open Till Doomsday.“ Curious, Harvey removes the wrapping paper to reveal a box with a hole on one side that flashes a light. He peeks inside the hole, only to suddenly vanish into thin air.

In the present day, newlyweds Viva and Gard decide to rent the same bridal suite where Harvey disappeared. Mary, played by Trouble in Paradise’s Miriam Hopkins, now owns the property which houses the bridal suite. Having grown old without Harvey, she tells the pair about him before saying that she has finally stopped expecting her “groom to return.” When the couple sets foot in the suite, they see that aside from dust and cobwebs that the room has not been touched in decades.

In fact, the wedding gifts are exactly as they were the night Mary’s groom vanished. The presents include the very box that caused Harvey‘s disappearance, which as it turns out has the ability to transport people into another dimension. This dimension is controlled by a creature from outer space that still has Harvey. Luckily for Mary, she thinks that Viva and Gard might hold the key to helping her free him.

Don’t Open Till Doomsday does not always make much sense, but that does not really matter. From howling winds to film noir lighting, the episode is all about atmosphere. As usual, Conrad Hall’s cinematography helped to make a pretty good episode all the more impressive. In addition, the episode has plenty of great performers, but it is Miriam Hopkins who really steals the show as Mary. She is almost unrecognizable, looking like a cross between Gloria Swanson’s Norma Desmond character in Sunset Boulevard and Bette Davis as the title character in Whatever Happened to Baby Jane.

With all this episode has a lot going for it, I must confess that the conclusion is a little disappointing and that the alien, while ugly, is not nearly as frightening as I would have liked. Despite some flaws, Don’t Open Till Doomsday is highly enjoyable, which is why it receives three and half stars.

ZZZZZ, by Meyer Dolinsky

In ZZZZZ, America, America’s Joanna Frank portrays a mysterious young woman by the name of Regina, who is hired as a lab assistant for an entomologist named Ben. In the role of Ben is Philip Abbott, returning to The Outer Limits after an appearance in The Borderland. Shortly after the “enchanting” brunette is hired, she is invited to stay in her employer‘s home with him and his wife, Francesca, played by Pride and Prejudice’s Marsha Hunt.

What Ben does not realize is that Regina is much more knowledgeable about bees than he is. After spending some time with the new hire, Francesca notices that something seems a little off about her. Francesca’s suspicions are confirmed when she looks out the window one day to see Regina hugging trees and licking flowers, then transforming back into her original bee form. As it turns out, Regina is actually a queen bee. Also, she is intent on mating with Ben in order to improve her species and conquer the world. But before she can do that, Regina needs to eliminate any competition she has for Ben‘s affection.

While far from a masterpiece, ZZZZZ is enjoyable. This entry in the series has an almost magical quality to it due in large part to Conrad Hall’s cinematography, which also makes the already attractive Joanna Frank even more seductive. The most striking scene is perhaps the scene where Francesca observes Regina in the garden going around from plant to plant before eventually turning into a bee. But even with all that the episode has going for it visually, the plot is fairly weak, which is interesting because the screenwriter is none other than Meyer Dolinsky, who also penned the scripts for outstanding episodes like The Architects of Fear and O.B.I.T. After taking everything into consideration, ZZZZZ earns three stars.

The Invisibles, by Joseph Stefano

The Invisibles follows a group of men, who have, as the narrator states, “never joined or been invited to join society.” But it is for that very reason that they have been recruited by an organization called the Society of Invisibles. The men are told that they are being given an opportunity to make something of their lives by being trusted “with a mission of incalculable importance.“

The Society of Invisibles plans to send them out to use their anonymity as an advantage in order to gain the access to prominent members of society, such as those found in “government and industry.” Once a potential victim’s guard is down, a member of the Society of Invisibles can use furry crab-shaped creatures that attach themselves to the unsuspecting victim‘s spine in order to control the body. With each new host, they move one step closer to their goal of world domination.

The men attend “indoctrination classes.” They are told, “You will work alone. Each man in a different city.” The men are also warned, “if you contact anyone for any reason whatsoever, you will be murdered.” What the organization does not know yet is that one of their men, Luis Spain, portrayed by Don Gordon, a recent actor on Twilight Zone’s The Self-Improvement of Salvadore Ross, is a government agent.

The Invisibles is a pretty strong episode. What could be yet another story about alien possession or aliens trying to take over the world is executed extremely well. The acting is superb. Also, the screenplay leaves you never knowing which characters are trustworthy. The story keeps the pace going right until the very end, which is why I give it three and a half stars.

The Bellero Shield, by Joseph Stefano

The Bellero Shield tells the story of a young man named Richard, a scientist conducting experiments with laser beams. Richard is eager to become the successor to his family’s company, but Richard’s father has his doubts, since the company is phasing out lasers. Martin Landau returns to The Outer Limits after The Man Who Was Never Born and assumes the role of Richard. Relative newcomer, Sally Kellerman, makes her second appearance on the series and plays Richard’s wife, Judith.

One night after experimenting with his lasers, Richard steps out of his lab. What he does not know is that his lasers have attracted the attention of a alien or, as it calls himself, a “traveler.” When Judith attempts to shoot the being, he immediately puts up a shield. He insists on keeping his shield up, expecting to “remain shielded” until as he says, he knows more about weapons on Earth. Desperate to keep the family business and compelled by her own desire for fame, Judith distracts Richard, then waits for an opportunity to take a shot at the being when he is without his shield. Once she shoots the creature, she is eager to use his shield for her own gain.

The influence of Macbeth on The Bellero Shield is hard to miss, but even though this episode's screenplay does not try to hide its influences, it still stands as a great work on its own. The script is solid with a fantastic conclusion. The cast does not have a weak actor. All of these add up to The Bellero Shield deserving four stars.

An unwavering quest for power has been at the heart of all of the episodes this past month on The Outer Limits, but another thing that has been pretty consistent this month is the quality of the episodes. Most were at least good, if not excellent. I can only hope that this becomes the rule for the series rather than the exception.



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[February 3rd, 1964] And Into The Fire (Doctor Who: The Daleks | Episodes 5-7)


By Jessica Holmes

Good morning, good afternoon, good evening, in whatever time and place you happen to be. Ready for some more Doctor Who? I certainly am.

So, a super speedy recap before we get into things: the Doctor went and got himself and his companions stuck on an alien planet, and then everyone got captured and almost died of radiation poisoning. They escaped, barely, but then realised they couldn't leave because they'd left part of the TARDIS behind. So now they're going to have to go back to their captors. Well done, Doctor.

Oh, and there are some very cross pepperpots who dabble in plumbing.

THE EXPEDITION

In this episode, the companions must convince the Thals to help them reclaim a vital part of the TARDIS.

However, the Thals are so deeply opposed to violence that they won't take any aggressive action against the Daleks. What's more, the companions themselves can't agree on whether it's right to enlist the Thals in a conflict that has nothing to do with them, even if it could buy them their lives. After some shenanigans and a cruel but effective trick from Ian, Alydon manages to rally a few Thals to assist Ian and Barbara in their expedition to recover the part.

There are two big moral questions in this serial, and this episode is where they’re thrust into the spotlight: when, if ever, is it right to fight? And is it right to enlist someone else to fight your battles?

Entering the episode, the Thals have a firm answer to the first question: never.

"We will not fight. There will be no more wars. Look at our planet. This was once a great world, full of ideas and art and invention. In one day it was destroyed. And you will never find one good reason why we should ever begin destroying everything again."
Alydon

The Doctor, however, isn't having any of it. The Thals are going to fight and he's going to lead them into battle. Won’t that be something, indeed.

This leads us right into the second question: is it right to enlist someone else to fight your battles? Even if your troubles have nothing to do with them?

The Doctor, for the record, couldn't care less if it's right or wrong. It's a matter of survival. If making the Thals fight will make them more likely to survive, then morality doesn’t come into the equation. Now, it shouldn’t surprise anyone that the Doctor would take this stance, but what about Barbara? Yes, of all people, Barbara takes his side. She never really struck me as a moral pragmatist before, but then again, it would surprise most people just how flexible morality can be when your life's on the line.

However, Ian thinks otherwise. Though eager earlier to get the Thals to fight, Ian has come to believe it would be wrong to force them to go against their nature, when this isn't even their battle. If the Thals are going to fight, it has to be for their own reasons.

How do you make a Thal fight? Threaten his loved ones, of course. When Ian threatens to take one of the Thals to the Daleks in exchange for the fluid link (one who is very special to Alydon, if you catch my meaning), it takes Alydon all of three seconds to send him flying.


For a man who’s never fought anyone in his life, Alydon can throw a heck of a punch.

Now, consider this: while all this debate has been raging, the Daleks have synthesised the Thals' anti-radiation drug with unexpected results: the drug is toxic to them. Why? Because it stops them absorbing radiation. This leads the Daleks to realise they need a radioactive environment to survive. If they're ever going to leave the city, they'll have to flood the planet with radiation. The Thals don't know it yet, but they're living on borrowed time.

Alydon comes to an important realisation while wrestling with his guilt over punching Ian. There may well be a just cause for fighting: in defence of another. If they don't help the companions, knowing that only their help can save them, they might as well just kill them themselves. It’s an interesting notion, and one that I find myself agreeing with. After all, all that is necessary for evil to triumph is for good men to do nothing.

What's more, Alydon has himself come to the conclusion that the Daleks represent an ongoing threat to the Thals. They have all the food, and before long, the Thals are going to starve. The Thals are afraid, but that's okay. They're right to be afraid. But as Alydon puts it:

"There is no indignity in being afraid to die. But there is a terrible shame in being afraid to live."

In the end, a few Thals agree to go with Ian and Barbara, and they set out to infiltrate the city. However, it doesn't take long before they run into trouble.

This might be one of my favourite episodes of the serial. I really enjoyed the moral quandaries the characters found themselves in.


We have to have a bog monster in a bog, even if it doesn’t do anything. It’s the rules.

THE ORDEAL

This episode isn't as good as the ones sandwiching it. I'll say that before anything else. There's not really any of the moral philosophy, major character development (other than one rather nice Thal whose name I can't remember), or excitement of the other episodes, so I'll keep it brief.

In this episode, all of our players are getting into place for the final act. Ian and Barbara are leading an expedition of Thals to infiltrate the city from behind, and the Doctor and Susan are with the main group, plotting their own assault on the city. Meanwhile, the Daleks accelerate their plans to make the planet more suitable to their needs.

There are some rather nice, borderline flirty moments of banter between Barbara and one of the Thals travelling with her. It's a sweet little human thing that goes a long way towards endearing him to me. I just wonder how he ever learned of the Earth concept of 'ladies first'. Is that something that regularly comes up in conversation?

I also enjoyed the Doctor and Susan acting like a pair of gleeful schoolchildren as they sabotaged the Daleks' surveillance equipment—especially when the Doctor got so carried away with his own cleverness he forgot the most important part of any bit of mischief: run away afterwards.


You have to wonder how he’s survived as long as he has, really.

Towards the end of the episode, though, there's a scene which is a bit frustrating to watch, as once again, we run up against the budget limitations. It's rather hard to even see what's going on, harder still to believe that our heroes are clinging to the walls of a perilous ravine. Even an establishing shot of a matte painting would have gone a long way towards building my suspension of disbelief.

THE RESCUE

Here we are, at the grand finale. There's a lot going on in this episode, so let’s take a deep breath, and away we go!

Ian and Barbara make it to the city of the Daleks, as Susan and the Doctor find themselves once again at the mercy of the plunger-brandishing fiends. The Daleks kindly explain their whole evil plan, because that’s what baddies do. I’m sure there’s a Handy Guide To Being Evil out there somewhere that every villain ever written has read. Explaining your entire plan is rule number two. The first rule is to never just kill the hero when you have him at your mercy. That wouldn’t be any fun, now, would it?

By deliberately overloading their nuclear reactors, The Daleks will be able to release enough radioactive material to irradiate the atmosphere and terraform the planet to their needs. Or should that be skaroform?

As Alydon rallies his men to assault the city, the Doctor pleads with the Daleks to see reason. When he finds no sense of morality in them to appeal to, he even tries bargaining, but to no avail. Time is running out for the Doctor, and for the planet, when Ian and Barbara's party meets up with Alydon's group, and together, they make their assault on the Dalek command.

I can only really describe what happens as a… kerfuffle. Though the Daleks are deadly at a distance, in close quarters, they're no match for the strength and mobility of their attackers, who push them about as if they were shopping trolleys. It’s a bit funnier than I think was intended.

The Thals prevail, freeing the Doctor to put a stop to the Daleks' plan. However, the salvation of the Thals is achieved at the fatal expense of the Daleks. The reactors are fast draining of power entirely. When they're fully powered down, the Daleks will be starved for radiation. One Dalek, dying, begs for the Doctor to undo what he's done. But he can't. And even if he could, he wouldn't. The Dalek dies, and with it, it seems, the Dalek race itself.


Susan even got a snazzy new cloak.

So much for just being a wanderer throughout the universe, Doctor. You just single-handedly eradicated a sapient species. Neither he, nor any of the other characters for that matter, seem to appreciate that fact, and the episode breezes on to the dénouement, where lessons are learned, goodbyes are said, and cliffhangers for the next serial are set up. Oh, and Barbara and her Thal friend share a very special farewell.

FINAL THOUGHTS

Right, so when it comes down to it, what did I think of The Daleks?

We’re just two serials in, and The Doctor is already affecting events on a planetary scale! If he carries on the way he does, there'll be a Doctor-shaped trail of destruction across the universe before long.

The serial did start to meander a little bit in the middle with having to go back to the city. Particularly The Ordeal, which does set up the finale, but not much else. It's a tricky thing because I can't just point at a scene and say 'cut that'. It would require a surgeon’s finesse.

As for the Thals, I admit I did categorise them in my head as 'Alydon' and 'Not Alydon', which should give you an idea as to how invested I was in the Thals who weren't Alydon. I have forgotten all of their names. They're more of an ensemble cast than distinct individuals, so I didn't really blink when any of them died.

I'm a bit unsure about killing off all the Daleks. It seems a shame to get rid of an interesting villain, one so inhuman, for whom morals aren't a consideration when it comes to survival. An interesting foil for the Doctor, wouldn't you agree? Also, though the Daleks we saw were unquestionably evil and sowed the seeds of their own destruction, was that the case for all of them?

Then again, we never see anything to suggest a concept of individualism amongst the Daleks, so it could be argued that they all harboured the same genocidal ambitions, making peaceful coexistence with the Thals an impossibility. Still, there's no way of knowing either way, which is why I'd have liked to have seen some consideration of their fate.

I wonder if, as the Thals have basically bred into themselves the instinct for pacifism, the Daleks bred themselves to be the opposite. It would fit with all of their actions. When faced with a fight or flight situation, the Thals would always choose flight, and the Daleks would fight. I wonder how the Daleks kept on as long as they did without wiping themselves out. They think nothing of experimenting on or even killing their own kind, if it would further the ends of their leaders.

We do get one line from the Thals that could be interpreted as regretful, though that was probably more for the Thal losses than for the eradication of all Daleks. For that matter, for a bunch of people who had a complete taboo against violence, they did seem to take to it quite well in the end. You'd think the Thals might actually mourn the Daleks. That would have been quite curious to see from our perspective, but I think it would have made sense for a people who up to recently had been so dedicated to living in peace and harmony. Hopefully they won't end up regaining their ancient taste for war.

Still, a very exciting and enjoyable serial all the same. I know it's less educational, but then again, it did explore some moral philosophy on when it's right to fight, if ever, and I love that sort of thing. I also think it came to a responsible conclusion: avoid fighting, except in the defence of yourself or others. I can get behind that. The only time I ever got in a scrap as a child was when a boy was picking on my little brother. I didn't do much for fear of really hurting the bully, but he did back off. I would like to see a bit more that's less cut and dried, perhaps with factions that can’t be simply described as ‘good’ or ‘evil’. Because the real world is messy like that, and I do think that in itself is an important thing to teach.

I’ll be back very shortly for our next outing. Our companions made it safely back to the TARDIS, but it seems the TARDIS might not be the safest place to be after all…

4 out of 5 stars




[January 16, 1964] Man’s Dark and Troubled History (The Outer Limits, Season 1, Episodes 13-16)


by Natalie Devitt

This past month on The Outer Limits has been a meditation on man’s past actions and his darker qualities. Over the course of the month, I watched men motivated by greed, aliens target Earth specifically because of their negative perception of people, scientists treat their fellow men like nothing more than laboratory animals, and Martians try to figure out what motivates human beings to kill one another.

Tourist Attraction, by Dean Riesner

While aboard his yacht in South America, millionaire and United States citizen John Dexter, portrayed by Kiss Me Deadly’s Ralph Meeker, captures a fish that is larger than your average fish. In addition to its massive size, one of the men aboard his yacht observes that it “has hands and feet.” Dexter soon finds out that the animal’s extremities are not the only thing special about the creature and that the locals have legends about it.

The fish is frozen and taken to a local university for research, where it thaws out and almost escapes. Hungry for fame, Dexter makes arrangements to bring the being with him when he returns to the states. The only thing that stands in his way is General Juan Mercurio, the dictator of the country. Mercurio is played by Ocean 11’s Henry Silva, and he plans to make the fish part of an exhibit at the World’s Fair, in hopes of boosting the country’s dwindling tourism industry.

One thing that sets Tourist Attraction apart from previous entries in the series is its frequent use of narration. The average episode of The Outer Limits only uses a narrator for the opening and closing monologue, but Tourist Attraction uses it off and on throughout the story, which is frustrating because it does not seem to add much. If anything, the narrator can be a bit distracting, especially since he disappears for a while, just to start again suddenly.

One other downside to the episode is that it is hard to watch Tourist Attraction and not think that it may be a little too heavily influenced by Creature from the Black Lagoon and the two sequels that followed. Even with all the things counting against this episode, for some reason I found myself entertained. It is not nearly as sophisticated or as artistically ambitious as something like last month's Nightmare, but it is enjoyable, and would probably not be out of place as the B movie in a double feature. Tourist Attraction earns three stars from me.

The Zanti Misfits, by Joseph Stefano

The Zanti Misfits takes place in a ghost town in California. Professor Steven Graves, a “historian of interplanetary events”, performed by television actor Michael Tolan, goes to observe a penal ship from the planet of Zanti land in what is supposed to be a “non-hostile sequence.”

The Zanti have an agreement with the United States government, where the government allows the aliens to land their spacecraft in the deserted town and use it as “a place of exile for their criminals and misfits.” If the government does not properly secure the area and maintain their privacy, the extraterrestrials vow “total destruction.”

As luck would have it, the aliens are in the process of landing their spaceship when the Zanti spot a couple, played by Bruce Dern and Olive Deering. The couple are fleeing the scene of a crime and have driven into the restricted area. Thinking their privacy was been invaded, the Zanti are determined to make sure there were no witnesses to their landing, and later reveal a surprising reason for picking Earth for their colony, which is that they view humans as “practiced executioners.”

This episode's creatures are certainly memorable, with their ant-like bodies and faces that look all too human. As interesting as the Zantis look, the episode’s greatest strength aside from the story, is probably its use of stop-motion animation, which is best captured in a sequence where the Zanti chase after Olive Deering’s character, Lisa. The entire thing is shot in broad daylight, but the stop motion combined with buzzing sounds of the Zanti make it enough to give anyone nightmares. All in all, this episode is the standout of the month, which is why it earns four stars.

The Mice, by Bill S. Ballinger and Joseph Stefano

Henry Silva returns for a second trip to The Outer Limits this month. In The Mice, he plays a convict named Chino Rivera, who volunteers to be a test subject in an experiment. In the experiment, Rivera will teleported to the planet of Chromo. In exchange, Chromo will send one of their beings. When Chromo transmits one of their inhabitants, the scientists encounter a being infinitely more dangerous than Rivera.

Tourist Attraction did not do much to showcase Silva’s talent as an actor, but The Mice certainly does. Silva makes a convicted murder the most likable character in the whole story, even when the other characters do not treat him with the respect he deserves and he has to remind them that he is person, just like them.

What would The Outer Limits be without the crazy monsters and aliens? The Mice certainly delivers one of the strangest monsters I have seen yet, one that resembles a glob of mucus. Also, like most episodes of the series, it does not hurt that the episode is beautifully filmed. The Mice receives three and a half stars from me.

Controlled Experiment, by Leslie Stevens

Carrol O'Connor and Barry Morse star as two Martians in Controlled Experiment. Barry Morse, who most Twilight Zone fans will recognize from A Piano in the House plays Phobos One, an alien who enlists the help of television actor Carrol O'Connor's character, Deimos, to understand the "process of Earth creatures destroying each other." Shortly before a murder in committed, their fellow Martians inform them of the time and location. Once they receive the information, Phobos One and Deimos bring a machine that helps them manipulate time and rush to a local hotel lobby, where they wait for the murder to take place.

As the Martians play with their devise and change time, a number of special effects are utilized. There are times that the images on screen resemble film negatives. Other times, images come into and out of focus. The men from Mars freeze time and replay events that have already occurred. When events are replayed, sometimes they are in slow motion, while other times things are sped up. Controlled Experiment is similar to the previous episode Borderlands, because it does not have the strongest story but it often looks fantastic.

The whole thing felt a bit long to stretch out for a full hour, especially since the Martians replay the same event over and over. It works for a while, but then starts to wear thin. One thing worth noting is that this episode marks the show’s first foray into comedy, even if it is making light of a serious issue. Due to its visual achievements, it is better than The Twilight Zone's attempts at humor, but it is far from the most memorable entry of The Outer Limits. I can only give Controlled Experiment two and a half stars, which are primarily for its special effects and cinematography.

As dark as The Outer Limits has been recently, it has been mostly rewarding to watch and it has expressed hope for a brighter future. To wit: the closing monologue to The Mice, which states, “Wouldn’t it seem that the misery known and understood by all men would lead Man not to deception and murder, but to faith, and hope and love?”

(Did you read about all the ways the Journey expanded last year? Catch up and see what you missed!)



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[January 14, 1964] Out Of The Frying Pan (Dr. Who: The Daleks | Episodes 1-4)


By Jessica Holmes

Hello, hello, hello, ladies and gents. We've got a lot of serial to cover today, and we'll still have some left over. Shall we get started?

We last left the Doctor and his companions as they set out to explore an alien world, unsuspecting of the danger they're in, as the radiation meter creeps towards the danger zone.

Here begins the first part of writer Terry Nation's serial. Here is…

THE DEAD PLANET

The first we see, after the requisite replay of the last moments of the previous serial, is a panning shot across the forest outside the T.A.R.D.I.S. There's quite an interesting visual effect applied to the image that gives it a surreal, eerie quality.


Or it could just be that my television set needs adjusting.

The ever-analytically-minded Doctor stoops to examine the dirt at their feet, and notices it to be ash. Yet they're surrounded by dense forest. Or are they? The woods are utterly still. Too still.

In fact, the trees have turned to stone. It's a petrified jungle.

The Doctor and Susan are fascinated by the discovery, and rightly so. Petrified wood is a rare thing to come across, given that organic tissue usually decomposes long before it can be fossilised. To my knowledge, fossilised wood tends to be found in volcanic areas, where trees were buried long ago in a deluge of volcanic ash, and completely deprived of oxygen. The process of minerals seeping in to replace the organic remains takes millions of years, but the end result is rather stunning.

The teachers don’t appreciate the geological wonder around them, and only wish to go home. After all, the Doctor did promise a return to their own time. It's impossible to say if he managed that, but the right point in space? I think we can assume he missed a bit.

Barbara reveals a little bit of spite when she wishes the Doctor would have something bad happen to him as some sort of cosmic punishment for repeatedly landing them in danger. I can't say I blame her.

Meanwhile Susan is off picking flowers, finding joy in the smallest of things. It's very sweet. The moment is short-lived, and the flower even shorter, when the group spots this hideous thing:


Looks almost as good as me in the mornings.

Who doesn't like a bug-eyed monster? And it's made of metal, no less! It's long, long dead, sadly, but the Doctor speculates that its metal outer skin was held together and manipulated by a magnetic field. It sounds unlikely to me, but it's such a wonderfully creative concept of life that I don't care.

Riding high, the Doctor and Susan continue to explore, while Ian and Barbara continue to whine about wanting to go home. Yes, fair enough, you're so far away from home you don't even know where you are, and yes you might be in a teensy bit of mortal peril, but come on, it's exciting, isn't it? Then again that's very easy for me to say, sitting on my comfortable couch and making notes while a guinea pig attempts to abscond with my notebook.

Here we find out why the teachers haven't made it back home. It's perfectly possible to return the T.A.R.D.I.S. to a previous location, but the Doctor has a tendency to forget the various functions of his ship. If there's such a thing as a T.A.R.D.I.S. licence, I think he ought to go and re-take the test.

As they continue exploring, they notice something peculiar. Other than the one flower Susan picked earlier, the planet is devoid of life. Whatever happened here, it doesn't seem that there were any survivors.

The companions reach the edge of the forest and find a glimmer of hope. In the distance, there's a massive city. The Doctor of course wishes to investigate further, but reluctantly agrees at the behest of his companions to start heading back.

As Susan stops to pick another of the incredibly rare flowers in the forest (really, there's a reason every nature guide I've ever read tells you not to do that precise thing!), something makes a grab at her, frightening her out of her wits. Everyone hurries back to the T.A.R.D.I.S., where the Doctor asks Barbara to talk to his granddaughter. He wants to comfort her, but is aware that there's a vast gulf of maturity between them, and doesn't know how to approach the problem. Bless.

Sadly, Susan has trouble convincing the men of the group, who have made up their minds that there can't be anything out there in the forest, that someone touched her shoulder. I think a lot of young viewers out there will relate to her genuine fear being dismissed as being silly or paranoid. I know I do.

Getting rather hungry, the companions try out the T.A.R.D.I.S.' 'kitchen'. Rather, a machine that makes what appear to be cereal bars which taste like full meals. I think I'd rather have a plate of real bacon and eggs, but the bars do look better than the little tubes of paste our real space-travellers have to put up with.

The Doctor finally agrees to take the T.A.R.D.I.S. home, but as the familiar wheezing of the engines starts up, he bends down, and sneakily removes something from the central console. He straightens up again, and the T.A.R.D.I.S. grinds to a halt. Oh, Doctor, you cheeky man. Of course, the fluid link is 'missing', so of course the only thing for it is to go to the city. Just as he wanted to.

As the companions make ready to leave, the Doctor gives his mischievous little chuckle, and I can't even be cross at him for being so conniving. He may be a lousy guide, selfish, and have a superiority complex bigger than Big Ben (by which I of course mean the bell), but he's so fun to watch.

Outside the T.A.R.D.I.S., the companions find a box on the floor. Ian investigates it with the foolproof method of covering his face while he pokes it with a stick. When it doesn't blow up, he picks it up to discover a number of vials of unidentified liquid. Suspicious of the package, the companions leave it behind and head to the city, where the Doctor takes ill shortly after arriving.

The group splits up to explore, and we follow Barbara through tightly winding corridors, and past a few walls which are rather unconvincingly painted to look like corridors.


Whatever happened to the perspective, here? Did M.C. Escher design this building?

The soundtrack turns eerie as Barbara moves through identical doorway after identical doorway, soon becoming completely lost. The scene is very tense and claustrophobic, and we know something's coming. Something that most likely doesn't appreciate her intrusion.

Something that apparently has a toilet plunger stuck to it.


Attack of the plumbers!

I'm teasing a little, as the scare chord and non-revelation of what's stalking Barbara is an effective scare, but as a threatening appendage, a toilet plunger is perhaps not the scariest choice. Still, from Barbara's horrified screams, we can guess one thing: whatever's advancing on her, it's not human.

I thoroughly enjoyed this one, and was on tenterhooks all week waiting to see how the story would continue. Some very ambitious world design was on display here, and though at some moments the lack of budget did get in the way, for the most part the production team succeeded in creating a very eerie, otherworldly atmosphere.

Now we move on to…

THE SURVIVORS

The rest of the group don't take long to notice Barbara is missing, and they immediately set out to look for her. As they search, they hear a quiet ticking noise. I thought it sounded like a Geiger counter, and was rather pleased with myself when I turned out to be correct. It was indeed a Geiger counter, which the group discovers in a room filled with all sorts of advanced scientific equipment. Whoever built this city, they were highly technologically capable.

However, all that technology couldn't save them. The group realises that the entire planet is soaked in radiation, likely the fallout from some sort of atomic weapon…and they've just been walking around, unprotected. Now we know why they don't feel well. Acute radiation sickness is setting in.

Uh-oh.

Realising how much danger he's put everyone in, the Doctor has the decency to admit to his deception. Ian, furious, takes the fluid link from the Doctor and refuses to hand it back until they've rescued Barbara. Either they all go back to the T.A.R.D.I.S. together, or none of them do.

I really like Ian. He might look like an ordinary teacher, but he's got the spirit of a hero.

Before they can make any progress, however, the things with the plungers arrive.

And they're rather more menacing than a bit of bathroom equipment.

These, as we'll learn before long, are the Daleks. Every word from their… I would say mouths, but they don't seem to have any. None that I can see, anyway. Every word from whatever it is that they use to talk is a clipped, distorted scream. No emotion, just constant yelling. These are possibly the strangest thing I've seen yet. At least the bug-eyed monster was recognisable as an animal. These Daleks, however, are a bit of a mystery, for now at least. Are they robots? Miniature tanks? A bio-mechanical creature? We'll have to be patient if we want to find out.

Whatever they are, the Daleks aren't friendly. As Ian attempts to make a break for it, I give a horrified gasp as the Daleks gun him down. Mercifully, he isn't killed, but the dastardly Daleks have completely paralysed his legs.

With Ian incapacitated, the Daleks herd the group into a cell, where the companions are at last all together again, but trapped.

Want to hear the really good news?

The radiation poisoning is getting worse. If they don't get treatment soon, they're all going to die, and it's not going to be a pleasant end. For now, the group are experiencing a feeling of wooziness, the Doctor the most severely affected. The Daleks haul him off to be interrogated anyway.

The Daleks think that the companions are part of a group of people called the 'Thals', who can apparently resist the radiation through their drugs. This accusation leads the Doctor to realise that the phials left outside the T.A.R.D.I.S. in the night may be the anti-radiation drug in question. He makes a deal for one of the group to go fetch it while the others stay behind as collateral.

Time for a little explanation, at long last. I've been dying to know what's going on here.

The Daleks explain to the Doctor that 500 years ago there were two people on this world: themselves, and another race called the Thals. They went to war, an atomic war, that devastated the planet. As the ashes settled, the Dalek forefathers retreated into the city, protected by their machines, and the Thals were almost driven to extinction, left to wander the wilderness. The Daleks think it likely that centuries of exposure to radiation has left the Thals disgustingly mutated.

Still, even if they are mutants, we can gather one thing: they probably left the drugs for them. A gift, perhaps? Maybe there are some friendly people on this planet.

I’m going to nitpick for a moment now. If, as the Daleks say, the war was 500 years ago, and assuming that the petrified forest was buried as a result of this war, not nearly enough time has passed for the trees to become fossilised.

Ian, beginning to recover the use of his legs, immediately volunteers for the mission. Susan decides to go with him, as the Doctor is now too sick to do anything at all, leaving her as the only person who can unlock the T.A.R.D.I.S.. However, when it comes time to go, Ian's strength fails him, leaving Susan with no choice but to venture out alone. She's absolutely terrified, but she goes anyway; that's what I call bravery.

However, it seems Susan's bravery may all be for naught. The Daleks are spying on our heroes in secret. They have no intention whatsoever of allowing the companions to use the life-saving drug. They just want Susan to bring it back so that they can analyse and replicate it for their own use.

Tensions rise in the cell as Ian vents his frustration at the Doctor, and tension climbs in the forest as Susan runs through the densely clustered trees. She's petrified, but keeps on running, and the guinea pig and I are cheering her on.

It would be a more effective scene if not for the fact that I'm almost certain Susan traverses the exact same patch of forest at least three times.

Susan finally arrives at the T.A.R.D.I.S. as the adults begin to suffer from the next stage of radiation poisoning: a high fever. If Susan tarries, it'll be too late, and the Daleks certainly won't lift a finger, or rather, plunger, to help.

A very exciting episode. Terry Nation is doing a good job so far. Let's hope he keeps it up!

THE ESCAPE

For Susan, braving the forest to reach the safety of the T.A.R.D.I.S. was one thing. Leaving the ship and going right back into the lion's den? That's even harder, but she plucks up the courage and steps outside, where she finds a stranger awaiting her. This is Alydon, the man who left the drugs for the group, and he is one of the Thal race.


A hideous mutant, indeed.

Alydon is surprised to learn that the Daleks still live in the city, and is suspicious of their motives in allowing Susan to retrieve the drugs. To be safe, he gives her a second box, and sends her on her way with his cloak to keep warm.

It's growing increasingly likely that there are people inside the pepper-pot shells. Now we have a big question. If the Daleks think of the Thals as horrific mutations, what must they be like, inside their metal shells?

Susan safely makes it back to the city, where the Daleks confiscate one box of the drugs, but thankfully allow her to keep the other box. Within a few minutes of administering the treatment, the Doctor regains consciousness, and the group start to feel well enough to attempt to get back to the T.A.R.D.I.S.. However, Susan isn't ready to leave. The Thals helped them; they should help the Thals in return.

It turns out that after the atomic war, the Thals were able to cultivate small plots of land, but to do so they rely on a rainfall that only comes every few years. Said rainfall is two years overdue, the crops have failed, and the people are starving. They've had no choice but to leave their land in search of food, but now they're encroaching onto the Daleks' territory. If they're going to survive, they need to arrange some sort of treaty with the Daleks, and Susan wants to help.

In a twist which will come as a surprise to absolutely nobody, the Daleks are listening in on the conversation and hatch a plot to double cross the Thals. They offer the prisoners food and sustenance, leading to the slightly amusing image of a Dalek carrying a tea-tray.

How do Daleks even prepare food? They don't have hands. They seem to use the toilet plunger to interact with their environment, but I don't see how a rubber cup can provide the manual dexterity to make as much as a coronation chicken sandwich. With the companions fed and rested, the Daleks say that they will help the Thals, in truth planning to use Susan to lure the Thals to the city, where they'll be at the mercy of the Daleks. What will happen then isn't certain, but knowing the Daleks, it probably won't be good.

"SHE WILL BE RETURNED. WE ARE GOING TO HELP THE THALS WHICH IS WHAT YOU WANT US TO DO."
Not at all suspicious. Nope. Not one bit.

We now cut to a group of the Thals as they wait by the T.A.R.D.I.S., and learn a little more about them, and about the Daleks. The Thals apparently were once a warrior race, and the Daleks teachers and philosophers. Now the Thals have turned to a simple life of farming, shunning violence in favour of diplomacy, whereas the Daleks have directed their intelligence away from academic pursuits and towards war, violence, and survival.


I just wish I were better at telling them apart.

The Thals are excited to make friends with the Daleks. Bless.

Oh, and they're bizarrely sexist. One of the group berates Alydon for giving the drugs to a girl, instead of a man. I don't see how it makes the slightest bit of difference, but there you go. The only possible reason for her resenting his interaction with Susan is simple jealousy. Jealousy. Of a fifteen year old girl. Okay, then.

Meanwhile, this incredibly threatening fifteen year-old is helping the Daleks to draft a treaty based on mutual aid, which seems all well and good but I wouldn't trust the Daleks as far as I could throw them.


Peace in our time?

While Susan is with the Daleks, she learns that they've been listening in on the group's conversations, and so on her return to the cell, Ian and the Doctor stage a mock fight. In the 'tussle', the device the Daleks were using to spy on them is broken, buying them a few minutes of privacy. However, the Daleks immediately realise what they've done, so they don't have long.

The gang gets to brainstorming. They need to get out before they outlive their usefulness. They hatch a plan based on their observations of the Daleks, and when a Dalek comes to give them food, Barbara blinds it with a bit of mud scraped from her shoes, and the Doctor and Ian manage to wrangle it onto Alydon's cloak, which insulates it from the floor, disabling the creature.

Time to see what's inside!


Or not.

But the look the Doctor and Ian exchange as they look inside says everything. They scoop out the creature with the cloak. It's small, whatever it is. Sometimes what you don't see is more interesting than what you do see.

With the organic component of the Dalek removed, Ian climbs into the shell. Can the Daleks even survive out of their shells? Have Ian and the Doctor effectively murdered this creature? That's a bit of a grim thought. Horrid as the Daleks are, they’re still people. At least I think they are.

Still, I did laugh when Ian spoke from within the shell with the voice of a Dalek. The guinea pig was less amused. She doesn't like strange noises.

The companions depart, but hold on, what's this? Beneath the crumpled cloak, something stirs.

A clawed hand reaches out to the light.

And that's all we see.

THE AMBUSH

Now the companions make their escape, with Ian disguised as a Dalek, which comes in handy when they encounter another Dalek, whose help they enlist when Susan puts her talent for screaming to good use. The Dalek helps them along, and soon realises its mistake when they seal the door behind them.

The Dalek summons reinforcements, who begin cutting their way through the door.

Unfortunately, on the other side of the door, the companions are having trouble getting Ian out of his shell. To make matters even worse, the Daleks have magnetised the floor, so Ian can't even carry on pretending to be a Dalek. He tells the rest of the group to go on without him.

We cut back and forth between the escaping group, Ian trapped in the Dalek, and the Daleks cutting through the door. The rest of the group manage to take the lift to the top level of the building, but it doesn't look like Ian's making any progress. It seems for a moment that Ian has come to a sudden and violent end when the Daleks make it through the door and obliterate Ian's Dalek shell, but moments later, it's revealed that the shell is empty! Ian Chesterton: teacher, action hero, modern day Houdini.

The group reunite and are free to make a break for it. However, the Thals have arrived, and little do they know, they're walking into a trap.

The Daleks finally drop all pretence of decency and issue the order to 'exterminate' any companions they come across. I think we can guess what they're planning to do to the Thals.

While the Doctor gets the door to freedom unlocked, the rest of the group hurl a statue made of 'stone' down the lift shaft, where it wrecks the ascending lift, buying time for the companions. I have to put 'stone' in quotes because it is very, very obvious that it's polystyrene and probably weighs less than my teacup.

Here come the Thals, who bring with them an interesting debate. Our friend Alydon is deeply suspicious of the Daleks and their motives. After all, they did once go to nuclear war. The leader of the Thals, however, is willing to trust them, and eager to offer an olive branch. We of course know that Alydon is right to be suspicious, but let's look at it from the perspective of the Thals for a moment. The war was 500 years ago. It would be rather like me holding a grudge against the French for the Hundred Years' War.

The leader does raise a good point about the possible motivations of the Daleks, however. Perhaps the Daleks, hidden away in their metal shells in their metal city, have become so detached from the outside world that anything that isn't like them is frightening to them. They're like children lashing out in fright. The fact is, that fear has long since crystallised into pure hatred. The Thals have a choice: to pay heed to their misgivings about the Daleks, or to reject fear and take a chance of breaking the cycle. Now, if I knew nothing about the Daleks, I'd be inclined to agree with the leader, but I do know better, so of course I can't. It does rather undermine the point.

Susan wants to warn the Thals of the Daleks' treachery, but the Doctor wants to escape. Barbara takes Susan's side, but Ian agrees with the Doctor for once, deciding that there's little sense in jeopardising their own safety, and tells the others to make a break for it while he warns the Thals. Best of both worlds.

I wish my school teachers had been this cool.

Unfortunately for the Thal leader, Ian is too late to save him from 'extermination', but the rest manage to make their escape, and as they do, Ian meets up with Alydon, who is wounded.

Back at the T.A.R.D.I.S., the companions have made it back in one piece, and the Doctor is taking the opportunity to learn all that he can from the Thals. Through examining their records, he's able to glean more information about this dead planet: Skaro.

The people of Skaro were excellent astronomers who had not only mapped their own system, but planets of other star systems. Exoplanets are indeed theorised to exist beyond the realms of science fiction. These maps of the stars are a testament to the advancement of pre-war society on Skaro.

Ian urges the Thals to stand up to the Daleks, because although pacifism is a noble cause, some things are worth fighting against. All the same, the Thals refuse. It's not that they're afraid of the Daleks. It's deeper than that. They don't just hold pacifism up as an ideal; it's a compulsion.

We also learn that the Daleks used to be called Dals, and it seems that they once were much like the Thals. They weren't entirely wrong however, when they said that the Thals were mutants. The Thals did indeed mutate after the war, then adapted and stabilised to what they are now.

It seems there's nothing to do now but leave, and hope that the Thals can sort things out for themselves.

Of course we're only four episodes into a seven episode serial.

Did you really think it was going to be that easy?

Remember the fluid link?

It's still with the Daleks in the city.

Wrapping Up

This serial has been a lot more plot-dense than The Firemakers, which I imagine you can tell from the sheer length of this article. I have to say that I am thoroughly enjoying it so far, and must congratulate the writer of this serial, Terry Nation, on the exciting plot and interesting world and history he's created for this story. The production staff also deserve a round of applause for delivering a truly alien and eerie atmosphere despite what must have been a limited budget. I poked fun at a few points where the limitations showed, but they really did do a good job.

I'll be back soon to finish off the serial, so until next time, I bid you adieu.