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Science Fiction/Fantasy, TV

[September 24th, 1967] A Really Cool Story (Doctor Who: Tomb Of The Cybermen)

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By Jessica Holmes

Doctor Who is back for another season, and let me tell you: we’re off to a promising start. The Cybermen are back, we’ve got a new companion, and Patrick Troughton continues to impress in his role. Let’s take a look at Doctor Who in The Tomb Of The Cybermen.

EPISODE ONE

With a new companion accompanying the Doctor, the first episode takes the time to introduce Victoria—and any new viewers—to the TARDIS. Don’t worry if you’ve never seen an episode of Doctor Who in your life—this is a great place to jump in.

Victoria and Jamie are also surprised to learn that the Doctor is a little older than he looks. About 450, in fact. I’ll bet he uses Pond’s Cold Cream.

The next adventure goes off with a bang, as a group of explorers blast open an entrance to a long-abandoned city of the Cybermen, eager to uncover the mysteries of their extinction many years ago. However, the expedition won’t be a walk in the park, with one of the party falling victim to an electrified door before the Doctor and company even arrive.

Realising that the group are probably in over their heads, the Doctor agrees to help them out, de-electrifying the door and helping them enter.

In this little pack of adventurers we have Parry (Aubrey Richards), the expedition’s leader and his assistant Viner (Cyril Sharps) providing the archaeological expertise. There’s also the expedition’s financier, Kaftan (Shirley Cooklin), her servant Toberman (Roy Stewart), and her colleague Klieg (George Pastell). In addition, we have a couple of spaceship pilots but they spend most of their time back at the ship and aren’t important.

Inside the complex, the expedition splits off into small groups. Apparently gender roles have stagnated over the last however many years, because the men would be quite happy to leave the women behind because after all, exploring is a MAN’S JOB! The men in this serial, the spaceship pilots especially, are very rude and patronising to Victoria for no good reason, and constantly dismissive of her. Victoria, though literally a Victorian, is having none of it, and forms her own group with Kaftan and Viner.

Victoria’s group soon finds a room designed to ‘re-vitalise’ a Cyberman, while Jamie’s group finds a weird metal mouse with googly eyes. Or caterpillar, as Jamie calls it. But I think it looks more like a mouse. The Doctor later identifies it as something called a ‘Cybermat’, and puts it in Victoria’s bag for safekeeping.

The Doctor and Klieg remain at the entrance, puzzling over a control panel which they believe will open a hatch to the deepest part of the complex. There’s a lot of babble about binary logic which sounds about right to me, but I know absolutely nothing about computers.

Meanwhile, Jamie and his exploring buddy (who I don’t think has a name) make the wise decision to start randomly pressing buttons and pulling any levers they find. It’s no surprise they end up in trouble. They manage to activate some sort of hypnosis machine, which leaves them completely helpless as a Cyberman slides out of the darkness, gun at the ready. There’s a blast of light, and Jamie’s buddy drops down dead.

EPISODE TWO

By the time anyone makes it to them, the Cyberman has vanished, leaving a very confused and distressed Jamie and a very dead explorer. After some experimentation, the Doctor manages to discover that the Cyberman that slid out was nothing more than a dummy, and the fatal shot actually came from behind. It looks like this is a weapons testing area, and Jamie’s buddy was just unlucky enough to be caught in the crossfire. But why were they hypnotised? Is it a trap, or do the Cybermen just like a groovy light-show while they practice their shot?

The group bring the dead man back to the entrance, where Parry decides to call off the expedition. It’s nice to see someone being sensible. Alas, they can’t leave yet—someone has tampered with their ship’s fuel pumps. By someone, I mean Toberman, acting on Kaftan's orders. He's the only one strong enough to do it.

With no choice but to stay, Klieg suggests that they continue their exploration, against the Doctor’s protests. Klieg manages to get the mysterious hatch open, and the men go inside, while the delicate little women stay behind. Of course.

Victoria’s quite insistent on going down with them, but the Doctor convinces her to stay with Kaftan—not for sexist reasons, mind you, but to keep an eye on her. Kaftan couldn’t be a more obvious villain if she tried, so someone had better make sure she doesn’t get up to any mischief. So sure, leave the teenager alone with the scary lady. What could go wrong?

Down in the depths of the complex, the men find a tomb… a tomb of Cybermen. It’s frozen solid, keeping the Cybermen immobile and dormant…but not for long. Klieg gets to work warming the room up, and the Cybermen come to life, much to Viner’s horror.

Viner tries to stop Klieg, but it looks like Klieg isn’t just foolish—he’s malicious. Shooting Viner dead, Klieg continues awakening the Cybermen. There’s nowhere for the others to run, as Kaftan has drugged Victoria and closed the hatch. This was their plan all along, and so far it’s going off without a hitch, as the Cybermen burst from their icy coffins and awaken their leader.

However, there’s something they didn’t take into account. Remember the Cybermat? It’s woken up, and so has Victoria.

Though quickly realising that Kaftan has betrayed the group (in fact, she has Victoria at gunpoint) Victoria tries to warn Kaftan about the rapidly advancing critter. Her warnings go unheeded, and the strange creature attacks, knocking Kaftan out and providing Victoria with a chance to get hold of the weapon, with which she promptly deals with the metal menace. Looks like Victoria is made of sterner stuff than it first appeared!


Admittedly the Cyber-controller is harder to take seriously when its head is shaped…um…like that.

EPISODE THREE

Seeing as he doesn’t have anywhere else to be, the Doctor takes the opportunity to have a little chat with the Cybermen about what sort of dastardly scheme they’re cooking up this time. Turns out this place is a trap for eggheads like Parry and company. The Cybermen are few in number since their disastrous attack on the moonbase, but they’re quite picky about who they want to convert. They want people with a natural aptitude for logic, hence the weird door-opening mechanism. Well, Klieg is certainly logically minded (According to him, anyway. He never shuts up about it.), but rather lacking in common sense.

So of course it’s Klieg that the Cybermen pick to be the leader of this new batch.

Fortunately for Klieg, Victoria managed to get some help back at the entrance (though not without having to contend with the dismissive boneheads piloting the ship), and here comes the captain of the spaceship to rescue them. However, in the chaos as they flee the tomb, Toberman gets left behind.

Out of immediate danger, the group realise that Klieg and Kaftan have their own agenda, and can’t be trusted. So, they decide to lock them away…in the weapon testing room.

The weapon. Testing. Room.

A shiny ha’penny piece for whoever can guess what Klieg and Kaftan do next.

Meanwhile, the rest of the group settles down for a nap. Here we get one of my favourite parts of the serial. Victoria, bless her, lets the Doctor get a little extra sleep on account of his advanced age, and when he wakes up they have a private moment for him to ask her how she is. Understandably, she’s missing her father, but the Doctor assures her that it will get easier not to think about him with time. He’s something of an expert at it.

VICTORIA: You probably can't remember your family.
DOCTOR: Oh yes, I can when I want to. And that's the point, really. I have to really want to, to bring them back in front of my eyes. The rest of the time they sleep in my mind, and I forget. And so will you.

I understand what he means, but there’s something very sad about the way he puts it. And he doesn’t ever bring up his family, so am I to take it that he chooses not to remember? I think there’s a sadness beneath this Doctor’s clownish exterior.

It’s a rare moment of emotional honesty and vulnerability, and I’ll be interested to see how this affects the Doctor-companion bond. We’ve had Doctor-as-parental-figure, Doctor-as-teacher, how about Doctor-as-confidante?

See, I said the new Doctor would open up new avenues of character exploration, and it looks like I’m right.

However, the moment is disrupted with a whole swarm of Cybermats attack! The Doctor manages to deflect them with a live power cable, and delivers the most wonderful line afterwards:

“The power cable generated an electrical field and confused their tiny metal minds. You might almost say that they've had a complete metal breakdown.”

That is painful. I love it.

Remembering the prisoners they oh-so-wisely locked in the weapons room, the group rush to check on Klieg and Kaftan, only for the duo to be already waiting for them..and they’ve got the Cybergun working.

EPISODE FOUR

Klieg takes a shot at the Doctor, but misses, hitting one of the blokes from the spaceship instead. He claims he meant to do that, but I beg to differ. Despite still being held at gunpoint, Victoria insists on helping the wounded man. I think I really quite like Victoria. She’s got a good strong backbone.

Klieg demands to speak to the leader of the Cybermen, who comes out of the hatch with a partially-converted Toberman. Toberman hasn’t been shoved into a tinfoil spacesuit, but the Cybermen have removed his emotions.

Threatening to leave the Cybermen down in their tomb forever, Klieg demands the power to conquer the world. Because what is the point of doing something monumentally stupid and dangerous if your end goal ISN’T to have dominion over the Earth? It’s Villain 101.

The Cyber-controller accepts, and Klieg orders it and the explorers into the revitalising room, keeping Victoria as a hostage.

Yes, he sends a tired Cyberman into the room used to pep up tired Cybermen.

However, this knackered Cyberman is having difficulty climbing into the revitalising machine. Apparently five hundred years of sleep isn’t enough. Fortunately, it’s the Doctor’s turn to leave his common sense at the door, as he gets everyone to help the Cyber leader get into the machine…and then turns it on.

Luckily, Jamie tied a rope around the door so that the Cyberman can’t open it. Gee, it’s a good thing that Cybermen aren’t really strong or that would be woefully inadequate!

Oh. They are, in fact, really strong. Strong enough to punch through the door itself.

Feeling refreshed, the Cyber-controller gives telepathic orders to Toberman, who immediately turns on Klieg. He knocks him out in a single hit as the rest of the group breaks out of the revitalising room.

The Cyber-controller orders Kaftan to open the tomb. She tries to refuse, and shoots at it with her conventional gun. However, bullets don’t work on Cybermen. Cyberweapons work fantastically on fleshy humans, though, and the Cyber-controller strikes her down in an instant.

The Doctor takes the opportunity to appeal to whatever sense of humanity Toberman still has within him. Despite the Cybermen’s tampering, he seems to have genuinely cared for Kaftan, and he’s ultimately still loyal to her. His loyalty runs deeper than his programming, and he turns on the Cyber-controller, easily overpowering and disabling it.

However, there are more Cybermen to contend with. Jamie shoots a couple down as they attempt to emerge from the hatch, but the Doctor has to make sure they all go back to sleep. This time, they won’t be waking up. The Doctor recruits Toberman to help him out, though it does take a fair bit of slow, patient explanation before Toberman understands why the Doctor is asking him to help destroy the Cybermen. It's weird and feels quite patronising. Once he gets the picture, though, he’s quite enthusiastic, if somewhat lacking in subtlety.

The Doctor tries to freeze the Cybermen, but at that moment Klieg shows up, having regained consciousness and followed the pair down to the tomb.

It’s become clear that Klieg and logic are no longer on the best of terms, as the Doctor outlines his vision of a world under Klieg’s control, with everyone thinking exactly like him, and Klieg falls in love with the idea of controlling everyone’s thoughts.

Also, rather than killing the Doctor now and getting it over with, he decides to leave him to the mercy of the Cybermen…who are none-too-fond of the idea of having to take orders from Klieg. One of them kills him, and Toberman pounces on it, wrestling with the metal menace while the Doctor (and Jamie who has just popped up because he needs to have SOMETHING useful to do) put the Cybermen back in the icebox. Toberman wins the fight, ripping out the 'heart’ of the Cyberman, which dies in about as grisly an manner as a mechanical being can, clutching desperately at its chest as foam gushes between its fingers.

With the Cybermen back on ice, the Doctor tampers with the controls at the entryway, planning to electrify the hatch and the control panel in addition to the main doors. However, the Cyber-controller isn’t quite dead yet!

With the Cyber-controller in hot (well…snail-paced) pursuit, the group bolt for the exit, but they can’t shut the doors without electrocuting themselves. Smart move, Doctor. However, Toberman, either not realising the doors are deadly, having no sense of self-preservation, or extraordinarily bravely (pick whichever you prefer), steps in, pushing the huge heavy doors shut. With the doors sealed, they electrify, killing both poor Toberman and the Cyber-controller.

At least everyone else is safe, and the Cyber-threat is dealt with for good.

…Or is it?

Final Thoughts

The Tomb Of The Cybermen is a very exciting serial, great for fans of exploration. It feels sort of like a more futuristic version of that sort of adventure serial about treasure hunters exploring tombs. Long-forgotten ruins, booby traps, ancient horrors best left undisturbed… sounds a bit familiar, doesn’t it? Events move at a good pace, never plodding but not rushing either, with some moments to catch a breath. The part where Victoria and the Doctor had a bit of a heart-to-heart was particularly good. I was really looking forward to seeing the next part each week, and didn’t find any of them to be a slog—just how a serial should be!

However, sometimes characters had to do really, really stupid things to get the plot moving forward. I understand that this sort of adventure story is structured as a cautionary tale on the perils of unchecked curiosity and arrogance, but sometimes the decisions were just extraordinarily dim, like locking the baddies in the room with the super-weapon, or helping the evil robot-human hybrid recharge its batteries.

The characterisation is stronger than usual for Doctor Who stories with large ensemble casts, who usually end up all blending together in my head. That’s not to say that these characters are deep, but at least I can point at Viner and say ‘he’s nervous’, or point at Klieg and say ‘he’s self-obsessed and not nearly as smart as he thinks he is’.

That said, Klieg and Kaftan are a bit too obviously evil for my liking, and have all the subtlety of a tonne of bricks splatting a panto villain.

And then there’s Toberman: the sole black member of the cast, portrayed as subordinate to the others, inhumanly strong, and having almost no thoughts or feelings of his own. Here, we have a repeat of my issues with Kemel, but this time it’s worse. At least Kemel got some characterisation. Toberman is just some unthinking muscle. He’s a plot device used to open doors and lift heavy objects, not a person. The only conversation directed him that isn't an order is a patronising pep talk from the Doctor about how he shouldn’t let himself be enslaved. And then he dies. Heroically, admittedly (if we are generous with our interpretation of events) but it seems we’ve gone from having virtually no ethnic minorities in Doctor Who to having the occasional racist stereotype who doesn’t live to the end of the serial.

A lot of the same comments I had about Kemel also apply here, so I’m hoping that I’m wrong about the pattern I’m starting to see, because I don't like it.

All that said, I did genuinely enjoy The Tomb Of The Cybermen, for the most part. In fact, it has some of my favourite moments in all of Doctor Who so far. If it didn't have the lousy racial politics and unexpected sexism I might go so far as to call it my favourite serial of the entire programme.

4 out of 5 stars for The Tomb Of The Cybermen




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Book, TV

[September 12, 1967] Heavens Above!  (The Fifteenth Pelican and The Flying Nun)

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by Victoria Silverwolf

Birds of a Feather


Cover art by Arthur J. King.

The Fifteenth Pelican, by Tere Ríos

Tere Ríos is the name used by writer Marie Teresa Ríos on her books, such as An Angel Grows Up (1957), Brother Angel (1963), and the one under discussion, which came out last year. I haven't read those other two, but the titles suggest that they might have something to do with the author's Catholic faith, which is also reflected in her newest work. (Even the cover artist, who also supplies several interior illustrations, is a Catholic priest.)

The Fifteenth Pelican is a whimsical tale about Sister Bertrille, a nun newly arrived at a convent in Puerto Rico. The most notable thing about Sister Bertrille is that she is tiny; four foot ten and weighing only seventy-five pounds.

The nuns wear large hats that look like wings. Given the fact that Puerto Rico is very windy, you can probably already see where this is going.

While hanging laundry on the roof of the convent, a gust of wind lifts Sister Bertrille into the air. At night, she has what she thinks of as dreams of flying with a flock of fourteen pelicans. (Hence the title.) In fact, she is really soaring through the air with them.

During one of these nocturnal excursions, she lands at a hush-hush military base. Suspected of being a spy, Sister Bertrille has to prove that she just flew in by accident.

That's about all there is to this slim little book. There's some stuff about Sister Bertrille's work with the orphans at the convent, but that has nothing to do with the plot. It's made absolutely clear that Sister Bertrille's flight is not miraculous, but simply a matter of aerodynamics. We're told more than once that if lift plus thrust is greater than load plus drag, the result is flight.

I, for one, don't believe that a strong wind is enough to allow a seventy-five pound woman to fly, even with the help of wings on her head. Nevertheless, I suppose the attempt at a rational explanation makes the book science fiction rather than fantasy.

Like Sister Bertrille herself, The Fifteenth Pelican is as light as a feather, a bit of fluff best described as cute. I suspect it would quickly be forgotten, were it not for the fact that some television executive got ahold of it, and thought it would make a good series.

Gidget Goes To San Juan

Actress Sally Field, not yet twenty-one years old, got her start while still a teenager in the title role of the television series Gidget. By my count, she's the fourth actress to play the part of the petite surfer girl, after Sandra Dee, Deborah Walley, and Cindy Carol. (Yes, I know too much about beach movies.)

The series lasted only one season, but it became something of a hit during summer reruns. Eager to provide their young star with a new situation comedy, the folks at Screen Gems came up with something. It wasn't called The Fifteenth Pelican.

Field plays the part of Sister Bertrille. We're still at the same fictional convent in San Juan, Puerto Rico. It's still really windy, and she still wears the big hat that looks like a pair of wings.

Field isn't quite as small as the character in the novel. She's about five foot two (but without eyes of blue) and is said to weigh ninety pounds. That makes her ability to soar in the wind even more unlikely, but that's television for you.

The pilot, which aired last Thursday, had a one-hour time slot. I think the show will normally be a half-hour series, which is typical for an American situation comedy. It was narrated by a new character, Sister Jacqueline, played by Marge Redmond. She recently appeared as a nun in the movie The Trouble With Angels, so I guess it's typecasting.

She's a friendly, down-to-earth type, who supplies wry commentary throughout the pilot. At her side is Sister Sixto, played by Shelley Morrison. She's a Puerto Rican nun who provides comedy in questionable taste with her mangling of English idioms.

Unlike the rather meek character in the book, the TV version of Sister Bertrille is a perky, outgoing, slightly rebellious sort. We're even told she spent time in jail for participating in a free speech protest.

She quickly tries to improve conditions for the young orphans at the convent by holding concerts and such. (This subjects the viewer to a cloyingly sweet song, which we'll suffer through twice. Believe me, it makes the saccharine songs in The Sound of Music sound like rock 'n' roll.)

This newfangled way of doing nun stuff earns the disapproval of the head of the convent, Reverend Mother Superior Placido, played by Madeleine Sherwood. She's a stern, old-fashioned type. Needless to say, she's not very happy about the fact that Sister Bertrille takes to the sky now and then.

As in the book, Sister Bertrille accidentally lands at a secured military base, and has to answer a lot of awkward questions. That's cleared up pretty quickly, leaving some military types befuddled.

More important is a subplot not found in the novel. Sister Bertrille keeps running into a new character, Carlos Ramirez, played by Alejandro Rey. He's a playboy who runs a discothèque/gambling den. Sister Bertrille first encounters him when she winds up on his yacht full of bikini-clad beauties, where Ramirez is busy trying to seduce one of them into spending the weekend with him.

This adds a tiny bit of sex appeal to an otherwise squeaky clean series. Given the fact that the Catholic Church provided technical advice for the pilot, I don't think we're going to see romantic tension between Sister Bertrille and the fun-loving bachelor.

Anyway, Ramirez owns a piece of land that the convent could use for a new school, but he doesn't want to donate it. When Sister Bertrille flies by his private airplane as he's on route to a weekend getaway with yet another gorgeous girlfriend, he thinks it's a religious vision and gives up the land.

The whole thing is very silly, of course. It takes the gentle whimsy of the book and turns it into broad comedy. Like many American sitcoms, it's ruined by an obnoxious laugh track. The hour-long pilot (forty-odd minutes without the commercials) really drags. Maybe it'll be more tolerable cut down to a half-hour (twenty-something minutes) next time.

Or you could turn off the television and listen to KGJ for all the hits, all the time!




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Science Fiction/Fantasy, TV

[July 10, 1967] Return to Collinsport (the gothic soap opera, Dark Shadows)

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by Natalie Devitt


[Collinwood]

It has been barely over a year since the unusual soap opera Dark Shadows started airing as part of the daytime lineup at ABC back on June 27, 1966, and already the program has teetered on the verge cancelation, although it appears that the show may be spared for now. 

Back in April, audiences were introduced to Barnabas Collins, a vampire originally from the 1700s played by Shakespearean actor Jonathan Frid, that was awoken from a long slumber after an attempted grave robbery by drifter Willie Loomis (character actor John Karlen was recast in the role after it was originally played by James Hall).  Frid was brought on the program as a guest star, and so far his character seems to be wildly popular with audiences.


[Willie at the Collins family mausoleum]

After arriving at Collinwood, mansion of the prominent Collins family, Barnabas claimed to be a long-lost cousin from England. He acted like it was just a coincidence that he bore an almost uncanny resemblance to a Collins family ancestor, also named Barnabas and who was featured in a portrait hanging in the foyer at Collinwood.  As they were unaware that Barnabas was undead and that he and the portrait’s subject were one and the same, Barnabas was able to gain the acceptance of his newfound family and set up residence at his original home, also on the property, determined to restore the aptly named Old House to its former glory. 


[Barnabas next to his portrait at Collinwood]

Surprisingly, Barnabas did not have much trouble adjusting to the present day, and it was not long until a number of strange incidences began occurring in the quaint New England fishing town of Collinsport.  Animals were discovered dead and drained of their blood.  Willie was discovered with an unusual wound near his wrist and was unable to recall ever being injured. 


[Collinsport, Maine]

Barnabas also met daughter of local artist Sam Evans (now being played by actor David Ford), waitress Maggie. Maggie is portrayed by relative newcomer Kathryn Leigh Scott, and now that she is no longer sporting a blonde wig, she's the spitting image of his late love, Josette du Pres, known for meeting an untimely demise at Widows Hill.  Shortly after meeting Barnabas, Maggie went missing and was presumed to be dead, but little did the residents of Collinsport know that she had been kidnapped and put under a trance by Barnabas, with the intention of turning her into his vampire bride – despite the fact Maggie is romantically involved with Carolyn Stoddard’s (newcomer Nancy Barrett) ex, Joe Haskell (theatre and television actor Joel Crothers).  Prior to her disappearance, she had been experiencing unexplained blood loss, just like Willie. 


[Barnabas and Maggie at the Old House]

Almost immediately with the arrival of Frid’s character on the gothic serial, the program really began to really change dramatically in tone.  In fact, Dark Shadows is starting to feel like a completely different show.  Sure, there had been supernatural elements sprinkled throughout the series, like the storyline involving Louis Edmonds' (Kraft Theatre ) character, Roger Collins’s estranged wife Laura (television and stage actress Diana Millay) being a phoenix, and the ones about the ghosts of Frenchwoman Josette du Pres and Collins fishing fleet manager Bill Malloy, but they seem to be becoming more commonplace, just like all of the séances they’ve been holding at Collinwood lately. 


[Ghost of Josette inside the Old House]

Veteran movie actress Joan Bennett receives top billing as family matriarch, Elizabeth Stoddard, having been the most established as an actor and being from a family of accomplished performers. Nevertheless, Dark Shadows was originally told from the perspective of Victoria Winters (Swedish actress Alexandra Moltke)–but her mission to find out her true identity after having been orphaned as a child seems to been put on the back burner for now.  I am still curious why Elizabeth was intent on hiring her as governess to her troubled nephew David, played by child actor David Henesy, in the first place.


[Victoria shortly after arriving in Collinsport]

I am happy to report that some other mysteries were solved, though. 

First, was the one involving the disappearance of Elizabeth’s husband, Paul Stoddard.  In fact, it was Elizabeth’s missing husband that set things in motion for Barnabas’ arrival at Collinwood in the first place.  As you may recall, Elizabeth’s husband had been missing and she had not left the Collinwood in more than eighteen years – that is until Paul’s old pal Jason McGuire (character actor Dennis Patrick) showed up at the family estate with Willie and an elaborate plot to blackmail her.  Long story short, Jason led Elizabeth to believe for years that she had murdered her husband, and that he had buried his remains in the basement. It turned out that she did not murder Paul after all, and Willie would go on to free Barnabas from his coffin.


[Elizabeth with her husband]

Second, finally viewers learned that the rift between Roger Collins and Burke Devlin (now being played by Anthony George who recently replaced Mitchell Ryan) was caused by Roger testifying against Burke in a vehicular manslaughter case that led to Burke spending several years in behind bars, when Roger was the one who was really guilty of the crime and Sam had been bribed to go along with Roger's story. 


[Elizabeth, Roger, Sam, and Bruke]

Even with its recent changes, I am still enjoying Dark Shadows.  What can I say? I am a sucker for atmosphere, and this show has it in spades, especially with its crazy twists and turns, a cast made up of mostly theatre actors, Sy Tomashoff’s set designs, composer Bob Cobert’s musical compositions, costumes provided by Ohrbach's, and all of its surprisingly ambitious special effects for television.  It does not hurt that each week, the show seems to adding more cobwebs and candles.  In recent months, the program also seems to be attracting an usually young audience for a daytime drama.  Rumor has it that the series is going to be making the leap from black and white to color later this summer.  I am curious to see how that will affect the tone and the popularity of the show.  Does Dark Shadows have any more tricks up his sleeve to ensure that it is not put back on the television chopping block? 



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Science Fiction/Fantasy, TV

[July 2, 1967] An Explosive Ending (Doctor Who: THE EVIL OF THE DALEKS [Part 2])

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By Jessica Holmes

When we last caught up with the Doctor’s adventures, we left him in the clutches of the Daleks, forced to help them discover the 'Human Factor' for their own ends. Jamie has become an unwitting lab-rat, with the fate of young Victoria Waterfield–and perhaps humanity itself–hanging in the balance. Let’s see how things turn out with the conclusion of The Evil Of The Daleks.

EPISODE FOUR

The Daleks soon learn that in order to possess the ‘human factor’, they’ll have to embrace something no Dalek has ever exhibited: mercy. This revelation comes as Jamie encounters the strongman Kemel, and in the course of their fight ends up saving his attacker’s life. Realising that Maxtible lied to him and that Jamie is not in fact a villain bent on harming anyone at all, Kemel has a change of heart. He decides to aid Jamie in his quest, saving him from a booby trap moments later.

Kemel doesn’t talk much. Well, he doesn’t talk at all. But he seems like a nice chap, having a bit of a soft spot for Victoria. He's also a great help when it comes to bypassing the traps and dealing with the Daleks in their path.

Meanwhile, Maxtible and Waterfield find themselves saddled with the unsavoury task of disposing of yet another Dalek murder victim. Maxtible feels no responsibility for all these deadly goings-on, but Waterfield's conscience is nagging at him, and he fully intends to turn himself over to the law once this is all concluded.

Noticing that her fiancé Terrall is acting weird, Ruth confronts her father about the goings-on in the house. I don’t think she was quite expecting him to confess to aiding evil beings from another world in exchange for the secret of transmuting base metal into gold.

No, really. Maxtible–filthy rich Maxtible–is willingly helping the Daleks in order to learn alchemy.

Now that's what I call a Faustian bargain.

Jamie and Kemel’s journey through the house brings them to the brink of finding Victoria–but just when they think they’ve succeeded, they find themselves surrounded by Daleks…

EPISODE FIVE

Luckily for Jamie, Kemel comes to the rescue. He sweeps the nearest Dalek off a balcony using a length of rope, and the pair escape into Victoria's room.

Victoria and Kemel joyfully reunite, and the group barricade themselves in while they work out what to do.

Having completed work on uncovering the human factor, the time has come for the Doctor to implant three test Daleks with 'positronic brains'…whatever those are. I think it just sounds a bit cooler than 'electronic brains' or 'computers'.

Waterfield, however, has serious misgivings. The Daleks are bad enough right now!

Meanwhile in Victoria's room, the chaps are so busy trying to stop the Daleks getting in, they don't immediately notice when Terrall pops out of a hidden door and snatches up Victoria.

They rush after him, and Jamie corners Terrall sans Victoria, duelling him with one of the many, many swords adorning the walls of the room. Cute, Scottish and good with a sword? Sounds like my kind of guy.

Before either of them can do any real harm to one another, Ruth and Mollie walk in on them and attempt to intercede. All this commotion brings the Doctor rushing in, and he discovers a strange electronic device on Terrall's clothing. It seems that this is what the Daleks have been using to control him, as he begins to recover once the Doctor takes the device away.

And then Ruth, Mollie and Terrall leave the house and the story, never to be seen again.

Meanwhile, Kemel finds Victoria in the laboratory, but before he can rescue her, a Dalek orders him to take her into the time…portal…thing that they've been using to travel to and from their base of operations. Let's just call it the Magic Cabinet.

Reunited with the Doctor, Jamie is still understandably very cross with him. However, they don't have any time to hash things out. The new, improved Daleks are awakening.

What new evils will these Daleks be able to devise? What cunning plans will they come up with? What new avenues of malice will they explore?

To the Doctor’s shock, these new Daleks rush up to him, sweeping him off his feet…

And proceed to play with him.


Wheeeeeeeeeeeeeeeeeeeeeeeeeeeeeee!

EPISODE SIX

The Daleks are playing trains. Trains. Forget about any notions of super-Daleks, the human factor has turned them into children!

The Doctor is surprised to say the least, but he's quite thrilled at the result, naming his Dalek-kids Alpha, Beta, and Omega. Hmm, I'm not sure about that. I understand that new parents want unique names for their little darlings, but surely they're just going to get picked on in school.

I also can't quite decide if these child Daleks are oddly creepy or oddly cute. It's definitely a very fresh approach.

Bonding time is over quickly, however, as the baby-Daleks are called back to Skaro, their homeworld.

It’s time for everyone to go, actually. The Daleks have got what they wanted, and are about to blow up the lab.

Maxtible is not best pleased about this turn of events, and makes the incredibly wise decision to follow the Daleks back to Skaro and confront them on this betrayal.  They don't take criticism well, and he ends up in the same cell as Victoria and Kemel. Well done, Maxtible. Well done.

Having been left behind, the Doctor, Waterfield and Jamie make their escape via Waterfield’s time machine, and start sneaking into the Dalek city through the network of underground tunnels, retracing the Doctor’s steps from when he first encountered the Daleks.

Kemel and Victoria are safe for now, with Victoria promising to protect Kemel, much to his amusement. After all, he is about twice the size of her. I find their friendship rather sweet.

The safety of the captives might be short-lived, however, as the Doctor and company hear a terrible scream coming from their location. But it’s a trap! The captives are fine, the Daleks just told them to scream. Well, they made Maxtible scream, and Maxtible then twisted Victoria’s arm, because he’s a jerk.

A group of Daleks soon find the Doctor and company, and take them to their leader… the Dalek Emperor.

Though initially the Doctor is defiant, declaring that if he can turn three Daleks good, they can introduce the rest to their wild new ideas of not being genocidal maniacs, and the Emperor will have a rebellion on their hands.

But no. It’s never that easy with the Daleks. By isolating the ‘human factor’ the Daleks have worked out its opposite…the ‘Dalek factor’. And the Doctor’s Dalek-kids will be the first to be ‘impregnated’ (interesting choice of words) with this Dalek factor, followed by all of humanity, throughout human history. They’re not looking to make human-ish Daleks. They’re looking to make Dalek-ish humans.

EPISODE SEVEN

Refusing to comply with the Daleks’ commands, the Doctor ends up imprisoned along with the others, forced to endure a punishment worse than death: listening to Maxtible bang on about the secret of transmutation. Jamie thinks the man’s head is full of cotton wool, and so do I.

Helping the Daleks isn’t an option for the Doctor at this stage. There’s too much at stake. He’d rather all the captives die, himself included, than turn the entire human race into Daleks with legs. He’s uncertain if there’s anywhere to escape to, even if they could. He does toy with the idea of taking everyone to his home planet (which I'd love to see!), or to another universe entirely.

However, there’s a spanner in the works for the Daleks. When commanded to cease work so that the Dalek Emperor can conduct an experiment, one of the Doctor’s Dalek-kids pipes up with a simple question, a question no Dalek has ever thought to ask before, which infuriates the Dalek leaders:

“Why?”

Back with the captives, the Daleks surprisingly come through on their deal to show Maxtible the secret of transmutation–but it’s a trap. As he approaches the transmutation device, passing through an archway, a strange effect comes over him. He’s been implanted with the Dalek factor!

To the horror of the others,  Maxtible lures the Doctor through the archway with the promise of retrieving his TARDIS. The Doctor's gone Dalek—or has he? It appears that neither Maxtible nor the Daleks have taken a simple fact about the Doctor into consideration: he’s not from Earth, nor is he human. Sure, he’s human-like on the outside but his insides could be made of chocolate pudding for all we know.

He does have some spectacularly angry eyebrows.

Still, the man does a good Dalek impression. He promptly uses his fake-Dalek status to start making mischief, tampering with the machine that converts humans into Daleks. With the Daleks unaware that the conversion didn’t work on him, he helpfully suggests to the Emperor that in order to deal with the recent crop of disobedient Daleks, it would be prudent to have every Dalek go through the conversion machine. After all, it won’t do anything to the proper Daleks, and the errant Daleks will have their brains fixed.

He’s telling the truth…from a certain point of view.

As the Daleks file through the archway one by one, a change comes over them. They develop the curious, contrarian, childlike demeanour of the test Daleks. They’re turning human, and it’s brilliant!

So human in fact that they react in a very relatable way when one of the black commander Daleks kills one of their number for questioning an order—retaliation! In a matter of minutes, a few questioning Daleks has turned into a full-blown revolution!

However, just when victory is at hand, a black Dalek takes aim at the Doctor. Waterfield pushes the Doctor out of the way, taking the blast meant for him. Deaths in Doctor Who don’t tend to be all that sad, but this one does pull on the heartstrings a bit as the Doctor promises the dying Waterfield he’ll look after his daughter.

The rebellious Daleks push on, and the Emperor is powerless to stop them. With a battery of blasts from the rebelling forces, the Dalek Emperor goes up in smoke—and so does the city.

 

The ensuing carnage is best described as cataclysmic. There’s some really cool pyrotechnics on display here. The models of the city's exterior could be better, but it's a bit hard to see through the flames.

Could this be the end of the Dalek menace?

Tragedy strikes outside the city however, as Maxtible (wait, why didn’t they shove him through the archway before leaving?) attacks the group, flinging Kemel from a cliff to his death.

“Poor Kemel,” is all the reaction Victoria can muster. Gee. You must be so heartbroken, Victoria. Poor Kemel, indeed. Kemel deserves better than this, honestly. I suppose there was only room for one new companion, but this just feels like a lazy way to kill him off.

Conveniently, the Daleks (or whatever’s left of them) call Maxtible back to the city before he can turn on Victoria and Jamie, and he presumably perishes in the flames. It’s not terribly clear. Last we see him, he’s entering the city ranting and raving about the superiority of the Daleks as the Doctor climbs out of the burning wreckage.

I’m pretty sure he’s dead, and good riddance to him, too. He was a wrong'un before the Daleks ever tinkered with his brain.

The Doctor finally makes it back to the others, and has to break the bad news about her father to Victoria. All is not lost for the poor girl, however. The Doctor intends to keep his promise. With Victoria officially joining the TARDIS team, the group departs for parts unknown…

Final Thoughts

I’ll say it outright: The Evil Of The Daleks is the best Dalek story in I don’t know how long. Actually, it might be one of my very favourite serials outright. Sure, it has its weak spots, but the stronger elements are glorious. And that ending—wow!

I very much enjoyed the H.G. Wells influences in the earlier part of the serial, and the Daleks didn’t disappoint when they showed up. It was interesting to see them trying a new approach to their universe-conquering goals.

We had a good cast of characters, though I’ll admit some weak links. The side-plot of Terrall’s struggle with Dalek control didn’t really seem to go anywhere; the Doctor just took the device off and off he went. Ruth is basically an accessory to Terrall, and there’s not that much to be said for Mollie. And there’s not that much to be said for Victoria, either. Unfortunately, our new companion hasn’t had much opportunity to distinguish herself, being little more than a fair damsel for the heroes to run around rescuing.

Kemel was a lot more interesting to me, and he doesn’t even talk.

Maxtible and Waterfield however I both found very enjoyable to watch. Maxtible’s a bit over-the-top with his maniacal gold obsession, but it does make him entertaining. Waterfield is more well-rounded, antagonistic at first but never really a true villain. He’s just a decent bloke who needed to find his backbone, and in the end he did.

This serial also does interesting things with the relationship between the Doctor and Jamie. At numerous points throughout the serial, Jamie butts heads with the Doctor over his seemingly overly-cooperative and callous approach to dealing with the Daleks. Though of course we now know that the Doctor was hoping all along to somehow use the Human Factor against the Daleks, we can forgive Jamie for being seriously concerned about the Doctor’s intentions.

It’s a matter of trust. Being a fairly new companion, Jamie and the Doctor haven’t really had time to develop that bond yet–but I think they have, now. For Jamie, going through the archway to escape the Dalek prison was an act of great trust—trust he couldn’t be sure that the Doctor had earned, considering the previous few episodes. Yet he did it, and I think that marks a turning point in their relationship. Of course, only time will tell if I’m right.

But what of the Daleks? Will we ever be seeing them again? It doesn’t look likely. Though the evil Daleks are gone, it appears that the good ones were caught up in the fiery demise of the Emperor. That’s a real pity. Once you get past the dissonance, the more human-like Daleks were quite endearing, and I was curious to see how they might develop.

What made the Daleks monstrous wasn’t their mutated form. It wasn’t the pepper-pots, or the plungers, or the eyestalks. The thing that made the Daleks monstrous was their mentality. Their genocidal sense of superiority, their utter obedience to their commanders, their inability to question orders.

I hope at least some Daleks might have survived, because I see potential for very interesting stories involving their redemption going forward. There’s rich potential for fascinating, insightful and pertinent storytelling here.

If there are any good Daleks left, they’ll have a real struggle on their hands—well, plungers. Not only will they need to rebuild their civilisation, they’re going to have to work hard to move on from the atrocities of their past. Not all wrongs can be righted, and not all sins forgiven–not without considerable effort, anyway.

Changing the mentality of a civilisation is never straightforward, and neither is the path to atonement and making restitution.It’s something we’re still struggling with ourselves, in many nations.

Redemption for the Daleks will not come easily—but I'd love to see them try.

4.5 stars out of 5 for The Evil Of The Daleks.




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Science Fiction/Fantasy, TV

[June 4, 1967] The Daleks Stoop To A New Low… Vehicle Theft! (Doctor Who: The Evil Of The Daleks [Part 1])

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By Jessica Holmes

EX-TER-MIN-ATE! I hope you aren’t tired of Daleks, because we’ve got angry pepperpots aplenty in the latest Doctor Who serial– and this one’s a long-haul. Will the Daleks quickly wear out their welcome or leave us begging for more? Let’s find out as we watch David Whittaker’s Victorian spin on the ever-popular villains, The Evil Of The Daleks.

EPISODE ONE

The Doctor and Jamie can’t catch a break, can they? Fresh off the whole palaver with the Chameleons, they try and return to the TARDIS only to find that it’s been stolen! Trailing their suspect to a warehouse, the Doctor and Jamie soon realise that they’re being led into a trap, and the TARDIS is bait–but they have no choice if they ever want to get it back.

But who has taken the TARDIS? Another man out of time. Enter Waterfield (John Bailey), a dealer of Victorian antiques who seems to belong to the period himself. He’s very anxious to bring the Doctor to his shop, obeying the orders of an unseen master… Give you three guesses who that’ll turn out to be.

However, it doesn’t seem that he pays his lackeys well enough, because the rogue who nicked the TARDIS for him comes snooping around his parlour looking for extra compensation, and gets rather more than he bargained for. A hidden room– and a deadly foe.

Enter the real villains–the Daleks!

EPISODE TWO

The Dalek in the secret room kills the intruder before vanishing, leaving the Doctor and Jamie unaware as they arrive for their meeting with Waterfield. Noticing that all these Victorian ‘antiques’ appear to be brand-new, yet somehow genuine, the pair begin to suspect they’re dealing with another time-traveller.

Meanwhile, Waterfield finds his dead lackey (much to his horror). He realises he’s definitely in too deep–but there’s no backing out for him, for reasons that will later become clear.

The Doctor and Jamie discover the body a few minutes later, and believe that Waterfield has murdered the man. Soon finding the hidden room themselves, they inadvertently set off a booby trap that knocks them out—and then Waterfield makes the three of them disappear.

When the Doctor wakes up, he finds himself nursing a cracking headache in Waterfield’s house–and he’s been transported to Victorian times. 1866, to be precise. Waterfield introduces him to his colleague, Maxtible (Marius Goring), and the pair explain that they’re in big trouble. While conducting experiments into time travel, they accidentally opened the door to horrors beyond imagining. I dearly love the look of dawning horror on Troughton’s face as the Doctor, hearing the familiar scream of the Daleks, realises what the pair have unleashed. It’s a great little moment of acting.

The Daleks, unusually for them, don’t want to kill the Doctor. Not yet, anyway. They require him to assist them with an experiment. After however-many attempts to conquer humanity, the Daleks have realised they need a change of tactic. They want to understand what makes humanity tick–that unknown human factor that they can transplant into themselves, and thus become unstoppable.

The Doctor has little choice but to assist. If not, the Daleks will kill Waterfield’s daughter, Victoria (Deborah Watling).

However, he’s not so keen when it turns out that Jamie is to be the Daleks’ test subject.

While all this has been going on, Jamie has woken up in the other room, met Maxtible’s daughter Ruth (Brigit Forsyth), and worked out what year it is. Before he can snoop any further, however, a man breaks in and abducts him!

The Doctor arrives to find him missing, the unconscious maid in his place. He needs to find Jamie, fast. Any delay in starting the experiment will result in Victoria’s death.

EPISODE THREE

So, what’s happened to Jamie? He wakes up in a stable and finds that his kidnapper acted on the instructions of another: a posh bloke called Terrall (Gary Watson). Terrall doesn’t seem to have any better idea of what’s going on than Jamie. Though he had apparently promised to pay the kidnapper, he refuses, claiming to know nothing of this. It doesn’t get much clearer from there. One moment he’s asking about the whereabouts of Victoria, then the next he’s claiming to be sure she’s gone to Paris. He’s quite all over the place.

The Doctor catches up to them before long, so we don’t get any better idea of what this bloke’s problem is. Perhaps it will become clear in due course. Until then, I’m just going to call it a bit of a plot cul-de-sac.

The pair return to the house. The Doctor leaves Jamie with the maid, Mollie, while he goes off to discuss the experiment. He doesn’t give Jamie so much as a hint of what’s going on (at the Daleks’ insistence), and boy is Jamie mad about being left out of the loop. He gives the Doctor a good telling-off once he gets back from the meeting, both upset about the secrecy and that the Doctor is so chummy with Waterfield, who for all Jamie knows is a murderer. It delights me to see a companion with a bit of backbone.

While the Doctor is off playing mad scientist, Jamie gets to know Ruth a little better. She is either mind-controlled or an extraordinarily bad actress, because everything about how she talks and carries herself is just plain weird. She turns out to be with the posh bloke who had Jamie kidnapped earlier–he’s her fiance! Perhaps whatever made him so odd is also influencing her?

Jamie gets along much better with Mollie (Jo Rowbottom), the maid. She tells him that Ruth’s fiance, Terrall, is normally quite a nice bloke, but does have anger issues since coming back from Crimea.

When the Doctor and Jamie meet back up, the Doctor warns Jamie that under no circumstances is he to attempt to rescue Victoria.

As expected, he immediately goes off to do just that. Truly the Doctor is a master of reverse psychology.

Mollie sneaks Jamie a copy of the house plans so that he can find his way around, and he commences his quest.

However, little does he know that the house is full of booby traps! What's more, a silent Turkish strongman by the name of Kemel (Sonny Caldinez) guards the way.

And so the experiment begins. Jamie charges off to mount a rescue, and the Doctor returns to Maxtible’s lab to monitor his progress and analyse his actions. In case you’re thinking the Doctor is being a bit too cooperative with the Daleks, he did offer himself as a test subject in Jamie’s place, but he’s not exactly human, is he? If I wanted a new face I’d need a boatload of money and a very good surgeon. Though the Doctor looks human, I think we can assume by now that he’s at least a little different from your average Joe.

Unhappy with being stiffed on the payment by Terrall, the ruffian who kidnapped Jamie earlier attempts to blackmail him. When that fails, he settles for a mugging. Unsatisfied with the contents of Terrall’s pockets, the ruffian pushes his luck by breaking into the house.

The Daleks find him before long, and his end is swift–and painful.

Final Thoughts

Though I’m beginning to worry that the Daleks are becoming a tad overused, I cannot deny that The Evil Of The Daleks is off to a good start. There’s something quite H.G. Wells about our time-travelling Victorians encountering horrors from another world. It’s some really old-school science fiction, and I’m on board.

There’s only so much I can say about the new characters thus far, being only a handful of episodes in. Poor Waterfield doesn’t strike me as a bad chap.  I think he’s in over his head. I have my doubts about Maxtible. He seems a lot less uneasy about the unethical things the Daleks are making them do.

The Daleks’ new scheme could mark an interesting evolution in their villainy. What would a more human-like Dalek be like? If they end up taking on more humanity, might they end up becoming more like their Kaled ancestors? Can the Daleks be reformed?

We’ll have to wait and see.




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Science Fiction/Fantasy, TV

[May 14, 1967] Ben And Polly To The Departure Gate (Doctor Who: The Faceless Ones [Part 2])

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By Jessica Holmes

May rolls around, and the sun has finally started to make an appearance in merry old England. It’s time to start thinking about our summer holidays, but if one thing’s for certain, it’s that I won’t be booking with Chameleon Tours any time soon.

Let’s take a look at the second half of The Faceless Ones.

EPISODE FOUR

We left things off with the Doctor having a sudden attack of a bad back, and things only get worse, with Spencer disabling Jamie and Samantha within moments of the episode’s opening.

Now would be a good time to finish them off, you’d think, but instead he sets up some sort of death ray to kill them… eventually. The thing moves so slowly the trio would probably have time for a round of golf before the ray fries them. Though mostly paralysed, Samantha conveniently has enough control of her faculties to get her mirror from her bag and hand it to Jamie, who uses it to reflect the beam and blow up the death ray machine.

With the machine destroyed, their partial paralysis wears off, which doesn’t make an awful lot of sense to me. I thought it was the freezing pen that paralysed them? And I’m still not sure what that device on the Doctor’s back did to him.

Unable to get past the Nurse in the medical bay, the Doctor speaks to the Commandant, who is still being unhelpful. His secretary, on the other hand, has learned from other airports that Chameleon Tours never delivers passengers anywhere, it only takes them. Finally, there’s the proof that the passengers aren’t reaching their destinations.

Seeing as the Commandant is no use, he enlists her help in distracting the Nurse with a feigned medical condition so that he can sneak into the medical bay.

Meanwhile, Samantha has a bright idea to get on a Chameleon Tours flight to Rome, to find out what happened to her brother. Given that this is absolutely bonkers, Jamie wants to go with her to keep her safe. Somehow. However, he can't scrounge up the twenty-seven quid for a ticket. Being from the seventeenth-century, that's more money than he's seen in his life! If he can't go with her then, he'll go instead of her.

Using his manly wiles, Jamie steals Samantha’s ticket from her while she’s too busy snogging him to notice.  Girls can't resist a Scots brogue. Jamie, you scoundrel! Samantha doesn’t realise she’s been robbed until she attempts to board the plane, at which point she’s captured by Spencer.

The Doctor sneaks into the medical bay where he finds the transference equipment and some high-tech armbands which he then brings to the Commandant, but it’s still not enough. How?! There's healthy scepticism and then there's just being deliberately obtuse. If I were the Doctor, I'd be starting to wonder if the Commandant is himself a Chameleon.

The Commandant has an RAF fighter tail the departing Chameleon Tours flight, but alas this jumbo jet has more tricks up its sleeve than just vanishing passengers. It's got weapons!

Thinking they've collided, the Commandant watches in horror as both planes appear to freeze in place, then vanish from the radar. It looks like they've both nose-dived. Well, the RAF plane has, but as for the other…it’s going up. Straight up. All the way into outer space, and into a space station!

Suffice to say, Jamie is not enjoying his first taste of air travel.


Barbie had better watch out, she's got some competition!

EPISODE FIVE

Having not vanished due to a conveniently timed upset stomach, Jamie emerges from the aeroplane loo to find the other passengers gone, and the flight attendant gathering something from their seats. She puts the mysterious objects into storage on the Chameleon space station, but what could they be?

They’re the passengers! They’ve not vanished at all, but shrunk down to the size of a doll.

Unfortunately for Jamie, he gets caught soon after disembarking the plane. The makeup department might have gone slightly overboard with some of these Chameleons. They’re quite scary.

Maybe keep the smaller kids away from this one, eh?

Back on Earth, the Commandant finally starts to wonder if the Doctor might be onto something after all when the RAF plane’s wreckage turns up, and it's discovered that the pilot died by electrocution. I'm not sure how they can tell, given I didn't think there's usually much left of someone after their plane crashes.

The Doctor gets to question Meadows, and discovers that he has one of the mysterious high-tech armbands– and he’s very anxious that the Doctor mustn’t touch it.

With no other options, he comes clean. There was a catastrophe on the Chameleon home planet, and to survive they need to take on the physical characteristics of another being. That’s why they’ve been abducting all these people–they’re up to fifty thousand by now!
The original people the Chameleons have copied are hidden somewhere in the airport. Meadows doesn’t know where his original is, but the nurse does, and she keeps her own original close at hand.

The group hurry down to the medical bay, and not a moment too soon, because Samantha’s in there! The Doctor frees her, but the nurse kills an accompanying policeman and tries to attack the Doctor. Before she can, however, Meadows finds her original and deactivates the armband, causing the Chameleon-Nurse to disintegrate. They’re safe, but they’re no closer to finding the others.

On the Chameleons’ satellite, Jamie is very surprised to run into the Inspector. However, his surprise turns to horror when it turns out that this isn’t the Inspector at all, but the Director, the leader of the Chameleons. The actor does an excellent job pivoting from amiable to menacing.

Learning that the Chameleons have captured Jamie, the Doctor comes up with a plan to get him back–he’s going to pretend to be a Chameleon. He gets the Nurse to help him dupe Blade into believing that the Doctor is really Meadows (or, well, the alien pretending to be Meadows, unless they just so happened to have the same name), having been re-processed and given a new face.

It gets them onto the next plane…but they’re flying into a trap. Blade's not stupid after all. They Doctor and the Nurse (ha) arrive onto the satellite only for the Chameleons to immediately surround them. On the plus side, the Doctor soon finds Jamie. On the downside…it’s not really him.

And worst of all, he’s not got a Scottish accent.


I wanted to illustrate Chameleon-Jamie but it turns out you can't hear an English accent in a photograph.

EPISODE SIX

Unable to find the originals of all the Chameleons, the Commandant halts all flights and enlists the entire airport staff in the search. Meanwhile, the Doctor tries to negotiate for the lives of all the people the Chameleons have captured, but it's not as if he has a leg to stand on. Or does he?

The Doctor learns that some of the Chameleons have their originals safely stored on the satellite, but only the most important personnel. The others are at a lot more risk of being discovered, and he realises he can use that to his advantage. See? Class stratification ruins everything. I don't think this serial is really trying to make a broader societal point, but I found one anyway!

He claims that the airport staff have already found the originals, and they’re about to start waking them up–so the Director had better start listening to what the Doctor has to say.

Skeptical, the Director radios down to Earth to confirm. The Commandant is quick to catch on, and backs up the Doctor’s fib. However, he can’t tell the Director where he found them. Growing impatient, the Director gives the order to hook the Doctor up to the transference machine. Of course, the Doctor breaks it, because he can't go anywhere without breaking something.

Samantha has the bright idea to search the airport car park, where she and the Commandant’s secretary find the missing people inside the parked cars. Gee, so thoroughly hidden! They might as well have stuck them in the departure lounge.

The Chameleons aboard the satellite get a nasty surprise when one of them suddenly disintegrates. Now they realise they’re completely at the humans’ mercy. The Director still tries to refuse to give the stolen humans back, claiming that the process can't be reversed, but in a bit of a surprise Blade turns against him and calls him out on his lie. The planes can easily reverse the process. Though the Director is unwilling to give in to the Doctor’s demands that the Chameleons give back all the people they stole and leave, Blade has a healthier sense of self preservation. After all, his original is down in the car park.

Being rather nicer than he has any obligation to be given that the Chameleons keep trying to kill him, the Doctor offers to help the Chameleon scientists find another way to save their species that doesn’t require body snatching. The Director isn’t keen, but he’s not in charge any more, and Blade kills him when he attempts to flee.

The Chameleons start returning all their captives, and the Doctor recovers his friends. They return to Earth, and it’s time to say goodbye.

It turns out that I was wrong in my speculation, and Samantha will not be staying on as a companion. After all, her brother will probably wonder where she’s gone. Still, I thought she’d have made an excellent addition to the crew, so this was rather disappointing.

But there are a few more goodbyes than expected. As they head back towards the TARDIS, Ben and Polly (hello again!) realise that today is the 20th ofJuly, 1966–the very same day they left Earth. I think we can gather where this is going.

The Doctor is very understanding about their desire to go back home, admitting that he was never able to get back to his own planet, so he can sympathise with the desire. That’s interesting. Did something happen to his own world, or is he banished? Is he a space fugitive? That’s a fun idea. Sad for him, I mean, but fun.

The Doctor sends Ben off to resume his naval post and become an Admiral one day, and assigns to Polly the lofty goal of… looking after Ben. Well, Doc, I think Ben can look after himself, and Polly's a bright enough young woman to have her own ambitions. She deserves more than to be an assistant. In any case, what they do with themselves is up to them.

With that, Ben and Polly depart, and the Doctor and Jamie head back to the TARDIS.

Just one small problem.

They have absolutely no idea where it is.

Final Thoughts

So, that was The Faceless Ones. Aside from some moments where characters acted needlessly stupidly in order to move the plot along, I really liked it. The mystery built up and unfolded at a good pace, and for once it didn’t feel like the conclusion was a tacked-on afterthought. Perhaps it was a little brisk at the end, but not as abrupt as some serials have been, so that’s progress.

Though of course their methods were very dodgy, I appreciate that the Chameleons had a sympathetic motive for their villainy. ‘Because they’re just evil’ is a dreadfully dull basis for a villain, but a species fighting for survival? That’s a lot more compelling. Who is to say that humanity wouldn’t do terrible things if our very existence was threatened?

I do think it’s a real shame that Samantha won’t be joining the regular cast, especially now that Ben and Polly are gone. It’ll feel pretty empty aboard the TARDIS without them, though on the upside Jamie will have more room to breathe and grow as a character.

With Ben and Polly leaving, however, something occurs to me. There are now no remnants of the Hartnell Era, save the TARDIS– and even that’s gone missing. Their presence provided a vital sense of continuity, and though of course they had to leave at some point, it does feel a bit strange now. We’ve lost half the crew, the ship, and we’re heading into uncharted waters. Let’s hope for calm seas.




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Science Fiction/Fantasy, TV

[May 10, 1967] Float Like A Butterfly, Sting Like A Bee (The Green Hornet)

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by Janice L. Newman

In January of 1966, a new TV show hit the airwaves. An adaptation of the comic book, “Batman”, with its catchy theme, over-the-top villains, and deadpan delivery by the titular character, was an instant camp hit. The colorful costumes probably didn’t hurt either, especially as networks started to make the switch to a color line up and those who could afford it began purchasing color TVs to see it.


The dynamic duo.

Batman landed with a boom, perhaps because adults found it amusing while young children were riveted by the serial-style storytelling. But in the end, there are only so many times one can hear variations of “Holy _______ Batman!” or see the dynamic duo tied up in yet another utterly ridiculous death trap, at least if one is over the age of six.

Thus, when The Green Hornet, produced by the same team, began to be broadcast in September 1966 on the same network and the same night as Batman, I didn’t pay much attention at first. It wasn’t until my husband and daughter, more dedicated fans of the boob tube than I, told me, “No, the show is actually worth watching!” that I decided to give it a chance. And you know what? They were right!

The Green Hornet follows the adventures of millionaire newspaper owner Britt Reid (played by Van Williams), who by night fights crime under the pseudonym ‘The Green Hornet’ along with his loyal sidekick, ‘Kato’.

So far the setup seems pretty similar to Batman, no?

No!

The Green Hornet has a clever twist: everyone (both the public and the denizens of the criminal world) believe that the Hornet is a bad guy. Only Britt’s secretary and the district attorney know his secret identity and the fact that he’s not a criminal.


Kato and Hornet.

This leads to lots of smart setups and interactions. When the Hornet bursts into a criminal hideout, the miscreants don’t immediately try to shoot him or tie him up (or whatever they do with Batman) because he’s one of them. He’s not particularly popular, usually demanding ‘a cut of the take’ or some similar price, but the criminals also generally do him the courtesy of letting him in on their plans and then waiting until he’s gone to double-cross him or try to shoot him in the back.

Unlike Batman, where Commissioner Gordon seems to call Batman for every minor emergency (“I forgot my lunch! Call the Caped Crusader!”) the Hornet’s relationship with the police is far more complicated for obvious reasons. This leads to situations where the Hornet has to balance his relationship with the criminals he’s trying to bring down while at the same time escaping from the police. It makes him feel more like a ‘lone-wolf’ or a true anti-hero than Batman.


District Attorney Scanlon pays the Hornet team a visit.

Britt’s relationship with his sidekick, played by young martial arts expert Bruce Lee, is also a joy. Unlike Batman’s stilted attempts to mentor Robin and Robin’s wide-eyed ‘golly gee’ attitude, the Hornet and Kato feel like true partners. Kato may be his servant in the daytime and his driver at night, but when they track down the bad guys and jump out and fight, the two of them work together side by side. Lee is poetry in motion, so much fun to watch and easily outclassing the criminals, (Five thugs versus Kato? The poor guys are hopelessly outnumbered!) It’s also refreshing to have an Asian man in a positive superhero role, especially with the ‘Yellow Peril’ stories that have been popular since the pulps so often casting Asian people as villains.


Kato–poetry in motion.

The biggest difference between The Green Hornet and Batman, though, is that The Green Hornet is smart. I don’t just mean that Britt Reid is smart, I mean that the show is smartly-written, with plots that have more complexity than anything on Batman despite the fact that The Green Hornet doesn’t sprawl across multiple episodes (with one rare exception), instead wrapping each episode up neatly, packing a surprising amount of plot into its half-hour-minus-commercials runtime.

It’s still a comic book show, and as such, has stories that skate close to being over-the-top. But unlike Batman, which gaily flings itself over that edge with abandon and seems to live by the motto, “the campier the better”, Hornet does its darndest to stay on just this side of plausibility. In the sole 2-parter, for example, aliens invade…but from the start it’s clear that Britt doesn’t buy that the aliens are real, and indeed he not only quickly discovers that they are actually humans, but identifies the ringleader Dr. Mabuse (whom you may recognize from Cora Buhlert's articles)!


Britt's not buying what Mabuse is selling.

Yet as a comic book show, The Green Hornet doesn’t hesitate to adopt some of the ‘cooler’ aspects of comic books, especially the Hornet’s secret lair, with fun hidden entrances and exits, and a couple of nifty gadgets he carries with him. Then there’s the vehicle that gets the two of them around. Unlike the gaudy Batmobile, “The Black Beauty” is a sleek custom Imperial decked out with all sorts of fun weapons.


The Black Beauty can take on the Batmobile any day–and it doesn't litter the streets with parachutes!

In short, The Green Hornet is a comic book show for grown ups. The themes are more sophisticated, the plots are more intricate, the stories are more realistic, but it doesn’t lose the ‘fun’ aspects of what make comic books enjoyable for adults as well as children. If you have ever enjoyed a superhero comic, or if you’re just tired of seeing Batman and Robin getting tied up and menaced by giant tarantulas, why not give The Green Hornet a try? You’ll be glad you did!



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Science Fiction/Fantasy, TV

[April 24, 1967] You Look Familiar (Doctor Who: The Faceless Ones, Part One)

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By Jessica Holmes

Another month of Doctor Who, and this time we’ve got the first half of a rather good little mystery thriller. This is part one of The Faceless Ones, by David Ellis and Malcolm Hulke.

EPISODE ONE

Materialising on the runway of Gatwick Airport in modern-day London, it’s not long before the Doctor and company get themselves into trouble. For once, it’s not bug-eyed space monsters that pose the immediate threat– it’s the coppers! The group split up and hide, and that’s when things take a turn for the deadly. In the hangar for a company called Chameleon Tours (this will later prove to be quite fitting) Polly witnesses the murder of a policeman by an airline pilot!

She flees to tell the Doctor and Jamie what she’s seen.  Meanwhile the killer, Spencer (Victor Winding) confers with an accomplice, Captain Blade (Donald Pickering). Upon investigating the body, the Doctor discovers that the man was electrocuted, inferring that the murder weapon, and therefore the murderer, was not from our world. There’s something very dodgy going on at this airport, that’s for sure.

On their way to report the crime, the Doctor and Jamie prove to be extremely observant (not) when they fail to notice Blade kidnapping Polly from right behind them. When they eventually realise she’s missing, they don’t search long enough to find her. A bit blase, don’t you think? There’s a murderer on the loose! It does annoy me a bit when characters have to leave their brains behind to allow the plot to progress.

Giving up, they try to report the killing to the airport authorities, but they can’t even get inside the terminal from where they are without a passport. That’s bureaucracy for you. However, airport security would very much like to talk to them about the police box that just turned up on the runway. Priorities!


I don't think I've ever seen someone look so infuriatingly smug.

And what of Ben? Honestly, not much. He’s just sort of lagging behind everyone else, none the wiser as to what’s going on. We'll ignore him until he does something interesting.

Following a lengthy interrogation, the Doctor manages to persuade the airport Commandant (Colin Gordon) to come and see the dead body for himself. By the time they reach the hangar however it seems that Blade and Spencer have cleaned up after themselves.

After they’re gone, the pilots bring someone out of the hangar. Whoever they are, they don’t seem very well, and it looks like they’ve got quite a painful skin condition.

In case you’re wondering, it’s not Polly. No, she’s just arrived at the gate, fresh off the plane from Zurich. And her name’s Michelle now. And she’s Swiss.

Oh, and she hasn’t the faintest idea who the Doctor is.

Meanwhile the pilots bring their afflicted friend to the airport medical bay…and it doesn’t look like the poor fellow has a skin condition, after all.

Whatever he is… he’s not human. Generally speaking, humans have faces.

The first episode kicks off a rather intriguing little mystery. By the end I still had no idea what was going on, but I was enjoying the ride all the same.


I suddenly have a craving for pizza.

EPISODE TWO

Now that they look like total liars, the Doctor and Jamie make a run for it when the Commandant calls the police.

While they’re on the run from the law, the pilots and a nurse attend to the faceless alien. They’ve apparently also kidnapped a gentleman from the airport staff, Meadows (George Selway), and have him tied down to a bed. They need him. Rather, they need his face. The nurse attaches a bunch of equipment to the pair of them, and the alien transforms, becoming a perfect copy of Meadows—even sharing his memories. The effect is similar to the one used to transform Hartnell into Troughton, though without the flash of light to mask the transition.


This is why I make exfoliation a regular part of my skincare routine.

Ben catches up to the Doctor and Jamie as the Doctor begins to wonder if Polly is really Polly. ‘Michelle’ as she now calls herself is working for Chameleon Tours. She adamantly denies remembering anything about the hangar, or anyone being killed there. However, the Doctor hadn’t even mentioned the murder. She knows more than she’s letting on.

The men confer, and the Doctor decides to try again to get the Commandant to listen to him, while Ben investigates the hangar and Jamie keeps an eye on Polly. I wouldn’t send a friend of mine to poke around a murder scene with the killer still at large, but what do I know?

Samantha's a smart lass, but she has dreadful taste in hats.

While Jamie’s hanging around the airport terminal being generally stunned by the modern world, a young woman comes to the Chameleon Tours desk. The woman, Samantha (Pauline Collins) is worried about her brother, who went on a Chameleon Tours holiday and never came back. Overhearing this, Jamie offers to help her.

Ben finds the real Polly inside a packing case, apparently catatonic. He immediately calls the commandant on a conveniently located telephone, hoping to be able to contact the Doctor.

Unfortunately the Doctor has already left the Commandant’s office, after the Commandant called the police on him. Who’d have ever seen that coming?

He meets back up with Jamie, and finds that ‘Polly’ left a short time ago. Inside her office, they find a monitor connected to a camera in the hangar, showing Ben—and someone sneaking up behind him. Unable to alert Ben to the danger, the Doctor can only watch as some sort of device freezes him.

Rushing to the hangar, the Doctor finds no sign of Ben, but he does find the strange weapon. There’s no sign of Polly, either. See, this is why you don’t send people to investigate crime scenes alone.

He finds the real Meadows, but before he can let him out of the crate, a voice calls from the other room, pleading for help. The Doctor naturally rushes in, only for the doors and windows to seal shut. The air vents begin to belch some sort of freezing gas…

The plot thickens, and things are getting a bit clearer– and more sinister. I’m starting to really like this story. It’s not over-reliant on flashy sets or effects, mostly playing out like a mystery. This episode also introduces Inspector Crossland (Bernard Kay, who has popped up in a few serials thus far), who has come looking for his murdered colleague. He doesn’t have much to do yet. Well, other than walk around and ask for information the audience already knows, but I’m sure he’ll become more important later.

EPISODE THREE

The Doctor pretends to collapse, tricking Spencer into emerging from a hidden room to check on him, at which point the Doctor zaps him with the freezing device and makes good his escape. Later, Blade orders Spencer to kill the Doctor to atone for his incompetence.

The Doctor meets back up with Jamie, who has made the acquaintance of the Inspector, who is very interested in what the Doctor has to say. The pair return to the Commandant, and the Doctor lays out his theory of what’s going on: Chameleon Tours is a front for a kidnapping operation, and people are being abducted and replaced by doppelgangers from another world. To be fair, I wouldn’t believe him, either.

However, the Doctor now has the freezing device, which he tries to use on the fake-Meadows in air traffic control. The impostor runs for it, but not before the Doctor succeeds in turning his teacup to ice. Now nobody can deny that this weapon isn't like any we have on Earth.

Samantha and Jamie, meanwhile, have been told to stay put. As you might expect,  they disobey the moment the Doctor turns his back. Samantha talks Jamie into snooping around the hangar with her, and they soon find a stack of pre-written and stamped postcards, realising that Chameleon Tours are forging postcards from their passengers to disguise the fact that they’ve vanished into the ether.

The pair bring this evidence to the Commandant, who finally agrees to allow the Doctor free rein to investigate the matter.

Meanwhile, fake-Meadows reports to Spencer that the Doctor is suspicious of him. Spencer provides him with a device to smuggle onto the Doctor’s person, which will take care of him once and for all. For some reason, the Doctor doesn’t recognise him when he returns to the office. Maybe he’s bad with faces. After all, he never noticed that the Inspector is a dead-ringer for a mediaeval Sultan and a future rebel. Fake-Meadows has no trouble sticking the device to the Doctor’s back, like a more deadly version of a ‘kick-me’ note.

Oblivious to the danger, the Doctor and Jamie return to the hangar and begin to search for the hidden room Spencer emerged from earlier.

The Inspector boards the Chameleon Tours aeroplane in order to talk to Captain Blade, following him into the cockpit, where Blade holds him at gunpoint. There also seems to be a lack of the expected equipment within the cockpit, hinting that this aeroplane is not quite what it seems.

The Doctor and Jamie find monitors in the hidden room showing the medical bay. They're about to investigate when Spencer remotely activates the device on the Doctor’s back, causing him to collapse in severe pain.

And on the aeroplane, the situation only gets worse. Once the plane reaches cruising altitude, Blade shows the Inspector the secret of Chameleon Tours; the passengers have all vanished!

Final Thoughts

So far, this is shaping up to be a good story! The twists and turns are building nicely, without throwing too many at the viewer at once.

I like Samantha, and I’m wondering if the writers are lining her up to join the crew of the TARDIS. She’s got a smart head on her shoulders and a bucketload of determination, to boot. The regional dialect (she's from Liverpool, though her accent is quite mild) is a bonus in my book, too. I believe I've mentioned that I appreciate it when the BBC doesn't force all its actors to speak in RP.

Of course, if she joins the crew it might start getting crowded. I wonder if there might be a departure on the cards soon? It would make sense, as we’re back in Ben and Polly’s time, and they have been travelling with the Doctor for a little while now. Oh, but I like Ben and Polly! Perhaps I’m wrong—maybe they’ll stick around for a little while yet. This could be a red herring. We’ll just have to wait and see!




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Science Fiction/Fantasy, TV

[April 20, 1967] End of the Road (Star Trek: "Operation: Annihilate!")

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Operation: Summarize!


by Gideon Marcus

The Enterprise is checking upon the farflung colony of Deneva, which hasn't sent out a message in a year.  One million souls are thus feared for. Captain Kirk has a personal reason to be worried–his brother and his family reside on this planet.


Starfleet's finest head for an interview at TRW.

Their fears are soon realized.  Beaming down to the planet, Kirk and co. determine that the entire population has been taken over by parasitic pancakes, who use pain to ensure their hosts to their bidding.  They have apparently been waiting for the day a starship came a-calling, so that they could continue their rampage through the universe (why they didn't use the ship they came in is never explained…) While investigating the planet's surface (again, only the most expendable personnel are sent, including Kirk, Spock, McCoy, and Scotty), Mr. Spock is infected by one of the alien invaders.


"Ooo!  That smarts!"

Kirk's brother, Sam, is dead, and his sister-in-law, Aurelian, taken aboard the Enterprise for treatment, soon perishes.  But Kirk's nephew, the Denevan populace, and Spock may yet be saved.  McCoy and the scientists in the Enterprise's 14 science labs throw the book at a monstrous specimen that Spock secures from the planet.  No dice.  No amount of radiation, heat, or anything else will destroy these critters (or at least, nothing that will destroy them and not also the host.)

There is a clue, however.  One Denevan took a shuttlecraft into the sun.  Before he burned up, he announced that he was "free" of the alien.  This is the clue Kirk needs (and everyone else misses).  Apparently McCoy only thought to use infrared (heat) and very high energy radiation (microwaves and X-Rays) since the captain deduces that visible light is the key to killing the beings.

Spock volunteers to enter a light chamber and be subjected to a zillion candles of light.  It kills his parasite, but also leaves him quite blind.  Turns out they didn't need to use the whole spectrum of visible light.  Only the invisible spectrum of invisible light.

Yes, I was confused, too.


"We've tried everything!  Heat!  Radiation!"  "What about… light?"  "Yes, Jim.  I said we tried radiation.  You think we're stupid?"

Turns out the key wavelength is ultraviolet light.  Correct me if I'm wrong, but that's generally lumped in with "radiation", but perhaps McCoy was being extremely narrow in his definition.  Anyway, Kirk dumps a bunch of "tri-magnesite" ultraviolet beacons in orbit around Deneva and sets them off.  The radiation (that isn't radiation) is so intense that it even kills the parasites that are indoors, but doesn't manage to bake the colonists (maybe the only ones who survived were Black…)

Anyway, there is a lot to enjoy about the episode, from Nimoy's performance (see below) to the absolutely stunning setting (the TRW campus, from which were monitored the space probes of Pioneers 0, 1, 2 and 5, Explorer 6, and the Orbiting Geophysical Observatories).

But the science is ridiculous, even for television.  Really Voyage to the Bottom of the Sea stuff.  The title is one of the least inspired of the series, too.

It's a bit of a shame that this is the episode that concludes the first season.  Nevertheless, the strength of the others we've seen this season suggests we're in for a great time come fall.  And in any event, it's certainly not "The Alternative Factor".

Three and a half stars.

Operation: Indecision!


by Jessica Dickinson Goodman

Captain Kirk seemed to be of two – or more! – minds in "Operation: Annihilate!" His curiosity wars with his concern for his ship's safety early in the episode when the Denevan vessel hurls itself into the sun; his fear for his brother Sam and his sister-in-law Aurelean's safety on Deneva competes with his commitment to civility with his crew, leading him to snap at Lieutenant Uhura in a moment of uncharacteristic and uncaptainly unkindness. (To her credit, Uhura responds with complete professionalism and competence.)

But his deepest conflict becomes clear when Commander Spock and Kirk's nephew Peter become the prey of the fleshy flying flapjacks that served as this episode's villains. Kirk watches as Spock is consumed by pain, overwhelmed by it, then fiercely begins to resist it using his Vulcan training. This moment encapsulates the sweet tension that gives this episode its flavor:

Captain Kirk: "I need you, Spock, but we can't take any chances. We'll keep you confined for a while longer. If you can maintain control, we'll see. My nephew. If he regains consciousness, will he go through that?"
Dr McCoy: "Yes."
Kirk: "Help them. I don't care what it takes or costs. You've got to help them."
McCoy: "Jim, aren't you forgetting something? There are over a million colonists on that planet down there, just as much your responsibility. They need your help, too."


"I need you, Spock."

Though Kirk brings up his nephew's fate throughout the episode, it is his relationship with Spock – and his fear for his well being – that drives much of the action. This episode, more than many others, gives us language for that relationship from both Dr McCoy and Kirk himself: "affection," "best first officer in the fleet," "need," someone McCoy needs to "take care of." The look of devastation on Captain Kirk's face when he realizes that Spock might have been permanently injured was powerful, though it did make me wonder if Star Fleet can be so advanced if it has no clear accommodations for blind people. I would hope for more from the future.


"Who put this #$&@ table here?"

Like the other reviewers, I found the science in this episode silly; I kept getting hung-up on how the Ingrahamians were flying in the first place and whether we were supposed to see them as a devious hivemind or a reactive predator. But Kirk's conflict was delicious, the acting was great fun, and it made me check my TV Guide for when the next season starts. See you all back here again in September!

Three stars.

Operation: Genocide!


by Joe Reid

If there is anything that I learned from this week’s episode of Star Trek, it is that Vulcanians are strong and powerful life forms with amazing physical and mental gifts.  "Vulcans" on the other hand are the discount Woolworth's version of Vulcanian. I seem to remember that when Mr. Spock was a Vulcanian, he could read the mind of an alien lifeform, get to know that lifeform’s intentions and desires, and find a way to help it.  Remember just a few short weeks ago, on the episode, “Devil in the Dark ", where Spock saved a misunderstood creature from the humans that were going to exterminate them?  Now in “Operation: Annihilate!”, creatures, intelligent creatures no less, are no longer afforded the benefit of the doubt to be misunderstood.  They can only be annihilated.


Woolworth's – discount Vulcans available now…while supplies last!

Dear reader, please forgive my jeering of Spock.  As a character, I find him to be a standout and thoughtful character most of the time.  Apart from the limited nature of the abilities that he displayed in this episode, I normally find him compelling to watch.  The problem that I had with this episode was the handling of the creatures themselves.  The nameless, formless, flying, buzzing, lumps of Horta excrement, that conquered 3 planets and had the amazing power to control men and make them build ships.  This seems like an intelligent species that is after something.  I find myself truly wondering what it was.  “Operation: Annihilate!”, completely ignores that, just following along with the dictate presented by the title.

The episode starts out with a mystery.  Mass insanity is gripping entire populations on planets and jumping to other planets, and no one knows why.  The best sci-fi takes us on a journey of discovery, to find out the whys of whatever the writer has brought to us.  This week, we viewers start down a path and are presented with a creature that has more abilities than any that we have seen on the show thus far.  It is invisible to scanning.  As stated before, it flies, directs populations to do their bidding, and buzzes like a honeybee, for crying out loud.


"I suddenly have a craving for pancakes with honey syrup…"

Kirk and the others at one point of the episode suppose that this creature may be part of a larger organism that exists in a great beyond.  After being presented with so many proofs of intelligence, it is disappointing that the crew of the Enterprise, so intent on meeting new life forms, drives forward towards destruction over discovery.  Towards demonization of actions, over deconstruction of intent.  Towards annihilation over understanding.

This creature had the potential to be one of the, if not the most interesting and complex creatures that we could have witnessed in the cosmos.  Instead, these single celled marvels are treated like a disease in need of penicillin.  What a waste.  If only a proper Vulcanian were present this week, something could have been made from the unsolved mysteries left unexplored in this episode.

2 stars

Operation: Vulcanalia!


by Abigail Beaman

As it turns out, Vulcans are not just pointy-eared humanoids with very little variation to their anatomy compared to humans. We learn an awful lot about Spock's people from this latest episode. Now we did know a few things. One of the earliest examples is that Spock’s blood isn’t a red color, but instead green. This is due to Vulcans' blood being copper-based instead of iron-based like our human blood. But thanks to this episode, not only do we learn more about Vulcans, but we might have learned just how secretive Vulcans are about themselves with other races.


So much to this man…

In "Operation: Annihilate!", we discover that Vulcans in fact have two sets of eyelids, after Spock recovers from blindness caused by the light that kills an invasive alien parasite living inside him. Similar (I guess) to felines, Vulcans adapted these inner eyelids to protect their eyes from the harsh and unforgiving sun on the planet, Vulcan. This allows our first mate, Mister Spock to regain his eyesight after the exposure to 1,000,000 candles per square inch. Yet then an eyebrow may raise, as earlier in the episode when he first loses his sight, Bones blames himself. Bones is sure the damage is permanent and nothing could have saved Mister Spocks’ eyes. Bones not knowing that Mister Spock has two sets of eyelids initially really bugged me. Isn't he the ship's Chief Medical Officer? But maybe it's not his fault that Spock's internals are unknown to him. Maybe Vulcans keep their racial anatomy secret. That would explain why McCoy is so irritated all the time–his patient keeps holding vital information from him!


"I blame myself."  "I blame you, too!"

Now I’m not saying this episode was good. For the most part, I actually felt very unhappy that this is the episode season one had to end on (hopefully season two will continue on with good episodes like “The Devil in the Dark” or “Shore Leave”). I do in fact feel that the anatomy Daugherty comes up with within this episode is a cop-out to ensure a somewhat happy ending. [Note: Daugherty is the Director. Carabatsos is the writer–those darn credits flash by so fast! (ed)].

Yet something I would also like to point out is Leonard Nimoy’s acting of the stoic and computerized Mister Spock fighting the human emotion, pain. Throughout the episode, after Mister Spock is infected, he tries everything in his Vulcan power to deny the pain he is in. Leonard Nimoy really shows this struggle that Spock faces; his creeps rather than strides, his voice is harsh, and every once in a while, he seems to twitch in pain. It sent shivers down my spine. I was very enthralled by Leonard Nimoy (well at least more than usual) by his acting in this episode. It was probably one of, if not the only saving grace in this episode for me (well also Scotty about to shoot Spock; remind me next time when I wanna pick a fight with him).


"Freeze, Mr. Spock!"

This episode left me empty inside, and for that, I have to rate it pretty low.

Two and a half stars.

Operation: Copycat!


by Erica Frank

The aliens in "Operation: Annihilate!" are obviously inspired by Heinlein's classic, The Puppet Masters, but the differences are definitely for the worse. These aliens don't attach themselves to humans—they sting them once, injecting them with "tentacles" that spread throughout the nervous system. This allows them to control people through pain—pain so bad it can kill. It's unclear how the aliens coordinate their efforts and communicate with each other. (Looks like more evil telepathy. Sigh.) It's also unclear what the aliens themselves do after their planetary takeover, other than flutter around in shady spaces.

These aliens have been moving through planets, causing "mass insanity" and destruction for several hundred years. If the pain immediately killed people, they wouldn't last long enough to reach new worlds. So it seems only the ones who resist control are in danger, or they'd be like a virus that burns out its host before it has a chance to transfer.

Because of this, I doubt Peter—Kirk's nephew—was at risk of death. Rather, he'd likely succumb to the alien control. He'd wake up surrounded by strangers, only to be told his parents are dead. He might well give up fighting entirely; he'd have no reason to push through the pain. So it's unclear why Kirk needs to find an immediate solution.

This episode brings too many questions. While it's common for science fiction to leave possibilities for the reader or viewer to ponder, in this case, the potential answers often make no sense.


We're supposed to believe large tentacles like these are spread throughout the nervous system… without being visible through the skin? And that removing them wouldn't stop the pain? In that case, what's causing the pain?

Kirk should be able to just declare the planet off-limits, infected, and sabotage its space travel while bringing in a full scientific team. Or will the pain quickly kill people? …In which case, how did the aliens last long enough to get to new worlds, and how have they taken over only a handful of planets in several hundred years? Or are there dozens of others we don't know about?

If they haven't been going through dozens of planets, what have they been doing for those hundreds of years? Do infected humans eventually "hatch" into a swarm of flappy blob aliens that can infect new people? Or do the flappy-blob versions reproduce on their own, with the injected hosts eventually dying along with their tentacles? Do the injected people reproduce normally, and have alien-controlled babies? (Eew.) Or will each child need to be infected?

Regarding their destruction: If they stick to shaded areas, how will bombarding the planet with ultraviolet light reach them? Any of them that are inside buildings will be safe. (And in the meantime, the entire human populace will have very bad sunburns.)

Two stars. While the aliens were interesting and the underlying ideas were good (which makes sense; they were based on a terrific book), the plot itself was disjointed and incoherent. I was more intrigued by McCoy's frequent wardrobe changes than the story itself.

Summer reruns have begun!  Join us tonight at 8:30 PM (Eastern and Pacific) for the pilot that sold the series: "Where No Man Has Gone Before!

Here's the invitation!



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Science Fiction/Fantasy, TV

[April 12, 1967] We'll take Manhattan (Star Trek: "The City on the Edge of Forever")

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Time, the subtle thief of youth


by Janice L. Newman

We’ve been watching Star Trek for almost a full season, now. We’ve seen some sublime episodes and at least one really terrible episode, but the overall quality has been high. “City on the Edge of Forever” is one of the best episodes we’ve seen yet.

The early part of the episode sets things up, with Sulu getting hurt and McCoy being called to the bridge to treat him. There’s a nice bit of banter between the doctor and Captain Kirk here, followed by a moment of horror when unexpected turbulence causes Dr. McCoy to accidentally inject himself with a drug that drives him mad. Kirk, Spock, and even Sulu have all had opportunities to do dramatic scenes where they’re half out of their minds due to drugs or other influences. It’s nice to now see DeForest Kelley given the opportunity to really let loose.


Sulu gets to smile, but McCoy gasps like nobody's business!

McCoy makes it down to the planet below and throws himself through an alien artifact that leads to the past. This is where the episode really begins, with Captain Kirk and Mr. Spock quickly following him through the artifact’s archway to try to fix the timeline McCoy has broken.

Finding themselves in New York circa 1930, Kirk and Spock face many challenges: they stand out in their modern clothing, they have no money nor place to go nor anything to eat, and Spock is noticeably strange to the natives of this time – though probably not as strange as Kirk assumes. As hilarious as Kirk’s struggle to explain Spock’s ears may be, the theater existed long before the 1930s. I suspect most sane people would simply assume Mr. Spock was some sort of traveling player, possibly cast in the role of Mephistopheles.


"My friend, officer, is obviously the Prince of Darkness."

Be that as it may, the important thing is that Captain Kirk and Mr. Spock are convinced that they stand out and must quickly blend in. Proving that he is indeed ‘a rat’ (as Ruth Berman noted in the latest issue of her 'zine, Dinky Bird), Kirk doesn’t hesitate to steal some convenient clothing, necessitating that they flee from a most inconvenient policeman.

They take refuge in the basement of a mission and meet a woman who will prove to be the crux of the time paradox: Edith Keeler. Edith, despite Kirk admitting that they stole their clothes and are on the run, is charmed enough by them to offer them help. She gets them a job, a place to stay, and food at the mission.

These basic problems solved, the difficulties facing the men out of time become more complex. Spock needs components that don’t exist or are incredibly expensive in order to determine what caused the time anomaly and broke their own timeline. There are plenty of great, teasing conversations between Kirk and Spock, where Kirk needles Spock and Spock ultimately rises to the challenge, despite the many hours of work it takes and the fact that he must work with equipment that he claims is hardly ahead of “stone knives and bearskins”.

Meanwhile, Kirk is growing closer to Edith Keeler. She’s a visionary who imagines a future where the power of the atom is harnessed and men will go to the stars. He’s a man from that very future. They make a lovely match…and a poignant one, when Spock determines that in order for their timeline to be saved, “Edith Keeler must die.”


Edith Keeler: Focal point of history

McCoy finally shows up, managing to just miss the captain and Mr. Spock when he’s taken in by Edith Keeler. Thankfully the drug wears off, leaving him sane again, though deeply confused. He has some nice exchanges with Edith, short conversations that nevertheless make them both even more likable. Their chemistry is almost as good as Edith’s and Kirk’s.

All the threads draw together when Kirk is planning on taking Edith out for a movie and she mentions McCoy. Kirk and Spock rush across the street back to the mission to meet their errant doctor in the doorway, McCoy joyful and relieved, Kirk and Spock fearful that the man might still be out of his mind. Turning, Kirk sees in horror that Edith is crossing the street after them, heedless of an approaching car. Kirk instinctively moves to save her but is stopped in place by Spock’s shout of warning. Horribly, Kirk must grab McCoy and hold him back to keep him from intervening.

“You deliberately stopped me, Jim. I could have saved her. Do you know what you just did?” McCoy demands.

And, in one of Trek's most memorable lines yet, Spock replies, “He knows, Doctor. He knows.”


Kirk knows.

The episode wraps up quickly after that, with the three men returning to the present day to find that their timeline has been repaired. In another memorable and surprisingly blue line, Kirk ends the episode with the words, “Let’s get the hell out of here.”

The best part of this episode was the emotional narrative, with the push-pull of the various characters’ motivations and needs causing real tension and tragedy. Kirk has kissed a lot of women throughout the various episodes so far, but I believed that his relationship with Edith Keeler, whirlwind though it was, was real and heartfelt. The ending was beautifully bittersweet.

Four stars.

One for the Birds


by a special guest

You know, when I heard there was going to be an episode of Star Trek by Harlan Ellison, I figured I was in for a treat.  After all, this is the fellow who gave us the brilliant "Demon with a Glass Hand" and "Soldier" on The Outer Limits (shoulda won the Hugo, by the way).  And this is Star Trek, fer chrissakes, the show that's supposed to finally bring good STF to the unwashed masses.

The teaser and the first act are complete messes.  We open up on the Enterprise being tossed about by "time ripples", whatever they are.  Mostly, it looks like a sub par episode of Voyage to the Bottom of the Pot, what with endless camera jiggles and tottering extras.  Sparks fly from the helm since, in the future, no one's invented fuses.  The ship's doctor (who else could do it?) rushes to the bridge to administer Sulu some happy juice; at least Takei gets to show off that dreamy grin of his.  And then (for Pete's Sake), our Chief Medical Officer manages to jab himself with the whole vial of goof juice, sending him straight to paranoia-ville.  I guess they just don't make country doctors like they used to.

All the nonessential personnel, like Kirk, Spock, Scotty, and Uhura, beam down to Planet Glitterball to find their hopped-up Doc.  But he's too sneaky–he hides behind things!  Apparently rock walls block ship's sensors and tricorders and things.  We watch security teams walk right past the guy several times.  If I could roll my eyes any harder, I'd see the back of my skull.


"Och!  If only I could see over this rock!"

Kirk and Spock meet up with the giant, talking doughnut that plays Cinemascope films (which, to be fair, wasn't too bad an effect).  The wheels in Kirk's brains almost come off at the concept of time travel–apparently, he's forgotten he's already traveled back in time twice just in this season.  Then he proposes the most harebrained plan: go back in time a day to "stop the accident".  What does he plan to do when he meets himself?  This is Starfleet's finest?

McCoy breaks free of his security guards, though at least that's consistent–the Enterprise has the worst MPs in the universe as has been shown in, well, every goddam episode of this show.  Once in the past, Bones alters history, and suddenly the Enterprise ain't in orbit anymore.  We know it's serious because the one line they gave Nichelle Nichols this episode is "I'm frightened."  Pauline Leet is rolling over in her grave, and she ain't even dead yet.


"I still get paid for the day, right?"

Once we get to the past, as they say now on L.A.'s KHJ, the hits just keep on coming.  Spock needs to build some cockamaimie projector out of vacuum tubes, relays and bubble gum, to make his Buck Rogers tricorder work.  Kirk, his life, his universe, but most importantly, his ship on the line, falls head over heels for a local dame.  That might be tolerable, but good grief–Edith Keeler?  The moon-eyed do-gooder who vomits dopey dialogue to winos about how we're gonna go to the stars, harness the atom, and wear lamé uniforms, and those are the years worth living for.  Even that might have been alright had, when Kirk asked where she came up with her visionary ideas, she answered, "Oh, you know–Amazing, Astounding, and like that."  Instead, she just "feels it."

This is the loon that'll inspire a peace movement to keep us out of the war so the Nazis can take over the world?  Color me unconvinced.


"…and don't forget to invest in IBM."

I'm actually surprised to see Harlan's name associated with this hackwork. From what I understand, he was so incensed with what Roddenberry did to his baby that he gave up screenwriting altogether.  What I don't get is why his name is still on the byline.  When an episode of his is torn to shreds, he lets the audience know it in his own particular fashion.

Anyway, the regulars do try their best with what they've got.  Shatner emotes admirably opposite the vapid Collins, particularly when he loses her to the slowest car accident in history.  Nimoy is brilliant, as always, and Kelley is an old pro who couldn't turn in a bad performance if he tried.  The editors and set dressers earn their money, too, doing a more convincing job recreating the past than, well, most any other show on primetime.

But fer the love of Mike, don't let this be the episode Star Trek is forever remembered for.

Three stars.

War = Progress?


by Erica Frank

On the one hand: The obviously doomed romance was achingly sweet. Kirk fell in love with someone he knew has been dead for centuries. He was caught up in Keeler's idealism and hope for a starbound future, which he knows will happen. She was intrigued by a man who, while technically a criminal, is clever, charming, and speaks of Earth as one planet among many. He does not mock her for her belief in space travel, nor for faith that mankind will someday shift its resources from war to philanthropy. They resonate beautifully… and the audience knows that it cannot end well.

On the other hand: Keeler's peace movement resulting in the U.S. losing World War II is awful. It says clearly, "We should have peace someday, but that day is not today." I have questions: If her movement delayed the U.S. entry into the war, did we not react to the attack on Pearl Harbor? Or did that not happen because we were so peaceful?


"I'm sorry, Captain.  My tricorder only picks up VHF."

This story could've found another way to convey the need for history to return to its original path. It did not need to imply that the bombings of Hiroshima and Nagasaki were necessary to develop starflight. The aftermath of WWII was horrible and I reject the notion that we can only reach the stars through the painful deaths of millions of people.
Other options include:

  • Keeler's peace movement caught on, spread widely—and had harsh opposition. A group of violent, militant fanatics went rogue and entered WWII earlier, with disastrous results.
  • A ship answers Kirk's call, but its captain and crew are speaking German. Because of the strong peace movement, the atomic bomb was never developed. Hitler never rose to military power—and German and Japanese technology, not American, dominated the late 20th century and eventually pushed into space. Kirk and Spock need to fix history to return to their home, but starflight itself is not in danger.
  • The ship that answers Kirk's call is entirely crewed by Vulcans. The peace movement spread across the Earth quickly; technology developed faster. Humans made contact with the Vulcans earlier, and the two species have a blended culture. Kirk wants to return to his normal universe but does not want Edith Keeler to die—and Spock is conflicted about whether he should stay in this "better" universe.

There are several ways WWII could have had a different outcome if the U.S. had a stronger peace-and-prosperity movement. The aftermath that Kirk discovered did not need to be, "Peace destroyed the Federation."

Aside from that: The episode had several charming moments. Kirk's attempt to explain Spock was hilarious. Spock and McCoy both complained about the "primitive" technology—I wonder if they're going to compare notes later? I give it four stars; my dislike of some of the implications doesn't make it a bad story.

Right on Time


by Lorelei Marcus

I once heard our wide array of television programming described as "a vast wasteland".  While I would argue there are a few hidden gems among the muck, it is true that the majority of shows we pick up on our antennas are…not very good.  A similar proportion obtains in one of the most popular genres of television: the period piece.

Westerns are so prevalent in the wasteland that they have become virtually synonymous with "television".  Watch any film or show in the last ten years, and if there's a TV set on screen, I guarantee it will show a shootout involving a man wearing spurs, or a gaggle of howling Indians, or both.  What amazes me about these Westerns, and historical shows in general, is not their popularity, but their wild disregard for historical accuracy.  Beyond the melodramatic plots and improbably long running times of series compared to the events they are supposed to portray (how long until Saunders and Hanley get out of France, anyway?), there is an obvious lack of effort in production that makes it impossible to believe that the characters are in any other era than the modern day.  Jim West's blow-dried hair in current style, the lavish cat-eyed make-up on what's supposed to be a poor woman in the 1820s, the skinny ties and modern suits on Hogan's Heroes, the outfits the costume department lifted straight from the Sears Catalog for any given episode of Time Tunnel; these are just a few examples of the egregious lack of care that breaks the illusion for historical television.


I absolutely believe this is Rudyard Kipling in 1886.  Good job, Time Tunnel!

What does any of this have to do with Star Trek? The most recent episode, "City on the Edge of Forever", has more elements of a period piece than a science fiction one.  And yet, in its period piece within an SF shell, it does a far better job than virtually every other historical.  I could genuinely believe that Kirk and Spock had traveled to 1930's era Earth because of the extra care taken with the set and costume design.  The scenes had little touches: period signs, old cars, wood-fired furnaces in the basements.  Edith Keeler's hair lacked the obvious '60s stylings we see constantly in Combat! and Twelve O' Clock High.  This extra attention to detail was crucial to the episode, allowing the audience to be carried through the intense emotional currents without being distracted by anachronisms.  It also made Kirk and Spock seem all the more "fish out of water", with their brightly colored uniforms and pointed sideburns, which marked them as aliens even more, perhaps, than Spock's ears.  They contrasted nicely with Edith Keeler's old-fashioned outfits, emphasizing the clash of eras, making the romance between Kirk and Edith all the more poignant…and tragic.


"Nothing to see here, folks!  Just a couple of fellas hanging around."

While I don't think this episode is perfect, I do believe that out of all the historicals in this wasteland called TV, it is a diamond in the rough…as opposed to a cowpat in the road. I hope it inspires other show creators to pay a little more attention to the historical accuracy they bring to their works.

Four stars.

A Mixed Manipulation


by Jessica Dickinson Goodman

All of us, when we dive into fiction, are looking to be manipulated. We're looking for emotions to experience, fears to heal through catharsis, fantasies to live out. Good fiction is a massage for the brain. But most of us don't enjoy crude manipulation, any more than we'd enjoy laying down on a leather massage table only to be punched in the back of the head.

Some threads of "The City of the Edge of Forever" felt like crude manipulation; as Erica points out, the bizarrely binary nature of time travel was a particular disappointment. Why must a good woman die for the world to go on? Couldn't she have come to the future with Kirk? Perhaps to live with her fellow pacifists on Vulcan? And while I agree with Lorelei that the costuming and stage setting were convincingly period, the virtual lack of Black, Jewish, Latino, or Asian characters in 1930s Brooklyn was startling; WASP-y crowd after WASP-y crowd filled the street. California accents abounded. The extras in this episode didn't sound or look like the New York City I know.


The demographic melting pot that is The Big Apple

Some threads in this episode were beautifully subtle. The delicate domestic dance between Spock and Kirk as they set-up their Depression-era household was tender and sweet. The mutual courtship between Edith and Kirk, with each laying claim to the other in soft and clever ways, was heartfelt and poignant. The doomed nature of their love only made each spare moment they had together that much more precious. The careful, realistic challenges that Kirk and Spock faced upon their arrival drew me in completely: scrounging for money, making trade-offs between tools for the future and bread for tonight, picking up odd jobs as they came – we haven't seen our crew dive into these kinds of workaday lives before and it provided a deeply satisfying sense of their characters. These moments felt like the best manipulation a viewer could ask for.


Kirk and Spock reliving their dorm days at Starfleet Academy

On the balance, I very much enjoyed this episode. I feel as if I know Kirk and Spock far better than I did a week ago and am excited to see more of their partnership develop. If only it could not be at the expense of the women around them, I would be an entirely happy gal.

Four stars.

Next episode takes us to Space Park in Redondo Beach!  Come join us tomorrow at 8:00 PM (Eastern and Pacific) for a show and fanzine readings…

Here's the invitation!



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