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


By Jessica Holmes

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

THE POWERFUL ENEMY

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

So, that’s… encouraging.

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

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

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

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

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

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

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

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

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

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

…Right as he pushes her off the cliff.

Getting some mixed signals from you, Koquillion.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

DESPERATE MEASURES

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

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

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

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

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

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

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

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

Why even bring it up, then?

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

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

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

And Barbara killed it.

Barbara, you monster.

Ian and the Doctor arrive to a very tense situation.

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

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

Wow.

For one thing, that's uncharacteristically insensitive.

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

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

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

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

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

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

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

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

We have a word for that, Bennett.

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

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

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

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

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

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

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

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

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

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

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

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

Then he finds a trap door…

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

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

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

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

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

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

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

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

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

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

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

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

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

Well, you’ve sold me.

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

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

Can you blame them?

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

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

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

Final Thoughts

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

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

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

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

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

3 out of 5 stars


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




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


By Jessica Holmes

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

THE END OF TOMORROW

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


Look, he's only a baby.

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

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

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

THE WAKING ALLY

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

Well. That was a bit of a damp squib.

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

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

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

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

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

No, I’m never going to let that go.

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


And just look at Jenny's balaclava.

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

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

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

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

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

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

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

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

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

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

Because it is black. And a Dalek.

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

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

Where do I even begin?

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

The Crust Of The Matter

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

And that’s just the logistics.

Spaceship Earth

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

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

This is giving me a headache.

Why, Oh Why, Oh Why?

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

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

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


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

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

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

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

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

Okay. I am done ranting. I promise.

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

Bon voyage, Ian.

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

FLASHPOINT

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

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

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

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

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

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

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

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

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

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


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

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

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

I know. I am no fun.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Goodbye, Susan.

Final Thoughts

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

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

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

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

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

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

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

4.5 out of 5 stars


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


By Jessica Holmes

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

WORLD’S END

A promising title if I ever saw one.

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

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

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

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

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

I don’t even know what to make of it.

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

Moving on!

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

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

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

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

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

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

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

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

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

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

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

However, there's something in the water…

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

Now we’re cooking on gas.

THE DALEKS

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

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

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

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

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

No wonder the Daleks took over.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

DAY OF RECKONING

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

It strikes me as a senseless sacrifice.

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

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

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

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

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

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

Final Thoughts

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

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

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


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


By Jessica Holmes

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

PLANET OF GIANTS

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

The companions struggle to close the TARDIS doors

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

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

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

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

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

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

The Doctor and Barbara examine a giant earthworm.

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

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

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

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

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

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

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

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

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

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

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

Forester brandishes his gun.

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

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

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

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

DANGEROUS JOURNEY

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

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

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

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

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

Forester makes Smithers his accomplice.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Uh-oh.

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

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

The point is Forester is going to doctor the report.

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

And then he pulls the plug.

CRISIS

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

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

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

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

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

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

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

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

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

The companions stand on a large pad of paper.

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

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

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

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

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

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

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

The rest of the companions examine an unconsious Barbara.

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

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

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

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

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

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

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

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

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

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

A police constable arrests Forester and Smithers.

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

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

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

Final Thoughts

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

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

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

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

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

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

4 out of 5 stars


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[October 28, 1964] We Live In Hope (November/December 1964 New Worlds)


by Mark Yon

Scenes from England

Hello again!

After last month’s surprise visit to Science Fantasy magazine, this month we’re back to the wild and wacky realms of New Worlds, to wit, the November/December 1964 issue.

What has happened since we last met? Well, the biggest change here, as the Traveller has already noticed this month, is that as of the 15th October we have a new British Government. My impression is that the governing Conservative Party were fairly confident about their chances of returning, and so it has been a bit of a shock to them to be ousted, having been in power for 13 years or so. It was close though – Labour won a majority by a mere four seats.

I did have a hunch that it would be the younger vote, eager for change, that would decide it – all of those I spoke to saw the Labour Party, led by Harold Wilson, as a means of better reflecting their concerns – and so it appears to be. I’m sure it’s not a coincidence that Mister Wilson is the youngest Prime Minister we’ve had in over 150 years, at a mere 48 years old.

Me, I blame it on The Beatles.

Harold meeting the Fab Four in March 1964

 

Talking of music, there’s been some change at the top of the charts here. Herman’s Hermits was at the top of charts for two weeks with I’m Into Something Good, but was replaced by the mighty Roy Orbison, singing Oh Pretty Woman for three weeks. It’s a terrifically powerful song, which I much preferred myself.

However, Roy has now been replaced by Sandie Shaw singing (There’s) Always Something There to Remind Me. It’s quite pleasant and seems to be quite popular in part because Ms. Shaw sings her songs barefoot.

At the cinema Goldfinger is still there and doing very well. I’m not surprised. I expect its success to continue for a while yet.

Other than that, the cinematic pickings have been rather slim, although if you like Westerns, you are in for a treat. I’ve counted three at my local Odeon recently – John Ford's Cheyenne Autumn, starring Richard Widmark and one of my favourite actors, James Stewart, was good. There’s also been Invitation to a Gunfighter, with Yul Brynner, who seems to be trading on his popularity in The Magnificent Seven a few years back. Thirdly, more recently there’s been Rio Conchos, starring Richard Boone and Stuart Whitman.

My favourite movie this month has been Fail Safe, which Rose Benton has already reviewed this month – isn’t it good when movies are released here in Britain at nearly the same time as yourselves in the US? I nearly missed it, as the cinemas were full of Goldfinger at the time, but it was a great nail-biting drama.

If I am really unlucky, the next time I speak to you I may have been dragged, kicking and screaming, to see My Fair Lady, which the trailers are telling me is out in a couple of weeks. (I’m not a huge fan of musicals.) I managed to avoid Mary Poppins back in August, but as a result I fear I may have to see this one. Wish me luck.

The Issue At Hand

This month’s cover by Robert Tilley is striking, but to my mind not as well done as the last few month’s covers. We seem to have gone from covers with a triangle shape to covers with circles. I feel that it is a bit of a step-down, to be honest. It is simpler and more basic than last month’s, for example. Interestingly, this change of cover style seems to be deliberate – there’s a comment in this month’s Letters page that suggests so. Nevertheless, it is still better than the bad old days of the last John Carnell issues, so I shouldn’t complain.

The Editorial examines the idea of ‘bad SF’ on radio, television and cinema. It makes some valid points about how SF stories may become bestsellers in prose but then fail to make the most of this in other mediums. However, the Editorial seems to mainly be an excuse to bad-mouth the movie The First Men in the Moon for not sticking to HG Wells’ admittedly superior novel – “insulting the intelligence, sloppily written, poorly acted and directed.” I didn’t think it was that bad, myself, when I saw it back in August – but then it was either see that or Mary Poppins.

To the stories themselves.

The Shores of Death (part 2), by Michael Moorcock

Look how serious they are!

And we’re straight back into editor Mike Moorcock’s serial, an energetic yet dour story which attempts to bring Space Opera up to date in the 1960’s. After the set-up last time we rejoin Clovis Marca of the 30th century, trying to discover the deeper meaning of life on The Bleak Worlds of Antares before he is driven mad or the Solar System dies.

It’s OK but rather depressing. In the end, it’s all a bit Biblical, with Clovis dying then becoming immortal and eventually wandering off into a proverbial desert. Whilst I think I get what Moorcock is trying to do, I struggled to keep reading through the morass of unremitting bleakness. Nearly fifty pages is a long time to be in pain or be miserable. As a result, I’m not sure I’ll remember it long after finishing the magazine. Spending time at the dentist may be more fun – but as the Reader’s Poll later in the issue will suggest, some may like its tone. It’s a far cry from the optimistic SF of the 50’s. 3 out of 5.

Mix-Up, by George Collyn
A new author to me. Mix-Up is a lighter story, much-needed to relieve the despair that may descend after reading The Shores of Death. It’s a one-idea story though, about what happens when matter transmitters mix up the molecules of a young male scientist and an attractive young female film star. It’s quite entertaining, though the conclusion is rather poor and even rather perverse. What can we say when the two decide to marry each other – is it a recognition of a need for understanding between the sexes or does it reflect a secret wish that all we want to do is marry ourselves? Hmm. A fair debut, though. 3 out of 5.

Look… a new magazine! Sounds quite good.

Gamma Positive, by Ernest Hill
Ernest is a returning author, having last appeared in New Worlds in the Carnell era, in January 1964. How long ago that seems!

Really though, this is nothing new, and could be a leftover from the Carnell editorial-ship – another story of the consequences of experimenting with new drugs. In this case the treatment appears to allow time travel, a favourite theme of editor Moorcock, but to me the story is really a thinly disguised attempt to make the point that time seems longer when imbibing narcotics. Dare I say that time just seemed to become longer by reading this story because it seemed to take ages to go nowhere? We’ve been here before. Yawn. 3 out of 5.

Just in case you didn't get the Biblical message! Image by Harrison.

Some Will Be Saved, by Colin R. Fry
Another writer new to me. Unfortunately, this is another story that attempts to dress up Biblical allegory in a science-fictional setting – it seems to be a theme this month. This is a sardonic take on the Garden of Eden – in a modern post-apocalyptic setting. The Biblical references are rather unsubtle – further emphasised by the fact that the two main characters are named Adam and Eve, for example. Points are given for trying to be a little scandalous, being a contemporary rewriting of the story of the Garden of Eden, but sadly it is another tale that, having made the point that the future is bad and that there’s no place for religion in it, doesn’t seem to go anywhere. In the end, it just exudes a depressingly dark sense of irony. 3 out of 5.

The Patch, by Peter Woods
Peter Woods is, as I have said before, Barrington J. Bayley writing as someone else. This time, the novella is one of those that is Science Fantasy – spaceships and atomic missiles mixed up with Kingdoms and Princes set against a civil war and an impending planetary disaster with the arrival of The Patch. It’s perhaps the story I’ve most enjoyed this month, but reads like an inferior form of Jack Vance or Poul Anderson’s work. Some of that dialogue is astoundingly clunky, and this is another story with a dreadful ending. 3 out of 5.

Emissary, by John Hamilton

The emissary being condescending to children.

Another writer new to me. In a grim Northern industrial town a stranger is seen, patting children on the head at a local school (hence the picture above) and making notes on everything else. His origin and purpose are unknown, which creates concern, fear and mistrust in the town’s populace. The point of the story is to discover the stranger’s purpose – is he a force for good or evil? The story does well to create a sense of unease, but by the end it fritters away to nothing substantial.
3 out of 5.

When is a review not a review? When it's an advertisement (I think.)

 

Onto the Book Reviews by Moorcock’s alter-ego, James Colvin.

Notice those book titles… MJM? Could it be "Michael J Moorcock"? Hmm.

The article focuses mainly on publications by Dobson’s Books, one of the first publishers here in the UK to regularly publish SF, with varied results. Eric Frank Russell’s latest, With A Strange Device, is found to be slightly disappointing, but likeable for those ‘in the mood’.

Contrastingly, the reviewer found Robert A Heinlein’s collection The Unpleasant Profession of Jonathan Hoag more enjoyable than he expected. It is a grudgingly positive review – I get the impression Colvin really didn’t want to like it, but did. Alan E. Nourse’s collection The Counterfeit Man is contrarily summarised as “bad literature but good SF”. Isaac Asimov’s The Martian Way is a collection from an author that the reviewer finds “frustratingly good… in that he is good – but you know he can be even better.”

Of the paperbacks, the publication of Second Foundation, Asimov’s final book in the Foundation Trilogy, is “guaranteed top SF”, Robert Manvell’s The Dreamers is a horror story “better than (Dennis) Wheatley”,  whereas Ayn Rand’s Atlas Shrugged is summarised with the statement “Never has such terrible old rubbish appeared between the covers of a book“ and August Derleth’s collection From Other Worlds is “mediocre”.

Even when I don’t agree with his comments, I must admit that I find Moorcock/Colvin’s comments entertaining.

In terms of the Letters, there’s a letter suggesting that the magazine is becoming more literate – something the Editor will no doubt be pleased about – and the fact that the sense of wonder, once important to SF, seems to have departed at the same time. The change in the cover style, as mentioned earlier, is also discussed.

The verdict's in on the last issue…. even if I disagree!

As ever, the reader’s ratings of recent issues make interesting reading. Just to show you how out of touch I clearly am, readers rated the first part of the Moorcock serial top last issue. This suggests that this month’s conclusion may fare equally well, to my bemusement.

Summing up

This issue of New Worlds is OK, but I’m less enamoured than the previous issues of the new ownership. Considering the title of the Editorial, this one is actually a bit bleak and depressing. This issue seems to rely less on Moorcock’s usual team of friends and associates but actually seems worse for it.

Overall, my abiding impression is that this is all a bit so-so. This may be because the repeated themes – drugs, religion – are rather groan-worthy. Whilst we’re not as depressingly poor as the bad-old-days at the end of the Carnell editorialship, I was surprised that this issue was rather mundane, which is amusing considering that two of the stories involve religious themes that would suggest a higher order of things. Cheer up, Mike – things are not as bad as you think!

I should be back to a new issue of Science Fantasy next month. Until next time… have a great Halloween!


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[September 28, 1964] Revelation (Science Fantasy, September-October 1964)

[Don't miss your chance to get your copy of Rediscovery: Science Fiction by Women (1958-1963), some of the best science fiction of the Silver Age. If you like the Journey, you'll love this book (and you'll be helping us out, too!)



by Mark Yon

Scenes from England

Hello again!

Well, this is a pleasant, if unexpected, surprise. I have been getting used to writing about New Worlds magazine every other month.

However, whilst looking at the racks in my local newsagent the other day, to my surprise there was a copy of Science Fantasy, so I bought it. It is the first I’ve seen in a long while, and certainly the first under its new editorialship by Kyril Bonfiglioli, so I am very interested to see what it is like.


Note: Picture is not actually of the author…

I am hoping that this increased visibility is a good sign – an improvement in noticeability can only mean more potential sales. Let’s hope New Worlds can follow. I mentioned in my last article that there was a rumour about the circulation of New Worlds. It seems that readership is up, and that the print run is now nearly double what it was under Carnell. That is wonderful news, although I am aware that New Worlds not only needs to get those numbers of people reading, but also keep them.

Whilst not quite as much as its older companion, it looks like Science Fantasy has also increased its sales.

More on that in a minute.

What else has happened since we last met? Well, the rumoured General Election was announced on 14th September, to no one’s real surprise. The currently governing Conservative Party, having being in power for 13 years or so, seem fairly confident about their chances of returning. Personally, though, I don’t know. The youngsters that I know of all seem to be enthused about the Labour Party under Harold Wilson, claiming that now is the time for change. With what’s been happening socially, and the empowerment of young men and women, Wilson might just stand a chance.

Sierra Exif JPEG

In terms of music, there’s been some change. My favourite track of last month, You Really Got Me by The Kinks actually got to Number One for two weeks, which shows that it isn’t just me who likes it. Currently the saccharine pop of Herman’s Hermits is at the top of charts with I’m Into Something Good. Much more radio-friendly perhaps, but it shows how varied our music is at the moment.

Poster from my local Odeon cinema.

But my biggest news is that I’ve managed to see the latest James Bond, the one the Traveller mentioned last week in his ongoing news ticker. Named Goldfinger, and based on Ian Fleming’s book, of course, I think it’s the best Bond film so far. There’s clearly been a lot of money spent on gadgets and special effects, but most importantly Sean Connery seems to be settling in nicely to the lead role. Gert Frobe makes an admirable bad-guy, although his henchman known as 'Odd Job' is more memorable, for reasons I won't spoil here. Good to see ex-Avenger Honor Blackman in a film (rather than television) as well. There has to be more of these, judging by what I saw. Great stuff.

The Issue At Hand

Well, this is a classier cover than the one on New Worlds, although there’s not much of the ‘Fantasy’ about it. Looks like an ancient alfresco classical painting, which I am sure is deliberate. The two red dots for nipples made me laugh, though.

The editorial is an interesting one. This Science Fantasy editorial from Kyril Bonfiglioni comes across as more straightforward than the Moorcock New Worlds editorials, and combines humour with a tad bit of grumpiness. It’s also rather defensive in its choices, here defending Rudyard Kipling as a Science Fiction writer to beat H G Wells had he continued to write more. However, the editor’s put-down of a disgruntled reader in New York is quite amusing. All in all it’s a great introduction to the issue.

To the stories themselves.

The Blue Monkeys, by Thomas Burnett Swann

So we begin with something that I understand is not typical of Science Fantasy, in that it is the first of a three-parter. This is something common in New Worlds, but judging by the comments by the editor, less so here.

The Blue Monkeys is a story that dips into the well of ideas that is  ancient Grecian myths. In this place giants exist, as do many of the mythological creatures we accept as stories today. It’s a nice set up.

It’s really an alternate story of the Minotaur, through the eyes of Thea and Icarus, two young elf-like children of the Cretan prince Aeacus. They encounter the boorish Ajax, who tries to make moves on the young sixteen year old Thea. Unsurprisingly, Thea and Icarus try to escape and in doing so are rescued by the Minotaur. The twist in the story is that the Minotaur’s reputation is more fearsome than the reality.

If you like tales where the emphasis is on telling a story, I think you’ll like this one. Think of it as a more adult version of the myths and legends of Ancient Greece. It reads very smoothly, and I was engrossed until the point where it ended. I look forward to the next part in the next issue. A great start to the story and the issue. 4 out of 5.

Period of Gestation, by Thom Keyes

And then we have a change of gear,  to an odd science-fiction story that wouldn’t be out of place in New Worlds. Imagine the consequences of unending travel with a group of other men for sixteen years. This tale shows us the result. Frankly it's not pretty, although the editor prefers to refer to it in his Editorial as 'controversial'.  Mad delusions, visions of deity and the resurrection of Jesus Christ are mixed with orgies of chocolate and male pregnancy. Period of Gestation tries to combine humour and satire but becomes too absurd for my tastes. It’s certainly memorable but didn’t really work for me. 3 out of 5.

Anita, by Keith Roberts

Anita is the first of two stories by this author in this issue.

I’m usually suspicious when we get two stories by the same author in one issue. New Worlds does this a lot – it published two Brian Aldiss stories in the June 1964 issue, for example. But I can’t help feeling that surely if the stories are that good it makes sense to spread them out over a number of issues?

Having said that, this first one is pretty good. It is the story of a young girl’s moral awakening as she experiences a wider world. Anita is a young and rather lonely witch whose experience of normal mortals is limited. When her Granny insists that Anita go out of the house to see more of the world and practice her magic, Anita encounters cars, tarmacked roads and makes new friends. Despite warnings from her Granny, Anita becomes friends with a girl named Ruth and her Romany lover Jem. It does not end well, for when Jem leaves Ruth she commits suicide. In a rather Fritz Leiber-style twist, Anita finds herself in the care of an animated zombie.

Anita is a nicely developed character – an innocent who wants to do well, yet who is also lonely and wants to make friends, even if they are human. On the downside, Granny’s strangled language, meant to represent a local dialect, is a bit irritating, but overall Anita’s a nice enough story that brings to light the complications that could be created if the world of magic coexisted with the more mundane Human world. 4 out of 5.

Dummy Run, by Colin Hume

A writer new to me. Another attempt to write a humorous science fiction tale, one where Percy Winkley, a mild-mannered ventriloquist, single-handedly halts a Martian invasion with the use of his ventriloquist’s dummy. Like most of these stories, I find, it’s a minor story that doesn’t always work for me, one that is supposed to amuse but really made me groan. Although it is better than some of the similar stories I’ve read in New Worlds, this is not worth comparing with similar works by more skilled humourists such as Brian Aldiss, Robert Sheckley or John Sladek. 3 out of 5.

Easy as A.B.C., by Rudyard Kipling

I must admit that I’m usually wary of reprints, even when they are good. On a practical level they tend to be for reasons of financial expediency rather than literary merit in my experience, or in a literary sense are old-fashioned and dated.

However, this story, first published in 1912, is worthy of a read as an early proto-sf story from an author not usually remembered for his genre work. The Aerial Board of Control (A.B.C.) is “a semi-elected, semi-nominated body of a few-score persons” who control “The Planet”.

It’s the story of how a global government deals with a global crisis – in this case, when North Illinois takes itself out of the system, causing communication breakdowns and other sorts of chaos. A crack team of A.B.C. operatives are sent to find out why and, if necessary, bring North Illinois back in line.

The issue seems to be that a group of dissidents wish to have more democracy and hold public meetings, which are in defiance of the relatively benign rules of The A.B.C. because invasion of privacy – which these demands impose upon – is seen as a capital offense.

The team realise that action has to be taken quickly in order to quell a rapidly escalating problem. Their solution is to use a new weapon that makes those who hear it temporarily blind and deaf on the populace of Chicago. The dissidents are then rounded up and taken to the World Capital of London, where they are put on display for the entertainment of the masses.

Kyril says in his Editorial that “Kipling was far ahead of his time as a science fiction writer”, and As Easy As A.B.C. shows some interesting if controversial ideas – even today. The story raises the issue of what right an authoritative power has in taking actions to defend the views of the masses, even when such views are different to our own.
It’s not too difficult to see this as a parallel version of the British Empire throwing its considerable weight around. Readers may consider this to be either an acceptable consequence of being ruled by a benign World Council or regard it with horror as the inevitable consequence of accruing and maintaining control. The ending reminded me of the show-trials at the end of the Second World War, or even the more recent McCarthy trials in the USA, and not in a good way.

Some readers may dislike the use of terms such as “Nigger” and characters being referred to derogatorily as “Wandering Jews”, which are a product of their time but sit uneasily with a more contemporary readership. But there are some interesting ideas here that make you think, even when it is not a total success. For all of its issues I can see why Kyril thinks it worth bringing to our attention again.

3 out of 5.

Symbiote, by George Rigg

Another writer new to me. In the blurb George is described as “an Oxford don whose specialism is medieval literature.” However, those expecting an Arthurian romance will be surprised, for instead this is a very short story of the awakening of a form whose purpose for existence appears only to be around ‘the Creature’ – a human alcoholic with delusions. It is very short, verbose and minor in importance, but perhaps a welcome relief to counter the denser tales before it.

3 out of 5.

Escapism, by Keith Roberts

The second of the two stories by this author in this issue. Escapism is a story of what happens when an out-of-the-way, dilapidated little picture house is hired to check the rushes of a movie being made about the ancient battle of Sedgemoor. Nothing too unusual there – except that the movie is so realistic that the audience feels like it is there, with surround sound.

Perhaps my favourite story of the issue. There’s humour which works and characters I really liked.
5 out of 5.

Love Feast, by Johnny Byrne

And yet another writer new to me, but one who I gather is quite well known and popular in British genre circles. Love Feast is a weird little short-short about a creature offering itself up to be eaten by another. Odd – which may be the point, but not a favourite for me. 2 out of 5.

Notice: no book review section or letters page (which is why the Editor used a letter in his editorial this month, I guess): that’s your lot. Unlike New Worlds, in Science Fantasy it’s all about the fiction within, which again makes a refreshing change.

Summing up

I’m pleased I got a hold of this issue. Like Moorcock in New Worlds, Bonfiglioli is clearly determined to make his mark on the magazine. The two magazines are definitely different, but not entirely to the exclusion of the other.

I suppose that if New Worlds is the British equivalent of Analog, then Science Fantasy must be the British equivalent of The Magazine of Fantasy & Science Fiction – something that should amuse fellow Traveller Gideon, as I gather from his recent reports that he’s not too keen on F&SF at the moment! But the comparison seems apt to me.

Out of the two, I think that Science Fantasy has broader appeal but is more conservative than New Worlds. Yes, it is trying to break new ground – there’s a very interesting comment made by Kyril about Conan-esque sword and sorcery in this issue, for example – but it’s not as ‘out there’ as New Worlds.

This may not necessarily be a bad thing. I wasn’t expecting to say this, but out of the two most recent issues of the magazines the revelation for me is that I think Science Fantasy is a stronger, or at least more enjoyable, issue. Or at least it may appeal to a wider readership. If sales have increased, I think I can see why.

In short, I am impressed, and I hope that my ability to get issues of this magazine will continue. There are three stories here I loved (the two Keith Roberts’ and Thomas Burnett Swann’s reimaging of Greek myths) and the rest are not a disaster. I’ll have to look at a subscription, like I do for New Worlds, perhaps. The next issue will be out at the end of November.

However, I should be back to a new issue of New Worlds next month. Until next time…


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


By Jessica Holmes

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

THE TYRANT OF FRANCE

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

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

Lemaitre gives Robespierre the execution list.

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

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

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

Jules carrying a body through the window

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

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

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

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

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

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

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

Susan reclines on a couch as Barbara watches over her.

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

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

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

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

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

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

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

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

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

Leon, you scoundrel!

Leon points a gun at Ian, offscreen

A BARGAIN OF NECESSITY

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

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

Barbara and the Doctor plot her escape.

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

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

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

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

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

Well, you asked for it, Leon.

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

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

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

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

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

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

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

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

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

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

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

Lemaitre reveals to the Doctor what he knows

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

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

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

The Doctor brings Lemaitre to Jules, Barbara and Ian

PRISONERS OF CONCIERGERIE

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

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

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

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

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

Barbara and Ian in disguise as innkeepers.

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

It’s Napoleon Bonaparte.

Yes. Really.

A cool reveal? Yes. Ahistorical? Absolutely.

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

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

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

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

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

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

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

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

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

Final Thoughts

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

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

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

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

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

Next Episode: Planet Of Giants

3 out of 5 stars

 


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[August 27, 1964] Change..? ( New Worlds, September-October 1964)


by Mark Yon

Scenes from England

Hello again!

It seems that the winds of change may be beginning to blow here again in the British Isles. Since we last spoke, we’ve had ex-Prime Minister Winston Churchill retire from Parliament, which may be a sign that the old guard is changing. There are also rumours of a General Election being announced later in the year.

Whilst we are in Parliamentary recess, the signs are that things will get rather intense after the Summer. Should be interesting: Labour have a vibrant new man at their helm, named Harold Wilson, who makes the Conservatives seem staid by comparison.

He’s even met The Beatles, making him the envy of 99% of Britain’s youngsters.

Harold meeting the Fab Four in March 1964

I am tempted to suggest that perhaps the Beatles should be elected – surely with their current global reputation they would stand a good chance. I have enjoyed reading about the US reaction to the A Hard Day’s Night movie, which seems almost as frenzied as the reaction here when I saw it back in July. I decided to wait for the fuss to die down before seeing it myself, but I did enjoy it a lot. If ticket sales are any sign of success, it’s still being shown in cinemas here, with some fans seeing it on a weekly basis.

In terms of music, the seemingly unstoppable Beatles have, after three weeks, had the single A Hard Day’s Night replaced by a slightly more unusual Number One: that by the mighty Manfred Mann (it’s a group and a person!) and their catchy number Doo Wah Diddy Diddy.  My current favourite however is the rather loud and brash You Really Got Me by The Kinks.

If we’re not queuing up to see A Hard Day’s Night again, then the cinema pickings are a little slim. I did enjoy seeing Carry On Spying recently, a comedic spoof of the James Bond genre in that slap-around British manner that is not to be taken at all seriously. The plot is that a top secret chemical formula has been stolen by STENCH (the Society for the Total Extinction of Non-Conforming Humans), and so a bumbling set of trainee spies led by Agent Simpkins (Kenneth Williams) are on the trail, chasing villains such as The Fat Man, Dr Milchman and Dr Crow (really!) around the world.

Movie poster with the inimitable Kenneth Williams (centre)

Ok – it’s not subtle. But it made me laugh, and almost made up for the fact that Ian Fleming is no longer with us – I wonder what he would have made of it.

And whilst I mention Bond, I’m also waiting impatiently for the next Bond movie, Goldfinger, due here next month. Can’t wait.

The signs of change are also here in the newest New Worlds magazine as well. Three issues in of this new version and I think that we’re beginning to see the new format settling down into some kind of order. The good news is that the last couple of issues have been a marked improvement overall for me, although there have been some spectacular mistakes as well – Michael Moorcock’s ‘story’ Goodbye, Miranda in the last issue was just awful.

The Issue At Hand

The cover is another eye-catching one, by ‘Jakubowicz’, in the style of those previously done by Jim Cawthorn. I do like these new covers, they do grab your attention. Can you tell that this is a science fiction magazine? You certainly couldn’t with the last of the John Carnell issues. And we’re also (at last!) seeing some interior illustration as well – it was much missed.

The issue starts with a call-to-arms. We begin with a spirited Editorial from Mike Moorcock attempting to allay concerns that the new artistic approach in the magazine will be at a cost to the entertainment provided by reading old-style science fiction. It’s a convincing argument, although I’m not sure that it will change the views of some of the old-time readers.

The hints are that readership numbers are up on the new magazine – possibly double the print run of the old Nova format. If this is new readers, or lapsed readers, then surely the opinion of ‘the oldsters’ will be less important?

To the stories themselves.

The Shores of Death (Part 1 of 2), by Michael Moorcock

So we begin with the first part of a two-part serial written by the editor of the magazine. And at first glance, the title is straight out of the Pulp-SF era, a tad over-melodramatic.

Look: more artwork! (by James Cawthorn)

Nevertheless, the story is promising, although typically dour. The future for Humanity seems bleak as our galaxy colliding with another means the end of all we know soon.  In addition to this, travel to other places seems to be difficult, if not near impossible – most of those who try to travel long distances away from Earth either die or are driven mad. Our hero of the story, Clovis Marca, is searching for something – an answer, a solution, a source of inner peace before the end, perhaps. He is pursued by people – one is Fastina Cahmin, a young woman, the other the enigmatic Take, who may have an answer for Clovis, though he’s not saying (yet) what it is.

So again, this is an old-style pulp story given new sensibility. There’s sex and lots of inner angst, as Clovis is driven to search for answers. It has that tone of what I’m now noticing as a British theme that the future will be bad and will get worse, and all ends abruptly to be continued next month, but it feels like a lot of fuss about nothing special, which is never good for a story, I find. It’s another so-so effort from the editor, though not as bad as Goodbye Miranda. 3 out of 5.

Private Shape, by Sydney J. Bounds

Another of the old guard making a return to the new magazine. This is an odd one – a Marlow-esque attempt to tell a detective-noir story from the viewpoint of a shape-changing private detective. Didn’t really work for me. 3 out of 5.

Integrity, by P. F. Woods

Another friend of the editor, this is Barrington J. Bailey under his nom de plume, who appeared most recently in the May-June 1964 issue. Integrity is described in the heading as “a story of a Goldwater paradise” about a future ‘Free America’ where shooting everything and everybody for social placement seems common. I get the impression that it’s meant to shock, or at least warn, but it just seems like reality magnified to an unrealistic degree, and therefore loses credibility to me.  3 out of 5.

I Remember, Anita, by Langdon Jones

By contrast I liked this one more. The second story in successive issues by relative newcomer Langdon Jones. I must admit that the title gave me concern as its title reminded me of the Moorcock story last issue, but I’m glad to say that this one was better. It is a love story which initially reads as if it could be published in a mainstream magazine but has a science-fictional twist in the tale at the end. Surprisingly sexy and shocking. This is better than his last story and shows surprising potential. 4 out of 5.

Andromeda, by Clifford C. Reed

Last seen in March 1964, Cliff Reed gives us another dystopian tale. Andromeda is a protest story in a time of strict control, and the consequences to a young woman who dares to speak up in a totalitarian society on “Free Speech Sunday”. It’s another nicely told story, showing how a figure of protest can become a focus point when she chooses to die rather than remain in captivity. A talky tale. 3 out of 5.

New Experience, by E. C. Tubb

I could make a cliched comment about this being a "New Experience", having traditional sf writer Tubb in this new issue of New Worlds, but modesty forbids…

Nevertheless, the return of Tubb is an interesting one. I liked his last serial, Window on the Moon in New Worlds (April – June 1963) at the beginning, although it was a bit of a mess at the end. I was hoping that this story was better.

The story itself is little more than what I can only imagine is a bad drug trip wrapped up in a basic science-fictional idea that scientists are searching for a drug that will remove painful memories. Like a lot of inner-space stories it involves ideas of god-like deities.

It’s certainly different to Window on the Moon, and although it covers similar ideas to stories from the end of the Carnell era – I suspect that it might be one left over in the pile, so to speak – it is better than most of those other drug-addled stories. I can see why Moorcock would like it, as it clearly plays to his William S. Burroughs-ian interests. But for someone like me whose drug-taking extends to the odd cup of tea it leaves me unmoved. Self-obsessed and yet surprisingly dull. 3 out of 5.

The point that the long-established writer’s name has not been used on the front cover of the magazine to sell it, whilst relative new writer Michael Moorcock’s has, is rather telling of the new approach to the magazine. Will Moorcock’s name grab the attention more than Tubb’s?

The return of the book review column shows Burroughs mentioned by Moorcock again as he extols the virtues of J G Ballard and his new book The Terminal Beach.

James Colvin (don’t forget, a pseudonym of Moorcock and Barrington Bayley, which must make editorial meetings interesting!) similarly praises John Carnell’s latest publications – a ‘best-of’ New Worlds from 1961-63, published in America, and his first publication here since stepping away from New Worlds called New Writings in SF.

Honesty time – I tried reading it myself last month and really disliked it, as it seemed to be a issue of old-style New Worlds published in paperback form. It was tired, overwrought and had what I saw as all of the weaknesses of the old magazine but in a book form. I couldn’t finish it.

The review here disagrees with my view, considerably, being “a good start to the series which promises to be one of the most popular and influential ever to be published in this country.”  Hmm.

Of the short book reviews there’s a mixture of fairly un-original fiction, often not the best of the writers involved, and some excellent non-fiction. I was amused by the summary of Robert A Heinlein’s  Revolt in 2100 as “really scraping the bottom of the barrel here. 3 stories on overworked themes by SF’s shadow-Hemingway.” I quite liked them.

In terms of the Letters, there’s more debate on the issue raised in the Editorial, of the point of difficult books over simpler fare, (summarised as “Ulysses is a classic and Finnegan’s Wake a dud”) and a plea to recognise the range in current sf – there is room for everything from Clarke to Burroughs. A sort of “Don’t throw the baby out with the bath water!” kind of thing.

As ever, the reader’s ratings of recent issues make interesting reading, to see if the critical mass feel the same as I did. No surprises to see Ballard doing well, but Goodbye Miranda came fourth – did they read the same story as me?

Summing up

I’m now starting to get an idea of what Moorcock is trying to achieve here. In this new incarnation of New Worlds he clearly wishes to move the genre forward but is also conscious of maintaining links to the past. There is not a complete break with the traditions of the past but there is a clear determination to move towards softer science and more literary material. It hasn’t always worked for me this issue, but I can now see where I think things are going. It should make things interesting. More change…. Exciting times.

On this new schedule the next issue will be out at the end of October. However, I am hoping that I’ve finally been able to get hold of a regular supply of Science Fantasy magazine, which should be out next month. Until next time…


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


By Jessica Holmes

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

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

Let’s get on with it, shall we?

A LAND OF FEAR

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2 out of 5.

GUESTS OF MADAME GUILLOTINE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Perhaps I can’t really talk.

Meanwhile in the countryside….

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

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

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

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

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

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

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

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

2 out of 5.

A CHANGE OF IDENTITY

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

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

Jessica from the past, you put it into words.

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

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

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

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

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

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

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

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

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

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

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

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

Back in the dungeon….

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

Behold the Doctor’s new outfit:

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

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

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

At least that might be interesting next time.

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

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

So that’s nice. And dull.

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

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

He produces the Doctor’s ring.

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

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

2 out of 5.

Final Thoughts

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

Not very.

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

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

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


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




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


By Jessica Holmes

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

A RACE AGAINST DEATH

I hope Ian’s got his affairs in order.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Wrong.

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

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

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

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

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

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

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

Belladonna? On another planet?

Hold that thought. Something just roared off-camera.

KIDNAP

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

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

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

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

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

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

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

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

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

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

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

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

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

And the penny drops.

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

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

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

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

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

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

A DESPERATE VENTURE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Touched a nerve, eh, Doc?

Final Thoughts

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

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

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

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

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

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

One more comment before I start saying nice things:

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

Okay, now I’ll be nice.

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

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

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

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

Until next time, then!

3 out of 5 stars


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