Colony in Space

I want to see the universe, not rule it.--the Doctor

Not Doctor Who's finest moment in monster making

Episode One, 10 April 1971
Episode Two, 17 April 1971
Episode Three, 24 April 1971
Episode Four, 1 May 1971
Episode Five, 8 May 1971
Episode Six, 15 May 1971

Written by Malcolm Hulke
Directed by Michael Briant
Script editor: Terrance Dicks
Produced by Barry Letts

Jon Pertwee as the Doctor
Roger Delgado as the Master
Nicholas Courtney as Brigadier Lethbridge-Stewart
Katy Manning as Jo Grant

And at last, two years after the Doctor last travelled in time and space, he's doing so again--though it's somewhat against his will.  The Time Lords send him and Jo to the desert planet Uxarieus in the twenty-fifth century, where a small group of hardy human colonists are attempting to build a new life in the arid soil.

But all is not well in the colony.  Some colonists see giant, dinosaur-like monsters roaming the plains at night, and a pair of homesteaders are killed, their bodies scarred with giant claw marks on their body.  And a bedraggled hermit shows up (played by Roy Skelton, the voice of the Daleks), claiming to be the sole survivor of a former colony that was first attacked by these monsters, then destroyed by the planet's primitive humanoid inhabitants, who live in the ruins of a stone city some way to the south.

And then to top everything else off, a heavily-armed ship arrives from the Interstellar Mining Corporation, looking to exploit the planet's vast duralinium deposits for the voracious market on Earth.  But to do so would destroy the planet as a livable habitat.  The colonists claim that the miners are trespassing, and that the Earth government has allocated the planet for colonisation.  But the miners' story is that a faulty computer on Earth must have allocated the planet both for colonisation and for exploitation; the only solution is to call in a legal official called an Adjudicator to settle the dispute.

What's really going on is that the mining ship know full well that it's the colonists who have rights to the planet, but they're trying to scare them away so that they can exploit its resources.  They're manufacturing the monster sightings (there are no such monsters); they're killing the colonists and making it look like monster attacks; and the "survivor from a previous colony" is actually a spy from the mining ship's crew.

But things get more complicated when the Adjudicator arrives--because he turns out to be the Master, in disguise.  The Master's interest is in the ruined city where the native primitives live.  He has learnt that the extinct advanced civilisation from which the primitives descend created a doomsday weapon but never used it--a weapon that can turn any star nova in the blink of an eye, destroying any worlds that orbit it.  The weapon still exists, somewhere beneath the city, and the Master wants to find it so he can hold the universe to ransom and make himself ruler of the cosmos.  (That's, ruler of the cosmos, as in ruler of the universe, not ruler of the Cosmos, as in ruler of the New York team in the 60s/70s-era North American Soccer League.)

Open violence has now broken out between the miners and the colonists, with the miners eventually defeating and capturing the colonists.  The captain of the mining ship convenes a kangaroo court and convicts the colony leader of treason, but he agrees to commute the death sentence on condition that the colonists depart the planet immediately.  The colonists object--their ship was never intended to be flown again, and its engines are in such poor repair that they could well break up in flight.  But the mining captain has no pity for them, and they have no choice.  They depart, and their spaceship does indeed blow up moments after liftoff.

But it turns out there was only one person aboard--the colony leader, who sacrificed himself so that his colonists could live.  The colonists themselves were in hiding, and once the miners think they've all died, they sneak back, mount an ambush and defeat the miners.

Meanwhile, the Doctor and the Master have headed to the primitives' city to find the doomsday weapon.  But the ruler of the primitives turns out to be a tiny little being whose brain has expanded so much that he has developed powers of telepathy and telekinesis.  He sees the evil in the Master and instructs the Doctor that, for the good of the galaxy, he must operate the self-destruct mechanism on the doomsday weapon.  This also has the effect of destroying the ruined city, and the primitives themselves die when they refuse to leave their doomed home.

But the Doctor and the Master, of course, get out alive, and the Master escapes in his TARDIS.  Their errand complete, the Doctor and Jo are returned to UNIT HQ by the Time Lords.

What Lisa thought

I think this is a pretty good story, and one whose main theme--the common man being screwed over by a powerful corporation surreptitiously aided by a government in thrall to the elite--resonates just as strongly in 2012 as it did in 1971.  I was surprised that Lisa wasn't terribly impressed by it, especially since it's a jaunt into space opera after a season and a half of exclusively earthbound stories.  But she found the plot structure offputting, with the colonist v miner conflict running in parallel with the mystery of what was in the primitives' city for much of the serial.  She did, though, like episode six a lot, in which the two plot lines were neatly tied together at their resolution.

The next story will be "The Daemons".

The War Games

The War Chief: If we hold the only space-time travel machine, we can rule our galaxy without fear of opposition.
The Doctor: Yes, but without me and my TARDIS, your ambitions are going to be rather hard to realise, aren't they?
The War Chief: That's right. And without my influence, these aliens will surely kill you.

Jamie and Zoe ally with a Mexican revolutionary, a German officer, a British officer from 1917 and a British sergeant from the 1890s.

Episode one, 19 April 1969
Episode two, 26 April 1969
Episode three, 3 May 1969
Episode four, 10 May 1969
Episode five, 17 May 1969
Episode six, 24 May 1969
Episode seven, 31 May 1969
Episode eight, 7 June 1969
Episode nine, 14 June 1969
Episode ten, 21 June 1969

Written by Malcolm Hulke and Terrance Dicks
Directed by David Maloney
Produced by Derrick Sherwin

Patrick Troughton as the Doctor (last regular appearance)
Frazer Hines as Jamie McCrimmon (last regular appearance)
Wendy Padbury as Zoe Heriot (last regular appearance)

This is exciting.  This is one of the great moments in Doctor Who, a moment that recaptures that sense of mystery--that sense of the sinister--that surrounded the Doctor as a character in "An Unearthly Child", "The Time Meddler" and "The Power of the Daleks".  It builds up on you--at first, you think it's a straight historical adventure.  Then you realise it's more complicated than that--there are aliens involved.  And time travel.  And then you start to suspect that it's going to be even bigger than that--because we're about learn the grand secret of the Doctor's origins.

But all that is unfortunately lost on the modernday viewer, because we already know all about the Doctor's people.  There's no tension about them for us.  In fact, we probably go into it already knowing that this is the story that's notable exactly because it's the first time we ever heard of the Doctor's origins.  Certainly I think most viewers nowadays don't even consider that up until this moment, it hadn't even been definitively established that the Doctor isn't human.

Which means that "The War Games" has a reputation nowadays as a flaccid, bloated, boring story, and that's wholly unfair.  It could stand a bit of trimming, to be sure--I don't think you'd have a hard time reducing it to only six or seven episodes.  But really, the reason most people nowadays find it dragging are because it spends its second half depending for its tension upon a mystery that is no longer any mystery at all, and as a consequence the modern Doctor Who fan basically spends the first nine entire episodes waiting for revelations that don't arrive until part ten, and that don't tell him anything he hasn't already known for forty years.

The TARDIS arrives in the hell on Earth that is No Man's Land, the desolate, lethal wasteland between the Allied and German trenches during the First World War.  They're soon apprehended by British troops, and it's shortly after that that we realise all is not as it seems: the general commanding the British troops has a pair of odd-looking glasses that, when he dons them, allow him to give hypnotic commands to his troops, altering their memories and telling them how they should perceive certain people and events.

The Doctor, of course, quickly realises that the general is either an alien or a time traveller.  He, Jamie and Zoe managed to break a pair of British personnel--a lieutenant named Carstairs and an ambulance driver called Lady Jennifer--of the conditioning that makes them obey the general's hypnotic commands, and together the five of them escape the British base.

Pursued both by British troops and Germans, they pass through a strange mist, and come out on its far side to find a completely changed landscape--the churned mud of concussion of artillery from No Man's Land has been replaced by a beautiful, breezy virgin hillside--and a Roman legion bearing down upon them, led by distinctly unfriendly-looking charioteers.

So the Doctor and his friends turn and charge back into the mist, only this time, when they get to the other side, they find themselves caught between Union and Confederate troops from the American Civil War.

It takes a while for the team to figure out what's going on.  None of these wars are actually real; when they pass through the mist, they're actually moving from one zone of an alien planet to another.  Human soldiers from each of the various wars in Earth's history are being removed from their proper time and space by an alien race, and transported here to re-enact these wars as training so that they can be used as soldiers in the aliens' war of conquest to take over the entire galaxy.

And to kidnap these human soldiers, they're using TARDISes.

(Actually, they're using scaled-down versions of TARDISes called SIDRATs.  No prizes for guessing how they came up with that name.)

Eventually, the Doctor, Jamie and Zoe escape from the war zones and sneak into the aliens' command centre.  There, they find a political power struggle in progress, between the Security Chief and the War Chief.  The Security Chief is responsible for the operation of the command center; the War Chief oversees the abduction of human soldiers and the conduct of the war games.

And there's something else about the War Chief--he's not a member of the same species as the rest of the aliens.  Rather, he comes from a time-travelling race; he's the one who brought time travel technology to the aliens, so that they could implement their plan of building a brainwashed human army.

Which time-travelling race is he from?  Well, when he catches sight of the Doctor, the two of them instantly recognise each other.  (It's a nice moment, because the implications of that aren't explained for a little while.)

The Security Chief therefore concludes that the Doctor is from "the War Chief's people--the Time Lords!" and that the War Chief is betraying the aliens.  He has two hypotheses: either the War Chief and the Doctor are working for the Time Lords, or else they are both renegade Time Lords intent on subverting the aliens' plan so that they can take over the galaxy themselves.

Again, the revelation over the Doctor's and War Chief's people is very nicely done.  "Time Lords" gets mentioned very infrequently, and when it does, it's only in passing.  It's not until episode nine that they're discussed at length.  Up through episode eight, you learn about the Doctor's background so gradually that you don't realise just how much you've learnt.

There's a theory, by the war, that the War Chief actually constitutes the first appearance of the Master.  It's a theory I'm not unsympathetic to, though there's nothing direct to indicate that--besides the fact that the War Chief matches the Master in temperament and ambition, and even has a Mediterranean complexion and a goatee.

It's in episode nine that matters come to a head.  The Doctor realises that matters are simply beyond him; he cannot return the human abductees to their own time on his own.  He therefore sends a message to the Time Lords (using a mentally-constructed box that was harkened back to in 2011's "The Doctor's Wife") explaining the situation to them.

And it's now, for the first time, that we become aware how terrified the War Chief and the Doctor are of being recaptured by the Time Lords.  The Doctor is desperate to get back to the TARDIS before he arrives, and it's his fear that does such an effective job of conveying their power and their ... amorality.  We then have that power demonstrated, as the humans simply vanish into nothingness as they're returned to their own times, and time itself slows down to prevent the Doctor, Jamie and Zoe from getting back to the TARDIS.

Eventually, of course, the TARDIS team are captured by the Time Lords--or rather, they choose to surrender themselves when it becomes clear they can't escape.  And the Doctor is placed on trial for having violated his people's cardinal law (their prime directive, if you like)--he interfered.  Time Lords only observe history; they do not become involved in it.  Yet the Doctor has become involved time and gain.

The Doctor defends himself by saying that every time he becomes involved, he prevents evil.  But the Time Lords reject that--whether he worked for good or evil, he still interfered.  Eventually, though, they concede that perhaps his working for goodness does mitigate his crime, and they tailor an appropriate sentence for him.

Jamie and Zoe are forcibly returned to their own times, with their memories wiped.  They remember only their first adventures with the Doctor, and completely forget having gone away with him in the TARDIS afterwards.

The Doctor, meanwhile, is sentenced to exile on twentieth-century Earth--shackled to one time, one planet.  Furthermore, he will have his appearance changed, as it has changed before.  The story ends with the Doctor falling into the time vortex, his appearance in flux ...

Renegades from their people: the War Chief and the Doctor

What Lisa thought

Lisa, who didn't have the benefit of knowing fandom's low opinion of episodes one through nine, had a lot of fun with this one--and she didn't pick up until very late on just how important, from a continuity standpoint, the last episode and a half were.  (She even needed me to point out this is the first time we've heard "Time Lord".)

She certainly felt it could stand some tightening, which it definitely could.  The general plot movement of "The War Games" is that we start off in the First World War, where our heroes learn is not as it seems; move to the American Civil War, where they first encounter the Resistance, human soldiers on whom the aliens' conditioning hasn't worked; move to the alien command centre, where we find out what's really going on; go back to the First World War, to meet a new group of resistance fighters; then back to the alien command centre before the Time Lords get introduced.  That whole "back to the First World War to be introduced a redundant group of the Resistance" could easily stand to be culled, cutting two episodes from the story instantly.

But still, "The War Games" is great--all it requires is putting yourself in the shoes of a 1969 viewer, who'd never heard the words "Time Lords" or "Gallifrey" or "regeneration".

The next story in our rewatch is "Spearhead From Space".

"The Krotons"

We've been slaves for a thousand years; do you think you can free us in one day?--Beta

Episode one, 28 December 1968
Episode two, 4 January 1969
Episode three, 11 January 1969
Episode four, 18 January 1969

Written by Robert Holmes
Directed by David Maloney
Script editor: Terrance Dicks
Produced by Peter Bryant

Patrick Troughton as the Doctor
Frazer Hines as Jamie McCrimmon
Wendy Padbury as Zoe Herriot

A thousand years ago, the Krotons' spaceship landed in the midst of the humanoid Gorns' settlement.  The Gorns were a primitive people, and apparently stereotypically so; without understanding what was going on, they immediately attacked the spaceship.  The Krotons retaliated by making a dark rain fall, which turned the land surrounding the Gorns' settlement into a wasteland where nothing would grow.

The Krotons remained in the Gorn settlement after this brief war as their overlords and protectors, though the Gorns never saw them--they always remain in their spaceship.  In fact, using knowledge the Krotons gave them, the Gorns built a learning centre around the spaceship, with computerised learning machines on which all Gorns are educated.  Periodically, when a Gorn scores highly enough on the learning machines, they're called to be a "companion of the Krotons", meaning that they get to enter the Krotons' spaceship--and are never seen again.

The Gorns have become much more advanced under the Krotons' tutelage, but there are gaps in their knowledge--the Krotons forbid the Gorns, for instance, from studying anything to do with chemistry.  And no Gorn ever ventures into the wastelands, for according to the Krotons, anyone who visits them will die.

The TARDIS arrives, causing a great flurry of consternation amongst the Gorns.  Almost straight away, the Doctor makes two discoveries that completely shake the foundation of Gorn society: first, that the wasteland isn't poisoned at all.  Maybe it was once, but it has recovered a long time ago.  And second, those who are selected as companions of the Krotons--the best and brightest of the Gorns--are secretly murdered.

The story therefore depicts a moment in Gorn history, the moment when the Gorns, in shock over learning their entire culture is based on a lie, take up arms and throw off their technologically advanced Kroton overlords.

And of course, predictably, that's exactly what happens.  The plotline isn't the interesting part of "The Krotons".  The interesting party, besides Zoe's costume (a very nice miniskirt and go-go boots combination), is the people for whom this story marks their first involvement in Doctor Who.

This is the first Doctor Who written by Robert Holmes, who's generally seen as the greatest script writer the programme has ever had.  He's produced a fairly standard, unmemorable effort for his first attempt, but it does have a few interesting ideas.  The Krotons, for instance, turn out to be a sort of cross between living organisms and machinery; they don't die, but rather "cease to function", in just the same way their ship does.  And they've been killing the cleverest Gorns because their spaceship runs by extracting mental energy; the Gorns' death is just a side effect.

The other significant first-timer here is Philip Madoc, playing the Gorn villain, Eelek.  This is his first appearance in the television series, but not in the Doctor Who franchise--he had previously played the black marketeer in Daleks: Invasion Earth 2150 AD, the 1965 big-screen adaptation of The Dalek Invasion of Earth.  Both then and as Eelek, he plays exactly the sort of role he'll become such a virtuoso of during the next decade.

He's ruthless, ambitious, consummately self-serving and thoroughly amoral, interested only in accumulating power to himself.  Even when he's being friendly, he exudes menace--there are precious few smiles more chilling than his--but, whenever his aims are frustrated, he can burst on a moment's notice into a thoroughly intimidating fury.  For me, only Jon Simm rivals him as the best villainous actor the programme's ever had--yes, that means he even surpasses Roger Delgado.

Here as Eelek, he demonstrates all those qualities that make him so great.   He's the assistant to Selris, the Gorns' headman.  When the Gorns learn the truth about the Krotons, he uses it as an opportunity to make a bid for power, overthrowing Selris, by positioning himself as rabidly anti-Kroton, ready to lead a crusade against them.  But when the Krotons offer to leave the Gorn planet if only Eelek will turn the Doctor, Zoe and Jamie over to them, he agrees unhesitatingly, happily abandoning the very allies who are the ones who showed the Gorns the truth in the first place.

What Lisa thought

 She liked three of the four parts, essentially--she felt part two really dragged.  Part two, incidentally, is the only episode that doesn't feature Philip Madoc.

The Dominators

Cully admires Zoe disguising herself in Dulcian costume.

Episode 1, 10 August 1968
Episode 2, 17 August 1968
Episode 3, 24 August 1968
Episode 4, 31 August 1968
Episode 5, 7 September 1968

Written by Norman Ashby
Directed by Morris Barry
Script editor: Derrick Sherwin
Producer Peter Bryant

Patrick Troughton as the Doctor
Frazer Hines as Jamie McCrimmon
Wendy Padbury as Zoe Heriot (earliest extant appearance)

On the planet Dulcis, war and strife are unknown.  Also unknown is basic scientific curiosity--172 years ago, Dulcian scientists detonated an atomic bomb on an isolated island, so that they could study how long it took for radiation levels to subside.  But when all the radiation levels suddenly drop to zero, the Dulcians don't respond with, "Holy crap, that must mean the advance force from a race of merciless alien invaders must have landed on the island and used that radiation for fuel as they prepare to destroy our planet!" or even the perhaps more reasonable, "Hmm, that's weird.  Maybe we should head over to the island and try to figure out why the radiation suddenly vanished."  No, instead they say, "Well, now we know--radiation from an atomic blast lasts 172 years, then vanishes completely."

But I'm getting ahead of myself.  The formerly-radioactive island.  Four groups have arrived there at roughly the same time: a trio from a Dulcian university, studying radiation; a party of adolescent adventurers, visiting the island without passes as a way to spice up prosperous-yet-monotonous life on Dulcis; the TARDIS team; and a spaceship carrying two Dominators.

The Dominators are a race of merciless alien conquerors, "rulers of the Ten Galaxies".  Their spaceships are powered by radiation, but this particular ship is almost out of power.  Detecting the radioactive island, they've come to Dulcis, where they immediately suck up all the radiation to refuel.  But this replenishes their power levels only enough to give them the energy for a full refuel, which involves drilling to the molten core of Dulcis and dropping an atomic bomb down the shaft, to irradiate the whole core--which incidentally will also turn all of Dulcis into a radioactive cinder, destroying all life on the surface.

Of course, the TARDIS team and the Dulcians soon discover this.  The story's what-makes-this-story-different-from-others quality comes in the difficulty our heroes have in getting the Dulcians to fight back, because of the ethos of nonviolence and incuriosity that permeates society on Dulcis.  First, the Dulcians flat out don't believe that aliens have landed on their planet, because they don't believe in aliens.  Then, they refuse to accept the threat the Dominators pose, and continue to maintain that if only they treat the invaders with friendliness and obedience, they'll be able to bring out the Dominators' peaceful side.  And then when they do finally realise what danger they're in, they don't even know how to fight back.

(This is illustrated very well in a meeting of the High Council of Dulcis: "The way I see it, there are only three courses of action: fight, flight or submission."

"Flight is out of the question!"

"And we have means with which to fight."

"Then that leaves only ... submission.")

Eventually, the Doctor and a small group of Dulcians are able to foil the Dominators' plan by tunneling beneath the radioactive island so that they gain access to the Dominators' drill-bore from the side.  This way, when the invaders drop their atomic bomb down the shaft, the Doctor catches it, then stows it aboard the Dominators' spaceship.  The spaceship lifts off so that the Dominators can get away from the planet before it explodes, but of course, the only thing they end up destroying is their own ship.

But none of all that is really what sticks with me about "The Dominators".  The most memorable thing about this story is that it's our first chance to get a look at the Doctor's new companion, Zoe, the girl genius from the year 2000.  (In 1968 terms, "from the year 2000" means "lives in a space station".)

Zoe is a chipper, undeterable character, utterly guileless, completely selfless, friendly, and entirely comfortable with the fact that she's a scientific and mathematical genius.  And actress Wendy Padbury is one of the most adorably sexy women ever to make it onto a television screen.

That sexiness and the mores of 1968 combine to ensure that, over the course of her one season on the TARDIS, Zoe is clad a succession of wonderfully enticing costumes, and the one in "The Dominators" is one of the best.  The people of Dulcis all walk about in short gowns.  For men, this means dresses of a curtain-like material that come down to mid-thigh (longer for figures of authority).  But for women, it means a choker and a revealingly short babydoll negligee, easily transparent enough to show off the bikini bottoms being worn underneath.  It's glorious.

What Lisa thought

She enjoyed it fine.  She did complain about the broad strokes with which the story was told--the utterly good Dulcians contrasted with the utterly ruthless Dominators; the simplicity of, "Well, we'll just burrow in from the side and catch the bomb when they drop it."

This sort of block-colour approach to storytelling even extends to interpersonal dynamics.  The two Dominators have a running conflict throughout the story: the first officer wants to destroy everything in sight, murdering any Dulcians he sees, while his commander insists that the natives pose no threat, and they should be spared as killing them will dangerously deplete the spaceships' already dangerously-low levels of power.

In fact, all four cliffhangers in this story involve the first officer ordering the Quarks (diminutive robots that the Dominators use as both a labour force and their footsoldiers) to kill a character, which is then resolved by the commander appearing out of nowhere and countermanding the order. The cliffhangers at the end of part two and part three are in fact identical, with the first officer deciding to destroy a house standing on an opposite hill just to have some fun, unaware that some of our main characters are hiding in the house, and the image fades out as debris falls around our heroes from the blasts of the Quarks' molecular cannon.

(It's interesting that we're supposed to see the first officer as a bloodthirsty fool, while the commander is the voice of intelligence and reason, considering that in the end, it's the first officer who was right the whole time--the natives do pose a threat, and the Dominators' best course of action would have been to slaughter them.)

There is a wonderful example of the comic chemistry between Frazer Hines and Patrick Troughton, when the Dominators (thinking they have captured native Dulcians) subject the two of them to intelligence tests, to evaluate the native populations. The Doctor and Jamie quickly conclude that they should do their best to appear stupid, so as to present less of a threat.

The same scene also illustrates Troughton's nimbleness as an actor, when he convinces the Dominators that there are two species on Dulcis: the stupid ones, represented by him and Jamie, and the smart ones. "There aren't very many of them left. We don't like them very much--they tell us what to do, you see," he says, and all of a sudden his demeanor has changed completely, and with it, the whole tone of the scene. It's not that he's suddenly become threatening, because he hasn't--but with those two sentences and his sudden change in tone, he's managed to summon forth an entire picture in the viewer's mind, and one that's much, much darker than any actual images that appear onscreen in "The Dominators".

But essentially, "The Dominators" is a story where Doctor Who definitely comes across more as a children's programme than a family programme.

But whatever.  Zoe, man.  In a see-through microdress.

The next story in the rewatch is "The Mind Robber".

The Tomb of the Cybermen

No.  I have a better idea.  I'll leave you to the Cybermen.  I'm sure they'll have a use for you.  Or parts of you.--Klieg

Jamie and the Doctor watch as Toberman sneaks up on a Cyberman

Episode 1, 2 September 1967
Episode 2, 9 September 1967
Episode 3, 16 September 1967
Episode 4, 23 September 1967

Written by Kit Pedler and Gerry Davis
Directed by Morris Barry
Script editor: Victor Pemberton
Produced by Peter Bryant

Patrick Troughton as the Doctor (earliest extant appearance)
Frazer Hines as Jamie McCrimmon (earliest extant appearance)
Deborah Watling as Victoria Waterfield (earlier extant appearance)

The TARDIS has just acquired a new crew member: nineteenth-century gentleman's daughter Victoria Waterfield, whose father was murdered by the Daleks at the end of the last (lost) story, "The Evil of the Daleks". For Victoria's first trip, the TARDIS lands on a rocky, desolate landscape. Soon after arrival, our heroes make contact with an archaeological expedition from Earth, from whom they learn that they are on the planet Telos, home world of the Cybermen.

It has been five hundred years since the Cybermen vanished from history, and the expedition are here in search of the legendary Tombs of the Cybermen, the hidden catacombs where stories say that the last of the Cybermen sleep in waiting. (The Doctor is genre savvy enough to realise what a bad idea this is.) The expedition can be divided into three groups: there are the archaeologists themselves, British and with a healthy respect for how archaeology is supposed to be done. There's the crew of the expedition's rocket ship, American, brash and brusque, but not very bright. And then there are Mr. Klieg and his associates. Klieg is funding the expedition, and he's brought along with him a woman, Kaftan, and her servant, the lumbering, silent hulk, Toberman. (Toberman has quite rightly been criticised over the years for being a rather racist depiction; it's unfortunate he's Doctor Who's first major black character.)

Klieg and Kaftan are indeterminately foreign, probably Arabic. Kaftan's relationship to Klieg is unclear, but while she doesn't have any clear authority over him, she's definitely able to manipulate him fairly easily. And she, Klieg and Toberman clearly have another, more sinister agenda that they're keeping secret for a moment.

When the Doctor and team arrive, the expedition have just found the entrance to the Tomb of the Cybermen--and they've just lost their first life, a crew member from the rocket who was electrocuted when he grasped hold of the doors of the tomb in order to open them. The Doctor works out that the door will now have been drained of the electricity with which it was charged, and the doors are safe to open.

Inside they find a labyrinth of corridors and control rooms. They're deserted, but the computer terminals are still in working order--if only someone can figure out their operating system, which appears to be based on a symbolic logic puzzle. It's not entirely free of menace, though--Victoria gets briefly trapped inside a "revitalising chamber" for the Cybermen when its door closes on top of her (no one realises it was Kaftan who sealed her inside, flipping its closing mechanism in order to see what effect the chamber would have on a human being), and one of the archaeologists is killed when he and Jamie accidentally trigger a Cyber gun in a weapons testing room.

And there's a massive steel hatchway, leading down into the belly of the facility, where Klieg is certain the Cybermen's actual tombs lie, but at first, no one can figure out how to open the hatch.

And there's something sinister afoot, too--someone has sabotaged the expedition's rocket. (Toberman, acting on Kaftan's orders.) It's going to take at least three days to fix, and during the repairs, the ship's captain, Hopper, is unwilling to allow any of the expedition aboard, because he doesn't know who it was that sabotaged the ship. That means they'll have to spend their nights (when the temperature on the surface drops dangerously) inside the ominous warren of the tombs.

Klieg manages to decipher the controls that open the big hatchway. There's an amusing sequence where the Doctor follows behind him as he flips switches, surreptitiously flipping them back again in an attempt to stop the hatchway from opening--only it turns out that the Doctor's subterfuge puts the switches in exactly the pattern that they really need to be in to open the hatch.

The expedition descends to the lower level of the tombs, leaving behind only Kaftan and Victoria. Victoria initially balks at staying behind just because she's a woman, until the Doctor explains that really, he wants her to stay behind to keep an eye on Kaftan. As soon as they're alone, however, Kaftan drugs Victoria by slipping a mickey into her coffee, and once Victoria has fallen asleep, she closes the hatch again, declaring that she'll only open it upon receiving a prearranged signal from Klieg.

Down below, the expedition come upon the actual Tombs of the Cybermen, a massive steel honeycomb crusted over with frost. Great, manlike shapes are visible through the tombs' doorways: Cybermen, dormant and sleeping. There's a control panel next to the tombs, and Klieg immediately sets about trying to decipher it, declaring that it must be an opening mechanism for the hatch that has closed above them. (The expedition realise the door has closed over them, but they don't know it was because of Kaftan's treachery.) Of course, both he and the Doctor realise what the control panel is really for--awakening the Cybermen in their tombs.

And this Klieg soon manages to do, and an army of Cybermen emerge from their dormancy and advance on the expedition. It's at this point that Klieg reveals his true plan: he is a representative of the Brotherhood of Logicians, an association of Earthmen dedicated to the supreme power of rationality and the intellect. The Logicians wish to make contact with the Cybermen--who are also, of course, dedicated to logic--and ally with them, using Cyber might to help them take over the Earth.

Of course, the Cybermen are having none of this. Now that they're awake again, they see no reason why they'd need the help from any human group to conquer humanity. The Cyber Leader makes clear with its first words what their plans are: "You belong to us. You will be like us."--In other words, the humans are going to be converted into Cybermen.
Back up at the tomb's entrance, Victoria has woken from her drug to find the hatch closed and Kaftan holding a gun on her. But the day is saved when Kaftan is attached by a Cybermat--basically, the Cyberman version of a mouse; like the Cybermen themselves, lethal and made of steel (though Kaftan survives this particular attack). This allows Victoria to open the hatch, and just in time, too. A struggle has broken out down below between the expedition and the Cybermen, and the hatch opens just in time for the expedition to escape--though the Doctor is almost dragged back down into the tombs when a Cyberman grasps him by the ankle as he climbs out. Only Toberman doesn't make it; he's been captured by the Cybermen.

Safe upstairs, the expedition are able to seal the Cybermen down below by closing the hatchway again. But they still can't escape--Captain Hopper hasn't finished his repairs on the rocket yet, and he still refuses to let anyone else aboard. The expedition imprison Kaftan and Klieg in the weapons testing room, because it has only one exit, but--rather unsurprisingly, considering the room's name--once they're in there, Klieg is able to find a Cyber gun, capable of killing both humans and (unlike the handguns a few of the humans are carrying) Cybermen.

Klieg and Kaftan therefore emerge from the weapons testing room and take the other expedition members captive at gunpoint. Klieg is still intent on forging an alliance with the Cybermen, and he thinks that possession of a Cybergun will give him the leverage to do that, so he opens the hatch.

Down in the tombs, the Cybermen have been on the verge of collapse from a lack of energy; the Cyber Leader has therefore ordered them back into stasis to conserve energy. It is therefore only the Leader who emerges from the hatchway, accompanied by Toberman. The Leader now agrees to Klieg's proposal in exchange for being allowed access to the revitalising chamber (where Victoria was trapped back in episode one), to restore his dangerously low levels of energy. The Doctor helps the Cyber Leader into the revitalising chamber in hopes of trapping it there, but once revitalised, the Leader is too strong for the ropes Jamie ties over the door and easily breaks free.

Another fight breaks out, between the Cyber Leader and the humans, and at this point Klieg and Kaftan discovers Toberman is now under Cyberman control--he has been partially Cyberised, with his right arm replaced with a steel limb. He knocks Klieg unconscious, and the Cyber Leader picks up Klieg's Cybergun and shoots and kills Kaftan.

The Doctor is able to use Kaftan's death to get through to Toberman, exhorting him to break free of Cyber control. Toberman turns on the Cyber Leader, picking it up bodily and smashing it into the floor. It appears the expedition have won. The Doctor, Toberman and Jamie descend back into the tombs so that the Doctor can seal the Cybermen inside permanently--but they find Klieg, recovered from Toberman's blow, already there, waking the Cybermen up again. He's still fixated on his plan of an alliance.

But he's killed by the first of the Cybermen to revive, who then turns round to the controls so that it can wake up the rest of its brethren. Toberman sneaks up on it from behind and destroys it, and the Doctor ensures that the controls have been set to return the Cybermen to complete dormancy.

Back upstairs at the main entrance to the catacombs, the Doctor electrifies the doors, just as they were when they killed one of the rocket's crew when the expedition first arrived, so that no one else can ever release the Cybermen. But before he can then close the doors again, the Cyber Leader revives and starts to shuffle toward the humans. The Doctor can't close the doors, as they've been electrified. Toberman steps forward and slams the doors shut on the Cyber Leader (who is thereby electrocuted as well), sacrificing himself to save the others.

Captain Hopper and the expedition's only other survivor, Professor Parry, head back to the rocket, while the Doctor, Jamie and Victoria leave for the TARDIS. The story ends with the camera drawing in on a single Cybermat, which, unnoticed by the humans, has escaped from the tombs and is trundling off into the desert.

What Lisa thought
This was actually the very first Doctor Who Lisa saw, when I first started buying Doctor Who DVDs. She hadn't been interested in watching with me, but she was sitting next to me on the couch cross-stitching while I watched, and by midway through episode one, she was asking me to go back to the beginning so she could sit and watch it properly. So it's one she likes. Particularly, she likes Klieg, who she thinks is wonderfully portrayed by George Pastell.

She does complain about the Cyberman voices, and she's right to. They're lost in an electronic drone that makes them almost indecipherable--definitely the worst Cyberman voices, and possibly the worst alien voices full stop, in the history of the programme. Which is a shame, because besides that, the Cybermen are actually very well realised. They've evolved significantly since their first appearance, which came, let's remember, less than a year before this, and it's the Cybermen of "Tomb" who really serve as the template for all Cybermen that have followed--for those who would show up again in the 1960s and in 1975, for the ones that would return in the 1980s, and for the ones that would return in 2006.

No longer is there any visible flesh and blood to their appearance (which is a shame, because that was pretty neat in "The Tenth Planet"). They're now entirely steel men. Instead of the actor holding his mouth open while his lines are piped out, the Cyber Leader has been given a steel facemask, with a slot that slides open to serve as the mouth piece. When Toberman kills the Cyberman who has just murdered Klieg, he rips its chest piece off, and white foam Cyberman "blood" comes bubbling up out of its corpse in copious amounts. It's really cool. (Lisa said, "Ewww.") There's even some rudimentary visual effects--we see mental waves passing between the Cyber Leader and Toberman as it silently transmits instructions to him, and electric bolts shoot from the Cybermen's hands to kill the humans--an idea that would be subsequently abandoned before returning when the Cybermen made their first New Who appearance in 2006.

For a long time, "Tomb" was amongst the missing Doctor Who stories (meaning that Victoria was the only companion for whom not one full story existed), until a complete copy was unexpectedly discovered in Hong Kong in 1992. We did have the story's soundtrack during that period (as we having the soundtracks of all the missing episodes), and from that audio track "Tomb" developed a reputation as a missing masterpiece, a gem of tension and atmosphere.

One of the Doctor Who DVDs--it's probably Lost in Time, the DVD release of all the orphan episodes--has a documentary about missing episodes, in which Mark Gatiss talks about the disappointment everyone felt upon actually seeing the real product in 1992.

I think that's crap. It's true that I never listened to the "Tomb" audio track, so I never had the opportunity to build it up into The Perfect Who in my head (though anyone who does that should be intelligent enough to realise that the TV show we construct in our head is always going to be superior to the actual TV show that shows up on the screen). But speaking as someone who has only ever seen "Tomb" as an extant story (it was one of the first Who VHSes I bought, back in the mid-90s), it's an absolutely cracker--for my money, the best extant Patrick Troughton story.

It's a brilliant, claustrophobic science fiction horror story, in the tradition of Who Goes There? (the great John W. Campbell novella upon which the film The Thing is based) or Alien. Its first two episodes are, indeed, palpably tense and atmospheric, as the expedition explore the catacombs and we wonder just what Klieg and Kaftan's design is. The latter two episodes suffer a bit from the loss of that tension, but they're nevertheless good action storytelling, with the ever-dwindling human band trapped in the tombs with the Cyber menace.

Narratively, the real genius of "Tomb" lies with Kaftan, Klieg and Toberman. A small band of humans in a remote, inaccessible location is the basic template for five of the first six Cyberman stories (besides "Tomb", there's Polar Base in "The Tenth Planet" (1966), the Moonbase in "The Moonbase" (1966), the Wheel in "The Wheel in Space" (1968), Nerva Station in "Revenge of the Cybermen" (1975) and the cargo freighter in "Earthshock" (1982)), but it's the addition of the Brotherhood of Logicians that gives that premise a fresh spin. Instead of humans vs Cybermen, we now have three factions, making shifting allegiances with each other, and it means the story never lulls.

The next story after this is "The Abominable Snowmen", in which the Doctor fights the Yeti for the first time, in 1930s Tibet, but it no longer exists, so the next story on our rewatch will be "The Ice Warriors".

I

The Tenth Planet

Our brains are just like yours, except that certain weaknesses have been removed. You call them emotions, do you not?--the Cyber Leader

A Cyberman incapacitates General Cutler

Episode 1, 8 October 1966
Episode 2, 15 October 1966
Episode 3, 22 October 1966
Episode 4, 29 October 1966 (episode no longer exists)

Written by Kit Pedler
Directed by Derek Martinus
Script editor: Gerry Davis
Produced by Innes Lloyd

William Hartnell as the Doctor (last regular appearance)
Anneke Wills as Polly (latest extant appearance)
Michael Craze as Ben Jackson (latest extant appearance)

Earth's far future.  Space travel is routine, governed by an association of Earth's military and scientific associations called the International Space Command.  People use weirdly but unmistakably phallic telephones.

The year is 1986.

The TARDIS materialises at the South Pole, where the crew are quickly captured by soldiers--because they've arrived at Polar Base, a command centre for the International Space Command.  Currently, the base is coordinating a spaceflight by a pair of astronauts (one is American, the other is ... something else).  But something is going wrong with the mission--unaccountably, the spaceship has started losing power at a dangerous rate.

Learning this information, the Doctor immediately grasps what's going on, but the base's commander, an American general named Cutler, won't listen to his theory.  The Doctor therefore writes down his prediction and gives it to one of the base's scientists for safekeeping, like he's guessed the murderer on an episode of Morse or Poirot.

Soon, the base's astronomers become aware of something momentous indeed: a new, previously unknown planet is drawing close to Earth.  As it gets nearer, the base's inhabitants get a better look at it.  It is exactly Earthlike; even the land masses are identical to our own, with the exception that they're flipped upside down.

This, it's soon proven, is exactly the prediction the Doctor had made, but that's not enough to get General Cutler to trust him.  It soon doesn't matter, anyway, as even more visitors arrive at Polar Base--from space.

A spaceship, undetected by the base's guards, lands a short distance away, and three metal men emerge.  They surprise a patrol of the base's guards, kill them and steal their heavy coats.  Thus disguised, they're able to sneak into the base and make their way to base's command centre, where they reveal themselves and take command of the base.

They are called Cybermen, and they come--unsurprisingly--from the new planet approaching Earth, called Mondas.  Mondasians were originally identical to humans, but their scientists began replacing vulnerable, flesh-and-blood parts of their bodies with superior cybernetic implants.  Eventually, very little was left of the Cybermen that was human; their scientists had even found a way to remove their greatest weakness--emotions--leaving them a cold, pragmatic race.

But Mondas has now begun to run out of energy.  As it draws closer to the Earth, though, it will draw away the Earth's energy.  This will renew Mondas's energy, but leave the Earth a darkened, lifeless husk.  Humans need not fear, though; they will be transported to Mondas to save their lives--and to be converted into Cybermen.

(Planets stealing energy sound ridiculous to you?  Then you, sir, have no sense of wonder.)

Ben and General Cutler are able to steal one of the Cybermen's Cyber-guns, which they use to shoot down the three invaders and free the base.  Cutler immediately gets on the radio to the International Space Command's head office in Geneva to warn them about the coming invasion and the energy drain of the approaching planet.

That spaceship with the two astronauts aboard that was losing power?  It's burnt up in the atmosphere by now, killing the crew, but before that happened, Geneva sent up an attempted rescue--piloted by General Cutler's son.  Cutler now faces the task of trying to get his son back down to Earth as quickly as possible, or the young man will die.

But he's soon distracted by the news that a fleet of over a hundred spaceships has left Mondas, bound for Earth.  Cutler knows that he won't be able to save his son so long as Mondas is in the sky, so he determines to launch a missile at the alien planet armed with something called a Z-bomb (pronounced "zee-bomb", because he's American), powerful enough to crack a planet right open.

(With Earth apparently not having expected to be literally attacked by another planet, one does have to wonder why they troubled to come up with a planet-destroying missile.  We have for many decades had, say, fusion bombs in our arsenal, capable of irradiating the Earth's surface so that no life can survive.  Yet even a complete bombardment with fusion bombs would do next to no damage to the physical rock that is planet Earth.)

The Doctor is horrified by Cutler's plan to use the Z-bomb.  Doing so could well destroy the Earth as well, and at any rate, he says, Earth is in no danger from Mondas anyway: the planet is going to be so overwhelmed by the energy that it draws from Earth that it will be Mondas that gets destroyed in the process.

But Cutler dismisses the Doctor's concerns, and orders him and Ben confined.  And the Doctor is growing strangely weaker, and soon passes out, leaving Ben and Polly to foil the general's plan on their own.

A second Cyberman task force arrives at the Pole, but base's guards, now armed with Cyber-guns, are able to fight it off; we witness Cybermen actually running away to escape being cut down.

Meanwhile, Ben and Polly have recruited an ally: Dr Barclay, the base's chief scientist, who's as horrified as the Doctor at the idea of using the Z-bomb.  Barclay assists Ben in escaping from his cell, then distracts the engineer in the missile launch silo while Ben (acting on Barclay's instructions) sabotages the missile.

But Cutler discovers their plot and stops them, then orders the missiles launched.  The episode three cliffhangers sees the launch about to commence.

Which is as far as I've seen of the story, because episode four has been lost.  It's one of the most unfortunate of sixties Who's many losses, because it means we don't see the base once again invaded by Cybermen, who determine to use the Z-bomb to destroy the Earth.  We don't see Ben discover the Cybermen are incredibly susceptible to radiation, and use this knowledge to defeat them.

And critically, we don't see the Doctor, Ben and Polly head back to the TARDIS at the episode's conclusion, where the Doctor, complaining of feeling tired, collapses.  The TARDIS whirs into flight, and the Doctor changes, his whole body transforming into a completely different person--Doctor Who's first ever regeneration sequence, with William Hartnell leaving the title role to be replaced by Patrick Troughton.  And the programme would never be the same.

What Lisa thought

The Cybermen are fascinating in their first ever appearance.  Soon enough, they'd assume their familiar nature of being, essentially, scaled-down Daleks: a human brain inside an anthropoid robot body.  But not yet.  In "The Tenth Planet", they're recognisably mutilated humans, with human hands and, behind their masks, visible human eyes--blinking human eyes.

There's an interesting approach taken to their speech.  The Cyberman actor opens his mouth and holds it, open but perfectly still, while another actor recites his lines off camera.  It's a really good idea, though two things let down its execution.  The first is the unfortunate fact that the Cyberman actor doesn't seem terribly in sync with his off-camera counterpart, so several times he has to hurriedly open his mouth after he's already started "speaking", while at others his mouth remains open several moments after his dialogue has finished.  The other problem is that the actor delivering the Cyberman lines--presumably attempting to sound emotionless--delivers his lines in a far too quick-paced drone, and actually sounds rather friendly.

Lisa thought the first episode, in which no Cybermen appear until the cliffhanger, perceptibly dragged, but the story really picked up for her once we moved on to episodes two and three.  Like me, she's frustrated that episode four is missing--but I think we have to keep in mind that, as awesome as it would be to have the first ever regeneration, at least the story isn't completely missing.  We still have the first three episodes of the Cybermen's first ever appearance.

It doesn't vibrate, but it does ring.

And those phones.  Man.  Those phones are phallic.

Following "The Tenth Planet", no less than Patrick Troughton's first seven stories as the Doctor are missing.

First, "The Power of the Daleks", which eschews the epic scale of "The Dalek Invasion of Earth" and "The Dalek Master Plan" to tell the story of the struggle between the crew of a crashed Dalek capsule and the population of a single human colony world, spiced up by Ben and Polly debating with each other over whether this strange little clown of a man is really the Doctor or not.

Then "The Highlanders", in which the Doctor, Ben and Polly arrive in the Scottish Highlands just after the Battle of Culloden in 1746, and end up imprisoned as suspected rebels by the redcoats mopping up the area.  At the story's end, they leave with a new companion, Jamie McCrimmon, a young piper in the rebellious Jacobite army.

In "The Underwater Menace", the TARDIS materialises on a deserted volcanic island in the South Atlantic sometime shortly after 1968.  But the crew soon discover that beneath the island lies the continent of Atlantis, its civilisation still thriving after centuries.  (This is the first of three completely contradictory explanations for the destruction of Atlantis that Doctor Who will offer us.)

Then "The Moonbase", in which the TARDIS team and the crew of an Earth outpost on the Moon must save the Earth from being destroyed by the Cybermen.

"The Macra Terror" sees the Doctor and his companions arrive on a distant Earth colony world whose population are being subtly and insidiously manipulated by the Macra, a hideous race of giant crabs.

"The Faceless Ones" features Doctor Who's first attempted alien invasion of modernday or historical Earth, when a race of identity-stealing aliens infiltrate Gatwick Airport.  The major female guest star, Samantha, is played by Pauline Collins, who would later appear as Queen Victoria in 2006's "Tooth and Claw".  Ben and Polly leave at the end of the story, when they realise that the TARDIS has landed on the exact same day that the Doctor first took them away.

And finally "The Evil of the Daleks", in which the Daleks ally with a nineteenth-century mad scientist named Maxtible and a shopkeeper named Edward Waterfield, in an attempt to genetically engineer the "human factor" (ingenuity, essentially) into the Daleks' makeup.  (That's a plot the programme would mine again in 2007.)  The story's climax sees a final battle take place in the Dalek Emperor's throne room on Skaro, in which Maxtible, Waterfield and the Dalek race are destroyed.  At the time, this was intended to be the last ever Dalek story, and indeed, we won't see them again for several seasons.

Waterfield's death in "The Evil of the Daleks" leaves his daughter, the innocent Victoria, orphaned, so the Doctor and Jamie take her along as their new companion.  We'll pick up with her first adventure as an official TARDIS crewmember with the next story in our rewatch, "The Tomb of the Cybermen".

By then, we'll have missed some significant changes in the programme.  The most obvious is that Patrick Troughton will have become firmly established as the new Doctor.  But beyond that, the very nature of Doctor Who storytelling will have changed.

Apart from the Daleks, the Hartnell Doctor had only one enemy in his entire run who appeared more than once: the Meddling Monk, who appeared all of twice ("The Time Meddler" and "The Dalek Master Plan").  But the Troughton Doctor fights the Daleks twice, the Ice Warriors twice, the Yeti twice and the Cybermen four times (they make five appearances in just three seasons once we count their debut here in "The Tenth Planet").

That's because William Hartnell's departure coincides with the transformation of Doctor Who into the monster-of-the-week show that we know and love it as today.  Now, every story has a distinctive vision.  Part and parcel of that is the decision to abandon the straight historical stories; "The Highlanders" would be the last straight historical until 1982's "Black Orchid".  They're replaced with stories set on modern day Earth, in which the world is menaced by mad scientists or alien invasions, the first of which was "The War Machines".

So with "The Tenth Planet", we mourn the end of Doctor Who's roots.  But we can also get excited as the show becomes the adventure romp at which it's at its best.

I

"The Ark"

You must travel with understanding as well as hope. I said that to one of your ancestors, once; a long time ago.--The Doctor

Monoids

"The Steel Sky", 5 March 1966
"The Plague", 12 March 1966
"The Return", 19 March 1966
"The Bomb", 26 March 1966

Written by Paul Erickson and Lesley Scott
Directed by Michael Imison
Script editor: Gerry Davis
Produced by John Wiles

William Hartnell as the Doctor
Peter Purves as Steven Taylor
Jackie Lane as Dodo Chaplet (earliest extant appearance)

In the prior (no-longer extant) story, "The Massacre", Steven became involved with a kind serving girl in sixteenth-century Paris, Anne Chaplet. Anne turned out to be one of the victims of the St Bartholomew's Day Massacre, and when the Doctor and Steven escape the Massacre at the end of the story, the Doctor failed to bring Anne along with them, insisting that saving her would have changed history. Steven was so enraged that, when the TARDIS rematerialised (in 1966 on Wimbledon Common), he stormed outside, leaving the Doctor alone.

Just as Steven is about to leave for good, however, a teenage schoolgirl shows up--and she's the spitting image of Anne Chaplet, and she introduces herself as Dodo Chaplet (short for "Dorothea"). Steven concludes that Dodo is some long-lost descendant of Anne, and the three of them enter the TARDIS and head off to times unknown.

That's where we are, then, at the beginning of "The Ark", Dodo's first adventure. The TARDIS materialises in a tropical forest teeming with life. Dodo--whose character is essentially that she's always blithely cheerful, almost always unflappable, and refuses to take Steven seriously when he attempts to put his foot down as a parental authority--at first refuses to believe they've travelled in time, or even very much in space, guessing that the Doctor has taken them to Whipsnade, a zoological garden outside London.

But she's soon forced to abandon that hypothesis. For one thing, all the animals here roam freely amongst each other--Gila lizards and tropical birds and even elephants. For another, the sky over their heads is made of metal. The Doctor concludes (correctly) that they're aboard a generation ship, an interstellar colony ship that takes centuries to reach its destination solar system, so the ship is equipped to allow the original colonists to grow old and die while they're aboard, being replaced by their descendants, and eventually by their descendants' descendants.

Soon, the TARDIS team are ambushed and arrested by the ships' crew, the Monoids. These are a man-shaped alien race, completely green, with no mouths and only a single, cyclopean eye in the middle of their faces.

A word about the Monoid makeup. Given the limitations under which the 60s production team were labouring--a shoestring budget, basically, that prevented any sort of waste whatsoever--the Monoids are, I think, a brilliantly creative achievement. Their "eye" is a ping pong ball, painted with iris and pupil, then held in the actor's mouth. The actor then dons a Beatles moptop wig and positions it so that it covers the upper half of their face, which both makes the "eye" look well-proportioned and obscures any facial features that would break the illusion. It's a great idea, and it has only one failure (a real shame of a failure, really)--the very first time a Monoid appears on camera, he's shown in extreme closeup, to better drive home his startling appearance; but the closeup is so extreme that it's impossible not to notice that his eye socket is actually his mouth.

The Monoids take the team to the ship's main living area, which is much more metal-corridors-and-spaceshippy than the animal and plant habitat. There, they discover that most of the people aboard are actually human. They are, in fact, the last humans; the Earth, visible on the spaceship's viewscreen, will shortly be destroyed as it falls into the sun. The Doctor calculates that in order to see the end of the Earth, the TARDIS must have travelled at least ten million years into the future.

The humans and their Monoid allies have come up with a plan so that their races can survive the Earth's destruction. They have identified a distant planet, Refusis II, of a size and gravity and atmosphere entirely similar to the Earth, orbiting a star very much like the Sun. But it will take them seven hundred years to travel there, so they have shrunk the entire human and Monoid populations down into their constituent parts, essentially preserving them. The populations will be restored once they reach Refusis II. In the meantime, a skeleton staff mans the spaceship; they're called the Guardians, and they and their children and grandchildren and great-grandchildren will guide their two races to salvation.

Of course, something soon goes wrong. Dodo has a cold, and both the Monoid and human populations quickly start catching it. Bacterial and viral infections were wiped out literally millennia ago, and Guardian science has no recollection of how to deal with them. On such fertile territory, the virus quickly mutates, and soon enough, both Guardians and Monoids start dying from it.

This is an even more serious problem than it would be other times, since the operation of the ark spaceship is so finely balanced--if one crewmember unexpectedly dies, there's no one to take their function. And of course, the ark's second-in-command--who takes charge when his superior is the first to fall ill--is deeply suspicious of the TARDIS team, and concludes that they have infected the humans intentionally. He therefore imprisons them rather than allow the Doctor to research a cure, and of course, soon Steven falls prey to the mutated virus. The whole thing has strong echoes of "The Sensorites".

You can, of course, guess how things turn out. The Doctor is released and develops a cure, saving both Steven and the crew of Guardians and Monoids, just in time for everyone to witness the Earth's final disintegration on the ship's viewscreen. The team head back to the TARDIS and depart.

And that's when we discover "The Ark"'s central conceit: that's it not actually one four-part story, but rather two two-part stories, set on the same sets, but hundreds of years apart. For the TARDIS rematerialises once again in the ark's zoological garden, but when the team make their way to the main habitation section, they discover that seven hundred years have passed. The ark is about to reach Refusis II.

This is conveyed through a neat little piece of storytelling. The Guardians are building a massive statue of a human male, about the size of the Statue of Liberty. They're using the "old methods" of construction, building by hand; it will take seven hundred years to complete. In the first two parts, only the feet have been completed, but now the team find a finished statue. Only, something's changed: instead of a human head, it bears a Monoid head.

That's not the only thing that's changed, though. The Monoids have risen up and established themselves as an overclass, following a bloody revolution; the Guardians have been reduced to a small group of slaves. The Guardians have been led to believe that they will accompany the Monoids to Refusis II and serve them there, but the Monoids secretly have a different plan: they will leave the humans on board the ark, which will then be destroyed when the fission bomb they have hidden inside the giant statue's head explodes.

The TARDIS team are taken prisoner and added to the Guardian slave labour force. The Doctor and Dodo accompany one of the Monoids down to the planet, as advance scouts. They discover a verdant forest world. In a valley, they find a luxurious house, but they see no signs of intelligent life.

It turns out the Refusians are disembodied psychic beings. They have known of the ark's approach for some time, and have welcomed the idea of humans and Monoids living amongst them--they built structures like this house for just that purpose. But now they have discovered the violence and oppression that marks Monoid rule of the earthlings, they're having second thoughts.

That problem is about to take care of itself, though. The Monoids start arriving on the planet in numbers, but one of them, named Four, is plotting to overthrow the ruling Monoid, named One. A civil war breaks out against the Monoids, and pretty soon, both sides have annihilated each other.

This leaves only the problem of the fission bomb hidden aboard the ark. The Doctor and Dodo have learnt from One that the bomb is in the massive statue's head, but the statue is so heavy that there's no way to move it before it explodes.

One of the Refusians takes care of that. He heads up to the ark and, as a disembodied psychic force, has no trouble lifting the statue into the ship's launch bay, from where it tumbles out into the vacuum of space and harmlessly explodes.

The Guardians then begin the process of moving the Earth's miniaturised population down to the surface so they can be repopulated. The Refusians agree to let them live on their planet, so long as they and the few remaining Monoids can make peace and live in harmony.

What Lisa thought

The high-concept idea that forms the basis of "The Ark" is an intriguing one--the Doctor coming back after centuries and being forced to deal with the consequences of his first visit to a location. The programme will tackle it again, in the 1970s ("The Face of Evil") and 2005 ("The Long Game" and "The Parting of the Ways").

But the results of this first treatment, Lisa and I are both agreed, are fairly disappointing. What we end up with, by splitting the serial up into a pair of forty-five minute stories, is an early cautionary tale about the length of Doctor Who adventures--a lesson (two lessons, in fact) about how limiting the forty-five minute format can be for a programme that has to spend the first twenty minutes of every tale setting up a brand new milieu, and that Who is generally able to provide much deeper, more satisfying stories if given ninety minutes to tell them, rather than forty-five.

The first two-parter has absolutely no twists or subplots. Dodo makes everyone sick; the team get imprisoned; the team get released; the Doctor finds a cure. You know, when the ark's commander falls sick as part one's cliffhanger, exactly how part two is going to go.

And the second two-parter never manages to elicit much dramatic tension at all. First, it has the same barebones-plot problem that the first two-parter has, but then also, by midway through its first episode, the Doctor has made contact with the Refusians, who turn out to be an omnipotent alien race who explicitly will not allow the Monoids to continue ruling the humans as slaves. So we know that Monoid defeat will be soon and easily accomplished.

It also bothered that we saw two generations of a generation ship--and never once did we see a child from either species (and, in fact, only one person over the age of forty).

The next story is "The Celestial Toymaker", which has been lost. It's the first of that tradition of Doctor Who stories taking place in fantasyland, continuing right up to 2010 with "Amy's Choice", which typically do very well with fans and very poorly with general viewers. The next story up on our rewatch will be the one that follows it, Doctor Who's trip to the American West, "The Gunfighters".

I

Doctor Who: "The Chase"

Am exterminated! Am exterminated!--A Dalek, upon losing a fight with a Mechanoid

The Doctor and his evil double duel with their wood. Let the slashfic commence!

"The Executioners", 22 May 1965
"The Death of Time", 29 May 1965
"Flight Through Eternity", 5 June 1965
"Journey into Terror", 12 June 1965
"The Death of Doctor Who", 19 June 1965
"The Planet of Decision", 26 June 1965

Written by Terry Nation
Directed by Richard Martin
Script editor: Dennis Spooner
Produced by Verity Lambert

William Hartnell as the Doctor
William Russell as Ian Chesterton (final appearance)
Jacqueline Hill as Barbara Wright (final appearance)
Maureen O'Brien as Vicki
Peter Purves as Steven Taylor (first appearance)

The Doctor has been tinkering with a time-space visualiser, which he took from the space museum, and he's got it working again. With it, the TARDIS team can watch any instant in all of space and time. They watch Lincoln give the Gettysburg Address, an audience between Shakespeare and Elizabeth I, and a performance of "Ticket to Ride" by the Beatles on an episode of Top of the Pops. Vicki has heard of the Beatles, has even visited their museum in Liverpool, but "didn't know they play classical music", a description that disgusts Barbara.

The Beatles sequence isn't on the North American DVD of "The Chase" (though it was on the earlier North American VHS release), and, while I understand the rights issues involves, I think that's a shame. That performance of "Ticket to Ride" actually gets used in Beatles documentaries, and it only exists because of its appearance in Doctor Who--the rest of that episode of Top of the Pops has been wiped.

(The story goes that originally, the Beatles themselves were actually scheduled to appear in the programme--made up to appear in their seventies, they'd be picked up by the time-space visualiser while attending their fiftieth anniversary. But Brian Epstein put the kibosh on them appearing in a cheap kids' science fiction show.)

That bit of fluff concluded, the TARDIS materialises on a hot desert planet, boiling beneath the heat of two suns. Ian and Vicki dash off over a dune to go exploring, while the Doctor and Barbara hang back to sunbathe. At this point I kind of wondered in the Doctor would attire himself for sunbathing by pulling swimming trunks on over his frock coats and check trousers, a la Batman and the Joker having their surfing competition, but no, he just remains fully clothed while he lays out.

Ian and Vicki discover a metal hatch in the sand. They pull it open and descend into the crumbling tunnels of an abandoned subterranean city. But soon they're attacked by a large, tentacled creature--it looks a bit like a squid, but moving about on dry land. And it's between them and the hatch, so they have no option but to retreat deeper into the tunnels.

Back on the surface, the Doctor and Barbara are prevented from looking for their friends by a sandstorm, which not only changes the entire landscape but also buries the TARDIS. And it reveals a new threat: a squad of Daleks, hunting the TARDIS team (whom they now describe as "our greatest enemies").

They flee and take refuge with the planet's native humanoid inhabitants, the Aridians, who look like anthropoid silver fish. (I don't mean they look like anthropoid silverfish, but that they wear lycra jumpsuits and swimcaps spray-painted silver, with fins glued on to look like fish.) They explain that this planet, Aridius, was once an aquatic paradise, but that the water burnt away as the planet was drawn closer to the twin suns.

(Which opens the question as to how it came to be named "Aridius". Was it named by the Ironic Planetary Naming Authority, or by the Bad Luck Planetary Naming Authority)?

The Aridians tell the Doctor and Barbara that when the planet dried out, the mire-beasts invaded the Aridians' underground cities. The mire-beasts--one of which is obviously the creature that has cornered Vicki and Ian--cannot be defeated, and so the only solution for the Aridians is to wall off those sections of their tunnels that become infested.

The Aridians take Barbara and the Doctor to their city, but soon enough the city is contacted by the Daleks, who demand that the Aridians hand over the TARDIS team or face extermination. Not wishing to put their hosts in a bad situation, the Doctor declares that he and Barbara will leave, but the Aridians refuse to allow him to do so--the Daleks have specifically told them that if the team escape, they will destroy their city.

Meanwhile, Vicki and Ian have fought off the mire-beast, but in the process Ian took a blow to the head and got knocked unconscious. Vicki runs off in fright, and in her mad dash through the tunnels, she somehow finds a way through into the very chamber where the Aridians are holding Barbara and the Doctor. They make to arrest her, too, but before they can, a mire-beast bursts in, having followed her through the tunnels.

In the confusion, the Doctor, Barbara and Vicki make their escape, and Vicki leads the group back to Ian. He's awake--his wound looks worse than it is. (And it really does look bad--there's a lot of blood flowing from that temple for 1965 television.) While awake, he's found an exit from the tunnels--and it leads right to the TARDIS.

The TARDIS, buried in the sandstorm, was discovered by the Daleks, who captured a pair of Aridians and used them as slave labour to excavate it, then killed them when they were finished. Ian and the Doctor are able to distract the Daleks, and the team escape and dematerialise.

A few minutes after they're in flight, though, the Doctor learns some shocking news from the TARDIS's sensors: the Daleks are pursuing them. They've built their own time machine and are hunting the team through space and time.

Cut to the Dalek time machine's control room. One Dalek gives a report calculating how big a lead the TARDIS has on them, and after he gives this report, the Dalek commander demands he convert the amount into Earth measure. The original Dalek actually stutters as he does the arithmetic. ("Um ... er ... ah ... twelve ... Earth minutes.") This is one of those moments in fandom that's cited as a reason why "The Chase" isn't a very good story--the ridiculousness of a stammering Dalek. But what I'd like to point out is how unreasonable the Dalek commander's demand is in the first place--why on Earth would he need the time units converted to Earth measure? If you're, say, the pilot of an RAF bomber, and your tail gunner reports, "We've got German fighters closing in behind us, skipper! About five hundred yards!", you don't very well respond, "Sorry, Bill! Since our enemies are German, I can't act on that information until you translate 'five hundred yards' into German for me!"

Anyway. We now go into a series of set pieces, where the TARDIS materialises, the crew briefly interact with their surroundings, and then depart; then the Daleks arrive, ascertain that the TARDIS has already left, and pursue it. This includes extensive shots of the time vortex, with a cardboard cutout of the TARDIS chased erratically across the screen by a cardboard cutout of the Dalek time machine, while some very jazzy incidental music played. You kind of wonder if the BBC hired the Dave Brubeck Quartet to do the music for this serial. (In fairness, the cardboard cutouts do get larger as they cross the screen, which does an excellent job of creating the illusion that they're moving three-dimensionally rather than two-.)

The first stop on the chase is atop the Empire State Building, where the team meet Morton Dill (played by Peter Purves), a tourist from Alabama who's just gosh-darned amazed at everything he sees in the big city. When the TARDIS dematerialises a few moments later, he concludes he must have stumbled across the production of a movie, something he thinks gets confirmed when the Daleks show up a few minutes later. He examines the Dalek he meets by walking in a full circle around it, and the Dalek's eyestalk follows him, tracking 360 degrees to keep up with him--it's a really cute moment. (Morton Dill survives the encounter--the Daleks murder no one on their visit to the Empire State Building. Well, not on this visit.)

Next, the TARDIS arrives at and quickly departs from the Mary Celeste. The Daleks also arrive and depart, but not until their appearance has so frightened everyone aboard that they've jumped ship into the Atlantic Ocean, leaving the Mary Celeste deserted, with its famous half-drunk cups of coffee and breakfasts in the middle of being eaten. A Dalek falls overboard, too, and actually screams in terror as he falls.

The TARDIS's next destination is the front hallway of a spooky, dark, deserted mansion, which the Doctor identifies from its architecture as Central European. The Doctor and Ian head upstairs to explore the house, while Barbara and Vicki wait by the TARDIS.

While, they're waiting, a figure in a dark cloak approaches them, introduces himself as Count Dracula, and then departs. The Doctor and Ian discover a laboratory with a shrouded body lying on a slab; they pull back the shroud to reveal Frankenstein's monster, and quickly flee the lab.

The Doctor theorises that somehow, the TARDIS has transported them into the recesses of the human mind, a dream world. This excites Ian, because surely the Daleks can't possibly follow them into the human subconscious. But he's wrong, because soon enough, the pepperpots do indeed arrive.

A battle ensues between the Daleks, Dracula and Frankenstein, with the Daleks' guns having no effect on the monsters. In the commotion, the Doctor, Ian and Barbara pile into TARDIS and dematerialise, and not until it's already too late do they realise that they've left Vicki behind. The Doctor insists there's no way to go back and get her; he simply doesn't have sufficiently fine control of the TARDIS.

Vicki, though, manages to dart inside the Daleks' time machine and hides there; the Daleks withdraw from their battle and take off in pursuit of the TARDIS. After the spooky house has once again fallen quiet, a camera shot shows us its front entrance, where a large sign identifies it as a carnival fright house, part of the "Festival of Ghana, 1996; admission $10" (yes, dollars). But a sticker placed over the sign tells us that the festival has been "cancelled by order of Peking".

While hiding aboard the Dalek time machine, Vicki is able to watch the Daleks hatch their next stratagem: they construct a robot duplicate of the Doctor, identical to the original in every way save for the fact that he's played by an actor who doesn't really resemble William Hartnell at all, and programme to "Infiltrate and kill!" the TARDIS crew. (That phrase is repeated a good eight or ten times during episodes four and five.)

I can't really think of a better way they could have done the duplicate-Doctor, given the constraints under which they were operating, but I've got to say, it's pretty unsuccessful. The production team make a valiant attempt to have William Hartnell play the duplicate whenever possible, but most of the time, they have to use the unconvincing double. And I don't just mean that happens the Doctor and the robot have to appear in the same scene; I mean it happens whenever they appear in consecutive scenes (which happens for most of the robot's time in the programme).

1960s Doctor Who was shot "as-live", meaning that as near as possible, a thirty-minute episode was recorded during a thirty-minute block of time at the studio. So when the camera cuts from a scene between Ian and the Doctor in one location, to a scene between Barbara and the robot in another location, there simply isn't time for William Hartnell to run across to the other side of the studio to play both scenes.

In the robot's first appearance, at the cliffhanger for episode four, the double is used for a long shot, surrounded by Daleks; we then cut to Hartnell for a closeup, still stood on the TARDIS set from the previous scene, with a Dalek eyestalk extending into frame to make us think we're still aboard the Dalek time machine. But that really doesn't work: neither Hartnell's posture nor the background match the double's.

Still, two things do work. First, William Hartnell dubs all the robot's lines as the double mimics them; sure, there lip syncing's slightly off, but that's forgivable given that, once again, this was being done live. And second is the scene where the Doctor and the robot finally meet. Hartnell will speak a line playing one character (of course, by that point, we don't know if he's the Doctor or the robot) facing off to camera left; we then cut to a shot of Ian or Barbara or Vicki, during which, Hartnell turns around; we then cut back to Hartnell, now facing off to camera right, and Hartnell delivers a line as the other character.

So. The TARDIS now arrives on the planet Mechanus, a jungle planet. (No doubt it was named Mechanus by the same Ironic Yet Creepily Predictive Planetary Naming Authority that named Aridius.) But it's a jungle of large, extremely aggressive fungi that are more than happy to eat whatever human-sized creatures come near them. The TARDIS team are trepidatious about walking off into the jungle, but then suddenly, a path lights up along the ground. They follow it, and it leads them to a cave where they take refuge.

Meanwhile, the Daleks have landed and sent their robot off to find the team. Vicki waits till all the Daleks have left, then heads off into the jungle to try to rejoin her friends. From their cave, the others hear her calling for them, and Ian and the Doctor head into the jungle to find her.

While they're gone, the robot arrives at the cave and rather callously tells Barbara that Ian is dead, killed by the fungi. She doesn't believe him and insists they go look for him, so the robot accompanies her into the jungle. As soon as they're isolated, the robot attempts to kill her, but he's stopped when Ian comes upon them--Vicki has by now told him and the Doctor about the robot.

The robot Doctor runs off into the jungle, and the team split up to find him. Of course, the endgame for this is that Ian, Barbara and Vicki are all gathered in a clearing, and the two Hartnells enter from opposite sides at the same time, so that neither we nor the team know which is the real Doctor.

One of the Hartnells orders Ian to get out of the way so he can thrash his double with his cane. Ian says, "And if I don't?" to which the Hartnell responds, "Then I'll give you the same treatment!" and takes a swipe at him. Ian and this Hartnell, supposedly the robot, grapple, while Vicki, Susan and the "Doctor" watch on. Ian throws the robot to the ground and picks up a large rock, preparing to brain him.

The "Doctor" with Vicki and Susan then forcibly turns Vicki away, saying, "Susan, I don't want you to see this." This lets Vicki and Barbara know that this "Doctor" is actually the robot. Ian is stopped from braining the real Doctor by Barbara's scream. The robot runs off, and the Doctor follows him. The two of them then duel with their wooden canes, and while they're locked together, the Doctor is able to pull the robot's wiring from its chest, destroying it.

Yes, that means that the real Doctor, while aware that his fellows didn't know whether or not he was a robot sent to assassinate them, attempted to beat Ian with his cane purely for not getting out of his way fast enough. The sad part is that I can't actually say, "This is a horribly contrived, out-of-character action for the Hartnell Doctor to perform," so much as I can say, "This actually isn't all that big a stretch, character-wise, for the Hartnell Doctor."

So with that all taken care of, our heroes retreat back to their cave. But they're soon found by Daleks, who surround the cave and prepare to exterminate the team. The Doctor attempts to impersonate the robot, exiting the cave and telling the Daleks that they've all already been killed, but the Daleks see through the ruse easily. The Doctor narrowly escapes extermination.

(It's actually Ian who suggests he try it. Barbara objects immediately, and while Ian, Barbara and Vicki argue about it, the Doctor slips out at the back of the frame. They're all just agreeing it's an unworkable plan when they hear the Doctor's voice speaking to the Daleks, telling them the mission has been completed. The Daleks respond with a gunshot, and the Doctor darts back into frame, looking rather frazzled. It's a cute little scene.)

Before the Daleks can storm the cave, however, a door opens at its rear and a robot emerges. It's a giant metal sphere with bits and bobs attached, and it speaks with a droning intonation not unlike the Daleks' voices. It ushers them into the door from which it has just emerged, with turns out to lead to a lift.

They ascend in the lift. The Doctor attempts to make conversation with the robot, but it ignores him. The lift takes them to a magnificent city of what spires, built on a platform high above the fungal jungle. (Man. "Fungal jungle". I'm calling that one. You want it, you pay a royalty.)

They're ushered through the city's corridors--populated only by more of the spherical robots--to a sleeping chamber, where they meet another human being. This is Steven Taylor, who's played by Peter Purves, the same actor who played Morton Dill back atop the Empire State Building. He was a space pilot in Earth's interplanetary wars, but his ship crashed. For two years, he's had no one to talk to but his cuddly toy panda.

Steven explains that the robots are Mechanoids. Earth had intended to colonise Mechanus and sent the Mechanoids as an advance party, to build the city. But when the wars came, Mechanus got forgot about. Now the robots will only think that arriving humans are the colonists if they know the Mechanoids' code; since neither Steven nor the TARDIS party know the code, they're trapped here as the Mechanoids' prisoners.

Their cell contains access to the roof, where Steven goes to exercise. On the roof is an extensive length of electrical cable; now that there are five people here, instead of just one, they can use the cable to lower each other the fifteen hundred feet down to the ground. Vicki, terribly acrophobic, has to be forcibly held down while the others tie the end of the cable around her, then holds her eyes shut in terror as they lower her to the ground.

Meanwhile, the Daleks have ascended the lift chute and demand the Mechanoids hand over the TARDIS team. When the Mechanoids refuse, a battle ensues, and soon the whole city is ablaze. The battle is actually very well done, a montage of model shots and shots of the two different robot forces rolling around and firing (the Mechanoids are equipped with flamethrowers), framed by flames licking at the edge of the screen.

When smoke starts billowing onto the city's roof, Steven, panicked, dashes back inside, to rescue his cuddly panda. When he doesn't re-emerge, the TARDIS team assume he's been killed. They themselves finish climbing down to the ground, and they make their way through to the jungle to the Daleks' time machine. They discover it's been abandoned--all the Daleks, like the Mechanoids, have been wiped out in the battle.

Now Barbara realises that, with the intact guidance mechanism on the Dalek time machine, she and Ian can use it to travel back to 1963 Earth, if only the Doctor will show them how to use it. He angrily refuses, calling them both utter idiots, but really, of course, he just doesn't want them to leave him. It's really a terribly sweet moment, such a very true portrayal, especially for someone of Hartnell's age and generation, conditioned not to show soft emotions.

But thanks to Ian and Barbara's entreaties, he agrees, and next thing we know, the two schoolteachers have landed in London. It's 1965 instead of 1963, but as Ian says, "What's two years between friends?" There's then a lovely montage of Ian and Barbara frolicking through London; playing with the pigeons in Trafalgar Square; Ian expressing mock horror upon discovering a police box on the Thames Embankment.

At the end of the day, they climb aboard a bus, speculating about whether they'll be able to get their old jobs back. The conductor comes along to sell them their tickets, and Ian reaches into his pocket, asking for two threepennies.

"Two threes?" the conductor exclaims. "Where you been, the Moon?"

"No," says Ian, "but you're close!"

Vicki and the Doctor watch the whole thing through the time-space visualiser. Vicki is overjoyed to see them so happy, but the Doctor is still grumpy. As he shuffles off, he murmurs the truth: "I shall miss them. Yes, I shall miss them."

What Lisa thought

"Well," she gruffly conceded, "maybe I'm sort of sorry they're gone. But only because I don't get to complain about Barbara anymore!"

All gruff on the exterior to hide how much she cares on the inside. Sort of like William Hartnell, is my wife.

I, on the other hand, am pretty happy. With "The Web Planet", "The Space Museum" and "The Chase", we've now finished a run of sixteen episodes that I think are pretty dire, broken only by the first episode of "The Space Museum". And next up is one of my favourite Hartnells, "The Time Meddler".

I