purplecat: The Tardis against the spiralling clock face effect of the Capaldi opening credits. (Doctor Who)
Following the comparative success of Vengeance on Varos, Mindwarp by the same writer was one of the more eagerly anticipated stories of Doctor Who's troubled 23rd season though Robert Holmes' final episode (part 1 of the ill-fated Ultimate Foe) was probably more eagerly anticipated. Watching Mindwarp one feels that it had the potential to be as good as Vengeance on Varos but is fatally undermined by both the constricting ongoing story of Trial of a Time Lord and by a general sense of mild incompetence, mostly on the part of the director though, as with much 1980s Who, there is a fair amount of rather lacklustre acting on display as well.

When I first saw Mindwarp I recall thinking that Brian Blessed was sadly wasted in his role as Yrcanos. I'd recently seen him in Kenneth Branagh's Henry V so knew him capable of being, if required, not quite so full on Brian Blessed. Rewatching now, Brian Blessed was definitely one of the best things in Mindwarp. He's clearly having fun and at least we were smiling whenever he was on the screen.

Frustratingly the ongoing story arc of the Doctor's trial condemns this particular segment to a section where doubts are supposed to be growing about the veracity of the material on display. We are essentially told that all the events unfolding on Thoros Beta are being conveyed to us via an unreliable narrator. The Doctor states that events proceeded broadly as depicted but that the emphasis was different. In the hands of a better director this could probably have been made to work, but as it stands the story is frustratingly confusing: relationships may or may not be as the appear on screen, events may or may not have happened for reasons which may or may not be those stated. I've nothing against unreliable narrators per se, but I think Mindwarp demonstrates that you need to work hard to pull them off in a way that doesn't make the result look like something of a confusing mess.

The (as far as one can tell largely one-sided) relationship between Yrcanos and Peri is bizarre as well. It must be said that poor Peri was often saddled with the role of random object of affection/lust for some passing character or villain (we were to watch Timelash next), more so than many companions and I'm sure whole essays could be written on why this particular companion at this particular point in the show's history keeps encountering this trope. In this case though I think we are supposed to believe the feeling is mutual, even though Nicola Bryant conveys nothing more than a kind of indulgent friendly feeling towards Yrcanos. I deduce this because her death at the end of Mindwarp is retconned (I would say unnecessarily) into marriage to Yrcanos six episodes later (in the novelisation it is even more bizarrely retconned into marriage to Yrcanos who is then transported to Earth by the Time Lords where he embarks upon a successful career as a pro-wrestler with Peri as his manager) and one assumes one is supposed to view this as a happy ending - as opposed to a companion being abandoned and forced by circumstances into marriage. Of course one can handwave the lack of apparent affection by invoking the unreliable narrator, but it is ultimately odd and frustrating.

Beyond that there is a lot of running around and capture-escape in this story, rendered more confusing and apparently pointless by the interruptions of the trial in which the Doctor insists the material is being manipulated. An attempt to portray a planet in which not everyone is white is undermined by the fact that all the non-white characters are slaves or servants and very much secondary to the main cast. Patrick Ryecart as Crozier is working hard to inject some depth into his role but is undermined in part by being a less sympathetic character than the Governor in Vengeance on Varos and, to be honest, by a decision to depict this world, not with the grimness of Varos, but as a dayglo confection of pink and orange. Sil is reduced more or less to being a comedy henchman. Kiv, Sil's superior is potentially more interesting (and marks the start of Christopher Ryan's career as Doctor Who villains in latex masks) but it seems unnecessary to suddenly sideline a successful character by introducing his superior.

To be honest, despite my complaints, Mindwarp isn't that bad but one feels it was very nearly good and somehow misses it mostly by just not having a good enough grip on tone and a clear enough idea how to convey the ambiguity over the gap between what we see and what actually happened.
purplecat: The Tardis against the spiralling clock face effect of the Capaldi opening credits. (Doctor Who)
The Randomizer suggested we watch The Faceless Ones but, when I put it on, Tame Layman claimed to have seen it. I'm fairly sure he's actually only seen the two episodes that exist, and those many years ago, but he was adamant. We've been gradually collecting exceptions to the Randomiser. The project is now to watch all of Doctor Who in random order except NuWho, anything seen in the previous five years and The Faceless Ones. I may try to sneak The Faceless Ones back in at the end.

Anyway, the Randomiser next offered up The Invasion. I had bought the version of The Invasion with animations replacing the two missing episodes some time ago (more than five years, I was fairly sure) and we had watched it so I took the precaution of mentioning this in advance to Tame Layman who then didn't veto it.

The Invasion is remarkably watchable given it is one of the longest Doctor Who stories out there and, as a result, features even more random and somewhat pointless capture escape than normal.

It is definitely helped by featuring one of the better Tardis teams. Although Wendy Padbury has complained that Zoe Herriot, having started out well, was rapidly reduced to just another screaming girly I think the character is generally pretty well-served and definitely fares better than either Deborah Watling's Victoria or Anneke Wills' Polly. While still sometimes constrained by a tendency to be placed in a damsel in distress role, Zoe is generally proactive, competent and often gets to show off her mathematical skills (as she does here - confusing computer receptionists and calculating missile trajectories).

The Brigadier and UNIT, in its first appearance, also work very well. The Brigadier has yet to be reduced to the kind of buffoon who refuses to believe he is on an alien planet and is, in fact, remarkably helpful and supportive of the Doctor throughout. This gives the whole story the feel of military versus aliens which is both nostaligically reminiscent of much 1960s sci-fi fare and refreshing for Doctor Who in which the military are often one of the obstacles to be overcome.

Kevin Stoney's Tobias Vaughn is a triumph as a villain. In particular, it is refreshing to see a villain who is under no illusions about his likely fate once the Cybermen take over and part of the reason I think the story fares so well over its extended length is that it effectively portrays the interaction of three factions at work, rather than two.

We spent quite a while discussing the animation. I felt it was broadly similiar in both style and quality to that in the recent Power of the Daleks release while Tame Layman preferred it. I think it certainly helped that there were live episodes in between the animated ones which helped ground the characters out better in existing performances.

Frankly this is a pretty good chunk of 1960s Doctor Who and certainly much better than it has any right to be lasting, as it does, for eight episodes.
purplecat: The Tardis against the spiralling clock face effect of the Capaldi opening credits. (Doctor Who)
I liked The Return of Dr. Mysterio. I had been a bit worried, on seeing the trailers, that we were going to get something similar to Robots of Sherwood with the Doctor and the Superman analog squaring off against each other in a battle of "who is the real hero". Instead we got a completely different relationship in which the Doctor is in the role of mentor to a superhero who shares many of his strengths and his weaknesses.

The story gets points simply for not being set on Victorian Christmas Planet. But in general I've preferred Capaldi's Christmas specials to a lot of the stories that appear in the main seasons. I think the lighter tone works well, and while Capaldi can be excellent at the serious and doom-laden, he has enough range to do comedy as well and it is good to see that utilised. I thought his interactions with Grant, in particular in the scenes set in Lucy's house, were great.

I liked Nardole too. I went into it with pretty much no opinion about the casting of Matt Lucas having, to be honest, barely registered him in The Husbands of River Song beyond a vague concern that the presence of such a well-known actor in Pearl Mackie's stories might make it harder for her to establish herself than it might otherwise. I thought he was good here and I liked seeing a very different Doctor and Companion relationship which is not dominated by hero-worship on the part of the companion.

I did think that the character of Lucy, after a strong start, got rather sidelined into the traditional superhero damsel-in-distress role and I can see it was probably not a good story for anyone who is an afficionado of superhero comics - after all it is poking gentle fun at the most well-known superhero tropes from the 70s and 80s and isn't, as I understand it, greatly informed by what is happening in superhero comics now.

However, as a Christmas story, I thought it was good-hearted, entertaining fun.
purplecat: The Tardis against the spiralling clock face effect of the Capaldi opening credits. (Doctor Who)
Vengeance on Varos was my favourite Colin Baker story back in the day which, to be honest, is damning with faint praise. It embodies many of the excesses of the era and redeems itself mostly through a consistency of tone and presentation, Martin Jarvis and an interesting and well-executed framing device.

Let's face it, a story set inside a "punishment dome" complete with acid baths, cannibals and a sadistic alien that leers and exults over any prospect of death and cruelty is a very Colin Baker kind of premise. I strongly suspect the story was influenced by Running Man though I don't know for sure. It's at the edge of the sort of setting any era of Doctor Who might have chosen, but it gives the appearance of relishing its more horrific moments for the spectacle rather than for the purpose they serve in telling the tale. Moreover, it lacks the lightness of touch in delivering moments of relief that other eras might have achieved. I have a feeling that Saward's vision for the show was as a black comedy. Vengeance on Varos succeeds in being dark and nasty but never really achieves (or perhaps even attempts) to be comic. It's possibly the nastiest story in this season, though at least it appears to know what it wants to do tonally which isn't always the case.

It's easy to point at what is going wrong here. Unlike a lot of the era the director isn't trying to flood the set with vast amounts of light, but even so it somehow manages to look gaudy rather than atmospheric a lot of the time. The characters with whom we are supposed to sympathise, the rebels Jondar and Areta (who are sufficiently forgettable I've just had to look up their names) are, frankly bland, dull and woodenly acted. A lot of it doesn't make sense at the "world-building" level (for instance the perils and traps of the punishment dome mostly turn out to be a) a bit rubbish and b) well-known to the audience and thus, theoretically, the prisoners). This is mostly possible to overlook, but less so the moment at the end where the price of Zeiton Seven ore rises because an alternative source has been found (my grasp of economics is shakey but I'm fairly sure the price normally drops if supply increases - assuming demand remains the same*).

On the other hand Martin Jarvis delivers an excellent performance as the Governor, invoking our sympathy while nevertheless suggesting that this is a man who has only really found the ability to show compassion and a desire to change the system now he is in a position where the system is more or less actively trying to kill him. Where Vengeance on Varos really succeeds is in the framing device. It takes the concept that the punishment dome is a form of entertainment and gives us the couple, Arak and Etta, who watch events unfolding, bicker about them, yet never take part in the action except for the obligatory votes on Governor policy. In the light of recent political upheavals some of it seems remarkably prescient. Arak desires to vote against the Governor no matter what. "What will the next one do differently?" Etta asks. "Anything, Everything," Arak more or less shrugs in return. He's voting for change without any particular interest in what the change is to. Of course it's prescient too, given that this was produced before the Internet and Reality TV, about our new ability to provide instantaneous feedback on anything and everything.

There are one or two other moments where Vengeance on Varos uses the conceit that all is for entertainment well. Most notably the episode 1 cliff-hanger that ends, not with the Doctor apparently dying, but the camera feed focused on his corpse and the Governor, in the role of director, saying "and cut it, now" as the feed goes blank. The final moments are also a triumph, if a somewhat nihilistic one. As Arak and Etta observe the blank screen that is supposed to symbolise their new freedom they ponder vacantly over what they are to do now.

When I was a teenager I think I was probably as fond of dystopias as the modern teenager, though with a rather sparser supply since YA fiction, as a marketing niche, was yet to be invented. I thought very highly of Vengeance on Varos at the time and I can see now that its tone and tropes match up nicely with with those particular preferences. These days I like my Doctor Who to have more of a focus on humour and entertainment and less of a desire to imagine the unpleasant and grim. As such Vengeance on Varos looks pretty flawed (though, as I say, these are the flaws of the era). Even so it is hard to ignore that there are some things it does extremely well (where so much Colin Baker Doctor Who manages to fumble its good ideas) and somewhat reluctantly I think it remains my favourite Colin Baker story.

*Obviously the price has been kept artificially low but even so it's hard to see how discovery of an alternative source strengthens the Varosian bargainning hand.
purplecat: The Tardis against the spiralling clock face effect of the Capaldi opening credits. (Doctor Who)
Way way back in 1981 the BBC ran a "Five Faces of Doctor Who" season in which they showed one story from each of the first four Doctors (ending with a repeat of Logopolis and Tom Baker regenerating into Peter Davison), except for the third Doctor who got two stories. It's difficult to say how incredibly exciting this was to a young Doctor Who fan at the time. The two stories picked for the third Doctor were The Three Doctors and Carnival of Monsters. I assume they wanted to show both the anniversary multi-doctor story as part of the "five faces" theme but also a more typical story. I never really understood the inclusion of Carnival of Monsters which did not (insofar as one could judge from Malcolm Hulke and Terrance Dicks' The Making of Doctor Who) seem to be a particularly significant Pertwee story, even if one assumes they were restricting themselves to four parters.

I was a little surprised by Tame Layman's enthusiasm for this however. He also had memories of seeing it at some point (possibly also as part of the Five Faces season) and recalled it as being a particularly good Pertwee story. The Teenager was summoned so that she could experience it as well.

I don't know. The story is generally pretty pacey, so it doesn't suffer from the longueurs of some early Doctor Who but I'd say that almost everything happening outside the miniscope on Inter Minor is done in a rather broad and heavy-handed fashion. The CSO, while not the worst Doctor Who has ever committed, is among the dodgier the show has inflicted upon the audience and it seems more obvious than usual that the budget wasn't really stretching to many sets.

The parts of the story set on the SS Bernice are among the best ,in part I would say because both the actors and the producers of sets and costumes were far more comfortable with portraying the 1920s than fantastical machines or aliens. The reveal that actually the first parts of the story are taking place inside some kind of peep show is clever and handled well. Still I'd argue that one good idea doesn't make a solid story.

It's fun but I don't really get the enthusiasm. Still, Tame Layman and Teenager enjoyed it so who am I to judge?
purplecat: The Tardis against the spiralling clock face effect of the Capaldi opening credits. (Doctor Who)
The King's Demons is an odd little story. It's always felt like something of an afterthought to me, though I've never been able to pin down why. I think it may be that, even at only two parts, it feels somewhat padded as if there isn't really enough material to fill even 50 minutes.

One of the most interesting things about what story we have is that this is one where the Doctor never really does succeed in convincing the nominal good guys (in the form of the Fitzwilliam family) that he is on their side. Everyso often he appears to have the situation under control only for them to spiral back into suspicion and belief in the Master's lies.

Speaking of the Master, I knew he was in the story and thought Sir Gilles Estram was fairly recognisable as Anthony Ainley. However, Tame Layman was genuinely surprised by his appearance which, I suppose, just goes to show the power of a fake beard and wig.

It's not a good companion story. Poor old Turlough is side-lined for most of it and locked up in a dungeon, while Tegan just follows the Doctor around while whining about the whole situation. This did not improve Tame Layman's low opinion of her.

I think ultimately this feels like a tale that is just not really that interested in the Doctor's companions or in its supporting characters. It is really only interested in delivering a little bit of, I would say fairly heavily interpreted history about King John (while I'm aware that there is considerable historical debate about the extent to which John was incompetent and/or evil, I think it is stretching it to claim he was "enthusiastic" about Magna Carta), and introducing Kamelion the shape-shifting robot. Everything else pretty much just blurs into people running around a castle being confused about things.

This is he least successful of the Davison "historical" two-parters (using the term loosely enough to cover The Awakening as well as Black Orchid). It doesn't have the BBC's normal lavish delight in creating a period setting, and feels underwritten. It's not bad exactly, there's nothing particularly cringe-worthy going on and it keeps moving, but it's mostly very forgettable.
purplecat: The Tardis against the spiralling clock face effect of the Capaldi opening credits. (Doctor Who)
The Keys of Marinus, much like the later Key to Time sequence sets the Doctor and his companions off on a quest to gather a set of objects from different locations. However where the Key to Time sequences manages to drag this out over a whole season, The Keys of Marinus uses a mere six episodes. I think the story (particularly given the slower pacing in general of 1960s TV) benefits greatly from this, though I am slightly surprised that the show's budget managed to stretch to a new set of sets for each week.

There is a lot of really nice stuff in The Keys of Marinus. The story's format means we are shown a planet with diverse locations and communities (something very rare in Doctor Who). The show uses the episodic nature of the story to play with genre as well as location, so we get the fairly traditionally SF-nal Brains of Morphoton, the horror of the Screaming Jungle and a court room drama/murder mystery in the City of Millenius. The Snows of Terror manages to combine the kind of wilderness complete with psychotic madman genre with a tale of mystical knights guarding a mythical treasure in a cave full of traps which is pretty good going for 25 minutes of television produced in 1964. It all benefits from the knowledge that if you aren't much taken with what is happening this week then something completely different will be along next week.

It's not without its weirdness though. "Only Arbitan could brief someone on the location of all the traps," says Darrius in the Screaming Jungle except that Arbitan has conspicuously failed to do any such thing, not even warning his daughter of the deception involving the fake key. Arbitan seems to have access to technology no one else on the planet is even aware exists (most notably the travel dials) and communication between communities appears to be non-existent, even though the general level of technology certainly seems to be high enough to allow radio.

In terms of the development of Doctor Who, it is interesting that the Doctor agrees to go on the quest fairly quietly (albeit grumpily and under duress when Arbitan seals him off from the Tardis). The keys are needed to activate the Conscience of Marinus (a machine that controls free will). This is precisely the sort of thing later Doctors would have railed against at length and it is clear, certainly in the final episode, that the Doctor doesn't think the Conscience is a particularly good thing and he's not at all upset that their quest to reactivate it ultimately fails. But this all happens without the fierce moralising we would later see. One feels mostly that he doesn't approve but thinks this society is, broadly speaking, not his problem so if they are going to blackmail him into reactivating the thing he might as well get on with it. He's more annoyed about being blackmailed, to be honest, than the dubious morality of limiting the free will of an entire planet of people.

The alien Voord are pronounced Vord. This came as a massive shock, I'd always assumed that it was closer to Vood. For a 1960s Doctor Who monster they also look pretty impressive.

I'm not sure I'd describe this story as under-rated, it just seems to be one that isn't discussed very often which is a shame. Susan doesn't get a great deal to do, but all the other regulars get a chance to shine. Everything moves along at a surprisingly quick pace and the sets and costumes look good. Some of the ideas and plots in the individual episodes are genuinely interesting and clever (some less so) but if you wanted to pick an early Doctor Who episode to watch, particularly if you were not looking for a big event episode or something featuring famous monsters, then you could do a lot worse than this.
purplecat: The Tardis against the spiralling clock face effect of the Capaldi opening credits. (Doctor Who)
"What's happening?" The Teenager asked, walking in on us watching Edge of Destruction.

"Over-acting," Tame Layman said.

The Edge of Destruction came about when a script fell through and the Doctor Who production team were left with two episodes to fill and a minuscule budget. The result is a story set entirely in the Tardis which is attempting to be a cross between a haunted house mystery and psychological horror.

It is the stagiest Doctor Who story I think I've seen. I think is partly because, well it's 1964, and partly because everything is focused upon the interactions of the characters. With little else of visual interest, David Whitaker frequently places the actors in tableau where they speak their lines facing away from each other and/or oblique to the audience.

Fan opinion of the story seems to be divided between those who consider it a bizarre oddity arising out of desperate circumstances and those who consider it something approaching a mini-masterpiece arising from its constraints. They speak of the drama and tension as Susan stabs her bed with a pair of scissors. Sadly, I think Tame Layman and I are in the bizarre oddity category and Susan's tantrum with the scissors struck us more as over-acting than a moment of intense drama. Tame Layman did get a laugh however, when it was revealed that the whole problem related to a single jammed switch. He was puzzled about why everyone had been behaving so oddly throughout. I had always understood that this was the Tardis influencing their behaviour in an attempt to communicate the situation to them, but that doesn't seem to be on the page. The crew just seem to spend two episodes panicking in a particularly bizarre fashion before the Doctor and Barbara jointly manage to figure out the problem and the Doctor works the relevant switch loose.

Because of the generally strange behaviour of most of the cast, it is difficult even to see this story as character development. The most successful part is the relationship between the Doctor and Barbara. She stands up to him. She refuses to be mollified at the end by anything short of a proper apology for his behaviour and ultimately it is Barbara who saves the day with the insight that the strange events inside the Tardis are not an indication of some hostile force but an attempt by the Tardis to communicate.

However, in the end, Edge of Destruction is two episodes of padding without even the dubious benefit of a monster and a corridor to run down. It's impressive given the circumstances under which it was produced, but that doesn't actually make it good.

By the end of episode 1 the Teenager was declaiming loudly on the morality of Video Game companies who produce misleading trailers for games. She did not come back for episode 2.
purplecat: The Tardis against the spiralling clock face effect of the Capaldi opening credits. (Doctor Who)
The Space Pirates has a reputation for being very slow. I seem to recall, once upon a time, reading that this was because it was attempting to realistically depict travel times in space, though this isn't actually a point that is made anywhere in the episode (and doesn't really make sense if you think about episode length anyway). I suspect more of a problem, from the point of view of some fans, is that the Doctor, Jamie and Zoe have relatively little to do. In the first episode they arrive on a space beacon, get mistaken for the eponymous space pirates and then lock themselves in a room. They spend the entirety of the second episode floating through space in said room, the space beacon having been broken up by the aforementioned space pirates.

We were actually quite surprised therefore to find ourselves enjoying the story, and this in spite of the fact only one episode of it exists outside of telesnaps. [livejournal.com profile] daniel_saunders mentioned in my review of The Massacre that early Doctor Who historicals tended to treat the Tardis crew as witnesses to, as opposed to participants in, events. The latest DWM makes a, possibly contradictory, point that a number of changes in production practices meant that more effort was put into creating interesting secondary casts for 2nd Doctor stories. I rather chafed, while watching The Massacre, that Steven (and the largely absent Doctor) had so little to do, but I think that was because the secondary cast was failing to engage. I'd argue that the secondary cast of The Space Pirates is considerably more successful. There are four main groups interacting; the Space Police, the Space Pirates (who are genuinely pretty nasty, ne'er a swash nor buckle in sight here), Milo Clancy the aging miner on a mission of his own to defeat the pirates, and Madeline Issigri and her mining company, the pirates' unwilling accomplice. You don't really need the Tardis crew to tell an interesting story with these characters and give or take a few plot handwaves (could Caven really have kept Madeline's father secretly trapped in his own library all that time) the story manages this pretty well as the pirates seek to frame Milo and the Doctor for their crimes, Madeline tries to conceal her involvement from General Hermack who is clearly very keen to direct matters from the comfort of her office rather than his own space ship and Milo blunders around being cantankerous and difficult.

That said, Milo Clancy, who gets significant screen time as the story progresses is pretty irritating and his fake American frontier accent is risible and makes it hard to follow his dialogue. Mind you, when I commented to Tame Layman, that I thought the accent was unfortunate, he vigorously demanded how I knew that spacefarers in the future wouldn't speak like that, especially if they had been off on their own for a long time and become a little strange in the process.

The Space Pirates was covered in the DWM recurring archives feature in the very first issue of the magazine that I purchased and I remember reading and re-reading that article, even though I actually remembered very few of the details once I was watching. But I rediscovered a fondness for the story. That and the fact that we went into it with pretty low expectations, meant it was actually pretty fun to watch.
purplecat: The Tardis against the spiralling clock face effect of the Capaldi opening credits. (Doctor Who)
The Massacre, I think, highlights the difficulty of attempting to tell a Doctor Who story centred upon a major historical event. Broadly speaking the outcome of the story is known and the major characters are not the Tardis crew. Mostly Doctor Who avoids these obvious problems by focusing on history as a setting or, when its purpose was more didactic, by focusing on the aftermath of major events.

The Massacre works hard to build a story around a group of protestants doomed to be caught up in France's St. Bartholemhew's Day Massacre but it is difficult to hide the fact that most of the narrative centres around Steven wondering about Paris, achieving next to nothing. The fact that the story only exists as telesnaps doesn't help the situation. I found it hard to distinguish one doomed protestant nobleman from another and ultimately didn't really care about any of them. The servant girl, Anne Chaplette, is more distinctive and sympathetic, but ultimately her role, much like Steven's is to wander about Paris achieving very little and one can't avoid the awkward feeling that she only exist to motivate the introduction of new companion Dodo Chaplet at the end of the story.

Meanwhile the Doctor vanishes from the plot at the end of episode 1 at which point it transpires that he has a double in Paris, the Abbot of Amboise. I was vaguely expecting us to get a lot of William Hartnell enjoying playing a double character but, in reality, we hardly see the Abbot either (I assume Hartnell was, in fact, on holiday) to the extent that the whole sub-plot feels like padding to allow Steven to spend episodes 2 and 3 trying to figure out what game the Doctor is playing.

All that said tame layman was more engaged than I was, but then I studied this bit of history at A level and he didn't, so he was genuinely interested in the religious politics of Paris in the 16th century and felt it was a refreshing departure for the show. I think even he, though, was beginning to lose interest as we moved into the later episodes which mostly seemed to be serving up more of the same of what we had in the first.

It's an oddity of a story, and one in some ways I'd particularly like to see recovered because that might well have a transformative effect on my engagement with the characters. But in general I think it is a lesson in why Doctor Who should not attempt to tell historical stories that focus upon famous people engaged in a famous event.
purplecat: The Tardis against the spiralling clock face effect of the Capaldi opening credits. (Doctor Who)
I had fond, if vague, memories of The Mutants from the Target novelisation which is slightly odd since, if I remember correctly, the novelisation is one of Terrance Dicks' 120 page wonders - a straightforward retelling that does its job but little else.

I mentioned to tame layman that I recalled it being somewhat "post-colonial" and, to be honest, was surprised to find that it was indeed (within the constraints of 1970s Doctor Who) distinctly post-colonial. The story itself, about a planet gaining independence from the Earth Empire is an obvious enough allegory of the break-up of the British Empire. However, when Doctor Who of this era wanted to suggest a multi-national cast of characters it tended to look towards European, American and Australian accents - here we have South African and (I think) Jamaican accents and we even have two black actors one of whom has a significant speaking role which, again, is a lot for the time. It's a shame really that he's such a bad actor.

The central story idea, of a planet with a year measured in hundreds of our years and whose inhabitants mutate into new forms as the seasons slowly change is fairly unique in Doctor Who and is explored nicely, though it's certainly handy that the next mutational form turns out to be a god-like creature which can quickly solve everything in the final 10 minutes of the story. It's also interesting that the Doctor gains allies from among the Marshal's security guards, where Doctor Who is not generally particularly interested in the equivalent of hired muscle. Framing the science-fictional idea within a tale of the bureaucracy and the tensions that might accompany a handover of power also gives the tale more to work with than it might otherwise have had. That said the story also has to sustain itself with a fair bit of capture-escape and the Marshal's motivation, as is so often the case in Doctor Who, is clearly dependent upon at least some rationalisation along the lines of "he's mad as a box of frogs". It's not really clear what the Time Lord interest in the whole situation is either, they serve as a convenient excuse to get the Doctor into the story but the mechanism (a box that only opens for Ky, but contains writings he can not decipher and has no interest in deciphering) seems pretty clumsy and one does wonder if the story wouldn't have been stronger if the Doctor hadn't just randomly shown up.

Still, I liked this. It reinforced my fond memories of the story from the novelisation.
purplecat: The Tardis against the spiralling clock face effect of the Capaldi opening credits. (Doctor Who)
Claws of Axos is practicality the essence of UNIT era Doctor Who. It has the Master in league with alien invaders, an incompetent government official, plenty of soldiers running about the place and a Nuclear Power station (sorry a Power Complex housing a Particle Accelerator that just happens to look like Dungeness). I was surprised, therefore, that it felt unusual maybe because I've watched relatively little Jon Pertwee, in comparison to other Doctors. In particular I was struck by the dominating presence of the military in the first episode. It's possible this was intended as a deliberate contrast by the production team, since these are the regular military, as opposed to UNIT, but I suspect that there may actually be fewer Pertwee episodes than one might think which actually try to feature troop movements at any scale. There is also quite a lot of outdoor filming here, rendered more obvious by the switch between film and video when the action moves between outdoor locations and an indoor set. Somehow the story feels much larger in scope than it actually is.

Beyond that I found the tale fun but rather muddled. The opposition between UNIT and the UK forces seems, ultimately, unnecessary to the tale and both arises and is overcome far too easily to really justify its presence in the story. This is neither the first nor the last time Doctor Who decides to play with our tendency to assume beauty implies good intentions and, as is often the case, the moral is clumsy in its delivery - in particular the story comes close to implying that the true ugly form of the Axons is indicative of their genuine nature. The last episode feels rather surplus to requirements, the Axon nutrition cycle having been stopped in its first few minutes and the world alerted to the threat - everything after that point feels a bit like padding.

All that said, the combination of the Doctor, Jo, the Brigadier and the Master are very watchable. The story itself isn't bad, per se, its just a lot more of a runaround sequence of, if not capture-escape at least peril-escape moments than I was expecting. The psychedelia of the Axon ship is fun from a 1970s style perspective and the production and effects in general stand up pretty well.

I feel this is the sort of story that works well viewed as its separate episodes in a mind set of simply enjoying the ride. There is nothing wrong with that in and of itself, but one feels that there is a lot of Doctor Who out there with more going for it.
purplecat: The Tardis against the spiralling clock face effect of the Capaldi opening credits. (Doctor Who)
We've never had much luck with The Monster of Peladon. At some point in the 1990s I was seized with the urge to watch it and we ordered it from Amazon on VHS. The first time we tried this, we were sent a Seven of Nine boxset, which we much enjoyed watching and wondered idly if whoever had received our Monster of Peladon video had enjoyed it as much. We then re-ordered Monster of Peladon and this time received the right VHS tape only to discover that it was blank after episode 2. Having found the first two episodes rather dull we, at that point, gave up on the attempt.

It was with some trepidation, therefore, that I purchased the DVD from Amazon at the behest of the Randomiser. This time all the episodes were present and correct.

So was it dull? )

Monster of Peladon is interesting in lots of ways, not the least its status as sequel to the earlier Curse of Peladon. I have always been of the impression that it is the lesser of the two stories, but the longuers of the first couple of episodes aside, I enjoyed this considerably.
purplecat: The Tardis against the spiralling clock face effect of the Capaldi opening credits. (Doctor Who)
The Keeper of Traken is a strange story in several ways. While it exists at the tail end of Tom Baker's reign, like Logopolis it feels in style a lot more like a Peter Davison story than a Tom Baker story. This might be a reflection of John Nathan Turner's hand at the helm, but the earlier stories this season (or at least Full Circle and Warriors' Gate both of which I have seen comparatively recently) have less of this feel to them.

More Under the Cut )

As I said, it is a strange story. It looks gorgeous and the acting throughout is competent to good. I think it could have been a great story if it had been prepared to grapple more explicitly with the problems created when goodness is artificially imposed upon a society. But it seems unsure not only of what position it wants to take on that, but whether it wants to discuss it at all.
purplecat: The Tardis against the spiralling clock face effect of the Capaldi opening credits. (Doctor Who)
It's the Eleventh Doctor's final story and, oh look! it's Victorian Christmas planet again. I really didn't rate this story much last time around so I was suprised to find myself liking it much better on second viewing.

More Under the Cut )

First time around I thought Time of the Doctor was a bit of a mess. I still think it is a bit of a mess, though it works better on re-watching. Still, as a story, it is burdened with trying to explain a lot, resolve a lot, set up alot and that prevents it really telling its own story.




I asked The Child if she wants to rewatch the Twelfth Doctor stories - Deep Breath being where she came into the show and she has decided not. She wants to see the "important" classic Who stories (which is defined as companions arriving and leaving, Doctor's changing, and other significant events - I'm guessing first appearances of recurring monsters and characters) plus the "really good" ones. I have a tentative list though I'm dubious about some of it (even deciding that if only telesnaps exist we may content ourselves with just watching the relevant bits of episodes). However, given she's seen An Unearthly Child, we obviously need to watch The Daleks next and we'll play it by ear from there.

Could be a while though, there is the family Buffy rewatch to get through and Season 1 of Agents of S.H.I.E.L.D.
purplecat: The Tardis against the spiralling clock face effect of the Capaldi opening credits. (Doctor Who)
The Armageddon Factor is the final story in the Key to Time sequence. While it isn't derided to the extent that the previous season finale The Invasion of Time has been, possibly because it is clearly better than the story that preceded it. It think it would be fair to say it is not much loved and, like The Invasion of Time, it almost certainly suffers from being stretched to run over six episodes and thus losing any real momentum in the middle.

More under the cut )

Like many 6 part Doctor Who stories of the 1970s, The Armageddon Factor's major problem is that it is at least two parts too long and it doesn't really know what to do with the extra time. Even though the action is spread across three planets, they all look pretty much the same, in fact they all consist entirely of subterranean corridors. It has some nice comedic touches, but seems to be striving overall for a serious and slightly epic tone which it can't really sustain. As with (almost) any Tom Baker story, there is a lot of Doctor Who that is a lot worse out there, but at its best the show could be a lot better than this.
purplecat: The Tardis against the spiralling clock face effect of the Capaldi opening credits. (Doctor Who)
I didn't really write about Day of the Doctor when it first aired since it all got tangled up in my birthday Who-watching marathon session. I really enjoyed it at the time, but we had already watched a lot of good Doctor Who by that point and were not necessarily entirely sober. I was anxious to see whether it was still as good on a second viewing.

It was still good )

The multi-Doctor story is a difficult beast and I think Day of the Doctor is better than all its predecessors. I don't think it's better than Remembrance of the Daleks (but then, as noted above, despite all appearances to the contrary that was not an anniversary story). Where Doctor Who had been succeeding in series 7 it was with tightly focused, fairly serious, stories such as Hide and A Town Called Mercy, so it was good to see it make a success of something much more light-hearted and rambling. It is immensely enjoyable.
purplecat: The Tardis against the spiralling clock face effect of the Capaldi opening credits. (Doctor Who)
I liked The Name of the Doctor better than I did when I first saw it (though I didn't dislike it then). Part of that is expectation management. I wasn't expecting much of the Great Intelligence. I wasn't expecting an appearance from the yeti. I knew that the name of the Doctor was largely misdirection and I knew that we would be seeing River again.

More under the Cut )

However, for a story burdened with a number of ongoing elements I'm less fond of, The Name of the Doctor comes out of it all pretty well. It isn't as good as the strongest stories in season 7 of Doctor Who, but it is better than the weaker stories which is no mean feat for a season finale (even if this is a finale that, by circumstance, is the first in a sequence of three specials). It makes a good job of the hand it has been dealt, but I'm glad that Moffat has since moved on to less intricate over-arching plots.
purplecat: The Tardis against the spiralling clock face effect of the Capaldi opening credits. (Doctor Who)
I warned Tame Layman going into The Invasion of Time that it didn't have a good reputation. We were, after all, still recovering from The Creature from the Pit. He expressed befuddlement at the end of episode 1 about it's poor reputation and then rigidly held to that opinion through the remaining five episodes.

To be fair, it is an awful lot better than Creature from the Pit )

At the end of it all Tame Layman conceded it wasn't among the best Fourth Doctor stories, but maintained that even weak fourth Doctor stories were better than the best stories for some other Doctors (poor old Hartnell and Troughton got listed which I felt was a little unfair). I'm not sure I entirely agree, but the fact remains that for a story with a fairly low reputation this was mostly fun and watchable.
purplecat: The Tardis against the spiralling clock face effect of the Capaldi opening credits. (Doctor Who)
The Seeds of Death was one of the first Doctor Who episodes I owned, on betamax no less. I had assumed therefore that Tame Layman would have seen it, since I certainly had the old betamax tapes lying around for a long time and had a vague idea that at some point we'd either transferred them to VHS or acquired one of my parents Betamax machines to watch them.

Apparently not however.

I think he quite enjoyed it )

It's easy to see why this particular Patrick Troughton was picked for an early video release, although it has to be acknowledged there weren't a lot of complete stories to choose from. While its pacing is distinctly sixties it isn't too langurous and the story has an interesting premise and engaging supporting characters.

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