The Randomizer: Robots of Death
Jan. 19th, 2014 07:50 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
Robots of Death is such a classic Doctor Who story that I've found it quite difficult to think of anything to say about it, or at least anything that hasn't been said many times before.
But then it's occurred to me that not everyone who reads these randomiser posts is, necessarily, a died in the wool Doctor Who fan, so maybe it isn't so bad to both summarise the story and rehash its finer points.
Every so often Doctor Who flirts, with greater or lesser success, with the Whodunnit format. Robots of Death is one if its more successfully flirtations, quite cleverly indulging Doctor Who's fondness for "monster" stories, while also providing a human murderer with clues pointing towards them, red herrings, and so forth. I'm personally inclined to think the visuals give away the villain's identity before the scriptwriter would have chosen to do so, but as the story shifts gear from Whodunnit to a more standard Monster story at around the halfway point it may be wise that the production team chose to reveal the murderer's identity to the sharp-eyed fairly early on. At any rate the Doctor subsequently claims to have spotted them almost straight away because of their "body language" (actually an important point in the story) and so there is something to be said for allowing the audience to keep more or less in pace with the Doctor's own deductions.
There is also some fairly deft world-building going on. The script relies quite a lot on, if not audience familiarity with Asimov's Robot stories, at least an audience awareness of them and, in particular, of the three laws of robotics even though they are never mentioned as such. That allows the story to economically invoke the wider robot-dependent society. Similarly enough thought has been put into the Sandminer's crew as a microcosm of the wider society, with class divides, company targets and scientific research that it is able to hint at a lot with relatively few lines of dialogue. As is often noted, the very striking designs for make-up and costume also help to evoke the concept of a largely idle population in which most of the work is done by robots. I think it is notable that this particular setting has been turned into an, I assume, successful series of audio plays 'Kaldor City' by Big Finish.
Since
thisbluespirit is reading, I should probably also mention that it stars David Collings, perhaps better know as Silver in Sapphire and Steel as Poul:

In fact I shall steal one of her screenshots of him which also illustrates the style of the costumes and make-up in the story. These are very nearly very silly indeed, but actually mostly work remarkably well in context.
Then on top of it all the acting is generally good, with the weaker cast members getting bumped off before they can become too irritating and it is difficult not to like the combination of Louise Jameson's Leela and Tom Baker's Doctor and the care the script is taking to use Leela both as an audience identification point, who insists that the Doctor simplify and explain matters to her, while at the same time letting her frame that identification very much from her own viewpoint. She is one of the few companions who, while clearly trusting the Doctor, rarely lets him get away with brushing her off and is more than prepared to regularly challenge both his opinions and explanations.
This isn't the best Doctor Who story by a long shot since a lot of it is constrained by the conventions of murder mysteries without actually sustaining itself as such for its full length. It is also very similar to a lot of Who's other `Base under Siege' style stories which prevents it really standing out. But it is definitely among the better examples of the show, and the better examples of its era.
But then it's occurred to me that not everyone who reads these randomiser posts is, necessarily, a died in the wool Doctor Who fan, so maybe it isn't so bad to both summarise the story and rehash its finer points.
Every so often Doctor Who flirts, with greater or lesser success, with the Whodunnit format. Robots of Death is one if its more successfully flirtations, quite cleverly indulging Doctor Who's fondness for "monster" stories, while also providing a human murderer with clues pointing towards them, red herrings, and so forth. I'm personally inclined to think the visuals give away the villain's identity before the scriptwriter would have chosen to do so, but as the story shifts gear from Whodunnit to a more standard Monster story at around the halfway point it may be wise that the production team chose to reveal the murderer's identity to the sharp-eyed fairly early on. At any rate the Doctor subsequently claims to have spotted them almost straight away because of their "body language" (actually an important point in the story) and so there is something to be said for allowing the audience to keep more or less in pace with the Doctor's own deductions.
There is also some fairly deft world-building going on. The script relies quite a lot on, if not audience familiarity with Asimov's Robot stories, at least an audience awareness of them and, in particular, of the three laws of robotics even though they are never mentioned as such. That allows the story to economically invoke the wider robot-dependent society. Similarly enough thought has been put into the Sandminer's crew as a microcosm of the wider society, with class divides, company targets and scientific research that it is able to hint at a lot with relatively few lines of dialogue. As is often noted, the very striking designs for make-up and costume also help to evoke the concept of a largely idle population in which most of the work is done by robots. I think it is notable that this particular setting has been turned into an, I assume, successful series of audio plays 'Kaldor City' by Big Finish.
Since
![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)

In fact I shall steal one of her screenshots of him which also illustrates the style of the costumes and make-up in the story. These are very nearly very silly indeed, but actually mostly work remarkably well in context.
Then on top of it all the acting is generally good, with the weaker cast members getting bumped off before they can become too irritating and it is difficult not to like the combination of Louise Jameson's Leela and Tom Baker's Doctor and the care the script is taking to use Leela both as an audience identification point, who insists that the Doctor simplify and explain matters to her, while at the same time letting her frame that identification very much from her own viewpoint. She is one of the few companions who, while clearly trusting the Doctor, rarely lets him get away with brushing her off and is more than prepared to regularly challenge both his opinions and explanations.
This isn't the best Doctor Who story by a long shot since a lot of it is constrained by the conventions of murder mysteries without actually sustaining itself as such for its full length. It is also very similar to a lot of Who's other `Base under Siege' style stories which prevents it really standing out. But it is definitely among the better examples of the show, and the better examples of its era.
(no subject)
Date: 2014-01-19 09:00 pm (UTC)This is actually a valid point that resonates sharply with me. Because it is my largest complaint with many stories in the New Era. The audience isn't allowed to *see* the points that would give it away/let them figure it out. (The Library episode, with the one who got taken over and we don't see the shadow issue until Ten points it out, for example)
(no subject)
Date: 2014-01-19 09:56 pm (UTC)(no subject)
Date: 2014-01-19 10:04 pm (UTC)I really do prefer the clues to be there, to let ME put it together.
(no subject)
Date: 2014-01-20 09:59 am (UTC)Not that I'm necessarily defending it. On of Who's strengths is that it can tell stories in almost any genre, but one of its weaknesses is it doesn't always understand the genre its aping.
(no subject)
Date: 2014-01-19 09:53 pm (UTC)I always love watching Robots of Death. So Agatha Christie!
(no subject)
Date: 2014-01-20 10:00 am (UTC)(no subject)
Date: 2014-01-19 11:18 pm (UTC)(no subject)
Date: 2014-01-20 10:31 am (UTC)A good one, yes indeed
Date: 2014-01-20 12:46 am (UTC)For what it's worth, a few things I remember noticing at the time (I was roughly 12 or 13 when I saw it, 1977 or 1978, I think).
You're quite right, too, that it was a pretty sophisticated piece of science fiction, in terms of world-building especially, with hints of a strange economy, differences in foundational philosophies, etc.
Maybe not "the best Doctor Who story by a long shot", but a very good one and an excellent introductory story for someone new to the show.
Thanks for posting this reminder.
Re: A good one, yes indeed
Date: 2014-01-20 10:38 am (UTC)I'd put this story in a kind of second tier of Who stories. There are maybe four or five that I think are really excellent, for different reasons, and would contend for the "best" slot, but Robots of Death easily keeps company with a larger group of stories, many from the Baker era, that I would happily show to to an interested non-fan and would expect them to enjoy without much embarrassment (if you see what I mean).
Re: A good one, yes indeed
Date: 2014-02-02 11:12 pm (UTC)Re: A good one, yes indeed
Date: 2014-02-04 10:13 am (UTC)