Thursday, June 13, 2024

Peri and the Piscon Paradox [Doctor Who, Diversion 48]

 Peri and the Piscon Paradox by Nev Fountain
January 2011


I owe some thanks to my friends, who reminded me of this audio's existence at just the right time for me to slot it in. This is as close to closure on Peri as we will get, and I'll gladly take it.

I didn't really grapple with it in my Trial posts, but it's not exactly a hot take to suggest that Peri got short shrift during her time on the show. There are occasional, faint glimmers of a character under there, but under her constant bickering with the Doctor, the questionable accent, and the fan service, they're pretty hard to see. Nicola Bryant is a pretty good actress in my opinion, and it sucks that she never really got the time to flesh her character out. Until Big Finish rolled around, at least.

I didn't really know what to expect from Peri and the Piscon Paradox when I put it on, but I was attentively listening while running around the world of Skyrim with the audio playing in another tab.

The first half begins with Peri and the Fifth Doctor arriving in the far-off year of 2009 in Los Angeles. The tone is established quite early on as being somewhat humorous, with Peri's comments about life in the 21st century being especially memorable. The Piscons, the titular alien of the week, are established in a throwaway line as distant cousins of the Pescatons, and are played mostly for laughs.

After encountering a future Peri who is supposedly tracking a Piscon criminal named Zarl, the past Peri interrogates her about her future, but the elder Peri is a bit reluctant. She shields herself from further questioning by claiming to be a government agent, but the events of the story quickly cast some doubt on this cover.

A particular sticking point for the past Peri is that her older self never had a family, something which is clearly very important to her. When they part in anger at the end of part two, the past Peri swears that she'll go back to her high school sweet heart after she's done traveling with the Doctor and start a family, the shouts of her future counterpart drowned out by the TARDIS doors closing. The note it ends on is more sober than we'd expect from the rollicking parts that preceded it, but it's still nothing, compared with the end of the second half.

In the second half we see the same events from the future Peri's perspective, learning that she's not a government agent but a talk show host. She and her assistant, Buretor (short for Carburetor, natch) get sucked into an adventure by an unfamiliar man with curly blond hair. The Sixth Doctor is a little confused when he realizes that she doesn't recognize him; it seems this Peri only remembers Planet of Fire and nothing else, an experience which the Doctor later glumly compares to that of Jamie and Zoe.

The Doctor mentions that he remembers an adventure during his previous incarnation where they met Peri's future self here, which he knows now should be impossible based on what he knew of her fate in Trial. When they go try and find the fugitive Piscon Zarl however, he gets surprised and accidentally falls to his death on the beach. The dawning realization that the Zarl in the first half was just the Sixth Doctor in a fish suit the whole time is really quite something.

As funny as these parts are too, it's hard to see the gut-punch come at the end of the story, when we hear future Peri's rant in full, no longer stopped short by the TARDIS doors. How she did settle down with her Guy Back Home just like past Peri threatened to do. How he beat her on their honeymoon. How she can't have kids anymore. It's just absolutely devastating.

The actual coda to the story is a little more sweet, with a Time Lord appearing to explain what's going on. Supposedly, all the changes in Gallifreyan government had led to different groups trying to "fix" Peri's fate, resulting in several different Peris running around, each with a different fate. It seems that one of her really is off living with Yrcanos, and future Peri's slightly shy question, of whether that Peri has kids or not, is really touching.

I'm having a hard time making sense of my emotions after listening to that one. At making Peri a real character, it succeeds brilliantly. The tonal whiplash is just hard to grapple with. Domestic abuse is a particularly heavy topic for Who in particular, but I wouldn't say inappropriate. I just have to wonder if it works when the tone of the rest of the story is so self-consciously silly.

Regardless of my mixed feelings, it was really interesting and well-written on the whole and a gem of the Companion Chronicles range.

"We'll always have Peris..."

Time of Your Life is next.

(Modified from the original posted at Gallifrey Base on 13 June 2024.)

Saturday, June 8, 2024

Cities Made of Song, 1986

 Cities Made of Song, 1986 - Dear God by XTC



"Dear God, hope You got the letter and
I pray You can make it better down here
I don't mean a big reduction in the price of beer
But all the people that You made in Your image
See them starving on their feet
'Cause they don't get enough to eat from God"
 
​While The Trial of a Time Lord, Part One was airing on the BBC, a British rock group was making a big splash overseas. This wasn't exactly a common situation for XTC, a Swindon band formed in 1972 as Star Park before achieving their "classic" incarnation. As a rule, despite the rare Top of the Pops appearance or Top 30 single, they achieved very little in the way of fame and fortune during the height of their career.

This was partly because of their management, which ranged from the nonexistent to the actively hostile. This enabled their record label, Virgin, to give the band an absolute bollocking without anybody to push back and argue for the band's rights. As a result, they barely ever saw either a cent or a pence for their record sales and constantly struggled to repay their various debts to Virgin.

Although several people were a part of XTC over the years, the group was chiefly centered around its songwriting duo, Andy Partridge and Colin Moulding, and its guitarist and arranger, Dave Gregory. Partridge and Moulding grew up on the same council estate together, listening to the same music and developing similar tastes. Although they each brought a different sensibility to their songwriting, I think they complemented each other well. I also happen to think they're two of the finest songwriters of the last century, and that it's criminal that they haven't been widely acclaimed as such due to XTC's endless financial issues and lack of commercial success.

Even if this opinion exists at an extremity, one would be hard-pressed to look at the string of albums from 1979's "Drums and Wires" to 1992's "Nonsuch" and deny XTC's artistic achievement. Emerging from the primordial ooze of punk and New Wave, they came up with a sound that was influenced by both, but not quite either. Another important ingredient was the 1960s music that they grew up listening to, which infused a bit of acid-pop quirkiness into their material. If the Beatles had gotten their start in the late Seventies, I have to imagine they would sound sort of like this.

This period wasn't entirely a positive one, of course, even leaving aside the band's constant issues with their label. During the 1982 tour for "English Settlement", Partridge suffered a nervous breakdown which soon prompted the band to stop touring altogether and become studio-bound from then on, incurring a large debt due to their show cancellations in the process.

Between the collapse of the tour and the other issues simmering concurrently in the background, when 1986 rolled around, Virgin put their foot down and threatened to cut the band off entirely if their next album failed to sell well. Faced with a list of producers dictated by the label, the band chose Todd Rundgren, reportedly because his was the only name they recognized. It was a good choice, in the event; Rundgren was, and still is, an innovator, and matched well with the group, despite the personality clashes that arose between him and Partridge during the studio sessions.

The end result was "Skylarking", which released in October 1986 in the UK, and December in the US. It seems inadequate to call it a masterclass in rock music, each track flowing seamlessly into the next, and all beautifully arranged, courtesy of the irreplaceable Gregory. Songs like Mermaid Smiled and Earn Enough for Us showcase XTC at their very best.

Despite this, the album received a lukewarm reception in the band's native Britain. It only rose as high as #90 on the album charts, no doubt an unwelcome response considering the pressures they were under.

Then something curious happened. The B-side of XTC's August 1986 single - made up of two outtakes from the "Skylarking" sessions - exploded in popularity. Written by Partridge, Dear God tells the story of an agnostic grappling with the notion that a God can exist with so much evil in the world. Its sound was inspired in part by the Beatles song Rocky Raccoon, one of the first songs Partridge ever learned to play on guitar back on the council estate in Swindon.

It was a massive hit on college radio stations in America, so much so that the American pressings of "Skylarking" were recalled and re-pressed with the song added, a move which would end up causing years and years of controversy among XTC fans. Nevertheless, it worked out, propelling the album as high as #70 on the US album charts and giving the band a much-needed break.

Given the song's popularity, it is surprising that it wasn't included on the album in the first place. Rundgren proposed the final order of the songs on it, so he may not have found a good place for it. Alternatively, Partridge has said that he is regrets releasing the song as is, because he found it did not adequately reflect his actual opinions about religion.

This would certainly explain why it was relegated to the B-side of their single, but I think the heavy lyrics were a factor in themselves. Accolades and airtime weren't the only responses to the song's release; the band received plenty of hate mail, and radio stations caught flak too, up to and including bomb threats.

I must say, speaking as somebody who's not even an atheist, I think the song is compelling, emotional, and beautifully composed. It's a good example of how pop music can challenge the listener. I just wish we lived in a world where those who felt the most challenged by it didn't feel entitled to respond with threats of violence.

That's all for now. We aren't heading into Season 24 just yet; the Sixth Doctor still has some stories to tell, starting with Peri and the Piscon Paradox, next.

(Modified from the original posted at Gallifrey Base on 8 June 2024.)

Wednesday, June 5, 2024

The Chase, Redux [Doctor Who, Story 16]

 The Chase by Terry Nation
22 May - 26 June 1965

I think I'm gonna be sad, I think it's today, yeah
The girl that's driving me mad is going away...
— Lennon/McCartney
I've been planning for ages to go back and re-review this story. Long-time readers may recall that I stalled out around The Chase and The Time Meddler and did not write full reviews for either, instead relegating them to a section of my Season 2 roundup.

I was a little hard on it the first time that I watched it, finding it fun but somewhat incoherent. In the five and a half years (Jesus!) since I watched it, a lot of things have changed, including my opinion of the story. It was my intention to rectify this once I reached the end of the Classic era as a sort of victory lap.

After yesterday's sad news, however, I decided that my plans would change, and I dropped everything else to sit down and watch The Chase again, not only to fulfill that old promise, but to pay tribute with what I hope will be a nice review.

With that preamble squared away, let's hop aboard the TARDIS and begin The Chase. I have a ticket to ride, after all.
‘Our enemy is the Doctor. His appearance has changed many times over the years, yet our instruments have determined his basic metabolic pattern. This has been programmed into your computers. You are to locate and exterminate him. Exterminate!’​— John Peel
Before I get started in earnest, let me tell you about a rare detour I made into the world of Target novels. After watching, I decided to scope out the novelization of The Chase, written in 1989 by Nation's favored novelist, John Peel. It was out of curiosity more than anything else, to see just what, if anything, was different. In his foreword, Peel says that as The Chase was known to still exist in 1989, though it hadn't yet received a home release, he wanted his novelization not to be an exact copy of the televised version in an attempt to present something a little different for fans.

He says he based the novelization off of Nation's original scripts, not the final version that went to screen, which was significantly modified by then-current script editor Dennis Spooner. Accordingly, it does feel quite different to the serial that I've watched. While the book is solid enough, I couldn't help saying to myself as I read it: "God, how much poorer would we have been if this is what we got on screen?"

I can only speak for myself, but I'm glad that The Chase is silly. I'm glad that it meanders. I'm glad that it's hard to take seriously for 90% of its runtime before gut punching you in the last episode. Although it makes the story much weirder, I think it also makes it more brilliant.

Granted, I'm not sure if being high satire was actually intended. The fact that Nation's original scripts were so much less funny (according to the eternally dour John Peel, anyway) suggests it wasn't, but it doesn't have to be intentional in order for it to work out that way. This feels like a parody of the first two Dalek serials welded onto the basic structure of The Keys of Marinus, something which I think fits wonderfully into this season full of stories both humorous and bizarre.

Its metatextual elements lend to this as well. The time-space visualizer sees the TARDIS crew sitting around it and enjoying the programs playing, sort of like the families who might have been waiting around their TV sets to see the latest return of the Daleks back in 1965 England. The Doctor's much-derided body double later in the serial might have been a little harder to tell apart from Bill Hartnell over a terrestrial signal on an ancient television, but I feel like there's no mistake about the moment where he's gleefully encouraging Ian to wallop the real article, which feels like a wink at the audience.

So too are there are moments like the Dalek grunting and gasping as it rises laboriously from the sand in a clear prod at the famous cliffhanger from the first episode of The Dalek Invasion of Earth, or the Doctor cheerfully guessing that they've arrived in The Mind Robber a few years early, only for the camera to pan out and inform us that they were just in a carnival haunted house. And of course there's the greatest character in televisual history, Mr. Morton Dill of Alabama. There are many things in this story which just don't make loads of sense, but when it's so delightfully light-spirited and entertaining, how can I possibly care about that?

Aside from the serial as a self-contained unit, this also helps the Hartnell era in the long run, if only in a small way. If this was just a mini version of The Daleks' Master Plan (which had its own silly moments, of course, but we can all agree it's far more serious on the whole) then neither story would really be unique within the Who canon. Both would be poorer for it, as far as I'm concerned.

The novelization of The Chase is there for those who prefer it. Heck, I like it. But if I was forced to choose, I'd pick the original every time.
Watching The Chase again after so long away from this team (having not really rewatched any First Doctor stories since I moved on to Troughton for the marathon a few years ago), I was struck again by just how wonderful their chemistry was. Ian and the Doctor are great foils for each other, Barbara complements each of them, and Vicki's dynamic with the Doctor is one I've extolled at length before.

Before this rewatch, I never really took notice of just how much Barbara and Ian look after Vicki. I think they probably see her like she's one of their students, despite the fact that she doesn't have a whole lot to learn from them! Vicki, who lost her father on Dido, seems to view the both of them as surrogate parental figures, or at the very least an aunt and uncle, or elder cousins she badly wants to impress.

Considering the age of this season, it's amazing just how naturalistic all the characters' relationships feel, how much they each feel like fully-figured people with their own thoughts, desires, and perceptions of each other. This serial was a good pick for reacquainting myself with this team, not just because it's their last outing together, but because they all get their own things to do in the story and show off what makes them so great as characters. The humor gives way to gut-wrenching pathos at the very end as we're forced to finally say goodbye to half of the team.

This time, watching the two of them fade from the time-space visualizer screen feels a little more final than it did before, my time together with them all the more distant. That's the thing about television in the modern age, though; you can always go back and experience it again, and the experience still feels a little bit new every time.

I shall miss them. Yes, I shall miss them. But they're still out there, somewhere, on some greater adventure. Barbara and Ian. Ian and Barbara. Traveling together, forever and ever.
The Doctor turned and glared at Vicki. ‘I’m quite exhausted,’ he informed her. ‘I’m going to lie down for a moment. Yes, just a moment. Don’t touch anything.’
He hurried from the room, but not before Vicki had seen the tear on his cheek that matched the one running down her own. — John Peel
Jacqueline Hill — 1929 - 1993
William Russell — 1924 - 2024


The Chase - 9.17
The Executioners - 10.00
The Death of Time - 9.00
Flight Through Eternity - 10.00
Journey into Terror - 8.00
The Death of Doctor Who - 8.00
The Planet of Decision - 10.00


Once I dry my eyes, our 1986 music post will be up next.

(Modified from the original posted at Gallifrey Base on 6 June 2024.)

A Word on Robert Holmes

 A Word on Robert Holmes

 
Back in Monochrome Malarkey, I resolved to periodically memorialize cast and crew of Doctor Who when their time with the series ended. In practice, most of these have been for the Doctors themselves, doubling as roundups for their eras. The last time I felt it essential to sit down and do it for someone behind the camera was for Verity Lambert, way back in 1965. Since then, some other important figures in the show's history have come and gone. For many of them, I didn't feel it necessary to dedicate more than a paragraph or two, or else their work would continue after the cancellation of the show during the "Wilderness Years".

Robert Holmes is a different figure entirely, and while abler pens than mine have tried to pay him tribute, I still intend to join the choir praising him with as clear a voice as I can manage.

Holmes was a man who always marched to the beat of his own drum. Joining the army at the tender age of 18 under false pretenses, Holmes became the youngest officer in the British Army during his time serving in what is today Myanmar. After the war, he spent a spell as a police officer in London before becoming fascinated with the written word and resigning. His previous work fueled his early televisual career, writing for police serials, but Holmes eventually came to spend more time writing science fiction than anything else.

His work on Doctor Who spans 73 episodes written by him directly, and many more for which he was the script editor. It's almost impossible for me to imagine what the show might have been like without his influence. The list of concepts he either originated or shaped by introducing them in his scripts is a long one, including such important things as the basic picture of Gallifrey and the Time Lords, the Autons and Sontarans, even the Master to some extent.

His impact is easy to understand, but getting a read on him as a person is somewhat more difficult, as he left little behind except for his body of work. I was able to dig up a handful of interviews, where he mostly talks about his work on Who; I get the sense that he was very proud of it, and that it let his best writing habits flourish. He admitted that it could be difficult to write for at times, "because you’re in between Grand Guignol gothic horror on one side, and Monty Python on the other." But he must have liked it, or he wouldn't have kept coming back, even, in the end, at the cost of his own health.

Holmes cheerfully confessed: "I’m not a serious writer. I like to get some fun out of what I’m writing." His twisted sense of humor shows frequently in his work, but also in his commentary about it, seen here when discussing Terror of the Autons:

I was sitting opposite Ronnie Marsh, the then Head of Serials, across an acre of polished maple. He started telling me about the guidelines he felt the programme should follow. ‘Two or three seasons ago,’ he said, ‘we had some clot who wrote the most dreadful script. It had faceless policemen in it and plastic armchairs that went about swallowing people. I might tell you, there were questions in the House. Mrs. Whitehouse said we were turning the nation’s children into bed-wetters’. Could it be that he was referring to my ‘Terror of the Autons’? ‘Tut, tut’, I muttered, feeling the job slipping away. ‘how awfully irresponsible’.​

Beyond his own words, he is mostly memorialized through the words of those who worked with him, buried within so many DVD commentaries and "Behind the Sofa" featurettes which I can't get at from the work desk I'm writing this on. What is clear from the ones I can call to memory is that he was a brilliant guy as well as a good writer, and that he was missed terribly by all of them. Beyond his own tenure as script editor, he seemed to get on with all the others he interacted with like a house on fire: from Donald Tosh when he first attempted to submit a script in 1965, to Terrance Dicks, to Anthony Read and even Eric Saward.

Later generations of Who writers who grew up with his work pay him high accolades as well. Russell T Davies, no slouch of a writer himself, had this to say:

When the history of television drama comes to be written, Robert Holmes won't be remembered at all because he only wrote genre stuff. And that, I reckon, is a real tragedy.

It is remarkable in the extreme that somebody whom I suspect to be one of the greatest television writers of the last century has remained in such obscurity outside of this fandom. He could have done anything, but he did Doctor Who, out of what appears to be a sense of honest affection for the program. I think we must all consider ourselves very lucky to have had him.

Farewell, Mr. Holmes, and thanks for all the memories.

(Modified from the original posted at Gallifrey Base on 5 June 2024.)

Tuesday, June 4, 2024

Doctor Who, Season 23


Well, let's have a quick chat about this out of the narrative world, too. As the last season of Doctor Who that I'd never watched, The Trial of a Time Lord was always going to fill a bit of an interesting spot in the marathon: the last of the unknown, and a chance to end the first leg of this marathon (the leg where I mostly had no idea what to expect) on either a high or a low.

You know what? I liked it. The season was made by the seat of the production team's pants, which makes it suffer in some ways, but in others gives it a sort of madcap energy that I find downright infectious. The feeling is one of a show desperately trying to rediscover its identity, while not yet discovering a new direction to go in. It feels like a more successful spin on the previous season's formula, but it is very much still the same formula.

I've given Eric Saward a bit of grief in my reviews, but I do think he's a good writer. He just displays some bad habits in his Who writing that occasionally get in the way of true greatness. As a script editor, I perhaps don't rate him as highly as his predecessors or successors in the role, but he deserves some praise for patching the holes in the rapidly sinking ship that was this period until he couldn't anymore. His departure leaves the program in a bit of an odd state, but we'll pick up on that some more once we actually make it to the next season. It will fall to his successor to find that new direction that the show needs.

In order, I praise The Mysterious Planet for being a quite solid Holmes story, and his last full one for the program; Mindwarp, even though its brutality (physical and emotional) is awe-inspiring, for being an absolutely uncompromising watch that left me on the edge of my seat; Terror of the Vervoids for its mystery plotting and classic sci-fi vibes; and The Ultimate Foe for its bonkers and surreal first episode, if for nothing else. It must be said that the season absolutely fails at sticking the landing, partly on account of Saward's unexpected departure, but for a first-time viewer who isn't spoiled on everything (just some things!), it is decidedly entertaining.

We start to see a new Colin here, just a little more cuddly; still pompous and outspoken, but generally nicer and funnier than his counterpart from the previous season. His new dynamic with Peri is short-lived, but very sweet, and what little we get of him with Mel is fun, too. I think it's a pity he didn't get to continue this in the TV series, but as we'll see very soon, his future has vindicated him indeed.

Well, enough waffling. Here's the score breakdown:

The Mysterious Planet - 8.25
Part One - 10.00
Part Two - 8.00
Part Three - 7.00
Part Four - 8.00

Mindwarp - 8.50
Part Five - 8.00
Part Six - 9.00
Part Seven - 8.00
Part Eight - 9.00

Terror of the Vervoids - 8.00
Part Nine - 8.00
Part Ten - 8.00
Part Eleven - 8.00
Part Twelve - 8.00

The Ultimate Foe - 7.00
Part Thirteen - 9.00
Part Fourteen - 5.00


Best episode: The Trial of a Time Lord, Part One - 10.00
Runner-up: The Trial of a Time Lord, Part Eight - 8.00
Worst episode: The Trial of a Time Lord, Part Fourteen - 5.00

Season 23 average: 8.07

Best guest appearance: Michael Jayston as the Valeyard (The Trial of a Time Lord)
Best special effect: The Lukoser prosthetic (Part Five)
Best musical score: Parts 1 - 4 (Dominic Glynn)

Coming up next, the first of two memorial posts. Be seeing you soon.

(Modified from the original posted at Gallifrey Base on 5 June 2024.)

The Trial of a Time Lord [Doctor Who, Story 143]

Parts 1 - 4, by Robert Holmes
6 - 27 September 1986

 
My summons find me not in the Capitol, but tending to my garden. For delicate plants (and delicate Time Ladies, for that matter) the atmosphere in the Capitol can be decidedly poisonous at times. The rolling fields of burnished red at Mount Perdition's foot, the fields on which I was raised, provide a much healthier environment for the both of us.

My father hardly seems to notice I'm there. Others who know him have said he's never been quite the same since I was loomed from one important day of his. They say he unspooled, came frayed at the ends, when that day was removed. I suppose it's a lingering feeling of guilt that has kept me from moving away, even into my second regeneration. He refuses to ever leave my childhood home, saying that he's still waiting for a hermit to return, a Stranger who once lived in a cave on the highest peak. He's well into his last life, and has never lived recklessly. I assume he's been waiting for a very long time.

The missive is an unwelcome intrusion into this quiet life, and I eye it with a mix of resentment and suspicion. I'm no High Council emeritus, nor a member of any esteemed society. My work with my botanical specimens is my life, and I don't cherish any interruption to it. But still, an invitation to such august company isn't something one ever refuses, if one knows what's good for them. I accept, and take the next shuttle to the Capitol, whence I can board a waiting time capsule.

The Space Station Zenobia is impressive, even through the scanner. I've never seen it before, and the sight is awe-inspiring. Still, I can't help but wonder why we're so far out of the way, out at the very edge of Kasterborous. Usually even the most closely guarded trials are held at the Citadel. I put it out of my mind as I'm ushered out of the capsule.

I'm shown to Courtroom 1, where the Madam Inquisitor shakes my hand and thanks me for coming on short notice. I fidget in my tall, tall collar, projecting confidence and trying to seem like I belong, some small part of me still feeling like it's a mistake. After taking my seat with the other judges, I am finally briefed on the nature of the inquiry I'm about to sit in on.

Things begin to make a little more sense. The subject of the inquiry is none other than the Doctor. As a rule, I don't make a point of paying much attention to the activities of renegades, but I must confess to having a sort of soft spot for this one in particular. I know all about the Doctor, of course. His defeat of the Vardans and Sontarans took place when I was a child and left a rather strong impression. I've studied several more of his adventures, at least the ones that aren't officially censored. Blame it on that dash of the romantic that exists in me, buried deep beneath so many flower trimmings. The idea of seeing him in person intrigues me, but I school myself, trying to remember that I am supposed to be impartial.

Then the Doctor swans in, late, and I feel the needle swing the other way. His disrespect for the assembly is absolutely staggering - as is his dress sense. As the Valeyard's words wash over me, I harden my heart to my childish fancy and focus on adult business. Along with everyone else, I turn to regard the viewing portal to the Matrix as the Doctor's misadventure on Ravolox plays out before us.

I'm a little mortified at first. I don't remember the adventures I'd read as a child being quite so violent - or so laden with puerile humor. The bumbling Andromedan spacers almost - almost - break my composure. They are a little funny, even if I only admit it privately.

I feel an immediate kinship with the Doctor's traveling companion, who is very pretty, but perhaps more importantly a fellow botanist. I reflect that traveling through time and space would allow one to explore a far greater botanical realm, but if I had to keep such disreputable company, maybe it's for the best that I've never had the chance.

When a row begins over censorship in the Matrix recordings, I pay it little heed. The question of why the planet formerly known as Earth finds itself spacially out of place is not really germane to the issue of the Doctor's missteps. When the Valeyard moves to escalate the proceedings to a full trial, I listen attentively. Have the Doctor's adventures outstayed their welcome after all?

Parts 5 - 8, by Philip Martin
4 - 25 October 1986

 
Thoros-Beta seems so dazzling at first with its many colors, but its luster fades once the Matrix begins to look into its dark heart. There is such a depth of desparation and sentient misery going on in those caves that it almost chokes me, its thousands of slaves as distant to me as the creation of the universe, but so real on the screen.

It makes it all the more galling that the Doctor treats his companion so terribly as the events unfold. What a coward! Back in the courtroom, he claims that the evidence has been tampered with. Even I know that ought to be impossible, and I'm prepared to write the explanation off as mere desperation. But the clear confusion and pain on the Doctor's face gives me pause. Surely there's no chance that he's telling the truth?

My eyes remain riveted to the screen for the rest of the presentation. As grisly as the display is, I simply can't stop watching. When, in its course, it is revealed that the Doctor was performing a ruse after all, I relax a little. He did the same thing during the Vardan incident, did he not? But something still feels wrong.

The Doctor being forcibly plucked out of events before he has a chance to clean up after himself stuns me. I barely hear the Inquisitor saying that it had to be done, and am instead struck by the unfairness of it all. Especially when the second blow arrives, showing the fate of his charming companion.

"You... killed Peri?" He no longer seems to fill the whole courtroom, instead sounding so very small. My hearts break for him a little, and as we break for recess, I steal a glance at the Valeyard. Seeing a glint of smugness on his learned features makes me decide that his "evidence" is having the opposite of the intended effect - on me, at the very least.

Recess
During the recess, I steal out of the hall, hiking the far too long hem of my robes a little so that I can move with speed. I thus manage to prevent any of my learned colleagues from stopping me as I go to find the Doctor.

He is lingering down one of the long, labyrinthine halls spiraling out from the courtrooms, staring out the window. I doubt that he is actually paying much attention to the shipwrecks outside. He seems a million miles away. It takes him several moments to notice me standing nearby, his eyes faintly reddened and his expression guarded.

I clasp my hands in front of myself to try and seem as important as I have been dressed, but end up fidgeting instead. Anything I say will seem paltry, but I pick something eventually. "I'm sorry. About what happened to your companion."

There's an almost imperceptible softening in his gaze. "Yes," he answers, more to himself than to me. A confusion follows, though, as he looks at me strangely. "Have we met somewhere before, young lady?"

I blink, not knowing the answer. There's no way we could have. "I don't believe so."

The Doctor seems to shake it off after a moment, and sets his elbow on the sill of the window, lofting an eyebrow at me. His eyes are a most impressive blue, now that I can see them clearly. I try to focus on them instead of the outfit. "The judges aren't meant to have private discussions with the defendant, are they?"

"Well, no," I answer, gazing back the way I came. "But you don't have any of your friends here." No character witnesses, I suddenly notice, furrowing my brow. That is odd indeed, when it's the Doctor's character that is being impeached. "If they wish to censure me for it when I return, then I suppose they can."

He smiles, though it still has a sad tint to it. "You're welcome to be as disobedient as you like. Renegades are welcome here." I smooth my robe in embarrassment at that remark, and he looks back out into space again, pondering. "I think that this may really be the end for me. Maybe it's time."

"Don't say that," I protest, shocked. "I've read all about you. I know the good you've done." To my surprise, I find that I mean it. How quickly my opinion has solidified! I'm more surprised that the realization doesn't shame me.

"And the ill?" he asks with an ironic lilt to his voice. "Oh, I'm not quite the man I used to be. I was so sure of myself when I reached this regeneration. Sure that I would do such great things, such that all my previous could not compare!" He bows his head, forehead pressed to the window. "But where has that bragadocious swagger, all that vim and vinegar, gotten me? I seem to fail more often than not these days, each adventure claiming a greater toll in lives than the last. All faded glory, and missed chances. The autumn of my life... I'm starting to think that the universe doesn't need a Doctor anymore."

"But that's all in the past," I cut in. "Those adventures may have been written already, but what of those yet to come? I think the future may vindicate you. You just have to fight long enough to see it."

He rises up, realization shining on his broad face, obviously having heard something in my words that I did not. "But that's it, dear lady! Of course, that's it!" He turns to me laughing and pats me boisterously on each shoulder, jostling my collar. "Do pardon me, but I have much to do before the recess is over."

He begins to rush off and I turn, bemused, to watch. He stops before he's fully out of view to shout back: "... And thank you very much!"

I shake my head and slowly wend my way back to the courtroom, hands folded in my sleeves and posture as upright as I can make it. The Inquisitor raises an eyebrow at me, but says nothing as I go to sit. The Valeyard's cool gaze is more difficult to ignore, but I try gamely anyway as we wait for the court to return to session.

Parts 9 - 12, by Pip & Jane Baker
1 - 22 November 1986

 
The Doctor is all firm resolution when he strides back in after the end of the recess. I'm not at all shocked when he brings forward a Matrix recording of future events for his defense. Perhaps unsurprisingly, there is legal precedence for this in Gallifreyan jurisprudence, but it is still a bit fascinating. It's with more than professional concern that I turn to regard the screen when the events begin to play.

Once again, my botanical interest is piqued, though my reaction becomes stunned horror as soon as I actually lay eyes on the so-called Vervoids. How vulgar-looking they are! Still, I reflect sadly that the Doctor's late companion might have gotten something out of this adventure. His new friend, another Tellurian woman with a big personality, seems capable enough, but her scream almost jostles me out of my seat.

All things considered, the Doctor behaves admirably in the recording. His concern for his friend, and for the lives of the crew of Hyperion III, shine through. It seems clear enough to me that he went in with the expectation that his assistance was specifically requested, and acted in the knowledge that, had he not been there, things would have been much worse.

I wonder what the Valeyard's counterpoint will be, until I see him rising in a great fury, his eyes flashing with victory. "The charge must now be genocide!"

My jaw drops, and a murmur rushes through the proceedings. I find it an absurd charge; I know a thing or two about dealing with weeds, and the Doctor's point that his inaction would have led to the destruction of the Tellurian race is a good one. But can it stand up in the face of the law? I worry about the answer...

Parts 13 and 14, by Robert Holmes, Eric Saward, and Pip & Jane Baker
29 November - 6 December 1986

 
After a short break of necessity, the Keeper of the Matrix is bundled into the room to account for the Doctor's accusations of tampering. He swears up and down that no tampering could have taken place, leaving the Doctor with little wiggle room unless witnesses can somehow be produced. A glaring omission from these proceedings which I noticed earlier, but at this late stage I'm not sure if any can be scrounged up.

Accordingly, I am a bit flummoxed when Sabalom Glitz and Melanie Bush suddenly stride into the room. So, it seems, is the Doctor. Scarcely do they have their introductions out of the way before a malevolently smiling face with an urbane voice appears on the Matrix monitor. It was he who summoned the two witnesses, to intercede on the Doctor's behalf — despite their long antipathy.

I'm bewildered when I realize that most in the courtroom don't seem to know who the man is. The assassination of Lord President Pandad was before my time, but I still know about the Master's part in it all too well. I start to wonder just how much the most wise and learned members of Time Lord society actually read their history.

So distracted am I by this thought that I almost think I mishear the Master when he refers to the Valeyard as Doctor. Suddenly the proceedings take on a new tinge, and the Doctor's expression of sheer horror is a good echo of what I feel. I, and all of my fellow jurors, were used in a power play by the High Council? I feel shaken to my very core.

The news scarcely has time to sink in before the Valeyard has made a run for it, the Doctor and Glitz hot on his heels. Confused and fearful chatter echoes through the chamber, while the Master continues to exposit on the events that have transpired without our knowing. He soon excuses himself, however, allowing the screen to track the Doctor through the Matrix. We rejoin him just as he's ensnared in a false courtroom scene where his guilty verdict is delivered. His companion rushes off to his rescue, and soon the Doctor is exploring some absurd factory again, rubbing his chin at a list of names.

"... Of Time Lords attending my trial," he muses. "Every member of the Ultimate Court of Appeal, the supreme guardians of Gallifreyan law. The handwriting..."

"It's yours!" Mel says, breathless.

"And there's another thing," the Doctor continues, raising his eyebrows slightly. "There's one name too few on this list. Someone in that courtroom is not supposed to be there."

A hush passes over the room, the words on the screen sending a ripple through all present. I shrink in on myself a little, that feeling of unbelonging waxing once more. I knew it was a mistake. Will I be punished for hearing state secrets, even if it was quite against my will?

The revelation does not have time to sit fully before the Master takes over the screen again, while the Keeper returns to inform us that the High Council has been deposed by a mass uprising on Gallifrey. It appears that the Master has broadcast the whole trial to the interested public in order to overthrow the Council. That settles my worries about impending arrest a little bit, but opens a whole new set of problems. What in the stars will happen to us now? We can never let this... this villain take over Gallifrey!

We are saved from that fate when some calamity befalls the Master, and Mel rushes in, urging us all to evacuate. I barely make it halfway to the door before the screen above us shatters, and I hit the floor, ducking beneath the pews. The acrid smell of ozone fills the air, but blessedly, not the sounds of the dying. I laugh in disbelief when I look up and find that everyone has survived.

I feel a hand on my arm and realize it's the Inquisitor, helping me to my feet. I shy away from her gaze a little, but she only smiles before looking around and recalling all the judges now that the danger has passed. When the Doctor does return, a few minutes later, it is to the happy news that the trial has been called off, and himself cleared of all charges.

I beam with satisfaction, but only moments pass before the Doctor moves to escape yet another unwanted presidential bid. He brushes past me as he goes, and I think to give him a word or two about his conduct before I notice a slip of paper that has been slipped into my hand. I uncrumple it and read:

Dare to think differently!

— D​


Laughing openly and not caring who notices, I stand there with it a moment. But time runs short, and I'm very eager to get home, to the comforting hush of wind in the grass, far away from this place.

I never notice the pair of eyes coolly following me as I go, gazing out from under the Keeper's skullcap.


 (Modified from the original posted at Gallifrey Base on 4 June 2024.)

Sunday, June 2, 2024

Slipback [Doctor Who, Diversion 47]

 Slipback by Eric Saward
25 July - 8 August 1985

So, in the absence of the originally planned Season 23, what did fans get during that hiatus in its place? Encouragingly enough, fans of the Sixth Doctor could get their fix in the form of a full-cast audio drama on BBC Radio 4. So we stay in the audio realm, but slip back (ha, ha) to an earlier point in time, well before Big Finish, or BBV for that matter.

We also fall back into the hands of a writer who is fundamentally sort of disinterested in the Sixth Doctor and in Peri, which is a bit of a shame. There were obvious touches of 21st century character writing in the audios I just finished, and losing that feels like a bit of a downer. If this was like Revelation, where there was a strong cast of side characters and a strong core story to distract from this, then I wouldn't mind. Unfortunately, Slipback is only an hour long and doesn't have any idea how to pace itself. Even if it did, there's just not very much there.

Sure, there's the comic duo of Snatch and Seedle, who are a bit of fun, and the whole concept of the computer with competing personalities working toward different goals, but what else, really? Another lecherous alien perving after Peri? The story doesn't lack in incident, per se, but it doesn't have the time (or the good pacing) to make use of it.

The most unforgivable thing in my eyes is the ending of the story. A Time Lord Skype calls in from Gallifrey and tells the Doctor to stop trying to save the ship, because it's about to go back in time and cause the Big Bang. The Doctor slaps himself on the forehead, saying oops, silly me! All but calling himself a fool for trying to help others. Just another example of Saward's dislike for the character coming out, more blatant the last.

It's nice that there was Doctor Who being released during the hiatus at all, but I can't say that I'm glad to have listened to it now in the 21st century. But, enough of that. I've just received my summons for jury duty, and The Mysterious Planet is (finally!) next.

(Modified from the original posted at Gallifrey Base on 3 June 2024.)

Doctor Who, "Season 23"

 

This has been an interesting walk down a path untraveled. Some Season 23 story outlines were never adapted in this format, and a couple of stories included were never exactly intended for the original Season 23. What we have here instead is a weird Frankenstein hodge-podge.

Thanks to the able work of Big Finish, it feels like they do make up a sort of cohesive season with a similar tone. Colin and Nicola always give it their all, elevating even the worse material. I can't blame Big Finish too much for the bad ones, since they're based on old drafts. Can't polish turds into diamonds, after all. The good ones transcend those limits, and probably would have been Colin classics if their TV counterparts had resembled the audios at all.

In the alternate reality where Season 23 came out looking like this, would it have been better or worse than Trial of a Time Lord? I have no way of knowing yet; Trial is now the last season of Doctor Who that I've never seen before. I'll need to check it out and make that judgement for myself.

Here's the score breakdown.

The Nightmare Fair - 5.00

Mission to Magnus - 2.00

Leviathan - 7.00

The Hollows of Time - 8.00

Paradise 5 - 8.00

Point of Entry - 9.00

The Song of Megaptera - 8.00

The Macros - 5.00


Best episode: Point of Entry - 9.00
Runner-up: Paradise 5 - 8.00
Worst episode: Mission to Magnus - 2.00

"Season 23" average: 6.50

Best guest appearance: David Garfield as "Professor Stream" (The Hollows of Time)
Best mental image: The green rust consuming the fog-laden USS Eldridge (The Macros)
Best musical score: Paradise 5 (Simon Robinson)

Before I do discover what Trial has in store, however, there's just one further stopping point on the way. Slipback is next.

(Modified from the original posted at Gallifrey Base on 2 June 2024.)

The Macros [Doctor Who, Diversion 46]

 The Macros by Ingrid Pitt & Tony Rudlin
June 2010

 
 

One thing about all these Lost Stories is that they're somewhat on the longer side. With many of them running over two hours, it can be a bit of a time commitment, though generally they have enough incident to make up for this. Even though The Macros is significantly better than Mission to Magnus, I regret to say it's the first of these stories that really has noticeable pacing issues.

I was a little surprised to find that the story is based on the "Philadelphia Experiment". This is an urban legend I've heard since I was a kid, so it's pretty amusing that Doctor Who took a spin at it. The opening minutes on the deck of the USS Eldridge call the beginning of Carnival of Monsters to mind and are genuinely quite creepy and unsettling. Accordingly, I was disappointed when this aspect of the story fell out of focus and we started to get scenes on an alien world.

Capron isn't exactly the most lovingly sketched world we've ever seen in Doctor Who, and the characters failed to stick with me for the most part. The closest is the villain, Presidenta Osloo, who is at least entertainingly evil. The rest flitted away from my mind almost as soon as I was done.

As soon as the story shifts primarily to Capron, things become much less interesting, with the sole real highlight being Peri getting mistaken for an opera singer and getting ushered out on stage in front of thousands. As a true fan, I remember Nicola's contribution to Doctor in Distress and immediately know where this is going. Hilarity was had by all. It was also nice to hear Peri talk about what parts of traveling with the Doctor she actually likes, something which is far too rare. That scene was very nice.

Otherwise, there's not a whole lot else to recommend here, except the bonkers ending that prefigures Boom Town. (Or does it post-figure it? I'm never sure what was part of the original script or outline and what was a latter-day Big Finish invention, for these things.)

Altogether a somewhat disappointing note to end this range on, for now. Don't go anywhere; our round-up for this alternate Season 23 is coming up now.

(Modified from the original posted at Gallifrey Base on 2 June 2024.)

The Song of Megaptera [Doctor Who, Diversion 45]

 The Song of Megaptera by Pat Mills
May 2010


As I near the end of this pseudo-season, I've begun to get a little twitchy, looking forward to returning to TV again. Still, not one to let impatience get the better of me, I sat down last night and listened through the last two Lost Stories audios.

In case we forgot this was the Eighties, here's a save the whales story. In fact, The Song of Megaptera has a pretty long and strange life, since it was proposed as a script for the Fourth and Fifth Doctors as well, but obviously never made it to screen. Pat Mills is best known as a comic strip writer, and I can kind of see that here. This script is a witty one, and certainly loves its humorous dialogue.

The first scene of the TARDIS team opting to save the Galeen and then getting caught in the Orcus' disassembly system is really good. We start to get to know the ship's crew pretty early on, and they end up being one of the better casts of side characters in this range. My favorites are the gung-ho Chief Engineer and the rather neurotic computer. I had myself a good laugh of disbelief when it started spouting post-Nineties video gamer jargon as a result of a virus.

One detail which appeared in the previous story, but which I failed to mention, is the Doctor's trusty new tool, the sonic lance. A version of this tool appeared back in Attack of the Cybermen, but I must have already been rendered near-vegetative by the time it came out, because I didn't notice. It is interesting that after the effort taken to remove the screwdriver from the Doctor's kit, a similar tool was just brought back again for Attack. I wonder if the usage in these audios is a part of the original plan for this season, or if it's just a case of the audio adaptations taking a page from the New Series playbook.

Poor Peri is put through the wringer again, almost getting herself Hoothi'd by a Touthon and reduced to delirium as she begins to go all fungal. Nicola does a good job with the dialogue she's given there, including her plea to the Doctor, "Can I still be your friend even though I'm turning into a mushroom? I can still grow on you if you let me." Aw, bless. There are some other memorable Peri moments in this story, including her happily talking about her little cousin, Peter, the bit where she cheekily accuses the Doctor of chauvinism when he blames the TARDIS for getting them stuck in messes, or when she talks about going to a Slayer concert.

Perhaps the biggest topic to talk about here is environmentalism. This is a subject which already came up in Doctor Who as early as Planet of Giants, way back in 1964, but also notably in 1973's The Green Death. The Song of Megaptera isn't a much more subtle commentary than either of these, and it wears its convictions on its sleeve.

The clearest statement of its ethos comes in two halves, one from the first part of the audio, and the other from the last. Toward the beginning of the story, the captain defends his whaling practices by saying that they make use of every part of the whale. "Everything but the song," the Doctor mournfully replies. And then, toward the end of the story, the captain justifies the deaths of people as collateral for his last hunt by saying, "Parasites, protein, people... Not much difference at a molecular level." We could say, then, that the story is acknowledging a dimension beyond the merely physical that makes nature worth more than its simple material value - a worth measured in beauty, diversity, and enrichment of the spirit.

All in all, as heavy-handed as it can be, the message is a positive one, and the story itself is very charming. I enjoyed it a great deal. The Macros is next.
 
(Modified from the original posted at Gallifrey Base on 2 June 2024.)

Thursday, May 30, 2024

Point of Entry [Doctor Who, Diversion 44]

 Point of Entry by Barbara Clegg & Marc Platt
April 2010

That's quite a dream team there in the authors line! What should have been Barbara Clegg's sophomore Doctor Who story is fixed up and adapted for audio by Marc Platt of Ghost Light fame. Maybe I was biased from the start, then; I thought this was a stellar story.

Somehow managing to mix together both Elizabethan England and Aztec legend, Point of Entry is a dream come true for a history nerd like me. Using Kit Marlowe instead of our old friend Shakespeare as our celebrity figure this time around is a nice choice.

While I don't know a whole lot about Marlowe except that he (probably) moonlit as a spy, he's sketched really well here, his darker side that brought Doctor Faustus into the world coming out in full force under the malignant influence of Lorenzo Velez and his Omnim masters. He seems willing to do almost anything to continue seeing glimpses of past and future in order to fuel the spark for more plays, such that he's almost an antagonist himself at times, albeit a tragic one. His lamenting about selling one's soul for the sake of fame is, in this case, quite literal.

It would be remiss of me to review this story without invoking its older cousin, The Aztecs, from way back in Season 1. Although the stories don't have a lot linking them on the surface except for the Aztec connection itself, there is at least one thread that I can trace between them: imperialism and violence it brings.

Secondary antagonist Sir Francis Walsingham points us in the direction of these threads in a couple of different ways. Firstly, I note that his position as spymaster and interrogator (only one of his many, many roles at Elizabeth's court) reminds me a little of our old friend Tlotoxl. Although he's no priest, Walsingham seems just as convinced that his various tortures, bloodlettings, and sacrifices keep the machine of state running. Their roles aren't as different as you'd first assume. The Doctor draws the comparison himself after finding "Mad Jack" with his mutilated tongue, bemoaning the barbarism of this allegedly civilized time and place.

Walsingham also, humorously, tells the Doctor with arch superiority that England isn't the one that victimized Spain by sending an Armada against it. This is funny in particular because, although it's never mentioned in the story, Elizabeth did send her own "English Armada" the year before this story was set in order to press the advantage from the defeat of the Spanish Armada and raid the Spanish treasure fleets. It was a military disaster, to put it mildly. The listener who knows history will understand that this epoch didn't really see plucky underdog England surviving the cruel assaults of the continental superpower of Spain; their long stretch of wars in this period were a conflict between two imperial powers over who would get the greater share of the world's plunder. The supposed Elizabethan golden age, whose luster is tarnished in this story's eyes, was built off of this piracy.

The treasure fleet connection is appropriate, as it's English raids of Spanish ships which ultimately bring the story's central artifact, the Aztec dagger forged from an Omnim meteorite, to England, importing the bloodshed it once wrought on hapless sacrificial victims to a new setting - virgin soil, you might say. The visions that play of London descending into chaos, the Thames running red, and the Virgin Queen herself being led out for the sacrifice are all very striking images which stick with the listener for a while. I also note Peri's turn impersonating Elizabeth, which is just wonderful, particularly her knighting of an unsuspecting sailor, much to the Doctor's chagrin. This is also a send-up of the iconography of this period, albeit a more humorous one.

I may just be making connections here where none actually exist, but considering Platt's acerbic commentary on imperialism in Ghost Light, I'd say that I'm at the very least onto something.

Leaving aside all thematic questions for the moment, the story is admittedly a little on the long and slow side, which I saw was a bit of a sticking point for reviewers online. I really didn't take issue with this at all, as I thought a slower and more methodically paced story was appropriate for sketching the historical setting and characters in as much depth as they deserved. It felt more like a long, pleasant walk to me than a dragged-out crawl as some reviewers would suggest.

Velez is a fantastic villain, played with relish by Luis Soto. His progressive skeletonization through the course of the story is awesomely ghoulish stuff, but probably never would have flown on TV... Nor could they have pulled off the - so garish it's actually wonderful - metamorphosis of Velez into Quetzalcoatl at the climax of the story.

Colin and Nicola are as on fire as they always are in their audio appearances together, and both get due focus and some damned good writing here.

I can't imagine a world where this serial actually got finished and broadcast in 1986, but its inclusion more than justifies the existence of this Lost Stories range, both as a look at what might have been, and as a fantastic audio in its own right.

The Song of Megaptera is next.

(Modified from the original posted at Gallifrey Base on 31 May 2024.)

Paradise 5 [Doctor Who, Diversion 43]

 Paradise 5 by PJ Hammond & Andy Lane
10 March 2010


"Life is what happens to us while we are making other plans." - Allen Saunders​

I was a little surprised when the above quote popped up in Paradise 5. It wasn't in this exact format, but rather, "Life is what happens when you're busy making other plans," a variation popularized by John Lennon's song Beautiful Boy. It jumped out to me because of my recent Lennon review, but I think it's a pretty good summation for this story's ethos. Paradise 5 takes place on a space station where guests dream their lives away... quite literally, in fact.

Interestingly, the Doctor and Peri decide not to just show up somewhere for once, and instead put some thought into infiltrating Paradise 5, whence yet another of the Doctor's very old friends(!) disappeared some time ago.

Peri takes the most risk by getting herself hired on as a hostess, putting herself under the scrutiny of sadistic station manager Gabriel, played by a certain Alex Macqueen. Peri gets a lot of great scenes due to this higher focus on her. My favorite is a moment where she confides in a fellow hostess that she feels some anxiety about when she'll get to start deciding the direction of her own life, something I think we really could have stood to see with her TV counterpart.

The slow realization that the Cherubs are former guests who have been converted into forms that can no longer speak is a chilling one, in particular the case of one Cherub who has been helping the Doctor, whom we learn to be the Doctor's friend, Albrecht Thompson. There's a fair bit of body horror inherent to this, and it makes for a nice, dark touch.

The alien villains of the week, the Elohim, are visually and conceptually quite cool. I wish we could actually see them for real. Their illusory garden has a serpent in it - because of course it does. Kinda all over again, just with less Buddhism.

The guests, beaten down by the humdrum of workaday life on Targos Delta, a planet so focused on finance that it's all but made of futuristic ticker tape, seek escape and seclusion from other people on Paradise 5. In the process, they lose themselves in a false Eden, some even physically regressed into childlike bodies. Escaping from the real world is something we all need from time to time - but it is possible to go so far that you never quite return.

My thoughts on this one are almost as disorganized as my notes, so I'll leave it at that. I really enjoyed Paradise 5 and think it's the strongest of the set so far. Point of Entry is next.
 
(Modified from the original posted at Gallifrey Base on 30 May 2024.)

Tuesday, May 28, 2024

The Hollows of Time [Doctor Who, Diversion 42]

 The Hollows of Time by Christopher H. Bidmead
18 February 2010


In keeping with the first two stories of this lost season, The Hollows of Time also brings back recurring villains. In this case it's the Tractators and the Gravis, and... hm... what was that fellow's name again?

The continued usage of recurring villains is unsurprising in light of the continuity-laden Season 22, but I have already sort of gotten tired of it. Having a story in Leviathan where there were no recurring characters (albeit in a rather familiar setting) was somewhat refreshing. I didn't dock points from The Hollows of Time for having these recurring elements yet again - mostly because I rather like Bidmead's writing - but I am raising my eyebrow and wondering how many more of the others will do the same.

Taking place principally in a small English town, it is interesting and a little refreshing to see the Sixth Doctor interact with everyday people. Ones that aren't aliens, at any rate. Scenes like the jumble sale, or Mrs. Streeter fussing over Reverend Foxwell, or the Doctor getting stuck in a rose bush are all quite charming.

The guest cast are a little more memorable than Leviathan's, but whether for good or ill is in the eye of the beholder, I'm sure. A young boy named Simon is the most constant companion to the Doctor and Peri through this story, and a lot of the negative reviews I've read mentioned how annoying he was. Child characters don't really faze me, so my experience wasn't the same as theirs. Just the same, I did slap my forehead a few times when he manages to get them into trouble.

Foxwell and his supposed former Bletchley Park colleague "Professor Stream" call to mind The Curse of Fenric, particularly the latter's story of losing the use of his legs after a sporting accident. I wonder if concepts from this were reused?

The Tractators end up being more of a plot device in the end, with the conflict principally surrounding Stream's attempts to hijack the Doctor's TARDIS, first by way of his red herring chauffeur android, and then himself once the mask comes off. I admit, with some small shame, that my first suspicion when I heard about a car traveling in the time vortex was, "Drax?" I really am too far gone. I was on the right track once I heard "My dear Doctor..."

The story is framed as an imperfect recollection of the Doctor's and Peri's after the completion of the adventure, with narrative inserts inside the TARDIS. Due to the necessary decision to never properly reveal the real identity of "Stream", this lends some ambiguity to the story that probably helps it overall in the end. It's a mess, but an intriguing one. I'd probably call it my favorite of this pseudo-season so far.

That's it for now. Paradise 5 is next.

(Modified from the original posted at Gallifrey Base on 29 May 2024.)

Leviathan [Doctor Who, Diversion 41]

 Leviathan by Brian Finch & Paul Finch
21 January 2010


By this point, Doctor Who is no stranger to faux-medieval settings. The Androids of Tara, State of Decay, and even the non-official Visions of Utomu have all passed us by over the course of this marathon. It's not really anything new by the time we get to Leviathan, so I was a little skeptical from the off. However, being something of a fan of Celtic horned deities, the presence of Herne the Hunter was enough to make me tentatively interested.

I was pleasantly surprised. While the side characters and even the villains aren't really too memorable (though I did enjoy the spiky Eada), this story's setting on a massive spaceship with a world in its bowels (the titular Leviathan) is a little different from the previous two instances and definitely a cool mental image. This is sort of the same idea as The Ark way back in 1966, and it would also turn up thirty-one years later in World Enough and Time/The Doctor Falls, which is a fun coincidence.

The slow revelation that the people in this place are either clones or their robot minders is handled pretty well, and the scene in the "recycling" chamber certainly leaves an impression, as gory as it is. Herne, most likely derived from an ancient hunting god, is a part of the cultural imagination of Britain, as in fact is the entire setting; much is made of the fact that it's a rather poor recreation of the real 11th century, with its flimsy castle walls and good white bread.

My favorite part, all things considered, is that our two regulars are handled quite well here. Not very much like their TV counterparts up to this point, granted, but in this case that's not exactly a bad thing. Peri plays a more active role in the story than usual, and the usual bickering is basically nowhere to be seen. I quite like the Doctor here as well; his moral outrage feels a little more real than usual. When a dying boy implores him with his last breath, "Someone must..." it is only proper that the Doctor's quiet but strong reply is "Someone will."

All things considered, I don't know what this would have been like on screen, but I certainly like it here. Thumbs-up. The Hollows of Time is next.

(Modified from the original posted at Gallifrey Base on 28 May 2024.)

Monday, May 27, 2024

Mission to Magnus [Doctor Who, Diversion 40]

 Mission to Magnus by Philip Martin
9 December 2009


It occurs to me that it has been rather a long time since we saw the Ice Warriors. The last time was The Monster of Peladon way back in 1974, and they're not due for another appearance until the 50th anniversary's Cold War in 2013. They land firmly among the ranks of Doctor Who's B-listers, recurring over a long period of time but with much fewer appearances than the likes of the Daleks and the Cybermen.

As I listened to this audio, I gradually realized that this might just be because the Ice Warriors are hard to make something really interesting out of. It's rather easy for them to be flattened out into very generic enemies by an author who doesn't have a clear idea of something different to do with them.

They might as well be cardboard in this story, and they're not even the worst part of it. Pride of place there would go to this audio's absolutely appalling gender politics. The planet Magnus was apparently afflicted with a virus many years ago which reacted to sunlight with lethal effects, but only seemed to affect the male population. A matriarchy has taken charge of the planet as a result. They find themselves in conflict with the Salvacians from a nearby planet, who while not an exact counterpart to the Magnusians do appear to have mostly men in positions of power.

The commentary surrounding this conflict is unbearable, and only gets worse at the end of the story after the conflict between the two groups is resolved by uniting against their common enemy, the Ice Warriors. Ishka, the leader of the Salvacian war party, offers to marry Rana Zandusia, the leader of Magnus, in order to rebuild the planet, and suggests they should marry more Salvacian men and Magnian women together because, well, things would just be better that way. Ugh.

The virus plot is resolved as a mere afterthought, with an antidote turning up late in the story, but the Doctor also offhandedly mentions that the virus might have been killed off by the planet's climatic fluctuations anyway. Awfully convenient, isn't it? By that point I'd already long since checked out of the story. Sil is fun to have around but only has a side role, the Ice Warriors bring nothing worthwhile, and the central plot line about the gender conflict just made groan. As a minor gripe, I was flummoxed by the Doctor still being afraid of his old bully from the academy, Anzor. How completely out of character is that?

To be brief: an irredeemable mess. I'm eager to get away from it and listen to Leviathan next.

(Modified from the original posted at Gallifrey Base on 27 May 2024.)

The Nightmare Fair [Doctor Who, Diversion 39]

 The Nightmare Fair by Graham Williams
12 November 2009

Talk about death in Blackpool. Eh? Eh?

Ahem. The Nightmare Fair marks the start of our might-have-been Season 23, for which I'll be using the Big Finish audio adaptations. It was interesting getting to this so soon after the broadcast of The Giggle, which took the torch from this canceled story in terms of reintroducing the Toymaker.

It has been a while, but you might remember that I didn't exactly get on with The Celestial Toymaker back in 1966. This wasn't because of the concept of the Toymaker, which I always thought was pretty cool, but because of the absolute dog's dinner of a script that serial had. Setting a sequel almost sixty years later seemed like the correct decision to me, since plenty of time had passed, allowing the crappiness of the original serial to recede far out of the collective memory, and allow its iconography to take on a new life.

So how does The Nightmare Fair, which would have been broadcast 20 years after The Celestial Toymaker, measure up exactly? I have to say, the setting is inspired, and I would have loved to see this in motion. The idea of incorporating video games into the Toymaker's ploys is definitely fitting for 1986, and feels like a natural evolution for this new epoch.

The ingredients are here, so it's a shame that the story ends up a little on the disappointing side. While by no means terrible, there just wasn't a whole lot to keep my interest, since it seemed like the plot moves at a bit of a stop-and-start, occasionally arriving at interesting scenes, but occasionally sitting stock-still.

The best part are probably the Toymaker's various captives, who are colorful if not exactly greatly fleshed out. The themes of dealing with the crushing boredom of immortality were an interesting angle which I might have liked to have seen explored in a better story. As it is, I only think this one was sort of middling, and suffers from never having the visual medium it was originally intended for.

I don't have much else to say about that one, so let's move on to Mission to Magnus next.

(Modified from the original posted at Gallifrey Base on 27 May 2024.)

Tuesday, May 21, 2024

Seattle International Films [Doctor Who, Diversion 38]

 Seattle International Films
Barbara Benedetti as Doctor Who, by Ryan K. Johnson, Cheryl Read, and T. Brian Wagner

So, here's something a little unconventional for a marathon of this kind. Covering this was not actually a part of my original marathon scheme, but I was unexpectedly contacted by a friend and fellow fan about this quartet of fan-made videos last week. So I figured that as long as I was watching them, I might as well make a thing of it and analyze what they're doing.

For some background, Seattle International Films is for all intents and purposes Ryan K. Johnson. A prolific filmmaker, he's actually still working today. In the 1980s, he, like many American science fiction fans, started to become aware of Doctor Who for the first time, as the show was rapidly gaining popularity in the country. This was partly in response to John Nathan-Turner's vigorous efforts to court the American audience, but it had already been growing in the Seventies, perhaps just an inevitable consequence of the lack of a language barrier. (Well, most of one anyway.)

Motivated by an upcoming fan film competition at the World Science Fiction Convention in LA (Worldcon), Johnson sought to set his project apart from the crowd by creating something that had never been done before: a female Doctor.*

For the lead role, he chose Barbara Benedetti, a Seattle native who was 31 years old at the time and a veteran actor of the stage. She had no idea what Doctor Who even was when acting in the first film, 1984's The Wrath of Eukor, which makes it all the more impressive that she seems to inhabit the part quite easily. She starts off fresh from the Colin Baker Doctor (seeming to place her as an alternate Seventh Doctor), dealing with a strained regeneration in 1911 London. There we also meet her companion Carl Evans, an Edwardian chimney sweep, played by fellow stage performer Randy Rogel. **

Once she's settled in, she acquits herself quite well. I particularly think of the moment where, when menaced by wigged-out Vietnam vets in the forest (the sort of plot you'd only really get in an American production like this), she fearlessly thwaps one of them on the head with her umbrella and tells them off, ultimately getting them on side. Her proud "I am the Doctor" moment toward the end of the story is also very nice. The bits in between are a bit messy, as the alien threat, the eponymous Eukor, doesn't leave much of an impression. But aside from that and some interesting attempts at accents (easily ignored in the interest of reciprocity, considering what Nicola Bryant was doing on the actual TV show at the time) I found the first story rather entertaining.

The crowds at the conventions that The Wrath of Eukor was shown at must have agreed, because this film would spawn three sequels. The next of these is Visions of Otomu from 1986, which sees the Doctor and Carl on their first off-Earth adventure. The shift to exclusively on-set filming definitely strains the capabilities of the production a little, as the quasi-medieval backdrops look a little dog-eared and end up being distracting. The characters aren't much to write home about either, with the "reverse Leela" Princess Aldraina probably being the most memorable.

There are some parts of Visions of Otomu I quite liked however, such as the eponymous villain drawing from a tarot deck and finding the Doctor to be 0 - The Fool, which is apropos. As she seemingly exists beyond his ability to scry, he's unable to glean anything useful about her movements. There's also Carl gaining a penchant for eating junk food and watching TV, as we see him enjoying Singing in the Rain. Such are the inevitable effects of modernity on poor, unsuspecting historical companions, so often unexplored. Later on the Doctor succeeds in hypnotizing him to react to the words "Gene Kelly" to make him dance and sing. Surprisingly, he ends up being pretty good at it. "I'm better than I thought!" she remarks in astonishment, earning a good laugh from me.

While both of the first two films are good fun, the productions get noticeably better and more confident as they go, with the first standout being the third, 1987's Pentagon West: A Doctor in the House. This one feels quite different, which is partly because it wasn't originally a Doctor Who fan film at all. Intended as a pilot for an unrelated sci-fi series, Johnson ultimately decided to put the Doctor and Carl into it, albeit in a slightly reduced role that makes this resemble a "Doctor Lite" story.

Instead we follow a cast of five university students (graduate students maybe - they seem a bit on the older side) at an unnamed university, presumably in Seattle, who are curious about their professor's claims to have discovered a miraculous cure for cancer. As the Doctor noses around however, they discover that their professor, a man named Dr. Komar, is being influenced by a mysterious force from another dimension. The thing is, it actually does work as a cancer cure, and we discover that Komar desires it because of his own inoperable cancer. This is heartbreaking in hindsight, for reasons I'll remark on later.

However, as it appears that letting this energy run rampant could risk destroying the entire universe, the Doctor is compelled to stop Komar. He dies in the process and the potential cure is lost, leading the Pentagon West crew to call the Doctor out. Her response is interesting and, I think, quite Doctor-ish:

DOCTOR: I can live with what I did – what about you? Now that this has happened, what are you going to do tomorrow?​
The story ends in a bit of a rush, but it genuinely impressed me a good deal. By this point however, opportunities to explore this version of the Doctor were running short, as both Johnson and Benedetti were starting to feel the fatigue. The next story, 1988's Broken Doors, would be her Doctor's swansong.

The first sight that greets us in that film is a quarry. Yay!! Finally! It really was proper Who after all. The Doctor and Carl are lost, but follow a bouncing orange (a running gag with the production) into an abandoned structure where they find an ominous note assuring them that they will find only what they bring with them ahead. After stepping through a door, the pair are separated, with the Doctor in a white room with a grid on the floor and Carl in an open field somewhere.

The Doctor proceeds to repeat the floor game from Death to the Daleks or Pyramids of Mars or The Five Doctors... again. Which I could honestly only interpret as pastiche, and duly laughed at. The proper sequence of letters to step across it safely is "DEATH", natch. As she throws jelly babies to suss out the bad squares, we see Carl dodging matching explosions on his end, suggesting that the two places are somehow connected.

With the grid out of the way, both of them emerge into a darkened room full of suspended mirrors. It's all obviously on the cheap, but the atmosphere and the lighting help to make it feel genuinely eerie and surreal. On Carl's end, he finds a laser pistol and is menaced by an armored knight, while the Doctor encounters a masked figure known as "the Manager" who introduces himself as "the totality of all your hopes, dreams, and fears." He confirms that the Doctor and Carl have ended up in an alternate dimension. The consciousness she speaks with is actually the gestalt or manifestation of this dimension itself, who professes to enjoying setting challenges for its visitors.

It says she has won, and bids her to come and claim her prize. As she steps closer, a mirror turns and reflects the light in a strange way, and we find ourselves in the same room, but now with Carl warning the knight not to come any closer or he will shoot. In one fateful instant, Carl does, and the illusion fades - leaving him to realize that they've both been tricked, and he's just shot the Doctor dead.
MANAGER: The game is never over, Doctor. And the prize is never won.
MANAGER: Broken doors. Broken dreams. It's all the same thing. A door's purpose is to conceal the contents of the room, and dreams are the doors of the mind.

With those ominous words, we find the Doctor and Carl back on the TARDIS again, as if they had never left, while the Manager grins and pulls down its hood to show Benedetti's own face. A distraught Carl watches as the Doctor becomes a new man, bringing this adventure to its final end.

I must note that the actor the Doctor regenerates into - Michael Santos - is the same actor who portrayed the Manager, and Komar in the previous episode for that matter. I smell a body-snatching conspiracy! Or so I'm tempted to speculate. We'll never know where the story might have gone after this, as Broken Doors was the final Who project from Johnson.

The timing is somewhat appropriate, as the project reached its sunset at about the same time that Classic Who did. And despite clearly being an amateur production, I think that these films did an excellent job of capturing the energy and tone of Classic Who, with the latter two stories in particular being well worth watching.

The presence of a female Doctor is also very noteworthy, as aside from a couple of wisecracks about hormones in the first story (me too, sister), it's barely ever made relevant to the story. I think it's quite forward-thinking that these fans, and the actress of course, were able to realize all the important aspects of the character in a recognizable way, thirty years before the actual show tried its own first female Doctor.

Sadly, Broken Doors would be one of Barbara Benedetti's last projects. She passed away in 1991 at the tragically young age of 38 after a battle with cancer, and is remembered fondly by those who worked with her. It's unfortunate that, as most of her roles in her career were on stage and she did very few recorded performances, it's impossible to see most of her acting parts today. I think she was a quite capable actor and would have liked to have seen more from her.

Although these films, and so many other fan projects of the burgeoning fandom in the Eighties, are more or less a footnote today, I view them as important to assess and preserve just the same. They are the precursors of so many other projects today - some of them even official. This set of four very promising films actually broadcast on Seattle public access TV several times over the years. They influenced many fans way back when, and I have to admit, they've had an effect on me today, forty years after the first one was made.

With that diversion completed, we will now begin our journey through what might have been Season 23 with The Nightmare Fair, coming up next.

* Your mileage may vary on the truth of that. In any case I was not able to turn up any earlier female Doctors in any media, official or not.
** Rogel ended up having a successful career as a writer for animated TV shows in the 90s. Among my generation he's most famous for writing the countries of the world song for WB/Amblin's Animaniacs.

(Modified from the original posted at Gallifrey Base on 21 May 2024.)