A Word on Jon Pertwee

 A Word on Jon Pertwee

So ends a remarkable period of Doctor Who history. For all that Hartnell and Troughton defined the role of the Doctor, neither ever inhabited the role in the same way that Jon Pertwee did. Allegedly, he was directed to "just play himself" when the question of how to characterize his version of the Doctor was brought up. And if that's true, then this man surely was the Doctor, unparalleled.

There are undoubtedly aspects of this Doctor (like his penchant for Venusian karate) that wouldn't hold up in present incarnations. But despite this, others, like his strong sense of moral outrage, his "citizen of the universe" attitude, and his love-hate relationship with humankind, are all still obvious today. He's a real hero, and it's been a joy watching his time on the show.

It's been an era of contradictions; a down-to-earth setting with unearthly characters, military orthodoxy with Buddhist mysticism, feminism and political activism with some misjudged moments. So too is this Doctor a man of contradictions, a gentleman in old-fashioned dress who is nevertheless just as much of a rebel as a scholar, establishment and dis-establishment wrapped up into one. Accordingly, it's one of the most fascinating portrayals of Doctor Who that's ever been given.

By all accounts, Jon was temperamental too, but a brilliant guy just the same, and a steadfast friend to his fellow cast members. He loved the role and served as an ambassador for the show for the rest of his life, and I'll always admire him for that.

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Jamie seems to have set some kind of precedent, because like him, several characters have remained a part of the Doctor's extended family for rather a long time during this era. Accordingly, it feels more stable than, for example, the revolving door of the Hartnell years. They are a part of the glue that held these five seasons together, and I found all of them highly likable. Here's how my top ten companions are looking as of 1974.

1. Barbara Wright
2. Jo Grant
3. Jamie McCrimmon
4. Steven Taylor
5. Liz Shaw
6. Vicki Pallister
7. Ian Chesterton
8. Alistair Lethbridge-Stewart
9. Sarah Jane Smith
10. Zoe Heriot

Polly, Ben, Victoria and Susan all fall out of view, the poor things. I loved these new characters so much, though! Sacrifices must be made.

Liz Shaw made a strong impression despite her short stay. I thought her more mature outlook and her world-weary cynicism was a great fit for this proud and fussy Doctor. I'm going to need to hunt down more of Caroline John's Companion Chronicles appearances!

Jo Grant was a bit of a dark horse. First impressions in Terror of the Autons didn't fill me with a great deal of hope, but despite the tut-worthy way that she's written into Season Eight, the lovely Katy Manning elevated the role into one of the most likable characters the show has ever had. Over the course of her three seasons, Jo visibly developed and matured as a person, something that I can't take for granted this early in the show's history. She's undoubtedly one of the very best assistants this Time Lord could hope for.

The Brigadier has proved to be an able sidekick for the Doctor, a capable fellow who serves as the comic straight man to all the science fiction that follows our title character around. I confess a preference to those times where he wasn't actually fulfilling the role of a companion, however, namely his more antagonistic relationship with the Doctor in Season Seven. But regardless of the inconsistency of that particular thread, he'll always be a welcome presence on my screen.

Benton doesn't quite make the cut, but remains a thoroughly enjoyable character, while Yates likewise remains below the top ten, if indeed he can be considered a companion. Either way you slice of it, both of these UNIT boys likewise found a place in my heart.

Lastly, Sarah Jane, who's only just got here! I'm already charmed by her, but I don't feel that I'll have much else to say until she's had a couple seasons with Tom to develop some more.

Pertwee's era wouldn't have been the same without this family of characters. I think this is the sort of thing Chris Chibnall aims for with his large ensemble casts, but the closest thing to this in the New Series which actually succeeds is the RTD era. Since I whetted my Who appetite on those years of the post-2005 program, this feels rather familiar and welcoming to me. Although some of the UNIT guys will be around for a little while yet, this marks the point where that family becomes divided, and it's sad to see it go.

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Here are five of my favorite moments from Jon Pertwee's tenure as Doctor Who:

"What are you a doctor of, by the way?" "Practically everything, my dear." (Spearhead from Space)

"Hello! Are you a Silurian?" (Doctor Who and the Silurians)

"Then why do you need so many people to keep them under control? Don't they like being happy and prosperous?" (Day of the Daleks)

"Courage isn't just a matter of not being frightened, you know." (Planet of the Daleks)

"Save me a piece of wedding cake." (The Green Death)

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I hope I'll travel with you again someday, Jon. Until then, it's on to Season Twelve and Robot.

"My voyage dissects the course of time

'Who knows?' you say

But are you right?

Who searches deep to find the light

That glows so darkly in the night

Toward that point I guide my flight.

I am the Doctor."

(Modified from the original posted at Gallifrey Base on 13 April 2021.)

Cities Made of Song, 1974

Cities Made of Song, 1974 - Seven Seas of Rhye by Queen​

I once met someone who laughed when I mentioned "favorite Queen albums".

"Why would you care about the albums?" he asked. "They were a singles band."

Phooie! And again, I say phooie! Queen were a group just as capable of composing sophisticated albums in the studio as they were of dominating the radio waves. The fact that their LP discography seems rarely remembered is a real pity, since they put out several incredible rock albums through the 70s, and for that matter, several good ones later on. In all honestly, "Innuendo" is actually my favorite, followed by "Sheer Heart Attack", and then "Queen II".

"Queen II" is an odd duck. Like most bands of the time, Queen had started in clubs a few years before they ever recorded a record, and their first album is about as standard hard rock as you can get. But it's clear that being another Led Zeppelin clone was never going to rest well with any member of this group, whose ambitions always stretched much further. So after an uncommonly long production period, running from mid 1973 to the first days of 1974, Queen showed us a little more of the band that they would become with this excellent record.

There's a bit of chessboard imagery here, and the album is divided into a "white" side and a "black" side. They're tied together by a number of songs covering a loose fantasy theme, showing progressive rock influences without ever quite crossing over into that genre. Actually, the type of rock on display is pretty undefinable, which I like very much. It's still hard rock of a sort, but there's tinges of prog, tinges of metal, tinges of glam, and everything in between. I'm a particular fan of the thumping Ogre Battle which eventually gave its name to an entertaining strategy game series by Enix. March of the Black Queen is notable for being sort of a proto-Bohemian Rhapsody, the second longest tune in Queen's catalog, and musically very complex. Seemingly it was a pain in the neck to produce, but the results are undeniably spectacular. This song has received a lot of heightened attention online in the last couple of years because of a line which, at least in the original version of the song, contains the N-word. It's startling just how much standards of what is and isn't acceptable in music have changed in the last 50 years.

Seven Seas of Rhye was intended as radio bait, and hey, it worked. It peaked at #10 on the UK charts and has been one of Queen's most enduring hits. The only complaint I have about it is that it's so short! That intro is one of the most interesting instrumental sequences Queen ever did, and the soaring harmony in the middle eighth is just divine. I profess a special fondness for the fade-out in the coda and the singing of I Do Like to Be Beside the Seaside; I'm tempted by the coincidence that Pertwee rattled off this same tune just earlier in the first part of Death to the Daleks, but to steal a phrase from Ghosts of N-Space, it's probably just another case of synchronicity!

For all the flaws of its longest and most ambitious track, this album shows heaps of promise for a band that was rapidly coming into its own. Perhaps we'll visit Queen again for one of the future Cities Made of Song posts. For now, I'll be doing my denouement post for the Pertwee era. Cheers.

(Modified from the original posted at Gallifrey Base on 13 April 2021.)

Doctor Who, Season Eleven

Here's another victory lap for the books. The fifth and final Pertwee season is now wrapped up! It's been a curious thing; while certainly not a bad season by any means, after four seasons which seemed so confident in what they were doing, Season Eleven feels like something of an afterthought. This is more of a coda to an era - but nevertheless, a nice coda.

For the roster of writers, we're only missing Baker & Martin for a who's-who of the Pertwee era. Yet another excellent Bob Holmes story is joined by the last scripts from Hulke, Hayles, and the Sloman-Letts duo, and the increasingly rare contribution from Terry Nation. It's sad to see the last contributions from several of these people, but it's good that things are changing and staying fresh. With the benefit of hindsight, it does seem very obvious that Holmes is gearing up to take over the position of script editor, and I'm excited to see how that goes for him.

Here's the score breakdown:

The Time Warrior - 9.50
Part One - 10.00
Part Two - 9.00
Part Three - 10.00
Part Four - 9.00

Invasion of the Dinosaurs - 8.50
Part One - 9.00
Part Two - 9.00
Part Three - 8.00
Part Four - 8.00
Part Five - 8.00
Part Six - 9.00

Death to the Daleks - 5.75
Part One - 8.00
Part Two - 6.00
Part Three - 5.00
Part Four - 4.00

The Monster of Peladon - 5.67
Part One - 6.00
Part Two - 5.00
Part Three - 5.00
Part Four - 6.00
Part Five - 6.00
Part Six - 6.00

Planet of the Spiders - 7.50
Part One - 8.00
Part Two - 7.00
Part Three - 7.00
Part Four - 7.00
Part Five - 7.00
Part Six - 9.00

Best episode: The Time Warrior, Part One - 10.00
Runner-up: The Time Warrior, Part Three - 10.00
Worst episode: Death to the Daleks, Part Four - 4.00

Season Eleven average: 7.35

Best guest appearance: Kevin Lindsay as Commander Linx (The Time Warrior)
Best special effect: The Exxilon city (Death to the Daleks)
Best musical score: Death to the Daleks (Carey Blyton)

The 1974 music post will be coming soon.

(Modified from the original posted at Gallifrey Base on 13 April 2021.)

Planet of the Spiders [Doctor Who, Story 74]

Planet of the Spiders by Robert Sloman & Barry Letts

4 May - 8 June 1974

"The old man must die, and the new man will discover to his inexpressible joy that he has never existed."​

One hears a certain impression that season finales need to be epic, and regeneration stories even more so. Of course, the thing is that before this, there never was a "regeneration story" in Doctor Who. For a start, it was never called "regeneration" until Part Six of Planet of the Spiders. And although in some ways The War Games touched upon the experience of regenerating, at least in the last two episodes, Planet of the Spiders is nevertheless the first story to actually be written around the incumbent Doctor's impending change as its primary story beat. I must also point out that rather than being self-consciously epic, this story feels so right because it's more intimate, focusing on the Doctor's inner space instead of outer space.

There is somewhat of a valedictory air around the whole thing, most keenly seen in that delightfully goofy, but charming, vehicle chase sequence across land, air and sea in Part Two. Jon Pertwee goes out with as much style and verve as he had throughout his tenure. Although Katy Manning isn't here, it's nice that there's a letter from Jo accompanying the Metebelis crystal, and Kismet Delgado got to participate although her late husband could not. This seems like the proper sort of "everyone is here" send-off that this particular era deserved.

It's nice to see that Yates has been taking care of himself (and growing out his hair) since his discharge from UNIT. I might have liked for his betrayal in Invasion of the Dinosaurs to have been touched on just a tad more, but it's nice having him back for one last hurrah even if it's not his most heroic. The fact that he found healing and meaning through a Tibetan Buddhist center seems to be autobiographical on Letts's part, as he did much the same thing after his experiences as a submarine officer in the Second World War. Buddhist themes permeate this story, and I won't pretend that I'm smart enough or well-versed enough in Buddhism, Vajrayana or otherwise, to comment on its portrayal.

Although this is far from Letts's last involvement with the program - we have him as producer until Robot, and he will of course work on it in other capacities later - this is still the last story of the era which he helped to define, so it seems appropriate to tip my hat to him at this juncture. It's clear that Letts's liberal leanings and worldview were responsible for that thing I loved the most about the Pertwee era, its earnestness. Letts and Dicks commissioned so many great writers during this period, who consistently turned in socially conscious and, on the whole, very interesting scripts. His good sense for action, flair, and spectacle all served the program well and elevated it to new heights of popularity. And above all, he was instrumental in crafting the show he inherited into one that's recognizably the predecessor of the one we have today.

Admittedly, there are areas where this story does not completely succeed. The human colonist descendants that the Doctor meets are generally quite flat. In Part Six, I couldn't really tell that Arak and Tuar were mind controlled, since they'd seemed just as wooden the whole time. Metebelis III is undoubtedly less alien, and less interesting, than it was in The Green Death, but as with The Monster of Peladon, it is nice to see a story where there are consequences for the Doctor's previous visit to a world. The spiders were pleasingly creepy, and I enjoyed the concept of them also seeing Earth as their homeworld, the same as the humans they dominate. I was also (briefly) delighted to see Cyril Shaps back, until he once again died! Three for three, poor fellow.

The most interesting part of the story to me was its partial deconstruction of the Third Doctor as a character. He has always been a proud and temperamental creature, which I've interpreted as a consequence of the way in which the Second Doctor died. Having been forced to change his appearance and then all but caged on a primitive planet with parts of his memory excised, it is easy to interpret his pride as a reaction and as a means of grasping for control of his own life again. Having slipped these bonds and returned to traveling the universe at large, this pride has gotten the better of him without anything to hold it in check. It's sad then, but fitting, to see him humbled by his ordeal in this story, forced to face his death and surrender what he stole. Considering that he does this while up against the screaming Great One extolling its own power and importance, it's clear that this marks a moment of ego-death for the Doctor. (Which, considering that Tom Baker is on his way, is really quite ironic...)

Although this is far from the greatest story of the Pertwee years on a basic episode-by-episode plotting basis, it is still rather clever, and in my opinion an eminently fitting way to say goodbye to this most glam of Time Lords.

That's all for now! I'll write up my overall impressions of Season Eleven tomorrow.

(Modified from the original posted at Gallifrey Base on 13 April 2021.)

The Monster of Peladon [Doctor Who, Story 73]

The Monster of Peladon by Brian Hayles

23 March - 27 April 1974​

Although prior eras had continuity between separate stories on occasion, the Pertwee era seems to have relied on this continuity more than either of the eras before it. Case in point, this serial, which I'm sure that one can't really enjoy without having first seen The Curse of Peladon two seasons previous. The most interesting parts of this story, namely its more critical look at the Galactic Federation, are best viewed in the context of the more optimistic prequel. As a follow-up to Curse, this story is a bit interesting. Divorced from that story, it's a rather boring affair.

Quite honestly, it's a little dull no matter which way you slice it. The twists are simply not as interesting, nor the performances quite as strong, as the other Peladon story. Ortron is essentially a less interesting Hepesh, and Nina Thomas, while still good as Queen Thalira, is no David Troughton. I feel like it's a bit of a waste that Eckersley and Azaxyr are revealed as agents of Galaxy Five (not Galaxy Four?) rather than simply being corrupt but still a part of the Federation. It removes a bit of the nuance that the story was attempting. Still, it is nice that the miners are introduced to tell us a bit more about the diversity of Peladon's people, and its class system, even though those wigs of theirs are terrible.

Notably, this story once again touches on feminism through the lens of Sarah Jane, who rather charmingly tries to encourage Thalira to exert her authority. This plot feels like an afterthought however, as no amount of girlbossing from Thalira ends up saving the day, with perhaps the exception of her biting Eckersley's hand at the end.

Really, most of this story's strengths rely upon the interesting setting that is Peladon, which it inherited from the previous story. It introduces very little of its own that captured my imagination. It's unfortunate that the penultimate story of the Pertwee era should be its most dull, but I could see this one growing on my in the fullness of time.

The end is very nearly here. Planet of the Spiders is next.

(Modified from the original posted at Gallifrey Base on 12 April 2021.)

The Ghosts of N-Space [Doctor Who, Diversion 26]

The Ghosts of N-Space by Barry Letts

20 January - 24 February 1996​

Having listened to The Paradise of Death already, I came into The Ghosts of N-Space thinking I knew what to expect. Little did I know! Even the title misled me, as the N-Space mentioned is nothing to do with the N-Space previously coined in Tom Baker's last season, but instead is short for Null-Space. Rather like The Time Monster, also penned in part by Letts, this story seems to fall victim to a sort of idea soup, where a number of interesting concepts are at play, but few of them are given the time they need to breathe.

This also, unfortunately, has a number of the same flaws which dragged down The Paradise of Death - namely some iffy voice acting choices, confusing sound design during action scenes, Jeremy Fitzoliver, etc. - but without quite the same coherence of plotting to save it. It also suffers from being about 25 minutes longer than the preceding serial, at a full six parts, very typical of a Pertwee story.

This story has an even greater preoccupation with alchemy than any of David Whitaker's scripts, which is really saying something. The villain is an alchemist-slash-sorcerer-slash-Satanist from the 16th century, who is moonlighting in the 20th century as a mafioso after discovering an elixir of life. Since the fiends of Null-Space are shaped by perception, he turns it into a Bosch painting sort of landscape full of shrieking devils when he briefly takes it over. The religious overtones come across a bit oddly, compared with the more delicate touch seen in Planet of the Spiders, and this time are nevertheless more Christian than Buddhist.

Once more, I'm pleased that excuses are found to draw the Brig into the adventure even though it's not a UNIT story. Seeing the golden trio performing together one last time is quite heartwarming, even if the story itself isn't really good. So for all that I struggled to listen through the whole thing, Pertwee, Sladen, and Courtney kept me going on. That makes it just about worthwhile.

The timeline seems to be normalizing again, and next we're back to Season Eleven and The Monster of Peladon. See you then.

(Modified from the original posted at Gallifrey Base on 12 April 2021.)

Death to the Daleks [Doctor Who, Story 72]

Death to the Daleks by Terry Nation

23 February - 16 March 1974​

After so many years without having any Daleks at all, it's been profoundly strange having three stories featuring the little guys in as many seasons. I confess that, of the three, Death to the Daleks is probably the least successful. That isn't to say it's a bad story. In fact, having finished watching this era as of the time of this writing, there isn't a single bad story in the whole of Pertwee's run. But this remains perhaps one of the least successful.

It's hard to put my finger precisely on why. None of the individual components were especially poor, but just like what happened on my first viewing of this story four years ago, I found myself curiously sedated by the experience and just about ready to drift off by the end. There's also a certain tonal issue with this story. The Chase felt like it was sending up the Daleks by making them look silly, but I really can't tell if this story is trying the same thing on purpose. The Daleks enter the story unable to operate their weapons, looking quite silly when they try to exterminate the human mining team, and spend much of it being killed by Exxilons, garden hoses, and even self-destructing over failing to keep Sarah Jane captive. I think I have to assume that it is intentional, but if so, that it feels out of place.

The humans feel like they've come out of some sort of cod-Star Trek setting (Federation pins and all), and are on the hunt for, ahem, parrinium. A couple of stories over the past seasons, like Carnival of Monsters, reference some kind of "space plague", so I wonder if the one described here is supposed to be the same one. None of these humans really stood out to me apart from John Abineri's Railton, who nevertheless is killed off quite early. Probably the only memorable guest character (aside from the Daleks themselves) was Bellal, the exiled Exxilon.

Generally speaking, I thought Part One was fairly brilliant and atmospheric, with the darkened sky and mists making Exxilon (the planet, not the people) seem more mysterious and dangerous. It's a little disappointing that the effect isn't maintained through the rest of the story, which rapidly loses my interest with the puzzle-solving in the trapped city.

For all that this story has some fun elements and interesting ideas, then, it averages out into quite the tranquilizer, and a bit of a disappointing turnout for the Daleks. Better luck next time, Terry?

As promised, The Ghosts of N-Space is next.

(Modified from the original posted at Gallifrey Base on 12 April 2021.)

Invasion of the Dinosaurs [Doctor Who, Story 71]

Invasion of the Dinosaurs by Malcolm Hulke

12 January - 16 February 1974

"There never was a golden age, Mike. It's all an illusion."​

I'd be remiss not spending a part of this post memorializing Malcolm Hulke. Invasion of the Dinosaurs was his last script for the program, and although he would spend some years further working on novelizations of his own stories for the Target range, he would not contribute to the TV show again. It's a real shame, because I'd consider him one of the most conscientious and clever writers that Doctor Who ever had, and because he died far too young, at the age of 54 in 1979. Although a few of his stories weren't complete successes, there's not a single one that didn't have a lot of heart and wit behind it.

This last script of his is no exception. Coming quick on the heels of The Green Death, which had a more optimistic vision of environmentalism, it's easy to see this story as if it might be a reaction in some way. He must have liked the propaganda tape bit, because the concept is reused from Colony in Space, a story where, if you recall, everyone is packed onto the Earth like hens in a hutch without any space for themselves. The issue of overpopulation is returned to here, but a more critical light is shone upon it.

The timing couldn't be more appropriate, because over the past couple of days, the late Duke of Edinburgh's remarks in the 1980s about "solving" overpopulation have been circulating again - a confusing quote where he says, should reincarnation exist, he'd like to be reborn as a deadly virus. Implicit in this story, though not spelled out directly, is the perfect riposte to this sort of talk: "Overpopulated by whom?"

It's easy for people living in the "developed" world to tut about rising birth rates and depleting resources in the global south, but the types who point this out (at least in my country, and I imagine in Britain as well) fail to understand that it's generally because of a history of colonization, and later exploitation through globalized capitalism, that these countries have these problems. It's because their material wealth, their natural resources, and their manpower were stolen from them that these issues have arisen, not because of something as simple as "too many babies".

We see where this kind of banal rhetoric leads those who fall for it in this story, as Mike Yates, traumatized by the effects of Global Chemicals' mind control and pollution in The Green Death, is duped into believing in a "golden age" before the onset of industrialization when everything was good and right and gentle. After spending three seasons with Yates, for all that I never warmed to him like I did to Benton, it's heartbreaking seeing him fall for this and betray the rest of the regular cast. It's an incredibly brave writing decision, and effective too. The look of hurt on the Doctor's face when he realizes is great, as is the moment soon after when he expresses doubt over whether the Brigadier is also involved. It's clear that the cozy little UNIT family's very existence is now in question.

I was a little worried when the "spaceship" segments were introduced, hoping that the story wouldn't spread itself too thin across both Earth and space, but was relieved by the revelation that (reminiscent of the bunker in The Enemy of the World) the spaceships are a fraud, and they're actually underneath Project Golden Age's control center in London. Looking at the people that Sir Charles Grover has seen fit to preserve for his "New Earth", it's probably unintentional, but certainly apropos, that "the right sort of people" only seem to include white Britons.

It is once again my duty to inform you that, tragically, the dinosaurs don't stand up to standards of scientific rigor, but really, I can't see why the dinosaur puppets are the main thing people talk about with this story. They're really fine, honestly, and the core message is far and away more striking. This is a brilliant story, and one sadly still relevant today, when people make ignorant posts about empty city streets under COVID lockdown where animals are wandering around where they shouldn't be, saying "nature is healing". Nature will never heal until humans find more civilized and equitable ways of distributing resources, and believe it or not, wiping out the entire population and starting over with a blank slate is not the answer.

Sorry for getting political, but I think it's what Mac Hulke would have wanted! Death to the Daleks is next.

KKLAK!

(Modified from the original posted at Gallifrey Base on 11 April 2021.)

The Paradise of Death [Doctor Who, Diversion 25]

The Paradise of Death by Barry Letts

27 August - 24 September 1993​

Flash forward twenty years. Sophie and Sylvester walked off-screen four years ago. The thirtieth anniversary celebrations, such as they are, are underway, and fans can look forward to a charity TV special to mark the occasion a few months away. I didn't live through this, but I have to imagine it was kind of a bum event for Doctor Who fans, who after only four years in the wilderness must have started to realize that no new season was coming any time soon. Something curious, though - Jon Pertwee is Doctor Who in a new serialized adventure, on BBC Radio 5.

Really, the most surreal part of this experience for me is that it's not Big Finish, because they are, these days, more or less the sole purveyors of new Doctor Who audio content. I'm aware that BBC produces some of its own, but they don't tend to be full-cast audio dramas like this. So it's easy to see this as a precursor for The Sirens of Time six years later, which is certainly laudable.

The story itself is really nothing special, but it's so nice to hear Jon Pertwee, Elisabeth Sladen, and Nicholas Courtney all together again after so many years, and a sobering reminder that none of them are with us any longer. The regulars all perform very well, and they're aided by a few good guest performances. The highlight is clearly Peter Miles as Tragan, who manages to make this particular villain feel different from Nyder and Whitaker, while still delightfully slimy. I wish I could compliment Jeremy Fitzoliver, who I think is supposed to be a send-up of the "screaming female companion" stereotype because he's a boy, but quite honestly I just found him terribly annoying.

Barry Letts obviously has no trouble recapturing the feeling of an adventure from this era, this time seeming to focus on the dangers of "Experienced Reality", or in other words, bad television. Parakon is a world that's given up on anything of serious moral character (see the references to the dissolution of the temples) in lieu of watching enemies of the regime be killed in VR broadcasts as a sort of blood sport. It's certainly interesting, but gets a little confused. I have a sense that this script could have used a few more passes to polish it up a bit.

That said, I found this an enjoyable experience. I'll be checking out its twin story later on this season, but for now it's back to 1974 for Invasion of the Dinosaurs next.

(Modified from the original posted at Gallifrey Base on 10 April 2021.)

Cities Made of Song, 1973

Cities Made of Song, 1973 - Firth of Fifth by Genesis​

The progressive rock streak continues! Although they performed in the same genre, broadly speaking, it's striking how different Genesis and Gentle Giant, who I reviewed last time, really were. Needless to say, Genesis were a fair bit more of a big deal, to the extent that they were inducted into the Rock and Roll Hall of Fame a while back. It's a just recognition for a band that's been named as an influence for so many later artists, and even though the other G-band is more my "favorite" than Genesis is, these guys were still brilliant artists.

Many Genesis fans are quite partisan about what kind of Genesis they actually like, however. After Peter Gabriel left the band in the mid-Seventies and Phil Collins took up the frontman/vocalist role, and especially once Steve Hackett was gone, the group drifted generally in a more pop-oriented direction. Some fans abominate the pop rock tunes they made in the Eighties, while others sigh at the long-winded and more whimsical music of their early years. In essence, the argument revolves around whether or not they "sold out", and whether or not that's a bad thing.

I think it's a bit of a baffling argument, personally. Do people really think Genesis would still have been good if they'd been putting out sprawling, breathless prog epics into the Nineties? They would have gone around the bend long before that if they'd never changed styles. I'm a rare breed, because I love Invisible Touch almost as much as I love, say, The Return of the Giant Hogweed. No fear of change here.

Speaking of selling out, though, it's interesting that this very thing was a preoccupation of the band far earlier in their career. When "Selling England by the Pound" came out, Genesis were fresh off the back of their breakthrough American tour, having just struck it big in that country for the first time. It's telling that their very next album after this was something which is even more consciously and pronouncedly British than their last. Like "Nursery Cryme", a lot of it feels very English fairy tale, from references to locations in the British Isles, to moonlit knights and the joys of a good breakfast. Clearly Genesis weren't content to leave what made them unique behind in order to succeed in new markets.

In terms of personal preference, I'm really fond of Cinema Show/Aisle of Plenty, but Firth of Fifth has to be my favorite. The lyrics aren't much, but the instrumentals are what make this tune so very good. Tony Banks and Steve Hackett absolutely steal the show, the former's piano solo opening and closing the track in such a beguiling way. The guitar solo of the latter might be the most beautiful I've heard in a piece of music, ever. This is an experience, plain and simple.

What an extraordinary band. And do you know what? I don't really care if someone prefers this track over I Can't Dance or not. As long as they're having fun.

Rather than returning straight to television, I'll next be enjoying a curious diversion to The Paradise of Death. See you then.

(Modified from the original posted at Gallifrey Base on 10 April 2021.)

The Time Warrior [Doctor Who, Story 70]

The Time Warrior by Robert Holmes

15 December 1973 - 5 January 1974​

Robert Holmes certainly doesn't do stories by halves. It's clear that by this point he's come a long, long way from the likes of The Krotons and The Space Pirates. I can see why Terrance Dicks tapped him as his successor to the role of script editor, because all four of the stories that he's done during this era have been among its very best. It's an interesting thing, too, because by all accounts, Holmes didn't really want to set a story in the middle ages. His lack of faith in the pseudo-historical format is pretty obvious from his tenure as script editor, where they became rarer, before all but disappearing entirely during the reign of Graham Williams. So it's surprising that he still gives it his all. It's obvious that he absolutely devoured all of this period dialog, as Irongron's aphorisms are as memorable as they are oblique.

Talking of Irongron, David Daker breathes life into the role in a big, big way. The on-and-off bromance and animosity he has with the Sontaran warrior Linx is to die for. Kevin Lindsay also deserves heaps of praise for giving such life and emotive strength to Linx despite being in heavy makeup and/or a helmet for the entire story. Linx is written in a manner that quickly characterizes his species in a memorable way, telling us all we need to know of the Sontarans in what seems like a very small amount of time. His basic inhumanity is best characterized in the moment when, being told of sexual dimorphism in humans, he complains, "It is an inefficient system, you should change it."

Aside from the splendid guest acting, believe it or not the next thing to jump out to me was the costume design. The Doctor and Sarah Jane both look very smart, he in his green frock coat and she in her sweater vest. The medieval costumes are totally believable, Linx's armor is justifiably memorable, and I enjoyed the touch that some of the brainwashed scientists are milling around in their jammies, recalling the detail from the first episode that some were kidnapped in their sleep. It's some very intelligent work and helps to sell the visual impression of the story.

That medieval castle set is brilliant too, and its grimy atmosphere seems very realistic, while also sending up traditional images of gleaming castles and noble knights. Satire seems to be Holmes's forte, as always. One never really expects Doctor Who to be realistic, but the more gritty portrayal of the past offered by this story stands in contrast to the more stagey Hartnell historicals of yesteryear.

I think I've gone on a bit too long without remarking upon the long-awaited arrival of Sarah Jane Smith, however. Being more familiar with her 21st century appearances, it was a bit of a shock seeing Elisabeth Sladen so young! She's a bit more sparky and independently-minded than Jo, but from the off is still very charming. The serial does her a bit of a disservice by saddling her with some indignant remarks about feminism. It smacks of a male writer clumsily trying to come to terms with the burgeoning women's lib movement of the 70s, not with malice, but perhaps just a bit of ignorance. Still, she does get several brilliant moments, such as her resourcefulness in the face of her predicament, and I was quite amused by her initial reactions to finding herself back in time. Honestly, if I was in the same position, I'd probably conclude I was being harassed by LARPers, too.

Small quibbles aside, this is such a brilliant script, and well-realized on screen, too. It was nice to see the great wizard Quiquaequod return and scare away soldiers with his sorcery, and Pertwee seems to gobble this up. I was a little worried that he'd slow down a bit in his last season, knowing the pressures he must have been under after five years in the role, but there's certainly no sign of it here. This is a fantastic little story, and an encouraging start for this season.

For the first time since 1969, we're getting a music post that isn't in a gap between seasons. Time to go ruminate on my 1973 song pick.

(Modified from the original posted at Gallifrey Base on 10 April 2021.)

Doctor Who, Season Ten

Most shows don't look great during their tenth years. Hell, most shows don't make it to their tenth years. I think we must recognize the fact that it's a miracle that Doctor Who survived the chopping block several times to make it to this point, let alone that it eventually made it to year twenty-six - going on sixty! For all that Season Ten celebrated the legacy of the program in a way that nothing before it did, it does not show its age for even a moment. Although the program's issues with six-part stories are still evident, there isn't a single bad episode in this season. Pound for pound, it's one of the best the show's ever made.

It was with a heavy heart that I said goodbye to Jo Grant and to Delgado's Master, both of whom I came to love over the previous three seasons. It feels like time is not on the Third Doctor's side anymore, and soon things must change.

Here's the score breakdown:

The Three Doctors - 8.50
Episode One - 9.00
Episode Two - 8.00
Episode Three - 9.00
Episode Four - 8.00

Carnival of Monsters - 10.00
Episode One - 10.00
Episode Two - 10.00
Episode Three - 10.00
Episode Four - 10.00

Frontier in Space - 8.67
Episode One - 9.00
Episode Two - 9.00
Episode Three - 9.00
Episode Four - 8.00
Episode Five - 8.00
Episode Six - 9.00

Planet of the Daleks - 7.33
Episode One - 9.00
Episode Two - 7.00
Episode Three - 7.00
Episode Four - 7.00
Episode Five - 7.00
Episode Six - 7.00

The Green Death - 9.83
Episode One - 10.00
Episode Two - 10.00
Episode Three - 10.00
Episode Four - 10.00
Episode Five - 9.00
Episode Six - 10.00

Best episode: The Green Death, Episode Six - 10.00
Runner-up: Carnival of Monsters, Episode Two - 10.00
"Worst" episode: Planet of the Daleks, Episode Five - 7.00

Season Ten average: 8.81

Best guest appearance: John Dearth as BOSS (The Green Death)
Best special effect: The maggots (The Green Death)
Best musical score: Carnival of Monsters (Dudley Simpson)

Here's to one last season with Jon Pertwee, whose tenure has seemed to fly by even if it is chronologically the longest so far. We'll pick up Season Eleven with The Time Warrior presently.

(Modified from the original posted at Gallifrey Base on 9 April 2021.)

The Green Death [Doctor Who, Story 69]

The Green Death by Robert Sloman & Barry Letts

19 May - 23 June 1973​

An excellent conclusion to what has proved to be an excellent season. The Green Death is an impressive story in many ways, not least for offering, for the first time, a "companion leaves the TARDIS to pursue a relationship" plot that actually succeeds. Cliff Jones is a believable partner for Jo because of his passion for his cause and his work. So despite him and the Doctor being very similar in some ways (being very clever and dedicated scientists, and quite prickly at that), his more down-to-Earth concerns and devotion to his causes seem like the sort of thing that might lure Jo away. For all that the romance that develops between them is still quite quick, it's nothing like that between Vicki and Troilus or between Susan and David Campbell. I can actually believe that these two people would love each other, so it works.

I'm fascinated to see the show return whole-heartedly to the issue of environmentalism, nine years after Planet of Giants. The Green Death certainly holds nothing back in showing the human suffering that results from abusing the planet we call home, and of the unexpected consequences of reckless industrialization. For all that the residents of the Nuthutch come across as a bit woolly-headed and silly, at least they aren't the ones unleashing a horde of killer maggots into South Wales. They are fundamentally good people, and the show makes the right call by treating their desire for a better world with respect. I was very amused by the scene in the Nuthutch where the Brigadier has joined them for dinner. Seeing such an "establishment" character like a fish out of water in this setting accentuates one of the central themes of this story, namely that of moral right versus legal restriction.

I think it's very much intentional that this story shows just how little the Brigadier gets anywhere by trying to follow protocol to stop Global Chemicals. They're simply better at that game than he is, and get bigger, scarier ministers to order him to back down. It's left to the Doctor, trespassing and transgressing, to really get anything done. It highlights the central contradiction of the UNIT era, which is at this stage growing long in the tooth. How can the Doctor save the day by being a part of a military hierarchy? Simply put, he can't. He has to stand just outside of it.

Stevens and BOSS are totally brilliant as antagonists. Jerome Willis puts on a coldblooded performance, but despite the obsession with efficiency and the hard gaze, there are flashes of humanity and doubt sprinkled judiciously in. And John Dearth is tremendous as the mad computer, humming songs and speaking cheerily to his comrade as if Stevens were a wayward child. The ending scene where Stevens realizes there must be another way and betrays BOSS is one of the best the show has ever had. Stevens, exhausted and teary, sits in the silence after he's hit the button to destroy BOSS, and only after a yawning moment of despair does the inevitable explosion occur. Just genius.

I've heard people poke at the bad CSO in this story, particularly when the Doctor and Benton are driving through the hills, but on the whole I found this story's special effects highly successful. The CSO when the newly hatched grub is crawling through the Nuthutch is actually extremely good, and those snarling bugs themselves are some of the most convincing practical effects that have ever been devised for Doctor Who. The striking visuals are almost as good as the thrillingly dark atmosphere of this, almost as gloomy as the stories of Season Seven. Although the effect doesn't come across well, the very idea that the grubs might metamorphose and fly around the world is a chilling one, and moments like the regrettably named Fell's death scene definitely stuck with me.

And of course, everyone justifiably talks about the last few minutes, where we see the Doctor more vulnerable than he's ever been. He's clearly happy for Jo, but her departure from his life still leaves both his hearts broken. Honestly, so is mine.

One of the all-time classics, for sure. We'll round up Season Ten shortly.

(Modified from the original posted at Gallifrey Base on 9 April 2021.)

Ghost in the Machine [Doctor Who, Diversion 24]

Ghost in the Machine by Jonathan Morris

11 October 2013​

"I positively adore the scenes of [Jo] exploring the jungle of Spiridon while nervously recording her experiences in the tape log. To be honest, I almost wish the story had continued in that vein and let it be Jo's show, giving Jon Pertwee a bit of a holiday. I guess that's what Companion Chronicles are there for."

Well, lucky me. Trust me when I say that I had no idea that I'd be getting this precise thing hours later in Ghost in the Machine. Taking large amounts of inspiration from this plot element of Planet of the Daleks, this Companion Chronicle starts with Jo waking up in a silent TARDIS, and emerging into a shadowy crypt that was once a research center, only to find the Doctor in a coma. He has the TARDIS log tape with a single note on it - "Use me". But Jo soon wishes she hadn't.

This claustrophobic little story really lets Katy Manning stretch her wings, playing not only Jo, but also the murderous Second Voice, as well as standing in for Pertwee's Third Doctor. The amount of breadth that she shows here is tremendous, and it's so interesting hearing the colder, more mature voice of the evil presence possessing Jo compared with her usual warmer, lighter tones.

The central conceit of this story, that someone's essence or soul might be captured by an audio recording, seems a little hokey at first but is executed with such aplomb, and such bone-chilling terror, that I really don't mind it. It allows for moments of utter horror, such as one where the Second Voice traps a copy of Jo's voice onto another tape and then erases it, murdering the copy, to scare the "proper" Jo into line. The fact that people who have been trapped as recordings longer slowly deteriorate is utter nightmare fuel, too. I don't think I've ever listened to a scarier Big Finish audio.

Damian Lynch deserves credit as the guest star as well, in his maiden Who performance, playing both Dr. Benjamin Chikoto, as well as Jo Grant and the Third Doctor when some body-swapping occurs.

Having only two actors in it makes the story feel appropriately claustrophobic, given the confined setting. The soundscape is totally eerie, full of echoes, white noise, and whispered voices. I also have to tip my hat to the writer for writing part two with only the words that were included in part one's script, in a clever little piece of metafiction.

All in all, quite a brilliant addition to the Big Finish corpus, and at just under an hour, well worth your time. Anyway, back to N-Space for the conclusion of Season Ten, The Green Death.

(Modified from the original posted at Gallifrey Base on 8 April 2021.)

Planet of the Daleks [Doctor Who, Story 68]

Planet of the Daleks by Terry Nation

7 April - 12 May 1973

"When we start acting and thinking like the Daleks [...] the battle is lost."​

Of all things, the first thing that it occurred to me to note is that "Spiridon" might be the series' most mispronounced word at this point, as it's rendered as "SPEE-ri-don" by both Sylvester McCoy and Jenna Coleman later on. It's not that hard, surely? Are we poor beleaguered fans the only ones who care?!

Histrionics aside, this story gets a lot of stick from some for hewing so close to the original serial, The Daleks, from 1963-64. True enough, the usual Terry-isms are most assuredly present - a character named Taron, a jungle with killer plants, invisible aliens - but as has been pointed out in this thread previously, all writers have their own idiosyncrasies, and Nation's are hardly the worst. Far from it, I was actually delighted to have this familiarity here, given that this is the show's tenth season, and it is consciously trying to be an anniversary year. Besides, there is a type of story that Nation is definitively the best at, namely a classic adventure romp with a few dark elements, which is precisely what this is.

This serial starts off at its best, with the Doctor knackered in the TARDIS and Jo left to fend for herself. I positively adore the scenes of her exploring the jungle of Spiridon while nervously recording her experiences in the tape log. To be honest, I almost wish the story had continued in that vein and let it be Jo's show, giving Jon Pertwee a bit of a holiday. I guess that's what Companion Chronicles are there for. As it is, it's a strikingly good introduction to what quickly becomes a less remarkable, but still good, story.

We're reintroduced to the Thals for the first time since the original Dalek serial. Since this takes hundreds of years later, it begs the question of how they've coexisted with the Daleks on Skaro for so long without one of them exterminating the other. This matter is mostly shrugged off, and it's nice enough to hear that they still remember the visit of the Doctor, Ian, Barbara, and Susan after so long. Our Thals are somewhat more memorable than most of the original lot, though the decision to give them all the same sort of hair made my efforts to keep track of them all a bit difficult. Although they're more or less human (and even seemingly themselves refer to some of their tendencies as "human", puzzlingly enough) there are a few moments to remind us that they're from another planet, such as when Latep is confused by Jo's offer of a handshake.

The Doctor's reaction when Jo is seemingly blown up by Daleks is just heartbreaking, and the look on his face as he listens to her tape log in the cell later is even more so. His conversation with Codal about bravery in that cell is justifiably lauded by many, as it's quite good.

Latep experiences the most perfunctory romantic brush-off from a companion so far. It kind of echoes Barbara and Ganatus, but perhaps a little less subtle. Poor fellow, he's hardly asked her to return to Skaro with him before she's shaking her head no, kisses him on the cheek, and is off. Nevertheless, we latter-day viewers know that it's not long before Jo will be faced with this same decision again and give a different answer. At the same time, a slightly more edifying moment comes when the Doctor gravely warns Taron not to make war sound like an adventure when he returns home, and to prioritize the memory of those they lost. It's a nice message, echoing and contrasting Ian extolling the Thals to fight in The Daleks, which we recall that Nation had some regrets about writing. It's nice that he takes the chance to subvert it here.

This story fails to pick up on the threads left over by Frontier in Space, as the Dalek invasion preparations described here don't seem to have a credible link to the previous story and could easily be standalone. Still, I can't exactly fault Planet of the Daleks for not being a proper sequel; I'd be more inclined to blame Frontier for failing to wrap its own threads up. It's to be expected when the two stories are written by different writers in an age before proper series arcs.

All in all, as is expected, we get another solid and dependable, but not extraordinary, script from Mr. Nation. I can find no particular fault with this one.

Before concluding the season, we'll be taking another audio adventure next, with Ghost in the Machine.

(Modified from the original posted at Gallifrey Base on 7 April 2021.)

Frontier in Space [Doctor Who, Story 67]

Frontier in Space by Malcolm Hulke

24 February - 31 March 1973​

Certain readers will recall that I've reviewed this story already, as a part of my randomized marathon attempt in 2017. I was impressed with this story at that time, and to be honest, I still am, if more for its ambition than its execution. It's a smart piece of writing, this Cold War parable, as Hulke's skills with writing complex and sympathetic alien races continue to carry through. The Draconians are one of the most successful aliens to be introduced in Doctor Who so far. It's shocking that they have, so far, never reappeared in the core TV show, because for the broadcast date those prostheses and makeup are extraordinary. As they only appear this one time, we merely get suggestions of their broader culture, but what we do get is interesting.

The atmosphere of Frontier in Space is very tense, with the mounting hostilities between Earth and Draconia forming an interesting backdrop. There is a history of conflict between the two species that's provided to us, and it's all quite believable and compelling. What's unfortunate is that after Episode Three or so, the ratcheting up of tensions essentially comes to an end. As welcome as Delgado's Master is, the change of focus to him does take the story away from its strongest points. It must be said that there are pacing issues aplenty as well, most prominently Williams' sudden change of heart. Although it's nice that he does come around, the development could have used some of that airtime in Episodes Three, Four, and Five to percolate.

This is also where we must sadly say goodbye to Roger Delgado, who has been such a fixture of this era. It's much sadder in context than it was during my randomized first watch, having now spent several stories with his scheming Time Lord. The best testament to the part he's played is that the character has been so enduring, and that the idea of an equal and opposite force to the Doctor, a mad genius totally without morality, continues to compel to this day. I wish we'd gotten a bit more banter between him and the Daleks, but otherwise he's quite brilliant here, so for all that it isn't a proper farewell it is, at least, a high note to go out on.

Jo's brilliant in this story. The scene where she talks to herself to keep the Master thinking she's talking to the Doctor, and even though she's mostly BSing, I think I can detect some hints of her frustration with traveling the universe peeking through. After being hypnotized in her first outing, it's also extremely satisfying to see her completely shrug off the Master's mental influence in Episode Six, showing how much she's developed over these last two seasons.

So what we have here is a flawed gem, but a gem nevertheless. The excellent setting and generally great performances save this one. I'd held out hope after my original viewing that some of the loose threads left by this story would be picked up by the next, but unfortunately that doesn't really seem to be the case. That's the most I can fault Frontier in Space for, however, as generally I very much enjoyed it again.

Planet of the Daleks is next.

(Modified from the original posted at Gallifrey Base on 7 April 2021.)

Carnival of Monsters [Doctor Who, Story 66]

Carnival of Monsters by Robert Holmes

27 January - 17 February​

Talk about a revelation! I knew a little about this story going in - namely that it is generally well liked and the Drashigs are in it - but I should have known that there was more than meets the eye in Bob Holmes' fifth script for the series. His wit and finely honed sense of satire have clearly developed by this point, and it makes for one of the best serials we've had on the show yet.

From the off, we're put on a beautiful set (an actual boat, I think?) of an interwar vessel traversing the Indian Ocean, or at least it first appears. The Doctor and Jo's little disagreement about the chickens was a charming little moment, and when we shift to the terminally gray and drag Inter Minor, the sight of Vorg and Shirna coming tumbling out of the baggage claim - presumably because they couldn't afford better seats - is a great gag. Their hideous costumes shouldn't work, but I find them charming regardless, and the pair of them make for a great comedic double act. Also exceeding expectations are the Inter Minor tribunal, saved by the late decision not to put them in masks, and by the excellent triple casting of Michael Wisher, Peter Halliday (Packerrr!) and Terence Lodge. What would otherwise be three dull, gray aliens from a dull, gray planet are played with a surprising amount of breadth and irony, in spite of their samey appearances and elevated dialog.

This last bit works because Inter Minor is supposed to be a crap Doctor Who alien world on purpose, and the story uses it as a contrast to the events inside of the miniscope. It's a place where the very idea of entertainment is alien, so what does Vorg do? Why, he shows them an episode of Doctor Who. They all crowd in around the screen to watch the monsters play away. It's an amusing moment when Jo, being captured again for the fourth time after escaping, groans "It's all right. I know the routine." So too is the bit where she reveals her skeleton key, showing that those escapology classes she supposedly took were actually good for something. She gets captured often enough! Coming right after the self-mythologizing The Three Doctors, this story seems to pick up on the same thread, but with a comedic spin, reproducing the show's own plot structures and conventions, and winking knowingly while doing it.

For all that it's on a shoestring budget, the effects look very good. The Plesiosaurus, I'm sad to inform you, is tragically not scientifically accurate but has a very winning snarl. And the Drashigs, puppets though they may be, look astoundingly good. The giant hand reaching into the miniscope to pluck the Doctor's TARDIS away is an amazing effect, and the pyrotechnics in the Drashig swamp made me gasp. "Cheap" doesn't always mean "bad", as this story shows with such aplomb.

I was pleased to see Ian Marter a bit earlier than I thought I would. Although his part is a bit limiting, forced to repeat the same actions over and over again, he plays it memorably, with a kind of dated charm despite being at odds with our regulars. I was also interested to note the presence of Albert Moses, who unless I am mistaken (or if someone was crammed in a monster costume) is the first South Asian actor on the program.

The Doctor and Jo are, as usual, brilliant. For me the highlight is the part where, once the Doctor emerges from the miniscope, he ignores the task at hand to see if he won his argument with Jo over what planet they were on. The dejected sort of way he says "I see" when he realizes Jo was right is hilarious.

I could praise this story all day, really. It's one of the smartest scripts that's been offered to the show so far, and is full of interesting moments, great acting, and a whole lot of spectacle. Absolutely one of my favorites now.

We'll be embarking on a somewhat longer galactic adventure next, starting with Frontier in Space.

(Modified from the original posted at Gallifrey Base on 6 April 2021.)

The Three Doctors [Doctor Who, Story 65]

The Three Doctors by Bob Baker & Dave Martin

30 December 1972 - 20 January 1973​

I'm starting to realize that the Bristol Boys are the writers on call, as this is their third script in so many seasons. All three of those have been solid but not exceptional stories, and that pattern seems to hold up here. The Three Doctors generally holds up well, but it's more interesting for the fact of its existence than for any of its story beats. After several long years where Doctor Who remained somewhat indifferent to its history, we finally get a story that acknowledges the show's mythology in a way beyond merely bringing back an established monster. It warms the heart seeing William Hartnell and Patrick Troughton back for a guest appearance, even if the former is in a somewhat diminished capacity. This story feels properly celebratory, which is very refreshing.

Omega is the other big highlight of this. He's a fascinating villain, and the design of that mask is so striking. It's interesting that there's a parallel to be drawn between him and the Third Doctor in particular, both of them being Time Lords who've rendered great services for their people but who have been cast aside and even punished for their trouble. The difference, of course, is that it drove Omega mad, while the Doctor has gone on doing his best to help people. Still, the script treats him in a fairly sympathetic way, for all his megalomania, and he is ultimately a tragic figure. I enjoyed the touch that the Doctor says he grew up with stories of Omega and looked up to him. Never meet your heroes!

On another note, we get to see Benton and the Brig travel somewhere in the TARDIS for the first time, so now I guess they formally get to enter my companion list. They're both pretty good in this story, though the Brigadier's stubborn refusal to believe that the TARDIS has traveled anywhere is a bit bemusing. In terms of less successful side characters, Tyler and Ollis don't add much to the story, but the former is amusing enough, and the second breaks ground by being a rural civilian with a gun who doesn't get disintegrated by monsters. Progress!

It's hard to pinpoint, but Troughton's Second Doctor feels markedly different, even though it's just four years since he left the part at this point. Most likely it comes from the transition from leading man to side character, making his usual plans and capers less central to the script. Still, I was positively delighted by his recorder gizmo and its role in defeating Omega.

The Three Doctors is an ambitious story, presenting a cosmic threat on a level we have not yet seen, one that even the Time Lords are powerless to stop. Although it's not perfect, I found it in many ways quite brilliant, and was left smiling. Seeing the Doctor's exile formally end is just a nice cherry on top. And speaking of that, Carnival of Monsters is next.

(Modified from the original posted at Gallifrey Base on 6 April 2021.)

Verdigris [Doctor Who, Diversion 23]

Verdigris by Paul Magrs

3 April 2000

‘I am Verdigris,’ the figure said, and didn’t elaborate.​

Verdigris: "green of Greece", or in less obscure terms, the greenness on copper caused by oxidation. There's certainly no rust on this book, however, which at 21 years old still feels quite new and exciting. I've heard a lot about Iris Wildthyme, everyone's favorite auntie and original creation of author Paul Magrs, but I'd never read any of the books or listened to the audios until now. Predictably, this book is quite entertainingly mad, and it seems to have some interesting things to say about the Pertwee era as well.

From the off, it's hilarious how Iris (apparently in her Beryl Reid guise at this point) is just about this Doctor's opposite. She's a hard-partying lush with reluctant companions and far fewer moral scruples. And she's so much fun. The Doctor is stuck between caring for her and wishing she'd buzz off and let him solve this adventure by himself. I was also deeply amused by her apparent antipathy to Jo, given that they'd eventually share an actress. Her companion, Tom, is a nice side character and plays off of her well. His dilemma between liking Iris and distrusting her, to say nothing of his reaction to the other characters, is played very well, and leads to some fun places.

This book doesn't so much lean on the fourth wall as chisel a hole in it and peek on out. There's a sequence where Jo wanders into an abandoned UNIT HQ which is presented to us as a series of Tele-Snaps that are apparently in black and white and with garbled audio. We encounter a nameless man in the woods; the narrator can't decide if he is a poacher or a tramp, then shrugs and calls him both, before killing him. Poor Mike Yates is turned into a two-dimensional cardboard cutout and stuffed in Jo's handbag. The narrative more than once comes only just short of pointing out through text or dialog that they're all in a post-modernist novel. Verdigris takes refuge in absurdity, and I love it. It's poking fun at the tropes of the period, but in a way that I sense to be more fond than anything. I was also amused, and provoked into thought, when Iris pleads with the Doctor, telling him he got off easy being exiled, whereas she'd probably be executed by the Time Lords because he's a "posh" Gallifreyan and she's not.

All told, it's a bit of a mind-fuck, but undoubtedly a very fun one. The prose is hilarious, and the little references to both the continuity and to fan culture, gay culture, and literature were all much appreciated by me. I'm pleased that these two latest diversions have been some of the best I've yet done for this marathon, but not to be outdone, the program itself has some spectacle to offer. The Three Doctors is next.

(Modified from the original posted at Gallifrey Base on 5 April 2021.)

The Scorchies [Doctor Who, Diversion 22]

The Scorchies by James Goss

7 March 2013

"We'll be succinct / The Doc's extinct! / Yes, we killed that no-good Doctor dead!"​

Oh, now this one was such a surprise and a delight. Musical episodes are my weakness, and frankly it's shocking that one has never properly unfolded on televised Doctor Who! Gunfighters aside, at least. Big Finish has picked up some of the slack and put out several over the years. The Scorchies is one of the Companion Chronicles, and therefore a relatively short story focusing on, in this instance, lovely Jo Grant. She's been kidnapped by a bunch of insane alien Muppets who have apparently killed the Doctor!

The eponymous Scorchies are actually the creations of Professor Baffle, a member of an alien race who invented the television, only to see his people destroyed by it. Ever since, the Scorchies have been visiting developing worlds who have discovered television, hypnotizing them with their catchy songs, and then incinerating them all. And my God, those songs are absolute earworms! I'm humming Jo's Making a Thing still a full day after I listened. Despite it being a purely audio experience, I feel like you can still vividly imagine the mad puppet show that's going on. In fact, I found that picturing the puppets on the cover bouncing around and singing while Jo looks distraught was entirely appropriate for the experience.

Katy Manning is as stunning as always as Jo, and even puts in a couple of extra vocal credits as some of the Scorchies. Her distress at the Doctor's apparent death is sold very well, and her bond with Professor Baffle is just so nice. Melvyn Hayes also deserves a good deal of credit for the other Scorchies and the Professor, the latter being an especially heartbreaking performance.

This is a short post, but only because I'm too much in love with this audio to be especially coherent. It's creepy, it's bizarre, it's a little heartwarming in places, and it's undoubtedly a Companion Chronicle that's worth listening to.

From strange to stranger, it's a quick bus ride to Verdigris next.

(Modified from the original posted at Gallifrey Base on 4 April 2021.)