Serial 108.5: Shada

Doctor: Tom Baker (4th Doctor), Paul McGann (8th Doctor)
Companions: Romana II, K-9

Written by: Douglas Adams, Gary Russell (audio adaptation), Gareth Roberts (novelization)
Directed by: Pennant Roberts (and Gary Russell)

Background & Significance: As of the day I'm posting this, there are 106 episodes missing from the Doctor Who archives. The number would be 108, but two were returned to the archives last December and the number decreased accordingly. Unfortunately, those missing episodes were the first recoveries in eight years and it's doubtful many more will ever be recovered. To travel in the other direction, Doctor Who is going to outlast all of us because it's infinitely malleable and so long as stories exist, Doctor Who has the potential to exist. I'll be sad if there's Doctor Who stories still coming out after I die, but if there aren't I'll probably more disappointed than I ever would be sad.

As fans, this leaves us with the notion that Doctor Who has created a need that will never truly be satisfied. There are points where you might burn out on Doctor Who, but you'll always come back because you will always want your experience to be as complete as possible to make up for the fact that there's one in ten episodes that you will never see, and because there's stories that will air long after you die that you'll never see because you're, well, dead. We're obsessed with the gaping hole left simply by being Doctor Who fans, by the infinite wealth and treasure trove we alone are privy to and the wasted opportunities strikes us as inherently wasteful, because why waste a good story?

Which brings us to "Shada".

"Shada" is the only Doctor Who story that can never truly be "complete". Unlike those stories missing from the archives, (which hypothetically could be returned despite its unlikelihood) "Shada" was completely written, partially produced, and never completed, which is entirely different.

The serial was intended to be the last big hurrah of the Graham Williams era. Williams himself was really done with the program by this point, and between Tom Baker's increasing irritability and not being able to get a budget near what he wanted it to be (it's never near what you want it to be, which is, inevitably, "infinity dollars" (or "infinity pounds" as this case might be)) he decided to go out on an story penned by his script editor, Douglas Adams, one that would be funny and delightful and rompy and basically everything Williams ever wanted his era to be. He even planned for it to have a good budget, having been recently slammed his first two seasons by failing to account for a big, six-part season finale, which is why "The Invasion of Time" and "The Armageddon Factor" are so insanely, unbelievably cheap-looking. So he pinched his pennies and made "The Nightmare of Eden" and "Horns of Nimon" (and even "Creature From the Pit") on an unusually small and tight budget.

It was all looking to go awesome. There would be Time Lord intrigue (which Williams always worked into his season finales) and Douglas Adams's own particular brand of humor and lots of money so he could go out on a proper note.

And then this labour dispute happened in December and they targeted Doctor Who because Doctor Who was a really good target that would get their point across. Williams fought to get the whole thing done in time and did good on the location work and made some progress on the studio time, but the labour dispute turned even more sour, the BBC postponed all recording dates in December, and because Christmas programs were way more important to the BBC than Doctor Who, Williams found it impossible to schedule the five recording dates he needed to finish the story and get the whole thing done before the story would actually make it to air.

So Williams's planned swansong never aired and "Horns of Nimon" became his legacy.

The part that stings most about this is that Williams had half a complete serial, and that's the part that I think gets in most people's heads about this. The whole story is a big ol' question mark that's gotten Doctor Who fans since it first didn't air. (And who can blame them? Just hearing the titular "Shada" is a Time Lord prison is enough to kick your brain into overdrive. I know it was a story I became particularly enraptured with when I first became aware of it. Hell, I still am and I'm not even a Douglas Adams fan) The fact that we'll never see it as it "should have" existed is the biggest kick in the teeth and the one that pushes Doctor Who fans from "intense curiosity" to "obsessive need."

How obsessive a need, you might ask? Well, plenty of people have attempted to get a faithful retelling of Shada up and running for years and years. Ian Levine did one in the early 80s with script inserts in place of scenes that weren't filmed (and apparently now has a cut of the film that he personally financed with animation to fill in the gaps that weren't filmed). Nathan-Turner worked after the show's cancellation to secure Tom Baker to provide linking narration to the existing clips to piece the whole thing together in a way that would make it make sense, getting a home video release in 1992, which remains the best he could do. Big Finish got permission from Douglas Adams's estate to produce an audio adaptation of Shada with animatics to visualize the story as best as possible. Because they couldn't get Tom Baker to reprise his role they asked then-incumbent Doctor Paul McGann to be The Doctor for the story and adapter Gary Russell wrote around it in such a way that it made sense. This was released in May of 2003.

Fast forward to this year: for the first time, Adams's Doctor Who story has been novelized by Gareth Roberts based on Douglas Adams's script and notes. It's the first time an Adams Doctor Who story has been novelized.

It's been an unsurprising obsession, but my question becomes "so how is it?" We have three different source texts to work with: Nathan-Turner's Tom Baker narrated home video release in 1992, Gary Russell's 8th Doctor Big Finish audio/animatic adaptation in 2003, and Gareth Roberts's novelization. I think it'd be a good idea to talk about all three of these and see which one works best, which one doesn't, and how do they all add up to the larger picture of the swansong Williams (and Adams) never got? Not only that, but how do these two Doctors' interpretations compare? It was written for Tom Baker, but how does Paul McGann do?  Was Douglas Adams really a great Doctor Who writer? Can we as a mass collective of Doctor Who fans ever move on?

Strap in, kids. This is gonna be a long one.

So let's get to it!

Serial 104: The Destiny of the Daleks

Doctor: Tom Baker (4th Doctor)
Companion: Romana II

Written by: Terry Nation
Directed by: Ken Grieve

Background & Significance: With two years of Doctor Who under his belt, it's only fitting that producer Graham Williams would choose to bring in The Daleks for a turn. It's weird. There's not REALLY a producership or era that happens without eventually doing a Dalek story (the Troughton seasons are a notable exception, but then again, Troughton is more era than producer, methinks, and he did get two kick ass Dalek stories up front).

But this is the Graham Williams submission to the Dalek canon, and as you might expect it is deliriously problematic.

For a start, this is the last story Terry Nation wrote for Doctor Who, so that's something to look forward to. It's also the first of many, many returns for Davros and a great posterchild for all the Davros stories moving forward, teaching the people who do the stories a great number of things about how Davros should and should not function in a story. Perhaps the greatest mistake was replacing David Wisher with David Gooderson, and it's not that Gooderson is bad, it's just that his interpretation is impossibly way too Hitler-on-the-nose if you know what I mean. It's also the only Doctor Who story directed by Ken Grieve. So that's a thing.

It's also with this story that we get the introduction of the second incarnation of Romana. In the previous story (the unfortunate "Armageddon Factor") Mary Tamm stepped down and decided to pursue other interests, leaving Lalla Ward to step in and be the "real Romana" or rather, the Romana that we all know and love. And it's not that Tamm is bad, she just happened to get stuck in "one big story" that people can't ever seem to really parse out and examine as six separate stories. So people seem to remember her as in a whole lot less Doctor Who than she actually was. Ward had a season and a half. Tamm had "only one story". It's inaccurate, sure. But it does mean that we get a regeneration that is impossibly controversial and helped along by the ever so cheeky Douglas Adams, who has also taken over as script editor. So that happened.

To sum up: we have Douglas Adams and Lalla Ward and the return of Davros and Terry Nation. What could possibly go wrong?

So let's get to it!

Serial 92: Horror of Fang Rock

Doctor: Tom Baker (4th Doctor)
Companion: Leela

Written by: Terrance Dicks
Directed by: Paddy Russell

Background & Significance: "Horror of Fang Rock" slipped through the cracks.

Even though this is the first serial produced by Graham Williams after he took over producership from Phillip Hinchcliffe, but it certainly doesn't feel like it. More than anything, it feels like a big last hurrah commissioned in the waning hours of the Hinchcliffe/Holmes era, approved before Williams took over, and stamped with all of the Holmesian trademarks of his run with Hinchcliffe. Williams, as nascent producer, didn't do much to change it to match his vision.

Really, that's the thing about "Horror of Fang Rock" that I find so terribly interesting. It doesn't feel like a Williams story at all. No. It really feels like the last great Hinchcliffe hurrah and even deals with the tropes and stylings and tones of his era to the letter.

It's directed by Paddy Russell (who had previously done "The Massacre", "Invasion of the Dinosaurs", and "Pyramids of Mars") and would be her last contribution to the show. It's also written by Terrance Dicks, who would disappear for a few years only to come back and write about some vampires and then a big multi-Doctor mashup, so in a lot of ways it really does feel like a changing of the guard. It's after this that Holmes's work on Doctor Who undergoes a noticeable shift away from his carefully cultivated tone and style towards the more playful work of the Williams era, and you can really feel his fingerprints all over this story as they make the transition from here into something... less good.

And perhaps most interesting of all is that this kicks off a season that is... middling in my opinion. It's good that the Williams run starts off so strong, but also sad because it means he can only go downhill from here.

So let's get to it!

Serial 106: The Creature From the Pit

Doctor: Tom Baker (4th Doctor)
Companions: Romana II, K-9

Written by: David Fisher
Directed by: Christopher Barry

Background & Significance: One of the things that strikes me most about working writers (or anyone in the professional entertainment industry, for that matter) is the notion of "Why do sucky people keep getting rehired even though their work sucks?" Take the Baker/Martin team for example. Those guys wrote literally the worst Doctor Who stories ever (or if not that, then my least favourites) and they were around for years and years and years, asked back over and over again. But why?

The answer to this, of course, is that they got the work done. Someone might not be the best writer or director, but they got the job done in good time and on a good budget. Quality is irrelevant. Money was saved.

Such is my thought on David Fisher, who returns to Doctor Who for the Douglas Adams season of Doctor Who with the last story of his we're going to be talking about here at the wonderful(?) Classical Gallifrey. Now, in the previous season he was responsible for the [what I still consider to be] absolute genius "Androids of Tara" and the very very strange "Stones of Blood", which was good except for the bit where it made a really weird and unwelcome left turn two thirds of the way through episode three and became a story I wasn't quite interested in. It's hard to count "City of Death" (because that was much more Douglas Adams than it was Fisher, who just did the base concept), so those two Key to Time stories and this one are all we really have to go on when it comes to judging David Fisher's contributions to the show.

But more on what he does with that in a little bit.

This story was the first story shot in that one Douglas Adams season and is surprisingly low budget seeming for such an early story (let's be honest, though: "Destiny of the Daleks", "City of Death", and "Shada"? Not cheap). It also is the first to not only feature Lalla Ward as Romana, but more specifically Romana II. It's a weird change, especially considering David Fisher had written all the scripts for this story before Lalla Ward was even cast (it was assumed Mary Tamm would be returning) and if you watch this you can totally tell that Fisher is writing Romana with a definite inspiration from her first incarnation than the second (it's the costume and the dialogue more than anything).

It also sees the return of veteran director Christopher Barry, who hadn't been seen on Doctor Who in three years (he'd previously done "The Brain of Morbius") and would never be seen on the programme again. The reasons are understandable, though. If that was the creature the production team came up with, I'd have left and never come back too. Same too with K-9, seen first here done by the voice of guy-who-is-not-John-Leeson, which is not exactly welcome. All in all it's a kickoff to this season I don't consider myself a huge fan of, which is weird because it's technically the third story of the season.

What I mean to say is it's a lot of things. Plenty. Too much. Worth discussing (yeah, boy). Ultimately a bit sour.

So let's get to it!

Serial 107: The Nightmare of Eden

Doctor: Tom Baker (4th Doctor)
Companions: Romana II, K-9

Writtten by: Bob Baker
Directed by: Alan Bromly


Background & Significance: Just so you know, the title is a drug reference.

"The Nightmare of Eden" is something of an odd bird if you ask me. By all rights I shouldn't really like this story. It's written by one half of the team that has brought me so much pain in Classic Doctor Who, it's in Graham Williams's final season, Douglas Adams's only season, is done on the remarkable cheap, and features an appearance by David Brierly, also known as "The Imposter K-9".

And yet, I think it's actually rather good.

That's not to say the story didn't have everything going against it. Director Alan Bromly was last seen directing The Doctor in the very excellent "The Time Warrior" and was pulled out of retirement based on his perceived interest in the subject matter. Unfortunately, Bromly himself came from a different era of TV direction, in which a director was allowed an authoritarian level of control over his set and vision of the story. Sure, this worked well for Jon Pertwee some six or seven years earlier. But this is a different time. Yes yes. Of course, Bromly's vision brought him straight into conflict with Doctor Who primadonna Tom Baker, who was used to getting his way on the programme and what have you.

So naturally, there was conflict.

Between that and Lalla Ward (and plenty of other peoples) wanting to make sure the drugs in the story were never portrayed as anything even remotely close to positive, it's... quite the gauntlet this story has to run to get made. But strangely, I really think it's stronger for it, regardless of the behind the scenes stuff, which apparently erupted into on-set shouting matches between Tom Baker and the director, culminating in Bromly walking off the project on the final day during the supper break and Graham Williams being forced to step in to complete work on the production and post-production of the serial, which in turn led to Graham Williams's last straw and his departure from the programme at the end of the year...

Which... kinda makes this a turning point really sorta. Kinda. Sorta.

Anyways. It's time to get talking about some drug running.

So let's get to it!

Serial 96: Underworld

Doctor: Tom Baker (4th Doctor)

Companion: Leela

Written by: Bob Baker & Dave Martin

Directed by: Norman Stewart

Background & Significance: "Underworld" is not exactly a well-regarded story. In that famous Doctor Who Magazine ranking of all the stories of Doctor Who from "An Unearthly Child" to "Planet of the Dead", "Underworld" was the lowest ranking Tom Baker story. And not just low ranking for Tom Baker standards (his stories get a "Tom Baker bump" because everyone loves him so frakking much), but low as in bottom five Doctor Who story. Of all time.

Now, I should qualify that by saying I don't agree with a fair bit of some of the rankings on that list, but when you get so much concentration on positive (the top ten is fairly solid, if misguided) and the negative, it turns out that the masses are really not that wrong.

I hate Underworld. I'll just say that in the background and significance. It comes in one of my least favourite eras (The Graham Williams era) and suffers from being the first 4th Doctor story not overseen in at least some respect by Robert Holmes. And I think it REALLY shows you how much you need a good writer to bring something to the table to really make a story... you know.... good.

It also suffers from being written by Bob Baker and Dave Martin, more jovially referred to as "The Brighton Boys" when they were a duo or whatever.

I'll also repeat something that I've said previously: Baker/Martin are not good. Or at least, the stories that they make are traditionally stories I REALLY don't like. The only time I've actually relished in a story that they wrote, it took Patrick Troughton to frakking save the day and completely steal the show. And of the only other times I found two other of their stories enjoyable, one had the benefit of being completely re-written by Robert Holmes and based on a half-decent concept AND the departure of one of the finest companions ever, while the other was handicapped to being just two parts.

Also, two of my all time least favourite Doctor Who stories OF ALL TIME are written by these two guys. Three if you count this one. So ummmmmm..... Not a huge fan, no.

But enough blather and mea culpa whatevering.

"Underworld" comes towards the end of Tom Baker's fourth season and is still in the early years of Graham Williams's producership and it's everything I associate with the era. It's poorly written and constructed, it looks awful, it makes no sense, it's cheap, and it's schlocky in all the worst of ways. Gone is the good writing and it shows you how much Baker/Martin can't stand on their own. Known for high concept ideas, studying Baker/Martin stories is a clinic in how to not do certain things. Which I'll elaborate on.

Honestly, this story is a mess even before the really awful CSO (green screen) kicks in. It's an awful travesty, and my god do I loathe this story.

Ugh.

So let's get to it!

Serial 97: The Invasion of Time

Doctor: Tom Baker (4th Doctor)
Companion: Leela, K-9

Written by: David Agnew (a.k.a. Graham Williams and Anthony Read)
Directed by: Gerald Blake

Author's Note: Hey guys! Before we get into this week's review, I just wanted to say that I'm one of the new co-hosts of this sw33t Doctor Who podcast called "The Doctor's Companion" where my co-host Scott and I discuss Classic Who stories in recap form not so unlike this blog (but also much unlike it too because it comes in "sound-word" form). The first episode is available for download here and I encourage everyone to subscribe in iTunes (or whatever tickles your fancy) cuz it's tons of fun and I promise a super great ride. And now on with the show!

Background & Significance: "The Invasion of Time" is, to me, something of a case study in the Graham Williams era. If nothing else, it really just reminds me that sometimes it's really hard to be hard on Tom Baker's second producer.

We've talked about it before, but it's definitely worth repeating here. The Williams era is, in my mind, a much maligned era, and how could it not be? He's coming right after three seasons of ridiculous high quality under producer Phillip Hinchcliffe, who had a much firmer grasp on his vision of what he wanted the show to be and was thusly able to execute it that much more effectively than Williams. In addition to that, the show's budget was slashed as hard times fell on England (or something. THIS ISN'T A HISTORY SHOW. WE ARE TALKING ABOUT DOCTOR WHO), Tom Baker (best-Doctor-ever-no-contests) was growing increasingly more and more heady and drunk when it came to his influence on the show, and the BBC came forward to tell Williams to cut back on the violence and horror of the previous era, focusing instead on something much more "important": Humour.

And then you remember that Hinchcliffe's vision was supported by the insane quality of having Robert Holmes in charge of the stories they were telling and you just realize that Williams... Williams didn't stand a chance.

But he gets props for trying.

"The Invasion of Time" is probably the thing I think of most when I think about Williams trying incredibly hard to make something that's awesome and matters and really cool. If you go and look at what Williams was trying to do, he was just trying to make the best Doctor Who stories he could make. The level of the fantastical was increased as Williams scoured the Earth for the best stories that he could find.

Building off the success of an extremely high water mark from the previous season's already extremely high quality, Williams thought Robert Holmes's fantastic Time Lord opus "The Deadly Assassin" a mythology rife with potential to expand and build upon. It had proved to be incredibly popular, so why not build on it by telling another story set on Gallifrey but with a different focus? He even asked Robert Holmes to come in and write it as a companion piece/sequel to "The Deadly Assassin". When Holmes refused and other possibilities proved fruitless, Williams and new script editor Anthony Read opted to write it together under a psuedonym in order to cut back on costs.

What we're left with is... this. And... Oh boy does it merit some discussion.

Before going into it, I'd almost recommend coming at it from a place of leniency. It needed to be made on the cheap, and what they're dealing with was... I understand why they did it and they get super props for at least trying it, because really... Why shouldn't you? Revisiting Gallifrey and Time Lord society was bound to happen at some point and choosing to revisit it wasn't a bad choice.

But... let's be honest... Neither Williams nor Read are Robert Holmes. And he's the only one who's proved himself capable of writing a quality Time Lord story. Ah well. They couldn't have known. Ce'st la.

So let's get to it!

Serial 105: City of Death

Doctor: Tom Baker (4th Doctor)
Companion: Romana II


Written by: David Agnew (a.k.a Douglas Adams, Graham Williams, and David Fisher)
Directed by: Michael Hayes

Background & Significance: "City of Death" has a bit of a... reputation. For one, it stars the most famous and popular Doctor, Tom Baker. It's the one that is most universally loved of Doctor Who stories, and if you talk to fans of the original series who've seen a good portion of episodes, you'd not be hard pressed to find ones who would say "City of Death" is not one of their favourites. It's on Top Ten lists, top five lists, even "my most specialist favourite" lists. It's also got three of the four highest rated Doctor Who episodes. Ever. (and the only one that isn't in the top four (Part One) still is in the top twenty most-watched episodes with 12.4 million viewers, while Parts Two, Three, and Four were watched by 14.1 million, 15.4 million, and 16.1 million viewers respectively).

That's "City of Death" for you.

My opinion? It's not my favourite, but god damn is it up there.

It's hard for me to not be a naysayer about certain things. I've spoken out many times about my views on the Graham Williams era. I've spoken out a bit about my less-than-enthusiasm for the era's growing focus on silly fantasy and goofy humour rather than the good science fiction/adventure storytelling that makes me love Doctor Who so much. I've also spoken at length about my lack of love for Drunk Tom Baker's post-Hinchcliffe/Holmes interpretation of The Doctor as his portrayal descended into self-parody and his demeanor mutated into divo-narcissism. I mean, when he's trying he's great, phenomenal even, but when he's phoning it in and thinking that HE is The Doctor (and no one else is or ever should be) it makes me passionately dislike his portrayal despite desperately wanting to like him.

See? Not much stacked in the "in its favour" column.

And yet. The most amazing thing about "City of Death" is that with all this stacked against them, Tom Baker, Lalla Ward, Graham Williams, Douglas Adams, and the rest of the Doctor Who team shipped off to film internationally for the first time (and in Paris no less) and pulled off a quintessential Doctor Who story. They made it thrilling, well told, funny, exciting, gorgeous, timeless, and ridiculously classic. If only they could have seen what makes this story so good and applied it to the rest of the Williams' era, maybe I wouldn't be so hard on them.

Ah well. At least we'll always have this and its awesomeness.

So let's get to it!

Serial 93: The Invisible Enemy

Doctor: Tom Baker (4th Doctor)
Companion: Leela, K-9

Written by: Bob Baker and Dave Martin
Directed by: Derrick Goodwin

Background & Significance: So once again we have a team up by writers Bob Baker and Dave Martin, who have been mostly underwhelming in my eyes with a view gems of greatness sprinkled in here and there.

"The Invisible Enemy" is firmly rooted in mediocre Doctor Who, perhaps elevated again by the script editing of Robert Holmes (as we'll see as well in the next few weeks) but also lowered by the newly arrived takeover by Graham Williams as producer.

More than anything, it's here that you can see the first influx of Williams's influence. It's rather silly and much more focused on the fantasy and silly elements of Doctor Who than it is with the hard scifi or horror of the Hinchcliffe/Holmes era. That said, the continued presence of Robert Holmes helps the proceedings, and certain elements of the horror of the monster or even the scientific elements are much more Holmesian than Williams. But more than anything, this just reinforces the idea that the next story, "Image of the Fendahl" was an anomalous hurrah than it was final last hurrah. That goes to another story we'll be talking about in a couple of months.

That's not to say it doesn't have good ideas. We get some interesting conceptual story ideas (that ultimately don't really matter) and the introduction of K-9. So that's.... that's good. I guess. Go that.

We also start to see the influx of what we'll start to call "Drunk Tom Baker", but I'll go into that more as we start to see it. Again, I blame Graham Williams.

So let's get to it!

Serial 108: The Horns of Nimon

Doctor: Tom Baker (4th Doctor)
Companion: Romana II, K-9


Written by: Anthony Read
Directed by: Kenny McBain

Background & Significance: I'm not a huge fan of the Graham Williams era of Doctor Who.

For those not in the know (or not paying attention or sleeping or whatever it is people with lives do), Graham Williams took over as producer for Doctor Who after three remarkably popular seasons under Hinchcliffe/Holmes. He was told to change the focus of the show from Gothic horror to something... else. In lieu up with as a suitable alternative, Williams and the BBC agreed to do the old standby: make it funny and focus on the comedic aspects of the show.

This suited Tom Baker (and eventually Lalla Ward), who thought of himself primarily as a comedian and improvisationalist and wanted to incorporate those skills into the show.

As such, the show became "funny" and hit on a lot more of the camp aspects of the series. As a result, that's what I think of when I think of Graham Williams, and truth be told, I don't think it's for me. I mean, I liked The Key to Time well enough (for the most part), but his "view" (which was kinda inconsistent) isn't exactly what I'm looking for in Doctor Who. Early on, before I decided I was a huge fan of horror (and eventually, Robert Holmes) I thought it was going to be the thing for me; turns out I was wrong.

"The Horns of Nimon" is the final story of the Graham Williams era, but it wasn't supposed to be. Truth be told, after learning from the mistake of the money always running out in his other season finales, he set aside money to make his intended swansong, "Shada", something bigger and epic and not pathetic looking.

But then there was a labour strike and "Shada" got only partially produced and was ultimately unairable. This left "The Horns of Nimon", Williams' penultimate story, to be his last.

And really, when I think of his legacy this is pretty much how I think of it. I find it remarkably fitting: weak story, really camp, very cheap looking, and ridiculously over-acted. This, in effect, becomes the Graham Williams era taken to its ultimate extreme, which makes this as his last story quite ultimately fitting.

So let's get to it!

Serial 103: The Armageddon Factor - The Key to Time Part VI

Doctor: Tom Baker (4th Doctor)
Companions: Romana I, K-9

Written by: Bob Baker & Dave Martin
Directed by: Michael Hayes

Background & Significance: So it comes to this. The end of the Key to Time.

With its sixth story, the Key to Time season came to an end. There were ups and downs, certainly, but more than anything it was at least watchable.

Yeah... Until this.

Y'see, I do think highly of Bob Baker and Dave Martin (Of note that they've done is "Claws of Axos" and "The Three Doctors". And while I don't necessarily agree or enjoy the "let's make it comedic and let Tom Baker do whatever the hell he wants" mentality of his era, I do think Graham Williams is an entirely competent producer. Likewise, Anthony Read (script editor for the past season and a half) is fine, suitable even.

But "The Armageddon Factor"... This is where I draw the line.

Of course, it's not as easy as the weak, weak script this turned out being. Tom Baker was incessantly fussy about this whole thing (as he gets at the end of every season when he demands more creative control and threatens leaving and gets to be a "diva"), Mary Tamm decided to leave at the end of the season, Baker/Martin split as a writing team after handing one of their drafts of the script, and, as always happens because of poor planning, the budget was running extremely, extremely tight.

In the end, what you have is this... well... I guess we'll just have to take it as we go.

So let's get to it!

Serial 102: The Power of Kroll - The Key to Time Part V

Doctor: Tom Baker (4th Doctor)
Companions: Romana I

Written by: Robert Holmes
Directed by: Norman Stewart

Editor's note: Never fear! We're almost done! After this Robert Holmes, there's only but one! Cassandra's got our second to last adventure starring the Key to Time and then I'll be back in two days to wrap up this two week saga with "The Armageddon Factor".

Background & Significance: Before Doctor Who's ambitious Sixteenth Season began, script editor Anthony Read worked hard to try and hammer down each of the six stories in place so everything would go smoothly. Unfortunately, writer illness and apparent lack of ideas made it so that the fourth and fifth serials in the Key to Time were unplanned. What resulted was the hire of writers David Fisher and Robert Holmes, both of whom had already written one story each this season: "The Stones of Blood" and "The Ribos Operation", respectively.

The result of David Fisher's rehire we saw with Monday's "The Androids of Tara", but what of Holmes?

Well, you're about to find out.

A couple things I want to point out: Robert Holmes is a good writer. He is. Really. Remember "The Deadly Assassin"? Yeah. That was him.

But what we see with the disappointment that is "The Power of Kroll" (because spoilers: this serial was so disappointing and hokey) I can blame on two things: studio intervention, and writer burn-out. This is Holmes' last serial before he wrote the acclaimed Peter Davison serial "Caves of Androzani", which is supposed to be AMAZING. And watching this, you can tell he needed a break. Also, the Head of Drama at the BBC at the time told Holmes to cut back on his humor. Why on earth would you do that, buddy? Way to fail.

But enough of all that. Let's take a closer look, shall we?

Serial 101: The Androids of Tara - The Key to Time Part IV

Doctor: Tom Baker (4th Doctor)
Companions: Romana I, K-9


Written by: David Fisher
Directed by: Anthony Reed

Background & Significance: Smack in the middle of The Key to Time, producer Graham Williams and script editor Anthony Read found themselves one story shy of a full season. Then, to make matters worse, one of the writers had to back out due to "personal reasons".

With everything else taken care of and running out of options, they turned to David Fisher, who had written the previous story "The Stones of Blood", which the two leading Doctor Who men had been most pleased with (obviously their standards are not as high as mine).

They told him to write something in the vein of what the original writer had written. Something swashbuckling and exciting and full of rope swinging and adventure. Something that was reminiscent of... Perhaps Ivanhoe or Robin Hood. Something like that.

"The Androids of Tara" was the result of that project.

And what a fun, fun time it turned out being.

Really, this is one of those stories that I've had on my mind for a long time. I just love that title. Androids. of Tara. That's just... wonderful. And boy this wasn't anything about what you'd think it'd be about, but I just did not care. What. a. romp.

So let's get to it!

Serial 100: The Stones of Blood - The Key to Time Part 3

Doctor: Tom Baker (4th Doctor)
Companions: Romana I, K-9

Written by: David Fisher
Directed by: Darrol Blake

Editor's Note: Still on the Key to Time, kids. I needed a break after the one-two punch of the beginning of the week, but I'll see you back here Monday with "The Androids of Tara". For now, just sit back and enjoy Cassandra's discussion of "The Stones of Blood".

Background & Significance: It's the week of Halloween, 1978. What should you be watching to get you in the spooky scary mood?

Why, "The Stones of Blood", of course!

The third serial in Doctor Who's sixteenth season and coincidentally the third installment in the epic Key to Time, it's important for a couple of reasons. The main one being that this lovely serial happened to be the 100th broadcast story in the show's long history.

Party!

To ring in the auspicious occasion, writer David Fisher was commissioned to pen this adventure, the first of four Who stories he would be asked to write, including next week's "The Androids of Tara" and the previously reviewed "The Leisure Hive".

Unfortunately, no asparagus people in this, but plenty of supernatural hijinx and ultimately a story that starts off awesome and ends up disappointing.

But enough of that buzzkill, we'll get to that soon enough, I'm sure. Let's take a closer look, shall we?

Serial 99: The Pirate Planet - The Key to Time Part 2

Doctor: Tom Baker (4th Doctor)
Companions: Romana I, K-9


Written by: Douglas Adams
Directed by: Pennant Roberts

Background & Significance: In 1977, a young fellow named Douglas Adams was offered a gig writing Doctor Who just as his grand opus and most famous work The Hitchhiker's Guide to the Galaxy got off the ground.

Adams's first story for Doctor Who (one of three he wrote) was called many things by many people. Some called it too complicated. Others called it too expensive. Others called it too dense.

A BBC exec called it "Too funny."

And that's funny right? I mean, you hire a guy like Douglas Adams on the scene for a big sci-fi show, you're going to get funny, right? It's most odd, perhaps, because the backlash against Phillip Hinchcliffe's "violent and scary" tenure as producer on Doctor Who resulted in Doctor Who becoming more comedic.

As such, Adams was a perfect fit. So perfect, in fact, that he became story editor for the season after The Key to Time, but I guess we'll talk about that when we finally get there.

Needless to say, The Pirate Planet is indeed funny, although I'd call it silly more than anything. More than that, though, it is dense but with some very cool sci-fi ideas in it. Also, it's zany. Like really zany. I think this is the zaniest it's been so far.

But fun. I think.

So let's get to it!

Serial 98: The Ribos Operation - The Key to Time Part I

Doctor: Tom Baker (4th Doctor)
Companion: Romana I, K-9


Written by: Robert Holmes
Directed by: George Spenton-Foster


Production Note: Hey guys. For the next two weeks, we'll be looking at the season long epic The Key to Time! It's a fast paced roller coaster of a blogging time, but I figure it's better to get it over and done with so we're not languishing in the story for the next six weeks.

We'll be updating here three serials per week until it's over (that's Monday, Wednesday, Friday through next week). I'm taking the first two, the fourth, and the last, and friend of the blog Cassandra will be taking the third and the fifth. Once we're on the other side, we'll be back on a weekly schedule until the next major multi-serial storyline, but for now just sit back, relax, and read about one of the most ambitious projects in Classic Doctor Who history.

Hope you enjoy the show!

Background & Significance: As Doctor Who rounded into its sixteenth season, producer Graham Williams decided he wanted to put a stamp on his tenure by doing something no one had ever done before:

Tell a season-long story.

Sure, the first several seasons were serialized, with each story bleeding into the next, but Williams wanted something different. He wanted excitement and the construction of a multi-serial narrative seemed like just the thing to do.

It was definitely an ambitious project, one that would require tons of planning an preparation. They'd give The Doctor a goal, a quest in six parts and have each serial of the season see him obtain each of the six pieces of The Key to Time in order to stop the evil Black Guardian.

They brought in Tom Baker and made sure he'd be around for every episode (can't do a season long Doctor story if there's no Doctor) and contracted a new companion, the first incarnation of Romana, and away they set off, on the quest for the Key to Time.

Williams gave the first story in the season, "The Ribos Operation", to veteran Doctor Who writer Robert Holmes, in the hopes that he would turn in a good fast draft that they wouldn't have to spend too much time fixing. It turned out to be the second to last Robert Holmes story until Holmes returned for the legendary "Caves of Androzani."

Unfortunately, many people refer to the period after The Gothic Season and until the rise of Jonathan Nathan-Turner as a weaker time for Doctor Who, when the writing suffered, and the series saw a decline in quality. I know I talked about it a little when I talked about The Image of the Fendahl, but... Yeah... That's definitely present here.

So let's get to it!

Serial 94: Image of the Fendahl

Doctor: Tom Baker (4th Doctor)
Companion: Leela


Written by: Chris Boucher
Directed by: George Spenton-Foster

Background & Significance: After the Gothic period, the BBC removed Phillip Hinchcliffe as producer of Doctor Who and replaced him with Graham Williams, whom they told to "lighten the tone" of the overall series and to make it less violent.

Graham Williams' era ran for three years, including this season, the Key to Time season, and then the "Douglas Adams year", which we'll get to eventually. The time saw the rise in popularity and input from Tom Baker and a decline in viewership after the rampantly popular Hinchcliffe era. So... I'll cut him some slack.

"

"Image of the Fendahl" comes right at the start of this change, after the departure of Hinchcliffe but just before the departure of Robert Holmes as script editor. As such, this story is noticeably lighter than the very dark, grizzly content of "The Deadly Assassin", but it does have a noticeably horror-like tone to it, especially in the last episode.

As a story, I was a bit worried about this one, as I'm not sure I'll like the widely-accepted-as-lesser-quality post-Gothic Tom Baker, but it actually delivered in the end. Also of concern was the introduction of Companion Leela, whom I didn't know what to make of going into this, and coming out of it...

Well... I'm still not sure.

That said? A story that's both a haunted house horror story with roots based on a Time Lord Ghost Story? And with an unprecedented amount of sexual tension? Awesome.

So let's get to it!