Serial 24: The Celestial Toymaker

Doctor: William Hartnell (1st Doctor)
Companions: Steven, Dodo

Written by: Brian Hayles (and Donald Tosh)
Directed by: Bill Sellars

Background & Significance: It's hard to think of a story with a sexier title than "The Celestial Toymaker". Part of that is because it comes off as inherently nefarious. Toymaker is the profession of a fellow obsessed with details and driven almost crazy by them. The title also sounds like a worthy adversary for The Doctor ("Celestial", that is, reaching out into the cosmos). And there's always (always!) something alluring about The Doctor going up against a nemesis. It's why The Master is so popular and why people will fetishize both The Monk and The Rani. So why not be excited about this? The title is WONDERFUL.

Because after the title it's all downhill from here.

"The Celestial Toymaker" is one of the few stories that was developed by John Wiles and Donald Tosh, the outgoing producer and script editor. As they developed it, Wiles and Tosh came up with an idea to effectively sideline The Doctor by introducing "The Trilogic Game", which The Doctor would solve while being invisible. In this, Wiles and Tosh (probably mostly Wiles) would circumvent William Hartnell and not have to deal with him, as the relationship between Wiles and Hartnell was openly confrontational/hostile. It's a shrewd move, but one that is at least understandable (if not a bit too passive aggressive for my tastes). And yet, Wiles and Tosh both stepped down from Doctor Who before this episode hit production. Wiles phased himself out during "The Ark" while Tosh stepped down during "The Massacre" to tweak Brian Hayles's scripts so they were ready for Innes Lloyd's producing and Gerry Davis's script editing.

And it's to this day considered a lost treasure.

Part of the reason for this (as Philip Sandifer so eloquently writes up here) is down to one authority deciding that certain stories (like "The Gunfighters") were bad while others (like this one) were good. And yet, outside of the underlying premise (The Doctor and his companions land in a dangerous funland full of evil, nefarious games that might end up killing our heroes) there's really... not much to it. And even with the underlying premise there's not nearly so much as you might instinctively believe. But we'll get to that. For now, know, that I dread this story, but mostly because it's the one last story that I truly hate as we pull into the end of this blog in just a few short months.

So let's get to it!

Serial 18: Galaxy 4

Doctor: William Hartnell (1st Doctor)
Companions: Vicki, Steven

Written by: William Emms
Directed by: Derek Martinus & Mervyn Pinfield

Background & Significance: Season three of Doctor Who might be the most peculiar and experimental the show ever got. It featured a standalone, Doctor-less, companionless one part story, a twelve episode Dalek epic, a companion-centric, Doctor-lite story, a four-part story that jumps seven centuries into the future halfway through, and a western that's also kind of a musical. It's a weird ass season, full of experimentation for the show.

But season three started somewhat more auspiciously.

By the time "Galaxy 4" rolled around, Doctor Who producer Verity Lambert was on her way out the door. This story and "Mission to the Unknown" were produced in the same production block as season two, but held over for the start of season three as the show tended to do back in the day. We've already talked about "Mission to the Unknown" and how good that was, but this is the last time Lambert got to produce a fully actualized story in the traditional classic, Doctor Who mold. Unfortunately, because there's a transition aspect to each producer taking over the show (producers typically shadowed their predecessor before assuming the reins in full) Wiles was apparently partially responsible for the production of this episode. And apparently it was not all peaches and cream, Wiles going so far at one point that he was reportedly thinking about firing Hartnell (which set the tone for his producership more than anything, I'd say).

But yes. "Galaxy 4". Written by one-time Doctor Who writer William Emms (who had written for Z-Cars and other contemporaneous ilk) and directed by first-time Doctor Who director Derek Martinus (who directed this only because Mervyn Pinfield backed out at the last moment) who would go on to direct some terrific stories across the rest of the 60s, it really is the quiet end to the Lambert era on Doctor Who. That's not to say Lambert went out without some great hits, but honestly it feels like she was building to "The Chase" or "The Time Meddler" (take your pick) and this story becomes one of the real forgotten stories of Doctor Who. That's probably because it's shoved in an easily looked-over place in the Doctor Who canon. Or because it's got a rubbish title. Or because it's entirely missing. I mean, why talk about "Galaxy 4" being missing when you can talk about "Marco Polo" or "The Massacre" missing. Those are the bonified classics.

Now that'll change, I'm sure, once the recently recovered third episode hits mass distribution, but until then we're still relegated to a story that's largely forgotten and widely dismissed and I have to wonder if that's deserved or not. And of course, me and my wonderings is why I do this blog. Or something. I don't know. Maybe I'll figure that out some day.

So let's get to it!

Serial 22: The Massacre of St. Bartholomew's Eve

Doctor: William Hartnell (1st Doctor)
Companion: Steven, Dodo

Written by: John Lucarotti & Donald Tosh
Directed by: Paddy Russell

Background & Significance: Last week we talked about "The Web of Fear", which was a story that we could only judge by viewing the quality of the direction/design of the first episode (the only one to exist) and then extrapolating the quality of the rest by taking the what we know from the first episode and coupling it to the existing audio and the rest of the script. It's a crude science, but it's the best we can do given what we have and it's hardly the worst thing ever. At least we have the audio. And the audio is riveting. And the screencaps we have paint an almost picture of what it looks like this thing looked like in moments.

And then every so often, you'll get a story that doesn't exist (is all audio) and once in a very long while you'll get a story that is severely under telesnapped.

Enter "The Massacre".

"The Massacre" is one of the most unique Doctor Who stories ever, despite the fact that on the surface it doesn't seem to be doing anything revelatory or special. Part of this is down to the fact that we have John Lucarotti on the typewriter once again. For those not in the remember, this is the guy who "created" the historical (if you assume that "An Unearthly Child" wasn't so much a historical as a story that just happened to take place in he generic past rather than being a "true" historical) when he did "Marco Polo" and followed it up with "The Aztecs".

In a lot of ways, this is the third in those loose trilogy of stories from a thematic basis. Where the first story was about a TARDIS crew who adamantly refused to get involved in the contemporary events in any way, shape, or form and the second story was about the TARDIS crew threatening to ruin the foundations of history, "The Massacre" established a further discussion of history by dropping the TARDIS crew (just The Doctor and Stephen at this point) in the middle of a terribly dark and harsh historical climate. What results is... revelatory. It's one of the best examples of John Wiles's influence on the show and how he helped trailblaze a new and completely different path from his predecessor Verity Lambert.

To put it simply, in a season full of experimental stories that try to define "what is Doctor Who" and push the boundaries of what the show can and cannot do, it's telling that "The Massacre" is right up there with "The Daleks' Master Plan" in terms of doing something special and memorable given Doctor Who's early format.

It's also notable for being the first contribution of director Paddy Russell, who would go on to direct a series of other great and memorable Doctor Who stories and one of the few stories to have an evil Doctor doppelganger, giving William Hartnell the opportunity to be the Evil Abbot of the story. That all said, it's unfortunate that this story is completely missing, also that it doesn't even really have any screencaps to speak of (I assume this was Wiles's fault/decision, but I could be mistaken) so the entire story is based almost entirely on its aurality.

Then again, if you're going to have only one story based on its aurality...

So let's get to it!

Serial 20: The Myth-Makers

Doctor: William Hartnell (1st Doctor)

Companions: Vicki, Steven, Katarina

Written by: Donald Cotton

Directed by: Michael Leeston-Smith

Editor's Note: Hey, kids! Matt here stepping in to tell you that Cassandra's here to talk about some Donald Cotton! Wooooo! Yay Trojans! (Ruh roh that came out wrong...) Any who, I'll be back next week to talk about THE LAST DOCTOR WHO STORY EVER but for now here's Cassandra.

Background & Significance: “The Myth Makers” is an interesting story for quite a few reasons, not because of the actual story, but because of what it represents in the history of the show. 

For one thing, it was the first serial to be produced by someone other than Verity Lambert, which is a big deal.  While “Mission to the Unknown,” the previous story, served as a quiet, fascinating denouement to Lambert’s time with the show, “The Myth Makers” is a ramping up for John Wiles, steering Doctor Who into the very strange and quirky territory it would remain in until the end of the Hartnell era.  While it is a “historical” for the most part, it gets away from that original concept in that it’s also intended to be a high comedy, in the vein of “The Romans” or “The Gunfighters.”

This story is also the last story we see Vicki appear in.  Companion departures are pretty much always a sad affair for me (unless I hate their guts, but that’s another story altogether), and I genuinely enjoy Vicki as a character, and I like what Maureen O’Brien did with the part.  While she is intended to be a substitute Susan, as it were, I think she does a good job coming into her own as the series progresses.  But apparently the fact that she was trying to stick up for the integrity of the character she was portraying was too much for the new producer, who decided after the filming of “Galaxy 4” that O’Brien was complaining too much about her lines, so she should be written out in “The Myth Makers” when her contract was set to expire.  Which hardly seems fair to me.  But that’s showbiz, I suppose.

This also marks the introduction of Katarina, the one-off Trojan handmaiden Companion who (spoilers) ends up dying in the next story, so whatever.  Vicki’s cooler.

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

Serial 25: The Gunfighters

Doctor: William Hartnell (1st Doctor) Companions: Steven, Dodo

Written by: Donald Cotton Directed by: Rex Tucker

Background & Significance: There's a weird thing in Classic Doctor Who, where incoming producers and script editors are shouldered with some leftover stories commissioned by the previous production team. This happened with the first season of Hinchcliffe/Holmes, in which the two of them were forced to produce a commissioned Dalek story by Terry Nation and a commissioned Cybermen story by Gerry Davis even though Holmes had zero interest in returning Doctor Who villains (especially The Daleks), or even with Nathan-Turner, where he and Chris Bidmead were forced to produce "Meglos" despite knowing that it was totally ensconced in the previous regime's tone and feel rather than their focus on "hard science" (ha!) instead of comedic slapsticky.

"The Gunfighters" is that for Innes Lloyd and Gerry Davis.

Commissioned by the previous production team of John Wiles and Donald Tosh, who were interested in another fun historical story from Donald Cotton, who'd previously "succeeded" (as far as they were concerned) with his work on "The Myth-Makers" (which we'll talk about more in a couple of months), this time set in the old west, specifically focusing on the legendary Gunfight at the O.K. Corral with all the tropes and exciting adventures and all that. Much like with "The Myth-Makers", Cotton chose to focus on the spirit of the story rather than being historically accurate (spoilers for "The Myth-Makers": that story isn't "historically" accurate much at all either).

Personally, I think that's a good approach. I think as a rule I'm more interested in the spirit of the thing rather than complete historical accuracy (I am watching a fictional show, after all).

Unfortunately, "The Gunfighters" is something of a final gasp of air for historicals. Innes Lloyd and Gerry Davis were more interested in taking Doctor Who to a more serious and science fiction place (hence the hiring of Kit Pedler) and making the show more focused on entertainment and adventure than the educational whatever place it had been for the previous several seasons. It was this team that implemented the first regeneration, after all, and the one that went head on into big sci-fi stories as soon as they could ("The War Machines", "The Tenth Planet", "The Moonbase", just to name a few), employing the base under siege meme in just about all their stories... I mean, the only time they ever even ventured into the past in any sort of way that mattered was when they picked up Jamie in "The Highlanders".

Regardless. I have made my point. This isn't exactly a story they wanted to make, nor is it one that did exceptionally well when it aired, nor is it one that's been well received in the many years since its airing.

But the problem, I think, comes from... I dunno, people being stupid, I guess. "The Gunfighters" is basically anything you could ever want out of Doctor Who. It's big and exciting and fun and funny and badass and a super huge huge blast. If only the production team at the time could have seen the merits of making a story in which The Doctor goes to the old west to take care of a toothache, because this is the stuff of good and continues the hypothesis that season three is possibly the weirdest and most eclectic season of Doctor Who that's ever been made. I mean, this story is basically the why of all that.

So let's get to it!

Serial 19: Mission to the Unknown

Doctor: None?
Companions: None?

Written by: Terry Nation
Directed by: Derek Martinus

Background & Significance: Leave it to Terry Nation to come up with titles that mean no sense.

"Mission to the Unknown" is something of an odd bird. Perhaps the most obvious of these is that there is neither sign nor reference to The Doctor or his current companions (Vicki and Steven at the time; about to become Steven and Katarina) and all that we have in sight are The Daleks and their allies for the forthcoming epic "The Daleks' Master Plan".

So really, it's like a prologue.

If that sounds weird, that's because it is. It doesn't feel like Doctor Who, nor (do I think) is it supposed to. The show was about to capitalize on the last gasp of Dalekmania before the Daleks went into a four year retirement between the back two seasons of Hartnell and the first two of Troughton. At the time, Terry Nation was attempting to capitalize on his most famous creations, working on getting a Dalek television show made. As such, this becomes an almost backdoor pilot to what would have been a Dalek television series (think something like a Dalek show starring Sara Kingdom as head of a counter-Dalek squad or something). So it... Yeah. It's weird. But they got away with it, I guess.

It also marks the final contribution to the show by producer Verity Lambert, which is also strange. You'd think she'd go out on a bit of a higher note. But no, she goes out on a quiet, experimental, Doctorless story. Which is strange to me. After this John Wiles takes over. And that's all fun. But... yeah.

Also, as one final point of ego-boosting background: This is the halfway point for the blog. Apparently we've so far covered the first half of Classic Doctor Who, meaning it's all downhill from here. I know you probably don't care, but ummmm... Yeah. Milestone. Go us. Go team. Go everybody.

So let's get to it!

Serial 23: The Ark

Doctor: William Hartnell (1st Doctor)

Companions: Steven, Dodo

Written by: Paul Erickson & Lesley Scott
Directed by: Michael Imerson

Editor's Note: Hey, kids! Matt here! Introducing Cassandra's discussion of "The Ark", which is awesome because it's a totally rad discussion and story. I'll be back next week with more talk, this time about Daleks and Pertwee! Whoo! But for now, Cassandra!

Background & Significance: People generally have good things to say about "The Ark" and, as we'll find out soon, not without good reason.

This story comes at the end of the short-lived tenure of producer John Wiles, who actually resigned from the show before this story went into production, but he still gets credit for it, which is cool. He's no Verity Lambert, but if this serial is any indication of his vision of the show, I dig it.

It's also a unique one because this story is the only contribution to the show that both the writers and the director make, which is pretty fascinating to me and a total shame because I think this was pretty well-written and excellently directed. The director, Michael Imerson, apparently overspent way a lot (and it shows, I love the production design, it's so greatness. And live animals! Unheard of.), and he was the first to break the tradition of filming scenes in episode order (not as they appear during transmission, but to which episodes the scenes belonged), which was the first tiny step in changing the way Doctor Who was made.

This is also Dodo's first full adventure as companion, having been introduced briefly at the end of the previous story, "The Massacre of St. Bartholomew's Eve."

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

Serial 26: The Savages

Doctor: William Hartnell (1st Doctor)
Companion: Steven, Dodo

Written by: Ian Stuart Black
Directed by: Christopher Barry


Editor's Note: Hello again! Welcome back to another week! As you probably heard from last week (or whatever) I have the week off and my guest blogger Cassandra is filling in for me on a reconstruction (her first, and it's good). I'll be back next week though. With another reconstruction. Because we do those now. YAY!

And in case you've forgotten, don't forget to check out The Doctor's Companion, where I'm on every week talking about the new and recent episodes!

Background & Significance: Nobody really ever talks about "The Savages." Not that that's a bad thing. But really, it's not a particularly good thing, either.

There's not a lot of buzz on this story, which, having seen it twice, I can understand. It's extremely slow to start, and rather dull in places. It's not an especially remarkable story, really rather standard, but not without its really nifty sci-fi ideas and concepts. Oh, and it doesn't exist anymore.

The plight of the nonexistent story is one of the most bittersweet things about Doctor Who. Yes, the audio survives and various people can make reconstructions from telesnaps and existing pieces of the video and the audio track, but let's be honest, that's not any way to experience a television show. We've done a few reconstructions here at Classical Gallifrey already, but I've never personally reviewed one, so you'll be getting some more of my thoughts on that a bit later.

As far as significance goes, despite the fact that this story is pretty average, it's actually pretty significant for a number of reasons. "The Savages" is not only writer Ian Stuart Black's first story on the show, but it's also the first serial to be overseen by producer Innes Lloyd and script editor Gerry Davis, so it marks a changing of the guard, if you will. It's also the first ever Doctor Who serial to not have individually titled episodes, which is pretty awesome. Aside from the behind the scenes production significance of this story, it also serves as companion Steven's (as portrayed by actor Peter Purves) last adventure with the Doctor, and companion departures are usually always a pretty big deal across the board.

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

Serial 27: The War Machines

Doctor: William Hartnell (1st Doctor)
Companion: Dodo, Ben & Polly

Written by: Ian Stuart Black
Directed by: Michael Ferguson

Background & Significance: As William Hartnell's tenure came to a close, producer Innes Lloyd decided to scrap the idea of historical serials and decided instead to replace them with stories set on present or near-future Earth. This would save on production costs and also help emphasize the science fiction nature of the show.

"The War Machines" is inspired by an idea from Kit Pedler, the scientific advisor Lloyd brought on to the show to make the science more realistic and believable. Pedler, most famous for co-creating the Cybermen, came up with an idea for an evil computer trapped stationary in an office building, unable to escape. In order to work around this small hindrance, it would connect to the outside world via telephone and use machines to conduct business beyond the confines of its oppressive room.

So yeah. Basically he theorized the internet and then developed a proto-Skynet. Decades before James Cameron even got behind the camera to create his Terminator stories.

Wait. And it's The Doctor's job to stop this all? It's The Doctor vs. The Internet! Again!

Also, it's got the introduction of new companions Ben and Polly (who stick around for the next season and witness The Doctor's first regeneration) and also has what is easily the WORST companion departure of all time. No really. It's horrid. It made me laugh.

So let's get to it!

Special Edition! Serial 21: The Daleks' Master Plan

Doctor: William Hartnell (1st Doctor)
Companions: Steven Taylor, Katarina, Sara Kingdom

Written by: Terry Nation and Dennis Spooner
Directed By: Douglas Camfield

Background/Significance: The Daleks need to be epic and to be written sparingly. They're like... The Joker (so's The Master, but kind of in a different way and also the same way) and they really lose their power if they appear too much or in a context that isn't... massive and epic. And you can only do massive and epic on occasion, not every week, or that power's lost too. (For more information, go watch the most recent series' "Daleks in Manhattan/Evolution of the Daleks" to see what I mean).

They're great villains and they deserve a great story. Which brings us to this one, "The Daleks' Master Plan." It's twelve episodes long (all but three of the episodes are lost), making it the longest single Doctor Who serial around (the next longest is Patrick Troughton's final serial: The War Games, which is ten episodes).

Fortunately for those who want them, this serial (as all those that are missing) has been released as an audio experience because (for whatever reason) all the audio survives and has been released.

Mavic Chen looks down on audio recordings; Zephon is confused.

The story was in Hartnell's third and "final" season (he did two serials in season four) and it's.... crazy long. I popped it on my iPod and experienced what was basically a five hour Doctor Who story, starring The Daleks as they chase The Doctor and his companions across time and space as they attempt to take over the Galaxy, starting with Earth.

So let's get to it.

(Also, as a note, because it's so long and because I experienced it in only audio, I'm going to try to just blast through it with minimal plot summary (because it's just so incredibly slow... and incredibly lengthy) and there's really only a few things I want to highlight).