Serial 11: The Rescue

Doctor: William Hartnell (1st Doctor)
Companion: Barbara, Ian, Vicki

Written by: David Whitaker
Directed by: Christopher Barry

Background & Significance: "The Rescue" is a bit of an odd entity. It's the second of the seven two-part-length stories in the Classic series' history. And because it doesn't really have a big giant mega monster or a big giant mega crisis for The Doctor and his crew to solve and/or experience, the story exists purely to introduce a new character into the TARDIS crew.


The serial itself starts almost immediately after "The Dalek Invasion of Earth", with everyone still kinda dealing with the loss of Susan (and oh such a tragic loss it is), so the time is ripe for the advent of the first ever "new companion" and because that's a new thing, they gave her her own story.

More than that, there's really not a lot to say. The story is written by outgoing story editor David Whitaker (who is perhaps most famous for being the first ever script editor for Doctor Who, thereby being the first person to really define the stories, characterizations, and inter-character dynamics seen on the TARDIS) and is really a whole lot more of an interlude/bridging-the-gap story than anything else. Sure, it has a really neat mystery (that is... fairly obvious, but hey. Mysteries are hard) and it goes to a pretty friggin dark place, but... Yeah. I can explain as we go.


It's also here that we see the first real paradigm shift in terms of Doctor Who stories. Because this is the last David Whitaker story under his reign (even though it is, technically, edited by new script editor David Spooner), this really becomes the last sort of legacy of the Lambert/Whitaker era, where it's a lot about the mystery and the majesty of the traveling through space crew, when it's all new and exciting and stuff. Not that the Spooner stuff isn't exciting or there isn't the presence/feeling of Verity Lambert in there, but it's VERY much more comedically driven (see "The Romans", "The Space Museum", "The Chase", or even "The Time Meddler") than the early stories, which (while still humourous) were focused a lot on the adventure and almost mythological realism of the story in question.


What I mean to say is, in a lot of ways, this story really brings the Lambert/Whitaker era full circle. They started with The Doctor getting his first ever companions and now they end it with The Doctor replacing the only family member we've [as far as we know] ever seen. Now The Doctor's journey is on for good and so begins the [seemingly endless but not unwelcome] cycle of introducing new companions who will replace those who have left The Doctor's side (even though this is just about as replacey a replacement as they come). It's kind of a gorgeeous little circle really and really helps to establish the future of the series, which is really what the David Whitaker stuff is all about.

So let's get to it!

Serial 131: The Awakening

Doctor: Peter Davison (5th Doctor)
Companions: Tegan, Turlough

Writtten by: Eric Pringle
Directed by: Michael Owen Morris

Background & Significance: Believe me when I tell you it was completely unintentional that we'd burn through the three Davison two parters in such a short short span. It just happened. I don't know how, but trust me, it did. So.. yeah. Here we are, talking about the last of these two parters (and really the last two parter of the classic series) because all the Colin Baker ones don't count (okay, maybe "The Ultimate Foe" counts, but that's... a tricky topic).

The last time we talked about a Davison two parter it involved The Master and was rather odd. The time before that, Cassandra was talking about a "delightfully whimsical" historical. And this?

Well... it's the same consistently odd that the other one is.

Part of what makes these two part stories interesting is the way Classic Who writers have absolutely no idea how to flesh out a story and paint it in all its tapestryness in just two short episodes. To make things even more confusing, there's the same amount of characters as would appear in a standard four parter and the same amount of scope, but it ends up making the whole thing feel incredibly rushed or what have you. So it's a little strange to watch because it feels like they're racing through, leaving me with the sensation that it's all just a little too rushed and sloppy to be anything super amazing or memorable.

That's a shame, of course, because what we have here is probably easily the strongest of the Davison two-parters.

Eric Pringle and Michael Owen Morris are interesting to me because they're in that club of "one-offs". You know the types: the ones who come in and do one Doctor Who story and one Doctor Who story only. And then that story becomes their one, lone Doctor Who legacy, the story that will forever represent their association with the show. Normally, I equate this with the first episode because (if you think about it) it's the story the writer's been wanting to write for all his/her life. As an example, Steven Moffat's would be "The Girl in the Fireplace", which really does a good job exploring the themes and motifs Moffat would later explore in greater depth in his stories going up till today.

For Christopher Bailey the thesis story would be "Kinda", for Neil Gaiman it would be "The Doctor's Wife". And so on and so forth.

"The Awakening", though, is something of an odd, odd bird. Without spoiling the general conceit of the episode, it's a total blending of classic historical while putting on a crazy unique interesting twist on it to make it a "simple" sci-fi story. And yet, it's really not THAT simple. At the time, Pringle was originally commissioned for a four part story and when his outline revealed that he didn't have enough to make a compelling four part story they curtailed it to two parts. But Pringle's condensing led to Saward adding and rewriting making it longer to fill out the time (and yet the initial cut of the first episode way overran. So good on getting that one right, Eric Saward) so it ends up being a bit of your standard Davison era hodgepodge where it doesn't QUITE work out the way it should be.

But that's the era, I guess. Can't do anything about that.

So let's get to it!

Serial 83: The Android Invasion

Doctor: Tom Baker (4th Doctor)
Companions: Sarah Jane

Writtten by: Terry Nation
Directed by: Barry Letts

Background & Significance: In the middle of Tom Baker's second season, you'd almost think that Hinchcliffe/Holmes were trying a little too hard to move away from the stories that came before them. As if it wasn't enough that they had clearly moved away from them and into new territory ("Ark in Space", "Genesis of the Daleks", "Revenge of the Cybermen"), it's strange that they would go to such lengths to attempt to reinforce the notion that the UNIT years were over and they weren't coming back again.

So it is that "The Android Invasion" continues the whitewashing of the walls of Doctor Who before Hinchcliffe/Holmes took over.

If I have one problem to fault them on, it's that. Isn't it enough that you've gone and made UNIT almost redundant in "Terror of the Zygons"? Do you really have to go and needlessly include them here or in "Seeds of Doom", where basically they're the LAPD to The Doctor's John McClaine? You'd think they'd have more confidence in themselves or whatever to not have to resort to kicking an old era to seem better than they actually are. By insisting on returning to Earth (not just Earth, though. UNIT era Earth) instead of forging ahead and making the stories that matter to them (Season 14, anyone?)  the Hinchcliffe/Holmes team really are doing a strange thing by not doing stories that play to their strengths. I mean, doesn't it make sense for them to do that?

To add to the confusion, the production team brings in Terry Nation to write and ex-producer Barry Letts to direct.

What we're left with is a bit of an uneven jumble. For one thing, it's totally strange to see Terry Nation write for Doctor Who not utilizing The Daleks as this is the second of only two stories he ever wrote to not feature his beloved creations (meaning that eight of the ten stories Terry Nation wrote for Doctor Who WERE Daleks stories), especially when Nation isn't able to fall back on any of the usual tricks he does with his Daleks. It's also strange to see Barry Letts behind the camera, especially when he was so instrumental in defining the basic everything of the UNIT era and this is so decidedly... not.

Couple those together and this is something of a weird story. It's the return of Benton and Harry (although why, I am not sure) in each of their last appearances on the show and features (as always with a Nation story) some great ideas that never quite congeal in the way you want them to.

More than anything it really cements the notion of how radically new and awesome the Hinchcliffe/Holmes era ended up being. Utilizing new writers/directors/talents was the name of the game during their time, writers who wouldn't ever appear again (I'm looking at you Chris Boucher and Robert Blanks Stewart) and directors who saw their epic last swansong on the show (Rodney Bennett, David Maloney, and Douglas Camfield). But to see such old veterans slash crusty old dudes mixed in amongst this brand new, glossy, shiny, badass interpretation, the story really goes out of its way to make it clear that these two have no business in this new world order.

Which is rather sad, but understandable. I guess we should talk about that.

So let's get to it!

Serial 154: The Greatest Show in the Galaxy

Doctor: Sylvester McCoy (7th Doctor)
Companion: Ace

Writtten by: Stephen Wyatt

Directed by: Alan Wareing

Background & Significance: It's interesting to take note of Producer Jonathan Nathan-Turner's influence on Doctor Who after his "supposed" departure from the show. (For those who don't remember, he was desperate to leave the show after "Trial" but only stayed on because his leaving the show would have resulted in Doctor Who's cancellation, as the BBC didn't want to replace him with anyone else.)

Any excuse to cancel Doctor Who, yeah?

Anyways, you can tell that the work Nathan-Turner did after "Trial" was decidedly less involved and hands-on, opting instead to let other people steer the ship. There were other ideas, sure, but whenever I think of Nathan-Turner's influence on the McCoy era, I always imagine it as purely background. It's less about flashy Nathan-Turner who was once a blazing firebrand, hungry for work beyond just Doctor Who; instead, he was reduced to something akin to Murphy in One Flew Over the Cuckoo's Nest, trying to make it the best he could by stepping out and letting Cartmel steer the creative ship. Honestly, I'm rather glad he let this happen during Cartmel rather than Saward.

Oh wait. Nevermind. My bad.


But the point still stands.

"Greatest Show in the Galaxy" was meant to be the story after "Remembrance of the Daleks", but when Nathan-Turner demanded that "Silver Nemesis" air on Doctor Who's 25th Anniversary, the story became the season finale as opposed something stuck in the middle of the season. And honestly, I like that it's here rather than there. The originally intended season finale story ("The Happiness Patrol") wouldn't have made as strong an ending I don't think, and this way the season is bookended by this new McCoy Doctor at his absolute schemiest best, don't you think? Not only that, but it really dials into the so-called Cartmel plan, especially because it's a strong story for both The Doctor and Ace whereas "The Happiness Patrol" was good but nowhere close to ideal.

It's written by Stephen Wyatt who wrote "Paradise Towers" for Doctor Who's previous season, and I honestly think he did a lot to progress the perception of McCoy. I mean, "The Happiness Patrol" is fine for showing off McCoy, but this, man. Whooo doggy. This is a whole different ballgame, and one I happen to enjoy very much.

So let's get to it!

Serial 137: Attack of the Cybermen

Doctor: Colin Baker (6th Doctor)
Companion: Peri Brown

Written by: "Paula Moore" (but really, Eric Saward)
Directed by: Matthew Robinson 

Background & Significance: We've talked about the controversy of the Colin Baker years plenty by this point. So know that I'm saying something when I say "Attack of the Cybermen" is one of the most controversial Colin Baker stories. Like, really really.

Colin Baker, as we all know, is probably the most widely unpopular Doctor for fans of the old series. That's terribly unfair, I think. Slap a dude with extremely weak stories amidst a new and wildly radical interpretation (which itself is dependent on slow growth over time) and of course people aren't going to like him. It's just not going to happen.

"Attack of the Cybermen" is the first story of Colin Baker's first full season. It's important to note, however, that this isn't the first Colin Baker story; it's the second. The first Colin Baker story, "The Twin Dilemma" (which we'll be talking about eventually and is widely considered to be one of, if not the, worst Doctor Who stories of all time) was tacked onto the end of Peter Davison's final season in an effort to get people warmed up to his Doctor and excited about the radical change brought about by the influx of a new Doctor.

Without going into it too much here, people hated "The Twin Dilemma" and they hated Colin Baker and they hated his portrayal of The Doctor. So now he had even more to prove moving forward and "Attack of the Cybermen" certainly couldn't have helped anything.

I'll have more thoughts as we go through, but "Attack of the Cybermen" is widely criticized for its violent content, something which I thought I could handle because I'm not exactly the squeamishest or flinchiest of persons; I've watched and relished in my fair share of violent movies, be they over the top or not. Turns out I couldn't, and you'll see why. I mean, there's a line, and "Attack of the Cybermen" WAY crosses it and people project that onto Colin Baker's Doctor, who, let's also point out, does in fact contribute to a fair amount of the violence in this.

Not only all that, but this story is also totally ghost written by script editor Eric Saward. As script editor he wasn't allowed to write any stories under the BBC guidelines, but he underhandedly weaseled his way into writing this using front men (like his then-girlfriend, but why she dated him god only knows) because he had a major major crush on the Cybermen. And the result is horrifically Sawardian in all of the worst ways. Saward, like Jonathan Nathan-Turner, is a man of ups and downs. I thank him for such gems as "The Visitation" and "Earthshock" but for every one of those there's one of these, and the stuff that's like "one of these" is rife with problems and I can't say I'm a huge fan. So ummm.... know that, I guess. Cuz I might not be kind to this story.

Honestly, this is where my (and most people's) criticisms of Saward and Producer Jonathan Nathan-Turner start because... well... it's a poster child. (For some reason they think it's a good idea to "sequelize" the great "Tomb of the Cybermen", but more on that in just a bit). All the best and worst of their eras are neatly wrapped up in this story and it's at this point that their "themness" starts to stop helping the programme (because they're "new" and "revolutionary") and start to negatively impact the stories and show they're making, especially towards Colin Baker, who should have been legendary and well-remembered but instead ends up being derided, reviled, and something of a scapegoat on all counts. It's unfortunate, because Colin Baker is SO good, especially in this, despite being in this. He's the thing that makes it better.

But I'm getting ahead of myself.

So let's get to it!

Serial 110: Meglos

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

Writtten by: John Flanagan and Andrew McCulloch
Directed by: Terence Dudley

Background & Significance: "Meglos" is one of those infamous little Doctor Who stories. It's unique because it's apparently "one of the few weak Tom Baker stories" (I say that tongue-in-cheekly) and because it's the... odd one out that doesn't quite fit into this, Tom Baker's final season on the show. It's not the kickoff story. Nor is it about E-Space of the return of The Master. So what is it?

I think it's safe to say that it's... a pretty rote and standard Doctor Who affair for being the second Johnathan Nathan-Turner story. Which is exactly what he was worried about, so....

It's strange. I think if anything, this is still one of those stories that's trying to shake off the old reign of the show, that really pushed Nathan-Turner into the paranoid, self-obsessed dude he more-and-more increasingly ended up being as the years went on. He wasn't super hot on "Meglos" in theory (he thought it "a bit too typical even for Who" and "uninspired." I doubt he was hot on the writing team (they never made another story although there were attempts) and he must have at least liked Terence Dudley because he did invite him back (although never in a directing capacity, which either means Dudley is a phenomenal writer (which he's.... ehhhhhhhhhhhh...... alright, I suppose) or Nathan-Turner didn't really care for him as a director.

Or Dudley really enjoys writing.

(Also, interesting to point out: JNT's reservations about this were probably right in the end meaning he could be justified in any future stranglehold he would make over the show or whatever. I mean. With this lack of quality? I would...)

But yes. "Meglos".

There's a lot of interesting mythology around Meglos, although none so uniquely interesting as the story itself. Although other things come close, the most interesting thing (to me, admittedly) is that Gareth Roberts's original pitch for "The Lodger" was designed to have the bad guy turn out to be Meglos in an attempt to wrap up the lasting mystery of this story (of course, the ever elusive "Just who the hell is Meglos and what is his deal?"). Apparently when they were to meet, The Doctor wasn't going to remember Meglos (and honestly, aside for "That cactus thing" what is it that's memorable about him? Come on. That's a fair question).

All this cheeking aside, it does do something interesting for Tom Baker, and that's allow him to be double-cast as the villain of the story, which was done for Troughton in "Enemy of the World" and Hartnell in "The Massacre". My question? Does it work? How does Tom Baker take the opportunity? Well... it's an interesting driving question, I suppose.

So let's get to it!

Serial 39: The Ice Warriors

Doctor: Patrick Troughton (2nd Doctor)
Companions: Jamie, Victoria

Written by: Brian Hayles
Directed by: Derek Martinus

Editor's Note: Hey guys! Matt here stepping in real quick to mention that this week's blog is brought to you by Cassandra, who crushed it when talking about this week's story. But never fear! I'll be back next week with some thoughts on "Meglos", and as always keep checking out "The Doctor's Companion" for even more Classic Who discussion. Awesome stuff coming up. BUT FIRST! I'll let Cassandra kick things off!

Background & Significance: Ice Warriors, mofos!

I'm really excited to talk about this story because this is the first Troughton story I get to discuss, and I love Ice Warriors. Like, love. I don't care that they look silly or they hiss and it's hard to understand what they're talking about. They're freaking sweet.

Of course, this is the first story featuring the Martian race known as the Ice Warriors, and it's a really great first outing for them. Creator (and writer of this and every subsequent Classic story involving the Ice Warriors) Brian Hayles was approached by producer Innes Lloyd and script editor Peter Bryant to create a new recurring alien race for the Doctor to go up against, much like the Daleks and the Cybermen. Of course, the Ice Warriors wouldn't be utilized as often--they only show up in three stories after this one--but they're still, in my humble opinion, a great and iconic Doctor Who villain.

This story also deals with the idea of weather manipulation, which is a recurring theme in this era, starting with "The Moonbase". While so scientifically inaccurate it's insane, it's a lot of fun to be able to trace the various ideas people were entertaining at the time and how that bleeds into the social consciousness through a popular show like Doctor Who.

Of course, this is one of those stories thought lost to the ages at first, but thankfully was mostly recovered, with only two out of the six episodes missing (which is quite lucky, when you consider all the other stories missing in their entirety).

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

Serial 4: Marco Polo

Doctor: William Hartnell (1st Doctor)
Companions: Susan, Barbara, & Ian

Writtten by: John Lucarotti
Directed by: Waris Hussein

Background & Significance: "Marco Polo" is something of a legendary Doctor Who story. For starters, it's the chronological "first" story with missing episodes in the entire Doctor Who catalog; not only that, even, but it's the first story that is missing in its entirety. Missing stories, of course, are endlessly elusive in the eyes of the fans. The promise of what exists beyond cheap and blurry screencaps and a cleaned-up-but-not-perfect audio recording of the episode will always have that air of curiosity to it, even if the story doesn't really end up delivering in the end (this is the point when I call out "The Space Pirates").

But Marco Polo is different.

Because all that survives of Marco Polo is its soundtrack and a couple of photographs from director Waris Hussein's personal library, the promise has perhaps never been greater. What we see on the images promises sets that were gorgeous and lush. Something with a fairly big budget and that would capitalize on the always-so-famous BBC period drama showcase. What we hear in the dialogue is rather strong and excellent. What we experience from the story is thrilling, simple, and intricate. As such, "Marco Polo" is the first real historical, and it's a historical epic at that ("Unearthly Child" doesn't quite count, as that's more adventure than historical educational) taps into the promise of early Doctor Who, when the basic conceit of the show was one that alternated between science fiction for one story and then historical for the second, with little to no sci-fi elements beyond the basic premise of "These traveling dudes landed in this time. Isn't that cool?"

Not only that, but this is the first story to air after the initial thirteen episodes, the ones that were Doctor Who's basic trial run and initial pickup. After "The Edge of Destruction", producer Verity Lambert was allowed to continue on with "Marco Polo" and the show as a whole. So that's neat from an external "isn't this cool" standpoint. But from an internal, what-is-happening-in-the-narrative standpoint, the show has gelled completely, with the main characters taking the lessons from the short-but-sweet "Edge of Destruction" and advancing the narrative of them working as a trusting team. No longer do Barbara and Ian question The Doctor at every single turn (only a couple of times, I'd say). No longer does The Doctor act like a murderous git. No. Well. Sort of. That stuff's still there. BUT REGARDLESS. This is when the show is allowed to breathe some more and take its time to get to what it's doing.

And this all adds up to what is a legendary story. Not only that, but what is (perhaps) the greatest tragedy of the erased episodes from the missing BBC archives, because man is this just a total gem.

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 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!