Showing posts with label 1960s. Show all posts
Showing posts with label 1960s. Show all posts

Monday, 6 April 2026

The Nightmare Begins + Devil's Planet

Chapter the 346th, which features an unexpected return.


Plot:
The Doctor and Katarina land on the planet Kembel trying to find help for Steven, who's stricken with illness after he was injured during a violent tussle in Ancient Troy. Space Security agent Bret Vyon is also on the planet, trying to get word back to Earth that the Daleks are planning on taking over the universe. Bret has an altercation with the Doctor, and then bluffs his way into the TARDIS past the trusting Katarina. Bret provides some tablets that help Steven to recover and eventually they all realise they're on the same side. Later, having escaped in the spaceship of traitorous Earth politician Mavic Chen, the TARDIS team and Bret are brought down on the penal planet Desperus. They fend off the local convicts until they can repair the ship and escape, but one criminal has crept aboard...  

Context:
For my last couple of years of blogging, I regularly added a 'Milestone Watch' section to each blog post, counting down the few remaining stories as I watched them in random order. I had reached a point of completion at the end of 2025, having blogged all of Doctor Who's TV stories and many of its spin-offs and oddities. How wonderful then to find that only a few months into 2026, I would have to start counting up. I discovered about the return of these two previously missing episodes on the morning of Friday 13th March 2026. The sun had not long come up, but the Whatsapp group chat with my fan friends was already alight, the messages having started just after midnight when the news first broke. Three weeks later, on Good Friday 2026, the 3rd of April, it was another early start. I didn't manage to get up at 6am (the time the episodes first landed), but around an hour and a half later I sat down to watch episodes 1 and 3 of The Daleks' Master Plan from the BBC iplayer while the rest of the family continued to enjoy an Easter lie-in.


First Time Round:
The 2018 blog post covering the full story of which The Nightmare Begins and Devil's Planet are part can be found here. As said there, I first experienced this story in increments over a number of years, seeing the orphaned episodes as they were discovered and released, and catching up with the full audio recordings separately. These two new episodes are a very welcome new increment, but do they constitute the end of the Daleks' Master Installment Plan? There are seven episodes plus a one-part teaser from earlier in the season remaining to be found, so the story is only 38% complete. It would be lovely if the missing episodes strongly rumoured to survive in other private collections, when returned - and I do believe now that they will eventually be returned - turn out to be more episodes of this epic tale. But it would be just as wonderful if they came from any other story that's wholly or partly missing from the archives. It's a win-win for Doctor Who fans, really, so a big thank you to Film is Fabulous!, the charity that was instrumental in ensuring that these episodes, amongst other finds, were preserved for future audiences to enjoy.


Reaction:
As touched upon in the First Time Round section immediately above, these episodes formed part of a  story that had a somewhat unusual transmission pattern when shown for the one and only time in 1965/1966. First, the story was about twice the length of the longest stories made to that point. Second, it had a teaser episode shown in advance that featured none of the regular cast, but teed up the story to come. Third and finally - and somewhat bizarrely - it had a completely unconnected story broadcast in between that starter and the main 12-part main course. This was The Myth Makers, another story that sadly has episodes missing from the archive (all of them, in its case). The title of that story took on a life of its own, though, when it was used for a decades long series of fan-made videos featuring interviews with Doctor Who alumni, both from in front of and behind the cameras. The appropriated title seems to be suggesting that the many people interviewed over the years from throughout Doctor Who's long history built up the mythology with the programmes to which they contributed. It's only when watching these two episodes of The Daleks' Master Plan that I suddenly felt the title of that video series was doing its interviewees a slight disservice: they contributed to something much better than myths. The real myth makers were those responsible for the policies, or lack of policies, that meant episodes were junked and gaps were created in Doctor Who's archive. The joy of watching The Nightmare Begins and Devil's Planet was seeing them turn in real time from things that were mysterious and to be revered to things that could simply be enjoyed, the intangible becoming tangible. The creatives of Doctor Who didn't set out to create myths, they set out to create stories (and stories are better than myths).


It'll sound silly or even hypocritical given that I'm watching and writing about TV that was made more than 60 years ago, but having moving images to accompany what was only available as audio before makes the action live in the now rather than in some distant past. Just as with previous returns during my time as a fan (see the Deeper Thoughts section below for more details) this creates a novelty around details that would seem irrelevant to the uninitiated (what's the exact moment in the narrative when Steven dons his corduroy jacket?) that have significance as they've previously only been available to one's speculation not one's eye. A wonderful part of the experience was watching in the knowledge that a time will come when I don't think about these and just watch the tale unfold. That's more than okay - it's right. I can now just about watch the second episode of this story, Day of Armageddon, some 20+ years after its return, without being startled by the interesting choice actor Kevin Stoney makes about how his character Mavic Chen grips a pen (how would anyone ever have speculated on such a thing before the episode was found?). The time will come when seeing that the costumes for the convicts of Desperus each has a 'D' on the back doesn't take me momentarily out of the narrative. That day's not today, but it will come. It's testament to the fluid story-telling of Douglas Camfield's direction that I was mostly engrossed in the action despite a succession of such moments. There's a great scene in the first episode (which was made available as an online clip a few weeks before the episodes landed), where the camera tracks across the Daleks to find the Doctor in the foreground, hidden from them; the camera frames William Hartnell in close-up (Hartnell knows how to work a close-up) and he exclaims "Daleks!". It's just one of many flourishes that Camfield creates.


The other big thing that having these two episodes back gives us beyond additional evidence of the director's expertise is more screentime for characters that had precious little previously. Temporary companions Katarina and Bret Vyon now appear in three times more material than before. All the nuances of both Adrienne Hill and Nicholas Courtney's performances are suddenly visible to us. This is also the case for more minor characters. The only part of Brian Cant's performance as Kurt Gantry available before now was a surviving clip of his death scene, where Gantry interacts only with Daleks. Seeing scenes of his interactions with another actor (Courtney) allows more character to shine through, and gives the moment of his extermination much more power when seen in-situ. There are some unexpected effects treats too: a shot of the Spar ship moving through space, and a long shot of the three criminals on Desperus approaching the Doctor and Co, seen as only three distant torch lights. Details like the Doctor's hair being messed up after his altercation in the jungle with Bret, or just how plasticky the wrench is that Steven uses in the TARDIS, are wonderful to see. Best of all, is that there's more of Hartnell as the Doctor to enjoy. He is magnificent in these two episodes; his every tiny adjustment to his performance depending on what size shot he's in is a masterclass in screen acting, even when he's getting the line completely wrong (the Daleks, according to the Doctor at one point, would "stop at anything" to prevent our heroes warning Earth). Now's not the time to find such fault, I know, but some joy comes from knowing that time will come. Instead of being abstract ideals impossible to criticise, these will in a while just be any old episodes of Doctor Who with all the flaws (how plasticky is that wrench?!) and all the magic that entails.

Connectivity:
Both the two found episodes of The Daleks Master Plan and The War between the Land and the Sea feature the return of top division Doctor Who baddies, and see characters escaping from some form of custody to go on the run. Both feature at least one person with a close-cropped do (Barclay in the 21st century story, the Technix in Master Plan).


Deeper Thoughts:
Many Happy Returns: a personal history of missing episode finds. Over the years, a handful of fans have been involved in the recovery of Doctor Who episodes missing from the BBC archives. For the vast majority of us, though, the experience of this activity has been from the outside-in. Many weren't even aware of the state of the BBC's archive holdings of Who until the publication of the Doctor Who Magazine Winter Special in Autumn 1981. This was the first time a mass publication had specified exactly what existed and what was lost. At the same time as the Special, there was a series of archive repeats, The Five Faces of Doctor Who, on UK channel BBC2. I was watching these, and rapidly becoming hooked on the show, but I wouldn't start buying the magazine or its special editions for another year. I also didn't know enough about the history of Doctor Who, unlike some fans watching those repeats, to wonder why they'd chosen the generally less than popular story The Krotons for Patrick Troughton's Doctor instead of one of his classics. If they managed to get a copy of the Special they had their answer: it was a series of four-part stories, one per Doctor, and there was then only one surviving four-part story for Troughton's Doctor. Based on many retellings in the years that followed, I know this was a great shock to many. One fan who wasn't shocked, one who was in the know from the inside-out, was DJ and music producer Ian Levine. In the late 1970s, he'd discovered the terrible state of the archives. This had come about because, as probably the first fan who had grown up with the show and also had significant disposable income, he wanted to watch old episodes and had the means to engage the BBC to obtain film copies. This led to his involvement in missing episode recovery, and the eventual return of a good few film cans plugging some of the gaps.


Levine wasn't the only person involved then or afterwards, of course. I mention him in particular because ultimately the drive for recovery of the old episodes was the desire to view them rather than for them to sit unwatched in a film library. In previous decades, a combination of factors had created the institutional belief that the episodes no longer held viewing potential for an audience. As they already weren't seen as worthy of a place in any film library, that did for them. This wasn't unique to the BBC or to Doctor Who, of course; it was a widespread belief, but it was changing. The Five Faces season and Levine's early private approaches to the BBC were both signals of that change. They were the early indicators that archive television programmes, even - or, damn it, particularly - frivolous ephemera like Doctor Who episodes, were of increasing value. Before this change nobody had particularly been interested in searching, but not too much time had passed since the initial junking of film copies. As such, the ground was fertile for the green shoots of recoveries. When I finally was reading Doctor Who Magazine, its news page regularly reported finds, and this continued through the first half of the 1980s. I remember at least one missive from the mag's letters page in that period, though, bemoaning the lack of access to these recovered episodes: what was the point of trumpeting the newly discovered existence of The Abominable Snowmen part 2 (returned in 1982) or the The Faceless Ones part 3 (returned in 1987), as just two examples, if they still remained unseen? Luckily, a suitable distribution medium was developing in parallel with these finds: by the mid-1980s, affordable sell-through VHS releases had become a reality and a Doctor Who range had begun.


I had not been too engaged with the subject during this period. I still had a supply of new Who programmes being broadcast annually on TV. Most of the show's history was new to me as well. I was doing my best to catch up by collecting Target novelisations and - as the decade wore on - the first videos, but there was more than enough of that history to exhaust my minimal funds. I remember reacting to the news of the 1988 recovery of four episodes of The Ice Warriors with little more than a shrug (forgive me - I was a teenager!). Four years later, the 80s having give way to the 90s, and things were very different. Doctor Who was no longer on the TV. The VHS range was increasingly covering black and white stories from the early years of Who in the 1960s. There had even been a couple of tapes released in 1991 that showcased some orphaned episodes within a wraparound documentary format. Then The Tomb of the Cybermen was found in its entirety. This was the most exciting recovery to date, as retold in the Deeper Thoughts section of the blog post I wrote about Tomb. The VHS range was established such that the story could be rush released, and it sold more in the UK in its first week than many Hollywood movies. More than just the potential of purchasers of archive Doctor Who, there was now a demonstrable market. Thereafter, a pattern was established that any further finds would become available quickly afterwards on VHS, then - as the 90s gave way to the 00s - DVD (and even later as downloads or on streaming platforms). Finds started to become fewer and further between, though.


In a 1998 documentary about missing episodes that was an extra on a VHS release of the recovered Ice Warriors episodes, Levine was quoted saying that he feared that all there was to be found had now been found, though he hoped someone would prove him wrong. That did indeed happen a few times over the following 15 years, but only four episodes were returned in that time, each one an orphan. If anyone thought the days of finding multiple episodes from the same story were over, they were pleasantly surprised when - wonderfully and miraculously - the biggest haul ever was gathered up at the end of that 15 year period. In late 2013, the whole of The Enemy of the World, and all but one episode of The Web of Fear were recovered from a Nigerian TV station. The thrill of that find had to keep us going through almost 13 years of nada, zip, bupkis. The lucky-for-some Friday 13th in March of 2026 saw the situation finally change, when the discovery of the two found episodes of The Daleks' Master Plan was announced. With the 9-episode 2013 returns the only ones this century to come from an overseas TV station, finds from such sources look to have been thoroughly exhausted. Further missing episodes seem more likely to be found in private collections, where there isn't likely to be many found at a time. If anyone cared enough to collect a number of Doctor Who episodes - the collector who ended up with The Nightmare Begins and Devil's Planet wasn't interested in Who and got them as part of a job lot - they would know what they had and would have returned them before now. There are now 95 missing episodes of Doctor Who in total: nobody can know for sure if or when that number will drop down further, but still we fans live in hope - all things considered, it's a nice place to live.

In Summary:
It's good to have these episodes back so that they can cease being revered mysteries and instead become blissfully ordinary and everyday.

Monday, 19 May 2025

The Invasion

Chapter the 328th, re: UNIT, and it feels so good.


Plot:
After narrowly avoiding a missile attack on the dark side of the Moon, the Doctor, Jamie and Zoe land on Earth sometime in the late 20th century (we could argue forever about exactly when). The TARDIS is on the blink and becomes invisible. To fix it, the Doctor needs to work on some circuits, and trying to get help with this embroils him in the machinations of a global electronics corporation, International Electromatics. The head of this company is Tobias Vaughn, and he's in league with the Cybermen planning an invasion of the Earth. The TARDIS team meet Isobel Watkins, an aspiring photographer in swinging 60s (or 70s or possibly even 80s) London; her uncle went to work for IE and hasn't been seen since. Investigating this, the Doctor and Jamie are picked up by UNIT, a military taskforce run by the Colonel Lethbridge Stewart that they previously met fighting against the Yeti in the London Underground, who has now been promoted to Brigadier. UNIT has been keeping tabs on IE and Vaughn: people who have gone in to IE headquarters have come out changed, under Cyber control. There are also mysterious extra circuits in IE devices, and the Doctor can't immediately discern their purpose.

Vaughn is planning to double-cross the Cybermen, and is using Professor Watkins for this purpose. The Professor has invented a prototype teaching machine that provokes emotions in the user; Vaughn kidnaps Isobel and Zoe to coerce Watkins into turning his device into an anti-Cyberman weapon. The Doctor, Jamie and UNIT rescue the two women, but Vaughn bluffs the Professor and he finishes the job. UNIT then rescue the Professor before Vaughn can mass produce the machine. The Cyber army are hidden in the sewer system of London, and Isobel, Jamie and Zoe almost get killed trying to get photographic evidence of their presence. The invasion begins when a hypnotic signal, boosted by the hidden circuits in IE equipment, takes over the populace (the Doctor, UNIT and Co have a method of resisting the signal). The Cybermen emerge from the sewers and attack. The Doctor goes to the IE headquarters and persuades Vaughn that he can't control the Cybermen. They use the Professor's device to fight their way to the IE transmitter, with UNIT battling the Cybermen around them. Vaughn is killed, but transmission of the hypnotic signal is switched off. There are a tense few minutes while everyone waits to see if a missile will destroy the Cyber ship on the dark side of the moon before it can launch an attack on Earth. It does. Later, after the Doctor has mended the TARDIS circuits, the TARDIS team leave for new adventures.


Context:
The random number generator that dictates the order in which I blog Doctor Who stories indicated that it was time to cover my final black-and-white 1960s story, my final story with episodes missing from the archives, and - potentially - my final Cyberman story. I watched the version from the DVD, which has animated first and fourth episodes paired with the surviving soundtracks. I viewed the story spaced out over about two weeks of early May, accompanied by the Better Half for the early episodes. As this is one of her favourite eras of the show, and she was intrigued by the animation, I was able to persuade her to watch at first. Once the animated episodes were over, she lost interest and left me to watch the rest alone. 

Milestone watch: I've been blogging new and classic Doctor Who stories in random order since 2015, and I'm now closing in on the point where I finish everything and catch up with the current stories being broadcast serially. This post marks the completion of another Doctor's televisual era, with the second Doctor joining the first, third, fourth, seventh, eighth, ninth, eleventh, twelfth, thirteenth and fourteenth Doctors, to make it 11 on the 'done' pile so far. It also marks the completion of another season with 37 completed out of the 41 seasons to date (at the time of writing): classic seasons 1-18, 20, 21, 23-26, and new series 1, 2, and 4-14.


First Time Round:
I first saw The Invasion when it was released on VHS in 1993. It was the first tape released - in a range that had started a good few years before in the mid-1980s - that was presented as a self-contained story but had episodes missing because they were no longer in the BBC's archive. Starting a couple of years earlier, there had been tapes that collected together orphaned Who episodes within a documentary framing; these, though, had made no effort to contextualise the surviving material within the overall narrative. The Invasion plugged the gaps in the same way as the 1991 VHS release of Shada, which had sections that were unfinished rather than lost: an actor from the story (in the case of The Invasion, this was Brigadier actor Nicholas Courtney) gave a brief to-camera precis of what the viewer had missed. It's fair to say that Courtney's links were not detailed (his material lasted three minutes, and that included credits and a preamble where Courtney introduces himself and the character of the Brig). My first opportunity to experience the two missing episodes fully (or as fully as then possible) was in November 2004 when their audio, alongside that for the other extant episodes, was released on CD as part of a Cyberman box set. Finally, I got to see the two episodes with moving pictures when the aforementioned DVD, with animation plugging the gaps, was released in November 2006.


Reaction:
Doctor Who is famously the show with the flexible format that can go anywhere and anywhen, telling any kind of story. Equally famously though, it is a show that exists to serve a broad audience (it was brought into being in 1963 to keep all ages amused between sport and pop programming on a Saturday night, and was still performing this role in mid-May 2025 when one Ncuti Gatwa episode nestled in the BBC1 schedules between the year's FA Cup Final and Eurovision Song Contest). Throughout its history, the programme has thus swung between the experimental and the crowd-pleasingly formulaic. The Invasion comes during such a swing. Peter Bryant and Derrick Sherwin, who were effectively co-producers by this point, had taken over gradually from the previous producer / script editor team of Innes Lloyd and Gerry Davis. With input from a scientific advisor Kit Pedlar, Lloyd and Davis had hit upon a successful formula for Doctor Who that had been used increasingly throughout Patrick Troughton's time as the Doctor: a base under siege by a monster of the week. By the season before The Invasion, this template was used for all but one story, with Yeti, Cybermen, Ice Warriors and sentient seaweed all getting a chance or two to kill or take over members of isolated, locked-in communities one by one before the Doctor defeated them. The formula had served its purpose and then some, and it was definitely time for a change. The first two stories of Troughton's third and final season preceding The Invasion were wildly different, both from what went before and from each other. But with experiment comes risk. Sherwin and Bryant wanted to create the certainty of a new winning formula, and The Invasion was a trial for an approach that they wanted to apply to every story from the next season onwards.


Though the storyline for The Invasion came from Kit Pedlar, and there are a few links to the most recent previous Cyberman adventure The Wheel In Space (the metal meanies use of a signal to control humans, and our heroes use of depolarisers worn at the back of the neck to combat this, are callbacks to that story), it is much more focussed on the future shape of Doctor Who than the past. The action doesn't take place on alien planets or in space, it's set on Earth, with the monsters coming to us; the characters aren't stuck in one base represented by a big set in Television Centre, but able to roam to many different places, many of them outdoors and filmed on location. The Doctor has a team to support him in banishing large-scale invasions too big to be handled just by him and the couple of friends with whom he tended to travel: UNIT was born. Leading this team was the Lethbridge-Stewart character, promoted to Brigadier, reused from a popular story of the previous season The Web of Fear. The Web of Fear - directed, like The Invasion, by Douglas Camfield - was very much a base under siege story, but had one key action sequence (the attack by Yeti in Covent Garden) that inspired many similar set pieces in The Invasion. Like in Web, there is a significant military presence in terms of both soldiers and hardware. The story world is expanded beyond the parochial, though: rather than the troops being from the British army as they were in Web, these are a United Nations taskforce (the story even involves an offscreen Russian missile team) with an investigative remit that allows for some espionage as well as shooting and blowing things up. The set-up has lots of potential, and would serve as the model for a lot of the Jon Pertwee era stories. It's not without drawbacks, though.


The importance of the Doctor and his companions is diluted by being part of a bigger team. Jamie is missing throughout the latter part of the story; part of this is because the actor was on holiday for an episode, but even when Fraser Hines is present in the studio, his character spends the best part of a whole episode asleep. His usual role of being the Doctor's minder isn't needed when the Doctor has the assistance of his own army. Early on, though, when the protagonists are more in investigative mode, there's some fun to be had in the sequences where Jamie and henchman Packer (played mostly for comedy by Peter Halliday) indulge in one-upmanship, squabbling like a pair of children. The Troughton Doctor too seems a bit diminished by becoming part of a professional investigation outfit; his usual schtick is to lure his enemies into a false sense of security by appearing to be bumbling and absent minded, but he can't really do this when he's in a role of expert advisor. There's the odd nice moment smuggled in - the Doctor undercutting tense sequences by stopping to play cards with Jamie, or posing for photographs - but in general, he just has to be serious and professional, which doesn't fit well. The series would struggle for quite a while in the Jon Pertwee era to square the circle of finding the fallible, human element in a serious establishment organisation: if its creator Sydney Newman was right, and Doctor Who needs a kid to make mistakes and get into trouble, why would UNIT hire such a person? Nepotism was the answer they finally decided upon, with Jo Grant having secured a job at UNIT because of a powerful relative.


In The Invasion, it is left to the character of Isobel Watkins to trip up herself and others into jeopardy, but she isn't sympathetic enough to provide the necessary heart. Her romance with a UNIT captain isn't given much air time, and doesn't convince when it is. The script also tends to patronise her and the other younger characters. The Brig casually disregards Isobel's evident knowledge of photography, and later refers to her, Zoe and Jamie as "crazy kids" when they venture into the sewers to secure evidence of the Cybermen. The Brig has only been involved in one and a half alien invasions, whereas Jamie and Zoe see off monsters every week; he should show them more respect. A lot of the early part of the story focusses on the fate of Isobel's uncle Professor Watkins, taken captive by Tobias Vaughn; once he's rescued, though, he disappears from the narrative - he's last seen early in the penultimate episode after having been shot in the leg, and - unless I blinked and missed it - he's never mentioned again. It's an odd paradox; The Invasion has too much going on to fully complete all characters' subplots, yet there is only six episodes worth of story here stretched to fill eight. On VHS, as mentioned above, it was reduced to a six episode story; annoyingly, the missing two episodes are from early on when the plot's put together fine. It's in the latter half that it falls apart. The ending is structured oddly, with the climax of the fight against Cybermen in the IE factory, including main villain Tobias Vaughn's death, happening too early. There's then a lengthy sequence of characters standing around waiting to hear about whether a missile has destroyed the Cybermen's ship in orbit. The sequences should have been swapped around, or - better - the missile could have been dispensed with altogether. The Doctor and Vaughn have a device that emits a Cyberman-destroying signal, plus a big transmitter to beam that signal into space; it would make more sense for that to be the mechanism that saves the day.


There's a lot of good stuff in here too, even later on: for example, the famous sequence of the hypnotic signal taking people over across London, and the Cybermen then emerging from manholes and strutting about near St. Paul's Cathedral. The special sound created for that signal and for other sequences like the revivification of dormant Cybermen is perfect, as is Don Harper's score. Little touches too, such as the repetition of Packer being summoned and appearing on a monitor, only for this to be twisted: the final time Vaughn calls for Packer, the scary blank face of a Cyberman appears on the monitor instead. This design of the Cybermen is probably the best of the 1960s, and the decision to hold them back for the first half of the story is a good one. The character of Vaughn is a joy to watch. Kevin Stoney creates a silky smooth psychopath, with occasional flashes of hysteria and anger. The way he says Packer's name is so fun, and so easy to imitate. Many a villainous character in Doctor Who's history has tried to ally themselves with the Cybermen, thinking they can turn the tables on them; Vaughn comes closest to pulling it off, with only Professor Watkins dragging his heels meaning Vaughn runs out of time to mass produce a machine to kill Cybermen (I was almost rooting for him to succeed). Though not a part of the original presentation, of course, it's worth noting that the two animated episodes are gorgeous, the art in character designs and backgrounds is probably the best ever created for a Doctor Who missing episode animation project. I had a slight twinge of disappointment both times the story returned to live action.


Connectivity:
The Invasion and Lux both feature the antagonists using entertainment technology to assist them in invading Earth: Lux uses movie projection equipment to corporealise, the Cybermen and their ally Tobias Vaughn use circuits in products like Jamie's transistor radio to send a hypnotising signal, quelling any resistance from the population. 

Deeper Thoughts:
Animated Meanderings. The Invasion started something by creating UNIT in 1968, and then started something again in 2007 - it was the inaugural story using animation to represent episodes that were missing from the story (because they were missing from the archives). As mentioned in the First Time Round section above, Doctor Who initially made do with brief linking synopses delivered by actors from the original story, specially filmed many years later. Sometimes these were in character, sometimes not. Occasionally, things got a bit more sophisticated with surviving audio recordings and off-screen photographs put together to form reconstructions of missing episodes (as happened for The Ice Warriors and The Tenth Planet) but often they fell back on that original approach of brief linking material (The Crusade, The Reign of Terror) even to the very end of the VHS range. These approaches were also only felt to be viable to replace two episodes of a story maximum, and usually only if the surviving episodes outnumbered the reconstructed / summarised ones. The Crusade VHS release in 1999, with the story split 50/50 between two surviving and two missing episodes was the only exception - this was because an episode of the story had been recently discovered, so half the story was felt to be enough of a draw (even then, though, it was released in a box set with the adjacent complete story The Space Museum). After the UK animation company Cosgrove Hall Studios (who had produced Doctor Who webcast Scream of the Shalka) created animated episodes one and four of The Invasion for its DVD release, the sky was the limit. Animated visuals of missing episodes matched to those surviving soundtracks were much more watchable than a reconstruction, and much more faithful than an actor's brief summary.


Though more possibilities had been opened up, with even the potential for a wholly missing story being released in 100% animated form one day, what happened next for the DVD range and animations was... nothing, for a good long while. There were still plenty of intact adventures to release, and it was six more years before another story had episodes animated, by which time Cosgrove Hall had alas closed down. There were other companies, though. In 2013, either because the range was running out of other classic series stories to release, or because the costs of animating episodes had become more affordable, or both, three stories came out: The Reign of Terror (two episodes animated) in January, The Ice Warriors (two episodes animated) in August, and The Tenth Planet (one episode animated) in October. With its recovered episode old news by 2013, The Crusade did not get similar treatment (it has loads of different characters and locales too, which would make the animation a challenge), but a different 50/50 story was done instead. In early 2014, The Moonbase was released on its own shiny disc. Parts one and three were animated, parts two and four live action. It was the first story that animation allowed to have a release on DVD that had not been a title on VHS. To date, thirteen stories have had their own moment on DVD or Blu-Ray that never got to be centre stage in the video tape days; for only one of these - The Enemy of the World - was this wholly down to the live action episodes being recovered. The remainder have had some or all of their episodes animated for release on disc. Nearly three years on from The Moonbase, The Power of the Daleks was the first wholly missing animated story; a couple of years later, it was followed by The Macra Terror.


By the 2020s, two different teams (one led creatively by Gary Russell, the other by AnneMarie Walsh) were working away, with The Faceless Ones, Fury from the Deep, Galaxy 4, The Evil of the Daleks and The Abominable Snowmen being released between 2020 and 2022. Many of these included episodes that had been animated even though they existed in the archives, to allow the cartoon version to be watched as one consistent piece. Animating episodes you didn't 'need' to would have seemed the height of extravagance even a short few years earlier. Beyond the five new stories released in that period, there was also an improved version of Power of the Daleks, and a new version of The Web of Fear with its single missing episode (part 3) animated; the initial vanilla DVD edition had used a reconstruction. By the end of 2022, a source of funding from BBC America had dried up and there was a worry that the animations would go on hiatus. This situation didn't last long, though. Towards the end of 2023, The Underwater Menace was released; in 2024, there was The Celestial Toymaker, and in 2025, The Savages. Those of us who've been collecting home video Doctor Who since the VHS days can only boggle at the things that have been achieved that we wouldn't have thought of as feasible back then. To pick just a couple of examples, there are now only three - three! - Patrick Troughton stories left to be released (his era amounted to a pitiful handful of video tapes); and - bar a five-minute introduction at the end of an adventure where she was otherwise not present, every moment of companion Dodo's time with the Doctor (from The Ark to The War Machines) is available to buy on individual shiny discs.


There now remain only nine stories that haven't had a dedicated disc release. One of these is the longest story (The Daleks' Master Plan at 12 episodes) but one is the shortest (single episode prologue to Master Plan, Mission to the Unknown), so it evens out. Of the remaining stories, most are historical stories (Marco Polo, The Myth Makers, The Massacre, The Smugglers, The Highlanders), which might be more challenging to animate, and might be a harder sell. The other two (The Wheel in Space, The Space Pirates) are science fiction tales with metallic monsters and / or spaceships, so might be an easier proposition. Additionally, The Crusade  - which had 50% of its running time represented by reconstructions for its Blu-ray release alongside the rest of the second classic season - may be animated before the end. If two teams continue working at the established rate, and with technological advances still gathering pace in parallel that could be brought to bear, all these stories could be out in as little as five years. Exciting. 

In Summary:
Massively successful as a reusable formula, slightly less successful as a story in its own right (mostly because it's a couple of episodes too long). 

Monday, 10 March 2025

The Romans

Chapter the 323rd, which features a bit of a carry on, but no Cleo. 


Plot:
Rome, 64AD. The Doctor, Ian, Barbara and Vicki have a holiday for a few weeks in somebody else's vacated villa near the city, before the Doctor gets bored and goes off to Rome with Vicki. On route, he finds a dead body by the side of the road, and is mistaken for the dead man, Corinthian lyre player Maximus Pettulian. Ian and Barbara are captured by slave traders. Ian becomes a galley slave on a ship; Barbara is sold at auction in Rome, to work in Nero's court. Ian's ship is destroyed in a storm, and with help from fellow slave Dedos makes his way to dry land; they both journey to Rome. The Doctor and Vicki meet Nero, but manage to miss bumping into Barbara. Nero takes a shine to Barbara, and spends a lot of time chasing after her - literally - much to the displeasure of his wife. Barbara survives her own assassination attempt, as she drinks from the wrong cup, avoiding a poisoned one. The Doctor discovers that Petullian's plan before he was killed was to assassinate Nero. After a rapturous reception for the Doctor's lyre playing, Nero plans to feed the Doctor to the lions in the arena. Nero visits the Gladiator school, taking Barbara with him. Ian and Dedos are forced to fight to the death for Nero's amusement, but instead turn their swords on the guards and escape, Ian telling Barbara that he'll come to find her. The Doctor inadvertently gives Nero the idea to burn Rome to the ground, and is spared death by lions. Nero invites the Roman hoi polloi to his palace and instructs them to set fires in the city; this allows Ian and Dedos to sneak in and rescue Barbara. The Doctor and Vicki also slip out. As Rome burns, all of them travel separately to the villa and meet back there.


Context:
The Romans will probably be the last ever purely historical story I cover, unless there's a surprise change of direction in the new series. The recent post for Day of the Daleks may have been the last Dalek story I ever write about. I've got at least one more story each left for the Sontarans, Master and Cybermen, but nothing more for Skaro's finest. It seems likely that any or all of those could appear versus Ncuti Gatwa's Doctor or a future Doctor (if there is one), though. A 21st century story set in Earth's past with no alien antagonists is much less likely. I enjoyed all the historicals watched for the blog over the years, but must admit that when The Romans came up, as the only Willian Hartnell story remaining to align with the write-up for a Hartnell-related BFI event (see Deeper Thoughts below), I wasn't 100% enthusiastic. It felt like only yesterday that I last watched the story, when the second season came out on Blu-ray. In fact, that was more than two years ago. Rightly or wrongly, I still felt a bit fatigued with it; to get over this, I watched the story one episode a week (on Sundays) during February and March 2025. It was enjoyable when watched in that way. The Better Half joined me at the start, and agreed with me that Ian and Barbara are definitely doing it by now (witnessing their relaxed, and possibly post-coital, scenes alone with each other in that first episode, and at end). This wasn't enough to keep her interested for the remaining three parts, though, and I watched them on my own.

Milestone watch: I've been blogging new and classic Doctor Who stories in random order since 2015, and I'm now closing in on the point where I finish everything and catch up with the current stories being broadcast serially. This post marks the completion of yet another Doctor's televisual era; William Hartnell's first Doctor joins the third, fourth, seventh, eighth, ninth, eleventh, twelfth and fourteenth Doctors, making nine completed to date. This also marks the completion of another season, the 35th out of the total of 40 seasons to date (at the time of writing): classic seasons 1-5, 7-18, 20, 21, 23-26, and new series 1, 2, 4-11, 13 and 14).


First Time Round:
I didn't start keeping a diary until the first of January the following year, so I can't be 100% sure, but I believe that the purchase of The Romans on VHS (in a double pack with preceding story The Rescue) was the first Doctor Who product I ever bought with money from post-education employment. I'd finished university in the spring of 1994, dossed around for most of the Summer, then got a temp job. I was working at Griffin Factors (now part of HSBC) in Worthing, in an office a little out of town near the hospital. On the 5th September, or thereabouts, I would have walked into the main shopping area in Montague Street after work, and used my hard earned cash at Volume One. This independent book and video shop was my usual supplier of Doctor Who videos for most of the 1990s, and as such looms large in my memory of Doctor Who stories first watched on video. [I was pleased to find when googling about Volume One, curious to know when it ceased trading, that the author of a couple of excellent non-fiction books about Doctor Who that came out in the last few years, Paul Hayes, was bought his first ever Doctor Who book in the store - see here for the full interview.] My memory of the time is more than hazy, but I would likely have then travelled home on the bus and watched both stories straight away in one sitting.


Reaction:
This blog has been a nearly ten year long experiment into the random. I believed it was much more common, for fans or more casual viewers alike, to encounter Doctor Who stories in no particular order: people watch on TV every so often but not regularly, say, or pick up one or two or all of the books, videos, DVDs or Blu-rays (which have always come out in a haphazard non-chronological order). As such, my hypothesis was that watching the entirety of Who in a shuffled way would garner more insight than starting with An Unearthly Child and progressing in a linear fashion. In the main, I think the hypothesis has held, but on occasion one misses out by not seeing a story in the context of those around it. The Romans is such a case. This was the 12th Doctor Who story, and - though there had been the odd bit of humorous business in the first 11 - was the show's first foray into outright comedy. How jarring would it have been to those watching as it first went out? It's hard to say watching it in isolation, but it would probably be hard to say anyway. Humour is notoriously subjective, but tastes in humour also evolve. The story is 60 years old, and different boundaries existed for what was funny back then, particularly the delicately balanced humour seen here which - though much more prevalent than in other Doctor Who stories - still has to hang on the skeleton of an action adventure narrative. It's so hard to know whether writer Dennis Spooner and director Christopher Barry were just intending it to raise a smile, or to be laugh out loud funny. If it was the latter, I think they failed (at least for this viewer many years later). Perhaps the weight of expectation of this being the first 'funny one' only exists because of the history and the looking back; at the time, perhaps there were no expectation, and that helped to make it more easily enjoyable.


Watching in 2025, when The Romans can't help but seem at a distant historical remove, this translates into some disconcertingly jarring tonal swerves. There's a slapstick fight where Barbara accidentally brains Ian smashing a vase on his head when she was trying to immobilise an enemy. Ho ho. That act, though, condemns them to capture to be sold as chattels, which mere minutes later the characters and the script treat sombrely. Ho ho... slavery? Nero chasing Barbara around is treated like a Benny Hill sequence without the Yakety Sax; but, if he catches her it is clear that he is going to force himself on her, with her consent not a consideration. Ho ho... sexual assault? Okay, it may be unfair to blame The Romans for every bedroom farce that looks tasteless in a different light. The trouble is that in the Doctor Who story the light keeps changing, back and forth. A stage farce would be able to fully commit, anyway, whereas Doctor Who can't. There can't be overt references to sex in the programme, and the regulars have to play to their existing characters (or else the whole dramatic edifice collapses, for this and any subsequent stories). One might just think that they shouldn't have tried it, but Doctor Who and the Hartnell period in particular thrives on experimentation. Besides, a lot of the material in The Romans lands, usually when the script is not trying so hard. For the most part it's sprightly and / or charming. The scenes mentioned above (in the Context section) with Ian and Barbara hanging out and goofing around in the villa are lovely. Some of the Doctor's material is fun. The guest characters are nicely played. Excepting Nero, who's written by Spooner and performed by Derek Francis quite broadly, everyone else has some detail and dimensions to their characterisation provided in the script.


All the near misses where the different members of the TARDIS team just manage to avoid bumping into each other are fun (and reminiscent of the beginning of new series story Partners in Crime). There's a few nice dramatic plot beats, including the moment where Dedos and Ian realise they have to fight each other to the death, the reveal at the end that Tavius's actions have been directed by his Christianity (he's an early adopter), and the shocking moment where it looks like Nero has stabbed Barbara to death, but instead has killed the guard behind her. The Doctor managing to get through a public performance despite not being able to play the lyre by using an Emperor's New Clothes gambit (Nero and all his hangers-on pretend they can hear his 'delicate music' - actually miming - because they don't want to appear unsophisticated) is nice. Ian has a great line of dialogue about the Doctor "I've got a friend who specialises in trouble - he dives in and usually finds a way". Everyone's trying to kill everybody else in the story - it's pretty bloodthirsty for a light comedy - but there's a lot of energy in the scenes where the Doctor's trying to work out in what type of conspiracy the person whose place he's taken was involved. The most interesting part for fans is probably the Doctor inadvertently starting a fire, his glasses magnifying the sun's rays onto some parchment, and giving Nero the idea to burn down the city; it's the first time that our heroes are shown to be able to create recorded history by their own actions. All the following sequences regarding the great fire of Rome are played for laughs, of course: ho ho... destruction and death?!

Connectivity:
The Savages (subject of Deeper Thoughts section below, but not the main focus of this blog post) has a great connection to the last story blogged, Death Comes to Time, as both include vampiric characters attempting to extract something from the Doctor and it backfiring on them. The Romans has diddly squat in common with the webcast story, bar the irritating folksy music played in the latter being a little like the lyre music of Maximus Petullian.


Deeper Thoughts:
From the ancient to the elders: BFI screening of The Savages animation + Q&A, 28th February. This was the first Doctor Who BFI event to take place on a Friday evening, a fact that hosts Justin Johnson and Dick Fiddy mined for a few jokes. When Johnson made some mistakes on stage (including having the wrong answer to one of the quiz questions, and getting schooled by the expert fan audience), Fiddy said "We won't do this on a Friday again ... it's his drinking day". In honour of the change of slot, the quiz saw the audience shouting "Richard" rather than "Dick" if they wanted to attract Fiddy's roaming mic. "It's the PG Version" said Fiddy; "We've gone woke!" said Johnson. Both were on good form: later on in the quiz, Johnson asked a comic, fake question playing on the tabloid stories about Doctor Who's possible cancellation: "The Savages is from season three of the original series, will there be a season three of the new show?". Fiddy highlighted the contemporary relevance of The Savages, it being a story about "A rich and powerful elite sucking the lifeblood out of the poor". After musing on whether episode hunter Philip Morris might have the film reels of The Savages "up his sleeve", Johnson said he should probably stop making this "12-year old joke" (Morris returned nine episodes to the archives in 2013, but rumours got out of control that there were more found that had not been returned). As usual, Johnson read out some tweets; it was someone's birthday, it was someone's first ever Doctor Who event at the BFI, someone got a plug in for their podcast. One fan tweeted that they were happy with the event being on a Friday as they find "Doctor Who fans more tolerable when I've had a drink". There was also the obligatory cheeky tweet from a gay fan pretending to be trolling at the event, saying that they - like the city dwellers in the story - would like to "drain some fit men of their vitality too".

Johnson (L) and Fiddy (R)

The first person to be invited up on stage was Mark Ayres, who did sound restoration on the audio that is the basis for the animation. The sources he used for this were the late Graham Strong's recordings of parts one to three, and the 'Randolph' tapes for part four. Strong was described by Ayres as "The first person to take the back off his telly and risk death" by soldering in a direct link from the audio output into his recording device. The latter source is a set of tapes found in a skip; it's unknown who made the recordings, but their labels have the name Randolph on them. These tapes have only just started to be used on Doctor Who releases recently after their discovery a few years back. That new source, plus improvements in technology, skill and experience since, mean that Ayres feels better equipped to tackle some of the challenges yet to come. He mentioned that he'd previously dreaded cleaning up The Myth Makers, as well as one Patrick Troughton story that he left unnamed; now, though, he believes that whichever stories are selected they'll be brought up to an acceptable standard. He echoed Fiddy's comments about the contemporary relevance of the storyline, and also championed the incidental score by Raymond Jones (a link to The Romans, the only story other than The Savages for which Jones wrote music). After that, the first two episodes of The Savages were shown. The animation is in the 2D style and made by the same team that previously did The Underwater Menace and The Evil of the Daleks, and other stories before that. It is an efficient but enjoyable way to visualise the story, with good use of colour to mark out the different worlds inhabited by the city dwellers versus the savages. The likenesses of the Doctor and Steven weren't perfect, but Dodo was spot on.

(L to R) Johnson, Fiddy, Ayres

As ever when watching with a large group, the humour is more apparent. The Doctor's reference to the machine he uses in the first episode, the Reacting Vibrator, inevitably got a huge laugh from the audience. Beyond that, it was hard to tell as a couple of fellows sitting directly behind us found everything - and I mean everything - side-splittingly hilarious and guffawed all the way through. I suspect some alcoholic lubrication had occurred. Anyway, my original thoughts on the story, written during the first month of the Covid-19 pandemic, are here; one thing that I noticed this time that I didn't in 2020 was the possibly loose way that characters refer to the unnamed planet's inhabitants, savages and city dwellers alike, as human beings. Were they supposed to be colonists, or was this just a shorthand for 'higher sentient beings'? The animation can't do anything about that, but it can erase the possibly dubious use in the original of make-up to darken some characters complexions. According to the panel afterwards, Jano is probably wearing gold face paint, but this doesn't come out very well in the black and white photos from the production. This panel, in a break at the midpoint of the story, focussed on the new pictures and featured animation director and producer AnneMarie Walsh, colourist Vinny Payne, animator Thomas Bland, and executive Paul Hembury. Walsh and Hembury both celebrated the work of the team to achieve what we'd seen on the big screen that day, highlighting the small number of people involved (from six to eight members at different points of an approximately nine month project). Walsh described some of the design choices made: an imaginative jumping off point for the look of the city was a proboscis, to subtly show the blood-sucking nature of those that live there.

(L to R) Johnson, Fiddy, Walsh, Payne, Bland, Hembury

Payne presented an interesting clip showing his work in colour grading the episodes, though the loud music on it overpowered most of his commentary (at least from my seat). Bland said that his greatest challenge this time was animating William Hartnell's facial expressions. This is the first Hartnell story that this particular team has worked on. Walsh commended its cerebral script, but added that "Pat Troughton's still my favourite Doctor". Hembury humorously pointed out how much of a Doctor Who expert Walsh had become after starting work on the animations many years ago as a newcomer to the Doctor's world; "I've gone over to the dark side," she quipped back. Hembury went a little into the executive decisions and deals forming the background to the creative work, as he'd done in the panel for the BFI screening of the team's last animation for The Underwater Menace (see the Deeper Thoughts section of this blog post). Again, he jokingly gave a politician's "I'm glad you asked me that question" reply on one occasion, but again he was forthcoming on some details. He no longer works for the BBC but is continuing in his exec producer role, and is currently in the process of doing a deal to accelerate the rate that this team can produce animations by getting commitments up front for more than one story at a time. When asked if he could imagine a world where all 1960s seasons of Doctor Who had Blu-ray box sets with their archive gaps plugged by animations, he replied "I can definitely imagine that world, I imagine it on a daily basis". He confirmed that is indeed the intention, but again made clear that no deal is finalised as yet.


There was time for a few audience questions; one was about the possibility of crowd-funding (this isn't something that would be explored while BBC Studios still provide budget), and if there were concerns about replicating the original production's make-up (they decided to avoid it altogether). There was also an interesting question about whether there's a risk that anything they animate might impact the age certification of a disc release. Walsh explained that the biggest thing that had come up was not about sex or violence but smoking. In The Evil of the Daleks' animation, the character of Maxtible could hold a cigar, as long as he wasn't seen to light or puff on it. Beyond that, it was more likely to be the special features on a disc that impacted its certification. With audience questions over, the panel members left the stage and the final two episodes were shown. My overall impression is a very positive one, though I should declare that I went in with quite low expectations. Moving visuals make everything in the story so much better: Frederick Jaeger's impression of William Hartnell is more fun, and there are moments of honest to goodness emotion (including Steven's farewell scene, though it's still abrupt). The destruction of the laboratory at the climax probably posed the most challenges to animate, but it works well. After the story was the final onstage interview, this time with Peter Purves who played Steven in the story. Johnson greeted him onstage with "It's nice to see you in 3D", and once sat down Purves said to the audience "You just witnessed the end of my acting career". Very early on in the interview Purves mentioned something that would become a theme for the chat, that his recall of this story and a lot of Doctor Who in general is minimal: "I remember... forgetting all about The Savages".

(L to R) Johnson, Fiddy, Purves

The interview started by focussing on Purves's leaving the show in the story, part of more widespread cast changes by new producer Innes Lloyd that would eventually see the leading man replaced also. Purves described it as "an uneasy time". William Hartnell, who as usual got a warm and positive but not uncritical personality appraisal from Purves, tried to get the producer to change his mind about ending Purves's time on Doctor Who. Back then, though, stars had less power than they would now, and it came to nothing. Once he'd left, Purves didn't think much about Doctor Who ("I've never been a nostalgic person... never looked back... never kept diaries") until joining the convention circuit. His first attendance of an event was in 1996, thirty years after leaving Who. After that, doing work on the narrated audio releases brought back a lot of memories, though he conceded some of those memories might well be wrong: "I enjoy talking about [Doctor Who], and some of it will be true". There was a question about his regular anecdote about making a story revisiting the planet of The Savages only to find that Steven had become an awful despot of a leader. He explained that it was never a pitched idea, but that Simon Guerrier had done a trilogy of plays that covered Steven's later adventures for audio company Big Finish. He delivered another frequently told anecdote about William Emms, writer of the third story Steven appeared in, Galaxy 4; Emms had built the story around Ian and Barbara's presence before they were written out, and did a hasty rewrite job meaning Purves's futuristic space pilot got the dialogue and action of a 1960s schoolmistress, much to the actor's chagrin. When asked if he met any of the show's writers during production, he replied "Unfortunately yeah, I met William Emms".


Purves confirmed in answer to an audience question that he never saw The Savages when it first went out, and - just like most in the audience - was seeing it for the first time with pictures that day. He thought the animation captured Jackie Lane as Dodo particularly well in both look and movement; "I was going to say the voice was good," he added, "But it was her!". Towards the end, he comically admonished the animation team for the spoiler they had shown everyone: the video they'd played after the episode two cliffhanger, where the Doctor is in danger, included a clip from the third episode where he's alive: "Naughty!". And that was that: it was time to go to the bar and have a drink and a nice chat with friends Chris, Dave and Tim, and say hello to a few others. It's uncertain when the next BFI event will take place; it will only be when there is a tie-in product (box set or animation) coming out with which the session can align; another box set is expected this year, and potentially another animation too, but they will likely not be until late in 2025 after the new series has been broadcast. As such, I don't know whether I'll still have any stories left to blog to which I can attach any future write-ups; with the new queuing system on the BFI's website (see Context section of this blog post) I don't know if I'll even get tickets in future. If this is the last event of this type that I cover on the blog, it was definitely an interesting one to go out on.

In Summary:
Ho ho! Carry On Slavery, Sexual Assault, Destruction and Death. Erm...