Friday, 31 May 2019

Series 13 Post Script

Well according to our scores that was the best series of DW yet by a significant margin.

Series avg rating 83.5%

Only 1 dud (Android Invasion), 3 in the 90's and 2 more in the 80's. That 5 classics out of 6.

What's caused it? Is there something in the DW Production office tea?

I think it might be Holmes, Hinchcliffe, Baker, Sladen and Camfield all having a good year.

Is it the peak?  Or a peak?  Will series 14 pip it? or maybe 19?

Some seasons cheat a bit by having 4 stories (s7) instead of 10 (s3)....

Here's a table of this blog's average series ratings so far.

Series Avg. Rating
1 58.2%
2 64.8%
3 54.1%
4 67.2%
5 69.2%
6 60.3%
7 77.4%
8 72.3%
9 72.1%
10 72.2%
11 72.6%
12 76.0%
13 83.5%

I feel some of these scores are unfairly influenced by things like B&W, differing levels of familiarity, and missing episodes status. But largely it feels real at this stage.

Also the Marathon is half-way through the classic series.

ABM 31-May-2019

Thursday, 23 May 2019

085 The Seeds of Doom


 Started 23-May


The thing that distinguishes this is the desperate gangster atmosphere that John Challis as Scorby adds as protagonist... and by extension Tony Beckley 's obsessive craziness as Chase egging him on.

So punch ups, car chases, gun fights... this is DW as a 70's cop or spy thriller.
In Camfield's hands as director this has the tension and the pace. So it's still a wild ride to watch.

The visual effects have probably aged this. The fake snow in p1 and p2 (is it polystyrene chips? and the video snowfall) and some of the Krynoid costumes are the prime examples. I guess the elements of the Krynoid costume are ok but the decision to do things like re-use the Axon costume in p2 are obviously "money saving".

The all video location work still looks cheap too. If this was all film it would be edited more tightly. But the BBC budget can only provide so much.


MORE TO COME


ABM Rating 3.51/4.00
LJM Rating 4.60/5.00
SPJ Rating 9.90/10   

No. 6 (out of 85)


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Monday, 20 May 2019

084 The Brain of Morbius

 Started 20-May


Good but not perfect.


The notion of transplant surgery in a medieval low tech dungeon seems kinda hard to take. Obviously this planet has no microbiology....


The main innovation in this story is the introduction of Time Lord mythology as a story element. Time Lords have appeared before. In The War Games, Terror of the Autons, Colony in Space, Planet of the Spiders, The Mutants they were ancilliary to the story. In The Three Doctors they were part of the story but not as deeply. In brain of Morbius they form the background, provide motivation for  Solon, the Sisterhood, Morbius and the Doctor and only they benefit from the outcome. This sort of story becomes very popular in the 90's New Adventure phase of DW history and has its descendants in the modern series (Day of the Doctor, Hell Bent, some others).


I guess this story is the mad scientist trope at its simplest.

The alien invasion trope (either of Earth or some other planet) and the end of the world/galaxy/universe.is given a rest for the first time since Genesis.



The Mindbending Battle in p4 is the climactic point of the story and is steeped in (for the time, new) Time Lord mystery. That it is confoundingly set squarely against later 'established' Time Lord mythology is actually great from a sort of quantum mechanics-y viewpoint.

 Are these Morbius' earlier incarnations or the Doctor's? Perahps they are both?
From top, left to right Chris Barry, Robert Banks Stewart, George Gallaccio, Philip Hinchcliffe, Douglas Camfield, Robert Holmes, Chris Baker, (Graeme Harper missing.)


To the rational mind nothing is inexplicable, merely unexplained. This is inductivist, primitive clockwork universe rubbish, of course. Advanced philosophy allows multiple states of reality as the only way to explain physical behaviour. I'll cite the Heisenberg Uncertainty Principle as evidence. Of course, Terrance Dicks is a dead ringer for an earlier incarnation of Morbius. Why shouldn't regenerated Time Lords look however they choose? The War Games sequence featuring Fats Waller, Leonardo and Bertrand Russell style 'choices' suggests this to me.

Link to site that argues the evidence... exhaustively. https://tardis.fandom.com/wiki/The_Doctor_(The_Brain_of_Morbius)



The story suffers a little from being studio bound. The scenes in the wild land between the Sisterhood's temple and Solon's... house/castle? are very cardboard and wobbly. The Scenes where 'blind' Sarah is drawn through the landscape negotiating the steps without tripping are probably a directorial mistake.


The acting is effective. Philip Madoc gives his third very memorable role in DW a full moustachioed twirl. He seems somewhat less than rational and very nasty. Cynthia Grenville as Maren is played as a stubborn old stick in the mud. Colin Fay makes the role of Condo tragic, sympathetic, almost heroic, certainly not stupid. Gilly Coman as Ohica keeps doing the gestures and the wide, wide eyes as if she's trying to steal scenes. Tom is by turns sparkling and supercilious as the Doctor. Liz is the star of the piece. She rescues the Doctor from the Sisters' execution pyre, discovers the horror of Solon's assembled body, and Morbius' brain hiding in the cellar. Again she's great in this story...and she's having a great series.


Brain of Morbius is a confident DW story, rewritten by Robert Holmes from Terrance Dicks original. Directed by DW royalty Chris Barry and sets by DW original designer Barry Newbery. This is instant classic DW and has the advantage of doing something 'new' (to DW anyway) while paying tribute to olde horror cinema roots. And it's a great success.




ABM Rating 3.25/4.00
LJM Rating 4.40/5.00
SPJ Rating 8.93/10   

No. 16 (out of 84)

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Saturday, 11 May 2019

083 The Android Invasion

 Started 11-May


This is misconceived and poorly written and directed.

It shouldn't be. But it proves that sh*t work can be done even by the best "names".

The script is hackneyed, trite and repetitious.

The best bits are aping things like The Avengers - Murdersville (1967) (the heroes encounter strangely suspicious locals in the cutesy English village doing some obviously weird and unusual doings) and Invasion of the Body Snatchers (1958) (the discovery of the prone, 'replacement' body in the 'coffin') but not in an innovative way. Arguably this is paralleled in Dracula (lots of versions)(open the coffin and something grabs your leg unexpectedly) and Village of the Damned (1960) (the abandoned village, ala Marie Celeste with dead people) too.

P1 has some promising creepy scenes but the Kraals and Crayford's introduction in p2 makes the plot sag like a wet cardboard box.

The Kraal costumes are poor in that the masks effectively hide the actors' performance. We just came from Pyramids of Mars where mummies and Sutekh overcame the exact same problem by startingly chilling voice acting or impassive silence. The Kraals become substandard cod Shakespearian dramatic speech merchants. It couldn't be more badly conceived. The same error occurred in Revenge of the Cybermen with Vogans. Ugh....

The sets and lighting are a very poor look after the achievement of Terror of the Zygons and Planet of Evil but they went for a cardboard game show instead. Unbelievable. Ugh....

The bomb scene in p3. Woeful. Just consider the countdown times quoted and how far each scene shows people moving in successive shots. It ain't believable. This is the director's fault.

The virus handling in p3 and p4 is unrealistic. If the biohazard is "death to the whole world population in 3 weeks" then containment is a nice glass decanter, spreading it around the Kraal detention cell to electrify Androids and Styggron waving it around and headbutting the jar and instantly dying in the rocket in p4 is gonna make it very uncontained and very unsafe indeed. Here we have use of sci-fi trope  in a very dumb way. This reminds me of the biohazard containment failure in Seeds of Death.

What's with the 'G-force is crushing me' sh*t at the end of p3. Why would lying in an android pod overcome this problem? How does the rocket suddenly launching cause the Doctor to collapse onto the floor? The pictures show a rocket going from 0 to quite slow in the first few seconds.
The g-force from acceleration might take effect (briefly) after 30-40 seconds except the g-force would reduce with altitude. (Here's the Gravitational force equation LINK... note the force reduces with the square of the distance (or altitude)... ) Presumably the g-force problem is imagined by the writer who has been for a ride in an accelerating aeroplane at some time and is confused about fighter pilots who might black out at high altitude due to lack of oxygen. (Like Chuck Yeager in the Lockheed Starfighter  in The Right Stuff (1983)  and here..)

To be honest the risk posed from radiation, lack of air or change of pressure and temperature throughout the space trip would be much more of a problem for Sarah and the Doctor. Also I do not understand why the rocket navigation is not affected by the mass of the extra two passengers sneaking on board. BTW increased mass would slow the acceleration of the rocket and reduce the g-force.

The UNIT staff are wasted (Harry Sullivan, Grierson, Benton) or terrible (Faraday).

Crayford is terrible. Milton Johns second DW role is ruined by some terrible, incredible writing (the eyepatch, the concept of lost in space near Jupiter and 'survived' by rationing water.. what about energy, oxygen, psychological isolation effects?) and that cravat in p3 and 4.

On the DVD Philip H and Barry L admit the failure to cover the egregious plot error in p4 where the Doctor uses a E-M pulse from the station radar to put all the androids operation in one scene and then re-activate and reprogram the Doctor android to confront Styggron in the next scene. Obviously written by an idiot who has never reprogrammed anything and who does not really understand what an E-M pulse is.


And as for "the radiation's a bit high on Oesidon", hope we don't get sick by walking around in it "like a couple of 'nanas", the radiation gonna make Oesidon uninhabitable shortly so Kraals have to evacuate, oh but we'll be ok walking around in it for a time, then ignore the plot thread.... This makes the Doctor look like a dummy.

And where did the Doctor find that robot detector in p4?

I suppose the filming's ok. Tom and Liz are ok. But the best moments are undermined by the dopey plot at every turn.

This is easily the worst colour DW story so far. It competes for a wooden spoon with the worst 70's colour serials/clunkers like Revenge of the Cybermen, Robot, Invasion of the Dinosaurs, Frontier in Space and Ambassadors of Death. I scored this by comparing against things in the bottom 10 of the list so far. Not a pleasant task.

For mine The Smugglers is better (just...) Sadly there's (probably) worse to come.



ABM Rating 1.80/4.00
LJM Rating 2.50/5.00
SPJ Rating 5.90/10   

No. 67 (out of 83)

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Saturday, 4 May 2019

082 Pyramids of Mars

 Started 4-May

A bold step into a subject which is difficult to keep credible. "Egyptology and Mars?"

It's almost as if Chariots of the Gods is being parodied.....  

Apart from the theme and the derivation of the plot there are some minor plot flaws (at conjunction (at minimum) Mars is 3.03 light minutes from Earth, at opposition it's closer to 24 light minutes http://blogs.esa.int/mex/2012/08/05/time-delay-between-mars-and-earth/ )

The other major plot flaw is the Doctor's choice to encounter Sutekh late in p3. He already knows Marcus is Sutekh's "animated human cadaver" and yet he fails to consider that he too could provide Sutekh another "instrument" by making the encounter. Why does he make this mistake?

But generally the characters and the acting in this is top notch. It is important to recognise that credible acting of such melodramatic material as this is quite a difficult trick to achieve. (There's another great example of this in Day of the Daleks, I recall.)

Woolf as (essentially) the voice of Sutekh is where this starts but other important roles are Bernard Archard as Marcus and Michael Sheard as Laurence. The fatal (for Laurence) encounter  in ep3 is a prime example of this.

  • [Lodge]
  • (Marcus Scarman enters and sees the unwrapped robot lying on the carpet. Laurence enters from washing his hands.)
  • LAURENCE: Marcus! Marcus? Don't you know me? I'm your brother.
  • SCARMAN: Brother?
  • LAURENCE: Your brother, Laurence.
  • SCARMAN: As Horus was brother to Sutekh.
  • LAURENCE: Marcus, you're ill. Let me help you. Trust me.
  • SCARMAN: Trust you?
  • LAURENCE: Look. You and I when we were boys.
  • (Scarman shows Marcus the photograph.)
  • SCARMAN: Laurence and Marcus.
  • LAURENCE: That's right. You do remember!
  • SCARMAN: I was Marcus.
  • LAURENCE: You still are. Now, let me help you.
  • SCARMAN: No! I am Sutekh!
  • LAURENCE: No, no. You went to Egypt and fell under some sort of mesmeric influence, that's all.
  • SCARMAN: Sutekh the great Destroyer. Sutekh, the Lord of Death. I am his instrument.
  • LAURENCE: Now that's all nonsense. You are Marcus Scarman, Professor of Archaeology, Fellow of All Souls, Member of the Royal Society.
  • (Marcus knocks the photograph out of Laurence's hands.)
  • SCARMAN: What do you know of Sutekh? Where are the others?
  • LAURENCE: Others?
  • SCARMAN: You are being helped. Sutekh has detected an alien intelligence amongst the humans here.
  • LAURENCE: Do you mean the Doctor?
  • SCARMAN: Doctor?
  • (Marcus grabs Laurence's arms with superhuman strength.)
  • LAURENCE: Marcus, your hands.
  • SCARMAN: What is he? What is he?
  • LAURENCE: Marcus, please.

This also illustrates what director Paddy Russell mainly brought to this piece. She was a actor's director... and this shows in the result of scenes like this. The crucial element of this is the cut. The horror of the death of Laurence is made infinitely more horrible by taking place in the viewer's head.

What sort of achievement is Gabriel Woolf's performance as Sutekh?

A disembodied voice behind a black mask and lines like these:
  •   SUTEKH: You pit your puny will against mine? Kneel!
  •   DOCTOR: No!
  •   SUTEKH: Kneel before the might of Sutekh.
  •     (The Doctor is forced to his knees.)
  •   SUTEKH: In my presence, you are an ant, a termite. Abase yourself, you grovelling insect.
Jaw open... 45 years on, this is still effective. A disembodied voice behind a black mask.

Another thing to highlight is the very few other minor roles. Collins (the butler), Namin (the Egyptian), Warlock, the voice of Horus, Clements the poacher, and Ahmed (the noisy guy in scene 1 p1). Apart from the silent Mummies and a couple of dead rabbits that's the cast.

The story of the production of the script is a classic in itself. Read here about Lewis Greifer's original story http://www.shannonsullivan.com/drwho/serials/4g.html
Suffice to say this is really written by Robert Holmes (from an idea by Lewis Greifer). 

And then there's this... This is the number 2 most dramatic scene in DW history.

It defines the raison detre of the Doctor Who... the conflict between "interference" in  history and the "you've become part of history itself". From this stems the Time War and the Blinovitch Limitation Effect. It includes the paradox of time travel and something about the moral responsibility that this confers. Yes you could run away from this problem and avoid this reality entirely but you would remain responsible for it.

It's not too long a bow to draw to say this is what Doctor Who is about.

  • SARAH: Well now we are here, why don't you tune up 1980 and we can, well, leave.
  • DOCTOR: I can't.
  • SARAH: Ah. Why can't you?
  • DOCTOR: Because if Sutekh isn't stopped, he'll destroy the world.
  • SARAH: But he didn't, did he. I mean, we know the world didn't end in 1911.
  • DOCTOR: Do we?
  • SARAH: Yes, of course we do!
  • DOCTOR: All right. If we leave now, let's see what the world will look like in 1980.
  • (The Doctor works the console.)
  • LAURENCE: I say, this is like something by that novelist chap, Mister Wells.
  • (The Tardis lands, and the doors open to show a bleak, rocky landscape with howling winds and an electrical storm.)
    DOCTOR:
    1980, Sarah, if you want to get off.
  • (Sarah doesn't, and the doors close.)
  • SARAH: It's a trick!
  • DOCTOR: No. That's the world as Sutekh would leave it. A desolate planet circling a dead sun.
  • SARAH: It can't be! I'm from 1980.
  • DOCTOR: Every point in time has its alternative, Sarah. You've looked into alternative time.
  • LAURENCE: Fascinating. Do you mean the future can be chosen, Doctor?
  • DOCTOR: Not chosen, shaped. The actions of the present fashion the future.
  • LAURENCE: So a man can change the course of history?
  • DOCTOR: To a small extent. It takes a being of Sutekh's almost limitless power to destroy the future. Well?
  • SARAH: We've got to go back.
  • DOCTOR: Yes.


Tom and Liz are on form again in this story.

Some viewers seem to notice that Tom seems angry and distant in this one. I prefer to think that Tom is doing something subtle here. Tom famously comments that the Doctor is not an acting role since the character does not (indeed cannot) change in response to the drama or the story. However in this story Tom pushes the limits of this by showing the Doctor's reaction to the stress of being so motivated by the threat of Sutekh. Pyramids of Mars is where Tom is at his serious best as the Doctor.

Liz  as Sarah demonstrates why she is the archetypal DW companion. From the stylish, doing a twirl quirky costume to the "perhaps he sneezed?" comment she's both fantastic and reliably delightful. You'd trust her to bat for your life...

Pyramids of Mars is an odd mix of familiar horror movie tropes ("The Curse of the Mummy") and quirky historicals (the butler, the stuff about expeditions and "I've had some enquiries made in Cairo" and DW lore (" I know you're a Time Lord").

I think it's arguable to say Stargate and The Fifth Element are basically "homages" to this story. In 2003 this story was the one Russell T Davies cited when he pitched for the revival of DW. So on its influence alone, it deserves its accolades.



ABM Rating 3.72/4.00
LJM Rating 4.59/5.00
SPJ Rating 9.82/10   

No. 2 (out of 82)


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