Showing posts with label fourth doctor. Show all posts
Showing posts with label fourth doctor. Show all posts

Doctor Who: The Ribos Operation (Story 98) (The Key to Time Series, Part 1) (1975) Review

Doctor Who: The Ribos Operation (Story 98) (The Key to Time Series, Part 1) (1975)
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THE RIBOS OPERATION is a severely underrated classic that sometimes gets forgotten about in the Key To Time season. The script is quite good and shows Robert Holmes at the height of his dialog-writing powers. It doesn't get all of the credit that it deserves, and this is a pity, because almost every aspect of the production is excellent, from the script to the acting to much of the incidental music to the set design. There is almost nothing here to distract from what is extremely fun and witty adventure.
The atmosphere is superb. The sets and, in particular, the costumes are exceptionally well done, especially when one considers the budget they were working with here. Possibly a lot of it was taken from stock and then given superficial modifications, but this really adds to the script's medieval and Russian flavors. It feels old-fashioned, and the few futuristic elements slide right alongside the historical pieces. The aliens are planet-hopping aristocrats with lasers, wrist-communicators and space-drives, but they trade in gold, and are concerned with half-brothers on thrones. The soldiers in the story more resemble knights in armor than science-fiction stormtroopers. The modern and the tradition merge extremely well and the two parts complement are a great complement to each other.
Science vs. magic/superstition is another theme that rears its head in this serial. Unlike other stories (say, THE DAEMONS), this story puts both of those subjects on the same level. The magic isn't just given a technobabble explanation; it actually appears to work in the confines of the story. The Seeker makes predictions that prove correct, has second sight, and uses magical incantations, while the story gives every indication that she genuinely does possess unearthly powers. This is vitally important for keeping the balance between science and magic.
When we hear the story of Binro the Heretic, we already know that his calculations and deductions about the lights in the night sky are correct, so our sympathies will automatically go towards his point of view. But if the Seeker had been revealed to be merely a slight-of-hand conjurer, then the battle between the two elements would have been drastically undermined. Because the magical side is so powerful, we can see exactly why someone like Binro has been shunned and derided by his peers. It's not just that what he says conflicts with their religious viewpoint, but also they have apparent proof that the superstitions have a concrete basis in reality. Holmes doesn't chicken out of the conflict, but portrays it in a mature and surprisingly balanced manner. It would be easy for Holmes to have us conclude that Binro is right, and that the Seeker is a con artist. But he doesn't do that - we have at least some evidence that both sides of the conflict have a sound case for parts of their belief.
The characters in this serial are larger than life and twice as fun. During his career, Robert Holmes wrote a number of over-the-top, almost operatic individuals and THE RIBOS OPERATION is certainly no exception. The actors, without exception, all latch on to how these characters need to be played and all deliver exactly the type of performance required. The Graff Vynda-K can't be anything other than an obsessed and fanatical tyrant. Garron has to be a great big lovable rouge. In a story such as this, louder is better. These are archetypes on paper, and the actors bringing them to life inject them with enough humanity and pathos to let them live.
I'm not usually a fan of the actors-only commentaries on these Doctor Who DVDs. Of those discs that have been released in the US so far, the audio tracks that contain no members of the production team are boring and useless, with the people concerned not remembering much about the story and not having known much about the behind-the-scenes planning in the first place. But the commentary for this DVD is highly amusing despite only consisting of Tom Baker and Mary Tamm. While it isn't the most informative thing I've ever listened to, I couldn't stop laughing. It's an extremely entertaining track featuring a few interesting tidbits from Tamm, punctuated by occasional orgasmic sound effects courtesy of Mr. Baker.
The pop-up production notes provide us with a lot of detail about the numerous cuts and edits that were made to the original Robert Holmes script. I find this sort of thing fascinating, and it's really interesting to see how the script evolved. Incorporating the Key arc, to tightening up the script for timing reasons are all featured here.
The DVD picture and sound are quite good considering the age of the material. This disc upholds the high standards that the Doctor Who DVDs have achieved in these areas. The rest of the extras (Photo Gallery, Who's Who) are things that I really have no interest in, but some people like them, and it's nice to know that they're there.
It's interesting to note that at the time of writing this review, Robert Holmes has become the most represented author on the Doctor Who DVDs. And if you really have no idea why, then check out this disc for a reevaluation of a forgotten classic. No one wrote dialog quite like Holmes, and it's absolutely amazing to see what can happen when the writer and the actors play off each other's strengths so perfectly.

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The Doctor and Romana trace the first segment of the Key To Time to the planet Ribos, where they first encounter two con artists who think big.DVD Features:Audio CommentaryBiographiesPhoto galleryProduction Notes


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Doctor Who: The Robots of Death (Story 90) (1975) Review

Doctor Who: The Robots of Death (Story 90) (1975)
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It is little surprise that Dr. Isaac Asimov named this as his favorite Dr. Who episode (though it actually comes as considerable surprise to learn that he even watched the series at all). Certainly the plotline and backstory development borrow liberally from the future society Asimov established in the Lije Bailey/R. Daneel Olivaw novels; it even works in references to the Three Laws of Robotics. The influence of an earlier book, RUR (Rossum's Universal Robots), also surfaces in exploring man's reaction to robots and their total absence of human body language (robophobia). Even the author's name, Karel Capek, is mirrored in that of the villain Taren Capel.
Newcomer director Chris Boucher (The Face of Evil) took the suggestion of longtime Dr. Who editor Robert Holmes and created an isolated, murder-mystery adventure as a vehicle to solidify the role of Leela, a companion he had introduced in the previous serial. Boucher drew from one of his favorite novels, Frank Herbert's Dune, to envisage the Storm-Mine setting. Effects director Peter Grimwade is immortalized in the episode thanks to a bit of ad-libbing by Tom Baker. Amongst the cast was David Collings as Poul, David Baile as Dask (Taren Capel), and Pamela Salem as Toos; Salem had actually been an unsuccessful applicant for the role of Leela.
Though not a milestone episode, I would name this is one of my favorite Tom Baker-era stories, largely because of its attention to detail -throwaway lines by characters reveal a rich tapestry of politics, history, and sociopolitical orders not always seen in a Doctor Who serial. We get a sense of the social "pecking order" on this nameless future planet from Uvanov's obvious disgust with Zilda's and Chub's family standing; at the same time we learn that the all-pervasive Company is not above covering up an employee's potentially embarrassing (or potentially expensive) past. Poul is a great study in contrasts: nobody on the Storm-Mine is the least suspicious of him until Leela turns up and likens him to a hunter. The insertion of D.84 is even more clever, and it illustrates just how inured this society has become to anything out of the ordinary. Uvanov dismisses Leela's assertion that D.84 can speak simply because "everyone knows" that particular class of robots can't speak.
In the same way, the crew dismisses the Doctor's theories about the murderer because "everyone knows" robots are incapable of such a thing. Robot behavior and robot Urban Legends are clearly at the forefront of even casual conversation, as evidenced in the opening scenes when we meet the entire crew idling away in the lounge. I also like the fact that the cast is a little more varied, racially speaking, from the usual spate of pale English actors. Helps to paint a more realistic vision of the future.
D.84 (Gregory de Polnay), the "undercover" agent, provides some wonderful back-and-forth dialogue with the Doctor and goes a long way toward widening the scope of the story. The robot's recount of the life of Taren Capel has made the murderer into a tragic figure before we've even figured out who he is, and it even gets to explore its own feelings of inadequacy; next thing we know it has even cracked a joke at the Doctor's expense. I always thought D.84 would make an ideal traveling companion -a sentiment I was surprised to learn was shared by many other fans. Its plaintive request to "please do not throw hands at me" is priceless. Definite homage to Daneel and Giskard there...
Though we, the audience, know the killer at the outset of this "whodunit," it is the question of who is the puppet master that takes up the scope of the story. This is also an uncharacteristically graphic episode; there are several strangulation scenes, a disturbing shot of a dead body being buried in a downpour of gravel, and blood all over the hand of the initial killer robot. There are also some chilling pyrotechnics; for my money one of the scariest scenes depicts another of the killer robots trying to break into the command deck, calmly announcing in its polite bureaucratic monotone that everyone has to die. Another great moment comes when Leela throws her knife squarely into the chest of an attacking robot -which then casually knocks it aside and keeps on coming. It is the first time we've seen anything even approaching fear on Leela's face.
The society that has been postulated is full of cause-and-effect: the Doctor's casual line about it being "the end of this civilization" is clearly no exaggeration. The characters, for all their feigned ease and opulence, are clearly not wholly comfortable with this robot-dependent society they have created for themselves, and as a result there is an omnipresent creeping paranoia that lurks just under the surface for most of the storyline. The parallels to the distrustful, robot-dependent society in Asimov's Caves Of Steel are obvious: mankind has gone and made another technological breakthrough which has become an indispensable part of daily life before everyone's really had time to adjust. Likewise, the Storm-Mine's carefully-ordered life is exposed to be a powderkeg; one little deviation from "everyone knows," and suddenly everybody's world is turned upside-down. This is especially apparent with Uvanov (Russell Hunter)'s newly-found "blow 'em all up" attitude, Poul's total mental breakdown, and Toos's hysterical sobbing (the latter also provides a great springboard for the audience to learn Leela's surprisingly tender and compassionate side).

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The Doctor and Leela visit a mining outpost where the staff has grown all too dependent on their fleet of robots.DVD Features:Audio CommentaryPhoto gallery


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Doctor Who: Genesis of the Daleks (Story 78) (1975) Review

Doctor Who: Genesis of the Daleks (Story 78) (1975)
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In every sense of the word GENESIS OF THE DALEKS is a "classic".
It has classic scenes, classic lines, classic charcters, a classic setting and the classic of all classic DOCTOR WHO villains - THE DALEKS. How can you go wrong? With both eyes closed, it hardly seems you could... but even the most die hard fan must admit that while GENESIS aims high, it is often mired in a disjointed plot, long winded writing, and paced like a car wreck. It's all bits and pieces flying everywhere - and you can't take your eyes off it. GENESIS OF THE DALEKS is truly a mess - but a wonderful one.
Terry Nation takes us back to the origin of his most famous creations and manages to not only provide a crediable and interesting background story for the Daleks - but establish a new character, DAVROS, who has managed to last almost as long as the Daleks themselves. This is a high point in the story, and one of the main reason why you should own this collection - as for the rest, there are some problems. At six episodes GENESIS runs too long for the material - causing many charcters to reapeat actions, dialouge, plot and story over and over again. The Doctor, Sarah and Harry end up spending a lot of time walking (and running) in this story as well.
From one dome to the another. Above ground, underground, in corridors, under floors, up ladders and down trenches - they are always on the move and always just missing each other at every moment. This story also features one of the least classic monsters in DOCTOR WHO's history - the Giant Clam. It looks exactly like the plastic, spray painted and hand operated "monster" that it is - it's so bad, it's classic. Roger Corman would be proud. But, underneath all the studio cheek and filmed quarry sequences there lies a good story. What do you do when you're presented with the chance to rewrite history? To stop interstellar war, horror and genocide - and what do you do when it's your mission? The Doctor faces these facts and fails to come up with any answers - this is not a bad thing.
GENESIS OF THE DALEKS comes packed as a two disc special edtion and even casual fans will find a number of things here to entertain and inform them. But there are a few downsides - the largest of which is the commentary provided by Baker (the Doctor), Sladen (Sarah), Miles (Nyder) and Maloney (director) - there are a few sparks, but far too many gaps, pauses and long silences as everyone involved tries to remember something. Names pop up, production problems rear their heads and Baker and Sladen demonstrate that chemistry that made them the duo that they were on screen. In fact, it's Sladen that rescues a lot of this commentary - from her references to the new DOCTOR WHO series, and her role in it - to her personal asides and feelings on the production. The worst though has to be Peter Miles who plays Nyder - a dark, vile charcter in the story - but Miles has little next to nothing to say about it. Perhaps there is nothing to be said - Nyder is evil. While I love the ideas behind these commentaries - they are hit and miss. While a Peter Davison and Frazer Hines commentary is bound to leave you informed and laughing - others are trials. A moderator, someone in the know, with facts in hand and the ability to not only prompt, but interview as well, is really required to bring the experience to life.
Text commentary fills in a number of the gaps - but have your remote at the ready. There are times when whole passages of text appear on the screen for two seconds or less, causing you to rewind and pause to read. Also - there are a few errors in facts and some "duh" mistakes that you can't help but laugh at - but they can be forgiven.
GENESIS is a classic. It's one of my all time favorites - and for those new to the series, it's a must own. Look past the extras and just enjoy the show.

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The Time Lords send the Doctor (Tom Baker), Sarah Jane and Harry on a daunting mission to the Daleks' home planet.

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Doctor Who: Horror of Fang Rock (Story 92) (1975) Review

Doctor Who: Horror of Fang Rock (Story 92) (1975)
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"Horror of Fang Rock" is one of "Doctor Who"'s creepier entries. It proves that a story made on styrofoam sets, with a monster so poorly made that the props kept melting under the studio lights, can still be edge-of-your-seat viewing. The TARDIS lands on a rocky outcrop under a lighthouse on the same night that an alien invasion fleet's advance scout crash-lands into the sea. A team of doomed lighthouse keepers, derived from a sub-Coleridge turn-of-the-century ballad, falls easy prey to the shape-shifting, electricity-wielding creature, as does a yacht full of bickering aristocrats also stranded on the isle.
The story opens the 4th (and exact middle) of Tom Baker's seven seasons as the Doctor. As a midway point to the Baker years, "Fang Rock" is intriguing in that it not only hearkens back to the gothic horror of his earlier years, but also serves as a window on the series' future mayhem, when Baker the actor would start acting against the scripts and run amok of the producers' control. The DVD release pays detailed attention to Baker's on-set flareups, while demonstrating how he could still produce great on-screen moments when working with the right people -- actress Louise Jameson and director Paddy Russell.
The commentary track sizzles with tales on on-set strife generated by Baker, if you're into learning that stor of thing. Jameson (companion Leela) provides excellent audio, balancing detailed production anecdotes with an intelligent critique of the story, almost 30 years later. She gives a far more satisfactory origin of the name "Leela" than did Leela's creator, writer Chris Boucher, on the "Robots of Death" DVD some years back. Terrance Dicks, always a hoot on DVD, lavishes praise over elements of his own script, while laughing off other elements of the story. If he likes a cliffhanger (the end of Part Three, a funereal Baker oratory), he takes full credit; if he thinks the cliffhanger landed on the wrong beat (the end of Part Two, when two characters awkwardly embrace against an off-camera scream), he'll cheerfully blame the director. Third wheel John Abbott, who played the youngest of the lighthouse keepers, has neither lot to do in the story nor to say on the commentary track, but he does give an interesting account of what it was like for a rookie actor to intrude on Baker's turf.
The best of the extra features is the 35-minute documentary on Terrance Dicks' "Who" career, featuring interviews with producer Barry Letts, old series writer Louis Marks, and current series writer Paul Cornell. Cornell gives a great breakdown of what made the "Fang Rock" script work so aggressively well ("The story has three McGuffins... and two of them are used to defeat the third"). DW book editor Peter Darvill-Evans, who looked nothing at all like I imagined (more like Ric Ocasek than Charles Dickens), describes Dicks' contribution to several decades' worth of DW novels. The closing credits feature a fabulous montage of every iteration of the Dicks-coined phrase "reverse the polarity of the neutron flow", against Jon Pertwee's observation that you could sing the line to the tune of "The Sailor's Hornpipe".
Now that "Doctor Who" has graduated into the 21st century and is working on its second season of new episodes, with modern production values and British TV's most celebrated writers, an episode like "Fang Rock" can easily sink into irrelevance alongside last season's gothic horror fests "The Unquiet Dead" and "The Empty Child". However, aided by the usual wonderful set of extra features, this DVD reminds those of us who've been in the "Who" fandom game for a while just how we got here in the first place.

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The Doctor and Leela become top suspects in the mysterious deaths that occur when an eerie fog engulfs the Fang Rock lighthouse in this turn-of-the-century adventure.

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Doctor Who: The Deadly Assassin (Story 88) (2009) Review

Doctor Who: The Deadly Assassin (Story 88) (2009)
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What can be said about The Deadly Assassin? It's great. It's full of mystery and intrigue, action and suspense, and Tom Baker fortunately not having a companion to upstage him. I daren't talk about the story further; rather, I shall discuss both the DVD and the controversy the story created during transmission.
Ever hear of Mary Whitehouse? I suspect most Americans don't know her, but since this is a British show and she didn't really like it, I feel the need to talk about her. She was an ultra-conservative bint who complained from the 1960's through the 1990's about how so-called "depravity" in BBC programmes (that is, sex, violence and profanity) was culturally retarding the UK. Strangely, she never seemed to complain about anything on ITV (the other major UK broadcaster at the time); I guess it's because they aren't funded by the government, and therefore don't matter. Pink Floyd ripped on her in their album Animals in 1977 (and in America, Tipper Gore hilariously misinterpreted the line "Hey you, Whitehouse" from the album as anti-American).
She started to get her knickers in a twist about Doctor Who in the early 1970's (probably not long after Terror of the Autons was broadcast), but most people didn't listen to her. But then, after part three of this serial was broadcast, she unleashed a vicious attack. She was not very happy about the cliffhanger, where the Doctor's head is held underwater in a memorable freeze-frame shot. The BBC apologized and removed the shot from the master tape.
However, recordings made during the original broadcast exist with the original ending intact, and have been used to restore the ending for the DVD. Speaking of, the DVD includes an audio commentary featuring Tom Baker, Bernard Horsfall and producer Philip Hinchcliffe, along with three documentaries concerning the production of the story, the influence that "The Manchurian Candidate" had on the episode, and the most frightening moments in Doctor Who respectively. Whitehouse (who died in 2001) is featured in the former documentary; it should be a real hoot to hear her attack the show, like that footage of Michael Grade in The Trial of a Time Lord's special features.
All in all, a great episode wrapped up in a nice DVD package. Recommended.

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DOCTOR WHO:EP 88 THE DEADLY ASSASSIN - DVD Movie

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Doctor Who: Robot (Story 75) Review

Doctor Who: Robot (Story 75)
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There are many firsts in ROBOT - it's the first turn of Tom Baker as the Doctor, it's the first Harry Sullivan story, it's the first time we see the scarf, it's the fourth Doctor's first (and second) trip inside the TARDIS (we know the second trip takes us into THE ARK IN SPACE, but, where did the first land the Doctor?), and it may be the first time the Doctor has killed in cold blood... maybe.
ROBOT is everything the Pertwee years were and more. Picking up and dragging the chain that was UNIT, the series doesn't meddle with the formula too much just yet, but just enough to show us that things have really changed. The pace of this story is fast. Opening like an AVENGERS episode and running like Z CARS, this is a "thief in the night" plot spliced with some COLUMBO detective work which tells you from the title on that a ROBOT is the puppet and then wastes no time in telling us who is pulling its strings. This story zips, and had their been another actor other than Tom Baker in the role, then it may have tripped and fallen on its face as well. As it is, Baker is just as fast as the material and, even from the get go, wasn't scared to pull at his scarf and have fun with the story and us. Watching him and the story, you can't help but just get a sense of how effortless he made it all seem. ROBOT fires on every level here. The cast is top notch, old hat, yet still fresh, which is something of a surprise as the entire set up had been inherited from the Pertwee years. But you can't deny that the Baker/Sladen/Marter trio clicked right from the start.
The story itself borrows heavily from so many sources that when yout tie all the threads together it creates quite the blanket, but there is one thing different in ROBOT than most all other DOCTOR WHO stories - and its in the fact that the Doctor kills the "monster" here without a second thought. Granted, the robot was just that, and when you look back at the story, every time the Doctor encounters the robot, it's hostile, but I find it difficult to accept that the Doctor pays no heed to Sarah's observation and pleas of its "humanity" as the Doctor had often pleaded just the same case with the Brig time and again. Instead of reason, the Doctor rushed headlong into destruction and does so with glee. It's an unsettling moment at the end as what could have been the birth of a whole new form of life is reduced to rust, ash and then nothing.
As usual 2 ENTERAIN has gone out of their way to provide a host of extras. Commentary with Baker, Sladen, Dicks and Letts (uncredited on the extras listing) is casual, comfortable and often very funny. As always, Baker and Sladen demonstrate again why they made such a good team, while Dicks and Letts fill in as much production backstory as they can remember. The documentary follows the lead of all those that have come before it. It's a concise look at the shift change from Pertwee to Baker with some repeat from the commentary, but more face time with everyone involved. It's good, but won't knock your socks off. The review of the creation of the TUNNEL EFFECT is technical, but an interesting look at what would become DOCTOR WHO's most famous opening credit sequence and logo.
Text commentary is included and detailed and worth the time, but, have your remote handy and trigger finger on PAUSE as some of the passages are long, and flip by in under a two seconds or less.
It was smart marketing to release ROBOT shortly after the release of the NEW BEGINNINGS box set which featured Baker's last story LOGOPOLIS. While there are still many stories to go in the Baker years before it is complete, at least we have the bookends to make us feel safe. ROBOT may not go down as a classic, but it does go down easily and is a lot of fun, and for fans is a must buy.

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Mortally wounded by the Spider Queen on Metebilis 3, the Doctor is forced to regenerate. His recuperation is cut short as UNIT investigates a spate of robberies involving components for a top-secret disintegrator gun. The culprit is quickly identified as a highly sophisticated robot built by Professor Kettlewell, which is being ordered to act against its Prime Directive. (Episodes 1-4, 98 mins)DVD Features:Audio CommentaryDVD ROM FeaturesDocumentaryFeaturettePhoto galleryProduction Notes


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Doctor Who - New Beginnings: The Keeper of Traken, Logopolis, and Castrovalva (Stories 115, 116, and 117) Review

Doctor Who - New Beginnings: The Keeper of Traken, Logopolis, and Castrovalva (Stories 115, 116, and 117)
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If you were a fan of DOCTOR WHO back in the 1980's and you lived in Maryland, then MPT was your home of DOCTOR WHO, and your daddy was Tom Baker... always. For years (and years) MPT would air the entire seven season run of Baker from ROBOT to LOGOPOLIS right up until Peter Davidson sat up tied in Baker's famous scarf and then regenerate again tomorrow back in Tom Baker... and it would begin again. For what seemed like forever DOCTOR WHO was just Tom Baker and it frustrated me to no end - leading me to believe that CASTROVALVA was a masterpeice of WHO fiction denied us. But, one day MPT announced that not only had they purchased the Davidson run, but the entire run of DOCTOR WHO as well... and there I was, at the end of LOGOPOLIS, Davidson sitting up tied in Baker's famous scarf and the next day...it was William Hartnell, and it was miles to go until LOGOPOLIS came around again.
Don't get me wrong. Being able to view the DOCTOR WHO from the beginning was pure magic, but in the back of my mind, I was counting down until, finally, at long last... CASTROVALVA began... and once again, here I am and all it takes now is for me to hit PLAY for the show to begin. Times have changed, as to my view of the final two stories of Tom Baker and the first for Peter Davidson, they've changed as well, but not by much.
THE KEEPER OF TRAKEN is a studio bound story high in design and simple in drama. The performances across the board are very good (with only Matthew Waterhouse not ready for prime time), and the story manages at once to be original, yet a copy as well. It doesn't take much to see where all this is heading and while that may sink most shows, here it frees you from having to pay too close attention, and simply enjoy the atmosphere - and TRAKEN has that in spades. From the casual, and comfortable, opening to the renewed battle between the Master and the Doctor, THE KEEPER OF TRAKEN is a solid peice of work. So much so that the Doctor manages to disappear from the story for a long while before you really miss him.
LOGOPOLIS is a stunning mess. There's no two ways about it. It's one of the most original ideas the series has had, and yet, it does almost nothing with it. The story strays, having been burden with not only the weight of continuity issues, the reintroduction of Nyssa, the introduction of Tegan, the battle between the Master and the Doctor and finally, the end of Tom Baker's run on DOCTOR WHO. For a story under constant pressure (I mean, it is the literally the end of the universe we're talking about), it all comes across like a walk in the park. It's simply the silliest armageddon ever.
CASTROVALVA follows on the heels of LOGOPOLIS, taking up the challange thrown down in the previous story in trying to make use of the idea that reality can simply be maintained, created and destroyed through math alone. And it almost works. What nearly kills the story is also one of its greatest strengths, and that's in the performances of the new TARDIS cast starting to work as a unit. Davidson was lucky enough to not have had to make his debut story until he had already made FOUR TO DOOMSDAY which meant he had a better idea and handle on just how this new Doctor was going to be played. It's breathing room he uses to great advantage here - but, it's given too much time, and what's left is not enough for the mystery behind Castrovalva. Davidson is good, but Anthony Ainley is better. The Master's final moments trapped inside Castrovalva are horrific and unsettling, leaving the last moments of the story with the Doctor in the saddle feeling a bit shallow.
As usual 2 ENTERTAIN have gone out of there way to back up these stories with a host of excellent extras. Commentaries across the board are well done and informative. On THE KEEPER OF TRAKEN it's something of a shame that Ainley has so little to say on the topic of the Master and his time on DOCTOR WHO. Someone dropped the ball here by not sitting Ainley down with a professional to mine those memories for future generations. As it is, he's comfortable, happy and delighted to be back among friends. Also, I simply can not priase Janet Fielding enough - whenever she's on a commentary, the tracks shine. She's pure brass, totally adult, and never afriad to speak her mind. For some reason it's the women of DOCTOR WHO that always bring something to the table (and they seem to be the only ones that can make Tom Baker sit up, take notice and be honest) which makes these tracks worthwhile. Text commentary is tight and informative, and worth your time. The MAKING OF... and various documentaries across all three dics are very good (with some repeat from the commentary tracks, but, that's expected now).
All in all, it's pretty much everything you could want spread over three DVD's. Three different, but creative stories, two Doctor's, one Master and a gaggle of companions. Now, I have CASTROVALVA, bring on ROBOT.

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These three stories saw the return of the Doctor's arch-enemy, The Master, as well as the transition from Tom Baker's Doctor to Peter Davison's. The Keeper of Traken: A distress call brings the Doctor (Tom Baker) to the tranquil planet of Traken, where a living statue poses a deadly threat. (4 eps, 98 mins) Logopolis: The Doctor's (Tom Baker) plan to enlist the help of Logopolis's mathematicians for a small favor become sidetracked when the Master's interference leads to disaster on a universal scale. (4 eps, 98 mins) Castrovalva: The Doctor's (Peter Davison) regeneration is failing, and his last hope rests with Nyssa and Tegan, who struggle to steer the TARDIS to the remote haven of Castrovalva. (4 eps, 96 mins) DVD Features:Audio Commentary:Audio Commentary by actors Anthony Ainley, Sarah Sutton and Matthew Waterhouse and writer Johnny Byrne DVD ROM Features:1982 Doctor Who Annual, Radio Times and BBC Enterprises literature PDFs Documentary:Being Nice to Each Other: A new 30-minute "making of" documentary that includes contributions from Sarah Sutton, Sheila Ruskin, Geoffrey Beevers, John Black, Johnny Byrne, Christopher H. Bidmead Interviews:Swap Shop: Noel Edmond interviews Sarah Sutton (11 mins) Music Only TrackOther:The Return of the Master: Geoffrey Beevers, Christopher H. Bidmead and John Black talk about the return of the Doctor's arch-enemy (8 mins) Trailers and Continuity Announcements (6 mins) Photo galleryProduction NotesAudio Commentary:Audio Commentary by actors Tom Baker and Janet Fielding and writer Christopher H. Bidmead DVD ROM Features:1982 Doctor Who Annual, Radio Times and BBC Enterprises literature PDFs Documentary:A New Body at Last: A new 50-minute documentary on the transition from Tom Baker to Peter Davison, featuring many of the actors and production team involved, plus exclusive behind the scenes footage of the regeneration Interviews:Nationwide Interviews with Tom Baker and Peter Davison (8 mins) Pebble Mill at One: Peter Davison interview (12 mins) Music Only TrackOther:BBC News Reports on Tom Baker's wedding, the announcement of Tom Baker's departure and Peter Davison's arrival (1 min) Photo galleryProduction NotesTV Spot:Trailers and Continuity Announcements (2 mins) Audio Commentary:Audio Commentary by actors Peter Davison and Janet Fielding, writer Christopher H. Bidmead and director Fiona CummingDVD ROM Features:1982 Doctor Who Annual, Radio Times and BBC Enterprises literature PDFs Deleted ScenesFeaturette:The Crowded TARDIS: 11-minute featurette with Tom Baker, Peter Davison, Sarah Sutton, John Black and Christopher H. Bidmead Interviews:Being Doctor Who: Peter Davison discusses how he approached this iconic role (13 mins) Directing Castrovalva: 11-minute interview with Fiona Cumming Swap Shop, Blue Peter: Peter Davison interviews (29 mins) Music Only TrackMusic Video:New remix of Peter Howell's Doctor Who theme music for 1980 in stereo or Dolby 5.1 surround Photo galleryProduction NotesTV Spot:Trailers and Continuity Announcements (5 mins)


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Doctor Who: Image of the Fendahl (Story 94) (2009) Review

Doctor Who: Image of the Fendahl (Story 94) (2009)
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Elaborately balanced between horrific and comedic, "Image of the Fendahl" comes in near the midpoint of Tom Baker's tenure as the Doctor, a justifiably classic phase of the series when those responsible for its making seem confident but not complacent that their efforts will entertain a wide segment of the BBC audience. That is, while a bit murkier and edgier than prior years, this is still "Doctor Who" as the quintessential family show--somehow working on several levels at once. On the simplest and most tangible level we have big slug-like monsters (and, this being the olden days before CGI, I think we should stop a moment and appreciate the inventive craftsmanship that endowed them with a mouthful of squirming writhing tentacles). On an equally thrilling if less visceral level, we have a finely-scripted tale of suspense and mystery. On yet more sophisticated levels yet, all of this is framed and informed by a complex and intriguingly speculative science fiction premise of astronomical scale spanning eons--which might feel overly remote if it didn't all come to a crisis within the familiar context of rural England in the 1970's. And yet all these levels cohere in harmony rather than jarring and grating with each other, which takes astounding storytelling skill if you think about it.
It seems natural to characterize this story as the last gasp of the so-called "gothic" tendency seen in the show in the mid-70's. Certainly this is apt in that for all intents and purposes "Image of the Fendahl" follows the plot logic of a good horror story (in some ways it rather reminds me of John Carpenter's 1987 film "Prince of Darkness", in fact). It also works the old reliable "Doctor Who" alchemy of reinterpreting standard horror motifs in a science fiction idiom: the pentagram is a "neural relay", the inability to move as something wicked approaches (a prototypical nightmare) is due to some sort of psychic force, a pinch of salt to ward of evil works because sodium chloride "prevents control of localized disruption of osmotic pressures" and so on. For all that, though, this story is somewhat atypical. In such beloved classics as "Pyramids of Mars" and "the Brain of Morbius" and such, the scientific technical interpretation straightforwardly replaces the supernatural one, utterly displacing and invalidating it--a well-intended nod anyway to the show's original mandate to encourage an interest in science (and history) among its younger viewers. Here things are not so simple, however. The premodern, pre-scientific, indeed pre-Christian manner of explaining these phenomena, especially as they are articulated by the local wise woman/"witch" Martha Tyler, are portrayed not as backwards, ignorant, and wrong but merely as different, as an alternate frame of reference every bit as functional when the Fendahleen are slithering towards you down the hall. You know things are getting weird when the Doctor reels off three mutually-conflicting explanations for what's happening as if all three are equally valid and equally invalid. That's surely eccentric even by the Fourth Doctor's standards. But for those of us who suspect that a little epistemological doubt is healthy, it's also rather refreshing.
Multiple levels of significance and sophistication would mean little if not for the wonderfully varied cast of characters we have here though, all of them saved from the brink of stereotype and brought to life by impeccable acting of the first order as well as a superb script sensitive to the finer points of characterization. One actually cares what happens to them, and that's the ultimate sorcery that makes or breaks a tale.

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DOCTOR WHO:EP 94 IMAGE OF THE FENDA - DVD Movie

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Doctor Who: City of Death (Story 105) (1975) Review

Doctor Who: City of Death (Story 105) (1975)
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The Doctor and Romana are on holiday in Paris, 1979, which among the vintage of years, is "more of a table wine. Lacks true distinction." They become involved in the doings of Count Scarlioni, a filthy rich art collector who has recently attracted attention by selling heretofore presumed lost masterpieces. He also seems to be selling genuine looking fakes, such as a Gainsborough and a Guttenberg Bible. Also investigating is Duggan, a dim British detective in beige trenchcoat who mainly likes thumping people.
Time suddenly jumps a groove for a few seconds, and it is the temporally sensitive Time Lords who notice and realize that something funny is going on. It happens for the second time in the Louvre and while the Doctor is looking at the Mona Lisa. He snatches an unusual bracelet from a pretty woman. Question: what is an Earth woman doing wearing a micromeson scanner, which could be used for detecting the Louvre's alarm system?
The Count is involved in conducting some time experiments with the help of the meek Russian scientist Theodor Nikolai Kerensky. For a sample of what he's working on, check the scene involving the egg and chicken.
This was the first of three foreign on-location stories, the other two being the Netherlands (Arc Of Infinity) and Spain (The Two Doctors). The story moves quickly in order to flesh out the Parisian scenery, but it's the snappy and witty dialogue that really uplifts this story. Example:
Romana: Shall we take the lift or fly?
Doctor: Let's not be ostentatious.
Romana: Let's fly then.
Doctor: That would look silly. We'll take the lift.
At least one Who book points out that Duggan sees the Doctor and Romana on the ground so quickly in the end, that from the time they left him, they must have flown from the tower.
More witty dialogue:
Romana: Where are we going?
Doctor: Philosophically or geographically?
Romana: Philosophically
Doctor: Philosophically, we're going to lunch.
And the first thing Romana says when the Doctor introduces her to the Mona Lisa is "how come she doesn't have any eyebrows?" Later, the woman who posed for the Mona Lisa is also described by the Doctor as "that dreadful woman with no eyebrows who wouldn't sit still."
The Countess (on the Doctor): I don't think he's as stupid as he seems.
The Count: Nobody can be as stupid as he seems.
Then there's John Cleese and Eleanor Bron's cameos in Episode 4, where they think the TARDIS is an objet d'art whose afunctionalism belies the fact that the art lies in the fact that it is here. When it vanishes, Bron says. "Exquisite, simply exquisite." Which this story is.
Other things: the cliffhangers to Episode 1 and 2 are superb. And well-known guest stars are Julian Glover (the Count) who played Richard Coeur de Lion in the Who story The Crusaders and was General Veers in The Empire Strikes Back. Catherine Schell (Countess) has two famous siblings: Maximilian and Maria Schell.
This story got the highest viewing figures for any Who story: 16.3 million viewers for episode 4 and an average of 14.5 million viewers overall! Episode 3 (15.4 million) broke the record set by Episode 4 of the previous story, Destiny of the Daleks (14.4 million) Finally, Douglas Adams wrote this story under the pseudonym David Agnew. Scaroth's ultimate goal was replicated in his novel, Dirk Gently And The Holistic Detective Agency.
If not the best Doctor Who story, probably the best and wittiest Tom Baker story.

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In a story written by Hitchhiker's Guide's Douglas Adams and producer Graham Williams, the Doctor (Tom Baker) and Romana ta a holiday in Paris where they unravel a mystery involving six original Mona Lisas!DVD Features:Audio CommentaryDocumentaryFeaturetteOtherPhoto galleryProduction Notes


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Doctor Who: The Masque of Mandragora (Story 86) Review

Doctor Who: The Masque of Mandragora (Story 86)
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The Mandragora Helix has hitched a ride via the TARDIS! The Doctor and Sarah land in Italy in the 14th Century, unaware of the evil they have brought with them. The design of the story is excellent, including the new(old?) TARDIS console room. But the story feels a little off kilter, it could have been an excellent 3 parter. Count Frederico isn't that bad of a character, the same with Heironymous. But at the end, the Doctor merely short circuits the Helix, and claiming that it would return in the latter half of the 20th Century(a sequel hunting ending with no sequel)! An "A" typical pseudo-historical adventure.

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A wave of Mandragora energy boards the Tardis on its way to 15th century Earth and threatens to undermine the Renaissance.

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Doctor Who: The E-Space Trilogy - Full Circle/State of Decay/Warriors' Gate (Stories 112-114) (2009) Review

Doctor Who: The E-Space Trilogy - Full Circle/State of Decay/Warriors' Gate (Stories 112-114) (2009)
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"One good solid hope's worth a cart-load of certainties..." well, any fan worth their salt will certainly want this set...
The on-again-off-again blocks of tight continuity and multi-episode story arcs of the new Doctor Who series has already primed fans for the return of this string of CLASSIC Doctor Who stories and some of the best of Tom Baker's final season as the 4th incarnation of the Timelord. This set comes not only at a peak of the show's popularity, but during the restyling of the shows look (and sound). Producer John-Nathan Turner, retooled, the theme and graphic for the 80's, even the Doctor's threads, JNT introduced his appropriately somber plum gear. This set contains the finest examples of all of those changes, end for the Timelady Romana and K9, also the beginning of the end for the 4th Doctor.
"Full Circle" is the first of this arc featuring not only an introduction E-Space, a smaller universe with a universe, but the Doctor's questionable next companion, Adric. Adric is a sortof smarter-version of the 2nd Doctor's Highlander companion Jamie, crossed with Dickens' "Artful Dodger." Will Sci-fi writers never learn, the arrogant oversmart teenager is never appealing on screen, just as poor ole' Weasley Crusher. "Full Circle" for it's faults contains some great moments for Baker to chew-up the scenery, and some superb costuming, the Marshmen ala' creatures of the Black Lagoon. "Full Circle" is a tale of a culture apparently stuck in endless preparations for a "return home" with several dark secrets which further delay their journey. Determined to get "back to the basics" and have the Doctor solving problems without any quick fixes, the producers planned to remove K9 from the series. Already, opening the season with him exploding in saltwater, the assault on K9 continues having him spend much of this 4 parter with his head off.
The next story "State of Decay" is the best of the three...finally VAMPIRES in the Doctor Who Universe (or in this case an E-Space universe)...The Doctor tells in hoarse whispers how "every known planet has legends of vampires" and reads ancient tales of the early Timelords and the war with the Great Vampire and his minions, he reveals how after the bodies were tallied, he remained unaccounted for. Before Steven Moffat's episodes aired, State of Decay was surely the creepiest of the long running series. An ancient rocket, it's fuel tanks filled, not with fuel, but BLOOD!! Hoo, hoo! Genius! An the superb attention to atmosphere in "the village," even Romana's wardrobe to the Hammeresques trio of kingly vampires...Genius, I say again.
Finally, the escape from E-Space in "Warrior's Gate." Featuring a strange and interesting use of a virtual environment, while fairly common now was less successful in past attempts when the series worked "set-less." Here I feel it works well achieving the "nowhere" effects (much like the 2nd Doctor's visit to the Land of Fiction), although much of this episode is overcomplicated and artsy. The cat-people make-up, of the Thrails and the neat Gundan robot warriors all add the high-concept effort of this unique story. In some early moments two of the crew of the Slaver ship indulge an homage to "Rosencrantz and Guildenstern are Dead" even including the coin. The story follows a cat-like race that while once cruel masters themselves, are currently in need of liberating, the Doctor's prime hobby. As always more great dialog, gems like the Doctor's, "We'll burn that bridge when we come to it." and from Romana, "Astral Jung!" The final farewell to Romana and K9 is brief and less moving than many departures in the show's history, although the Doctor assures us that she will be more than just alright...she'll be SUPERB.
The E-Space Trilogy is a really good set of DVDs to own at a pretty good price. E-SPACE DRINKING GAMES...Drink whenever:
...the TARDIS Monitor shows an exterior shot of someplace they're not.
...you see a technacothaka or any other quirky turn of phrase like the "Three Who Rule," "the Wasting" or even "Mistfall."
...K9 is broken, abused or otherwise written out of the story.
...the Doctor misquotes Shakesphere...like 'He who outlives this day and comes safe home shall stand a tiptoe when this day is named and rouse him at the name of E-Space!"
...the Doctor says, "SWARMED" ...what? "Swarmed."
...Adric seemingly or actually betrays Romana to gangs or vampires.
...a character melodramatically utters the title, example. "...we've come Full Circle!"
...we see an establishing shot that is a model or a matte...like the STARLINER, The Tower, the Warriors Gate or the long shots of the SlaveShip.
...the Doctor shows off his (architectural) expertise and misses the mark like in the Tower of the Lords in "State of Decay" he says the decor is rococo when actually it's late Saxon/early Romanesque...oh snap!

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The Tardis has brought the Doctor, Romana and K9 to an alternate unvierse, E-Space, where huge poisonous spiders, space vampires and gateways between past and future are commonplace.
DVD Features:Deleted ScenesFeaturetteInterviewsProduction Notes


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Doctor Who: The Invisible Enemy (Story 93) / K9 and Company: A Girl's Best Friend (2008) Review

Doctor Who: The Invisible Enemy (Story 93) / K9 and Company: A Girl's Best Friend (2008)
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The Invisible Enemy.
A mysterious cloud is causing havoc in space, infecting all those who pass through it with an intelligent virus, the first victims are a crew of a shuttle heading for Titan base.(One of Saturns moons)
The Doctor and Leela try to come to the rescue, but the TARDIS passes through the cloud itself, leaving the Doctor infected with the nucleus.
He and Leela then try to find help at a medical station situated inside a Asteroid, where they meet the eccentric Professor Marius and his pet robot K-9.
According to this story written English in the future will be spelt phonetically, look at the wall signs. Interesting concept.
(Air date:~01/10/77-22/10/77)
~~~~
This was an ambitious story that was unusually given more sfx shots then was usually allowed for a Who story. And once again the Beeb was thankful for it's supplies of old Gerry Anderson models.
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DVD extras.
Commentary. With actors Louise Jameson and John Leeson, visual effects designer Mat Irvine and co-writer Bob Baker.
Dreams and Fantasy - artistes and production crew recall the making of this story and even take the original K9 for walkies. With actors Louise Jameson and John Leeson, director Derrick Goodwin, co-writer Bob Baker, visual effects designers Tony Harding and Mat Irvine, K9 operator Nigel Brackley, journalist Gary Gillatt.
Studio Sweepings - a rare opportunity to go behind the scenes on the recording of this story, courtesy of a timecoded Shibaden videotape recorded for production use.
Visual Effect - Visual effects designer Mat Irvine meets up with his old colleague Ian Scoones at Bray Studios to talk about the visual effects for 'The Invisible Enemy' and other stories.
Blue Peter - K9 meets John Noakes and Shep in this extract from the long running children's magazine show
CGI Effects - this gives the viewer the option to watch the story with many of the original video effects sequences replaced by CGI versions. Trailers and Continuity, Photo Gallery, Coming Soon, Easter Egg, Radio Times Listings Programme subtitles, Subtitle Production Notes.
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K9 and Company.
Sarah Jane Smith pays a Christmas visit to her Aunt Lavinia's house in the village of Moreton Harwood. She discovers that Lavinia, a noted scientist, has yet to return from a lecture tour of the USA. She does however meet Brendan (Lavinia's ward) and Commander Bill Pollock*, her partner in a small market garden business.
Also in the house, is a box sent to her by the Doctor, in it she finds K9.
The luckless Brendan is kidnapped by a local coven of witches who want to sacrifice him to the goddess Hecate. Sarah, with K9's assistance, set out to try and foil their dastardly plan.
This was a pilot for a possible spin-off series from Doctor Who. Alas, it was not to be.
(Air date:~ 28/12/81)
(*Bill Pollock is played by Bill Fraser, he played General Grugger in Meglos.)
~~~~
Once passed the annoying and severely dated eighties theme and credits this is an okay story for the undemanding viewer. The more discerning Who fan will probably be impatiently waiting for "Seeds of Doom" and other such stories.
~~~~
DVD extras.
Commentary - With actors Elisabeth Sladen, John Leeson, Linda Polan and script editor Eric Saward.
The K9 Files - key production personnel look at the making of this story and K9's subsequent life in books and comic strips. With actors Elisabeth Sladen, John Leeson, writer and co-creator of K9, Dave Martin, script editor Terrance Dicks, director John Black, visual effects designer Mat Irvine and journalist Moray Laing.
K9 - A Dog's Tale - K9 himself answers a selection of questions about his life.
Pebble Mill at One - K9's appearance on the Christmas 1981 edition of the BBC1 lunchtime magazine show.
Trails and Continuities, Photo Gallery, Coming Soon Trailer
K9 Stories - four books for younger children - 'K9 and the Beasts of Vega', 'K9 and the Missing Planet', 'K9 and the Time Trap' and 'K9 and the Zeta Rescue' - plus the K9 annual on PDF for Mac and PC.
The K9 Radio Times Listings
Programme subtitles, Subtitle Production Notes.


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DOCTOR WHO:INVISIBLE ENEMY NO 93 WITH - DVD Movie

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Doctor Who: Logopolis (Story 116) Review

Doctor Who: Logopolis (Story 116)
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Most regeneration stories are specifically meant to wrap up their era. It had to be in "The Caves of Androzani", for example, that we learn why Peter Davison wears celery on the lapel of his blazer. It's why we could only learn of the Doctor's origins in "The War Games". However, for my all-time favorite "Doctor Who" story, I make the argument that "Logopolis" worked just as well as the pilot for a new series of Tom Baker adventures.
If you had to isolate one image to explain "Doctor Who"'s fall from grace in the 1980s, it's Anthony Ainley. The final actor to play the Master on the BBC also held on to the role the longest, dragging his hammy character kicking and screaming alongside four different Doctors, until he was fat and possessed by the spirit of the Cheetah People. Although this may have been a fitting end for the character, some of us preferred Roger Delgado, all dignity and cigars.
In 1981, though, Anthony Ainley was magically new. In "The Keeper of Traken", he played the Doctor's friend, good guy Tremas, whose body was stolen by the decaying Geoffrey Beevers. A rejuvenated Master sneaks away into his TARDIS, chuckling, whispering, "A new body, at last. A new body. At last". That disembodied chuckle is all that remains, fading into the electronic scream of the end credits. More, please!
Director Peter Grimwade, who showed up with a zillion directorial flourishes, wisely kept the Master off-screen for more than half of Tom Baker's swan song. Menace is restored to the character for the first time, since, oh, "The Mind of Evil", because we can't see him, just hear him off-camera, as another character dies, shrunken to a corpse. Music composer Paddy Kingsland, the best there was in 26 years, punctuates the revelation of each doll-sized body with another mini-electronic scream.
When the Master finally does appear, in Part Three, we learn he's been working to a plan even since before Part One: follow the Doctor to Earth, leave deadly calling-cards, and then stow away on board to Logopolis to steal the Monitor's secrets for himself. But it's there the Master is beaten: for Logopolis is the keystone of the Universe, holding the moment of heat death at bay through sheer force of chanted numbers. And the Master's technological interference has caused the city to crumble to dust, unleashing an entropy field that will reduce the Universe to ash within hours. It's the Doctor's utterance that the Master is "mad... utterly mad" that finally convinces us this is the most dangerous Master we've seen in years.
But Ainley's not the only revelation in this story. There's Tom Baker. Just listen to his dialogue, especially in the early TARDIS scenes alone with Adric It's so dense, and delivered so rapid-fire, so naturally. We are now a million light years away from the Tom Baker who worked with Louise Jameson and Mary Tamm, trampling all over the script, clearly bored with proceedings. This Baker loves the script, giving the dialogue all sorts of inflections, loaning the Doctor a whole new scared dimension. "Nothing like this has ever happened before." It's something to say that a man could so compellingly reinvent the character in his final hour, when he could well have gone through the motions as if this were "The Power of Kroll".
The sense of newness is also borrowed from the supporting cast. Matthew Waterhouse, surprise of surprises, is compelling; witness his constant questioning of the Doctor in Parts One and Two. He even pulls an audience, getting thoroughly confused by the script: "We're going to measure Logopolis too?. When Tegan and then Nyssa arrive in Part Two, Adric starts to exhibit the bossy I'm-in-charge nature that made him so unbearable for most of Season 19, but one senses that Baker would have kept him in line. Even working with Janet Fielding, an actress he really didn't need to know at all, Baker planted the convincing seeds of a Doctor who really wanted to time-travel with this young flight attendant. It's a shame he never worked with either of them again.
And then there's the script. Chris Bidmead, with his emphasis on hard-sounding science, helped mold the "Doctor Who" of not just the 1980s, but the `90s as well. But his script in "Logopolis" far exceeds in quality any book out of the technobabble-drenched Simon Bucher-Jones oeuvre. Not only is "Logopolis" full of phrases like "unraveling the causal nexus" and "my biomechanisms are unaffected", but it's also got poetry: "And now the world I grew up in, blotted out forever"; "We are beyond recriminations... beyond everything", and my understated favorite: "Time has changed little for either of us, Doctor. You continue to roam the Universe, while we persist in our humble existence on this planet."
Special praise must be reserved for John Fraser, who, as the Monitor, played quite possibly the smartest, least hammy character in 26 years of "Doctor Who" guest turns. He has no rants, no over-the-top bursts of comedy. He's just a smart guy who knows more about what's going on than the Doctor, and actually saves the day with his computer code: he just has the good graces to die early in Part Four. That's done so Tom Baker can save the Universe and then fall to his death. Just when we were looking forward to at least another season of this exciting new Doctor.

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The Doctor and Andric head to Earth to fix the TARDIS's chameleon circuit. Once there they face danger involving a newly regenerated Master and a feisty young air hostess named Tegan Jovanka. How can the people of the distant and mysterious planet Logopolis help? And just who is the strange, ghostly figure watching the Doctor's every move? (Episodes 1-4, 98 mins) DVD Features:Audio Commentary:Audio Commentary by actors Tom Baker and Janet Fielding and writer Christopher H. Bidmead DVD ROM Features:1982 Doctor Who Annual, Radio Times and BBC Enterprises literature PDFs Documentary:A New Body at Last: A new 50-minute documentary on the transition from Tom Baker to Peter Davison, featuring many of the actors and production team involved, plus exclusive behind the scenes footage of the regeneration Interviews:Nationwide: Interviews with Tom Baker and Peter Davison (8 mins) Pebble Mill at One: Peter Davison interview (12 mins)Music Only TrackOther:BBC News Reports on Tom Baker's wedding, the announcement of Tom Baker's departure and Peter Davison's arrival (1 min) Photo galleryTV Spot:Trailers and Continuity Announcements (2 mins)


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Doctor Who: Pyramids of Mars (Story 82) Review

Doctor Who: Pyramids of Mars (Story 82)
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I'll make no pretense - this is my favorite Doctor Who adventure of all time. It is moody and intense, with brilliant performances by Tom Baker, Lis Sladen, and Gabriel Woolf. No other DW villain has really been so imposing - we never see Sutekh's face (unless that mask -is- Sutekh's face) or see his lips move, but his voice is so powerful and resonant it sends chills down the spine; more than a worthy adversary for the tall and deep-voiced Tom Baker.
The story is nicely claustrophobic, mostly taking place in and around a mansion, with the marvelous sense of a horror movie. The script is another real gem by Robert Holmes (despite the writer's credit, he wrote almost all of what appeared onscreen), and no actor is off-par.
The only downside about this video is that it was one of the first DW videos released, so the four 25-minute episodes have been truncated into a long 95-minute "movie". Still, in lieu of an unedited video or DVD release, this is a fine purchase and should be in anyone's Doctor Who collection.

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As the Doctor and Sarah attempt to return to UNIT HQ, the TARDIS is thrown off course and materializes in 1911 at an old priory owned by Egyptologist Marcus Scarman. While excavating a tomb, the archaeologist became possessed by the spirit of Sutekh, the last survivor of the godlike Osirans. The Doctor and Sarah witness strange and deadly events as Sutekh, who has lain imprisoned in a pyramid for thousands of years, employs Scarman and a legion of robotic mummies in an elaborate scheme that may bring about the destruction of the world.DVD Features:Audio CommentaryDeleted ScenesDocumentaryFeaturettePhoto galleryProduction Notes


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Doctor Who: Planet of Evil (Story 81) Review

Doctor Who: Planet of Evil (Story 81)
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Season 13.
Zeta Minor is a planet on the periphery of the known universe.
But what is not known about it, is, it's also a gateway to the anti-matter universe!
(Nothing is ever simple in the Whoniverse!)
En route to London the TARDIS picks up a SOS call from Zeta Minor, the Doctor immediately changes course and land's there. (circa, 37,166)
Trudging through this densely jungled world the Doctor and Sarah come upon a Morestran military squad, searching for a geological expedition that has ceased transmitting.
The Morestran's are extremely suspicious of the Doctor and Sarahs explainations as to why they are there, but their conflict is about to be seriously interrupted when the anti matter world makes it's presence known to them.
And an infected killer starts to stalk the ships corridors...
~~~~
Behind the scenes.
The real star of this story, for me, is not a Human character but the magnificient alien jungle set, designed by Roger Murray Leech. Later to design for feature films.
He suggested it should be shot on film at the BBC owned Ealing film studios, and not videotaped, to give it greater depth and realism, and it works for me. The shots in the TV studio have a noticeable drop in visual impact.
These scenes set in the Zeta Minor jungle have to be the most eerie and suspenseful in the shows long history.
~~~~
DVD Special Features.
"Commentary" - With actors Tom Baker, Elisabeth Sladen and Prentis Hancock, producer Philip Hinchcliffe.
"A Darker Side" - a 25 minute "making of" feature. With producer Philip Hinchcliffe, writer Louis Marks, designer Roger Murray-Leach, director David Maloney, actors Tom Baker, Elisabeth Sladen and Prentis Hancock.
"Planetary Performance" -(13 minutes) A look at the making of the story from an actor's perspective. With actors Tom Baker, Elisabeth Sladen, Prentis Hancock, Tony McEwan and Graham Weston.
"Studio Scene" - the only surviving behind-the-scenes footage from the story.
"Continuities" - continuity announcements and repeat trailer.
"Photo Gallery" - production, design and publicity photos from the story.
"Coming Soon" trailer.
"Easter Egg".
~~~~
Trivia:~ Ello, ello, ello what's all this then? Doctors aboard the USS Enterprise,well yes, kind of, check this out.
In the Star Trek: The Next Generation episode The Neutral Zone, as Dianna Troi helps a woman from the past search for living family members the computer screen flashes up a family tree with the names William Hartnell, Patrick Troughton, Jon Pertwee, Tom Baker, Peter Davison, Colin Baker.
Maybe some Trek writers were closet Whovians?

As the BBC showed this story, ITV were showing the much more expensive; "Space 1999", but it was Doctor Who that won the ratings battle.
Airdate:~ 27/9/75-18/10/75.

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Item Name: Doctor Who - Planet of Evil (Episode 81); Studio:BBC Video / Warner Bros.

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Doctor Who: The Leisure Hive (Story 110) Review

Doctor Who: The Leisure Hive (Story 110)
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Another pair of titles from the Doctor Who library hit the DVD stands and although drawn from different eras of the programmes lengthy history, there is (unusually) a strong connection between the two that makes them an ideal pair for simultaneous release.
The Leisure Hive from 1980 is the very first story to be produced and broadcast by the show's longest running producer, the highly controversial John Nathan-Turner. Ghostlight, made and broadcast nine years later was his last and indeed the last of the original series twenty-seven year run. It wouldn't be for another sixteen years that Doctor Who made it back onto UK screens in a regular series.
Seeing both shows again now really highlights quite clearly the long and drawn out demise of the original series and the reasons for the inevitable cancellation. When The Leisure Hive hit the UK's BBC1 on August 30, 1980, it was in many ways the dawn of a new era. The previous three years under the aegis of producer Graham Williams had seen the show degenerate into a rather slapstick version of itself with strong storylines often let down by weak production values, design and tongue-in-cheek performances from the assembled cast, including the lead actors themselves. With the departure of both Williams and script editor Douglas Adams (on his way to greatness with The Hitchhiker's Guides) a new broom literally swept through the programme and brought some much needed seriousness and higher production values to the show. The commentary by actress Lalla Ward (Romana), Lovett Bickford (the director) and Christopher H. Bidmead (the script editor) recalls many of the changes taking place at this time and other contributions from the costume designers, graphics, special effects gurus and musicians who worked to give the show a much needed overhaul, share in this sense of excitement and regeneration. But already the signs of the problems with the new producer are evident. As everyone involved with this DVD reluctantly admit, Nathan-Turner had a great eye for visuals and PR, but had very little regard for storylines or scripts. Or at least a sense of what would or wouldn't work. Indeed, the fact that the scripts for The Leisure Hive barely fill the required four twenty-five minute episode slots is indicative of his inability in this area.
Three Doctors later and Ghostlight features Sylvester McCoy as the Time Lord in the final death throes of a once great show. Here the problem is that the scripts are too long and far too complex for their intended broadcast length and savage cuts along the way during production only add to the show's mess. Again, the commentary (this time by actress Sophie Aldred (Ace), script editor Andrew Cartmel, musician Mark Ayres and author Marc Platt) goes a long way to revealing the behind the scenes problems in getting the programme to air.
But that's not to say there isn't a lot to enjoy in both of these stories. Ghostlight in particular has a lot going for it, as long as you don't try too hard to understand what's going on! The writer and editor are perplexed as to why anyone should be confused, whereas everyone else contributing to the DVD, including all the lead actors, make it clear they haven't a clue what's going on! The set design, acting and direction is really first rate and was a good example of Cartmel's vision for the show, trying to bring more mystery back into the character of the Doctor and the stories themselves. It's in many ways a shame that it proved to be the end of the road. The optimism of The Leisure Hive also makes for enjoyable viewing and again the design and guest cast make it a very watchable adventure.
For me, the most interesting, but also the saddest part of The Leisure Hive DVD is Lalla Ward's commentary. Opening her second season as Time Lady Romana, the show was made just months before her ill-fated and short-lived marriage to her co-star and Doctor number four, Tom Baker. Clearly, nearly twenty-five years later, she has a great deal of ill feeling towards her former husband and this spills out repeatedly as she describes the show for the DVD audience. Thankfully, the Ghostlight commentary helps explain what on Earth is going on, but in all honesty, I'm still none the wiser!
Great to see the Doctor Who collection growing on DVD and if you're a fan of the show, these will be invaluable additions to your collection. If you're not, there's a lot to enjoy here and it's well worth the entrance fee! As always, the effort put into the extras is in no way diminishing with various sound options and a slew of new interviews and out-takes available. But is it just me, or are the DVD covers for the Doctor Who series getting cheaper and nastier with each release?

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The Doctor (Tom Baker) and Romana decide to forego Brighton beach and take a much-needed holiday on the pleasure planet of Argolis. Ravaged decades before by an interstellar war, Argolis now hosts the Leisure Hive - an ideal retreat for tourists from all over the cosmos. (Episodes 1-4, 86 mins)DVD Features:Audio CommentaryFeaturetteInterviewsMusic Only TrackOtherPhoto galleryProduction Notes


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Doctor Who: The Invasion of Time (Story 97) (2008) Review

Doctor Who: The Invasion of Time (Story 97) (2008)
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The premise of "THE INVASION OF TIME" is simple, but genius: WHAT IF... the Doctor became EVIL? "Invasion" is a sequel of sorts to the Doctor's last visit to his homeworld of Gallifrey in "Deadly Assassin" in which the Doctor saves the Timelords from the Master and in doing so becomes the sole surviving candidate in an election to determine the Timelord Presidency. The story opens with the Doctor apparently selling out his people to anonymous alien invaders. The Doctor berates and expels his companion, Leela and betrays his old Timelord mentor Borusa and before long succeeds in arranging the conquest of the planet. Once revealed, the invaders turn out to be B list, working for the Sontarans (as seen in this season's DW series 4, the "Sontaran Stratagem"). The Sontaran want control over time itself, via the relics of the President's office and the help of the Lord President of the Timelords a.k.a The Doctor...Once the Doctor's plan is revealed things really get complicated...a rebellion against the traitorous Doctor is underway, ultimately leading up to a battle for Gallifrey, even including a "unforgettable" chase through the deep recesses of the Doctor's TARDIS.
Some of the best moments of the story include conversations between the overbearing Lord Doctor and Borusa, his teacher's current & most memorable incarnation played by John Arnatt. Tom Baker is in top form when he in his over-the-top megalomaniacal glory for the first half of the story. The climatic TARDIS chase is memorable, not for the execution, which isn't so good, but the sense of the transdimensional nature of the Doctor's craft. The scenes in the TARDIS really convey the limitlessness and spark the imagination for the possibilities in store for the new series, hopefully. K9 mark I. and Leela say their farewells, but what's not so memorable, the unbelievable romance between the warrior woman Leela and the sheltered Captain of the Guard, Andred. Equally forgettable are some effects on the second string invaders, the Vardans, worse than their horrible shroud images is their actual physical form in some sort of cross between a WWII paratrooper and a TV news cameraman. One major flaw of the finale of the 6 part story is having the Doctor solve the conflict with a gadget, especially when that gadget is for all intents and purposes a big gun! Even fans new to the series, know "the Doctor just `ain't down with `dat!"
For all of it's script troubles, plot and FX flaws, Invasion is a must own for any Doctor Who fan, for it's many Timelord and Tardis milestones and because the Sontarans have just been revamped. Besides, this is history.
"Invasion" Drinking Game
Drink....
...everytime Gallifrey is saved from "the invaders."
...when Leela kills ( or throttles ) someone.
...everytime RASSILON is mentioned (the Presidential induction provides loads of these.)
...when you see the same BBC car-park stairwell in the TARDIS.
...when a Sontaran trips on patio furniture.


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DOCTOR WHO:EP 97 INVASION OF TIME - DVD Movie

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