Classic Doctor Who in Lockdown - A Marathon Roundup
"What is is Doctor?" Sarah asked, walking to stand by him.
"I'm trying to reactivate the time scanner, Sarah. It's a device used to see into the future of the TARDIS. Its not very reliable, but it might give us some idea of what lies ahead."
The Doctor pushed a final button on the console, and the scanner flared into life. Sarah and the Doctor watched in amazement, as image after image flashed onto the screen. Dinosaurs in present-day London, Ice Warriors in the tunnels of Peladon, the gigantic beast Kroll, Skagra and his sphere attacking Professor Chronotis, the cobwebbed form of Davros, the Master; poised to activate the Doomsday Weapon, Cybermen at the South Pole, the Destroyer of Worlds, the Kandyman on Terra Alpha, the Doctor and the Master's battle on the planet of the Cheetah People, a robot King John, a being called Light in the cellar of Gabriel Chase, the Ark and its Monoids, even five incarnations of the Doctor playing the Game of Rassilon, and more. Eventually, the picture went black, as the scanner cut out.
"That was the future, Doctor?" Sarah asked, obviously concerned.
"Not just the future, but the past as well." Suddenly, an alarm sounded out across the control room. The Doctor checked a few instruments, before looking up, his face one of grave concern.
"All these images," he said, his voice now stern and harsh. "They're from 2020. Something must have gone terribly wrong with time..."
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| The seven Doctors! |
People have been keeping themselves amused in a variety of creative ways ever since the United Kingdom went into lockdown. Some people have been home schooling, some have created art and poetry, others have started cultivating plants and the like. Me? I've been watching LOADS of Classic Doctor Who. Again. So, I thought I'd do a mini round-up on each story I've watched. A few little thoughts, mostly focused on what makes them so great. There may be silliness. There may be gushing about Tom Baker. There will definitely be monsters. So, let's get started! After all, there's no time like the present. Or is it the past? Maybe its the future? Who knows? *taps nose* Who knows?...
The First Doctor Era:
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| The First Doctor and Barbara are on different sides in "The Aztecs". But will they both get out of Mexico alive? |
"The Aztecs":
At once both sweet and dark, "The Aztecs" is one of the most character driven stories in the original run of Doctor Who, and is the perfect demonstration of the strengths of all four of its original regulars. Planting Barbara in the difficult position of being able to change history and save the Aztecs is a great idea, and the drama comes easily from such a situation. The danger that all four travellers face comes naturally from the scenario, and each one is put in real peril at various moments. William Hartnell and Jacqueline Hill are just brilliant in this: the scene where the two of them discuss the ethics of changing history is one of the strongest in the show's history, and one that many stories have tried to replicate. The guest acting is great too: especially from John Ringham as Tltoxtol, who gives such a powerful performance, you can't help but be suckered in. His direct to camera address at the end of episode 1 is chilling. It may be overstated to say it, but "The Aztecs" is great, and one of the best early Doctor Who stories. It's got everything you could want from a pure historical: intrigue, danger, real human villainy and even humour. But, best of all, it has a central role for Barbara Wright. And you can't argue with that.
"The Ark":
From the early part of Hartnell's era to the latter now, "The Ark" is far from perfect, but does have a grandiose scope that is to be admired, and some great core ideas that would form the basis of one of the revived series' first arcs, as well as a number of the most highly-regarded stories in the show's history. I love this story's attempts to be bold: telling two-linked two part stories, set over hundreds of years apart, and showing the two-fold effects of the Doctor's temporal peregrinations. A vast spaceship containing the last remnants of humankind, fleeing the destruction of Earth. A race that start the journey as little more than slaves, but become the masters by the journey's end. This story is Doctor Who thinking big, and it is exactly the kind of approach that should be encouraged. Unfortunately, where this story falls down is in its execution, which isn't quite so grand, and a little more... mundane. It also does feel a little bit like it was made up on the spot, and the Monoids aren't really the greatest monsters in Who history. But there is some novel direction from Michael Emison, William Hartnell is firing on all cylinders and the ambition of the story is palpable. "The Ark" isn't a classic, but there are some good things about it that are well worth watching out for.
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| The Cybermen come marching through the snow. Their aim - conversion... |
"The Tenth Planet":
The only regeneration story on this list, "The Tenth Planet" now has a very personal significance for me, episode 3 in particular. You see, episode 3 was the last complete Doctor Who episode in the BBC's archive that I hadn't seen... meaning that, as of the 30th April 2020, I have now seen every single episode of Doctor Who that the BBC still has hold of. A journey that started FOURTEEN years ago ended with this seminal story. So, it's a bit of a shame that, outside of the introduction of the Cybermen and the first regeneration, it's not quite as notable as many people would have you believe. Sure, its decent, perfectly serviceable Doctor Who even. However, the idea that this is some key linchpin of Doctor Who history, this moment when the show became legendary is a bit silly, and is giving this story way too much credit. I like the international scope and scale this story has, and there are some attempts to make this story genuinely dramatic. However, the Cybermen are hideously underused, and the attempts to keep Hartnell out of the action hinder the story rather than help it. However, there's no denying this story is a significant one, even if, at times, it doesn't look it.
The Third Doctor Era:
"Colony in Space":
"Colony in Space" is a story I've always had a fondness for. It's often looked upon quite negatively by the wider fan-base, with some calling it overlong and dull. However, I have to disagree with that assessment, because, for me, this is a great story that has a great moral message behind it, and some great performances and action set-pieces. Keeping the Master for the second half of the story gives it added momentum, even if you are just somewhat waiting for him to turn up after the Time Lords in episode 1 advertise his presence. But the characters are great: they're a well-rounded bunch with thoughts, hopes and feelings, especially Bernard Kay's Caldwell. Jon Pertwee, Katy Manning and Roger Delgado are as wonderful as ever, and even the grey quarry landscape can't get in the way of this story's strengths. Sure, it could lose a little bit to make it even pacier and snappier. But that doesn't mean that it isn't a really good story that is very much overlooked by Doctor Who fans, and it is one that should definitely get more attention. It's a cracker of a story from an absolutely classic season of Doctor Who.
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| Sarah and the Doctor build a device to stun a dinosaur. So long as no one breaks it.. |
"Invasion of the Dinosaurs":
Another story with a bit of a dodgy reputation, "Invasion of the Dinosaurs" has, at least, had a bit of a renaissance in recent years. It's gone from simply 'the one with the dodgy dinosaurs' to one with not just dinosaurs, but a multi-layered story with a canny political message, some fantastic characters and some great development for the regulars. And, of course, dodgy dinosaurs. But, to the production team's credit, the dinosaurs aren't that bad. Yes, today they look terrible, and the puppet work is nowhere near close to the stuff Gerry Anderson was doing a decade or so before, but it's better than most contemporary effects work of the same ilk. And actually, the dinosaurs aren't in it that much: they're just window dressing for the real story, which is about people's zealous belief in their own cause leading to the end of the human race. There's a lesson in there for today's climate, I feel. The regulars are all fantastic: Elisabeth Sladen has already embedded herself in the show, while Richard Franklin is wonderful as the torn and conflicted Mike Yates, who wants to believe in the cause that he is working for, but knows, deep down, something is wrong. Together with some superb direction and music, this is an absolute classic, and it's newfound appreciation in recent times is, to me, a joy.
"The Monster of Peladon":
Again, another story that's not quite as bad as it is made out to be. "The Monster of Peladon" isn't the best story in the world (its certainly not as good as either "Invasion of the Dinosaurs" or "Colony in Space"), nor is it better than the story it acts as a sequel to, "The Curse of Peladon". However, "Monster" is, in and of itself, not all that bad. There's some good individual moments, some great ideas, some astute political commentary, and some wonderful performances. But, what makes this one such a personal joy is the fact that it is one of the most typical Jon Pertwee stories you can come across. In recent years, more so than any other era, the Pertwee years have become a comfort blanket with this reviewer: not only is it the most consistent, but, when I'm feeling low or depressed, this is the era I turn to to cheer me up. I had to start this marathon because life was so bad at that point, and I'm delighted that it was with Jon Pertwee's Doctor, because, more than any other, this era just makes me happy. It's wrapped in so much quintessential Doctor Who goodness, that it's basically like magic to me. The Tom Baker era is my favourite era of Doctor Who, but the Pertwee era is my comforting era. And "The Monster of Peladon" embodies that spirit absolutely.
The Fourth Doctor Era:
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| "What time does the BBC Bar open?" "I don't know Tom. Why? "Because when I'm done here, I'm drinking it dry." |
"Underworld":
Ah, poor old "Underworld". Dragged through the mud a thousand times, I think this would qualify as one of, if not the most, unloved Doctor Who story in the show's history. Just wait till you get my full review of it. But, for the purposes of this post, I'm attempting to look at the positives, so I'll give it a go: "Underworld" has a decent first episode, some really good ideas and Tom Baker and Louise Jameson are, as ever, entertaining to watch. Sadly, there's not really much more praise I can give to this story, because there's little in it that's actually any good. It's about as dull as the Graham Williams era gets. That being said, there are some utterly ludicrous moments that will make you laugh out loud, although I should point out that this is certainly not the intent of the production team. In all good conscience, I can't really recommend "Underworld", except if you want a chance to laugh at a hilariously misjudged production. Which I did, so I suppose there's some mileage out of it then.
"The Power of Kroll":
A running theme with me and Classic Doctor Who often seems to be 'not as bad as you think'. Oh yes, there's some terrible stories, don't get me wrong. Some that are recognised as such, while some I think are overrated. "Power of Kroll" is definitely a 'not as bad as you think' story. Oh sure, the Kroll creature effect doesn't work. It isn't Robert Holmes best Doctor Who story. And everything looks as matt grey as the rest of the Graham Williams era. HOWEVER, "The Power of Kroll" is a decent little four-parter, with some nice ideas and some interesting characters. It isn't anything amazing, and, if you were to come straight off the back of the first four stories in the Key to Time season, then I don't doubt you'd find this underwhelming, but I think it's not that bad. Tom Baker is clearly having a ball, and that's all that really matters to me, quite frankly.
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| The Doctor and Romana wait for the Movellans to get their act together and deal with the coronavirus. |
"Destiny of the Daleks":
Ok, I may have to go a little negative with this one. But there's not really a lot that's positive about "Destiny of the Daleks". While some think it's a pretty decent story, in comparison to the other Tom Baker/Dalek story (yes, that Dalek story!), to me, this is a bland, soulless mess of a story, that not only diminishes the Daleks, but manages to make them look genuinely stupid. Instead of exterminating Romana at the conclusion of episode 1, they instead shout at her for nearly half a minute. It just makes them look weak and ineffectual. And the rest of the story isn't much better: there's far too many characters who do little and say less, the Movellans, outside of a great design, are just a bit naff, and Davros is abominably treated by the script, which turns him into a one-note ranting villain, in a vast contrast to the calculated scientist of "Genesis". There are a couple of positives: Tom Baker and Lalla Ward are clearly having a ball, and the first episode is a decent example of set-up and tension in a Doctor Who story. However, other than that, there's really little to be gained from watching this. No wonder JNT vastly revamped the show the year after, because this looks and feels as tired as I was watching it.
"The Creature From the Pit":
Strange is the word that best sums up "Creature From the Pit". The set-up may seem very conventional, however when you watch it, you can't help but feel like you're watching the product of one of your fever dreams. I certainly enjoyed it a lot more this time around than I did previously (which I worked out must be about TEN years ago: I'm just as lacks at watching some of Classic Who as I am most of New Who), but it's definitely a very odd story. There are some great bits in it for certain: Lady Adrasta is one of the strongest villains of the period, while Tom Baker and Lalla Ward have some great moments in which to shine. And there are loads of great ideas, great wit and some wonderful costumes and set design. However, it is very oddly structured, as the story is basically over five minutes into part 4, and so the story has to artificially extend itself in order to meet its four episode quotient. And the design of the Erato creature does slightly beggar belief, especially how various aspects of the creature look... well, rather phallic... But, despite that, I had more fun with "Creature From the Pit" than most stories from Season 17, and is worth watching more than "Destiny of the Daleks". This story is basically a metaphor for Doctor Who: strange and a bit nonsensical, but ridiculously enjoyable.
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| Lalla and Tom read the "Shada" novelisation, so they can find out how they actually defeat Skagra... |
"Shada":
The famous 'unfinished' story from Doctor Who, "Shada" has a mythical reputation as this classic story that never was because it was unfinished. And, while I don't think we'd be rating it as highly as "City of Death" or "The Caves of Androzani" or something like that, "Shada" is still a great story, and it is a great shame that it was never finished. However, the 2017 version is the closest we will ever get to seeing what it would have looked like had it been finished, and is the perfect tribute to the bygone epoch that is the Classic Series. The story itself is epic and intimate, witty and serious, thoughtful and action-packed. It contains everything you could ever want in a Doctor Who story, and is so full of imagination and wonder that it looks like its about to burst. Tom is wonderful in it: both in 1979 and in 2017, and his commitment to the role has never been clearer. That final scene, with Tom standing at the controls of his ship, now older, but no less the Doctor, is wonderful, and brings tears to my eyes every-time I watch it. The guest cast are great too, and the animated segments are wonderful; sure, it isn't Pixar levels of animation, but it manages to tell the story well enough, and is a step-up from "The Power of the Daleks" animation. I adore "Shada", and I don't just think that's down to its legacy. I think its a great story, with a great cast and a Doctor, in both 1979 and 2017, at the height of his powers, with two great companions. The ultimate tribute to the Classic Series, "Shada" is a very special production, and a personal highlight.
"State of Decay":
In complete contrast to "Shada", "State of Decay" is a story I've never completely jibed with. It's certainly not bad, but I find that the execution doesn't really do the core concepts of the story much justice. It's your standard 'Doctor on a planet helps rebels' story, and maybe that's the problem, because, while that aspect of the story is dealt with well enough, the larger ideas that writer Terrance Dicks introduces are cast aside. The contrast between the horror leanings of Dicks and the hard science edge favoured by script editor Christopher H Bidmead make for an unhappy combination, and you can feel the story going in two different directions. That being said, there are loads of good stuff here too, such as the Hammer Horror trappings, the clever way the scientists have de-evolved into a world of barbarism and savagery, the sumptuous production and the performances of Tom Baker and Lalla Ward, who, despite illness and a breakdown in their relationship, give two great performances. While not one of my all-time favourite stories, I do see why people love "State of Decay". There's plenty to like, and, as a pure slice of Classic Who horror, this is a great example of the genus. But, while I did like it this time around, it's not one of my personal favourites.
The Fifth Doctor Era:
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| The Doctor, Tegan and Nyssa gear up for the fancy dress ball! But a case of murder may ruin their party plans... |
"Black Orchid":
Like "The Creature From the Pit", "Black Orchid is a strange story, though it is more through design this time around than "Creature" ever was. The only pure historical story since 1966, this is possibly the most superfluous Doctor Who story ever, in the simple fact that nothing actually happens. I mean, stuff does happen, but nothing really feels of consequence in "Black Orchid", and that the story is just marking time until we get the big events of "Earthshock" the next week. There's so little plot here that it's amazing they actually managed to spread it out across two episodes, to be honest. I will say that, in this story's defence, it looks amazing, and the vast use of film is to be commended. The BBC of the 70's and 80's had the ability to produce fantastic period drama, and that talent is evident throughout "Black Orchid". The problem with that is that it just doesn't work in a Doctor Who context. You expect action, danger and scares, even in the historicals of the Hartnell era, but this story just doesn't do any of that. Still, its mercifully short, so it has that in its favour.
"Terminus":
A story that is a perfect example of great ambition but lackluster production, "Terminus" is possibly one of the greatest missed opportunities in the show's history. Like Stephen Gallagher's previous Doctor Who story, "Warriors' Gate", this is a story that is full of great imagery, though unlike that story, this is a little more grounded in the 'real' world. It's certainly one of the bleakest stories in the Davison era, with its themes of corporate greed, downtrodden workers and healthcare for profit. This is a story that wears the fact that it hails from the 1980's very much on its sleeve. However, this story is a little too cluttered for its own good: the Garn feels out of place with the rest of the story; the subplot about Terminus being a time-ship, and causing the Big Bang feels ill-thought out, and treated far too literally to be effective; and the material with the Black Guardian feels forced in in order to make this a direct trilogy. I will say the direction is great, however, and there's plenty that does work. However, "Terminus" isn't quite as strong as "Warriors' Gate", or even "Snakedance" or "Mawdryn Undead" from the same season. However, there's plenty to admire about it, even if it doesn't entirely work on every level.
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| "I have to admit, Master, that I wasn't expecting this..." |
"The King's Demons":
Another Davison two-parter that is rather superfluous and uninteresting, "King's Demons" doesn't even have the sumptuous production that "Black Orchid" enjoyed, though I would say it just manages to be a stronger story. There's some nice ideas here, but I don't think that the story does any of them justice, really. It always feels like it's on the verge of just getting started, and then, suddenly, we reach the end of the story. It's very unevenly paced too, with lots of stuff happening in episode 2, to the detriment of events in episode 1. Honestly, it just would have been nice to have had more time to take in what was going on, and, had this been a four-part story, this probably would have worked a lot better. You'd have had time to allow the story to breath, and to get a feel for the characters. Also, the Master's plan is utterly ridiculous, even for him, and would have suited the Meddling Monk much better. That being said, at least it passes by rather quickly, and it doesn't end up amounting to absolutely nothing, like "Black Orchid". That being said, it's absolutely not essential to anything, and the less said about Kamelion, the better...
"The Five Doctors":
How can you not love "The Five Doctors"? As Classic Series stories go, there are few quite so exciting and fan-pleasing as this one, and that is something to definitely be commended. While the plot might stretch credulity a little bit, who cares when it is quite this gripping? Patrick Troughton and Jon Pertwee have, I think, never looked quite this energised, and Richard Hurndell does a credible job of stepping into William Hartnell's place. It's a shame about Tom Baker, but at least he does get a limited presence in the story, and the chosen scene from "Shada" fits perfectly with the material around it. And Peter Davison masterfully plays the lead, not being over-dominated by his previous incarnations, but instead pushing the story forward by uncovering the true mastermind behind the events. It's lovely to see all the companions back again (especially Elisabeth Sladen as Sarah, who slips back into the role like she never left it), and even the Master gets something different to do, with Anthony Ainley relishing the chance to take the part in a different direction. The locations look amazing, despite the fact it's just a load of slate quarries, and it is clear that this story had a bit more money the production team could draw on than most Doctor Who of the time did. I love "The Five Doctors", and its hard not to, when you see how great the story is. It must have been a challenge to bring so many different elements together, and find a way to satisfactorily celebrate the show reaching its twentieth year on screen (a milestone even back then, but especially so nowadays I feel), but writer Terrance Dicks somehow manages it. This just fun, and highly recommended if you're just starting out with Classic Doctor Who.
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| The Doctor attempts to show the Gravis how to fly the TARDIS, with rather limited success, it has to be said... |
"Frontios":
Moving into Peter Davison's final season now, "Frontios" is pretty much the last standard Davison story, since "Resurrection of the Daleks", "Planet of Fire" and "The Caves of Androzani" all feature a variety of comings and goings aboard the TARDIS. And, as the last chance to enjoy an undiluted slice of the Davison era, there is little finer than "Frontios". It has taken me a few watches to really appreciate this one, but I'm really glad I did, because this is a neat little story that manages to cover a really bleak setting with some fun, and some good humour, while still maintain the serious tone that a story like this deserves. Peter Davison really feels settled in as the Doctor here, and Christopher H Bidmead is one of the strongest writers for this Doctor, I feel, as he allows Davison to take charge of the situation, in ways his Doctor often failed to do. He also gives Tegan and Turlough good roles, and the three actors have now formed a great team that all play different parts in the story, and the bickering of earlier stories has died down. The bleak setting is really well explored, and the way the TARDIS team are marooned on Frontios gives the story genuine tension and stakes. Sure, the Tractators look a little... well, fragile would be putting it delicately, but they at least have a really cool idea behind them, and, through the Gravis, they have an interesting and rather unique voice in the pantheon of Doctor Who monsters. Coupled with some wonderful acting and direction, "Frontios" is an enjoyable slice of Classic Who. That's it. And it doesn't need to be anything more, quite frankly.
The Seventh Doctor Era:
"Dragonfire":
The finale to Sylvester McCoy's muddled debut season, "Dragonfire" is rather fitting of that title, as it is rather muddled itself. Starting out as a light-hearted knockabout comedy, as the story progresses it takes a somewhat darker turn, although the two approaches don't quite gel together as well as they could. I like both sides of this story on their own terms: the outlandish setting is well realised, while Kane's villainy is wonderfully straightforward, and his brutality harks back to villains like Harrison Chase and Magnus Greel from the Philip Hinchcliffe era. The problem lies in bringing these two things together, and the story ends up feeling confused and muddled as a result, a problem not helped by its three-part length, which means a lot of time for tone establishment is lost. That being said, this is a great debut for Ace, who easily outclasses Mel in practically every way. Sophie Aldred is wonderful, despite the fact that her and Sylvester McCoy don't actually share that much screen time, you can see a beautiful friendship forming. And while Mel is rather superfluous to the rest of the story, her departure scene somehow manages to be one of the most touching in the show's history, probably thanks to the wonderful script and the lovely performances of both Sylvester and Bonnie Langford. "Dragonfire" has some issues, but I do enjoy it, despite its confused nature. It's at least fun, if not quite perfectly formed.
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| The Kandyman: making sweets that kill you since 1988! |
"The Happiness Patrol":
Of course the Doctor Who story which has space Margret Thatcher and Bertie Basset as the villains, sees the TARDIS painted pink and looks like a film noir is absolutely great. Despite the fact the Sylvester McCoy era has had a re-appreciation in recent years, "The Happiness Patrol" is a story that I feel is still somewhat overlooked. I think that it is due to the fact it is placed in between the gigantic titans of Season 25, which is a crying shame, because "The Happiness Patrol" is one of the most politically charged Doctor Who stories in the show's history. People who complain about the Jodie Whittaker era, in comparison to the Andrew Cartmel/Sylvester McCoy era of the show, Doctor Who's current relationship with polemic messages and 'political correctness' is nothing compered to this beloved classic era. The pace is exceptional: whereas "Dragonfire" does feel compressed and condensed, this suits the form perfectly, and feels brisk and exciting. There's so many ideas here, and yet they all get their moment in the spotlight. The Kandyman is a wonderful adversary, and, despite his somewhat ludicrous appearance, he still manages to be a threatening presence on screen. It pains me to still see this story so ignored, because it is, in my book, a classic, and one of my all-time favourite Sylvester McCoy stories.
"Battlefield":
While a little bit cheesy, and very much a product of the late 1980's, there's still a lot to like in "Battlefield". A lot of the ideas present in the story would go on to become key cornerstones of several New Series story-lines, and, of course, it features the last on-screen meeting between the Doctor and Brigadier Lethbridge-Stewart. The mix of magical elements with science fiction tropes might be an old one, but it certainly works here, and I love the character of Morgaine. UNIT get a much-needed update, with a more international team, and a new leader in the form of Brigadier Bambera, which would absolutely be an example of 'PC gone mad' if done today, and I love it. The idea of the Doctor being caught up in a master-plan of his future self's devising is a stroke of genius, and it's nice to see Sylvester McCoy's Doctor on the back-foot for once. Ace gets plenty of opportunities to show how much she has grown over the course of her adventures, and she even takes charge of the story at plenty of points. It isn't perfect: the story starts to run out of steam a little bit in its later episodes, and the Destroyer, while a great-looking monster, doesn't quite get the chance to shine that its appearance, and the character's hype, deserves. Still, I like "Battlefield", and it really does feel like a story very much ahead of its time.
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| The brooding and dark Seventh Doctor, in the final ever recorded Classic Doctor Who story, "Ghost Light". |
"Ghost Light":
A lot of people seem to raise the point regarding "Ghost Light" that it is a story that is incredibly confusing, and that is a fair criticism. However, for this viewer at least, I have never really had a problem following it. Yes, it is dense. And yes, if you lose track of the story while watching it, you will instantly lose the thread of what is going on. However, "Ghost Light" is one of those stories that rewards repeat watches, and doesn't reveal all its secrets on the first viewing. There's loads of subtext throughout: dealing with evolution, class structures and Ace's trauma. The characters are all wonderfully eccentric, and yet played with utter conviction by the cast, who superbly bring them to life. The Seventh Doctor and Ace fit into the setting like a glove, and writer Marc Platt offers up one of the best uses of Ace in the series, and it is no surprise that he was being considered to write Ace's departure story, had the show continued into 1990. He absolutely gets how to write for Sylvester McCoy's Doctor too, and that helps to make the production of this story so sumptuous and rich. "Ghost Light" is always a pleasure to watch, despite its complicated nature. Certainly, I agree with people that, were things a little longer, it would probably be much more well-regarded. But that's taking nothing away from one of Doctor Who's richest and most complex stories.
"Survival":
And so, we come to the end of the marathon with the last ever Classic Doctor Who story, "Survival". There's a genuine sense of finality to this story, between the destruction of the Cheetah Planet and the final tussle between the Doctor and the Master, and, as such, it makes for a fitting end for a programme that has always been about big ideas and hidden themes. The production looks amazing: this isn't a show that is running out of money and creativity, this is a show that is fusing both together, and using them to its advantage. Once again, the subtext here is the key thing, and the themes of survival and endurance run throughout this story like a stick of rock. The characters are wonderful; they're some of the most well-rounded in the show's history, and it is the mark of a good playwright, that Rona Munro's characters are so distinctive. The music from Dominic Glynn is dramatic and funereal, and adds to the finality of the whole thing. In many ways, this is where the character of Ace kind of grows beyond Doctor Who, as she gets the chance to put into practice all the things she's learnt with the Doctor. The final scenes, with Sophie Aldred in the hat and umbrella, would have made for a fantastic final image for the programme, and would have shown how the legacy of the Doctor will always continue in his friends and allies. "Survival" is basically the perfect ending for the Classic Series: where the companion outgrows the Doctor, and where the Doctor seemingly battles the Master for the last time. A story all about endings, for the show that never will end.
Across this classic series marathon, I have enjoyed many adventures, all with different tones, styles, characters and settings. All of the stories above have shown imagination in a variety of different ways, even if I'm not that massive of fan of the story in question. I love the Classic Series, and the variety of stories they offer, and this marathon has done nothing but enhance this love. It's got me through lockdown, for certain, and I hope this post has maybe even inspired you to try your own Classic Who in Lockdown marathon!
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| Three (and a bit) classic Doctors come together to play the Game of Rassilon in "The Five Doctors". |
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