Demise of The Doctor

The Trails of DOCTOR WHO (1977 - 79)

Out with Gallifrey Gothic, in with the robot dog. DOCTOR WHO - THE INVISIBLE ENEMY mixes an alien prawn with weird science and K9.

DESPITE some post-Hinchcliffe horror flourishes, the Fifteenth Season of DOCTOR WHO is diluted by disposable stories and cut-price visual effects, broadcast under the shadow of STAR WARS then bombarding British cinemas. THE INVISIBLE ENEMY attempted to deal with the psychological by infecting The Doctor (Tom Baker) with a space-borne intelligence, but by the end of the serial the Time Lord is given K9 as a "parting gift". Others included in this season were Robert Holmes' THE SUN MAKERS, which bypassed science fantasy altogether for contemporary political parody, and UNDERWORLD features another insane computer ("Simply ... another machine with megalomania!").

For the previous two seasons, the programme had finished on strong, fan-favourite six-parters: the Krynoid menace of THE SEEDS OF DOOM, and the exploits of Magnus Greel in THE TALONS OF WENG-CHIANG. Unfortunately THE INVASION OF TIME failed to carry on this trend. Claiming presidency of the Time Lords, The Doctor's access to the Matrix enables him to banish the Vardans; yet it is revealed that the Sontarans have used these telepathic aliens for their own means to invade Gallifrey. Written as a late replacement by producer Graham Williams and new script editor Anthony Read - and made under a cloud of potential industrial action - THE INVASION OF TIME is overtly humourous (The Doctor even plays hopscotch in the Citadel), and the arrival of the Sontarans seems like a tacked-on act of desperation. At one point the Vardans resemble tinfoil, and the Sontarans are reduced to getting lost in the TARDIS.

The arrival of the Sontarans in DOCTOR WHO - THE INVASION OF TIME seems like an afterthought. It is also surprising that their demise is at the hands of The Doctor shooting them dead with his de-mat gun.

This tonal shift with DOCTOR WHO was in contrast to the complexities of late-70’s Britain. The Silver Jubilee of 1977 had offered a week of celebratory respite from the country’s inflation, strikes and increasingly violent picket lines. But this embodiment of Olde England seemed particularly out of context against the then bitter disputes at the Grunwick processing plant; and two months later, Lewisham saw the biggest street battle between fascists and anti-fascists since Cable Street in 1936. Even the Christmas 1977 episode of THE GOODIES resulted in their ‘Earthanasia’ skit, where world leaders came to the conclusion that the planet should just be blown up. Ending with a white flash and the sound of an explosion, the show then cuts to the revolving BBC1 globe logo, which follows suit.

1978, however, saw two examples of social politics seep into BBC programming. Terry Nation launched BLAKE'S 7, an anti-STAR TREK where the galaxy is governed by The Federation. This quasi-fascist state uses drugs in the water supply to control its population, and the presence of the beautiful but coldly calculating Servalan (Jacqueline Pearce) cast a long shadow over a land heading towards its first female prime minister. The year also saw the Corporation cancel THE BLACK AND WHITE MINSTREL SHOW - on air since 1958 - as Camden Council became one of the first authorities to address discrimination in employment.

Suzanne Danielle as Movellan Agella in DOCTOR WHO - DESTINY OF THE DALEKS. Danielle also played the title role in CARRY ON EMMANNUELLE, and provided a belly dance for Christopher Lee in ARABIAN ADVENTURE.

The Sixteenth Season adapted an unprecedented format in DOCTOR WHO history. Six individual stories are linked by the over-arching 'Search for the Key to Time' plot, which explored the existence of the White and Black Guardians, a perpetual good versus evil battle that holds the cosmos in balance. In THE RIBOS OPERATION, The Doctor is aided by female Time Lord Romana (Mary Tamm), which reintroduced the troublesome dynamics experienced by Caroline John's partnership with Jon Pertwee; THE PIRATE PLANET saw Douglas Adams' trademark galactic outlandishness not only covering scientific concepts (planet propulsion, flying cars et al), but inevitably showed the beginning of the end for Baker, here talking directly to camera; and THE STONES OF BLOOD jettisons an initial witchcraft premise literally into hyperspace.

Adams became Script Editor for the Seventeenth Season, as the show returned to its familiar guise. With a newly-regenerated Romana (Lalla Ward), even the Daleks look in poor condition for DESTINY OF THE DALEKS, which actually used Skaro sound effects from their initial 1963 appearance. Terry Nation is at his most formulaic for a serial where the titular foes are searching for Davros to aid them in a stalemate with the android Movellans (this seems like a metaphor for the programme reaching out for ideas itself). The most controversial aspect however is that the Daleks, on several occasions, are referred to as robots, perhaps referencing Nation - or Adams' - idea of Dalek evolution from organic mutant to pure automaton. At least it seems more logical that the Daleks and Movellans have entered into a strategic draw because they are both robots, but Nation clouds the mystery further by suggesting that the races' battle computers have led to the situation.

Lalla Ward and Tom Baker enjoy Paris in the series' first overseas shoot for DOCTOR WHO - CITY OF DEATH. With ITV off-air, the serial attracted the highest viewing figures for the show at 16.1m.

However, before the season again descends into pantomime, CITY OF DEATH stands out at an almost cinematic level. Set mainly in 1979 Paris, Scaroth (Julian Glover) attempts to finance experiments in time travel in the hope of averting the accident that marooned him on Earth four hundred million years previously, an act which consequently began the existence of life on the planet. Aided by elegant miniature effects and excellent performances, Glover unsurprisingly brings dignity and gravitas as the last of the Jagaroths, despite his infamous oversized spaghetti/cyclops headpiece. Even the comedic turn of John Cleese and Eleanor Bron as art gallery visitors adds rather than detracts from the fun.

Mad Science

THE MUTATIONS (1974)

"He'll soon be neither human being nor plant, but with the characteristics and advantages of both: a plant that can move and think, a man who can set down roots." Donald Pleasence and Tom Baker plot and fester.

DIRECTED by Oscar-winning cinematographer Jack Cardiff, THE MUTATIONS uses the template of Tod Browning's FREAKS and poverty row mad scientist pictures to mix with unsubtle 70's British sleaze and an avant-garde score. University Professor Nolter (Donald Pleasence, in a role originally intended for Vincent Price) is experimenting to merge human and plant life. Any unsuccessful subjects are offloaded to Nolter's kidnapping accomplice Lynch (Tom Baker) for a nearby circus "Royal Family of Strange People," which Lynch runs with dwarf Burns (Michael Dunn). The human protagonists - all students from Nolter's class (Tony (Scott Anthony), Lauren (Jill Haworth) and Hedi (Julie Ege)) - and the circus freaks are exploited by the tyrannical Lynch, who hopes that Nolter will cure his own Elephant Man-type deformity. The plan starts to unravel when Tony, after being turned into a human Venus Fly Trap, escapes and ingests a homeless man. With Hedi strapped naked to the operating table, she is saved from Nolter's burning mansion by Dr Brian Redford (Brad Harris), and the freaks take their revenge on Lynch.

Like Browning, real deformed humans are cast for the roles (including Alligator Girl Esther Blackmon and the show-stopping Willie "Popeye" Ingram). Another Browning cue sees THE MUTATIONS lift its party scene directly from FREAKS, and Cardiff must also have been influenced by Universal's 1973 SSSSSSS, which sees herpetologist Dr Carl Stoner (Strother Martin) change young men into King Cobras, whereby botched attempts are exhibited at a circus. Both Nolter and Stoner theorise that humans now need to be in some transformative state, for Nolter to create a "world without hunger," and for Stoner to survive ecological disaster. A deadpan Pleasence mostly recites dialogue from his textbooks and provides an amusing lecture aside referencing genetically recreated dinosaurs, while at home he feeds rabbits to his creations. But Baker is the star: shortly before his Time Lord appointment - and sporting a coat hat and scarf ensemble - Lynch is the Igor to Pleasance's Frankenstein/Dr Moreau. Lynch himself is a freak, but his overpowering self loathing cannot make himself accept his plight; in the film's only touching scene, he visits a prostitute and begs her to say "I love you" for an extra pound.

Scott Anthony - mutated into a Venus Fly Trap - devours his  

monster maker Pleasence in the fiery climax.

The exhibition of real biological oddities can be traced back to the 1630's, when Lazarus Colloredo and his conjoined twin Joannes Baptista toured Europe. "Freaks of nature" as a source of entertainment on film adds another voyeuristic quality, freezing their façade awkwardly in time to watch over and over. FREAKS' original cut of January 1932 was met with disgust - one woman at a test screening threatened to sue stating it caused her miscarriage - and remains the only MGM release to have been pulled from circulation before completing its engagements. The picture was also banned in Britain for thirty years, and effectively brought Browning's career to a premature end. However, FREAKS has enjoyed a positive re-evaluation over the years, unlike Michael Winner's 1977 Universal opus THE SENTINEL, which controversially featured deformed humans as denizens from hell. Amid THE MUTATIONS relentless dour atmosphere, when Lynch is killed by flying switchblades then devoured by Nolter's hounds, the "Strange People" at least have a form of closure.

Drama Nation

DRAMA PLAYHOUSE - THE INCREDIBLE ROBERT BALDICK (1972)

DOCTOR WHO - THE ANDROID INVASION (1975)

"He cannot resist the inexplicable; almost any happening qualifies for his interest so long as it is out of the ordinary." Terry Nation's stab at DRAMA PLAYHOUSE created Robert Baldick.

FORMING part of the third season of DRAMA PLAYHOUSE - the BBC's launching pad for potential series - THE INCREDIBLE ROBERT BALDICK: NEVER COME NIGHT was Terry Nation's first completed work for the Corporation's drama department since his six episodes of DOCTOR WHO - THE DALEKS' MASTER PLAN in 1965. Directed by Cyril Coke, this never-commissioned pilot is a Victorian Gothic with the titular Baldick (Robert Hardy) an eccentric detective/scientist who owns his own steam locomotive and has a pet owl. A fusion of Sherlock Holmes and Fox Mulder, Hardy plays Baldick with suffocating gusto, but there are too many themes in too short a running time to create a satisfying whole. Elements of Victorian literature (loyal assistants, windswept nights) and Gothic fiction (secrets in the woods, ruined abbey, failed exorcism, unruly villagers) are further complicated by the alien artefact sting, a payoff that is not just a narrative anomaly but an unnecessary Quatermass-like "resolution".

Squire Aldington (Reginald Marsh) and Reverend Elmstead (James Cossins) discover the corpse of a young woman in the reputedly haunted ruins of Duvel Woods Abbey. Elmstead visits friend Robert Baldick, in the hope that the unconventional sleuth will assist in this latest of murders to effect Boardington village ("local legend has it that the deaths go back into prehistory.") Aided by his valet Thomas Wingham (Julian Holloway) and burly gamekeeper Caleb Selling (John Rhys-Davies), Baldick delves into local parish records, and discovers that the Abbey has long been associated with human sacrifice. Excavating deeper within the crypt, fear and anxiety grips the group; Thomas is pulled into a chamber below, which is full of human bones and pervaded by a sense of absolute evil. Baldick is convinced that the Abbey contains a distillation of the terrors and phobias of all the people who have visited the enclose, and later studies a strange object he retrieved from the floor: a small metal box containing intricate electrics and runic symbols.

DOCTOR WHO - THE ANDROID INVASION was the second of two non-Dalek scripts Terry Nation turned in for the series (the first was THE KEYS OF MARINUS from 1964).

Although beautifully shot and well received, the programme suffered from scheduling problems which was triggered by a behind-the-scenes tussle over the name of the character. BALDICK was originally to be shown on 6th September, but in the immediate aftermath of the Munich Olympic massacre, it was removed at the last moment and eventually aired at a later than usual time slot on 2nd October. However, the original airdate of 23rd August was quashed by legal ambiguities between the BBC and Robert Baldick Junior, a PhD student whose father Dr Robert Baldick - an Oxford French literature academic - had granted Nation permission to use his name. Unfortunately Baldick Senior died before the broadcast date, and head of drama serials Andrew Osborn eventually conceded that - although it was too late to change the pilot - the name would change if the venture would develop.

For DOCTOR WHO - THE ANDROID INVASION, Nation invented the rhinoceros-like Kraals, who go to finite trouble to create an exact replica of an English village and populate it with synthetic organisms to rehearse an invasion of Earth. Chief Kraal scientist Styggron (Martin Friend) also intends to release a deadly virus to aid resistance, but this is ultimately as unnecessarily convoluted as BALDICK. Themes of duplication and mind-draining are lost in a number of silly plot elements, most of all duping astronaut Crayford (Milton Johns) in thinking he has lost an eye by simply giving him an eye-patch. On the surface this is a minor entry in the Time Lord's greater Gothic scheme of the mid-70's, but it does cover interrogation - The Doctor (Tom Baker)’s subjection to the Analysis Machine - and 1950’s Sci-Fi paranoia; Crayton may be a critical laughing stock, but is a man in identifiable flux.

State of Decay

DOCTOR WHO - HORROR OF FANG ROCK (1977)
DOCTOR WHO - IMAGE OF THE FENDAHL (1977)

A fan favourite, HORROR OF FANG ROCK contains many elements from the poem Flannan Isle by Wilfrid Wilson Gibson, which the Doctor quotes from at the end of the story (the poem draws on the real-life mystery of disappearances in 1900). Here is the cover to the 1978 Target novelisation.

PHILIP Hinchcliffe's three seasons as DOCTOR WHO producer registered unparalleled violence and complaints. Incoming producer Graham Williams was under pressure from BBC brass to tone down the horror elements with his premier block of serials - Season Fifteen - which would screen between September 1977 and March 1978. But from the start Williams was embroidered in a number of behind-the-scenes tussles. His first intended serial, Terence Dicks' THE WITCH LORDS/THE VAMPIRE MUTATION, was vetoed late on by Head of Serials Graeme McDonald, because it would undermine the lavish BBC production of Bram Stoker's Dracula then under preparation; Louise Jameson quit as Leela; and in an attempt to re-connect as a children's show and up the comedy, robot dog K9 became a regular companion - much to Tom Baker's chagrin. 

Against this backdrop, it is amazing that Williams' initial broadcast - HORROR OF FANG ROCK - is a triumph. One of the last genuinely scary Classic-era adventures, HORROR OF FANG ROCK sees a shape-changing amorphous jelly (a Rutan scout) crash-land near a desolate Edwardian lighthouse. Initially only populated by a crew of three, soon The Doctor (Baker) and Leela (Jameson) arrive, and survivors from a shipwreck swell the numbers. The alien - one of the race engaged in a perennial war with the Sontarans - is killing its occupants in a quest for life-giving electricity, and The Doctor has been battling to keep it out. But as the death toll rises, realisation hits the Time Lord: "Leela, I've made a terrible mistake, I thought I'd locked the enemy out. Instead I've locked it in - with us." Eventually, The Doctor turns the lighthouse into a laser, knocking out the anti-gravity of the incoming Rutan Mothership.

At the end of Part Two of IMAGE OF THE FENDAHL, the Doctor asks the Fendahl skull if it would like a jelly baby, but actually offers it a liquorice allsort. This was commented on in the 'Watchdog' segment of NATIONWIDE; the DOCTOR WHO production office replied by saying that this was one of the ways the Doctor liked to confuse his enemy.

The realistically cramped lighthouse scenes were shot at Pebble Mill Studios in Birmingham, the only time the series had ever ventured from its London studio base. Strong on atmosphere, this is a tense, claustrophobic tale that makes the most of its small cast and tiny location, but lacks the intensity of the Hinchcliffe Gothic era. Perhaps feeding off their tensions off screen, Baker and Jameson are both outstanding, The Doctor at his unpredictable, arrogant best, and Leela - without her trademark leather outfit - fearless against the threat. The loose background to this teleplay refers to the true mysterious events surrounding the disappearance of three lighthouse keepers from the Flannan Isles lighthouse around 1900. Built approximately twenty miles from the Outer Hebrides, this legend is a mixed bag of allegedly hoax log entries and sea monsters, and even a long-boat of ghosts heading to the Isle on the night the lights went out.

IMAGE OF THE FENDAHL acts as a last stab of gothic horror for the show. In contemporary England, Professor Fendelman (Denis Lill) subjects a twelve million-year-old skull to the effects of his Time Scanner, providing a channel for the malevolent Fendahl to once more terrorise the Earth. The skull is also infiltrating fellow scientist Thea Ransome (Wanda Ventham), who is eventually transformed into the Fendahl core, mutating colleagues into snake-like monsters. The theme of mankind manipulated by an ancient alien again draws from DOCTOR WHO's favourite reference point - the works of Nigel Kneale - but the story is let down by the Fendahl itself; an attractive women with eyes painted on her closed eyelids doesn't really justify a terrifying entity that feeds on death; nor does the climax, where a creature that can teleport itself across space is killed by a handful of rock salt.

Possession!

DOCTOR WHO - THE ARK IN SPACE (1975)
DOCTOR WHO - THE MASQUE OF MANDRAGORA (1976)
DOCTOR WHO - THE HAND OF FEAR (1976)

An adult Wirrn from THE ARK IN SPACE. Originating from Andromeda, these aliens are "almost too horrible to think about."

ALTHOUGH the script for what would become the DOCTOR WHO adventure THE ARK IN SPACE was commissioned during Barry Letts' show running tenure, it fell to incoming producer Philip Hinchcliffe and script editor Robert Holmes to bring this classic tale of bodily possession to life. Screened as the second story of the programme's Season Twelve, and scripted by Holmes from an original draft by John Lucarotti, it tells of the insectoid Wirrn Queen laying eggs inside cryogenically-preserved humans on the future space "ark" Nerva; when the eggs begin to hatch and the monsters start to absorb homo sapien knowledge as well as their bodies, The Doctor (Tom Baker), Sarah Jane (Elisabeth Sladen) and Harry (Ian Marter) team up with revived humans to lure hatched Wirrn into a shuttle craft and blast them into space.

THE ARK IN SPACE's body horror is played out in Roger Murray-Leach's brightly lit, clinical sets, and its claustrophobia and trails of green slime couldn't have been further from the atmosphere of the previous serial, ROBOT. Noah (Kenton Moore)'s unnerving cell-by-cell mutation into an insectoid not only recalls the fate of Carroon in THE QUATERMASS EXPERIMENT, but provides a bridging point for body-destruction explored in major motion pictures such as ALIEN and THE THING (the shuttle craft finale also provides a nod to Ridley Scott's film). The Wirrn grubs and flesh of Noah's transforming hand were constructed primarily from then new bubble-wrap packaging and sprayed green, and to further illustrate the show's queasy hue, the opening titles to Part One were green-tinted as an experiment but consequently dropped.

THE MASQUE OF MANDRAGORA is one of the most literate of all DOCTOR WHO's; not only is Mandragora the latin for the plant Mandrake, which in folklore is said to have magical qualities, the serial has also been equated to Hamlet's discussions on the supernatural.

The Fourteenth Season of DOCTOR WHO opened with two stories that also explored the Hinchcliffe/Holmes brand of control. THE MASQUE OF MANDRAGORA is a sumptuous costume drama set during Renaissance Italy (which was actually filmed in Portmeirion). The TARDIS lands unwittingly carrying Mandragora energy, that possesses an underground cult - the outlawed Brotherhood of Demnos - intent on dragging the world back to the Dark Ages. Portmeirion's locations fit in perfectly for 15th century Italy, as the architect for the Welsh village - Sir Clough Williams-Ellis - was inspired by the Italian harbour town of Portofino. This mixture of history and black magic come to life in Louis Marks' intelligent scripts, using the Madragora Helix to symbolise superstition that would be negated by science ("the dawn of a new reason"), and Barry Newbery's design for the wood-panelled console room is a thing of beauty.

THE HAND OF FEAR is set on contemporary Earth, and sees Sarah Jane possessed by the fossilised hand of Kastrian Eldrad (Judith Paris/Stephen Thorne), a criminal who was destroyed in space as punishment for attempting to wipe out his own race. Sarah Jane hijacks a nuclear reactor where radiation recreates the creature; regenerated, Eldrad persuades The Doctor to take him back to Kastria, but the planet has been destroyed by King Rokon (Roy Skelton) in case Eldrad should ever return. At its conclusion, The Doctor receives a summons from the Time Lords, forcing him to leave Sarah on Earth; this action would result in the ground-breaking THE DEADLY ASSASSIN.

Judith Paris as the reconstituted Eldrad in THE HAND OF FEAR.

Disembodied hands have a long tradition in pop culture. Amicus in particular enjoyed the malevolent severed organ, and here the impressively realised digit is brought to life by Steve Drewett and CSO. But this is a serial for the women; in her female form Eldrad presents a ruthless beauty, and Sladen is threatening while under the influence, then feistily accepting in her farewell scene. In fact, THE HAND OF FEAR is the perfect story to showcase the most popular of the Time Lord's assistants. Sladen appeared in eighty episodes between 1973 and 1976, and through subsequent audio dramas, reboot appearances and spin-offs, new generations could also fall in love with her grounded yet infectious charm. Sladen's swift death from pancreatic cancer in April 2011 left the Whovian community in shock, and BBC Four fittingly showed THE HAND OF FEAR as a tribute to Sladen's timeless appeal.

"We Must Adjust the Truth"

DOCTOR WHO - THE DEADLY ASSASSIN (1976)
DOCTOR WHO - THE ROBOTS OF DEATH (1977)

"Only hate keeps me alive"; opera singer/actor Peter Pratt brings a resonant voice to the black-shrouded, decomposing Master in THE DEADLY ASSASSIN.

GOTHIC as entertainment is usually traced back to Horace Walpole's The Castle of Otranto (1764), a novel which kick-started a darker supernatural genre that lived amongst decaying settlements and subterranean crypts. Oscillating between romantic sub-plots and conventional reality, Gothic fiction places heavy emphasis on atmosphere and loss of humanity/identity; women are often cast in distress but typically portrayed as the heroine of the piece, while men struggle with a Jekyll and Hyde-type duality. When Philip Hinchcliffe (producer) and Robert Holmes (script editor) took over DOCTOR WHO in the mid-70's, there was a seismic shift away from what Holmes described as "straightforward, dull, children's stories." In the seasons that followed, the Time Lord would experience more oppressive environments and explorations not just of hauntings and possessions, but also early trappings which would latterly be known as body horror. These tales also effected the Doctor himself, changing from the adventurous dandy of Jon Pertwee to Tom Baker, an actor who embraced the outsider at odds with himself and the galaxy.

Holmes' scripts for THE DEADLY ASSASSIN take on board Richard Condon's bleak brainwashing political novel The Manchurian Candidate. The Doctor (Baker) is accused of the assassination of the Time Lord President, but it is in fact a plot by a dying Master (Peter Pratt). Having used all twelve of his regenerations, the Master aims to control the hierarchy so he can obtain the Sash and Rod of Rassilon, which act as keys to the Eye of Harmony, the source of all the Time Lord's power. When the Doctor links his mind into the virtual reality of Matrix (pretty novel for 1976) - which has accumulated the wisdom of his race - he wins a struggle with a hooded opponent revealed to be Chancellor Goth (Bernard Horsfall), who has been used as a pawn. The Master has now gained access to the Eye of Harmony and aims to give new life to his decaying, putrid husk of a body; but in a climactic fight with the Doctor, the Master falls into a crumbling Citadel chasm...

ROBOTS OF DEATH was fittingly chosen to represent the era of the Fourth Doctor at the BFI's 50th anniversary celebration of the show.

THE DEADLY ASSASSIN provides a number of firsts for Who lore: a regeneration number set at twelve; the absence of a companion for the Doctor; the portrayal of a layered society of ranks and chapters (very different from the glimpses seen in THE WAR GAMES and THE THREE DOCTORS); and trivia such as the TARDIS listed as a Type 40 capsule. But for many this spoilt the mystery of the Time Lord back-story, revealing Gallifrey as a planet akin to the doddering House of Lords, or a crusty Oxbridge society (one Time Lord even complains about hearing and hip problems). But within the Matrix the adventure is an irresistible, surreal experience, giving the show its most notorious and sadistically violent moment: the drowning of the Doctor at the hands of Goth as a cliff-hanger to episode three. Providing such a lingering, powerful image for children to mull over for a week was too much for the National Viewers and Listeners Association linchpin Mary Whitehouse, and the scene was shortened for repeats.

Written by Chris Boucher, THE ROBOTS OF DEATH is another tale of duality and deception ("nothing is inexplicable, only unexplained"). Mixing Dune and Ten Little Indians as well as inverting Asimov's First Law of Robots, the TARDIS materialises on a sandminer combing an alien world for minerals. The massive vehicle is run by a small human crew aided by three classes of robots (Dums, Vocs and a Super Voc), and the Doctor (Baker) and Leela (Louise Jameson) come under suspicion when the crew are killed by an unseen assailant. With the aid of undercover agents Poul (David Collings) and robot associate D84 (Gregory de Polnay), the real culprit is revealed as Dask (David Bailie), a scientist raised by robots who has been reprogramming the automatons to murder and to consequently form a superior order ("I see; you're one of those boring maniacs who's going to gloat, hmm? You going to tell me your plan for running the Universe?").

Social activist Mary Whitehouse CBE frequently singled out mid-70's DOCTOR WHO as particularly damaging to young minds. Yet the celebrated "fear factor" and "hiding behind the sofa" mainstays of the programme acted as a liberating and engaging emotion for viewers, who always had the reassurance of the Doctor to guide them through.

Developed under the titles PLANET OF THE ROBOTS and THE STORM-MINE MURDERS, the programme raises above its "people killed off in an enclosed environment" foundation by adopting a highly distinctive art deco production design, a tight script, earnest performances, and effective, lethal robots. Of all the influences listed for Ridley Scott's ALIEN over the years - from the B-movie theatrics of IT! THE TERROR FROM BEYOND SPACE to the otherworldliness of Mario Bava's PLANET OF THE VAMPIRES - don't forget that Boucher's serial has a claustrophobic mining setting and an undercover robot.

"Blood of My Ancestors!"

Doctor Who Weekly - Black Legacy (1980)

When Black Legacy appeared in June 1980, Alan Moore's story predated his 2000 A.D. debut by a month, representing his first published comics work - amateur or professional -  solely as a writer. To illustrate the tale's "legacy," Russell T. Davies name checks the Deathsmiths of Goth in a Time War piece published in the 2006 Doctor Who Annual.

LIKE most TV characters that find themselves on the printed page, the Cybermen enjoy poetic license in comics. John Canning's surreal Patrick Troughton strips for TV Comic had DOCTOR WHO's second greatest foe use skis (Eskimo Joe, #903-906, 1969) and earlier they were even destroyed by flower scent (Flower Power, #832-836, 1967). Steve Moore introduced the philosophical Kroton in Throwback: The Soul of a Cyberman (Doctor Who Weekly #5-7, 1979), a man from Mondas who is sent to quell a human revolt, but wonders if an understanding of "abstract concepts of freedom and individuality" is the better path to take. Even Grant Morrison wrote a debatable account of Cyber origins in The World Shapers (Doctor Who Magazine #127-129, 1987). Using a muddled reference dating to the 1968 serial THE INVASION, Morrison explains that the rubbery inhabitants of "Planet 14" the Voord - seen in the 1964 THE KEYS OF MARINUS - have used an alien Worldshaper machine to evolve into Proto-Cybermen.

One of four back-up strip collaborations between writer Alan Moore and illustrator David Lloyd for Doctor Who Weekly, Black Legacy is introduced and tailed by the Fourth Doctor (Tom Baker) as if recounting the story. Published in issues #35-38, Cyberleader Maxel leads a mission to Goth ("a haunted planet shunned by all"), the former home world of legendary armourers the Deathsmiths. In search of a weapon that wiped out an entire civilisation overnight, the cyborgs explore the war museum, but are watched by the Apocalypse Device, a synthetic creature carrying every conceivable disease and virus. Having annihilated his creators, the being wipes out the Cybermen by telepathic nightmares and a lethal rust-like virus. Finally, Maxel confronts the Apocalypse Device who wants to use the Cyberleader's craft to escape the planet and destroy the galaxy; when Maxel auto-destructs the ship, the creature's dastardly plan is seemingly thwarted ... until a Sontaran vehicle lands. The last line – "It will not wait forever, that is the problem with ultimate weapons" – is almost certainly Moore's attempt at implicating the nuclear arms race.

Altered Vista's created a VCD version of the story in 2006, which was applauded by Moore. As the writer states on the Altered Vista website, "This is clearly a work that is born out of nothing save for a simple love of the material. It has not opted to change elements of the story, give it a less bleak ending or introduce a love interest and cute pet dog for the chief Cyberman protagonist. You have simply adapted the story as faithfully as you were able, without feeling the need to 'improve' it".

Taking a cue from the exploits of Kroton, Black Legacy portrays the Cybermen as un-characteristically human in their thinking, speech and posture, and illustrates Moore learning his craft with little interest in the source material (the strangely declamatory Cybermen spout "blood of my ancestors!" twice). These strips acted as ideal learning curves for the Northampton magus, creating characters and worlds in concise timeframes (usually a tale of two pages crossing four issues); consequently, as well as building the story, each two instalment had to work if read in isolation, but also recap and end on a cliff-hanger. The flaws of the strip, however, are not limited to aspects of Who lore. It’s actually a near re-run of Steve Moore’s The Final Quest from Doctor Who Weekly #8, where a Sontaran is tricked into self-destruction by exposure to a lethal plague. The Apocalypse Device broadcasting telepathic nightmares, paralysing enemies with fear, are two factors Cybermen ought to be immune to.

Moore followed Black Legacy with the Autons story Business as Usual, and three linked tales set in the distant past of Gallifrey: Star Death (with artist John Stokes), 4-D War and Black Sun Rising. While DOCTOR WHO had been on television for seventeen years, the history of the Time Lords had barely been touched on. With a relatively blank canvas, Moore created a space opera hung around a time paradox – the Time Lords are under attack from the Order of the Black Sun, a mysterious organisation from the future who are retaliating for some offence the Time Lords are yet to commit. The series hadn't explored the nuances of time travel since the 1972 Jon Pertwee adventure DAY OF THE DALEKS, so it was refreshing to see an illustrative work play with similar non-linear ideas. In conclusion, Moore’s strips for Doctor Who Weekly come to a sum of 28 pages over little more than a single year, and even though he was working to a restrictive brief and writing for a very young audience, the reader can already see a distinct progression from simple templates to the type of cosmic-bending work Moore would later make his own.

"Who Knows?"

DOCTOR WHO - SILVER NEMESIS (1988)
DOCTOR WHO - THE NIGHT OF THE DOCTOR (2013)
DOCTOR WHO - THE DAY OF THE DOCTOR (2013)

Playing the seventh incarnation of the Time Lord, Sylvester McCoy contrasted a bumbling buffoon with the mentality of a behind-the-scenes manipulator. Similar to Patrick Troughton's Second Doctor McCoy appears scatty, but becomes focused in extreme situations.

THE official 25th anniversary DOCTOR WHO story, SILVER NEMESIS is a tired and amateurish three-parter that throws together aimless plot threads and characters. Shot entirely on location, the serial sees The Doctor (Sylvester McCoy) and companion Ace (Sophie Aldred) arrive in 1988 England where Cybermen, a group of neo-Nazis led by Herr de Flores (Anton Diffring), and 17th century sorceress Lady Peinforte (Fiona Walker) all seek to control a statue that is in fact a Gallifreyan super-weapon (a notion similarly explored in REMEMBRANCE OF THE DALEKS). The three components to the statue - a bow, an arrow and the figure itself, made from the living metal Validium - were separated by The Doctor in 1638 and the statue launched into space on an asteroid, to foil Peinforte's initial plan to capture the item. With the Nemesis figure now cash-landed near Windsor Castle, the Time Lord must deal with the sorceress, the Nazis and the Cyber-fleet.

Since their TENTH PLANET induction in 1966, the Cybermen have never fully developed the potential of body horror beginnings, instead the emotionless metal menaces have been generic invaders prone to anger management amid incoherent continuity. They have also become easier and easier to kill; here only a slingshot from Ace is required, and their ray gun aim is frightfully lacking. What should have been a showcase for The Doctor's second greatest foes is cheapened by endless in-jokes (for example, Peinforte's mathematician is played by Leslie French, an actor considered for the First Doctor) and self-gratifying cameos, which include the Courtney Pine Jazz Quartet, Nicholas Courtney, Queen lookalike Mary Reynolds and even golden age Hollywood star Dolorey Gray appears as an American tourist.

Clare Higgins as Ohila in THE NIGHT OF THE DOCTOR. This mini episode sees the return to the screen of The Sisterhood of Karn for the first time since THE BRAIN OF MORBIUS. However, these protectors of the Sacred Flame have been in other areas of the Whoinverse, such as Terence Dicks' novel Warmonger, and Big Finish audio adventures Sisters of the Flame and The Vengeance of Morbius.

Re-launched in 2005, DOCTOR WHO has become embarrassingly smug, saccharine sweet and playfully incomprehensible. In the Classic Era, the Doctor maintained a remoteness; he was an intergalactic Sherlock Holmes, portrayed in a show that strived to be straightforward. In contrast, there is no room to breath in the Modern Era, a visual soap opera which drowns under endless story arcs, overblown scores, and the rushed nature of a 45-minute time slot. Guest star Timothy Dalton expertly described Russell T. Davies's show-running tenure as 2001 one moment, CORONATION STREET the next. Since Steven Moffat took over as head writer and executive producer in 2010, the show has become a brand. The best science fantasy explores the responsibilities and fears of the human race, but Moffat has made DOCTOR WHO a fairy tale; he argues that the programme isn't really sci-fi, rather stories that take place "under children's beds," amid his masturbatory world where he is much cleverer than you are.

On the 14th November 2013 a 7 minute minisode THE NIGHT OF THE DOCTOR was released, acting as a taster, companion piece and revelation to the 50th anniversary celebrations. Written by Moffat and set during the Time War, the short shows the previously unseen last moments of the Eighth Doctor (Paul McGann) and his artificially-controlled regeneration into the War Doctor (John Hurt). After crashing on Karn, the Doctor is taken in by The Sisterhood and revived; they convince him that there is no way to avoid being a part of the War, and so he subsequently consumes a potion which will ensure his incarnation into a warrior. Second to the unveiling of Hurt as the long-rumoured "unknown, evil Doctor", there was genuine surprise in McGann's dialogue mentioning companions in various Big Finish audio dramas, moving them into canon and marking a rare instance that characters created for licensed product being referenced in a series proper.

 THE DAY OF THE DOCTOR sees the visible return of the Zygons after numerous appearances in print and on audio; previously the body-snatching aliens were included in the Modern era episodes THE PANDORICA OPENS and THE POWER OF THREE, but without being shown in their natural guise.

The official 50th anniversary story THE DAY OF THE DOCTOR followed on the 23rd November - a 75-minute one shot - and was announced and subsequently advertised like The Second Coming. Yet against most expectations it is a triumph, with Moffat delivering giddying references to both WHO eras while maintaining a momentum for the final days of The Eleventh Doctor (Matt Smith). Clara Oswald (Jenna-Louise Coleman) receives a message from the Eleventh Doctor and returns to the TARDIS, which is by royal order airlifted to Trafalgar Square and the National Gallery. Preserved instructions from Elizabeth I are shown to the Doctor, along with a 3-D portrait entitled "No More" or "Gallifrey Falls", and other paintings. It transpires that the shape-shifting Zygons, preserved in old images, are invading. Meanwhile, the War Doctor watches Gallifrey falling to a Dalek invasion, and decides to trigger a weapon of mass destruction - the sentient "galaxy eater" the "Moment" (Billie Piper) - which will destroy both races. The Eleventh Doctor meets the Curator (Tom Baker), and is told that the painting's actual name was "Gallifrey Falls No More", hinting that a plan to freeze Gallifrey had worked, and the Doctor's future involves finding it.

The scenes set in Elizabethan England with the Tenth Doctor (David Tennant) and a young Elizabeth I under threat from Zygons are a joy, exploding from the TARDIS on a horse - in a TIME BANDITS kind of way - and later declaring his stature to a rabbit. There are several laugh-out-loud moments as the camaraderie increases, but Clara's ever-increasing scope  - even though she has existed at all points in time - seemingly extends to an inspirational power to make even three Doctors pause for thought (another piece that grates are the scenes on Gallifrey, which look like they were shot on an industrial estate). But the future, amazingly, looks bright; dialogue of the Curator seems to suggest that the Doctor will again get a chance to choose his regeneration, as from McGann to Hurt, and not only that, he’ll be able to "revisit a few" if only "the old favourites." 

Aliens North of the Border

DEVIL GIRL FROM MARS (1954)
DOCTOR WHO - TERROR OF THE ZYGONS (1975)

Don Marquez' 2007 oil on canvas rendering of Patricia Laffan as the DEVIL GIRL FROM MARS, featured in www.cartuneland.com

NYAH (Patricia Laffan) and her robot companion Chani have come to Earth from Mars to capture men for breeding. At the remote Scottish Bonnie Charlie Inn, the Martian meets American reporter Michael Carter (Hugh McDermott) and Professor Hennessey (Joseph Tomelty), who have been sent to investigate strange lights in the area. Also at the Inn are model Ellen (Hazel Court), escaped killer Albert (Peter Reynolds), his optimistic barmaid girlfriend Doris (Adrienne Corri), and Innkeepers the Jamiesons (John Laurie and Sophie Stewart) with their nephew Tommy (Anthony Richmond). Nyah's plans are thwarted when she is persuaded to travel to London to find more suitable mating stock, which, as Tim Healey states in The World's Worst Movies, "turns out to be a suicide mission, for the killer, the craft, the Devil Girl - and the director's reputation - all perish in one grand explosion."

Released a year before Hammer's THE QUATERMASS XPERIMENT, DEVIL GIRL FROM MARS is listed among 'The 100 Most Amusingly Bad Movies Ever Made' in The Official Razzie Movie Guide. It is also one of a handful of homegrown science fiction films that take inspiration from across the Atlantic for a more comic book take on SF, while still remaining typically pessimistic. Consequently, DEVIL GIRL FROM MARS takes everything very seriously and very British ("While we're still alive we might as well have a cup of tea"). The origins as a stage play are all too obvious, as most of the film is played out in the Inn's bar, but its kitsch value and unintentionally hilarious dialogue ("There's a meteor dropped near here, it's sort of romantic isn't it?") has made it a cult favourite. The human characters all subscribe to the Blitz mentality and the performances are fine, but McDermott's brash newsman has such an annoying accent that the idea of Ellen falling for him within a couple of hours stretches even this uniform female mentality.

In the best science fiction tradition, a leading protagonist is accompanied by a robot helper; here Nyah has the clunky Chani, an electronic-brained "mechanical man."

Nyah - as representative of an "intransigent matriarchy" on Mars - is unsurprisingly the highlight of this hokum, which unfortunately concerns itself equally between the hackneyed goings-on at the Bonnie Charlie and the apocalyptic situation that unfolds. Not only has the intruder placed an invisible electronic wall around the Inn and can blur into the Fourth Dimension ("Now men look, watch the power of another world") Nyah means business, disintegrating trees and hunchbacked labourer David (James Edmond) with her trusty ray gun. She also has a costume to die for; looking like a dominatrix and even a neo-Nazi, Nyah is incredible in her black latex outfit, black tights, padded shoulders, shiny black skullcap, boots and cape. The Wandsworth-born Laffan's other most famous role is in the 1951 epic QUO VADIS, where she played Poppaea, the second wife of the Roman Emperor Nero.

Also centred around shenanigans in a Scottish Inn, the Doctor Who adventure TERROR OF THE ZYGONS not just opened Season 13 of the show, but saw the beginning of the Philip Hinchcliffe/Robert Holmes Gothic Era in earnest. Written by SEEDS OF DOOM scribe Robert Banks Stewart and robustly directed by Douglas Camfield, the four-parter sees The Doctor (Tom Baker), Sarah (Elisabeth Sladen) and Harry (Ian Marter) summoned by UNIT to The Fox Inn in the Scottish Highlands (actually Bognor Regis). Investigating the mysterious destruction of oil rigs in the North Sea, locals talk of the Tullock Moor mists, but it transpires that the Loch Ness Monster is a cyborg controlled by Zygons, organic shape-shifting aliens who plan to take over the Earth. When their craft emerges from the Loch and The Doctor causes it to self-destruct, only Zygon leader Broton (John Woodnutt) survives. Assuming the identity of the Duke of Forgill, Broton travels to London to destroy a World Energy Conference, aided by the Skarasen cyborg.

The Zygons grace the cover of Doctor Who Weekly #9 (December 1979).

TERROR OF THE ZYGONS features arguably the best and worst monsters in the Time Lord's history. The Zygons  - designed by James Acheson and John Friedlander - are superbly realised, their suckers and throbbing veins bathed in red and green light to maximise queasiness. In contrast the Skarasen/Loch Ness Monster - a creature design based on a dog's skull - is embarrassing, both when moving across the moors and rising from the Thames. The serial boast one of Baker's best performances, and there is also gallant support from Sladen and Marter, especially the scene where the "body print" Harry attacks Sarah with a pitchfork. UNIT is also integrated into the story more realistically, but similarly to THE GREEN DEATH's depiction of Wales, TERROR OF THE ZYGONS stereo-typically treats the Scots as bagpipe-playing, kilt-wearing superstitious loons ("Can ye no send over a few haggis.")

Planets of Doom

DOCTOR WHO - PLANET OF EVIL (1975)
DOCTOR WHO - THE BRAIN OF MORBIUS (1976)
DOCTOR WHO - THE SEEDS OF DOOM (1976)

The Doctor and Sarah are engulfed by the PLANET OF EVIL.

PRODUCER Philip Hinchcliffe and script editor Robert Holmes used many classic horror/SF motifs as a springboard for their stories on DOCTOR WHO, creating a greater appreciation of alien concepts and otherworldly environments. PLANET OF EVIL sees The Doctor (Tom Baker) and Sarah (Elisabeth Sladen) arrive on Zeta Minor - a planet "at the very edge of the known universe" - where they discover that a Morestran geological expedition has fallen prey to an unseen killer and only the leader, Professor Sorenson (Frederick Jaeger), remains alive. A military mission from Morestra has arrived to investigate - at first suspecting the Doctor and Sarah - but the culprit is revealed to be a creature from a universe of antimatter, retaliating for the removal by Sorenson of some samples from around a pit that acts as an interface between two universes.

PLANET OF EVIL is an effective fusing of FORBIDDEN PLANET and The Strange Case of Doctor Jekyll and Mr Hyde, brought to life by a robust performance from Jaeger and Roger Murray-Leach's extraordinary jungle set, a vividly successful illustration of Hinchcliffe's desires to create more believable elseworlds. Not only do we have Sorenson as a transforming character, Zeta Minor itself is a living contradiction, as is the unscientific (but suitably dramatic) plot mechanism of matter versus anti-matter. Television sci-fi writers have had a long love affair with anti-matter, which they have used to illustrate that well-known dictum do not tamper. Thankfully, there are usually safety valves between the two states (as in STAR TREK - THE ALTERNATIVE FACTOR), or a lonely sentinel warning against matter-mixing (SPACE: 1999 - MATTER OF LIFE AND DEATH).

THE BRAIN OF MORBIUS features a monster so absurdly weird it challenges Japanese kaiju. Morbius’ brain is eventually encased inside a fish-tank with eye-stalks, on a patchwork body with one arm being a giant lobster claw.

Originally written by Terrance Dicks, THE BRAIN OF MORBIUS was extensively re-written in his absence by Holmes to up the horror quotient and remove the technically challenging notion of a scavenger robot. By Dicks' chagrined request, the show is given the pseudonymous writing credit "Robin Bland". The final version is a messy mix of Frankenstein and She set on Karn, a home world for both The Sisterhood – whose sacred flame produces the elixir of life – and Solon (Philip Madoc) – a mad scientist who is putting together a body for the still-living brain of an executed Time Lord. When the Doctor (Baker) and Sarah (Sladen) arrive, The Sisterhood think they have been sent to steal the last drops of elixir produced by a dying flame, and Solon is after the Doctor’s head to complete his work (though it is left unclear why the scientist doesn’t just use the Doctor’s body rather than the unwieldy mutant he has created).

The ritualistic Sisterhood are laughable with their endless arm-waving, yet the serial’s most ridiculous moment comes when the Doctor solves their extinguishing life-force ("the impossible dream of a thousand alchemists, dripping like tea from an urn") by removing some soot. Thankfully the scenes with Solon and his Igoresque assistant Condo (Colin Fay) are wonderful galactic Hammer Horror, and the moment where Condo is repeatedly shot predictably caused Mary Whitehouse to stir, claiming the story "contained some of the sickest and most horrific material seen on children’s television." The graphic nature is indeed memorable, but the lasting talking point is the climactic mind-bending contest between Morbius and the Doctor, mainly because it seemed to contradict WHO lore by indicating that there had been eight previous incarnations before William Hartnell (although an equally viable explanation would have been the faces that appear – which include Hinchcliffe and Holmes in stock costume – where actually Morbius' former selves).

In THE SEEDS OF DOOM, the humanoid Krynoid suit was recycled from a surviving costume from THE CLAWS OF AXOS, and sprayed green.

Robert Banks Stewart's script for THE SEEDS OF DOOM draws on THE QUATERMASS XPERIMENT, THE THING FROM ANOTHER WORLD and The Day of the Triffids. Two alien seed pods are found buried in the Antarctic permafrost and the Doctor (Baker) realises that they are Krynoids; "I suppose you could call it a galactic weed," begins the Time Lord, "though its deadlier than any weed you know. On most planets the animals eat the vegetation. On planets where the Krynoid gets established, the vegetation eats the animals." After an act of sabotage, one of the pods is delivered to plant collector Harrison Chase (Tony Beckley) at his mansion, where assistant Keeler (Mark Jones) is infected. Keeler - whose transformation is accelerated by Chase feeding him raw meat - goes on a rampage, rapidly growing to gigantic proportions before being destroyed by the RAF.

THE SEEDS OF DOOM is a strange WHO because it could be played out without the Doctor and Sarah (Sladen). Behind Douglas Camfield's action-orientated direction, the show is easily one of the consistently entertaining six-parters. Baker and Sladen often lapse into self-parody, but Beckley is chilling as Chase, portraying a level of Masteresque authority even down to wearing black leather gloves, and it is fun to see John Challis playing a "heavy" like Scorby, far from his future in Peckham for ONLY FOOLS AND HORSES. The model work holds up well, and the various stages of Krynoid transformation are handled with aplomb, but the serial suffers from an antiseptic handling of UNIT and a perplexing final scene; after the TARDIS materialises at the South Pole, Sarah states that the Doctor "...forgot to reprogram the coordinates," yet our dynamic duo initially landed at the Antarctic base by helicopter.

This post is dedicated to the memory of Elisabeth Sladen (1/2/1946 - 19/4/2011).

Planet of Gold

DOCTOR WHO - REVENGE OF THE CYBERMEN (1975)

The highlight of this serial is its location shooting at Wookey Hole, home of the Witch of Wookey. A chagrined woman, she used her arts to blight girls' lives and keep them from the joys denied to herself. Turned to stone by the Holy Clerk of Glastonbury, the Witch still haunts the caverns.

THE Time Ring takes the Doctor (Tom Baker), Sarah (Elisabeth Sladen) and Harry (Ian Marter) back to the space station Nerva, but to a period many thousands of years earlier than their visit in THE ARK IN SPACE. The station is acting as a beacon warning space traffic of the existence of a new asteroid orbiting Jupiter, Voga, the planet of gold. A plague has killed all but a handful of Nerva's crew and visiting civilian scientist Kellman (Jeremy Wilkin) is in fact a traitor working with a group of Cybermen, who want to destroy Voga as gold dust can coat their breathing apparatus (and the plague is the result of poison injected by Cybermats). Kellman however is a double agent, working with one faction of the Vogan, whose plan has been to lure the Cybermen onto the beacon and destroy them with a rocket.

A weak link in DOCTOR WHO's excellent twelfth season, REVENGE OF THE CYBERMEN is nevertheless fondly remembered as the initial Cybermen serial in colour, as well as being the first commercially available story released on VHS in 1983. Scripted by Gerry Davis - who had devised the monsters with Kit Pedler - the tale has long been a guilty pleasure for Whovians. The four-part adventure features an alarming array of double entendre, knowingly enjoyed by cast and crew alike. "Take the Cybermen from behind," "we're still heading for the biggest bang in history," and "pull it harder, it's coming" are typical examples, and the black-helmeted Cyberleader (Christopher Robbie) is unintentionally hilarious; often arms on hips, his strangulation of the Doctor looks more like a Swedish massage. Sladen's experience of her attack by a limp Cybermat - which had to be hugged to make them seem even remotely threatening - led her to decide to quit the series, only for the actress to thankfully reconsider once the show moved onto much better-realised productions.

Chris Achilleos' cover for the Target novelisation of REVENGE OF THE CYBERMEN (#51, May 1976), written by Terrance Dicks.

The Vogans are an interesting addition to the series' mythology and can be seen as an allegory of 1970s Britain - a power that was once great but is now bitterly divided over how to exploit its remaining resources. But the story is spoiled by the titular menace; it may have been a return for the Cybermen after a long hiatus (they were last seen in 1968's THE INVASION), but they appear uncharacteristically emotional and have terrible dialogue. The idea of them being susceptible to gold dust is also less than inspired; previous entries have shown them to be vulnerable to radiation, solvents, gravity, low temperatures, electric currents, force fields, emotional impulses and grenades, and the revelation of this latest weakness only serves to further reduce their potency. This ineffectiveness is underpinned by the Doctor's outburst "you're nothing but a pathetic bunch of tin soldiers skulking about the galaxy in an ancient spaceship," a viewpoint reinforced by subsequent appearances.

Wookey Hole was an inspired choice of location for Voga. The show caves had gained a reputation for being haunted by a Dark Ages Witch, now petrified as one of the cave's rock formations, and stories of the serial's curse are more interesting than the programme itself. While scouting, director Michael E. Briant's wife discovered several Iron Age arrowheads, which she kept as mementos. This precipitated a chain of strange occurrences which beset the production, which began when Briant encountered a potholing ghost. Potentially the most serious incident occurred after certain crew members disobeyed instructions and interfered with the "Witch" formation. During the afternoon's shoot a boat driven by Sladen on the "Witch's Parlour" went haywire, forcing the actress to jump overboard to avoid smashing into a cavern wall.

The Crypt of Horror

TALES FROM THE CRYPT (1971)
THE VAULT OF HORROR (1973)

In a rare appearance under heavy make-up Peter Cushing is Grimsdyke, an avenging zombie, in TALES FROM THE CRYPT.

ONCE targeted as agents of juvenile delinquency by righteous politicians - and tossed into bonfires by outraged parents across North America - the banned in Britain EC Comics provided the drive behind two of Amicus' seemingly endless stream of portmanteau: Freddie Francis' TALES FROM THE CRYPT and Roy Ward Baker's THE VAULT OF HORROR. Essentially McCarthy-era morality tales, the publications were obsessively consistent in punishing corruption in the sickest way possible. Yet while Amicus provided some thrills, you need only look at a handful of the originals to realise that the literary source were more cinematic than cost-conscious Max J. Rosenberg and Milton Subotsky would care or cater for.

TALES FROM THE CRYPT was the biggest commercial success of all Amicus multi-tale terrors. Francis' visuals mix bright, basic colours with grey to approach the look of a comic book panel, but the masterstroke is how well the EC style of divine retribution fits into the festering middle-class resentment of the working classes in Edward Heath-era Britain. Opening to the ominous chords of Bach’s Toccata & Fugue in D Minor, the framing story sees five visitors losing their way in a labyrinthine set of catacombs, who are shown glimpses of their pasts - or futures? - by the cowled Crypt Keeper (Sir Ralph Richardson). Best remembered for its lively opening story And All Through the House - pitting a murderous wife (Joan Collins) against a killer Santa - the other four segments are split equally between the cumbersome and the classic. Reflections of Death and Wish You Were Here are both weak fillers, the former featuring a philandering husband (Ian Hendry) and the latter a wife (Barbara Murray) using an Oriental idol to bring back the dead. The remaining two episodes are so superior they seem to be from a different production altogether.

Everything in its right place. THE VAULT OF HORROR’s The Neat Job is the highlight in an otherwise bland production.

Poetic Justice sees kindly old Grimsdyke (Peter Cushing) driven to suicide by loathsome neighbours covetous of his land, who send him malicious Valentine rhymes. A simple tale of walking-corpse vengeance in the tried and tested EC tradition, the story is given extra resonance by Cushing's delicate performance, which has a quality rarely seen within the usually character-restraining portmanteau film. The actor was newly widowed at the time, and used a photograph of his late wife Helen, which he addresses by name on screen. Blind Alleys also has wonderful performances at its core, with Rogers (Nigel Patrick) - a retired army officer taking charge of a home for the blind - and Carter (Patrick Magee) - a spokesman for the unsighted. A slow-burning tale of redemption, Rogers' new rules for efficiency (food rationing, no heating) ultimately has him forced to choose between confronting his hunger-crazed Alsatian or hurtling to safety down a narrow corridor bristling with razor blades, set up by the spectrally-portrayed blind.

In comparison, THE VAULT OF HORROR is formulaic at best and signalled the end of any EC endorsement for Amicus. Five men inexplicably find themselves locked in the basement of a skyscraper, and pass the time by recounting their nightmares. Bargain In Death is a weak insurance scam story, while Midnight Mess is an allegedly humorous tale of small-town vampirism starring Daniel and Anna Massey. This Trick'll Kill You is a none-too-subtle allegory about a married pair of magicians murdering fakirs in India, but the other two stories fare better because they subscribe more to the twisted EC mythos. Drawn and Quartered features a struggling artist (Tom Baker) in a voodoo-laced variation on The Picture of Dorian Gray, but the only story that really seems in its element is The Neat Job, in which a disorderly housewife (Glynis Johns) tries to cope with her fussy, perfectionist husband (Terry-Thomas); it’s a delicious presentation of domestic EC-style terror.

Gallifrey Gothic

The Philip Hinchcliffe/Robert Holmes DOCTOR WHO (1975 - 77)

Emaciated Master makeup for THE DEADLY ASSASSIN.

THE gothic tradition in DOCTOR WHO’s mid 1970s serials runs deep through the British science fantasy tradition, placing the exotic into our stoic world. Most fans of the original DOCTOR WHO believe this period to be the golden era, when Tom Baker's goggle-eyed eccentricity was married with chilling horror stories. Producer Philip Hinchcliffe and script editor Robert Holmes plundered Universal, Hammer and 1950s science fiction movies for their inspiration, as murderous dummies and disembodied hands kept Mary Whitehouse busy filing letters to the BBC. DOCTOR WHO’s take on Mary Shelley's Frankenstein, or The Modern Prometheus - THE BRAIN OF MORBIUS - summoned the wrath of the self appointed moral guardian, with Whitehouse proclaiming the story "contained some of the sickest and most horrific material seen on children’s television." When the Corporation issued an apology to Whitehouse over a drowning sequence at the end of episode three of THE DEADLY ASSASSIN, the show would never be as consistently absorbing again.

A criticism levelled at Hinchcliffe and Holmes was that they were making these stories for themselves. But it's the fear factor in DOCTOR WHO that holds a special significance for many people, the "hiding behind the sofa" mentality that in itself has entered the British psyche. Their debut season saw them tackle a set of scripts already commissioned during Barry Letts’ time as producer, and although the serials featured reassuringly traditional elements, there was also a clear indication that the show was undergoing significant change, particularly the phasing out of UNIT. The classic GENESIS OF THE DALEKS - with its themes of racial hatred and war - was one example of a more horrific yet realistic quality. But calling Hinchcliffe’s tenure simply "the horror era" detracts from the ingenuity and intelligence channelled into the programme during this time. Writers, designers and directors were specifically briefed and consulted prior to production, and assigned to their strengths (budget willing) to bring Hinchcliffe and Holmes’s serial thrillers to life: each story had to have a power, a mix of rounded characterisation and sense of atmosphere to adhere to the required adult scientific concepts and convincing worlds.

A major factor in the success of DOCTOR WHO in the mid 70s was the on-screen performances of Elisabeth Sladen and Tom Baker. Here, Sarah Jane and The Doctor appear in THE ARK IN SPACE.

Holmes - perhaps the greatest original series writer - was in his element, injecting a more black, sardonic humour. But in addition to the more mature and macabre approach, a great deal of the success was the chemistry between The Doctor and his assistant Sarah Jane Smith (Elisabeth Sladen). Baker was also creating a Doctor more overtly and fittingly alien; you need only look at his homo sapiens speech from THE ARK IN SPACE to see that he was taking things seriously, unlike later seasons when the actor’s impulse to fool around was not held in check.

In THE PYRAMIDS OF MARS, the gothic horror style is given its fullest expression; the TARDIS materialises on Earth inside an old priory owned by Egyptologist Marcus Scarman (Bernard Archard), who is possessed by the god-like Sutekh (Gabriel Woolf). With its entombed ancient evil and walking Mummies (in fact servicer robots), there is a genuine feel of dread, with the Mummies particularly effective in their simple yet hulking appearance. As Sutekh, Woolf creates a classic WHO villain, and it is noticeable how many such roles are voice parts - think Michael Wisher’s untouchable turn as Davros.

Following the success of the British Museum’s exhibition of relics from Tutenkhamen’s tomb, Ancient Egypt was big in the 1970s, a mythology embraced by THE PYRAMIDS OF MARS.

THE TALONS OF WENG-CHIANG was Hinchcliffe’s swansong. Widely regarded as one of the best ever serials, magician Li H’sen Chang (John Bennett) procures young girls for Magnus Greel (Michael Spice), a 51st Century war criminal who has come to 19th Century London to retrieve his lost time cabinet. The fog-laden streets, amateur sleuthing, oriental mystery and sinister doll Mr Sin (Deep Roy) make the story an entertaining romp, despite the major flaw of the giant sewer rats, which Greel uses to keep people away from his Palace Theatre lair. But THE TALONS OF WENG-CHIANG is also one of the most controversial: it was the first DOCTOR WHO that showed the taking of illicit drugs, and its use of nunchucks in one fight scene led to trouble with the censor for its first release on VHS. The most dominant controversy, however, was its uniformly bleak portrayal of the Chinese ("inscrutable chinks"), which lead to a rebroadcast ban in Ontario after complaints from the Chinese-Canadian community.