Flatline

Could you not just let me enjoy this moment of not knowing something? I mean, it happens so rarely.

The Twelfth Doctor

Synopsis

With the Doctor trapped in a shrinking TARDIS, Clara is forced into the role of the Doctor, complete with a group of people to save as a force from another dimension threaten their existence.

Review

Flatline sees a return to the “Doctor-lite” stories that were commonplace in David Tennant’s era and feels like a story that wouldn’t have felt out of place in Russell T Davies’ era as showrunner, with contemporary Britain the setting for a takeover. However, by the mere fact that we haven’t had an abundance of this story in the intervening years, and with an original and creepy foe, Mathieson makes this feel quite fresh. Jamie Mathieson is a fantastic addition to the show for the late Moffat era and this story is a fantastic example of what he brought to the show.

Unlike some other Doctor-lite stories, Capaldi’s Doctor feels constantly present through being the voice in Clara’s ear. If we compare this to an episode like Love & Monsters or Turn Left, it is scarcely noticeable that Capaldi probably shot all of his scenes in a couple of days. Clara is forced into the lead role, and it is perhaps a chance to see how developed this character has become over the course of this series. From being ‘the Impossible Girl’ in her first half series, she has become a defined and flawed human being, seen to be lying to Danny and making the Doctor complicit in this. From his brief cameo, Danny seems to have made his peace with the idea of Clara continuing her travels in the TARDIS, but the fact that Clara still continues to deceive him is more of an issue in their relationship. Whilst I have problems with this, they become much more relevant to the series finale and so I will go into more detail when I get to review that episode. That said, Danny does encapsulate Ultimately, the story is designed to show the responsibility that the Doctor takes on when he enters situations like this and he is clearly alarmed at the ease with which Clara slips into the role. She takes the authority role over the group of community service outcasts and is ultimately accountable when only Rigsy and Fenton survive.

Why can’t you say it? I was the Doctor and I was good.

You were an exceptional Doctor, Clara.

Thank you.

Goodness had nothing to do with it.

Clara Oswald and the Twelfth Doctor

As mentioned above, this story does feel as though it wouldn’t have felt out of place during the Tenth Doctor’s era. Mathieson has set this on a council estate, which harks back to the Powell Estate, and there are numerous mentions that the authorities are hoping that the problem will solve itself. Officer Forrest tells Clara and Rigsy as much shortly before she is absorbed into the rug as the trio investigate the home of another victim. Clara’s band of companions feel like the forgotten of society, and Rigsy is an example of the potential that exists in these scenarios. A further reinforcement of this is Fenton, the community service supervisor, who regards his charges as scum. Fenton fills the role of the person who the audience want something unpleasant to happen to, almost guaranteeing their survival. This reminded me most strongly of Voyage of the Damned, where Rickston Slade survives the events aboard the Titanic. Mathieson does waver from some aspects of the Russell T Davies era and Doctor Who in general, however, when Clara stops Rigsy from making the heroic sacrifice, substituting him losing his life with her losing her hairband. The story also has some moments of lightness and humour, such as Fenton only seeing a blank piece of paper when presented with the psychic paper, due to his lack of imagination, a detail which is completely throwaway, but it’s always nice to see that the Doctor’s gadgets have flaws.

Ultimately, the strength of the story lies in the monster. A foe from another dimension, whose motivations aren’t really ever fleshed out, but seem to be hostile, the ‘Boneless’ are a great one-off antagonist and bring out the strongest elements on the production side. The direction by Douglas Mackinnon is fantastic, and he makes the story feel really unsettling at times, starting with the cold open where the camera moves slowly to allow the reveal of Roscoe’s stretched out body. This story utilises a combination of great direction and special effects, particularly when the Boneless take on a three-dimensional form in the tunnel towards the end of the story. Moments like the reveal of George being killed work really well, and the transition between him seeming three dimensional and then merging into the wall and eventually melting away is really well done. One moment, conversely, that doesn’t work so well is when the hand pulls Al back down the tunnel and the camera tracks with it. It would be much more effective to have Al just pulled out of shot, but I have come to terms with it as it introduces the human facsimiles who are really sinister in the way that they move and their appearance. The story also takes advantage of playing with the reduced size of the TARDIS, complete with funny moments like the Doctor passing Clara the sledgehammer through her handbag or the Addams Family reference as the Doctor gets the TARDIS off the train track, followed by his little celebratory dance.

Putting Jenna Coleman in the leading role works really well for this story, and brings great performances out of her and Capaldi. The Doctor wants to believe the best of the Boneless until he has definitive proof that they are out to harm humanity, and his speech at the end was the moment that sold me on this Doctor forever. Out of the guest cast, Rigsy really stands out and it is a good performance by Joivan Wade, who we’ll see again in Series 9. Rigsy is a character who falls into the mould of a directionless outcast but his experiences with Clara (and by extension, the Doctor) open his eyes. I really like the fact that the solution to the story involves his artistic skills to power up the TARDIS.

Your last painting was so good it saved the world. I can’t wait to see what you do next.

It’s not gonna be easy. I’ve got a hairband to live up to.

The Twelfth Doctor and Rigsy

Verdict: A story which is creepy and visually interesting and sees the companion take on the responsibilities of the Doctor, Flatline is a standout episode from Capaldi’s debut series. 10/10

Cast: Peter Capaldi (The Doctor), Jenna Coleman (Clara), Joivan Wade (Rigsy), Samuel Anderson (Danny), John Cummins (Roscoe), Jessica Hayles (PC Forrest), Christopher Fairbank (Fenton), Matt Bardock (Al), Raj Bajaj (George), James Quinn (Bill) & Michelle Gomez (Missy).

Writer: Jamie Mathieson

Director: Douglas Mackinnon

Behind the Scenes

  • This was the original idea that Jamie Mathieson pitched to Steven Moffat, after which, he was also asked to write Mummy on the Orient Express. After several drafts, he was asked to minimise the role of the Doctor to abide by the production schedule.
  • Mathieson wanted to maintain a sense of mystery around the Boneless, and so chose not to have them speak.

Best Moment

There are a lot here, but I think I’m going to have to go for the Doctor getting the TARDIS off the train tracks.

Best Quote

I tried to talk. I want you to remember that. I tried to reach out. I tried to understand you. But I think you understand us perfectly. I think that you just don’t care. And I don’t know if you’re here to invade, infilitrate, or just replace us. I don’t suppose it really matters now. You are monsters! That is the role you seem determined to play. So it seems I must play mine. The man who stops the monsters. I’m sending you back to your own dimension. Who knows? Some of you may even survive the trip. And if you do, remember this. You are not welcome here. This plane is defended. I am the Doctor. And I name you the Boneless!

The Twelfth Doctor

Previous Twelfth Doctor review: Mummy on the Orient Express

The Android Invasion

Is that finger loaded?

The Fourth Doctor

Synopsis

The Doctor and Sarah arrive at Devesham on Earth, near the Space Defence Station. However, as they investigate the village, they discover that all is not as it seems: the village is deserted, the telephones don’t work, calendars are stuck on the same date and

Review

I’d love to be able to say that The Android Invasion is a lot of fun and feels in keeping with an otherwise superb run of episodes in Season 13. Instead, Terry Nation’s tenth Doctor Who story struggles with inconsistencies, pointless nods to continuity and poor plotting. It is not entirely terrible, however, and does probably suffer from being similar in certain ways to Terror of the Zygons, the season opener and perhaps the blame has to be split between Nation and the script editor, Robert Holmes, for not making these two stories feel more distinct. It isn’t all bad either; the first two parts of the story are genuinely unnerving and there is some solid direction from the ever-reliable Barry Letts.

Ultimately, the main problem with this is the plot, and it is rather frustrating but not surprising that this comes from the pen of Terry Nation who has been capable of great stories, but equally some pretty drab ones. This story features elements such as meteorites, duplicates and viruses which feels as though Nation is throwing everything at the wall and seeing what sticks. When the Devesham that the Doctor and Sarah arrive in at the start of the story is revealed to be a highly detailed duplicate to prepare for a Kraal invasion, it begs the question why they were making such a detailed duplicate only to destroy it. Then there comes the eye patch reveal for Crayford which is just plain stupid. I know that the Kraals have obviously manipulated the astronaut to believe that humanity has abandoned him, but it is never explained why he has never felt inclined to check under the patch before. Further issues include why Sarah’s duplicate’s face falls off when the android duplicates are supposed to be indestructible and why the threat of invasion disappears as soon as Styggron is killed. The most glaring involves the TARDIS pause control, which means that the TARDIS travels from the duplicate woods to the real ones when Sarah puts her key in the lock, which smacks of laziness. Whilst Nation’s basic concept is sound, it feels as though as soon as he put flesh onto the bones, it falls apart.

We then come to the use of UNIT in this story. I’m not sure why the tease of the Brigadier is included after it became clear that Nicholas Courtney was unavailable as it almost heightens the expectation that he will come in at some point to come to the rescue or get in the Doctor’s way. Colonel Faraday is also such a disappointment in comparison and ultimately isn’t good enough to lace the Brigadier’s bootlaces. Anyone who has read my reviews of the Third Doctor’s stories with UNIT knows that they are part of one of my favourite eras of the show, and knows that one of my biggest gripes with Chris Chibnall has been the scrapping of UNIT. Therefore, it is a bit of a disappointment to see Benton and Harry dealt with so shabbily, especially considering that Harry was a duplicate in his final outing with the Doctor, Terror of the Zygons. In Sladen’s autobiography she states that at the time it didn’t feel as though this would be the final appearance for Marter, but with hindsight, it feels like he never really got a proper goodbye. The character is being revised by Big Finish, played by Christopher Naylor and will return to travelling with the Fourth Doctor, so maybe the character will finally get a farewell.

Let’s try the pub!

The Fourth Doctor

Barry Letts does his best with the story and manages to create some striking visuals out of this story, starting from the opening moments when the UNIT soldier staggers through the forest. Other highlights include the Doctor and Sarah walking through the deserted Devesham and the sequence in the pub where the android doubles enter and start acting normally when the clock chimes, which are really eerie. The advantage of bringing Letts back to direct becomes clear in the final part in the Doctor vs. Android Doctor fight, which looks really convincing and an action-based finale reminiscent of the Pertwee era.

The relationship between the Doctor and Sarah is cemented here, and there are some nice moments between them in the first part, like the bit with the bramble, which makes their relationship seem believable. Despite my criticisms of Nation’s story, one part that works really well is the build-up to the cliff-hanger at the end of Episode 2 where it is revealed that Sarah is an android duplicate. It is a clever reveal, with a seemingly throwaway line of Sarah not liking ginger pop, and the fact that the real Sarah wasn’t wearing her scarf when he left her. Combined with the way that the Doctor disarms the android, it builds to one of the better cliff-hangers in Doctor Who history. Among the guest cast, Milton Johns does a decent job with Crayford, the missing British astronaut who is manipulated by the Kraals, but ultimately, better actors would struggle with the eye patch reveal. Martin Friend as Styggron stands out too, even though the Kraals and their plot doesn’t really make sense.

Verdict: Ultimately, The Android Invasion feels as though it has an interesting basic concept but falls apart under scrutiny. Sadly, ultimately it left me feeling cold. 4/10

Cast: Tom Baker (The Doctor), Elisabeth Sladen (Sarah Jane Smith), Ian Marter (Harry Sullivan), Patrick Newell (Colonel Faraday), John Levene (RSM Benton), Milton Johns (Guy Crayford), Max Faulkner (Corporal Adams), Peter Welch (Morgan), Martin Friend (Styggron), Dave Carter (Grierson), Roy Skelton (Chedaki), Stuart Fell (Kraal), Hugh Lund (Matthews) & Heather Emmanuel (Tessa).

Writer: Terry Nation

Director: Barry Letts

Parts: 4

Behind the Scenes

  • Terry Nation was inspired by the film Invasion of the Body Snatchers. This would be Nation’s penultimate script for the show, returning for the last time for Destiny of the Daleks. This was his first story not to feature the Daleks since The Keys of Marinus.
  • The first UNIT story not to feature the Brigadier, although it was originally intended to. Nicholas Courtney had committed to a theatre tour believing that he would not be returning to the show. He also stated later to Doctor Who Magazine that he was “very annoyed” after being asked back for a previous story and had his part cancelled at the last moment, after he had already turned down other work.
  • Neither Ian Marter nor John Levene enjoyed returning for this story; Levene as none of the other UNIT regulars were present and Marter because he didn’t see any reason for Harry to be there. Sadly, this would be Marter’s final appearance on the show, as he passed away on 28 October 1986. Levene would reprise the role for Big Finish Productions.
  • Working titles for this story included The Kraals, The Kraal Invasion and The Enemy Within.
  • The comedian Kenneth Williams noted in his diary after watching Episode 2 that “Doctor Who gets more and more silly.”

Cast Notes

  • Milton Johns appeared in The Enemy of the World and would appear in the later Fourth Doctor serial, The Invasion of Time.

Best Moment

The cliffhanger at the end of Part 2, where the Sarah that the Doctor is revealed to be talking to is an android double, culminating in the famous shot where “her” face falls off. It is by far the best part of this story.

Best Quote

Once upon a time there were three sisters, and they lived in the bottom of a treacle well. Their names were Olga, Marsha and Irena…Are you listening, Tillie? I feel disorientated.

This is the disorientation centre!

That makes sense.

The Fourth Doctor and Sarah Jane Smith

Previous Fourth Doctor story: Pyramids of Mars

Reviews Mentioned:

Terror of the Zygons

Cold Blood

Okay. Bringing things to order. The first meeting of representatives of the human race and homo reptilia. Ha! Never said that before. That’s fab!

The Eleventh Doctor

Synopsis

As the Silurians wake up under the Earth’s surface, the Doctor must attempt to broker a peace between the Silurians and the human race, whilst the humans on the surface attempt to keep their Silurian captive alive.

Review

Despite my praise (and surprise) at enjoying The Hungry Earth, the concluding part is where it largely falls apart. Whilst I could largely overlook the similarities to (Doctor Who and) The Silurians in the first part, the tribute tips over into derivation more here. There are some good things, with strong performances from the central trio and a decent ending, but this episode feels like instead of building on the previous episode’s cliffhanger, it flounders and drags, perhaps because nostalgia for the Jon Pertwee story can only carry you so far.

I do feel that this story suffers from the fact that it doesn’t feel like anything drastically important happens until the closing couple of minutes. This might be down to the fact that there’s not very much that can be done with the Silurians apart from negotiate about how best to share the planet. In fact, rather than having a looming sense of threat from the Silurians, this instead comes from the humans who are threatening to reactivate their drill to destroy the homo reptilia colony. Unlike some other great late series two-parters that we have had in the revived series so far, this neither escalates majorly nor goes off in a seemingly different direction. In this story, it takes around 28 minutes for Restac to do the inevitable and awaken the Silurian army. As a result, the conclusion of the main plot feels inconsequential as the Doctor and Eldane are forced to conclude that humanity are not ready to share the planet and the Silurians are put back to sleep for a further thousand years.

There’s also some pretty poor characterisation going on here. Malohkeh is revealed to be a human loving scientist, which seems at odds to his behaviour in The Hungry Earth, where he is seen to have already dissected Mo and seems perfectly happy to dissect Amy in the set-up for the cliffhanger. Equally, the whole family dynamic seems a little bit suspect and it is difficult to feel too much for Ambrose considering her actions in this story. She is absolutely right to be concerned for her son and her father when she discovers that Alaya’s sting has poisoned him, and Alaya plays on those concerns in the confrontation scene which results in her death. However, she is not a terribly likeable person and it doesn’t really follow that she would potentially put her son and husband Mo into more danger when she tasers the Silurian. We also don’t really get to know the family terribly well, despite spending an hour and a half in their company, so it is difficult to be too concerned about their ultimate fate. The only bright sparks here are Meera Syal’s Nasreen and Neve McIntosh as Restac, who is essentially a continuation of Alaya. Nasreen though feels sadly underused, although she does provide some grounding to Amy’s more outlandish suggestions about how the planet could be shared in the negotiations with Eldane, pointing out how impossible it would be to sell this to the human race. Meanwhile McIntosh is great when she is seething with anger, and the scene where she discovers Alaya’s dead body is superbly acted and directed by Ashley Way.

The core cast here are good, and it is another strong performance from Arthur Darvill as Rory. Especially in his scenes on the surface, it is difficult not to feel a bit sorry for Rory being stuck with people like Ambrose and Tony and it is interesting to note that he tells them that he trusts the Doctor. It feels as though there are some missing adventures here (hi Big Finish!) where the Doctor and Rory start to warm to each other here. Matt Smith is good here too, and his reaction when he realises that Alaya is dead and that any hope of a deal between the Silurians and humans is pretty much doomed is well played. It is interesting watching this story relatively closely with Kill the Moon to compare the way the Eleventh and Twelfth Doctors deal with these malleable points of time. Ultimately Smith’s Doctor is doing the same kind of thing as Capaldi’s in trying to ensure that humans make the decisions for the future. The Twelfth Doctor, however, is much gruffer and hands-off than his immediate predecessor, with Smith’s Doctor feeling as though he is gently guiding them, rather than the seeming abandonment in Series 8. Rory’s death in this story wasn’t completely unexpected when I was watching in 2010 but the ending scenes still pack an outstanding emotional punch thanks to some great acting by Smith and Karen Gillan, and the ultimate heartbreak when we realise that Amy has forgotten Rory is a fantastic gutpunch. It just feels as though this comes from a much stronger episode, and clearly has Moffat’s fingerprints all over it, rather than coming from Chris Chibnall.

I promise you, Ambrose, I trust the Doctor with my life. We stick to his plan.

Rory Williams

Verdict: Sadly, Cold Blood doesn’t really build to anything and feels like a bit of a damp squib. There are some good performances in here and a powerful ending does redeem it a bit, though. 4/10

Cast: Matt Smith (The Doctor), Karen Gillan (Amy Pond), Arthur Darvill (Rory Williams), Neve McIntosh (Alaya/Restac), Meera Syal (Nasreen Chaudry), Robert Pugh (Tony Mack), Nia Roberts (Ambrose), Richard Hope (Malohkeh), Stephen Moore (Eldane), Alun Raglan (Mo) & Samuel Davies (Elliot).

Writer: Chris Chibnall

Director: Ashley Way

Behind the Scenes

  • Chris Chibnall wanted the second part to focus on people making mistakes whilst under massive pressure and the accidental conflict coming from attempts to protect family. Steven Moffat believed the theme of mistakes to be appropriate for the death and subsequent erasure of Rory as the Doctor ultimately causes it when he stops to look at the Crack.
  • The story was filmed in the Temple of Peace in Cardiff, which had previously been used in The End of the World, Gridlock and Fires of Pompeii and would go on to be used again in Let’s Kill Hitler and Nightmare in Silver.

Best Moment

It has to be the final moments, where Rory is killed and erased from history completely.

Best Quote

Amy Pond and Nasreen Chaudhry, speaking for the planet. Humanity couldn’t have better ambassadors. C’mon! Who has more fun than us?

Is this what happens in the future, the planet gets shared? Is that what we need to do?

Uh, what are you talking about?

Oh, Nasreen, sorry. Probably worth mentioning at this stage, Amy and I travel in time.

Anything else?

There are fixed points in time where things must always stay the way they are. This is not one of them. This is an opportunity. A temporal tipping point. Whatever happens today will change future events – create its own timeline, its own reality. The future pivots around you. Here. Now. So do good. For humanity. And for Earth.

The Eleventh Doctor, Amy Pond and Nasreen Chaudhry

Previous Eleventh Doctor review: The Hungry Earth

Further reading

Doctor Who and the Silurians

Kill the Moon

The Dæmons

Chap with the wings there. Five rounds rapid.

Brigadier Lethbridge-Stewart

Synopsis

In the village of Devil’s End, the Master is at working summoning cloven-hoofed demons to bow the residents to his will. With the village sealed off to the outside world, the Doctor and Jo have to race against time to stop the Master destroying the whole world.

Review

The Dæmons is possibly the most quintessential Third Doctor stories, and your individual reaction to this story will largely depend on your opinion of his era. It will come as no surprise to people who have read my other blogs on this era that this is one of my favourites, and I particularly love the UNIT family, so it’s safe to say that I really enjoyed this one. That’s not to say that this story is without flaws, however, and it’s certainly a divisive story in certain sectors of the fan community.

My main issue with this story is that it feels a bit too long, even though it is only five parts and I feel that it may have been a push if it had been six parts as originally intended. Whilst I like the delay in UNIT getting involved in the story, it does feel as though these scenes, as well as those with the Brigadier and Sergeant Osgood being held outside of Devil’s End by the heat barrier are just padding. In my opinion, The Dæmons would work better as a tight four-part story with fewer of these scenes. The Brigadier also gets some suspect dialogue, and it is a testament to Nicholas Courtney’s acting ability that he makes these feel real.

Despite this, the story in general is strong and feels as though the writers had done their research, or were at least aided by Damaris Hayman, playing Miss Hawthorne. The story deals with her character surprisingly sympathetically, as Miss Hawthorne is a white witch and it would be all too easy to characterise her as a bit crazy. Instead, she is shown as resourceful and a great help to the Doctor and his allies, especially Benton. The story also gives what seems like a perfectly feasible endgame for the Master after his repeated appearances in Pertwee’s second season, with his aim being world domination, if not, global destruction. The presence of a BBC News crew (from BBC 3, no less) gives this story a feeling of urgency and some degree of scale, which is needed before the Doctor turns up. With producer Barry Letts writing the backbone of this story, it is unsurprising that the regulars all get their moments to shine, even if the Brigadier has to wait a bit longer for his. The story benefits from the direction of Christopher Barry, who uses simple and effective tools to cover up the perennial problem of not having the budget to effectively tell the whole story, along with some strong demonic imagery which make this effective. Of all the effects, the one of Bok reforming after enduring heavy fire from the UNIT troops is fantastic. Barry also makes the action sequences synonymous with the Pertwee era look great, especially the sequence with Girton in the helicopter attempting to get the Doctor to drive into the heat barrier around Devil’s End. Barry also deserves a lot of credit for not making the sequence with the Morris Dancers surrounding the Doctor look laughable, which it so easily could have done in other hands. It would be remiss of me to not mention the location filming in Aldbourne, which is another of the stars and was a great choice for the sleepy village.

The regulars here are all on fine form. Jon Pertwee and Katy Manning are fantastic as the Doctor and Jo, and for moments where the Doctor is condescending to her, we get scenes like the one before they go into the Barrow where he shows real concern for her well-being by giving her the option to stay outside, which of course, she refuses! Jo is of course responsible for the ultimate defeat of Azal by putting her life on the line for the Doctor, a move that he cannot comprehend. It is lovely to see Benton and Yates in their civvies, and the Brigadier all dressed up. All three actors put in great performances, but Courtney is the real stand out, especially in the scene where he learns that Benton and Yates have gone to Devil’s End. I haven’t really suffered with ‘Master fatigue’ due to the way that I’m watching stories in order to post these reviews, and Delgado is good here again.

The Dæmons are used quite effectively here. As mentioned above, Barry only shows us Azal sparingly so that we can avoid the use of too much Colour Separation Overlay (CSO), and although Bok is clearly a man in a costume, he is quite effectively creepy and I didn’t have any trouble buying him as a gargoyle who had started moving about. Stephen Thorne is great as Azal, and it is easy to see why the production team would call him back to play similarly intimidating characters later on in the future.

Verdict: A good fun episode, which could only potentially be improved by reducing the run time, The Dæmons is deserves its place in the best stories of Jon Pertwee’s era. 8/10

Cast: Jon Pertwee (The Doctor), Katy Manning (Jo Grant), Nicholas Courtney (Brigadier Lethbridge-Stewart), Roger Delgado (The Master), Richard Franklin (Captain Mike Yates), John Levene (Sergeant Benton), Damaris Hayman (Miss Hawthorne), Don McKillop (Bert the Landlord), Rollo Gamble (Winstanley), Robin Wentworth (Prof. Horner), David Simeon (Alastair Fergus), James Snell (Harry), John Joyce (Garvin), Eric Hillyard (Dr. Reeves), Jon Croft (Tom Girton), Christopher Wray (PC Groom), Gerald Taylor (Baker’s Man), Stanley Mason (Bok), Alec Linstead (Sergeant Osgood), John Owens (Thorpe), Stephen Thorne (Azal), The Headington Quarry Men (Morris Dancers) & Matthew Corbett (Jones).

Writer: Guy Leopold (Robert Sloman & Barry Letts)

Director: Christopher Barry

Parts: 5

Behind the Scenes

  • One of the eleven televised stories not to feature the Doctor’s TARDIS.
  • The story was filmed in Aldbourne in Wiltshire.
  • The shot of the exploded helicopter was an used shot from the James Bond film From Russia With Love. The shot was so convincing that some members of the audience were convinced that a real helicopter had been destroyed.
  • This story concludes a season-long run of stories featuring the Master. Roger Delgado would appear in the following two seasons, appearing in two stories in Season 9 and one in Season 10.
  • The last five part Doctor Who story.
  • The incantation used by the Master is ‘Mary had a Little Lamb’ backwards. It was originally The Lord’s Prayer spoken backwards but BBC bosses objected.
  • Many viewers believed that the model of the church destroyed in the final episode was the actual church and the BBC received complaints.
  • It was originally intended to be a six-part story but was cut down due to production difficulties.

Cast Notes

  • David Simeon had previously appeared in Inferno.
  • Damaris Hayman acted as an unofficial adviser whilst on the show as she had an interest in the supernatural.
  • Stephen Thorne would go on to appear as further costumed villains in The Three Doctors, Frontier in Space and The Hand of Fear.

Best Moment

Best Quote

I see. So all we’ve got to deal with is something which is either too small to see or thirty feet tall, can incinerate you or freeze you to death, turn stone images into homicidal monsters and looks like the devil.

Exactly.

Mike Yates and the Third Doctor

Previous Third Doctor Review: Colony in Space