Elizabeth Sandifer

Richard the Lionheart really wishes the Doctor wouldn’t bother him while he’s in the loo.

It’s March 27, 1965. The Rolling Stones still hold number one, although that weird tendency for totally rubbish pop trash to take over whenever the show goes into historical mode promptly rears its head with Unit 4+2 and Cliff Richards ready to pounce. If The Web Planet felt like it was going out into a world of bracing and sudden change, The Crusade feels like it’s going out into a world that’s a bit dull.

The most interesting thing to happen during the four weeks it’s airing, in fact, is Mary Poppins winning a bunch of Oscars. Mary Poppins is interesting for presenting a ridiculously nostalgic look at British culture that, effectively, was a love letter to Victorian children’s literature that was so effusive that its major effect was to make everybody think that Victorian children’s literature was actually anything like that.

I mention this because The Crusade is Doctor Who’s pseudo-Shakespearean story – quite distinctly, with bits of the script written in iambic pentameter. There’s something odd on the face of it here – the possibility of saying “the X story” for Doctor Who suggests an oddly definitive power for the show. Miles and Wood (who, if it’s not obvious, I have the sort of tremendous respect for that it is only possible to have for people with whom you disagree almost completely) point this out explicitly – the odd thing about the historical stories, in specific contrast to the monster stories, is their unrepeatability. If the Doctor faces the Daleks or the Zarbi, it’s an attempt at creating a popular and marketable monster. These monsters are supposed to happen multiple times. But the Doctor is not supposed to return to a historical location – especially not those like the French Revolution or the court of Kublai Khan where he meets historical figures.

And so for Doctor Who to do the pseudo-Shakespearean story is definitive. This is meant to be the one story of this type. Which poses something of a problem when, as is the case with this story, half of it is missing. Indeed, the bulk of it was missing for years until a series of unlikely events caused the first episode to surface in New Zealand. (Short form of the story – the TV station that had been airing Doctor Who in New Zealand was destroying film it no longer had the rights to. A collector bribed a huge lot of it out of the dumpster blind, and then this print bounced around collectors in New Zealand for years without anybody realizing it was the last surviving copy of the episode)

This means that its release came in 1999 – which, you may remember, were some dark days for the program. The sort of floundering that was going on is actually visible on the quickly released VHS copy of the two surviving episodes, for which William Russell provided in-character linking narration that makes an oblique reference to one of the BBC Books novels in a sort of bizarre attempt at cross-promotion.…

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Astonishingly, some people look at this photo and think that they’re looking at something that has something to do with realism.

It’s February 13, 1965. The Kinks, The Righteous Brothers, The Seekers, and The Rolling Stones are going to be our #1 singles for the next six weeks. The album charts are mostly The Rolling Stones, with The Beatles taking the top spot for fun one week.

What you have to realize about these times is that, looking at what was popular, it is very clear that the world was changing. That things that had previously bubbled under the mainstream have, at this point, broken through in a big way. The Rolling Stones and The Beatles are visible part of what it is increasingly clear is a 90% obscured iceberg. In America, the Civil Rights movement is at its boiling point. White supremacists are beating demonstrators to death. Malcolm X is assassinated. 1965 is not the present day by any stretch of the imagination. But it is also impossible to argue that 1965 is in any way more normal or understandable than the present day. The world of 1965 is staggeringly complex and weird.

I bring this up because for these six weeks, Doctor Who is showing The Web Planet. Which is easily the weirdest Doctor Who to date, and a strong contender for weirdest ever. It is also among the most popular, in terms of viewers, ever. And it is among the most misunderstood episodes of Doctor Who ever.

The word used in almost every review of The Web Planet is “ambitious.” It’s easy to see why. Every character save for the TARDIS crew in this story is non-human. You’ve got the Zarbi – bipedal ants who make a constant beeping sound. You’ve got the Menoptra – butterfly people, and the Optera – sort of grub creatures. And you’ve got the Animus – a giant tentacle monster. The episode is a special effects bonanza as a result.

And here’s where people misunderstand it. Much is made of Doctor Who’s wobbly sets and poor effects. And it’s true – the effects on Doctor Who are often cheap. Where this becomes inexplicable is when people criticize the effects for being unbelievable, unrealistic, or unconvincing. And so when The Web Planet is discussed, it’s usually exhibit A for those who want to talk about how the old series had lousy effects and was unconvincing and silly.

Here’s the thing. Everybody who complains about the unrealistic effects in this episode is being a complete idiot.

There’s a moment on the DVD commentary for a Russell T. Davies-penned Doctor Who episode where the show briefly appears to have killed off Rose. And Davies and one of the other producers are talking about whether children would believe that they really did kill of Rose. The other producer suggests that he hopes children would not be so cynical as to say “Oh, they wouldn’t really do that.” And Russell T. Davies, in what is, to my mind, the most revealing thing he has ever said on a DVD commentary, says “That’s not cynical.…

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Ian realizes that the only thing more alarming than plaid pants is where they might have gone.

It’s January 16, 1965. It’s Georgie Fame, The Moody Blues, and The Righteous Brothers on the charts for the next four weeks, while at the tail end of the four weeks the Rolling Stones take over the album sales with their imaginatively titled The Rolling Stones No. 2.

The most significant thing to happen in these four weeks, however, occurred on January 24th, when Sir Winston Churchill, twice former Prime Minister, dies. His state funeral on January 30th coincides with the third episode of The Romans, the Doctor Who story du jour for the month.

Production wise, The Romans sees the return of Dennis Spooner, which, if you recall my views of his previous story, should give you a sense of where this is going. In addition to writing the story, Spooner has also just assumed the position of script editor for the series. Script editor, for the original run of Doctor Who, was the closest position to the current role of head writer/executive producer. The biggest difference is that rules prohibited script editors from commissioning themselves to write scripts in most circumstances. Instead, generally speaking, they did revisions and rewrites to other scripts. But with some frequency the situation got complicated and various pen names and other schemes arose to cover the fact that the script editor had written a script themselves.

In this case, David Whitaker, the outgoing script editor, hired Dennis Spooner to write The Romans, then quit, and his replacement, Dennis Spooner, hired him to write The Rescue. Oh, and for accounting purposes, The Romans is actually The Rescue Parts 3-6.

It’s fitting, given all of this, that The Romans is the first Doctor Who story to be explicitly devised as a comedic farce. (Indeed, it’s also basically the last one until Partners in Crime in 2008.) So, a comedic historical tale. Exactly what one imagines the nation wanted as their great wartime hero of a former prime minister is buried.

Of course, Churchill’s legacy in the UK is somewhat more complex than one might assume. In the election immediately following the war, the Tories were hammered and he was replaced by Clement Atlee, who, in historical hindsight, is actually about as much of a lion as Churchill. Then, in 1951, an aging Churchill was returned to power for a frankly lackluster second spell that did no favors for his reputation. Churchill, in his second term, fought hard to keep the British Empire together. By 1965, the empire was all but gone.

In other words, Churchill, though unmistakably a national hero and national treasure, was also part of the fading old Britain. Watched through that lens, The Romans does not necessarily seem like less of a mismatch for the national mood, but it at least becomes somewhat more interesting.

On the one hand, The Romans, despite being a comedy, is fundamentally a conservative story, miles from the oddly post-anarchistic youth revolution of the last two stories.…

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Boo.

It’s 1965. January 2, 1965, to be precise. Life is good. The Beatles are at number one on both the album and singles charts with Beatles For Sale and Day Tripper. Doctor Who, having plowed through Christmas with its epic of Daleks in London, settles in for a two-parter that, while lacking somewhat in raw glamour, is at least of significant historical merit in that it is the first time since the show appeared that a new regular cast member is debuted.

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The Daleks, like most creatures in the universe, simply cannot abide plaid pants.

It is November 23rd, 1963. The Supremes “Baby Love” is at the top of the charts. Next up, the Rolling Stones take the charts for a week before that strangely perfect match for Doctor Who wanders through and The Beatles’ “I Feel Fine” rounds out the year.

During these six weeks, Wonderful Radio London, one of the offshore radio stations memorialized in Richard Curtis’s more or less execrable film The Boat That Rocked/Pirate Radio, debuted – a station that would have a huge role to play in the rising New Britain over the next few years.

And on television, Doctor Who premieres with its eleventh story. Hang on tight. Everything is going to change. Again.

See, there’s something about Doctor Who we haven’t talked much about yet. And that’s the Daleks. Who debuted about a year ago now, and are frighteningly popular. In June, way back when The Aztecs was airing, The Dalek Book was published. Concurrently with this story airing the Go-Gos (No, not those Go-Gos – the other ones) release the novelty single “I’m Gonna Spend My Christmas With a Dalek.” In other words, the Daleks were the show’s best claim to pop culture relevance.

And so of course they return, in what is basically the most important Doctor Who story to air yet with the possible exception of the first episode. I have not done an extensive study of primary source material here – there are plenty of overviews of Doctor Who that have, and I don’t have access to the archives that would be necessary to do it well – but my understanding is that the return of the Daleks was a known and promoted factor before the first episode of this story aired.

Which makes the pacing of the first episode somewhat odd. The entire episode is structured around its final scene – a Dalek emerging from the Thames to menace the Doctor and Ian. And rightly so – it’s an absolutely phenomenal cliffhanger. But to work, it has to be the first appearance of the Daleks in the story. The cliffhanger hinges on being a spectacular reveal and a culmination of deferred desire. It’s exciting not because you suspect the Doctor and Ian are in real danger – if you’ve watched the show before you know they’re not going out on a cliffhanger like this. It’s exciting because the Daleks are finally here, and this is the moment that pays off that desire.

Unfortunately, it means that the 22.5 minutes prior to that scene are horrifically dragged out attempts to hold off starting the story. Which requires such unfortunate setpieces as Ian being surprised to find out that a man who tumbled out of a cardboard box is dead. (Yep. I still hate Ian.)

But there are some key things in the first episode to look at. The first is the starkness of the setting – ruined landmarks and a silent London.…

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The real problem with the giant phone props is how easily you can see the human operators.

It’s October 31, 1964. Sandie Shaw has the number one single with “(There’s) Always Something There To Remind Me,” and will hold it for two more weeks before yielding to Roy Orbison.

Since Doctor Who was last on the air, Martin Luther King has won the Nobel Peace Prize, and thirteen years of Conservative rule in Great Britain has come to an end, with Harold Wilson becoming Prime Minister, a position he will hold until 1970. Wilson’s term will be dominated by two trends – significant economic problems (that will eventually result in his being voted out of office) and the rise of British counterculture – a tendency started by the Beatles, who Wilson would ensure received an MBE strategically close to his 1966 re-election.

The wound caused by the Kennedy Assassination is festering. The world is not a stable place. The collapse of the British empire continues, with Rhodesia becoming Zambia. It is easy, in 1964, to be afraid. The year is closer to World War II than it is to Nintendo. It is in no way clear that the defeat of the Nazis was anything other than a postponement of the end of the world.

And now Doctor Who is back. Planet of Giants, along with the next story, are odd holdovers – filmed in the first production block and held back a few months, they are the transition from the first season of Doctor Who to the second. These will be the nine most important episodes of Doctor Who since the Daleks and Edge of Destruction.

Planet of Giants, on the face of it, may seem like a relatively insignificant episode. Its concept – the TARDIS crew gets shrunk – is one that was attempted twice in the first season, and was actually just about the only idea Sydney Newman, who created Doctor Who, actually had for the series. Now, in its third go-around, this somewhat puzzling idea is actually implemented. The constraints this leaves on the story are significant. Although there is a supporting cast, the TARDIS crew never interacts with them directly, making it an odd juxtaposition of a chamber piece in the Daleks-episode-one tradition and, basically, an episode of The Avengers (a TV show we’ll deal with in time, as, although it exists now, it will not reach its iconic and most influential form for a year yet).

But there are three vitally important things that happen in this story – three things that make this bit of strange fluff an extremely vital turning point in the series.

First of all, this is the first time that Doctor Who has been set in contemporary England since Ian and Barbara fell out of the world. Eventually, contemporary England will become vital to Doctor Who, most obviously in 1970, but Hartnell actually only has two stories set in it, and this is one of them. Still, the return to the present is a key opening of a door that, although it will sit relatively unappreciated for the next few years, will eventually become very important.…

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Susan further frustrates Barbara’s plans for escape with an ill-timed nap.

It’s August 8, 1964. The Beatles are about to yield the #1 single to Manfred Mann’s “Do Wah Diddy Diddy.” It is not that Do Wah Diddy Diddy is a bad song – it’s not. But it is tough not to feel as though, musically, it’s a step backwards.

This regression is mirrored, unfortunately, on television, as Doctor Who airs The Reign of Terror. I generally try to be sympathetic to episodes of Doctor Who. But there are some episodes that make that hard, and let’s face it, this is one of them. Plain and simple, this story is wretched.

(Technical details of interest to purists: The fourth and fifth episodes of this story are among the lost episodes of Doctor Who. I used fan reconstructions for Marco Polo, but this time opted for the VHS release, which covers the two missing episodes via narration provided by Carole Ann Ford.)

I have already noted the awkwardness of the cliffhanger at the end of The Sensorites, in which the Doctor, for no discernible reason, decides to throw Ian and Barbara off the ship at the next stop. This complete collapse of all characterization on the Doctor is bad enough, but it is followed, at the start of The Reign of Terror, with a partial recantation. Now the Doctor believes that he can get Ian and Barbara home to their own time again.

It is worth briefly commenting on the way in which the initial premise of the series has been simply discarded by now. Originally, the reason that the Doctor couldn’t get Ian and Barbara home is that he needed precise readings on where he was departing from. This premise is shot through in both of the stories following its establishment – the TARDIS’s fast return switch could have brought them back immediately, and the Doctor knew exactly where he was at the end of Marco Polo. If one is to try to impose continuity on Doctor Who – never a safe bet – then one has to read his explanation of why he can’t bring Ian and Barbara home as a lie, presumably cooked up because he wants Ian and Barbara to keep traveling with him. But that can’t be easily reconciled with the start of this episode, where he wants to chuck them off the TARDIS.

In other words, even on the limited amount of information we have about the Doctor, the premise of this episode doesn’t make sense. Much of this is down to the fact that the Doctor is not yet a hero character. Every story thus far has hinged on the TARDIS being inaccessible or inoperable. Not once has the Doctor shown up in a situation and wanted to fix it for its own sake. This is not merely an early stage of Doctor Who – we’ve already seen repeated evidence that the Doctor wants to be a good guy who shows up and fixes things.…

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The Doctor expresses grave concern over the appearance of a bizarre alien life form with plaid pants.

It is June 20th, 1964. The music charts are about to do some very odd things – Cilla Black still holds the number one, but between now and August 1st, Roy Orbison, The Animals, The Rolling Stones, and the Beatles will all reach number one, with the Rolling Stones getting their first #1 hit.

This generative tumult – a seven week period in which five artists, four of them solidly major, reach number one – is reflected this time in Doctor Who, which airs The Sensorites. While it is unclear that The Sensorities is the best Doctor Who story to date (although it is a contender) it is without doubt the most complex and interesting.

I do not wish to bang the post-colonial gong too many times in a row, but it is worth commenting that this story is cited by Lindy Orthia as one of six stories that are explicitly anti-colonial, especially given that it comes immediately after one of the three stories she cites as being pro-colonial. To some extent, this speaks to a fundamental issue of Doctor Who – its lack of long-term coherence. The Aztecs was written by John Lucarotti, who would contribute three historical stories to Doctor Who in the sixties, as well as an uncredited initial script for The Ark in Space in 1975. The Sensorites was written by Peter R. Newman, for whom it would be his last writing credit. Little effort was made to provide an overarching vision for the show – mentions to past adventures might be dropped in, and a token effort is made to provide a cliffhanger stretching from story to story, but the fact of the matter is that continuity from The Aztecs to The Sensorites exists entirely because of the core concept of Doctor Who, not because of any active effort by Lucarotti and Newman to write complimentary pieces.

As a result, The Sensorites offers one of the most radical ideas to date in Doctor Who – good aliens. And not good aliens in the creepy Aryan way of The Daleks. No – the Sensorites look scary. In fact, the first episode ends with their monstrous visage appearing in the window of the space ship, using their monstrosity (which has, after only two uses, already become a usable trope in Doctor Who) as a red herring for the fact that, for most of the adventure, the Doctor is going to be helping the Sensorites.

The Sensorites, generally speaking, are fabulous. First of all, their costumes are great. Different characters get different masks, which are distinct enough to demonstrate difference, but still similar enough to make them feel alien. The masks are fascinating – stark and alienating, with cat-like hair in odd places. Below the neck the costumes get dodgier – the spandex suits that are apparently supposed to be skin are a bit dodgy, and the round feet, though a cool idea, never quite work.…

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