Prisoners of Fate written by Jonathan Morris and directed by Ken Bentley

What’s it about: Twenty-five years ago, with Richter's Syndrome running rampant throughout the galaxy, the brilliant biochemist Nyssa, formerly of Traken, bade a painful farewell to her young family... and set off into the space, in search of a cure for this deadly disease. She never returned. Now, her grown-up son continues her work on the penal colony of Valderon, still desperate to make the breakthrough that eluded his presumed-dead mother. So when the TARDIS lands on Valderon, bringing the Doctor, Tegan, Turlough and Nyssa to its fortress prison, the scene is set for a painful reunion... but not only for Nyssa. The Doctor's past is about to catch up with him too...

An English Gentleman: Not in possession of all the facts, the Doctor agrees to take Nyssa away from Valderon but doesn’t realise the full dangers of the presence of her son. He describes the old Type 50 as an old acquaintance from his youth. When time is royally cocked up the Doctor has proof of why he is always so keen to holds its hand (as Tegan so uniquely puts it). He discovers that Nyssa had a whole life waiting for her that he never knew about. If he had known he would never have allowed her to travel with him for so long.

Alien Orphan (the Older): Thank goodness somebody has started paying attention to Nyssa again, After being practically irrelevant in both Eldrad and Mercia I was starting to wonder after all the good work Big Finish have done with her solo with the fifth Doctor that she was going the same way as her fate on TV series, shunted to the sidelines and left to fester. I’m all for variety in the range and would love to see another fifth Doctor and Nyssa trilogy without Tegan and Turlough hogging the limelight quite so dramatically. It’s the curse of the three companion format, somebody always gets left behind (the only story that I can think of featuring this trio of companions that managed to give them an equal share of the limelight is The Emerald Tiger…it is no co-incidence that it is also the best story of their run by some considerable margin). I was wondering if we would ever catch up with Nyssa’s alleged children that have been mentioned in several stories and finally the producers feel that the time has come to further explore her background after she left the Doctor.

When Adric (her son, understandable choice of name, even it is rather cringy) was a little boy, Nyssa used to tell him stories of her adventures with the Doctor. Because Nyssa was made to look younger again her son assumes that this Nyssa is from a point before he was born. He wears a masks when talking to his mother, pretending to have had an accident, so to protect his identity but the truth is she might not even recognise him even if he had greeted her as his son. Nyssa is devastated to learn that she never made it home to her family, that they suffered a gaping void from her absence. The reunion with her son 25 years after she last saw him is beautifully played by both actors, sensitive and poignant. She learns that her husband died alone and heartbroken while she has been off adventuring with the Doctor. Perhaps she should have asked to have been taken home immediately. Travelling with the Doctor, things tend to get in the way. Nyssa always has had her head screwed on properly and she doesn’t blame the Doctor for not taking her home as soon as she had the opportunity. She takes responsibility for her own actions. Saying that she does want to know why the decision to meet her son was almost taken out of her hands in this situation. She as lost so many people that are dear to her and she doesn’t understand how the Doctor thought that knowing she never returned home would be too much to bear. She can see how Adric has grown into a remarkable man and wishes she hadn’t missed so much of it. She knows her responsibilities to time but when the Type 50 gives her the chance to break free of its rules and step back in her life it is very tempting, to undo all her mistakes. If she has a choice she wont allow her children to grow up without a mother. The truth is that Adric became a better person because Nyssa wasn’t around, trying to live up to her memory. If she does walk back into her old life she will undo all of that and he could turn out a monster (lets be honest if you had do-gooder Nyssa expecting you to follow in your footsteps you would probably want to break out of that mould quite dramatically). The Doctor asks her to do the hardest thing she has ever faced – to abandon her husband and children. What an impossible choice.

Mouth on Legs: Apparently the product of an ancient civilisation giving Turlough the opportunity to suggest that she is something of a genetic throwback (hehehe). She promised to keep Nyssa’s secret and she is the sort of person who lives up to those promises.

Alien Orphan (the Younger): Turlough is frustrated because he is always kept in the dark about what is really going on because he thinks that the Doctor doesn’t trust him. As soon as he is apprised of the situation he blunders, telling Adric that the Nyssa who has visited Valderon is post-his birth! You can always rely on Turlough to look on the bright side – not!

Standout Performance: Rather than bringing in new actors to play the role of the Type 50 TARDIS, Morris strikes upon the clever idea of using Tegan and Turlough as the mouthpieces of the machine. It enables Janet Fielding and Mark Strickson to give very different kinds of performances, ethereal and emotionless and the effect is quite spellbinding. Peter Davison and Sarah Sutton attempt to get away with cod Scottish accents but don’t quite succeed.

Sparkling Dialogue: ‘Isn’t it obvious? Your machine only shows you what it wants you to see…’

‘This gadget of yours might be handy for a weather forecast but you can’t use it as a basis for a judicial system!’

‘It should have been me! Not this antiquated relic!’

‘You just ate my dematerialisation circuit!’

‘You’re saying we’re all about to get Blinovitched!’

‘You’re nothing more than a castle built on broken dreams.’

Great Ideas: Morris loves the idea of the Doctor and friends being expected when they apparently show up randomly in stories, both Festival of Death and Cobwebs explored the same idea. The Chronoscope allows them to see into the future, to see events of significance that are to come. It has brought peace and prosperity to the world since accidents are now preventable, illness is a thing of the past and all forms of crime are antiquated. Would be perpetrators are stopped before their crimes have even been committed. Technically innocent people are sent to prison as a reminder to obey the law and not question those in charge. It’s both fair and criminally unjust. Morally paradoxical. You can see the merits of such a system although I cannot imagine living on a world where spontaneity and autonomy has died a quick death. We witness a man being sentenced for murdering somebody before the idea has even come to him and so naturally he protests his innocence. It proves to be a self perpetuating system because the very act of being arrested and accused of a crime is what gives him the idea in the first place! The reason the Chronoscope has predicted the TARDISes arrival could be because it was responsible for bringing them to Valderon. Because he thinks that Nyssa is the younger version who travelled with the Doctor before she left him and fell pregnant with him, Adric spells out Nyssa’s fate to Tegan all the way up to her abandonment on Helheim (featured in Cobwebs) and tries to avert that future for her. After Nyssa went missing in 3530 she never returned to her own time (because Adric is still looking for her in this period) which means the Doctor never managed to take her back home and knowing this means now he never will. It also means that all the people that have died between 3530 and now of Richters Disease have done so pointlessly since she could have returned home with the cure…which she now can’t because this is a set point in time! A massacre caused by a temporal nightmare! I haven’t been this involved in the mechanics of a story since January’s The Wrong Doctors. The trouble is nobody is telling anybody the truth which causes all kinds of problems; Tegan wont betray Nyssa’s confidence and tell the Doctor about Adric, Nyssa has no idea that her grown up son is so close, Turlough doesn’t realise that the truth about Nyssa’s post-Helheim timeline should be kept a secret…and as a result everything spills out into the open with dramatic consequences. Obviously Adric doesn’t quite understand the theory behind temporal mechanics…by telling his mother that she never came home he is ensuring that those events never take place. If only he had kept his gob shut then there was always the possibility that she would return home, blissfully ignorant of this future and delete this timeline. After Nyssa went missing her family left Zarat and never stayed anywhere for more than a few months, her husband buried himself in his work and Adric enrolled in college and got a first class degree in xeno-medicene. He wanted to help people and honour her memory. Nyssa’s daughter became an aid worker but eventually became infected with Richters disease. Volunteers are plentiful on a penal world and that’s why Adric came to Valderon, to further his work on a cure for the disease. The Chronoscope predicted that he would find a cure, which Nyssa now firmly believes is the one that she holds in her possession, their reunion foretold. It was inevitable as soon as we learnt the truth about the Chronoscope that one of the Doctor’s friends would be framed by the device and it gives a nice excuse to tuck Tegan and Turlough out of the way while the Doctor and Nyssa deal with the emotional ramifications of the events of the first episode. Sibor permitted Adric to come to Valderon because she wanted something to use as leverage against the Empire, holding them to ransom unless they recognise her as the new Prime Elector or she will withhold the cure for Richters. There are any number of time sensitive races across the universe that could be able to see into the future (Tharils, Jagaroth, Xeraphin, The Times Lords). When the Miracle occurred everybody on Valderon woke up and realised they could speak every language in the known universe as though it was their own…that is a massive clue as to the identity of the villain of the piece before it is revealed. As soon as a TARDIS with a functioning chameleon circuit was introduced I suspected there would be a scene where it morphed into the identity of one of the Doctor’s friends. It’s still a great moment when it comes. Nyssa makes the comparison with the Melkur, a walking, talking TARDIS. As a result of Nyssa’s decision to return home history is being split into two, one where she never came home and one where she did and cured Richters syndrome. You can just imagine the visual of two different versions of the same planet overlapping on each other. Reconstructing a planet as one vast TARDIS – you could never accuse Morris of limiting his imagination! There have been plenty of Doctor Who stories short of a good idea, Prisoners of Fate has enough to power an entire season. If Alan Barnes knew all along that this story would take place and Nyssa would need to step back in time into her old life just before she left, is that why they made her younger in The Emerald Tiger? Getting her ready for the twist events in this story? Or did it work the other way around? They wanted to use publicity shots of a younger Nyssa on the covers and Jonny Morris exploited the idea of Nyssa being younger so she could step back into her life…oh my word I’ve gone boss eyed with confusion. During Circular Time when Nyssa was caught in a dreamscape created by the Doctor during his regeneration she told him about her son Adric and he didn’t know about him. But by telling him about Adric earlier in his life she has created a paradox that is still fuelling the Type 50. It’s a pretty obscure twist considering it takes in the events of a one part story that was released years ago but it is still well explained and logical. As a result the Doctor’s future incarnations could be wiped from the future.

Audio Landscape: Rain lashing, static, bubbling experiments, church bells, electrics. I kind of lost track of the atmospherics because I was so absorbed with the story.

Isn’t it Odd: I really don’t like it when writers take massive liberties with characters and suggest that massive acres of their lives have passed without us having experienced any of that time with them. Nyssa spending 25 years alone growing bitter in order to reach Valderon after abandoning her children doesn’t ring true somehow, it feels more like a plot expediency rather than something that has actually happened. Perhaps if we could have witnessed a montage of scenes showing her life over the past quarter of a century it would have felt more believable but instead having her show up and go ‘phew it’s taken me 25 years to get here and now I’m proper pissed off!’ doesn’t quite ring true. In fact, it has more than a ring of The Curse of Fatal Death about it with the Master constantly tripping down that sewer and then turning up years/seconds later. She wants the Doctor to take her back to 3531 and pick her up so the past 25 years never happened. Considering the whole thing feels so contrived I am pleased that that is what took place. Although paradoxically it makes the whole thing feel even more contrived as a result, making this a real blink and you’ll miss it (or shoulder shrugging if you were feeling cynical) period of development for Nyssa. Just as I said in my review of Buffy’s Selfless the other day regarding Anya, this feels like a perfect stepping off point for Nyssa and it feels as if that is where the story is going. But because Big Finish are reluctant to stop working with Sarah Sutton and the character the big development promised in Prisoners of Fate is…that everything stays exactly the same. Hmm. After her protestations about abandoning her children, surely Nyssa would leave with her son at the end?

Standout Scene: Morris has fun suggesting that there might be a Time Lord at the heart of the Chronoscope and given his prolific amount of appearances during the Davison era I was wondering if there was going to be a surprise reveal of the Master. The actual twist is far more interesting than that. The Chronoscope is a Type 50 TARDIS, the one the Doctor originally chose before the TARDIS he ended up with chose him. By ingenious co-incidence this ties in perfectly with The Name of the Doctor where we witnessed the first Doctor heading towards one capsule before Clara stepped in and suggested another. His original TARDIS feels spurned, that he took another in his place. I can remember having something of an allergic reaction to the way Gary Russell and Alan Barnes portrayed the Doctor’s TARDIS in Zagreus as a spiteful and vicious old queen that was furious with how the Doctor mistreated him. It felt like a perversion of the one constant in the Doctor’s life. In comparison this beautifully done, for a start the characterisation a world away from anything Russell could achieve but there is also a damn good reason for this TARDIS to feel so hard done by. If it wasn’t for a quirk of fate it could have roamed the universe with the Doctor for the past 600 odd years, taking in the most incredible sights and adventures. There is sufficient cause to feel as if it had been abandoned. The idea of the machine abusing itself and tearing through the Time Lord defences so it could escape Gallifrey and come after the Doctor is both terrifying and heartbreaking and shows what lengths it is willing to go to in order to seek revenge. It crash landed on Valderon 20 years ago, crippled, broken and alone. Now it wants to be reborn and experience the life it should have had. It’s dramatic, satisfying and uses the shows continuity to its own advantage. Some might say it is wanky but it’s a flea biting compared to what was revealed in The Name of the Doctor.

Result: After the slack and uninteresting Eldrad Must Die! and the slightly bland Lady of Mercia, the Main Range really needed to strike out with something special to regain its chutzpah in the 50^th anniversary year. Fortunately the ever reliable Jonathan Morris is on hand to give the range a shot of adrenalin and he has crafted one of his finest scripts, easily matching his work on last years Protect and Survive and then some. Whilst I always find his work of a high standard, Morris tends to buck the trend of most writers by doing his best work in the Main Range whereas pretty much every other current writer scores their wins in the spin off series’ (the Companion Chronicles, Jago & Litefoot and The Lost Stories especially). I remember Mark Gatiss recalling on the Earthshock DVD range that his younger self had the feeling that ‘something different is going on here…’ when he watched Logopolis and Earthshock and that was precisely the feeling I had with Prisoners of Fate, that tingle of excitement as things complicate and evolve with a crushing sense of doom and a feeling that perhaps this time things might not work out in the way they usually do. My one disappointment was that the story seems to be promising big developments but the net result is that everything resets at the end to precisely how things were at the beginning. Classic Who was often plot heavy and Morris in particular has always been able to construct a abundant narrative and with Prisoners of Fate he blends some very strong ideas (the Chronoscope and it’s predictive power, Nyssa’s temporal nightmare, an old friend of the Doctor’s returning to haunt him) with excellent character work to produce something truly surprising and captivating throughout. Once again Morris out Moffat’s Moffat by creating a timey wimey puzzle to unravel with an emotional sting that will stick in your memory for some time – the decision that Nyssa makes in episode four is heartbreakingly difficult – but the net result is agreeably tied up in a satisfying fashion rather than leaving a million questions, threads and moments of illogic unresolved such is the method of the series’ current show runner. It’s a story that manages to feel as though it has spiralled out of the characters control whilst at the same time feeling precisely crafted and Ken Bentley ensures that the mass of information is conveyed in an engaging and dramatic fashion. Sarah Sutton grabs hold of the opportunity to take centre stage and shares some excellent moments with Peter Davison whilst the rest of the regulars are afforded the chance to play a very different role in these events. Easily on par with The Wrong Doctors without quite toppling it (that story lost its way in the middle but scored a massive high with its ending, the opposite of Prisoners of Fate), this is still a terrific achievement and another top dollar tale from a writer whose imagination clearly has no limits: 9/10

Council of War written by Simon Barnard & Paul Morris and directed by Lisa Bowerman

What’s it about: At the Doctor's request, Sergeant Benton is investigating ghosts and missing people in Kettering, while undercover as a local councillor. And that's how he comes to meet Margery Phipps. An alien incursion in the town hall leads them on a journey to a terrible future – where Margery discovers how she changed a world, and the life of a whole civilisation hangs in the balance…

The Sarge: Good old Sergeant Benton. You wont really find anyone who has a bad word to say about him. Then again you probably wont find anybody who gets giddily excited about him either. He was a firm favourite during the Pertwee era, a lovable officer who was fiercely loyal to all the other members of UNIT and would occasionally be chewed out by the Brigadier for his incompetence (or perceived incompetence) during the course of his duties. It would appear that John Levene was almost universally loved by all those who worked with him, a shy man who brought a great deal of devotion to a small part that was developed because of it. When I saw that a companion chronicle was going to be devoted to the character my first reaction was that it would be interesting, my second reaction was how Levene would narrate given his incomprehensibly fast exposition on the DVD commentaries and my third was that it was nice to see a little variety in the series so near to the end. His slot has been reserved for the fag end of the season, the point where nobody expects great things and so if it goes horribly wrong it can be left there to fester whilst the rest of the (generally fantastic) season can remain untarnished… Fortunately the result is nothing of the kind and Levene proves to be the sort of magnetic performer that brings out the best in the companion chronicles. The very fact that we know so little about Benton and rarely get this close to him is one of the main reasons that this (ever so slight if I’m honest) tale works so well. 

A gentleman, tall and honourable, he is introduced rescuing an innocent party goer as Santa tries to feel her up. This job is more Mike Yates’ sort of thing but after all the business in Wales with the giant maggots and evil computer he had been forced to take some leave. Undercover work was fine as long as he didn’t have to act and when walking into a situation with a cover story he suffered from terrible stage fright (could this be a not-so-subtle description of Levene himself?). Fighting Axons and Cybermen was nothing compared to make polite conversation in civic functions. Fit and rather handsome in a mail order catalogue sort of way (I can’t argue with that, Levene is looking pretty hot splashed all over the Bond themed cover). Clearly Benton has been enjoying his dance classes with his sister, he is described as holding himself like a Spanish matador, tall and erect (oo-er missus). Benton enjoys a lovely chemistry with Margery Phipps, he’s such a straight character (in every sense of the word) that you only have to pair him up with some kind of radical (in The Daemons it was a white witch and here it is a radical feminist) and the culture clash does all the work for you (‘don’t call me Miss!’). If you rumbled undercover then UNIT reaction training is to say nothing and deny everything even in the face of torture. One night’s sky with three moons, you didn’t have to be the Doctor to realise you were standing on the surface of an alien planet. With his army experience and tactics and Margery’s gumption and political knowledge, they make a startlingly effective team and whip the people of Kettering into shape. He is really quite sympathetic for a professional soldier and is willing to do anything to save a race of people that he doesn’t even know, even at the cost of his own life.

Good Grief: Benton can tell that the Doctor is taking Jo’s departure hard. During the day he was his usual jubilant self but in the evenings he could be seen in his laboratory alone, just staring, alone. When the Doctor does eventually turn up on Kettering even he has to admit (and it must have taken a fair amount of effort to swallow down his monstrous ego in this incarnation) that Benton has everything under control.

Standout Performance: What a shame that there will only be twelve more companion chronicles after this and that they didn’t set upon the idea of using John Levene before because he has proven to be quite an enjoyable narrator. I certainly hope they utilise his talents when it comes to the third tales in the Early Years range. He, Katy Manning and Richard Franklin would bring a story to life with some gumption.

Great Ideas: Beryl Umbridge was the name of the woman who had gone missing, the red pin in the middle of the ghost sightings. The Doctor thinks that one of the apparitions has kidnapped her, spirited her away through time and space. Benton makes a fair rationalization of why UNIT believes the spirits to be time travellers misinterpreted as ghosts – perhaps he would have worked out as the Doctor’s assistant after all. Abducted, Benton and Margery find themselves dragged to a fake kangaroo court in the Council of Kettering, where she is accused of inciting seditious material. Escaping, they escape into the streets of Kettering but there is something wrong with the picture, covered in a deathly grey dust with no activity to break the eerie silence. Suddenly Kettering is by the sea and there is a giant arm stretching out from the sand. Margery facing up to a giant edifice of herself is gorgeous steal from Planet of the Apes and at this stage the story feels as though it has gone so far off tangent that anything could happen next. Valadar was once an unhappy planets whose inhabitants fought a century long war that almost destroyed them. Wanting to start afresh, the survivors looked to the past for inspiration and alighted upon a figure from the planet Earth. A woman named Margery Phipps who went on to become Prime Minister and went on to broke a lasting peace for many generations. She wrote a book which was still a bestseller 500 years later and it was this tome that was used as the foundational text for the revised planet. Valadar became the planet Kettering, thus named in her honour. The planet became famed for its abhorrence of violence, allowing them to enjoy a long period of peace but also undefended when a race of strip miners attacked and found no opposition. Much of the planets population was sold into slavery and its resources were plundered. Because they built their planet so accurately in the shape of Kettering it contained a military museum that they had no idea about housing 300 years worth of weapons that could be exploited to rise up against their oppressors. With the inclusion of a race of giant insects (in this case, cockroaches), this love letter to the Pertwee era is complete.

Audio Landscape: A relaxed party atmosphere, clinking glasses, pleasant conversation and great music, the Doctor’s time detector makes a wonderfully seventies racket, the lights snapping out, the electronic voices of the apparitions, alarms, clicking cockroach limbs.

Musical Cues: What an awesome score! It feels as though it has been pulled straight from the era that it is set in and had me grooving away whilst I was trying to concentrate on the story and dialogue. 

Result: Makes you wonder if the UNIT officers were always off having their own adventures whilst we were distracted by the Doctor’s antics, doesn’t it? I’m not sure that world is ready for The Sergeant Benton Adventures but as a one-off this is a glorious piece of seventies nostalgia, read charismatically by John Levene. The way it slips from the cosily familiar (the quintessential Britishness of the Kettering council chamber) to the blatantly absurd (an alien planet influenced by the work of Margery Phipps) feels like pure Doctor Who. Whilst the concepts might even have been rejected by Douglas Adams for being too ridiculous there is an essential seriousness running through the whole story (brought by straight laced John Benton mostly) that lets it hold together with some dignity. It’s a story that dares to ape the marvellous twist ending of Planet of the Apes, rip the piss out of Churchill’s famous wartime speech and even poke fun at some the clichés of the Pertwee era (‘I reversed the vibracity of the molecule flow!’) but coming from the writers of the Scarifyers I am not surprised that the script is injected with a high degree of cheek and brio. It’s bonkers and great fun but perhaps a little to absurd to truly stands out as anything other than a silly diversion. What really impressed me were the efforts of Levene and Sinead Keenan who share a delightful chemistry as Benton and Phipps and who get to have their own little adventure off world and get back in time for tea. I wasn’t sure what to expect from this release (which is a nice feeling) and I was pleasantly surprised at the amiable results: 7/10

The Dalek Contract written and directed by Nick Briggs

What’s it about: ‘These creatures have ravaged half the cosmos. They're experts at this kind of thing. Nothing can stand in their way.' The Doctor and Romana find themselves in the Proxima System, where enigmatic Conglomerate CEO Cuthbert has been conducting his infamous 'experiment'. An experiment which might accidentally rip the universe apart. Meanwhile, living conditions on Proxima Major have become harsh and hostile. Climate change has turned the landscape into a freezing wasteland and an alien power has condemned much of the population to life inside internment camps. For those still clinging to their freedom, the struggle for survival is now beyond desperate and outsiders such as the Doctor and Romana are only seen as a threat. What is Cuthbert really up to in the Proxima System, and just how does he expect the dreaded Daleks to fit into his plan?

Teeth and Curls: The Doctor has always enjoyed taking a healthy disrespect for powerful people which Romana interprets as him enjoying taking appalling risks, especially when it comes to bypassing the Randomiser and risking detection by the Black Guardian. Perhaps their old nemesis has been tracking them all along, ever since they left Atrios/Zeos/the Shadow Planet or perhaps it was the Doctor’s inattentive behaviour that allowed him to catch their scent and eventually set up his trap in Mawdryn Undead. I’m more inclined to believe the latter, the Doctor really was irresponsible (in the most brilliant, unexpected of ways) during this period of his life. What is uncharacteristic of the time is for the Doctor to follow up dangling threads from a previous adventure. He was always ready to move onto the next adventure so the events of their previous encounter with Cuthbert in the Proxima system must have concerned him enough to warrant this further exploration. His TARDIS is practically custom built these days. When facing a man with a gun the Doctor finds it easier to just smile and wave and act as if everything is normal. He’s spent more time that he cares to remember defeating the Daleks, something of a thorn in their side. When a damaged Dalek cannot shoot straight the Doctor amusingly asks if he is trying to miss him deliberately. The Doctor offers hope to those who have lost hope in the face of the Daleks, a man who has beaten them time and again. Even when things seem impossible the Doctor isn’t willing to give up hope. Brilliantly, the Doctor is accused of acts of terrorism against the Daleks.

Posh Girl: It seems that Romana is far more on the ball than the Doctor, after their near collision with a missile during The Armageddon Factor she repaired and improved the TARDIS defences. Naturally she is appalled to learn that the Doctor has cancelled out what he terms ‘tampering’ with his TARDIS, despite her superior knowledge of veteran and vintage time capsules. During one tense moment Romana panics because she thinks she is going to forced to kneel in snow and be shot dead on some grubby little planet in the middle of nowhere. Hardly an noble end for a Time Lady of her stature. She’s still offering out psychological evaluations at precisely the wrong time, you would have thought she would have dropped the habit during the course of their adventures. Under Dalek truth detection Romana admits that she and the Doctor don’t really get on and she expects to be flung back to Gallifrey at the earliest opportunity. Even in the face of Dalek firepower, Romana doesn’t lose her ability to sound like she is condescending to talk to people.

Standout Performance: It’s not often you get to re-experience the chemistry between a returning bad guy and their lackey but that is exactly what we enjoy here with both Cuthbert (the ever entertaining David Warner) and Mr Dorrick (Toby Hadoke). They enjoy a sparky, nervous chemistry that springs from the fact that Dorrick is petrified of his boss and every time he has bring him news he sounds as though he is going to be flogged for the effort. You need a strong actor to be able to hold his own against the Daleks (in villainous terms only Kevin Stoney and Roger Delgado have managed to upstage them) and David Warner can join this select bunch, treating the creatures as little more than muscle for hire.

Sparkling Dialogue: ‘Daleks are not concerned with popularity!’

Great Ideas: If Cuthbert’s experiments are powerful enough to rip a hole in the fabric of space/time then he is more than worth a follow up visit to see just methods he was using and to stop him doing anything so hazardous again. Because they have been used ad nauseum in the series (and in the audio series), you have to try and do something a bit different with the Daleks to justify their inclusion (just having them there because they sell well is not a good enough excuse) and scenes of them melting their way through an avalanche certainly qualify. It’s the sort of ambitious set piece that I would love to see realised on screen. Also for the chance to hear K.9 blasting at Daleks is worth the admission price alone. Daleks for hire? Now that has never been attempted before for the very good reason that the idea is chilling. What could Cuthbert possibly offer them? Only a meglomaniacal fool (of Mavic Chen proportions) could possibly think they would have anything that the Daleks desire enough to turn them into thugs for hire (or a pacification force as Cuthbert describes them). Proxima Major has found itself wrenched out of its natural orbit thanks to Cuthbert’s unnatural experiments. The cliffhanging surprise is that the Daleks don’t kill, but arrest. Dalek plans are usually so gargantuan and diabolical that they are bound to vulnerable in some way. When he needed a discreet and efficient security force, Cuthbert’s agents made enquiries throughout the galaxy and the Daleks offered their services…but what are they really up to?

Audio Landscape: One thing I have noticed in the second season of 4DAs is how Big Finish have attempted to capture that feeling that the TARDIS can land anywhere and really capture the excitement in the versatile locations that the series can exploit. From the screaming birdsong and sunny glades of The Auntie Matter to the desert regions that drew the Laan in The Sands of Life to the foggy cobbled lanes of The Justice of Jalxar to the claustrophobic underwater depths of Phantoms of the Deep, we have been on a whirlwind tour of some memorable and fully realised locations. Whilst there have been plenty of Big Finish stories set amongst snowy wastes, The Dalek Contract utilizes the atmosphere of such an environment very quickly giving this story an stimulating you-are-there feel. Scanner screen, spaceship screaming past, the TARDIS proximity alarm, scanner, missiles approaching and exploding, wind swept planet, crunching through snow, an explosion that creates an avalanche, bullets bouncing off Dalek casings, a Dalek army all screaming at once, extermination blasts, a Dalek with a speech impediment, banging, Dalek doors, an engine choking to life.

Musical Cues: I really miss regular scores from Alistair Lock, who was one of the most prominent musicians when Big Finish first kick started the main range. He clearly understands the era of Doctor Who that this story is set in, opening with a dramatic Dudley Simpson-esque theme that sounds like a riff on the music from Genesis of the Daleks when the Daleks were on the move. I loved the jolly jingle when K.9 departed the TARDIS to save the Doctor and Romana from the Daleks, sounding for all the world like it has jumped from season sixteen.

Result: Big Finish have tapped into something far more engaging with their second season of 4DAs whilst not aspiring to the heights of true greatness that the main range can hit when at it’s best. Nick Briggs remains heavily involved (because, I suspect, Tom Baker feels more comfortable being involved that way) and his habitual, meat-and-potatoes approach to Doctor Who once again proves to be diverting enough but is still several notches down from his finest work (Creatures of Beauty, Dalek Empire). Mary Tamm’s Doctor Who experience in season sixteen was an atypical one; a series of linked adventures that indulging in science fantasy far more than science fiction that took Romana on an enchanting tour of some of the more imaginative locations in the universe on the hunt for the Key to Time. Without demeaning this year of audio adventures in any way, they have provided the character with a far more traditional season of adventures to compliment that. From historical comedy to space opera, from nostalgic fantasy to base under siege, it has encapsulated Doctor Who in it’s entirety and given Tamm’s interpretation of the character plenty more variety and scope. The Dalek Contract gives her (and K.9) the chance to butt heads with the Daleks and the unique idea at the heart of this tale is that this squadron are apparently hired assassins, under the thumb of Cuthbert (once again played with brio by David Warner). Neither cliffhanger feels especially memorable which is a shame because as scripted they are both great moments, especially the first one which subverts the usual Dalek shtick and sees them behaving in an unusual fashion, which is often when they are at their best. It’s non-stop action with some pleasant character moments for the Doctor and Romana (I feel that Briggs understands the characters without ever attempting to probe them too much) but very much the first half of a much larger story and you might feel a little short changed once you have reached the end of the disc purely because it abruptly stops just as the story hits a dramatic high. I’m not sure how to judge The Dalek Contract on it’s own merits because so much of it’s effect will depend upon the concluding half (we still don’t know why the Daleks have teamed up with Cuthbert or what his experiments entail) but needless to say this was diverting, time-honoured Who of the sort that I will never get tired of, even if it isn’t exactly firing at full throttle. What others will make of this undemanding effort is beyond me, but it does at least entertain for an hour and thanks to an authentic score really feels like it has come from the era: 6/10

The Claws of Axos written by Bob Baker and Dave Martin and directed by Michael Ferguson

This story in a nutshell: A new alien menace comes to sap the resources of the Earth...

The Mighty Nose: This is the season eight third Doctor so the idea of trying to catagorise him in an official capacity is probably enough to bring him out in hives. Considering his enforced exile on Earth it makes perfect sense that the MOD would want some kind of background on this mysterious figure who commands the authorities and is the first line of defence for the planet when alien nasties come calling. It is the sort of thing that show hasn't had to think about before because everything four weeks or so the Doctor whisks off to another time and place. He can't run away from his responsibilities anymore, nor can he hide from the consequences of his actions and clearly both rub him up the wrong way. I think any right minded induvidual would take a dislike to somebody as officious and bumbling as Chinn but considering the Doctor is in quite a precarious position and loathing his exile he really has at him, reminding him that England isn't the be all and end all and that they should be taking responsibility for the world and not just one damp little island. During the first two episodes of Claws of Axos the impossible happens, there is so much incident and so many characters that the Doctor is practically swamped by them all. To rectify this problem the writers chose to go down a very interesting path with the Doctor, turning him into an anti-hero for the first time since the early Hartnell stories. There was the suggestion that the second Doctor might be working against Jamie in Evil of the Daleks but that is always being seen as working under duress and he shows the appropriate empathy for his companion. Because he was so anti-establishment in season seven (clearly Verity Lambert wasn't watching that closely given how the Doctor insults, exploits and manipulates the many scientific institutes he winds up becoming a part of in his first year on Earth) and because he is always butting heads with Lethbridge-Stewart, his decision to defect and run off with the Master actually feels entirely reasonable given the evidence we have seen. I love the thought of him having wound Jo and UNIT around his little finger and at the same time is working out his escape from the planet, even if the cost is the exploitation of the Earth by an alien menace. Of course the whole thing is a big con but for a few delightful minutes nobody is entirely sure which side the Doctor is on and he basks in the theatricality of his apparent villainy. The line 'we either escape together or die together' is wonderfully cutting, suggesting a life of crime with the Master or being trapped on the Earth as it is going down the pan. And the Doctor being such an old ham he really plays up the role and enjoys the smugness of finally telling the Brigadier to get off and waving his hanky at Jo. It is a testament to the strength of the third Doctor's early characterisation that had this been for real, I would have had no objections that it hadn't been set up appropriately.

Groovy Chick: What an odd one Jo Grant is in season eight. I can't decide whether she is bright and resourceful (The Mind of Evil) or a wailing victim (The Daemons). The Claws of Axos is not a great story for the character because aside from screaming at the monsters or showing appropriate horror at the Doctor's betrayal she is left entirely at the sidelines and doesn't impact the story in any significant way. If grasping hold of your head and screaming ineffectually was an art form then I would say Katy Manning has mastered it after this adventure - she spends most of the story lost in a psychedelic wilderness and spazzing out. This might very well be her very worst story, not the worst story that she is in (I would say that belongs to The Mutants), but the worst one for servicing her character with decent material – the scene where she is screaming ‘I can’t! I can’t! I can’t!’ hysterically might just be the nadir for her character. Katy Manning has proven herself time and again to be a formidable actress, jump forward to season ten where she is dishing out charismatic performances aplenty and her work with Big Finish has really suggested a versatility previously unsuspected. It is a shame that writers occasionally shoehorned her into the shrinking violet companion role - she reminds me here of the most useless companions we have seen to date (Susan, Victoria).

Sparkling Dialogue: ‘I have a duty to my country!’ ‘ Not to the world?’
‘I doubt even Axonite could control the growth of human common sense.’
‘Axonite is simply bait for human greed.’
‘I suppose you could take the usual sort of precautions for a nuclear blast like sticky tape on the windows, that sort of thing.’
‘The Claws of Axos are already deeply embedded in the Earth’s carcass!’

The Good Stuff: Pigbin Josh, man. What a legend. How people can complain about the realisation of this story baffles. Michael Ferguson is one of the shows most stylish directors and throws everything he possibly can at the screen to make this a truly alien experience. It is true that the effects aren't up to the task at times but with a mixture video effects, fades, blends, physcial effects, colourful, organic sets and great costumes the production team manage to make the interior of Axos every bit is psychedelic and alien as they possibly can. Okay so the exterior might look like a mutated, pulsing penis but who could forget the flailing claws that grab at your from the walls, the wriggling tendrils, the breathing floors, the eye appendage, the beautiful Axon creatures in humanoid form, eyes shooting open from the walls, foaming bubbles threatening to envelop the camera and finally the genuinely chilling spaghetti Axonite creatures. Some of effects do surprise such as the repulsive melting Axon head and the sequence where Jo ages to death before the Doctor's eyes. Sound effects are used atmospherically too; the constant pulsing of a heartbeat and the screaming wail of the Axon creatures. Whilst it might be a little too busy in places (can you imagine what this script read like before Terrance Dicks streamlined it?) there are so things thrown at you as a viewer it is on occasion a genuinely unnerving experience. It is nice that this is an alien species that doesn't want to approach the Earth guns blazing but instead enjoys a more insidious approach, offering us something that appeals to our vanity that will allow them to embed their claws into the planets carcass. The Doctor so often comes up against violent, brutish forces that it makes a surprising change to present a menace that has thought through its takeover and decided to use a little psychology. The organic science is a lovely idea and the method that Axonite absorbs, observes, transmits and programmes could end humanity’s struggle with famine. But not with the UK government trying to keep it for themselves... Just as the Doctor has come to the attention of the MOD, so the Master and his murderous schemes have been flagged by Washington  and the American government has decided that the rogue Time Lord should be dealt with once and for all. I like it when the show suggests an international presence, it suddenly feels like we are taking the threat of the Master seriously and it always makes a point of showing what happens when UNIT fails in their duty. Watch the sequence where Bill Filer is duplicated, a very simple effect where one version of the character walks away from the other. Simple, but effective. I don't think that this is one of the strongest stories to feature Roger Delgado's Master but just his presence elevates the whole thing considerably. It's not until the last two episodes that he does anything especially significant but when he does pop out of the woodwork, he's great fun. Can you imagine anything more fun than a role reversal? The Doctor is the villain of the piece and the Master is scientific adviser to UNIT? It's when he wanders into the Doctor's (extremely tatty looking) TARDIS and declares it a right botch up when he really shines. What a shame we never got to see these two out in the universe getting up to mischief together? Can you imagine how an entire series of stories with the Doctor and his arch enemy lost in time and space would be? It took me a while to realise that David Savile was the same man who played Carstairs in The War Games, such was the difference with how he approached the two characters. I can't say I was sorry when he was killed, though. You’ve got to love the Doctor’s reaction to the discovery that the TARDIS is programmed to always return to Earth – everybody looks happy about it except him!

The Bad Stuff: I'm quite a fan of the electronic music that Barry Letts enforced on season eight but there are times during The Claws of Axos where it sounds as though Dudley Simpson has started attacking his equipment in a violent frenzy. This is more of a story of idea so many of the characters that we meet are simply there to service the plot rather than stand up as individuals in their own right (season seven managed to maintain both throughout its entire run). Chinn is one of those characters whose purpose is to get in the way, Filer lacks even basic conviction a CIA agent and Windsor is so unrealistically obstinate it can only be in the vain hope to try and create some drama. I never got the impression that any of them existed outside of the confines of this story. Whilst (as discussed above) I found the crawling sheet of lasagne pasta a little too hard to swallow (hoho - I'm here all week) - it is the one element of Axos that really feels like a man wrapped up in a sheet and I probably would have scrapped it. Why is it that characters in 70s drama shout out plot points when they are supposedly comatose as Filer does here? When does that ever happen in real life? Benton clearly isn't on the ball this week, falling for the worst Master disguise on record (seriously...it even looks like a rubber mask...it even sounds like he talking through the mouthpiece of a rubber mask!). That guy just isn't trying anymore. Mind you, you might questions the Master's arch villain status when he doesn;t realise that he has been surrounded by an entire platoon of UNIT soldiers. I agree with the Master, the Doctor’s TARDIS looks more knackered than ever and is desperately in need of the Colony in Space redesign. Hardiman rather impressively gets electrocuted and does a complete somersault over the edge of the precipice. Is that the effect of an electric shock these days? The location work during the Benton/Yates car siege is really impressive (especially the explosion as the trundles down the hill) but sabotaged by that terrible backdrop during the close ups in the studio. You would have thought they could have matched up to the colour of the sky. Would you really drive back into the debris after a nuclear power plant has just blown up?

Result: If Barry Letts and Terrance Dicks disliked the Earthbound formula so much and wanted the show take flight into the universe again but couldn't because of the impositions placed by their predecessors, this is probably the best compromise they could come up with. A genuinely outlandish alien threat coming to the Earth in their spaceship and threatening the planet. It is the best of both worlds, with the Earthbound formula being given some consideration (and there is plenty of UNIT action) but a fascinating menagerie of creatures and weird alien technology to explore. It is probably the most out there story since The Web Planet and that might explain the love/hate relationship some (including myself) seem to have with it. I have always had an on/off relationship with The Claws of Axos. I remember when it first came out on video I really struggled with it. It just looked so gaudy and crazy and weird, not really what I wanted from Doctor Who at the time. When the story came out on DVD I bought it like the sad completist that I am but had no intention of putting it on. However when I started introducing Simon to the show he fell in love with the first three Doctor's and asked if we could put this one on. I spent the first two episodes criticisng and cringing and apologising for the effects and at the end of episode he told me that if I didn't shut up and start enjoying the thing then we wouldn't watch anymore. Suddenly I started to notice the ambition in the concepts, the imagination in the design and the direction and how everybody was doing their damnedest to convince that this scenario was actually taking place. My husband made me appreciate Doctor Who more! I do think that the story struggles to balance the more adult themes of season seven with the more colourful and entertainment focus of season eight and as a result it is mixture of very clever ideas and memorable action mixed in with weak characterisation and poor logic. It juggles far too many ideas for four episodes but the resulting effect is that if you don't like where the story is at the moment there will be something else around the corner to distract you any minute. Trippy direction and a genuinely alien environments paper over some truly dodgy characterisation and performances. It’s a fun story written by two enthusiastic writers but perhaps it could have done with another rewrite to smooth out some rough edges and had a little more money thrown at it to fulfil its grand ambitions: 7/10

The Daemons written by Guy Leopold (Barry Letts & Robert Sloman) and directed by Christopher Barry

This story in a nutshell: Devil worshipping in deepest mummerset…

The Mighty Nose: ‘Everything that happens in life must have a scientific explanation’ is the Doctor’s creed from this point on and he often goes out of his way to prove it. It was always the case with William Hartnell’s Doctor that science was a very important foundation to his adventures whilst Troughton’s jubilant second Doctor exploited science but he was never a slave to it. More than all the others the third Doctor says it how it is and he blatantly dismisses the very foundation of Miss Hawthorne’s life and tells her the supernatural is merely science that has been misconstrued. He seems frightened by the very name of Devil’s End and I see a missing adventure featuring one of the earlier Doctors conjuring before me – the first Doctor, Ian, Barbara and Susan land in 17th Century Britain to discover a coven of devil worshippers in the cavern beneath the church in Devil’s End and set about breaking the curse. When you hear stories from Katy Manning and Lis Sladen about Jon Pertwee driving them to locations I always imagine the scenes in this story with the two of them losing their way, fighting over the map and defying obstacles such as trees falling on the road! He is no sort of chap! The Doctor’s deadpan reaction to being told that he must be on television because he wears a costume and a wig made me howl with laughter. Let me build you a picture. You know when you let your freezer ice up for too long and find one sad forgotten little ice pop at the bottom covered in wintry frost, that’s what the Doctor looks like after he has been attacked by the hump. Given his penchant for Venusian Akido and lullabies it does seem remiss that we never got to visit the planet on TV but given the  everything but the kitchen sink relisation of Metebelies Three (or is that 'Merh-teb-eles'?) in The Green Death and the comic strip background in Planet of the Spiders perhaps it was a smart move that we never did. The award for most arrogant Time Lord goes to the Doctor with his ‘Jo the Brigadier is doing his best to cope with an almost impossible situation and since he is your superior officer you might show him a little respect.’ If I were Jo I would have cuffed him on the nose and told him he wipe the frost off his own brow next time and storm off in a right Devil's Hump. Pertwee looks fantastic riding a motorbike through the countryside with the wind whipping at his hair…if there was ever an image that summed up his Doctor it was this one. He falls off it in great Terry Walsh style too! I love scenes of him pretending to be the great wizard QueQuiQuod, it is one of my favourite scenes of the era because it shows him at his improvisational best whilst being silly, clever and witty. You have to admire his faith in humanity; risking telling them the truth about tricking them into thinking he is a wizard and on this occasion that faith is rewarded. The look on his face when he tells the Master he better watch out because he has nothing to lose knowing he is a dead man is enough to chill the blood. We needed some kind of climax to the Doctor/Master rivalry for now and the Doctor being offered what the Master most seeks (dominion of the over) is a great humbling moment for the villain.

Dippy Agent: You can absolutely imagine Jo falling for the dawning of the age of Aquarius, the occult and all that magic bit, can’t you? She always has been a bit of a dreamer and a hippy. It's amazing to see how far Jo has come in just one season though, walking a fine line between being a hysterical dormouse frightened of her own shadow (The Claws of Axos had some great grab-your-head-in-horror acting) and a spunky, resourceful friend (she pretty much gets herself out of a prison riot in The Mind of Evil) and by the seasons climax she emerges as a fun, slightly kooky companion and perfectly paired with this glittering lightbulb of a Doctor. At this stage its clear that no matter how rude Jon Pertwee’s Doctor is to her (and he has a good go at pushing her to the limit in this story) Jo will still give him moon eyes and sacrifice her life for him because she is so desperately in love with the man. Jo shows the Doctor how you should ask for help rather than his bull in a china shop approach. After she has stayed by his bedside and wept for him to wake up the Doctor graciously wakes up and insults her for failing Latin as well as science. Jo has these moments of inspiration where she stares straight at the camera and exclaims where she has to be and her ‘I must get to the cavern!’ is a hilarious example in episode four. Characters simply don't behave like that on television anymore. Fair play to her though, she does manage to save the world by irrationally attempting to commit suicide.

Satan’s Little Helper: ‘You rule? Why you’re all less than dust beneath my feet!’ Not watching the show in order but with my own unique scatterbrained approach I have not experienced season eight sequentially and experienced what those in the medical profession call ‘Master fatigue’ so it's fabulous to see Roger Delgado’s Master in such fine form for the last story of the season. After being sidelined in The Claws of Axos and making a cameo in Colony in Space he needed to really make his mark again and dolled up in vicars garb with his devil worshipping cult he succeeds admirably. He’s still my favourite Master despite some stiff competition and at his best (The Mind of Evil, The Daemons, The Sea Devils) he was practically untouchable. It's not surprising that Pertwee felt as though Delgado was usurping his position as the shows lead at this stage because he is giving terrific, scene stealing performances that would go down in history. He fancies himself as a politician methinks with his fabulous rant about bringing strength, power and decision to the village (I had images of David Horton from The Vicar of Dibley) but then he blows it with his first speech to the people by spilling their dirty little secrets telling them to either obey him or suffer the consequences. If he didn’t have a homicidal gargoyle to back him up I fear his brief foray into politics may have come to a sticky end. The Master is such a charismatic presence in the show now that he can even be the subject of a cliffhanger and the end of episode three deserves kudos for being brave enough to put the villain in a position of jeopardy. If he isn’t safe what the hell does that mean for the rest of us? Given he has been the principal villain for the entire season there needed to be some kind of conclusion to his meddling in the affairs of the Earth and the image of him being carted off in a UNIT jeep under arrest is very satisfying after all the chaos he has caused. But you can't hold this jackanapes down for long.

Chap With Wings: Doesn’t Nick Courtney looks resplendent in his dress uniform? Although the Brig clearly isn’t looking forward to whatever official function he is off to by the way Yates is ribbing him. It’s the only time we ever get to see the Brig in bed and its shame there wasn’t a pretty lady beside him (well there might have been the camera isn’t revealing that much to us). He’s got the mind of an account apparently but then the Doctor never thinks about cost when causing the mass destruction of UNIT property. He earns his immortal line in this story, but it is shame that he is kept out of the action for so long (he doesn't show up in Devil's End until episode five).

Camp Captain: There are few things in life that are funnier than private school educated, camp-as-Christmas Mike Yates watching rugby and crying ‘that’ll learn ‘em!’ as though he is a firm supporter of the game and that this the kind of thing men say whilst gripping their pints down the pub watching the game. With no Doctor and no Brigadier it is time for Yates and Benton to finally step into the limelight, acting on their own instincts and getting into civvies. Sometimes he wishes he worked in a bank. He has a gift for the overstatement when he tells Jo that ‘the place is alive with booby traps – spells, elementals, the Doctor’s force fields!’ Especially the last one where I don’t have a clue what he is talking about. Mike Yates was never going to win the UNIT personality of the year award but he does display a fair amount of charisma in this tale.

The Sarge: Aren’t the scenes between Benton and Miss Hawthorne a joy? They have their own little narrative whilst the story ploughs on around them and her description of him as a gentle knight saving a long in the tooth damsel always makes me grin. Benton gets a great fight with the verger until he is walloped by the sacred stone. Isn't it hilarious when Yates says that Benton knows where they are and will rescue them and we cut to him and Miss Hawthorne about to have a tea party! How very British! Benton grasps his gun during the QueQuiQuod sequence as though it is his very manhood and watch it fall limp as he is outsmarted by the Doctor.

White Witch: So strong a character she deserves her own section in this review, Miss Hawthorne plays the part of a female Doctor in the early part of this story by arrogantly barging in where she isn’t wanted and trying to prevent a calamity. Damaris Hayman is one of those wonderful old school character actresses that has turned up in everything and you know must have turned up in Doctor Who at some point. I’m just pleased that she was saved for a story worthy of her talents. She knocks out a BBC Three worker with her brolley (‘I’ve come here to protest and protest I shall!’), locks horns with Professor Horner (‘Death and disaster awaits you!’) and has no modesty about admitting that she is a witch (‘White, of course’). Miss Hawthorne is powerful enough to calm an elemental storm but not smart enough to ask why Mr Groom is cradling a rock the size of a baby. Olive gets a double whammy of great moments when she smacks an evil Morris dancer over the head with her crystal ball and then heads out to convince the others that they have kidnapped a Great wizard in the shape of the Doctor. She's one of those era defining character that sticks in the memory, like Carstairs & Lady Jennifer and Professor Todd.

Sparkling Dialogue: ‘I see Yates, the Doctor was frozen stiff at the Barrow and then revived by a freak heat wave, Benton was beaten up by invisible forces and the local white witch claims she’s seen the Devil’ – Only Nicholas Courtney could say that line without a hint of sarcasm!
‘I see so all we’ve got to deal with is something that is 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?’
‘My race destroys its failures…remember Atlantis?’
‘Chap with the wings there, five rounds rapid!’
‘Thanks to you man can now blow up the world and he probably will! He can poison the water and the very air he breathes!’

The Good: You can’t get much more stereotypically British than opening on a stormy night in a village with the lightning lighting up the church and a man leaving the pub with his dog at closing time! Things are coined stereotypical because they have been overused and they are overused because they work and this works a charm. Especially well since the bloke in question dies horribly and the atmospherics are so good (I love the little mouse that scurries from a grave and throws a huge shadow across it!). The little bit of nonsense with Bessie driving around the car park on her own is very amusing (although it has to be said the UNIT car park is of particularly inferior stock with only a weak iron fence stopping people climbing over and having it off with their stores). The Alistair Fergus/BBC Three (how prescient) element of reporting the cataclysmic events at Devil’s End is a wonderful way of giving this story a contemporary feel and some urgency. It helps that we see behind the scenes and Fergus himself is a complete nob jockey (he’s so vain he has his massive seventies sideburns touched up before he goes on air) as we imagine all aspiring reporters to be and Professor Horner takes every opportunity to take the piss out of everybody (‘Righto lad I’ll do my best to be absolutely super!’). It really gives the first episode (which lacks the Doctor’s presence as he braves the elements to reach them in time) some personality. The Master’s devil worshipping cult summoning up the Beast himself is told through some pretty strong imagery for the time the time and the end of episode one with wind and snow effects going mad, people screaming and being blown off their feet is by far the most climactic moment of the entire year (although the climax of episode four almost topples it). Clearly the production team know that they cannot pull off a giant devil walking across the British countryside (shame they didn’t remember that when it came to the Giant Robot) and they pull off the trick imaginatively with camera shakes, shadows and the clever shot of the hoof prints pressed into the fields from the air. That is then imaginatively followed up by the POV shot of the beast shrinking down onto the stone. All of the effect, none of the embarrassment. They can’t afford a life size spaceship either so they go for the ingenious solution of having it be the size of a Dapol model. It goes without saying the location work in Aldbourne is absolutely gorgeous and manages to sum up the beauty of a picturesque English village sublimely. Some people seem to have a real problem with Bok but I think he genuinely does look like a statue that has come to life and the director wisely focuses on him in his inanimate state for long enough in episode one to make this work. He’s a Weeping Angels before their time. Perhaps his little puff of smoke is Bok sending his victims back in time. Letts and Sloman allow for two episodes of frightening incident and wisely choose the third episode when things might flag a little to offer the explanations about the Daemons. It's exposition for sure but there is nothing clunky about it because there are plenty of interruptions and opinions to keep the dialogue bouncy and interesting rather than dictatorial. The Doctor cites the Greek civilisation, the Renaissance and the Industrial Revolution as all being inspired by the Daemons…does that mean without alien intervention we would come to nowt? What with the Jagaroth and the Racnoss sticking their noses in too and the Doctor being responsible for every other historical event I can't help but think that there is very little we’ve accomplished on our own! A helicopter diving at Bessie with Mike Yates riding a motorbike and shooting at its engine before it dives into the energy barrier and explodes – this really was the action fans dream period of Doctor Who. Playing the Devil is no small task and given the amount of build up to his appearance it is astonishing that Stephen Thorne doesn’t disappoint – he is absolutely terrifying. Evil Morris dancers is an idea so brilliant they deserved to make a return appearance in the new series – it's absolutely loopy but great fun to watch as the Doctor is tied up in ribbons and threatened with bell sticks. I couldn't help but get an echo of the witch trials when the Doctor was tied up and a whiskers singe away from being burnt at the stake. It bothers me that some people will dismiss this story simply on the illogical moment where Azal cannot understand why Jo would sacrifice herself for the Master. There have been far crazier methods of a villain to be defeated and if we were to condemn every Doctor Who story that has a moment of illogic there wouldn’t be a single story left to recommend. It is a bit silly but it's hardly the worst sin considering the entertainment this story provides. The Doctor and Jo are dancing around the maypole, Benton has pulled the local white witch and the Brig and Yates are heading to the pub for a pint – I can’t tell you how snugly that makes me feel inside. It's all kinds of Pertwee era sunniness and the perfect way to end the season.

The Bad: My only major complaint about this story are the barrier sequences because they go on for far too long and remove the Brigadier from the action for the length of a bible. When everybody is having great fun fighting alien Devils, animated statues, satanic Time Lords and mad Morris dancers the Brig is stuck on the periphery waiting to be let in on the action. There is a very odd moment when Jo is attacked by plant creepers which isn’t explained at all. An early Krynoid scout party? You can’t help but laugh when Bert tells the villagers thou shalt not suffer a witch to live and one of the crowd hilariously nod in agreement and say ‘that’s what they say…’

The Shallow Bit: I’ve known a few horned beasts in my time not to mention the queer goings on! When Benton exclaimed ‘Well I’ll be blowed!’ I nearly spat out my drink. I’ve always said that the seventies bred the least attractive looking men which is a little unfair because it is all about the styling rather than the looks but I have to admit that John Levene raised an eyebrow or two throughout the story in his civvies. And Azal has the ultimate hairy chest.

Result: I fell in love with The Daemons through its premise alone – an alien being posing as the Devil pushing humanity's progress forward and ready to bring its experiment to a grand conclusion. It's such a brilliant idea for a Doctor Who story that when you factor in the glorious location work, wonderful characters brought to life by British stalwarts, great lines, action, stunts, grand cliffhangers and scares you have what can definitively be called a Pertwee classic. You could watch this story for its atmosphere alone. It has become hip to knock The Daemons of late, such is the way of things that are considered popular but by any standards this is a superior action adventure tale with some real love injected into it. Christopher Barry has done a grand job of bringing the script to life and milks it for every drop of tension and excitement and the whole story moves at an incredible pace. All the regulars get a moment to shine (Yates and Benton get out of their uniforms and get a great fight scene each) and the story is headed by two charismatic performances from Jon Pertwee (with his arrogance turned up to eleven) and Roger Delgado (who is the very essence of smooth villainy). With Dicks script editing and Letts writing the backbone of the adventure it is an intelligent one and it all leads to an impressive climax with a church going up in flames and a lovable closing scene of the dance around the maypole which always leaves me feeling warm and fuzzy inside. As you can tell I really enjoy The Daemons, it is seventies Who at its most confident and it looks bloody impressive too. Turn off your critical faculties when it comes to the odd illogical moment and bask in the atmosphere of this superior adventure: 9/10

The Mind of Evil written by Don Houghton and directed by Tim Coombe

This story in a nutshell: Three plots vie for space filling up a six part serial with action, suspense and real life chills...

The Mighty Nose: In his two stories Don Houghton managed to capture the third Doctor beautifully by taking him to extremes of emotion and seeing how he copes. The usual unruffled Pertwee was facing Armageddon in Inferno and here he is tortured beyond reason and it is great to be able to see the weaker side of this bullish character. It makes him far more grounded. All this is odd because the first episode probably features the least likable characterisation of the third Doctor in the series and it takes for one of his hearts to stop beating for him to pull himself together and stop behaving like a twat. In the first episode the Doctor behaves like a playground bully, acting up in front of the CCTV, insulting the press (okay, I’ll give him that one) and deliberately and insultingly interrupting Kettering’s demonstration and throwing a bitchy look to Jo when he is admonished. Why he should behave this way is beyond me, unless his exile on Earth has become too much and he has decided to take it out on every single official he comes into contact with. Troughton could run rings around those in authority, but he was did so with a smile on his face and managed to charm his way into their good books by the end of the story. If had thumped the Doctor and thrown him out of the prison I wouldn't have been at all shocked. He takes the suggestion that he is not a scientist very personally. Frankly he is so tormenting you want him to be wrong about the Keller machine just so they can shove it in his face. Whilst the monsters chosen to represent the Doctor's fears are a little oddball (Daleks and Cybermen aside) it is great to see a reminder of of his adventures in space and time and that he is still haunted by his experience in the alternative world in Inferno. It is not like Doctor Who to reference stories in this fashion or to have emotional consequences spill into subsequent stories and the almost serial nature of the show during the Pertwee years is a real strength. I warmed up to the character when he attacked Mike Yates for no apparent reason. That really made me smile. His relationship with the Brigadier is no less spiky than usual, only agreeing to help him with his problems as long as his demands are met. Where his arrogance comes in handy is in moments like those where he is taken hostage by Mailer, casually telling him he was going into the prison anyway and pushing the shot gun out of his face. At this point the show is still trying to keep the tension between the Doctor and the Master as edgy as possible. With a backdrop of missiles, prisons and guns their rivalry seems more violent than ever and there is a real feeling that if he had the chance the Master would end his old friends life for good. The gravity that Pertwee brings to the role really comes into play when the Doctor is subjected to the Keller machine, there is no witty wordplay or casual insouciance - he is really, really scared and screams blue murder and the parade of nasties that is thrown at him. Afterwards he looks in a really bad way; sweaty, tired and close to death. The Doctor has been put in peril many times but it has never been played as real as this before. And then he has the crap kicked out of him by Mailer! He admits that he is physically and mentally tired. Divine retribution for his pomposity earlier, perhaps? In one scene he pretty much tells the Master to get off his adopted planet and stop causing trouble. He always has a better plan, its just a matter of figuring out what. I felt pangs of the Doctor/Jo chemistry when he comforted her in the cell and in the way he stroked her hair after Barnham died. Considering this is only only their second story together they are already working extremely well as an effective unit (hoho).  His parting riposte, 'I'm stuck here on Earth...with you Brigadier!' makes me heave with laughter! I usually find myself more drawn to the later Pertwee adventures because the character is much warmer and likable (from about Day of the Daleks onwards really) but I have to admit there is certainly a case to be made that the patience testing, strutting egotist of his early years as actually the more interesting interpretation.

Groovy Chick: I can't reconcile this Jo with the ignoramus in Terror of Autons and the faceless screamer in Claws of Axos. I can only think that she has been on an intensive training course because suddenly Jo is intelligent, level headed, resourceful and a real woman of action. Pretty much the perfect UNIT operative. From hopeless to adept in one bound. Perhaps Don Houghton didn't read the memo that the assistant was supposed to be a dippy audience identification figure and was still characterising the regulars in the season seven style? It says something about the Doctor's behaviour that it is only because Jo develops a relationship with Barnham (when he practically ignores the guy throughout) that they mange to figure out how to subdue the Keller machine. Watch her disarming a prisoner and holding him hostage with a pistol - it's like watching Emma Peel at work! Whilst being an excellent and comforting nurse maid Jo does almost murder the Doctor with an aspirin. I love the little kiss that Mailer blows Jo in the cell, very creepy and apparently unscripted. Jo manages to save the day by stating the obvious. It's a gift.

Pompous Military Idiot: How dashing does Nick Courtney look in this story? It's before his hair and waist line lost control and he slips into that uniform like a hand into a glove. After being sidelined for very good reasons in Terror of the Autons it is fantastic to see Nick Courtney getting such a generous piece of the action. We see him handling all manner of stressful and potentially disastrous situations without ever breaking a sweat. His relationship with his men is a very strong one and he finds the suggestion that his men take bribes extremely insulting. That's not to say he wont chew them out when they don't perform the duties they have been asked to do. I love the scene where he scolds Benton ('You're too delicate for intelligence work Benton you better go an lie down!'). You can't help but sympathise with him when he escorts the Doctor to the Chinese delegates room, he is trying so hard to be the professional investigator and the Doctor insults and ignores him and tries to send him off with an order for their dinner! Bless him, he's such a busy bloke that he can be seen sleeping at his desk (at least he has the gorgeous Corporal Bell to lay on some coffee). This is one of the few times we get to see the Brigadier as a proper soldier rather than a desk bound strategist. He thinks through his ambush on the prison, dons a disguise and fights his way viciously through to the Doctor. Nick Courtney's cockney delivery driver is a thing to behold. His embarrassed reaction to Barnham is priceless, not used to having to deal with peoples feelings. The Brig could never resist a big bang so he tries to blow up the missile from the ground and take the Master with it. Even he must have been satisfied with this one.

Sparkling Dialogue: 'Tonight you will kill the American delegate.'
'You'll do nothing or I'll put a bullet through both your hearts.'
'I really would like to stop and watch your nightmares.'
'Inside is a creature that feeds on the evil of the mind.'
'Everything is a question of money these days, my dear Captain.'
'Thank you very much Brigadier! But do you think for once in your life you could arrive before the nick of time?'

The Good Stuff: Listening to the DVD commentary I am pleased that Barry Letts chose to pour some money into the construction of the prison sets because they look very authentic and give the episodes a realistic base of operation. The clanging of cups on bars, screaming prisoners as a man is taken to the equivalent of death row and all the violence that comes with the prisoners taking over the asylum - this is not your typical Doctor Who setting. Michael Sheard is always a welcome sight and manages to turn would could have been the forgettable role of Doctor Summers into someone who handles the situation with a great deal of believability and pathos. The idea of the Keller Machine is intriguing (despite it's singularly unimpressive appearance) but surely the scientists must have realised that they were entering into very dangerous psychological waters by extracting all the evil impulses of the mind? Never mind the children, I found the sequences in the Process Room a little too much to bear. With its sterile and clinical atmosphere and punishment which looks exactly like an electric chair, I would question whether this is Saturday teatime viewing. Tim Coombe's choice of having Chin Lee burning the official papers in a playground full of excitable children was a creepy one, innocence and evil all in one shot. News of a peace conference is the first sign that things aren't going so well in the political landscape of Doctor Who on Earth and would be followed up effectively in Day of the Daleks next season. It might not be very subtle politics (this is hardly on the level of shows like The West Wing but nor is it trying to be) but it does give the story a contemporary feel. Kettering's drowning is very simply and effectively rendered with a rippling overlay of the sea and the pulsing machine - I always gasp for air during that scene and it looks even more daunting in the new colourised version. The idea of leaving a man with the mind of child, all of his darker impulses drawn out of him, is probably worse than death. It's handing him back to society as a simpleton, not able to engage or express himself adequately. A machine that can use your nightmares and phobias to attack your mind is terrifying, one of the most frightening concepts Doctor Who has ever presented. I love the leafy, autumnal locations. The cigar puffing, chauffeur driven Master is the epitome of cool. He would certainly have his moments of charm and threat in the future but never again would he quite capture that essence of cool. William Marlowe is not the obvious choice of actor to play the role of Mailer (considering he is a prison thug you would expect somebody built like a brick shit house) but he is absolutely perfect for the role, utterly convincing as a criminal nasty who would crack your skull open if he didn't like the look of you. When you see what Marlowe accomplishes here it is hard to believe he was wasted on such an unmemorable role in Revenge of the Cybermen. Watch out for the lighting during the sequence where Chin Lee prepares to attack the US delegate, it is highly atmospheric (the Dudley Simpson music is awesome too). Bombs, guns, gas masks, missiles, prison guards murdered en masse, bullets to the face, gut and back, blood ...what on Earth would Mary Whitehouse make of all this? 'Show our patient to the chair...' - the end of episodes three is absolutely terrifying in it's implications, it actually looks like the Doctor is being led to the electric chair but what he experiences is far more chilling. The organ of death kicks in as the Doctor is strapped into the torture device. The Master is so casually arrogant that he has the nerve to think that he can best the machine and it repays him in kind by haunting him with an image of the Doctor laughing at him, preying on his insecurities.
There's everything you need to know about the Master and his relationship with the Doctor in that one scene. To aim the missile at the peace conference has got to be the most vainglorious plan the Master has ever devised...you have to wonder what could have possibly happened to make him quite that twisted. In dramatic terms it would have been fascinating had he succeeded and we had witnessed the consequences of such a devastating terrorist attack. It is one of the few stories where I will cut Mike Yates some slack, after all he gets shot in the hand and still manages to grab a motorbike and and pursue the armed criminals and their missile booty. It feels like there are incredible resources on hand in The Mind of Evil to give the story some scope, the missile and the hangar would not look at all out of place in an early Bond movie. Design wise, the Keller machine is the least threatening device imaginable and yet somehow the director really sells the threat when it starts to teleport about and fry peoples brains out. The weird do-not-adjust-your-set effect used during the attacks looks wonderfully retro and dramatic. The Pertwee era really was home to some of the most impressive action sequences in the shows long history and the attack on the prison must rank as one of the most lavish (and expensive). Bullets fly through the air, people are shot at point blank range in the gut, fall down stairs, scale walls, indulge in vicious hand to hand combat...its a huge set piece, littered with corpses. The Master stands proud before the missile, finally achieving his status as a Bond villain. Coombe goes nuts when he tries to suggest the rage of the Machine that is caught in the Doctor's restraint, with explosions, props flying and disorienting camera work you've got a director who is willing to take risks to show a device breaking free of its bonds and screaming with frustration. Barnham calms the machine down because he has no negative impulses, such a simple idea but so obvious that it works a treat. The blobby, oozing, writhing mind of evil is a sight to behold.  'Acting Governor Benton here' 'Who?' - Delgado's look of bafflement is glorious. Barnham's death might seem gratuitous but it just goes to show what an utter bastard the Master is, running down the one man who tried to save him. Doctor Who has often shown that defeating the bad guys comes with a price, that saving the day isn't always a triumph. Because he loves to have the last word, the Master calls the Doctor up at the conclusion to point out that he has his dematerialisation circuit and he's saying tata for now. You've got to love that level of smugness.

The Bad Stuff: Would the Doctor really have to suggest to Dr Summers that he performs a post mortem? Dudley Simpson's Chinese theme isn't exactly subtle but perhaps I shouldn't say that in case i give more credence to the ridiculous book recently published that suggests that Doctor Who is outwardly racist. Occasionally thoughtless perhaps, but racist? Give me a break. 'Pity she's quite a dolly!' - are we supposed to buy Mike Yates as an army lad lusting after female diplomats? It has been pointed out that the two storylines are strenuously linked by the co-incidence of a 'rather attractive Chinese girl.' Maybe so, but can you imagine the padding if one of the three storylines (the Keller Machine, the machinations in the prison and the peace conference) was excised? The Master's mask and boiler suit disguise are really lame...I would say that he is just not trying any more but this is only his second story. A US delegate whose greatest fear is a dragon from Chinese mythology? Takes all sorts, I suppose. The missile backdrop is hideously unconvincing. It's nice to have it confirmed that despite sterner competition the Doctor's greatest enemies are Koquillion, Zarbis and War Machines.

The Shallow Bit: Jo wears a flattering, tight fitting roll neck. She makes distressing orgasmic noises as the machine attacks her.

Result: It makes you wonder if Houghton had a clue that his hard hitting thriller was going to be nestled into the somewhat more cuddly season eight because it really is the odd one out this year, one last gasp of season seven. Whilst a lot of the material might go over children's heads, nightmarish and adult imagery makes this one of the most grown up Doctor Who adventures and for ages I was pleased that it was trapped in black and white because it only enhances the gritty direction and realistic atmosphere. However the recent colour recovery has proven me wrong (plus the 18 month job of recolouring episode one, one frame at a time - bravo to Stuart Humphries for his dedication) and spruced up on DVD it looks more polished than ever. Monstrously over budget it might have been but every penny of that overspend made it on screen and I can't think of a time when action felt quite this rough and ready on Doctor Who, where every punch and shot has consequences. Because of its multiple plot lines it never really flags even at six parts (despite a very repetitive cliffhanger where the organ of death kicks in and the Keller machine does its thing) and like the previous season all of the performances impress. Tim Coombe laments the fact that he never went on to direct any more Doctor Who stories and after his imaginative and stylish work on this and Dr Who & the Silurians I can only concur with his sentiments. If it was something as mundane as a  balance sheet that robbed us of further adventures of this quality it dud move on Barry Lett's part. The Mind of Evil is also Roger Delgado's finest two and half hours as the Master (some would say that was the Daemons but he just oozes class in every frame here), projecting a sense of danger and unpredictability that we wouldn't see in the part again for a long time. There's something very right about the Master utilising a gang of unsavoury criminals to do his bidding and the shots of him with a weapon of mass destruction within arms reach are classic moments of the era. In contrast the Doctor is an anti-hero for the first few episodes; abrasive and unlikable but come the point where he is being strapped into a torture device and is almost killed by his own demons you are sympathising with him like never before. A totally unique step into a more mature world which I found gripped me throughout: 9/10