'The Web Planet' is of course notorious. When, as a kid during the largely pre-video eighties, I started to learn about past Doctor Who stories from Target novelisations and Peter Haining's Doctor Who – A Celebration, the latter of which led me to believe that 'The Web Planet' was a classic, with pioneering special effects and superb monsters that was utterly convincing in its portrayal of a truly alien world and was years ahead of its time. Then it was released on video. 

That basically seems to sum up fandom's opinion of 'The Web Planet', which The Discontinuity Guide notes is "slow and silly looking by modern standards". However, if anyone is expecting me to savage it, they are in for a disappointment. The main reason for is that I don't judge Doctor Who by its special effects, and never have; I judge it by plot, script, and acting. My stock pretentious argument for non-Who fans who ask me how I can take Doctor Who's effects seriously is that it is all to do with suspension of disbelief, and that Shakespeare's plays are traditionally performed on an empty stage with minimal props, but that doesn't detract from the plays themselves. My more honest answer is simply that I watch Doctor Who through metaphorical rose-tinted glasses. That said, I'm not blind to crap effects, and so since I mentioned the Slyther when I was rambling on about 'The Dalek Invasion of Earth', I'll get the discussion of the effects out of the way. Vortis itself doesn't look bad – it's at least as credible attempt to create an alien landscape as Skaro was in 'The Mutants'. True, there are often shadows cast over painted backdrops by the actors, but on the whole the sets are pretty good, and convey a sense of space quite convincingly. This is probably helped by the oft-criticized use of lenses to blur images set outside on Vortis' surface, which prevent the viewer from focusing too closely on backgrounds, but these aren't used in all the "outdoor" scenes. The rocks and craters really look rather good, as do the occasional pools of acid, and for a series that will later resort to the use of quarries to portray alien planets, it's a laudable attempt. The other sets are also well done, although parts of the Carsenome (mainly the corridors) do look painfully like flimsy plastic. The room in which the Doctor and Vicki spend most of the story however looks reasonable enough, as does the Animus' centre. The Menoptra Temple of Light also looks good, as do the caves of the Optera. Ultimately, I realized that I'd got to the end of episode six without feeling that the action was taking place within a studio. The other big demand on the effects is of course the various aliens present on Vortis. 

The Menoptra look like men in costumes, but then so do most Doctor Who monsters and overall they look quite good, probably faring the best of all the creatures present. The bands of hair around their bodies allow them to be flexible without the need for over-ambitious insect like joints, which adds considerably to their success. That said, my mate caught the end of episode four, fell about laughing and exclaimed, "It's just a load of blokes in crappy moth costumes". As I said, rose tinted glasses… The Zarbi look much better in black and white photographs than they do on screen, due largely to the fact that their back legs are painfully obviously those of the actor, whereas both sets of forelegs are much more spindly and are clearly just stuck on the costume. The rest of the costume is obviously sat on the actor's back, but in spite of this, they still look quite effective running about. Honest. The Optera are a different matter, since they basically look like cheap polystyrene and the extra arms are utterly absurd, being unconnected to the actor and just dangling unconvincingly. The Larvae guns are even worse, and look like ironing boards with fronds on either wheels or the backs of actors at differing parts of the story. Finally there is the Animus, which vaguely resembles a Dutch Cap with fronds, but on the whole doesn't look too bad. So that's the effects out of the way…

On the whole, I think that 'The Web Planet' is to be applauded as an attempt to portray an alien world. Vortis is at least as intriguing as Skaro, with its ancient ruins, acid pools, starry sky and weird lighting. Whilst the Zarbi are basically ants and the Menoptra moths, the actors and director try hard to make them work as aliens, and on the whole they succeed; the chirruping of the Zarbi as they run mindlessly about is striking, as is the weird body language of the Menoptra, which is clearly the result of careful attention to detail – notice Hrostar and Hilio squaring off in episode five, by bobbing and hissing at one another. The dance-inspired movement of the Menoptra, including their distinctive arm hand waving, might look like amateur dramatics in retrospect, but shows a real attempt to make them stand out as alien. The real triumph in the alien stakes however is with the Optera, who get some great scripting, referring to blank walls as "silent" ("we must make mouths in it with our weapons, then it will speak more light"), to stalactites as teeth of stone, and to acid vapour "sleeping" at their feet. These are all attempts to show that Optera do not think in human terms, and it's an excellent idea. The Menoptra too are made to feel more alien simply by altering their pronunciation of Ian and Barbara to Heron and Arbara, showing that to them, human names are just as strange as theirs are to us. It has often been noted that 'The Web Planet' is the only Doctor Who television story in which none of the supporting characters are humanoid and however daft people might think the costumes are, it is still highly effective as an idea. 

As a villain, the Animus is a first for Doctor Who, since it is unseen for most of the story, but its presence is felt throughout. It's rather more effective as a disembodied voice than it is in the flesh, thanks largely to its dispassionate tones as its sits converses with the Doctor. From the first time that the Doctor talks to it, it gives an impression of being utterly evil, due largely to its obvious disregard for any life other than itself. The Animus is central to the plot of 'The Web Planet', more so than any other single villain seen so far in Doctor Who; it is responsible for the arrival of the TARDIS, the desperate plight of the Menoptra, and the barren state of Vortis, which we are told was once cocooned in flower forests. It is an utterly malignant thing, and this feeling is emphasized by its method of take-over – it has slowly extended its web over Vortis, absorbing everything in its path, and the fact that the Menoptra refer to this web as the Carsenome (an obvious corruption of carcinoma) only serves to reinforce this malignant feeling. At no point in this story do the Doctor or his companions get a reprieve until the Animus is destroyed – from the moment the TARDIS is forced down, they are forced to split up after which they are all, in one way or another, either enslaved and/or forced to fight for their survival. The feeling of desperation is due largely to reminders that they have landed on Vortis just in time for the Menoptra's last ditch attempt to regain their world – they are dying on Pictos, and, unused to conflict, they have been forced into battle with guns that turn out to be useless, and pinning all their hopes on a weapon that they cannot be sure will work. Their plight seems all the more grim due to their physical mutilation – the Menoptra captured by the Zarbi have their wings torn off. For a species that is used to flight, this is presumably akin to having ones legs broken or amputated to prevent escape, which is a disturbing thought and one which occurred to me when Hrostar was rendered permanently flightless. 

Episode one of 'The Web Planet' is one of my favourite opening episodes of any Doctor Who story up to this point, along with 'The Mutants' and 'The Dalek Invasion of Earth'. As on Skaro, the TARDIS crew find a mysterious and unearthly landscape, rife with strange phenomenon, from the high-pitched chittering of the Zarbi early on which only Vicki can hear inside the TARDIS, to the pools of acid, the Menoptra edifice, and the strange web that ensnares Ian. The success of this episode is due partly to the direction; unusual camera angles make the sudden assault on the TARDIS intriguingly macabre, especially when combined with the bizarre effect of the rotating TARDIS console. Plus, we have the mysterious effect on gold items (which also allows Vicki to find out about Ian and Barbara's visit to Rome in 'The Romans' – a nice touch) and the half-glimpsed Zarbi scuttling amongst the crags; I'm not entirely blind to the short-comings of their costumes and the decision to keep them only briefly seen in the first episode is a wise one. The ADJs are also a nice touch, reminding us that not all planets are like Earth, even if they have to be reasonably similar to the constraints of dramatic requirement and budgetary restrictions. Overall, the episode is effective and memorably creepy, and the look of utter loss on Hartnell's face at the end when the Doctor realises that the TARDIS is missing is amazingly convincing. Which brings me to the characterisation.

Rather famously (or infamously), Hartnell has a fluff nightmare in episode one, which at its worst moment results in an obvious prompt from Russell ("What galaxy is that in, Doctor?"). After this however, he is on top form during 'The Web Planet'. When dealing with the Animus and playing for time, the Doctor is at his imperious best, urgently asserting himself to protect him and Vicki. This alternates with his familiar air of bright-eyed fascination as he strives to answer the question of what is happening on Vortis, what the Animus wants, and how it controls the Zarbi. Later, his bickering with Prapillus is a delight, as is the way he effortlessly takes charge during the meeting in the Temple of Light. But he is also vulnerable, as witnessed by his sudden reversion to frightened old man when he loses the advantage of having knowledge that the Animus wants about the Menoptra and is thus placed under its control, and later on when he and Vicki are sprayed with webbing and taken before the Animus. Vicki also comes across well, as in 'The Romans' demonstrating that she is more useful than Susan – although obviously frightened at some points, she keeps her wits about her throughout, and is able to defy the Animus even after the Doctor has collapsed before it. Ian and Barbara are the usual excellent selves, Barbara single-handedly rallying her dispirited Menoptra allies to fight their Zarbi oppressors, and ultimately destroying the Animus with the Isop-tope when its light overwhelms them. Ian does similar things with the Optera, helped considerably by Vrestin, and the look on Russell's face when Nemini dies in the acid stream speaks volumes about the hardship faced by the oppressed inhabitants of Vortis, again testament to his acting skills. Of the guest cast, Hrostar and Hlynia are fairly forgettable, but the other Menoptra fare better. The imperious Vrestin maintains her dignity even when she and Ian the Optera imprison them, which stands out because on the whole the spirit of the peace-loving Menoptra is easily broken. Prapillus is another well-defined character, an old man who despite the loss of his wings and a lengthy period of enslavement has kept both hope and curiosity alive. His fascination with the Doctor's mysterious ring is quite endearing, as is his determination to fight the Zarbi and Animus even though he knows that the attack on the Carsenome could prove fatal. His knowledge of the Zarbi and the Larvae guns is crucial to the success of this mission. Finally there is the aggressive (for a Menoptra) and distrusting Hilio, who despite his paranoia about trusting the aliens and losing the only weapon that even gives them a chance, ultimately is forced to turn to Barbara for aid in the Centre when the presence of the Animus proves too powerful for him. Nemini and Hetra represent the Optera, both of who are initially afraid of Ian and Vrestin and want to kill them to protect their people, but who are eventually persuaded to face their fear of Pwadaruk and the surface to aid them in their struggle. Nemini dies in the tunnels, but Hetra accompanies Ian and Vrestin into the Carsenome and eventually leads his people in their first faltering steps onto the surface of Vortis and into the light. Part of the reason that I think 'The Web Planet' has so much to offer is that the actors give it their all, even those inside the Zarbi.

Despite all this praise I'm heaping on 'The Web Planet', it is still flawed even if we look beyond the costumes – nobody seems to realize how heavy those gold collars would actually be, there are some strange accents from some of the guest-cast, and the story suffers from padding. And of course there is the infamous moment in episode three when a Zarbi runs straight into the camera – one of those cursed moments in Doctor Who when a non-fan mate always walks into the room. Nevertheless, if you can look beyond the budgetary and technical limitations of the time, 'The Web Planet' has much to offer and is at the very least an admirable attempt at creating a truly alien world, even if it isn't quite a success. I'm glad that the attempt was made and that this story survived in the archives. 

Now why do I think nobody is going to agree with me…

After the post-nuclear holocaust horror of 'The Mutants' and the Nazi imagery of 'The Dalek Invasion of Earth', viewers at the time might have been expecting further apocalyptic horror from the third Dalek story after the dramatic cliffhanger appearance of a Dalek at the end of 'The Space Museum'. That brief appearance reveals that the Daleks, who had perfectly adapted their environment to suit their needs in 'The Mutants' and then demonstrated their ability to reach beyond their city and conquer other worlds in 'The Dalek Invasion of Earth', have made a further technological leap in conquering the fourth dimension. We are told that the Daleks are preparing to follow "the enemy time machine" and track down and exterminate their old foes. This promises the viewer a thrilling and terrifying ride in which there is no escape from the Dalek for the TARDIS crew. What the viewer gets however is nothing of the sort. 

Since I discussed the positive aspects of 'The Space Museum' first, here I'll discuss the drawbacks of 'The Chase' first instead. Firstly, the direction is sloppy. There is a BBC camera in the jungle on Mechanus, there is a Dalek in the House of Horror before the Daleks arrive there, an Aridian sneaks around I the background during episode two, and the Frankenstein monster changes its clothes between scenes. In addition, Richard Martin makes some strange directorial choices; during the final battle between the Daleks and the Mechanoids, there are three horrible Batman-style cartoon flashes super-imposed over the action, which look incredibly cheap and nasty. In addition, since Edmund Warwick looks nothing like William Hartnell from the front, the decision to use him in scenes when the Doctor is absent is an interesting one, especially since these scenes often then involve a close-up of Hartnell completing the robot's lines. This jars considerably, and is unnecessary, since during the actual duel between the Doctor and his doppelganger, Warwick is filmed from behind and is reasonably convincing, leading to the obvious conclusion that the entire duplicate plot could have been carried off much better than it is. The shots of the TARDIS and the Dalek time machine traveling through space also look terrible, due to the obvious use of cardboard cutouts of the two craft, and are entirely unnecessary. The ground on Mechanus is shrouded in dry ice in the model shots, but bare and obviously a Dalek-friendly set floor in the studio. And 'The Chase' has Doctor Who's stupidest incidental score to date, which totally destroys any tension that might otherwise have been created. 

Initially, the Daleks themselves are impressive, with a new streamlined look that is a massive improvement on the large-bumpered satellite-dish supporting model from 'The Dalek Invasion of Earth'. That they have become the first beings in Doctor Who other than the Doctor himself to travel in time is also undoubtedly impressive and suggests that their technology can overcome any obstacle in their path. Unfortunately, this is all undermined by Nation's apparent decision to pen 'The Chase' as a comedy. Instead of the intimidating and unstoppable monsters of the first two Dalek stories, here we have a Dalek that clears its throat as it emerges form a sand-dune (thus destroying the tension of the first episode cliffhanger), a Dalek that goes "erm" repeatedly when asked to perform mathematics, and Daleks panicked by indestructible fairground exhibits. The segment located atop the Empire State Building is an outright attempt at comedy, but falls flat, like most of the bits in 'The Chase' that seem to want to be funny but aren't (why on Earth, for example, doesn't the Dalek exterminate Dill? I certainly wanted to…). It is almost as though Nation (a former script-writer for Tony Hancock) suddenly realized that homicidal psychotic monsters are not the best comedy fodder and ended up writing a half-hearted semi-comedy. Since these prevent 'The Chase' from becoming as dramatic as it could be, it falls between two stools. What results is more of a parody than anything else – the Daleks chanting "retreat" in high-panicky voices in episode four are hugely reminiscent of King Arthur's cry of "run away!" in Monty Python and the Holy Grail. Similarly, their frantic chanting of "Attack! Attack! Attack!" brings to mind the Knights who say "Ni". They are easily dispatched too – a fairground android breaks one into pieces (they would have been useful during the Dalek invasion), another roles sedately into the sea, and one is easily lured into a cardigan-based pitfall trap. 

Like Nation's earlier 'The Keys of Marinus', 'The Chase' has a multi-location narrative, as the action moves from place to place throughout time and space. Whereas I criticized 'The Keys of Marinus' for failing to live up to its potential, 'The Chase' overcomes this flaw by three separate tactics. One of these is to have a planet with no intelligent indigenous species, inhabited only by robots, about which we are told everything we need to know, and who have a Spartan, mechanized civilization with consequently no hints of a larger culture to entice and frustrate the viewer – this works quite well. Another is to have sequences set on Earth, and thus familiar. The third unfortunately, is to have two episodes set on a planet inhabited by a race so tedious that the viewer (or at least, this viewer) has no interest in learning more about it. Aridius is deadly dull. The sets are OK, but the Aridians themselves are pathetic to the point of contempt, without any accompanying feelings of sympathy (I suspect that this rather harsh view on my part is due largely to their silly appearance and some dreadful overacting). Even the name is ridiculous – the planet is called Aridius and it used to be wet, but became Arid. Serves them right. Perhaps they changed the name after the seas dried up? In a series that will later demonstrate the difficulties of creating convincing tentacles, the mire beasts are quite effective, until at least we see one in full, and learn that it resembles an enormous scrotum. And why do the Daleks tell the Aridians to hand the time travelers over at high suns, instead of immediately, thus giving them time to escape? The entire planet is presented as a soul-destroying combination of tedium and ludicrousness. Admittedly, the Daleks are quite nasty here – their extermination of the two Aridians who dig the TARDIS out of the sand is a reminder of their ruthlessness. Sadly, it is the next episode, which destroys their credibility. In addition, the gimmicky scene with the Time-Space Visualiser is too long and just feels like padding. The Shakespeare bit is particularly unmemorable. 

The Morton C. Dill sequence is also crap, although it is to Peter Purves' credit that when he reappears as Steven in episode six, the characters are completely different. With a cod American dialogue, unfunny idiot Southern American tourist routine, and silly hat, Dill is just irritating. As is the tourist guide with the over-the-top Brooklyn accent. Aside from that, the sequences set on Earth are OK – the Mary Celeste sequence is pure filler, and has a couple of moments of half-hearted humour, but the Haunted House sequence is quite good fun. Although the Doctor's sudden conclusion as to where they actually are is absurd and rather out of character for a man who thus far has always favoured scientific explanations. 

Despite these considerable flaws however, 'The Chase' is rather enjoyable. This is largely due to the last two episodes. Peter Purves immediately grabs the attention as the slightly manic Steven, who is immediately distinct from the ever-sensible Ian from the moment he enthusiastically greets the travelers. Although he has been a prisoner for two years, he clearly hasn't been sitting idle, as the wooden construction in his cell attests. He has also clearly given some thought to his escape, knowledgably nodding when Ian mentions the cable, but has pragmatically realized that he was better off where he was until he actually stood a chance of getting off Mechanus as well as outside of the Mechanoid city. Admittedly, his decision to rush back into a burning room for his stuffed toy and thus almost cause Vicki and Barbara to plummet fifteen-thousand feet to their death is not his finest moment, but it tells us that he is headstrong and also brave, if foolish. Since he doesn't appear until the last episode, he doesn't get the same sort of character development that Vicki got in her debut story, but his basic personality is immediately established. 

The Mechanoids themselves, despite being an obvious attempt to cash in the success of the Daleks, are visually effective, although their strange speech patterns doom them from true Dalek rivalry. 

Nevertheless, their battle with the Daleks at the end, cartoon flashes aside, is impressively shot and is the highlight of the story for me. The final destruction of the city is also impressive. The sub-plot with the robot double of the Doctor is obvious padding, but quite effective and leads to much more dramatic scenes than we saw earlier in the story. Barbara at its mercy in the jungle is particularly creepy. 

The regulars continue to impress, with Hartnell, unlike the script, effortlessly switching between comedy and drama (witness his TARDIS scenes in episode one and the "Yoohoo! Auntie!" bit in episode two). Most of the time, the Doctor is at his most intense, as he commits himself to battling and defeating the Daleks. Whether he's working on his bomb or vowing to defeat his foes, he wears a permanent frown of concentration and is at full force when he lets rip with one of his typical First Doctor impassioned rants. Admittedly, there is a classic Hartnell fluff ("you'll end up as a couple of cinders floating around in Spain!"), but this is a solitary slip in an otherwise well-acted story. Vicki too continues to impress – she follows up her newfound independence from the Doctor during 'The Space Museum' by sneaking on board the Dalek time machine (which, lets face it, would be a terrifying experience) after being accidentally abandoned by the Doctor, Ian and Barbara, which allows her to learn about the robot, which might otherwise have killed Barbara. This contrasts nicely with her fear of heights, revealed in the final episode as the travelers climb down from the Mechanoid city. And then there are Ian and Barbara…

Having never watched this era of Doctor Who in order from the start before, I've never fully appreciated the impact of Ian and Barbara's departure, but this time it came as a bit of a shock. They've been the backbone of the TARDIS crew since '100,000 BC' and suddenly, at the end of episode six, without any build-up, they seize the chance to return home. The impact of this is powerful – we've seen them both develop during their travels with the Doctor from reluctant abductees to hugely resourceful and vital members of the TARDIS crew, and they've been in the series from the start, providing the viewers with someone to identify with in the various alien surroundings that the Doctor introduces them to, and suddenly they've gone. This is made doubly effective by Hartnell's acting, as the Doctor is obviously deeply hurt at their decision to leave him after all their adventures together, and covers this up with angry bluster. Only as the Doctor and Vicki watch Ian and Barbara returned to London on the Time-Space Visualiser at the end does the Doctor show his more vulnerable side, reminding us how close he and the two teachers had become. Ian and Barbara's final scene in London, complete with photo-captions of the pair of them revisiting London's landmarks, is a bit twee, but provides a nice sense of closure and also hints at a doubly happy ending – we've seen how close the two have become since they first entered the TARDIS and we're reminded of this during 'The Chase' both on Aridius and Mechanus as Barbara fears that Ian is dead and as Ian then realises that Barbara has left the cave with the robot. The final scene on the bus shows them acting very much like a couple, and it is easy to believe that they will end up together (as indeed they do, in 'The Face of the Enemy'). For the first time in the series, not just the TARDIS crew has changed, but its actual dynamic; whereas Vicki essentially filled Susan's role and Steven takes over from Ian as man of action, Barbara's role – sensible, older female companion – is lost, and doesn't return. We also now for the first time have no companions from the viewer's own era, with both Steven and Vicki hailing from the future – admittedly, they still provide identification for the viewer if no other reason than that they provide somebody for the Doctor to explain things to, but the feel of the show is nevertheless in someway different after 'The Chase'. Then again, Ian and Barbara have become two of my favourite companions from the show, so perhaps I'm just missing them J. 

Overall, though I appear to have found more bad points than good, the good points of 'The Chase' nevertheless just about manage to outweigh the bad, resulting in a story that manages to be enjoyable overall, and marks an important change in the series. This is quickly followed up with another significant development for the series, during the final story of season two.

The basic point of 'Galaxy 4' is essentially that one should never judge on appearances. This is not an uncommon message in fiction, but 'Galaxy 4' manages to take this basic premise and from it make an effective scenario, for a splendid four-parter that never outstays its welcome. 

Having never seen 'Galaxy 4' intact or the Loose Cannon recon, my assessment of the story is based on the audio soundtrack and the single surviving clip from episode two. And it's really rather good, with two distinct alien races, a simple but effective plot, and an engaging script. The Drahvins at first glance suffer from Xeron syndrome – they are depicted as alien by their eyebrows alone, and are initially fairly boring. Maaga raises them out of such low opinions however. Since all of the other Drahvins are (intentionally) fairly unintelligent cloned soldiers, they get few lines and are depicted as being stupid. Maaga however, is not; she is calculating, intelligent, ruthless, and sadistic, and shines as Doctor Who's first female villain (not counting the scheming Poppaea). Her unpleasant personality makes her interesting from the start, coming to the fore even when she is initially trying to convince the Doctor and his companions that the Rills are the villains – her description of them as crawling monsters is delivered with utter revulsion, suggesting that their appearance alone is enough to earn them her contempt and loathing, and she is eager to see them dead, as witnessed during the exchange in which the Doctor suggests that the Drahvins try and form an alliance with the Rills so that they might all escape from the doomed planet. 

These little hints as to her personality are immediately enough to make her seem unsympathetic, even when at this stage we have no other reason to doubt that the Rills are the villains. In addition to her barely-restrained bloodlust, the Doctor, Steven and Vicki are led to distrust by the obvious fear that she instills in her crew, and her paranoia – she is very insistent when she demands that Vicki remain on the Drahvin ship as a hostage whilst the Doctor and Steven return to the TARDIS to consult the Doctor's instruments and her entire attitude implies a threat. As the story progresses, her civilized faзade slips further and further – in episode two, on learning that the planet will explode even sooner than she believed, she is belligerent even whilst still attempting to enlist the Doctor's aid of his own volition – until by the end she gets one of the most chilling speeches of any Doctor Who villain as she gleefully tells her near-mindless lackeys that she can delight in imagining the deaths of those left on the planet when it explodes, even if she cannot actually watch them die. Furthermore, on learning that in fact the Drahvins attacked the Rill ship first, the viewer realises the full significance of her early revulsion towards them; when their ships met in space, she had not yet seen what the Rills looked like, but attacked them anyway – like the Daleks, it is implied that anything different to herself is automatically the enemy. It is fitting then that this especially foul villain does not suffer a last minute defeat, but sees her chances of revenge and escape disintegrating from the end of episode three; after Steven is rescued from the Drahvin airlock in which Maaga sadistically tries to subject him to a lingering death, her attempts to take the Rill ship and then the TARDIS are increasingly desperate. Ultimately, against the alliance of Rills and TARDIS crew, she stands no chance, and whether she seethes from behind the rocks or frantically races the Doctor and friends to the TARDIS, she seems impotent and dies frustrated as the her enemies escape and the planet explodes. In addition to all this, we have other interesting tidbits of information about the Drahvins, as Maaga gives us a glimpse of life on Drahva – a few males are kept for breeding and the rest are killed, whilst an underclass of clones perform functional tasks. The clones are clearly little more than slaves; they receive none of the privilege of "real" Drahvins, and are fed basic rations whilst their betters dine in luxury. Even the soldiers on board Maaga's ship have inferior weapons, despite being bred to kill, with only Maaga's gun allegedly able to damage the Chumblies.

On the other hand, we have the Rills, who are also well portrayed. Despite their monstrous appearance (preserved for posterity only in a couple of photographs, sadly), they are thinkers and learners, seeking only to explore. They are portrayed as a noble race, keenly accepting the Doctor's aid, but adamant that if he cannot save them, he must still save himself and his companions. Their reluctance to reveal their true appearance to the Doctor, Steven and Vicki even when they have befriended them might be construed as a reluctance to incite revulsion (who would like being told they are ugly?) but somehow comes across as genuine concern that their appearance will cause distress. But in spite of their gentle nature, they are prepared to use force to protect themselves and their friends when all other options fail – even after being shot down by the Drahvins, they offer their aid to them, but having realized that they cannot negotiate with the Drahvins, they are willing to deal harshly with them. This makes them far less pathetic than the Thals seemed in 'The Mutants', but their restrained use of such force also contrasts with the vicious Drahvins, making them seem honourable, but assertive. Their appearance and the fact that they breathe ammonia gas and communicate by telepathy goes a long way to making them convincingly alien and on the whole they are one of the better alien races to appear during the Hartnell era. The Chumblies are equally memorable; from the surviving clip, they look unusual enough to be effective, with their beehive shaped bodies and short stature, but manage to avoid seeming overly cute thanks to their impressive arsenal of tools and weapons, established during their attempts to enter the TARDIS. The weird noises they make add to the effect, and whilst they are hardly up there with the Daleks, they are on a par with the Mechanoids. 

Hartnell continues to impress as usual, whether he's fiercely defying Maaga or philosophising with the Rills. I've noticed how much he's changed since the series began, in terms of confronting danger; compare his lack of hesitation when rushing towards unknown dangers here, with his obvious fear and desire to avoid conflict in '100,000BC' and 'The Mutants'. True, this change was established during season one, but by this point he almost seems indestructible. By 'The Dalek Invasion of Earth', he was resolutely prepared to stop the Daleks at all costs, but he still seemed very vulnerable on at least two occasions during that story. I'd never noticed this progression before, but watching the series in order really makes it noticeable. In addition, it is interesting that he almost kills the Rills by sabotaging their air converter, and Vicki has to stop him. Whilst he clearly distrusts the Drahvins by this point, he presumably still accepts some of what they have told him, since he tries to destroy the Rills without first hearing their side of the story. This is not his finest moment, but nicely reminds us that for all his good points, he still makes mistakes. Vicki is here relegated to the role of the Doctor's sidekick for the first time since 'The Crusade', and doesn't get much to do, but her befriending of the Rills is an important plot development so she isn't entirely wasted. I also still like the fact that whilst she respects the Doctor, she is more mischievous towards him than Susan was, and is often cheeky, as in the scene when she throws the rock towards the Chumblies. Steven also continues to impress, and is far more confrontational than Ian was. His voice shows almost as much contempt for Maaga in episode three as the Doctor's did earlier, and despite having guns waved at him, he continues to defy her. The bit at the end of episode three when, suffocating, he snarls at her that he'd rather face the Chumblies (which he still believes to be hostile) rather than her any day is one of his greatest moments. In addition, he argues with the Doctor more than Ian did, seemingly less keen to avoid needless squabbles with the old man. Combined with Vicki's cheekiness, this results in a more fiery atmosphere between the Doctor and his companions, which never the less retains a feeling of mutual affection and makes this TARDIS crew distinct from the previous two. 

As far as I can tell from the surviving footage, the sets and costumes of 'Galaxy 4' are effective, but really it is difficult to tell. Based on the soundtrack alone however, 'Galaxy 4' is an excellent opening story to season three and a tragic loss to the BBC archives.

Where on earth do I begin? Every Doctor Who fan in the universe has heard of “The Daleks’ Master Plan” – the Christmas episode; the death of a companion; the one that got away…

Many people will have purchased the Lost in Time DVD collection on the strength of the three existent episodes of this story included on the disc. They do not disappoint! The newest discovery, “Day of Armageddon” is presented remastered with the option of an audio commentary from Peter Purves (Steven), Kevin Stoney (Mavic Chen) and Raymond Cusick, the designer. The visual quality of the episode (as well as that of both “Counter Plot” and “Escape Switch”) is so good that you would think it was only shot yesterday! Although I enjoyed watching these three episodes, it really is so sad to see. Such an epic, landmark story, and all that remains of it are three episodes and a narrated soundtrack (available separately on CD from the BBC Radio Collection.) Nevertheless, what we have is worth enjoying…

“Mission To The Unknown”, a single twenty-five minute episode broadcast four weeks before the first ‘official’ episode of the serial, is an episode unique in the history of the classic series – not one; not two but all the regular cast were on holiday! Moreover, despite being regarded as part of the larger “The Daleks’ Master Plan” narrative, this stand-alone episode is the only single-episode story in twenty-six seasons of Doctor Who (except for the feature-length special, “The Five Doctors,” I suppose.) Effectively a lengthy trailer for the upcoming story, this ‘Dalek Cutaway’ episode focuses exclusively on the exploits of the Space Special Security Service Agent Marc Corey (Edward de Souza) on the planet Kembel. He discovers that the Daleks are planning to unite several aggressive alien species against mankind, and although he is exterminated by the Daleks, a tape containing his findings survives, setting up the twelve-parter wonderfully… Only available today as an audio soundtrack, “Mission To The Unknown” is a curiosity that even die-hard Doctor Who fans will struggle to get excited about. It’s entertaining enough, but personally I had no real interest in the characters. In fairness though, when listened to in conjunction with the rest of the story, this little episode does do a remarkable job at slowly cranking up the tension, and at the time must have had a lot of viewers scratching their heads, looking for a resolution that wasn’t forthcoming. Moreover, if nothing else, this episode gives us a glimpse at what Nation’s spin-off Dalek series, “The Destroyers”, could have been like. Unfortunately for Terry Nation, it also gave the BBC an impression of what such a series may have been like…

As episode one proclaims, “The Nightmare Begins.” Depending on whether or not one has seen “Mission To The Unknown,” this episode is either wonderfully compelling or a bit been-there-seen-that. Much of the material from the teaser episode is rehashed, but even so this episode has a lot going for it. The Doctor, Steven, and new companion Katarina are really thrown in at the deep end – the wheels of the Daleks’ plan are already turning, and following on directly from “The Myth Makers”, Steven is badly injured and the Doctor is forced to venture out into the jungles of Kembel in search of aid. This episode also introduces a familiar face to the series, albeit in an unfamiliar guise. Nicholas Courtney makes his Doctor Who debut as Bret Vyon, another Space Special Security Service Agent. It is Courtney’s superb performance that really engaged my interest in this episode; his character is (initially) portrayed as a very unlikeable and very militant individual, someone who appears to be as much a threat to our heroes as the Daleks are.

The second episode, “Day of Armageddon,” was famously returned to the BBC archives in late 2003, and subsequently released commercially the following year for the first time as part of the Lost in Time DVD collection. After listening to the soundtracks of “Mission To The Unknown” and “The Nightmare Begins,” it was absolutely fantastic to be able to enjoy the wonderful visuals on display in this episode – beautiful shots of Daleks in the forest with pyro weapons; all the aliens in the council… even Mavic Chen himself. It’s a really enthralling episode. To those who have seen it on the DVD but don’t own the soundtrack, I cannot stress enough how much more enjoyable the episode is in context. “Day of Armageddon” may give us some wonderful visuals and some truly classic moments of television, but it isn’t until later episodes that characters like Bret Vyon and Mavic Chen (Guardian of the Solar System) are explored more fully, and moreover, it isn’t until later that things really heat up!

The loss of episode three, “Devil’s Planet,” is truly heartbreaking. Almost a completely self-contained adventure, this episode is set on Desparus (the prison planet of the ‘Solar System’ – how many planets does our Solar System have, hmm?) and contains the most shocking moment in the series to date – Katarina’s death. Like many people, I’d heard about her death long before I saw the surviving clip or heard the soundtrack, yet I was still taken aback at how well it was handled. Completely unexpected; totally understated. My only criticism would be that her death lacked a bit of weight because her character was so new. If, for example, it would have been Maureen O’Brien’s Vicki being sucked out into space I think it would have hit a lot harder, but even as it was the writers and producers have to be praised for taking such bold action. 

From the third episode onwards, “The Daleks’ Master Plan” borrows a lot from “The Chase” in terms of format and pace, but thankfully not in tone. Instead of the Daleks’ chasing the Doctor and his companions through time and space just to exterminate them, in this story they are chasing them to retrieve the Taranium Core of the Time Destructor and the whole universe is at stake. Episode four, “The Traitors,” continues the ‘chase’ format but also takes more time to dwell on characters like Mavic Chen and Bret Vyon. In this episode we witness Vyon kill a man in cold blood, outraging the Doctor, but due to some clever writing on Nation’s part Vyon still gets over with the audience. His methods may be worlds apart from the Doctor’s, but their goals are the same. It’s almost reminiscent of the relationship between the Doctor and certain Brigadier… Moreover, “The Traitors” give us a little bit of exposition, allowing the audience insight into Mavic Chen’s own private master plan. Here we also see his ruthlessness in practice as he stabs one of his ‘allies’ in the back, framing them for a crime against the Daleks.

“Counter Plot” is one of the two episodes of this serial that were found in a Mormon Church basement! It has had limited exposure in the past, having been released commercially on the BBC Video Daleks – The Early Years, but now is available on the Lost In Time DVD gloriously remastered. It’s damn good thing too, because it’s a cracking episode. Jean Marsh as Sara Kingdom is absolutely superb. She’s yet another Space Special Security Service Agent, and on initial appearances she seems like just a female version of Vyon. The trouble is, she won’t believe the Doctor, Steven and Vyon’s story, and it isn’t until she has actually killed Vyon – who we then find out is her brother! – that she realises that it is all true. This gives her character a troubled, unstable edge – something a lot of the Doctor’s early companions lack. Of course, whether Sara is a proper ‘companion’ or not is another issue entirely, and one I don’t give a shit about if the truth be known! She’s here for one story, and she’s fantastic – that’s all I care about!

Some Doctor Who fans may experience a little bit of dйjа vu watching the existing episodes of “The Daleks’ Master Plan”, particularly if they were the sort of Doctor Who fans raised on a staple diet of Jon Pertwee Dalek stories. Already in this twelve-parter, we have seen the familiar concept of a killer jungle in “The Nightmare Begins” and “Day of Armageddon,” and in this episode we are treated to another Terry Nation trademark – invisible monsters, the classic budget-saving baddies! Both the killer jungle and the invisible aliens would later be rehashed in “Planet of the Daleks” six years later, but strangely, because I’m so familiar with “Planet of the Daleks,” it is this story that feels like the rip-off, when of course it was written years beforehand!

With the beautifully titled “Coronas of the Sun,” Dennis Spooner takes over the writing duties and immediately there is a noticeable change in the serial’s style. Nation’s beginning to the story makes the Daleks’ plan crystal clear, but they do not actually do much themselves, nor is there any real interaction between the Daleks and our heroes. Spooner brings the Daleks to the forefront, giving us a battle between them and the Visians (the invisible creatures) and also a showdown outside the TARDIS with the Doctor and his companions – here there is a rare moment of brilliance for Steven, who manages to save the lives of the TARDIS crew but only at great risk to himself. The nefarious Mavic Chen is also handled well by Spooner, who really plays on Chen’s manipulation of the Daleks. In this episode Chen actually wants the Doctor to escape with the Taranium Core, just to annoy the Daleks!

The story’s seventh instalment, “The Feast of Steven,” was the first episode of Doctor Who ever to be broadcast on Christmas Day. Unlike 2005’s action-packed blockbuster, “The Christmas Invasion,” this episode is nothing more than a whimsical diversion – not a Dalek in sight! I confess, I did enjoy listening to the surviving soundtrack, not because it is good by any stretch of the imagination, but just because I found it so amusingly rubbish. I still think it is incredible that the producers decided to cut away from the biggest, most ambitious story that they’ve ever attempted and instead give the massive Christmas audience a slapstick knockdown run-around show! Out of all the episodes churned out in the sixties, without a shadow of a doubt this one has dated the most. The Doctor even famously salutes the audience from home! Yuk.

“Volcano” throws the audience right back into the action, the Daleks’ resuming their pursuit of the TARDIS back through time and Mortimus, the Meddling Monk, rears his ugly head once again. Here, the Monk is just as good as in “The Time Meddler”, if not better. Peter Butterworth works so well with Hartnell; they just have that chemistry between them, a bit like Roger Delgado and Jon Pertwee. “Golden Death” sees the Monk being forced by the Daleks to trick the Doctor, making for some hilarious television as the Monk schemes and plots – sometimes in a very sinister way, but mostly playfully. He’s actually a very likeable character – something Paul Cornell would later play on wonderfully in his superb novel, “No Future.” He’s certainly my favourite black and white Doctor Who villain!

“Escape Switch,” the last of the extant episodes, is the best of the three in my opinion. It wraps up the Monk ‘trilogy’ of episodes superbly – William Hartnell is at his absolute best, both forceful and clever, as is Kevin Stoney’s Mavic Chen, and there are also some wonderful scenes where the native Egyptians react to the Daleks. It’s hard to believe that this segment of “The Daleks’ Master Plan” is the only Doctor Who television story ever set in Egypt – what’s up with that? At the end of the episode, the Doctor actually gets his hands of a directional unit for the TARDIS and manages to steer it back to Kembel, only to be forced into handing over the core of the Time Destructor to the Daleks! 

For me, the worst part of “The Daleks’ Master Plan” is its ending. Admittedly, watching the credits roll at the end of “Escape Switch” (the last surviving episode of the serial) is a very deflating experience which doesn’t help the final two audio-only episodes. As good as the narrated soundtracks are, you cannot beat the much more visceral experience of an actual episode. “The Abandoned Planet” is a slow and drawn-out affair, and features far more exposition and political scheming than any of the other eleven episodes. To make matters worse, the Doctor is nowhere to be seen.

“Destruction of Time” is rather a grim title for an episode, and grim is what you get. Chen meets a rather predictable end, gunned down by the Daleks he strived so hard to outwit. It’s quite a shame really - even though he was so evil, part of me wanted to see him out-manoeuvre the Daleks! The Daleks then detonate the time destructor, but it is so powerful that it kills them – reducing them to microscopic embryos. The death toll mounts as Sara dies horribly, aged to death by the Dalek weapon. In the end, only the Doctor seems pleased that the Dalek menace is destroyed; Steven is far too distraught about the deaths of Katarina, Bret, Sara and so many others that he can’t bring himself be pleased, leaving us with a very downbeat ending indeed.

In all, the epic centrepiece to the 1965/1966 season is quite simply that; epic. The greatest compliment that I can pay this story is that it holds up over thirteen episodes – in forty years no other story can claim that. The sheer ambition of the story is breathtaking - several planets; ancient Egypt; Earth in the far future; spaceships; the meddling Monk; the death of two ‘companions’… it’s absolutely groundbreaking stuff, beautifully and imaginatively written by both Terry Nation and Dennis Spooner. The constant shifts of location and emphasis really help the story maintain its pace over such a long stretch, so much so that at time it feels more like The Lord of the Rings than Doctor Who! What I love so much about this story is how one can easily dip in and out of it – the plot is grounded in a relatively simple premise so that you can miss the odd episode and still follow it, and (although I doubt anyone will approach the story this way these days) if you were to watch/listen to it over thirteen weeks, the gaps in your memory are so easily filled. It’s like intergalactic Coronation Street. That said, “The Daleks’ Master Plan” is a story that works on a lot of different levels. There’s a lot of action, a lot of politics, a lot of a humour, a lot of pathos and a lot of death. Arguably, it’s the most ‘grown-up’ Doctor Who story of the Hartnell era. Sadly, there aren’t any telesnaps out there to allow any decent sort of reconstruction to be made, so it there was ever a contender for another story to be animated… there’s cash to be made, BBC!

After the Dalek-free 'The Myth Makers', the following story delivers on the promise of 'Mission to the Unknown', and does it with considerable success. 'The Daleks' Master Plan' is the series first and arguably greatest, true epic, mixing space opera with political intrigue, betrayal and even humour. Key to the success of the story is the Daleks themselves. 

If 'The Chase' showed the Daleks taking another technological step forward, but undermined this achievement by making them creatures of ridicule, then 'The Daleks' Master Plan' redresses the balance; the Daleks here are not stupid, or silly, they are a palpable threat to the entire galaxy. In 'The Chase', the Daleks made the leap to time travel, whereas here they go beyond that. Not only do they again time travel and pursue the TARDIS, but also they have built their ultimate weapon, the Time Destructor. The implication is obvious – the Daleks can conquer anything. We are constantly reminded throughout the story of just how dangerous the Daleks are, whether it is the Doctor asserting that with the Time Destructor they can conquer the entire universe, or Bret Vyon grimly making clear that the solar system is finished if they cannot stop the invasion force on Kembel. This is the first time that the Daleks feel like a threat on a galactic scale. Part of their menace lies not in their attitude towards their enemies however, but also their attitude towards their allies. The Daleks are more cunning and manipulative here than ever before; with the benefit of pre-knowledge, the viewer can easily guess that the Daleks will betray the representatives from the outer galaxies, but the shocked silence when Zephon and later Trantis are exterminated demonstrates that the Alliance members did not fully understand what they were letting themselves in for in their greed for power. Mavic Chen also serves to remind us of the true nature of the Daleks; when he discovers that the Doctor and Steven have been accidentally transmitted to Mira with the Taranium core, he is clearly on the verge of panic, knowing how they reward failure. Even before this, his conversations with Karlton let us know that he realises the danger of the game he is playing and that he does not underestimate the Daleks. Tellingly, it is only when he descends into madness in the final episodes that he loses his fear of the Daleks, which quickly results in his death. Far more convincingly than 'The Chase', 'The Daleks' Master Plan' makes it clear that there is no escape from the Daleks. When the Doctor and his friends flee Kembel in Chen's Spar, the Daleks force them to crash on Desperus from afar and send pursuit ships after them; when they escape to Earth, Chen and his co-conspirators are waiting for them; on Mira, the Daleks soon catch up with them, and when they flee in the Dalek ship the Daleks on Kembel ensnare them first by remote control of the vessel and then in a magnetic beam. Even when they escape in the TARDIS, the Daleks can follow them through time, and it is only by returning to Kembel and confronting the Daleks that the Doctor and Steven can be free of them. Even when the Daleks are defeated, the cost is high, for at various points during the Doctor's struggle to defeat them, Katarina, Bret Vyon and Sara Kingdom all pay the ultimate price. 

The length of 'The Daleks' Master Plan' is in some ways instrumental in its success. Wisely, having effectively had a build-up in the form of 'Mission to the Unknown', the story starts with incredible intensity from 'The Nightmare Begins'. During this episode, the TARDIS arrives on Kembel with the Doctor already under stress due his need to find help for Steven, who was wounded at the end of 'The Myth Makers'. Within the episode, Steven is recovered, but he, the Doctor and Katarina are separated from the TARDIS on a hostile planet infested with Daleks. Bret Vyon, whose partner has just been exterminated and who is equally stranded, joins them. Soon, they are driven out of the jungle by a fire started by the Daleks for that very purpose, the Doctor is forced into a desperate gambit to find out what the Daleks plans are and how to stop them, and this results in a relentless chase through space, as they struggle to stay alive and find a way to stop the Daleks for good. The first six episodes of 'The Daleks' Master Plan' are some of the most fraught and thrilling episodes in Doctor Who up to this point, with the Doctor under threat from the pursuing Daleks, the criminals of Desperus, Chen and his allies on Earth, and the vicious invisible Visians. Inevitably, the death of new companion Katarina in 'The Traitors' only adds to the oppressive, doom-laden feel, as indeed does the death of new friend Bret Vyon. In addition, the TARDIS remains on Kembel whilst the Doctor is in space or on other planets. Whilst he has frequently been separated from the TARDIS during the series up to this point, he has never been so isolated from his beloved ship. In '100,000 BC', 'Marco Polo', 'The Sensorites' and 'The Dalek Invasion of Earth', he was close to the TARDIS but prevented from getting in; in 'The Mutants' and 'The Web Planet', and 'The Space Museum', he had access to the TARDIS, but circumstances prevented his escape. Here, he is completely cut off from the TARDIS for the first half of the story, and this greatly emphasizes the feeling of danger for the Doctor. Wisely, after six episodes of unrelenting tension, there is a change of tone, with the out and out comedy of the much-maligned 'The Feast of Steven'. This doesn't work quite as well on audio as it probably did when first broadcast, but is nevertheless a welcome light-hearted interlude, and allows the viewer to get to know Katarina's successor Sara Kingdom without the threat of the Daleks immediately looming. The return of the Daleks in 'Volcano' reintroduces the main plot, but the tone remains lighter thanks to the welcome return of the Meddling Monk, out looking for revenge. The comic relief he provides allows episodes eight to ten to be lighter in tone that the first six episodes, without making the Daleks seem silly, as they did in 'The Chase'. Finally however, all distractions are dismissed once more, as the action returns to Kembel for 'The Abandoned Planet' and 'The Destruction of Time'. Once more, the tension of the first six episodes returns, as the Daleks' plans near completion. The revelation that the Daleks have secretly constructed an underground city without the knowledge of the Grand Alliance members again reminds us of the extent of their preparation. Ironically, it is perhaps this discovery that finally tips Chen over the edge; his megalomania is at its peak when he believes that he has been made leader of the council in episode eleven, and the resulting crushing humiliation when he discovers that the Daleks have locked him in the council chamber with the others undoubtedly takes its toll on his questionable sanity, but it is not until he discovers the hidden city and thus realises that the Daleks have been using him all along that he finally snaps, believing that the Daleks will obey him and seemingly oblivious to his own mortality. And it is also this which allows the Daleks to be finally defeated, since the distraction provided by Chen gives the Doctor his chance to seize the Time Destructor and activate it. The sound of the activated weapon provides an ominous backdrop to the final scenes, as the Doctor and his companions struggle to reach the TARDIS, with Sara aging to death in the attempt. After the epic scale of the story as a whole, the climax does not fail to disappoint, as the Daleks succumb to the effects of their own weapon and are destroyed, along with the hostile jungles of Kembel. 

The Daleks are not the only success of 'The Daleks' Master Plan'; Mavic Chen is arguably one of the best villains of the era. Part of his success is due to the fact that he is not just a stock megalomaniac; he wants power yes, but he also has flaws and fears. As noted above, he is terrified when he realises that the fugitives and the Taranium have escaped him on Earth, and it is Karlton who shows him how to turn the situation to his advantage. In addition, whilst he is clearly after power, he wants it on his terms; he doesn't want the Daleks to conquer the galaxy, he wants to use the Time Destructor so that he can conquer the galaxy. Kevin Stoney is superb in the role and gives Chen a commanding presence throughout. This presence is enhanced by Chen's appearance in the two surviving episodes, since he is portrayed as a strange mixture of ethnic groups, which distinguishes him from the other human characters we see in the story. Interestingly, whilst he is an impressive and commanding villain, he is perhaps not the mastermind that he thinks he is; there are hints in episodes four and five that Karlton is in some ways the power behind the throne, though Chen does not realize it, and when confronted by the Dalek Supreme on at least two occasions, he loses his calm and starts shouting in near-panic. And of course, ultimately, when he realises that he has been out-maneuvered by the Daleks all-along, his descent into madness and death is swift. Compare this with, for example, Tegana, who remained stoic and focused throughout 'Marco Polo', even when his plans went wrong, and who ultimately faced death with dignity. For all that I like Tegana, the flawed Chen is the more interesting character. Of course, characterisation is nothing if the acting is not up to scratch, and Stoney is one of the great successes of 'The Daleks' Master Plan'. 

I've noted previously that watching the series in order has given me a perspective on stories that I haven't quite had before, and just as I wished that I didn't have foreknowledge about the episode three cliff-hanger to 'The Time Meddler', whilst watching 'The Daleks' Master Plan' I wished that I hadn't known that the Monk would turn up in 'Volcano'. I think he's a great character, and Peter Butterworth reprises his role to great effect here. The fact that the Monk's creator Dennis Spooner had pretty much taken over the writing chores from Terry Nation by this point undoubtedly enhances the success of his return, as the Monk becomes the first individual (as opposed to the Daleks) recurring Doctor Who villain. The Monk's air of childish glee on Tigus immediately recaptures the spirit of 'The Time Meddler', but what seems initially like it is going to be a reprise of the battle of wits between the Monk and the Doctor becomes something else due to the intervention of the Daleks. The Monk's reaction to the Daleks is priceless, and his constant attempted small shifts of allegiance from the Daleks and Chen to the Doctor to Steven and Sara as he tries to stay alive and make good his escape in light of unexpected complications makes the episodes in which he appears hugely entertaining. After the various time travelers finally leave ancient Egypt, Steven announces that he hopes the Monk escapes the Daleks and will be all right, and this pretty much sums up the viewer's attitude too. Even the Doctor seems to have a soft spot for him and it is a shame that Butterworth never reprised his role again. 

The regulars are at their best in 'The Daleks' Master Plan', with Hartnell on particularly fine form. The Doctor is particularly superb when he confronts the Daleks in episode twelve, holding the Time Destructor and clearly determined to end their threat, whatever the cost to himself, but he has many other wonderful moments. He is his usual cantankerous self on several occasions, especially when dealing with Bret, whose first concern is the safety of Earth rather than the safety of the Doctor's companions. He shows icy contempt when dealing with Chen, and exasperation when dealing with the Monk. Whatever the Doctor's mood, Hartnell never falters. He again gets to do comedy during 'The Feast of Steven' and when dealing with the Monk, but also excels at pathos after first Katarina and then Sara dies. And he gets one of my favourite first Doctor lines when he tells the police inspector, "I am a citizen of the universe, and a gentleman to boot!" Peter Purves again excels, proving that Steven really is one of the most underrated Doctor Who companions. One of the things that I like about Steven is that his character develops believably as his time with the Doctor continues. In 'The Chase', despite his long imprisonment by the Mechanoids, he is a fairly happy go lucky character and this attitude continues during 'The Time Meddler'. During 'Galaxy Four', he seems more jaded, as he is confronted with Maaga's callousness. After his wounding in 'The Myth Makers', he becomes attached to Katarina, who tends him whilst he is sick, and her death I think brings home to him the dangers of traveling with the Doctor, which Bret's and Sara's deaths only emphasize. My impression of Steven is that he looks for the good in people and forms friendships quickly and easily. Whereas the Doctor can look at the bigger picture, Steven is more affected by individual death, and by the end of 'The Daleks' Master Plan' he is, quite understandably, much more serious and less happy-go-lucky than he was in 'The Chase'. Katarina, only recently introduced, is killed off here, which doesn't allow for much character-development. This is a shame, since her wonder at the TARDIS and everything else she sees is rather endearing and is a refreshing contrast with the more assured Vicki. I can see why keeping Katarina on as a regular companion would have been difficult for the writers, but it would have been nice to see her last a bit longer. Her struggle to understand what is going on around her seems to bring out the Doctor's gentler side, and her death, whilst premature, is at least well handled, as she sacrifices herself to save her friends and let them help the people of Earth. Sara Kingdom is a very different character entirely, and is far more aggressive and capable than any other female companion seen thus far in Doctor Who. It is interesting that almost the first thing she does is kill her brother whilst obeying orders, which is not a common way for a companion to join the Doctor. After she realises her mistake and joins the Doctor and Steven, she quickly comes to respect the Doctor and shifts her loyalty from the treacherous Chen to the old man. For the rest of the story, she seethes with the desire to see Chen suffer for his betrayal of Earth and to see the Daleks defeated, and it is this commitment that results in her death, as she leaves Steven to return to the TARDIS and turns back to help the Doctor with the Time Destructor, despite his instructions for her to get to safety. This summarizes her relationship with him perfectly; she likes and respects him, but will let nothing and nobody stand in the way of justice. It is important to note that she is motivated by justice and not revenge, since she gets the opportunity to kill Chen in episode eleven, but allows him to leave on the condition that he goes to warn Earth of the Daleks' invasion plans. Whilst her shooting down of her brother without question is disturbing, it arises from loyalty to what she believes is right, rather than her being a gun-toting psychopath. 'The Feast of Steven', as well as being light relief from the main story, allows us to see Sara in a more humorous context, as she deals with the policemen and then various Hollywood production crewmembers. In these circumstances, she is as much out of her depth as Katarina was up until her death, and she reacts with bafflement, but not anger. Later, as the TARDIS makes numerous brief stops whilst being chased by the Monk, she almost gets caught up in the wonder of seeing new times and places, before the shadow of the Daleks falls once more. The final scene of 'The Feast of Steven' in the TARDIS, as the Doctor serves wine and toasts the viewer is often criticized for breaking the fourth wall, but it offers us the only real chance we get to see this short lived TARDIS crew relaxing and enjoying a brief respite from danger. 

There are many other things that make 'The Daleks' Master Plan' a classic. Based on surviving photographs and the two surviving episodes, Douglas Camfield's direction, and also the set-design and costumes are all first class. Mira is a far more convincing jungle set than Mechanus was, and the Egyptian sets are easily a match for those of any of the pure historicals. The future society from which Chen, Sara and Bret hail is well realized, thanks in part to the sets, which could so easily have been generic minimalist corridors of the future. Another strength of the story is the subtle use of minor characters to convey information, for example Lizan and Roald, who introduce us to the concept of the Guardian of the Solar System. Another good example is the cricket commentators; rather than seeing the next TARDIS landing in a chain of several from the Doctor, Steven and Sara's point of view, we get to see their brief landing from the perspective of, in effect, casual bystanders. This is a novel idea and one that has not been used before in the series. Every minor character shines, from the brutal inmates of Desperus to the ancient Egyptians who refuse to be cowed by the threat of the Daleks and are determined to guard their Pharaoh's tomb regardless of the obvious danger. Overall, 'The Daleks' Master Plan' is one of the greatest Doctor Who stories of the era, and one of the best Dalek stories ever. Whilst the missing ten episodes are a great loss, we can at least be grateful for the fact that it works surprisingly well on audio.

It's said every fan can remember when they first found out huge chunks of Doctor Who didn't exist any more. Personally, I can't. But I can remember one precise moment when this came home brutally. I was hungrily lapping up the reviews in The Discontinuity Guide when I came across the exultant review for 'The Massacre'.

Considering we're talking about four episodes of an old TV show, I don't think I've ever been as frustrated, angry and upset as that by the myriad injustices ranged at me through various hobbies [Fulham's continuing inability to play football; Marvel nixing plans to continue Transformers after the US material ran out; Todd McFarlane stopping Miracleman; Luca Badoer's gearbox at the Nurburgring]. This thing sounded like an absolute masterpiece. And I was never going to see it.

I've still never really seen it, but thanks to the Loose Cannon recon, I've come as close as anyone has since it was last transmitted.

Before getting this tape, I had to temper my excitement to avoid disappointment. Historicals have never really been my favourite of 'Who's many little sub-genres. 'The Aztecs' and 'The Gunfighters' are both well-produced, well-made, slick, and don't drag too much, but there's just something inherently mediocre about them. 'The Romans' had proved an exception to the rule, mainly through a hilarious Dennis Spooner script and some superb comic playing. Most of the historic novelisations I'd read had verged on ordeals [the exception being Donald Cotton's brace]. And 'The Massacre' was likely to be like 'The Aztecs', a po-faced 'straight' script populated by theatricality. Add into this that the Doctor only really appears to book-end the story, and I'd talked myself out of expecting a classic.

And 'The Massacre' is deadly serious. But it's drama of the best kind. Utter conviction permeates the whole thing. Even as a reconstruction, the doom-laden atmosphere is phenomenal. To be frank, I count my previous ignorance of the historical events in the story as a plus. I did pick up on the inevitability of the events, feeling the downwards spiral in a way I only have watching 'Caves of Androzani' and the final episode of Blake's 7. There's a touch of the Gwyneth Paltrows to Nicholas Muss [to explain, this comes from the actress' character in David Fincher's Seven, where she's so nice compared to what surrounds her you know she's not going to make it] which signposts his tragic fate early on, but this doesn't damage the inexorable machinations. Just as in 'Androzani' or 'Blake', you find yourself hoping against hope that something's going to change the end result, while knowing that it won't.

One thing that is very interesting is Hartnell's double role as both the Doctor and the Abbott of Amboise. While he doesn't perform totally differently as some sources have it, this actually works as a strength. While he tones down the first Doctor's distinctive mannerisms such as the 'hmms', and gets his lines right, there are a few moments when the Abbott seems to be making it up on the spot, and his blundering could be the Doctor hindering injustice. These, allayed with Steven's confusion, keep the viewer guessing that vital bit longer. Along with the first regeneration, the Abbott's death is a moment I'd have loved to have seen as it was broadcast. Still, knowing that Hartnell would last another six stories doesn't diminish the effect, as Steven's reaction is enough to keep anyone watching interested.

Steven is really the star of this story, and Peter Purves rises to the occasion marvellously. It's difficult to judge Steven considering so few episodes of his survive, but it's fair, I think, to generally cast him as a solid but unspectacular standard male companion, largely a knock-off of Ian in the early days before he got used to it all. However, given a meaty script Purves really delivers - the viewer can empathise fully as he seems abandoned by the Doctor, then feel his frustration and desperation as the Abbott's freak similarity to the Doctor ostracizes him from Nicholas, seemingly his only friend.

Especially worthy of praise is Steven's rage at the Doctor inside the TARDIS, and the Doctor's melancholy soliliquoy after Steven storms out. This is the first time since the early days of Season 1 that he's really been held to account by one of his companions, a theme that would be revisited many times, most notably with Tegan's departure in 'Resurrection of the Daleks', as well as many a New Adventure. Somehow, though, it's all the more powerful when aimed at this frail old man who just wanders through time, doing his best to help where he can. It was clearly not a callous decision on his part to leave Anne, and he seems tired of the responsibilities his lifestyle has brought with it.

The guest cast is one of the best assembled in the series' history. David Weston is wonderful as Nicholas Muss, instinctively wanting to trust Steven, but paranoid due to the heightened political atmosphere, and pressured by Gaston. Gaston himself is wonderfully blustering and belligerent, with Eric Thompson lending a marvellous intensity to the role. Leonard Sachs lends the role of the 'Sea Beggar' Admiral de Coligny huge dignity and gravitas, making him truly sympathetic, willing to ignore his pride for the Dutch Huguenots. While the bizarre choice of accent as serving girl Anne Chaplette is a distraction early on, you soon get caught up in a strong performance from the young actress, who again gets across the urgency and foreboding of the script. Erik Chitty gives a sweet little performance as Charles Preslin, with the scene where the Doctor tells him he was right all along, is a little ray of hope amongst the gloom. Andre Morell is astonishingly callous as Marshall Tavannes, plotting away with ruthless precision, but the show is stolen by Joan Young as Catherine de Medici, the vindictive Queen Mother. While it was doubtless lent to me by the reconstruction's use of still images, I like to think that Young was largely stationary when delivering her lines in that breathtakingly stoic, detached fashion, which lends a huge edge to the horrors she is perpetrating. The best thing about 'The Massacre' is everyone plays it seriously, and nobody thinks they're Laurence Olivier [I'm looking at you, John Ringham!].

The one thing I wasn't taken with was the arrival of Dodo. While the scene itself is a good idea, snapping the Doctor out of his misery and providing a [rather contrived] happy ending, the playing of it is dreadful. Dodo just blunders in and decides she's alright with flying off with two strange men in a police box - which is just as well, as the Doctor's whisked her off anyway. On top of this, I was downright horrified by Jackie Lane's performance, considering she's not too bad in 'The Gunfighters' or 'The War Machines'. Perhaps inspired by the Carole Ann Ford similarity, Lane acts like an attention-seeking 10-year old in a school play. And if that's her genuine accent, the poor woman has my sympathy. Still, it's a coda, and it doesn't effect my enjoyment of the story any more than Nyssa's silly fall spoils 'Four to Doomsday' or the trailer for 'Boom Town' scuppers 'The Doctor Dances'.

The script is marvellous [have you noticed how many Doctor Who scripts that have some production strife or other are really great? 'City of Death', 'Horror of Fang Rock', 'Pyramids of Mars' etc.], full of scenes that range from the uplifting to the chilling, weighed towards the latter. The attemted assassination of de Coligny is a wonderful tense scene as Steven and Nicholas attempt to intervene, while the realisation of the massacre itself is worthy of the highest praise. It's more powerful than if we saw de Coligny, Nicholas et al killed off one by one as the true scale of the atrocity can be seen and felt, capturing a sense of these fully rounded characters just being a few amongst so many deaths.

Loose Cannon's reconstruction work is simply marvellous considering the scant material available. Only a few composites can be told from the genuine stills, and they must be thanked for bringing this masterpiece to us.

And a masterpiece it is. When you consider as a reconstruction it tallies with the Discontinuity Guide's verdict of "Not only the best historical, but the best Hartnell, and... arguably the best Doctor Who story ever", if the actual episodes ever turn up, it would be considered Doctor Who of the very highest quality.