I must admit first off that it has been a considerable time since I sat down and watched this all the way through, so this review is based purely on memory. What I drew from this story the first time I saw it (about 5 years ago), and continue to find it dripping with (last time I saw it, 8 months ago), are allegorical references to the Cold War: two warrior races locked in a war lasting thousands of years (I believe, memory is sketchy) without a shot being fired.

The fact that Daleks are referred to as robots and logical may strike many as wrong, but think of the allegory for a moment. Both the Daleks (USSR, no offense to any russians, just the way it came across to me) and Movellans (US) entered the war on ideological/emotional/whatever grounds and then became stuck in the logic of MAD (Mutually Assured Destruction: one side attacks, the other retaliates, both are wiped out). Waiting around for the moment of maximum advantage, a moment that will never come, is very reminiscent of 1979-80. By then the Cold War had dragged on decades without the actual war being fought, as both sides were in an arms race waiting for the moment where they could attack, and not be destroyed in the process. When Davros referred to the Movellans as "another race of robots," he seems almost mystified that both sides could become trapped in the logic of MAD, robotic slaves to wartime logic.

As for Davros himself, I feel that the portrayal of him is excellent, given the fact he has been sitting around on his own for eons. The last time we saw him he had run into the Doctor who provided, for once, some stimulating conversation, then his Daleks betrayed him and he was trapped for however long and the Doctor finds him. He may not be dripping with evil, but he seems glad of the company, while still remaining evil. Later on, in Resurrection-Remembrance, he has been out of his hole in the ground a while, but here in Destiny he has been freshly awoken. 

Destiny may not be as dark as Genesis, but it is worth keeping in mind that, though a war is (not) being fought in the skies above, on the ground the Daleks and Movellans are stuck in the Logic of MAD, and as such do not want to kick-start the war (until Davros starts manipulating things). The idea that, at any moment, an action by either side could start one of the greatest wars in history creates a great deal of tension, which is sadly the downside of this story. That tension, the logic of MAD, Davros' weak showing, all of these are only apparent if you use your imagination to make them so; the script does not do a good job of supporting these ideas, other than a casual reference here and there. 

Overall, I feel this was a well done story that is only let down by the lack of explanation. Fortunately, this does not detract: you can make up your own explanations for missing expositions, you can't explain away obvious faults (as in some other stories). As the next story after the superb Genesis, I feel this story has been hugely underrated over the years as its faults are minimal, and the allegorical reference to the Cold War (though it could have been better) was well done, coming as it did after the Nazi references in Genesis.

Adric’s rubbish isn’t he? Totally rubbish. What did the production team think they were doing when they cast an inexperienced Doctor Who fan as one of the male leads in one of its longest running television programmes? Thank goodness they got rid of him in the end. Except in the last few seconds of Earthshock you won’t be thanking anyone. Part of you will be hoping against hope that this time the dying Cyberman isn’t going to blast the control panel and condemn Adric and the spaceship to a messy dinosaur exterminating end. Why? Because Adric’s death touches us all.

Episode one of Earthshock is, for me, Doctor Who at its best. It’s got some lovely character moments for the Tardis gang; crew doesn’t really describe those four does it? More of a mob (funny how the fifth Doctor’s Tardis seems crowded with four where the First Doctors never did). Including a reference to the previous story in the shape of the ‘Black Orchid’ book (a reference that I really enjoy for some reason). Nyssa and Tegan ‘handling’ the Doctor and Adric is lovely to watch and Davison and Waterhouse perform a couple of great character scenes with style.

The game, meantime, is afoot with a bunch of jump suited pot-holers getting turned into bubble and squeak by something nasty in the darkness! It’s tense, it’s convincing, it’s cheap and it looks great. Naturally it isn’t long before Blue Box Army get blamed for the murders and the Rastan Warrior Robot’s less anatomically correct cousins show up. Then the killer as, in what was at the time a complete surprise, the Cybermen turn up for the first time in eight years. JNT did well to turn down a Radio Times cover, such a surprise would be impossible today. Just like the Master’s anagrams. Episode one of Earthshock is damn near perfect Who.

So what about the rest of the story? The plot itself is simple but so well delivered that it doesn’t matter at all. Sawards script ties in some continuity but not enough to weigh the serial down. Malcolm Clarke’s music, with the exception of the Cybertheme, is a little pedestrian. There is a guest appearance from the boom mike in episode four and an hilarious Cyberslip as the villains negotiate some tricky stairs. Peter Grimwade’s direction is tight as usual. The guest artists are fine though James Warwick is excellent and Beryl Reid, though fine, is an undeniably odd choice to play a starship captain. Of the guests David Banks excels as he delivers a towering performance as chief baddie. His Cyberleader behaves in ways we do not expect a cyberman to. He is without mercy but far from without emotion. His penchant for gloating leads to some great exchanges with the Doctor. He is sadistic, forcing Tegan to watch the destruction of her world. His thirst for revenge upon the Earth and the Doctor is palpable. The words are Saward's but the performance is Banks. He is magnificent. The moment he struts onto the bridge he moves and behaves like a leader. I’m reminded of David Prowse in thinking how stunning it is when people act through that much costume. Many have speculated that this emotional Cyberleader is a mistake, a goof, an item of discontinuity. I say rubbish. I’m sure we can, between us, come up with a reason why Cyberleaders display some types of emotion. Whatever it takes don’t take my vengeful, spiteful Cyberleader away.

We round off this little excursion with a massacre which starts on the spaceship and concludes with the death of the Doctors youngest companion. Selfish, greedy, childish Adric fragged in the stratosphere of a planet he only visited three times but decided to settle on! Does it hurt? Of course it does, it’s the Doctors greatest failure. The twenty-sixth century Earth is only saved by accident and Adric, well. He doesn’t put up much of a fight does he? Adric's death is touching but more than that it’s essential. Every time the sixth, eighth, seventh, ninth or tenth Doctors companion is in trouble I will see in his eyes Adric twisting his brothers belt in his hands. Never again. So join me in thanking Matthew Waterhouse, John Nathan Turner and Eric Saward for that little bit of pain and that extra bit of depth of the Doctors character that is Earthshock.

Thank you.

Never have so many people worked so hard to create so little as they have in Terminus. This story from the 20th season is certainly on of the most uneven stories of the Peter Davison era which excels on some points and dies badly on others.

I've gotten used to the occasional padding to fill the story and sometimes have enjoyed it. Smarter authors will fill the padding with bits of back story or character scenes but Steve Gallagher fails to come up with anything interesting or original to keep the story moving. In a story that has a full TARDIS crew, the Doctor, Nyssa, Tegan and Turlough, plus two pirates, Kari and Olvir, and various guards, prisoners and the Black Guardian it should be a whirl wind adventure but it completely falls flat after the first ten minutes of the first episode. The Black Guardian has forced Turlough to damage the TARDIS and it crash lands on a ship just as it is being hit by raiders. The TARDIS crew is separated and have face various dangers. This is a real explosive start but then absolutely nothing happens until the third episode. It's just a bunch of one dimensional characters going through a predictable routine that doesn't add much to the story.

The raiding party is dressed with comical helmets, capes, and skin tight jump suits that make them look more like they are from a futuristic telling of "Babes In Toyland" and fails to give them any credibility. Olvir, who claims to have combat training, panics and hides in a corner after their first violent encounter. Later he barely manages to handle a worn and battered Valgard and still completely misses the Garn taking off with Nyssa just a few feet behind him. The character is so badly written I couldn't help but wonder if it was originally supposed to be Adric in the story but hastily rewritten and readjusted to fit a different character.

As a stark contrast from the look of the raiding party the Vanir, guards on Terminus, are amazingly catching in their styles. The skeletal like armour makes and odd clicking sound as they move and their masks give them a powerful presence when they enter the scenes.

Another odd pair of characters added after a few episodes are the Garm and Bor. The Garm is a huge creature with a dog like head and glowing eyes that has been forced to serve the Vanir. Unfortunately it only looks good but when it talks you can sadly see the thin veil meant to cover it's mouth and the face of the operator inside. Less would have been more with this character. On the other hand Bor is more of the average guy type character who just wants to stay loyal to his job and has paid for it with pain and suffering from radiation sickness. He's the most interesting character brought in during the story and gets all the best lines. "Am I dead?" he asks. "No? Well, good, cause I was hoping for something better on the other side."

Nyssa gets the worst writing of all the companions in this story. She's gone from an experienced space traveller with a high IQ to someone who, when hearing footsteps approach, cowers into a little ball and hopes for the best. Then she spends two episode screaming in fear and getting stripped down to her undies but manages to come back in the final episode as a genius scientist who is willing to brave out the rest of Terminus and stop the plague.

Tegan and Turlough go no where in this story. All they have to do is spend time together and scowl at each other to get them to do anything. There is so much that could have been done with the Black Guardian haunting Turlough in this story it's sad they way both of them are turned to one dimensional roles.

One of the strengths of this story, and there are very few of them, is the design of the ships and Terminus. That skull symbols on the doors are very powerful and give an uncomfortable feeling to the location. There is also enough dressing and changes in set dressing that you never get the "we've been down this corridor before" feeling.

So why was this story done? Apparently the idea had been rejected two years earlier but accepted for the anniversary season. As part two of the second Black Guardian trilogy the story fails to advance the Black Guardian plot in any way. The structure of a trilogy leads to the second act being a big cliffhanger but there is no advancement to the umbrella story here. The best bet is to just skip the story between the classic Mawdryn Undead and the creative Enlightenment and just make it Black Guardian two parter.

'Warriors of the Deep' is one of Peter Davison's more maligned Doctor Who stories. The opener for his final season featured the return of two related sets of 1970s Pertwee villains - the erroneously named Silurians, and the so-called Sea Devils. This was probably something of a counterpoint to fan criticism of Season 20, which had a rather low monster count.

Like several stories of this era, there are a few problems with 'Warriors' from a continuity point of view, and like those others, it's surprising that the production team seem so vested in continuity, but so prone to errors. These would be a little more permissible if adhering to previous stories was detrimental to the script... However, in this case the Silurians know themselves by this incorrect name [they would seem to date from the Eocene era] and the Sea Devils call themselves by the nickname given to them by a mad sailor in their eponymous debut serial. This is rather irritating, and could probably have been written around - perhaps an explanation along the lines of both names being inaccurate, but commonly used due to declassified UNIT documents or something? Whether you buy that or not, the creatures certainly shouldn't refer to themselves by these names.

One continuity problem I don't particularly see is the assumption that Icthar is the scientist from Season 7's 'The Silurians'. As if the fact he sounds and looks totally different isn't enough, there's nothing explicit to say he is. There's nothing to say the third or fourth Doctors hadn't had an encounter with the 'Silurians' off-screen, and met Icthar then. Right from the start, Doctor Who features references to adventures not seen in the show - 'The Invasion', 'The Face of Evil', 'Timelash' and 'Battlefield' feature explicit use of adventures not seen on screen. So really I see no problem with the idea of a "Missing Adventure" featuring, a 'Silurian' triad containing Icthar and the third or fourth Doctors. Aside from these minor aberrations, which are really more a concern for fans watching as a part of a larger continuity, there's only one other problem with Johnny Byrne's script. It really was a little optimistic to imagine the realisation of the Myrka coming off, but more of that in a bit. Aside from this, the script is wonderful. The Seabase crew are all nicely defined characters, Icthar is both sympathetic and hard-headed at the same time, and the Doctor is frankly superb. The plot's nicely done, and though the Hexachromite gas is something of a plot device, it's nicely used - it's not as simple as just using this weapon, there are lots of moral issues involved.

The cast are splendid. Davison's performance through Season 21 was superb - it wasn't really bad for his first two series, but he finds an extra gear for his swansong year. He's on top form out of the box here, desperately trying to mediate between the 'Silurians' and the humans until the very last minute, really transmitting the emotion and urgency of the script, and I don't think there's been a more fitting final scene to a story than the Doctor, looking at all the dead bodies on the Seabase bridge. "There should have been another way." And Davison nails it perfectly. For the other regulars, well, Tegan and Turlough don't get the best of the script. Turlough for one is effectively another member of the Seabase crew, though Strickson's still hugely watchable. Tegan more sort of gets in the way, though Janet Fielding makes the best of a bad deal - something both characters had to be content with too often. The guest cast are generally terrific, with Tom Adams excelling as Vorshak and Ian McCulloch compelling as Nilson, while Norman Comer gets a respectable amount of nuances though the 'Silurian' costume. Only Ingrid Pitt, predictably wooden as Dr. Solow, and Nitza Saul as Karina really let it down.

The biggest problem, however, is the direction. While the Myrka is a pathetic monster [never moreso than when knocking over a set of obviously foam doors], most of the story's problems come from Pennant Roberts. I remember him doing an interview in Doctor Who Magazine where he blamed everyone under the sun for the serial's shortcomings - perhaps he should have looked a bit closer to home. The set design for the Seabase is more than adequate, insofar as the series' budget could ever hope to capture the look of an expensive military facility, while the redesigned costumes for both sets of monsters are pretty decent - it strikes me as rather hypocritical that some fans can accept Cybermen who don't have balaclavas as being an improvement, and yet giving the 'Silurians'/'Sea Devils' laser-proof armour that prevents the Seabase crew from just gunning them down is terrible. The Seabase crew's costumes are also respectable, though the mass amounts of eyeshade could have been safely omitted. However, Roberts inexplicably decided to shoot everything inside the Seabase in a million-watt light. The Seabase should have been dank and claustrophobic - not necessarily some rundown armpit of the world, but certainly not like something out of a music video. This exacerbates the problems of the Myrka - shot in shadows, it's shortcomings needn't have been half as obvious. Roberts was also responsible for the casting of Pitt [in the original script, the character was male], and really should have realised how utterly ludicrous Solow attempting to drop-kick the Myrka would look. In other places, his direction is simply tepid.

Overall, I do rather like this story. Overambition isn't the worst fault in a script, and a good story can shine through something like the Myrka. Combined with Davison, this ensures the pace keeps up, and 'Warriors of the Deep' certainly can't be described as boring. Despite myriad other failings, Roberts does imbue a decent amount of suspense - some of the missile runs are nail-biting, while the Doctor's stance, not taking the side of the humans, but that of peace, does keep the viewer guessing as to the precise outcome.

Certainly not recommended to fans who don't like Davison, and a little too unintentionally comical to consider showing to non-fan friends, but forewarned of the sheer awfulness of the Myrka, this is basically a rewarding story, with some superb scenes and machinations going on to distract from the shortcomings. Even the brightness of the base doesn't seem as bad once you're immersed in the storyline. "Warriors of the Deep" holds in common with several underrated Who stories, in that a few negative elements have been allowed to mask many good points for far too long.

This is the first time I've felt completely undecided over the critical success of a film / television production. Whilst far from perfect, this opening episode is a quirky romp that reenergizes a previously-waning series. The seemingly relentless 45-minute format is welcome, although this suggests little consideration for character development in the near-future.

Christopher Eccleston provides what may transpire to be the most intense Doctor, although he plays second-fiddle to Billie Piper’s unexpectedly well-acted Rose – who effectively ‘saves the day’. The superficial Auton plot succeeds in introducing the protagonists, although the situations and scenarios are somewhat so-so. Camille Coduri and Noel Clarke’s respective acting leaves much to be desired. Mark Benton’s Clive and the whoisdoctorwho.co.uk site could be deemed cringe-worthy – was this aspect necessary? Likewise, some of the more self-demeaning moments: Auton Mickey’s ‘double take’ and the Auton wheelie-bin’s belch. 

The opening and closing theme is excellent homage to the Delia Derbyshire/Ron Grainer original, although Murray Gold’s incidental music is all wrong. Additionally, Russell T. Davies’ dialogue requires strengthening, although there are admittedly some chirpy one-liners. Keith Boak’s direction does the job. 

Overall, this entry radiates an underlying ‘getting on with it’ attitude, with which it succeeds, unlike the contrasting Doctor Who (1996) tele-movie – which introduced the new Doctor at about the half-way point. This new Doctor's simplistic and less dandified choice of attire emphasizes this new cutting-to-the-chase approach. The Autons are never referred to by name, suggesting that references to the past will be minimized and used only where necessary – these stories will stand on their own. The new Doctor shows promise, although Billie Piper may well threaten to upstage him [again?]. Bottom-line: he’s back…, and it’s certainly about time! – just take it lightheartedly and not too seriously.

You can see a clear progression with Eric Saward's Doctor Who work. 'The Visitation' is a nice, textbook straightforward romp. 'Earthshock' is an action movie-type story, with a fairly easy to follow plot for the most part until it all goes a bit mad at the end. 'Resurrection of the Daleks' was a slickly-directed collection of set pieces linked by a somewhat schizophrenic narrative. And 'Attack of the Cybermen' is a mess of indistinct plotlines, continuity references and two-dimensional cyphers. And yes, it is a Saward script. If Paula Moore did have any input, Saward script-edited this one to the extent that it's very much his story.

When dull Hinchcliffe fans bleat on about how dependant the JNT era was on past continuity, they often don't really have much of a case. Generally, the references were harmless. It's fandabbydozy if, say, you can name which stories the clip reel in 'Mawdryn Undead' references, but if it's about all you've seen it doesn't overpower the plot. However, 'Attack of the Cybermen' is something of an exception. To full appreciate what's going on, you could do with knowing that Mondas was destroyed in 'The Tenth Planet', that the Doctor thought the Cybercontroller dead from 'Tomb of the Cybermen', that there are Cybermen in the sewers most likely left over from 'The Invasion', and that Lytton was in 'Resurrection of the Daleks'. And that's not to mention the references like 76 Totter's Lane...

But the biggest problem 'Attack of the Cybermen' has is it's horribly dull. The thing takes until nearly the end of the first episode before it threatens to really get going. Until then, we have to put up with Lytton and his bunch of Sweeney rejects bumbling around, and the Doctor and Peri mucking around looking for a distress signal. The running joke of the 'fixed' chameleon circuit is amusing for about nine seconds of its' first appearance, while the references in the score to Steptoe and Son and Phantom of the Opera are cring-inducing. Colin Baker, having been hammy and fun in 'The Twin Dilemma', is hammy and irritating early on, having to deal with the clunky mood-swings in the script - notable the dreadful "Unstable?!?" moment. He settles down a bit later on, though the script lets him down, notably the overwrought scenes with Vlast and when he orders the shooting of Russell. I always got the impression that the violent overtones of Season 22 were not so much Saward's attempts to subvert the gentle fifth Doctor, but in fact his belief of how the character should be, turning the Doctor into some sort of revenge figure.

Still, Colin does well from the script compared to poor Nicola Bryant. While I don't think she's as bad an actress as is sometimes made out, she certainly can't save bad scenes. She also suffered from a part that was heavily underwritten. Here, Peri's largely superfluous, simply nagging and whinging at the Doctor for the most part.

Saward is far more concerned with Lytton. While Maurice Colbourne gives an efficient performance, the character's scripting is odd. We have the Doctor's moral quandry about misjudging Lytton [who he never met in 'Resurrection, but still...], but the character does very little to show he's any different than he was - remember, the Cryons are paying him to help them. Colbourne is never quite able to imbue the character with any more depth than that of a well-spoken heavy.

However, Lytton does better than most of the guest cast. Brian Glover's much-praised performance as Griffiths isn't actually all that much cop, the character being a standard slightly-squeamish henchman. Terry Molloy is similarly bland as Russell. The idea of getting Michael Kilgariff to reprise his role as the Cybercontroller is inexplicably bad seeing as the role basically entails being quite tall, wearing a costume and shouting a bit. That he's fat seventeen years on hardly helps the menace factor. David Banks does fairly well as the overshadowed Cyberleader, but the Cryons are a faceless bunch, not helped by silly costumes and cod-alien dialogue. But by far the worst element are Stratton and Bates.

It doesn't help that they're in the most superfluous of many pointless subplots which Eric seems to have crammed into the story for no readily apparent reason. We're subjected to these two idiots legging it from a work party, indulging in disguise japes, meeting up with Griffiths and Lytton and then being sharply killed off. Of course, the alleged characterisation hardly breathes life into this strand of the story. Stratton is shouty, Bates is a bit wet. Eat your heart out Bob Holmes. What really seals it is that the chap playing Stratton [he doesn't deserve me actually checking to see who played him] gives what's probably the worst performance in the series' history. That's a history that includes turns from Christopher Robbie, Dolores Grey, Leee John, Rick James, andJon Pertwee in the second half of Season 9. The chap seems to have decided to simply shout his lines at poor Batesy at all times in the hope this will work. It doesn't, and the result is excruciating.

By the second episode the plot is ludicrously contrived. We have the Cybermen planning to blow up Earth using a comet to save Mondas, but to help their cunning plan they lock up the Doctor in a room stacked with explosives, not even bothering to remove his sonic lance first. It must be some sort of Cyberarrogance programming, as they don't bother taking Lytton's knife off him later either.

But then this is the worst bunch of Cybermen we've ever had. Worst than the chaps with the balaclavas and silly voices in 'The Tenth Planet', and worst than the Monty Python and the Holy Grail-inspired squad that spend most of 'Silver Nemesis' running away from a bow and arrow. Cybernetic monsters from the future aren't very scary when ninth-rate London hoods and labourers take then out with pistols and spades. I smoke twenty cigarettes a day and eat junkfood constantly, but I'd quite fancy myself in a fight against an 'Attack' Cyberman.

It's all based on coincidences and large lapses of logic. It's stupid and boring. Thankfully, it was to be the rough nadir of the show in the 1980s, and very gradually the show would bounce back. Thank God.