When I first saw this, in 1986, I thought it was pretty naff. I was eighteen at the time and trying to wean myself off doctor who, and it didn't help that my elder brother, a non dw fan, kept laughing at the programme. I suppose from a non fan's point of view, Drathro did look pretty lame, the scene where the green food drops on Balazah's face fairly cringe-worthy and the tribe of the free just a kiddies version of the Sevateem.

It must be remembered that we had grown up on stories such as Pyramid of Mars, Talons of Weng-Chiang, etc, and so were judging this story in comparison. I kept wishing for something dramatic to happen, like Peri dying or something , just to shut my brother up. Oh, my prophetic soul! For in the very next story, which of course my brother didn't see...

But now I watch this story and regard it as something of a classic. The excellent dialogue (the Canadian goose indeed!), Glitz, the Queen.....all of it is brilliant and fast moving. I can sit back from it now and see more than the lack of violence into the cleverness of the plot itself. I even love the look of Drathro! Most gripping stuff, and Colin Baker of course superb as the Doctor.

Terror of the Vervoids is a very good story with only one central flaw. Good stuff first - I love the claustrophobic, unknown killer on board the space liner theme, I love a nice decent murder mystery and Pip and Jane Bakers' scripts are always excellant, even if they have me reaching for the dictionary with every other word. Elephant's child? Just So Stories?

I even like the nice, friendly rapport between the Doctor and Mel - it makes a nice change from all the arguing and bickering that has gone on in the Tardis since around 1981, by my reckoning. And the Vervoids more than live up to my idea of a cool looking monster - rubbery looking lethal plants with that disconcerting bit of pink brain looking stuff on their heads. Ruthless creatures, but only fighting to survive.

So what don't I like? A major spoiler follows, beware. Here goes. Doland was the assassin? No way! When Edwards was electrocuted, the sparks and stuff caused the Vervoids to pupate from their husks, which was the last thing any of the agromonists would have wanted. Therefore, I reasoned, neither Doland, Bruchner or Professor Lasky could be the killer. Watertight logic you would think? But no. Also, the motive for the murders struck me as being a bit spurious and tacked on. Still, this is only a minor destraction from a suspense laden plot.

After the multi-layered and rewarding 'Kinda', 'The Visitation' is a far more straightforward Doctor Who story and by comparison with its predecessor seems almost shallow. Nevertheless, it contains much to enjoy. 

The plot of 'The Visitation' is very simple; an alien spacecraft lands in an historical period of Earth, and its small number of occupants decides to exterminate the population so that they can have the planet for themselves. Rather like a cross between 'The Time Warrior' and 'Terror of the Zygons' in fact. Add to this one android, only a single supporting character of any real note, and some mind-controlled locals, and it all adds up to pretty standard fair. Nevertheless, this standard fair immediately evokes a feeling of traditional Doctor Who, and setting any kind of story produced by the BBC in a period setting virtually guarantees decent sets and costumes. 'The Visitation' is no exception, and whilst it lacks the depth of 'Kinda', it benefits from looking far more impressive, with an authentic looking mansion house, convincingly scruffy peasants, and some fine location filming. 

With very little characterisation of the various villages on display, the only real character of note aside from the principle villain is Richard Mace, a thespian come highwayman who almost steals the show. If I was feeling uncharitable, I might suggest that writer and new script-editor Eric Saward should have found the character easy enough to write for, as he apparently appeared in three BBC Radio 4 plays also penned by Saward, but the fact remains that he is a hugely entertaining character. Michael Robbins plays Mace with aplomb, bringing out the characters various characteristics (an amusing combination of alternating cowardice and courage, wit and bemusement) to great effect. In particular, Mace almost forms a double act with the Doctor which is great fun to watch, the former a man out of his depth and struggling to cope, the latter increasingly impatient with his new friend's struggle to grasp concepts new to him, including aliens, androids, and spaceships. The problem with Mace however, is that Saward seems so interested in writing for him that this has obvious repercussions for three of the regulars…

'The Visitation' is the first Davison story in which, for me, the excess of companions is painfully obvious. In 'Castrovalva', Adric's abduction by the Master sidelined him and allowed the story to focus more on Tegan and Nyssa, whereas in 'Four to Doomsday' and especially 'Kinda' Nyssa was to a greater or lesser extent kept in the background to allow the story focus on Adric and Tegan. Here, with Mace effectively acting as an additional companion and stealing some of the limelight, Saward juggles Tegan, Nyssa and Adric more or less equally, which actually makes it more obvious that he doesn't really know what to do with them than actually having one of them sleeping in the TARDIS for the duration of the story would. Nyssa admittedly gets to show off her scientific background by assembling the TARDIS' sonic booster and destroying the android, but for the most part the three of them take it in turns to either run around in search of each other and the Doctor, get captured, or follow the Doctor around so that he can explain the plot. On the other hand, whilst none of them get the chance to shine, none of them especially annoy; Adric inevitably comes close, but it goes without saying by this point that his character is childish, petulant, and obnoxious. Waterhouse is at least better here than in 'Kinda', although points are deducted for his unconvincing stumble when Adric sprains his ankle. In addition to all of this, the more irritating aspects of Saward's writing are on display here, although perhaps because Anthony Root is script-editor on this story, they are kept to a minimum; nevertheless, the early scenes in the TARDIS in which the Doctor and his companions recap plot elements from 'Kinda' for no good reason create a horrible soap-opera feel that will become increasingly evident during Saward's tenure as script editor. 

The main villain of 'The Visitation' is the Terileptil leader who is reasonably well scripted and who is convincingly acted by Michael Melia. The Terileptil leader is pretty aggressive, bad tempered character, and Melia conveys his short temper very effectively. Unfortunately, he's also a bit one-dimensional; Saward attempts to flesh out Terileptil culture by scripting lines about their dual obsession with art and war (the Terileptil leader objects to the idea of a life without grace and beauty) and he also makes it clear that the leader is an escaped convict who probably doesn't fairly represent all Terileptils, but it all feels like a bit of a token gesture. Having said that, the Terileptils' appreciation for art is reflected in the design of the android, which makes for a nice touch. It probably doesn't help that nowadays any alien race that it is ruthless but obsessed with honour automatically reminds me of a certain race from a popular American science fiction franchise that I'm none too fond of, but that is hardly Saward's fault… Despite all of this however, the Terileptil leader makes for a suitably nasty and ruthless villain, and he also benefits from a great costume, which makes early and effective use of animatronics in the series. Since I've mentioned the android, it also works well as a silent and impassive enforcer and its costume is impressive, save for the cricket gloves, which always look like exactly what they are. 

Finally, I should mention Peter Davison, whose performance here is one of my favourites in the role. He is increasingly frustrated and irascible throughout, which really gives the impression that all of the authority of most of his previous incarnations, plus a great deal of knowledge and experience, is trapped in too young a body. Unlike the Fourth Doctor, the Fifth seems to find it more difficult to inspire trust in his companions, possibly because he appears to be not that much older than they are. This is especially true in Episode Four, when he obviously grows tired of being constantly questioned by Adric and Tegan and frequently snaps. It is an interesting interpretation, and one that will remain in evidence throughout much of Davison's tenure in the role. Moreover, it is another reason why 'The Visitation', for all that it feels largely inconsequential, remains thoroughly pleasant to watch. And if none of that convinces you, it's worth watching for two other things: the Doctor starting the Great Fire of London, and the destruction of the sonic screwdriver!

It is perhaps ironic that having mildly criticized 'The Visitation' for being straightforward and almost inconsequential, I am about to praise 'Black Orchid' for the same reasons. It is one of the finest examples of a the two part format, a charming period tale with just enough of a plot to justify itself but far more to offer besides.

The plot of 'Black Orchid' essential concerns the horribly disfigured, mentally ill and love sick George Cranleigh, discoverer of the eponymous Black Orchid who has been kept secret and safe by his mother in the grandiose Cranleigh residence. He commits several murders, mistakes Nyssa for his lost love Ann Talbot, and then dies tragically. It is as simple as that, and fits the short length of the story without events seeming rushed. It works as a story because of the characters. It is hard not to feel sympathy with George, and the makeup used on Gareth Milne for the role makes him look both pathetic and horrifying. The decision by Lady Cranleigh and her other son Charles to keep George's ghastly predicament is entirely understandable given even the most basic grasp of what asylums at the time were like, and the fact that Ahmed Khalil's Ditoni refers to him as his friend emphasizes the fact that the Cranleigh's actions are motivated by compassion. 

But 'Black Orchid', whilst ultimately about George Cranleigh, manages to be about much more. For the first and only time, we get to see this TARDIS crew really relaxing. The Doctor gets to play cricket and has just taken a bath when the secret door in his room first sidetracks him. His companions get to dance and enjoy a party, which benefits them enormously; having decided to stay with the TARDIS crew for the moment, Tegan is far less bad tempered here than she can be, and seeing her smile as much as she does here and dance the Charleston with delight demonstrates how likeable she can be under the right circumstances. Even Adric is likeable here; with a need for only a limited emotional range, Matthew Waterhouse is adequate, and seeing the character greedily piling food high on his plate is a daft but welcome character moment that reminds us that he is basically a teenager, without resorting to portraying him as an obstreperous tosser. Nyssa, perhaps surprisingly, again gets little to do here, but Sarah Sutton of course gets the chance to show that she can in fact act, by also portraying Ann Talbot, a far more emotional character than the quiet, reserved Nyssa. The doppelganger storyline is an old and tired clichй, but one which Doctor Who invariably does well, not only here but also in 'The Massace of St. Bartholomew's Eve', 'The Enemy of the World', and 'The Androids of Tara'. It is a trivial aspect of this story; when George abducts Ann at the start of Episode Two, he picks the right girl; the only purpose of the doppelganger subplot in this respect is to drive the dramatic climax. But it also serves to show Nyssa relaxing too, as she is carried along by Ann's playful suggestion that they dress alike, and she obviously enjoys the joke. 

For such a short story, 'Black Orchid' is therefore worthy of considerable praise. It is also worth noting the way in which the Doctor convinces Sir Robert that he is telling the truth about who he is, by the simple expedient of showing him the TARDIS. This is something he would perhaps normally not do, but there is a suggestion of gentlemanliness about Robert that makes it seem like the logical thing for the Doctor to do. 'Black Orchid' is also very well made, benefiting like 'The Visitation' from superb location filming and excellent period sets. The acting too is first rate, especially Barbara Murray as Lady Cranleigh, Moray Watson as Sir Robert, and of course Michael Cochrane, a man who plays English aristocrats without peer, as Charles. 'Black Orchid' is indeed inconsequential, but still remains a charming diversion from the norm for the series. And in the overall context of Season Nineteen it gives us a chance to see this TARDIS crew at its best before it is irrevocably changed…

Daleks should be seen, but not heard. It’s the voice. It is truly atrocious. I suppose it is ok for the odd ‘exterminate’, but just imagine a half hour lecture on existential philosophy? So we were really lucky with this little sucker (or should that be plunger) because we got to see just the right amount of Daleks in a really interesting story.

This episode was another of those ‘commemorative’ milestone stories that they drag out every so often, sort of like the James Bond film – ‘Die Another Day’ – full of homage to its own history. If you have seen ‘Die Another Day’ you will also know that this concept can go horribly wrong. You can almost see the producers sitting around after a few wines saying to themselves ‘why do we need to waste money on scriptwriters when we can just ignore the plot and pinch the concepts from old material’?

Fortunately they didn’t do that one here. It’s a well written story. The plot for this story is all merely part of Sylvester McCoy’s darker more manipulative Doctor’s master plan for keeping the universe safe from nasty types such as the Daleks. Of course the Doctor’s well laid plans go a bit awry when he realises that there are not one, but two Dalek factions roaming around greater London. How no one noticed a bunch of very peculiar aliens proclaiming universe domination in such a heavily populated city as London I don’t know – and have you ever heard a Dalek whisper?

I hope I am not giving too much away here, but the Doctor does in fact defeat the Daleks. He actually kills one off simply by chatting to it – a more manipulative Doctor with secret powers or a lousy conversationalist? You decide. Some people like it, some don’t, but it does add a little mystery. This story continues the theme that implies there is something to the Doctor that we don’t know. He even tells Davros that he is much more than ‘just another Time Lord’.

The best part of this story is that the Daleks look like they have all been spending far too much time down the pub. Apparently they redesigned the Daleks so they now ran on big balls or some such and they wobble, quite a bit, in fact an awful lot. However you can amuse yourself for hours on end imagining a group of rowdy Daleks wobbling home from the pub on a Friday night singing ‘we are not defeated, only delayed…. One day we will conquer and you will be our slaves’, then perhaps stopping to get a curry. 

On this note, if you can, get the DVD. It has a wonderful commentary from Sylvester McCoy and Sophie Aldred. It is refreshing to know that while you think the actors are emoting their hearts out they are actually trying not to laugh at drunken Daleks and such.

This story is also historic as it is the historic episode where it is revealed that Daleks do not need wheel chair access. They can climb stairs.

'Time-Flight' is bloody terrible. 

All right then, I'll elaborate, although it's hard to know where to start. The plot is a mess, the involvement of Concorde seemingly a contrivance to allow the production team to show off the fact that they've, well, got access to Concorde. With this initial plot albatross, which frankly is an absolute gratuity, Peter Grimwade delivers a story that might cause you to believe that he's never seen Doctor Who before. Given that he's actually directed two stories already in Season Nineteen however, it rather raises the question of what the hell he thought he was doing by writing a script that requires not one but two Concordes to crash land on prehistoric Earth. Not judging Doctor Who by its budgetary limitations is one thing, but when a writer who should know better strains the budget past breaking point, the gloves are off. 'Time-Flight' looks and feels cheap and nasty. The location filming around Heathrow airport looks fine, but given how bad the story is it serves only to bring back fond memories of 'The Faceless Ones'. The horrible sets used to depict prehistoric Earth on the other hand are by far the worst of the season, even given how cheap the jungle sets used in 'Kinda' look. Frankly, having accepted the dodgy script, the production team would have been far better off using their location time to film in a quarry… By Episode Four, things get even worse, with crap model work that seemingly includes Corgi models of Concorde. 

The Xeraphin subplot is potentially interesting, but their psychic abilities means that Grimwade resorts to a deluge of tedious technobabble, and makes further demands above and beyond what the production team can achieve. The Plasmatons, aggregations of protoplasm created using the psychokinetic power of the Xeraphin, are alternately realized as giant grey turds or soap bubbles; the cringe worthy appearance of the Xeraphin themselves is even worse, as two men stand in a box dressed in silver body stockings with lumps of polystyrene stuck to their faces. This is almost forgivable, since the simplistic and ultimately facile division of the Xeraphin into Good and Evil, and the painful plot exposition that they spout usually distracts me. Speaking of which, the script is uniformly ghastly, resulting in horribly stilted dialogue throughout; nearly every line is exposition (or to be more precise, laboured pseudo-science), which means that the characterisation is abominable as a result. Especially bad examples include Scobie and Bilton discovering Angela Clifford and another colleague, during which painful dialogue ensues - do any of these characters sound like real people to anybody? 

Speaking of characters, there are only two of any real note aside from the regulars and the Master. Captain Stapley is quite likeable, and Richard Easton makes a real effort with his crap dialogue (the same is actually true of Michael Cashman's Bilton, although he does little except stand around so that Stapley can explain bits of the plot to him). Equally well acted but far less likeable is Nigel Stock's Professor Hayter. Hayter essentially occupies the same role as Tyler way back in 'The Three Doctors', but whilst I've made no secret of the fact that I consider 'The Three Doctors' to be about as entertaining as being diagnosed with syphilis, at least Tyler was done right. Both characters are present to offer skepticism, something that companions tend not to be well suited for after the various extraordinary sights that they've witnessed. Tyler worked well in this regard because he was good natured and likeable; Hayter is merely an arse who spends a great deal of time moaning and wanting to abandon his fellow passengers in order to save his own skin. Frankly, I'd have suggested that if he really wanted to run away, he should bugger off and see how he likes prehistory. Presumably, this unpleasant characterisation is intentional in order to make his sacrifice (and posthumous rescue of the TARDIS) seem more noble, but in a story as turgid as 'Time-Flight', unsympathetic characters merely serve to rub salt into the wound. 

Then there is the Master. Given that his entire scheme revolves around repairing his TARDIS and escaping from prehistoric Earth, the Master's motivation here is fairly sound. What is rather less sound is his reason for dressing up as some kind of unconvincing Arabic zombie, which Grimwade makes no effort to explain whatsoever. Except of course that we know the real reason: it's to provide a cheap surprise at the cliffhanger to Episode Two. It's absolutely ridiculous, especially given that he stays in character as Kalid even when he's alone, drooling and giggling like some kind of imbecile. I suppose it hammers home the point that Master is, to quote The Completely Useless Encyclopaedia, "nuttier than squirrel shit", but frankly, 'Logopolis' already proved that. By Episode Four, the entire story has degenerated into a bog-standard runaround in which the Master and the Doctor annoy one another, whilst the rest of the cast stand around and play with aeroplane parts. In addition to which, the Doctor's eventual defeat of the Master, which strands him on Xeriphas is not only pure technobabble, it isn't even very convincing - his TARDIS can't materialize because the Doctor's is already at its target coordinates. For one thing this contradicts the fairly recent 'Logopolis', and for another, it blatantly does materialize, since it appears hovering nearby. So how the Doctor knocks it back into time and space is anyone's guess, although at least it brings the whole sorry mess to an end. 

As for the regulars, Davison's breathless enthusiasm is the only reason 'Time-Flight' is worth watching at all, as well as his manic optimism in Episode Four as he struggles to snatch victory from the jaws of defeat. Nyssa gets to demonstrate vague psychic abilities, which were then promptly forgotten until Lance Parkin wrote 'Primeval', which again illustrates that Grimwade shows no fear of plot contrivances. Tegan gets very little to do, except recite air stewardess spiel for no good reason when the passengers board Concorde towards the end. One of the many, many problems with 'Time-Flight' is that, rather than capitalizing on the loss of Adric to give more time to Nyssa and Tegan, it brings in Stapley and his crew to act as surrogate companions, meaning that the pair instead spend a great deal of time standing around waiting for a plot development. Speaking of Adric, his death is briefly glossed over near the start in a horribly shallow way before everyone decides to stop grieving and try and have some fun. Clearly they miss him as much as I do then…

To summarize all of that, in case I wasn't clear enough, 'Time-Flight' is pants. After a generally very strong debut season for Davison it's terribly disappointing, and to add insult to injury it has a very half-arsed ending in which the Doctor and Nyssa abandon Tegan seemingly by accident. Apparently this was intended to provide a cliffhanger ending to the season before she returns in 'Arc of Infinity', but instead it just makes it looks as though the Doctor is grabbing the opportunity to be rid of her. Nevertheless, she does return, and as a result the potential of the Doctor and Nyssa travelling together without other companions remained untapped. Until nearly twenty years later that is, when Big Finish entered the picture…