I'm a relative newcomer to the world of Doctor Who, and unlike many people who saw "The Five Doctors" when it first came around, the episodes that came before it were in my recent memory for the most part. I knew what to expect from Doctors 1-4, and I was in the midst of really enjoying the Peter Davison era. 

The night I watched the episode with a friend, we had just seen "The King's Demons" and I was impressed as always by Anthony Ainley's Master and that delightfully evil badness of his. The Black Guardian Trilogy was also recent on the mind, and it reminded me of what the Doctor Who writing staff at this time was capable of. 

...which is why, when viewed as a high-concept Doctor Who episode, "The Five Doctors" would fail. But, as an anniversary special, it does cram as much into it as possible for your viewing pleasure. 

And yes, there are high moments, as "The Five Doctors" really is a story all about moments. Do we really care about our bad guy's scheme? (Name withheld to protect the unspoiled) Do we know that Sarah fell in a small ditch, not a steep canyon? Don't you think those Cybermen are a little slow? Of course we know all of those things, but that's not what makes "The Five Doctors" fun. 

The fun stuff is Patrick Troughton, repeating his line of "I don't like it" when he sees changes made to another former stomping ground of his. It's great to see the Second Doctor again, as it is to see the Brigadier, but even more, I would have loved to have seen Jamie tagging along. The fun stuff includes The Master's big grin as the Time Lords come to him for help. It's fun to see Tegan teaming up with the faux First Doctor, or seeing the Three Doctors team up for their Care Bear Stare or whatever it is that finally breaks Fifth Doctor out of his spell. High concept? No. Fun? Definitely. 

It was sad that William Hartnell didn't live long enough to participate. Richard Hurndall kind of looked the part, but I thought he was lacking some of the best mannerisms of the Hartnell Doctor. I was a bit disappointed with that, but at least we had a First Doctor in it! 

Tom Baker's absence was sorely felt, and one can only imagine how much better the episode would be if he had been there. To many he is The Doctor, and his being there might have afforded Peter Davison more time to interact with the others. 

There also were the remaining questions: If the bad guy wanted the Doctor to get to the tomb of Rassilon, then why did he put the Doctors through so much trouble to get there? Why were the Cybermen, a Dalek, etc. scooped up, and more importantly, what was the purpose in bringing Sarah and Susan there? (The Brig I understand, as he was with Second Doctor at the time) And on that note, why doesn't anyone ask Susan what she's been up to? She's obviously not a teenager anymore, yet no one seems that surprised to see her. Then there were the ghosts that, while it was great to see the cameo appearances, I'd like to think there may have been a better way to incorporate them into the story. 

The other thing that didn't go over too well with me for "The Five Doctors," and then I'll get off my soapbox, is that two of my favorite characters of the series didn't seem to be served very well. I'm referring of course to the Third Doctor and Sarah Jane Smith. "Great balls of fire?!?" Right. But more than that, the Third Doctor didn't get much good stuff to do, besides saying "I'll explain later" a lot, and, of course, repeating his "reverse the polarity" line which would have been funny if Peter Davison hadn't said it himself two or three episodes earlier. 

And then there's Sarah. Sarah Jane Smith in the Tom Baker episodes seemed to be having a lot of fun. This Sarah, in "The Five Doctors," was written more like a Jo Grant. Again, a great actress (Lis Sladen) not used to her full potential. 

Still.... if viewed in the way it was intended (as an anniversary story meant just to be fun), "The Five Doctors" is great. But when you consider the potential of a story where you have several Doctors, you'd think that you could do a story with a concept as great as some of the episodes surrounding it in the Davison era.

survival, despite being over-shadowed by some of its season 26 neighbours, is remarkable in many ways. Rona Munro's story is a complex tale, unusual in its tone, and full of unexpected juxtapositions. We see a grandiose, debonair Master plotting first in a dark, fur-lined hut and later in a grotty, mundane high rise flat - his civilised (albeit evil) nature disintegrating in the face of chaos; Perivale, oddly disconcerting in its somnambulant suburban dullness, and the hot, dusty planet of the Cheetah People.

Perhaps the most refreshing contrast, in a story exploring diverse themes and deepening the characterisation of the regulars, is the streak of humour in the script and performances. Although predominately in episode one, the light, naturalistic touch of the comedy resonates through the story, giving a realistic sheen to the tragedy and drama. The Doctor's cat-baiting, while flatly ignoring Ace, is wonderful, as is his shooing off of the lady whose garden he uses as a hiding place; and Hale and Pace, in retrospect, are suitably funny in the context.

Humour aside, Survival is a powerful story about, appropriately, surviving, and surviving in such a way that you don't harm others, or yourself, by losing your humanity. Even the Hale and Pace sequence, with the joke about the two friends and the lion, highlights the dilemma - can the animal instinct within us sit comfortably alongside our human urge (our human need) to help others, to stick by our friends? It could be viewed as a critique of Thatcher's Britain, Midge in episode three, a caricature of the 'successful' individual; the fittest has survived. But it doesn't require a socio-political reading - Survival is effective, thematically, on a more universal level, and the themes serve to make Ace an even more nuanced character than she already, at this point, is.

Just as in Remembrance of the Daleks, Ghostlight, and The Curse of Fenric, the Ace we meet is an immensely strong-willed individual - a survivor. It is inevitable that she (the companion who has always wanted to be 'free' in many senses) falls in love with the experience of running wild. But the presence of the Doctor controls her, keeping her selfish will to survive in check. A classic moment in Survival, easily missed, is the a split-second look on Ace's face - when the Doctor retrieves his hat - that speaks multitudes about the faith Ace has in the Doctor, no matter what happens. And in return, the Doctor has immense faith in her - her wild, aggressiveness will always be there, but while travelling in the TARDIS she is part of a team.

It doesn’t all work. The bike-duel; the scene where Karra and Ace run, in slow motion, across the open plain; and the cats – furry soft-toys or peculiar mechanical moggies – that were never going to convince. But the cast take it in their stride, each character believable and interesting. There are only very, very rare instances of truly bad acting – and the excellent final confrontation, with McCoy screaming out the pained, anguished cry of a century-weary Time Lord, isn’t one of them. Even Anthony Ainley brings a measured reverence to the Master in this atypical appearance. There is no hint of world-domination or crude, hammy megalomania here, it is purely a portrayal of the man, the Doctor’s enemy, who wants to survive.

Survival has both style and substance. It is thematically rich, but comes together, as a cogent, three-part serial, because it has eerie atmosphere, oddly believable. The decision to put the Cheetah People on horse-back; the care taken to make the planet look truly alien; the music – all things that mark Survival out as something worth watching, and something you wouldn’t worry about showing to your friends. And now we know Doctor Who is coming back, the final voice-over is all the more poignant.

Strictly speaking, the term В“B-MovieВ” refers to a film without a very large budget or very big stars. The decade most associated with the В“B-MovieВ” is of course the 1950s--the atomic era. IВ’ve read many reviews of this serial on-line and they all seem to compare The Daleks to one of these films. LetВ’s take a moment or two to examine The Daleks in relation to other В“B-Movies.В” IВ’ve found that The Daleks is murky mix of 1950В’s style SF and a new, more thoughtful 1960В’s moral melodrama. 

The Daleks, of course, is at its crux a parable of the Atomic age. The metaphors are very clear. Daleks are Post-WW III Communists and the Thals post WW III Westerners. Not quite as hamfisted as the Nazi costumes in Genesis of the Daleks but itВ’s close. Aliens are commonly portrayed not as individuals but as a massive organism bent on conquest. Ever since H.G. WellsВ’ War of the Worlds this has been a classic paradigm. During the Cold War this portrayal brought new meaning. Aliens, of course, become analogous to the communist threat. An analogy that was so blatant, many less talented writers could easily use it. These films were a way to tell cheap stories to capitalize on western fears of a communist take over. NationВ’s monsters do, however, differ somewhat from the typical commie/bug eyed monster. The Daleks were not ruthless intergalactic tyrants in this first serial. They are just driven by their hate for the Thals. These Daleks do want a Dalek empire throughout the Universe, they just want every Thal dead. Communism is an internationalist doctrine, yet these Daleks seem happy to rule their ruined little planet. The analogy would actually become more apt with The Dalek Invasion of Earth. The Daleks are close to being textbook 1950s monsters, but the Thals and the TARDIS crew are textbook 1960s heroes.

True to 1950s stylistic convention, the westerners are cast as the heroes. The similarity ends there. The Doctor, Ian, Barbara, Susan, and the Thals are far from the В“Man in the Grey Flannel SuitВ” heroes of such films as The Deadly Mantis and Tarantula. The Doctor and the Thals are both dressed in an odd and archaic manner. Even in this second Doctor Who story it is established that the Doctor is a perennial individual. The Doctor does, however, play into SF convention when he removes the fluid link. His scientific curiosity puts his life and his companions at risk (i.e. Fiend Without a Face and The Fly). The Thals have given up on the post-war decadeВ’s religion of industry and trade--they have reverted to a totally agrarian lifestyle. Susan, the В“Unearthly Child,В” is also a unique character. Young people are usually portrayed as wide-eyed observers (Invaders from Mars) or victims of their own foolishness and predatory elders (I was a Teenage Werewolf). In The Daleks, Susan is an active participant in the action--not just an appendage. Barbara and Ian are the most formulaic of the TARDIS crew. Ian was very stalwart and Babs was a screamer, yet even they differ from most B-Movie heroes/heroines. They are not romantically involved with each other--Barbara falls for an alien something a good B-movie female should never do unless under some sort of alien mind control. Ian, for the most part, plays the В“square.В” But heВ’s extremely irritable and hostile, qualities not usually found in a good BEM fighting leading man. While The Daleks may differ from the 1950s B-movie with its heroes, some of the serialВ’s morals are much more similar.

The serial condemns the Daleks for being aggressive but it also condemns the Thals for being complacent--a very bare bones version of Cold War era morals. The condemnation of both the Daleks and the Thals is the thematic centerpiece of the serial therefore the serial has the mentality of a B-movie. But what about the theme of the armageddon? The first episode of this serial is entitled В“The Dead Planet.В” In fact that other theme, the theme of destruction-through-violence, casts some doubt as to how The Daleks stands on the Thals. Is battle that necessary? Is it right for the Thals have to fight the Daleks and restart the cycle that nearly destroyed eons? This brings up another key difference to the Daleks in relation to B-movies--a ethical haziness. In Them!, War of the Worlds, Earth vs. The Flying Saucers, and The Thing there is no question on whether the aliens needed to be wiped out. Consequences for mankindВ’s actions were never shown. The aliens were evil and needed to be killed. The Doctor triumphantly watch as the last DalekВ’s eyestalk shoots upward as it dies. Yet, killing has only brought Skaro misery. This conflict is interesting for sure, but not intentional. Terry Nation started to write a serial showcasing the foolishness of prolonged conflict and then began writing a serial that denounced pacifism. Its rare to find coexisting at the same time in popular culture, however, it was probably just Terry NationВ’s lazy plotting and not a social comment. 

The Daleks is first and foremost family adventure entertainment. It is quite like a B-movie. It has many of the same generic trademarks of the genre but I have found out that once you start to look at those similarities you find many differences as well. Now that have blabbed on about how The Daleks relates to movies of a similar ilk--I will turn my attention to reviewing it as a Doctor Who story. 

We first meet our heroes covered in Cro Magnon dung after just having their first adventure with a bunch of Cavemen. One thing that struck me, was how puffy BillВ’s wig is. His hair is nearly as big as BabsВ’. The TARDIS crew is the strongest point of The Daleks. These early stories show that three companions can be successful. The Doctor may be the title character but he is no more important than any of the other TARDIS team. This is what went wrong with Season 19. The Doctor was the star and the rest were just satellites, banging around in unstable orbits. The Daleks has some really great bits of Doctor/companion action (shut up) like when The Doctor reveals having trouble relating to Susan. Ian and the DoctorВ’s confrontation. All great stuff--still impressive nearly forty years later. 

The Daleks and the Thals have the distinction of being Doctor WhoВ’s first aliens--not counting the Doctor and Susan. The Daleks look excellent in their first outing. They are constantly twitching and scheming. These Daleks are new and shiny, they havenВ’t been used and re-used yet. The Thals seem sort of wooden and are much less interesting than the Daleks. Which is odd because theyВ’re supposed to be the free spirited individuals. Plus, they wear possibly the worst pants in WhoВ’s history. 

The direction is top notch. This serial begins as one of the best directed stories of Doctor Who. The cheap sets are filmed so that the make atmosphere. SusanВ’s run the jungle is especially well filmed. This suspenseful direction goes bye-bye after the first four episodes. Starting with В“The ExpeditionВ” the serial becomes a play-by-play on walking traveling through Skaro. Painfully padded and plodding, episodes five & six make you not even care about the ending. What really sucks about this is that the first four episodes were so good! Terry Nation sets up a dangerous precedent with The Daleks.

As I write this review, I realize that there are perhaps many things that have already been said regarding the classic 4-part story that began the longest and greatest sci-fi phenomenon in television history. But so what?

With that out of the way, let's get down to business. I have always found this first adventure to be among my favorites, probably because it is the adventure that started it all. 

Anyway, let's start with Ian Chesterton & Barbara Wright, the two school teachers whose seemingly harmless curiosity regarding the enigmatic Susan Foreman, leads them to become unintentional travellers in time. Both are very likeable and prove a very down-to-earth sense of incredulity, at least upon first meeting Susan's grandfather (The Doctor) and stumbling into the TARDIS for the first time. They provide a link with the rest of us regular Earthlings, for we as observers feel what they feel (not just in this adventure, but int the stories to follow as well). Whether it's the general sense of awe and wonder at finding themselves in unfamiliar territory, or the sense of dread at the prospect of never being able to return home. 

The Doctor's behavior is shown to be very patronizing towards strangers, a natural distrust of strangers, selfish, authoritative when the need arises, pessimistic or realistic (especially regarding the natural ignorance humans display, when they are unable to rationalize things they could never hope to understand) But he also demonstrates a very keen mind, a sharp intellect, an enigmatic aloofness, and an almost malicious glee in his arrogant air of superiority. That is not to say he isn't likeable, we can see how much he loves Susan and wants to protect her and himself from danger, or simply from becoming a public spectacle. 

Now on to Susan. I know there are those that don't like the character, I'm not one of them. She's very caring, compassionate, openminded, kind, and sweet, and very bright as well. Although it's been hinted that she's traveled quite a bit with her grandfather prior to meeting Ian and Barbara, she's still quite young and has a great deal to learn and experience as well. Her reaction to the Doctor's disappearance, while a tad OTT, is still understandable. Her reaction is no different than how we would react if a beloved family member, especially an elderly family member, were no where to be found. 

Now, onto the cave dwellers. The main characters of any significance being Za, Kal, Hur, and the Old Woman. One can easily forgive the fact that these people have a spoken (if not written) language, even though it is through a limited Tarzanlike grasp of human speech. The writers have done this as a necessary plot device in order to understand the motives and thoughts expressed by these primitive people. 

The leader Za is interesting, you can see that he cares for the lives of his people, and will do anything to maintain his position as leader, desperately hoping to create fire to keep his tribe from freezing to death. In addition, although he is a primitive, he does hold a degree of honor and truth, when it comes to helping and providing for his people, as any great leader would. 

Kal is a scheming, deceitful individual, the sole survivor of a tribe who died out because they did not possess the ability to make fire. for that, he feels resentful for being in Za's tribe and displayed that he would do whatever was necessary to remove Za from power, and be leader. for even he has a primitive understanding of something that is true even now as it was thousands of years ago, that one who can provide something essential to the continuation of life, has power over people, and can become a leader. 

Hur is also a truly intriguing character, for she admires, respects, and loves Za a great deal, and although she may be a woman, she is not with a modicum of intelligence. she understands that being with Za has many rewards not just for herself, but for her family. it is a wonderful display of something that is always true, behind every great man is a woman.

The Old Woman represents one who has seen a great deal of hardship fall upon people because of something essential to their way of life. She represents the world weary, pessimistic demeanor many of us take when we know of the hardships and despair caused by those who desire power and are corrupt enough to use that essential commodity to keep others subjected. 

The differing character dynamics is very solid as the varying viewpoints clash on various occasions through the four parts. One immediate example that springs to mind is when the four of them have escaped into the forest, and Za is injured battling a ferocious beast, and the Doctor is ready and willing to finish him off while Ian and Barbara are willing to save his life. 

But, it is also in this adventure that they show that they are willing to work together for a common goal, that goal being to get back to the TARDIS and hopefully back to Earth in the 1960's. It demonstrates a great deal of resourcefulness on the parts of the TARDIS crew, especially on the part of Susan who develops the idea of creating a frightening illusion involving torches and skulls, scaring the tribe long enough for them to make their escape. 

This is definitely an excellent start to an extremely wonderful series, and its popularity would be solidified with the introduction of a menacingly disturb alien race that will come in the next adventure. But that, my friends, is another review for another time.

As the first - and last - two-part Doctor Who story for some considerable time, 'The Sontaran Experiment' works well. Despite one or two tenuous plot points, the story generally holds together well, and with its themes of torture and sadism it continues in the adult theme established by 'The Ark in Space'. 

Firstly, I'll just address the aforementioned tenuous plot points. The only real one is the ease with which the Sontarans back down when the Doctor tells the General that humanity is ready for their invasion fleet and will destroy it; this is undoubtedly due to time constraints however, and the script does address it by noting that the Sontarans are extremely methodical (and they're undoubtedly fighting the Rutans on another front, so perhaps it does make sense that they dare not risk it). The other weak plot point isn't actually an issue in my opinion, but is mentioned in The Discontinuity Guide, so I thought I'd address it. This point is simply that if Earth is abandoned, then there is no need for Styre to test humans anyway. In fact, I disagree; the script informs us that human colonies control "half the galaxy" and the Sontarans are planning a widespread invasion of the entire galaxy, not just Earth. Since this would obviously bring them into conflict with humanity, it makes sense of Styre's ghastly project and since Earth is abandoned it is makes a sensibly secluded location for his experiments.

These debatable issues aside, 'The Sontaran Experiment' is a well-plotted, well-placed and effective little story. The return of the Sontarans is more than welcome and Styre is an excellent villain, Kevin Lindsay once more donning a Sontaran costume to great effect. Whilst I prefer Linx's more closely fitting mask, Styre's is nonetheless impressive and Lindsay is superb as the Field-Major in every aspect. Although he is another Sontaran, Styre is a very different character from Linx; whereas Linx was ruthless and callous, he was an angel compared with the utterly sadistic Styre, whose pleasure in his work seems to extend beyond mere professionalism (from his point of view, he should probably have killed Sarah immediately, but decides to torture her to death instead). Lindsay very well conveys Styre's casual cruelty and also his brutality; the fight scene between Styre and the Doctor is rather good, despite Terry Walsh standing in for the injured Baker, with Styre lashing out with a machete with vicious rage. 

The regulars are up to their usual standards, with highpoints including Harry's utter Fury at Styre's cruelty towards both the dehydrated Galsec colonist and the seemingly dead Sarah; until the Doctor stops him he is determined to go after Styre regardless of the danger. Another great moment is the first meeting between Styre and the Doctor, when Tom Baker delivers the line "you unspeakable abomination" with such conviction that he seems to genuinely loathe his opponent. It is perhaps not the easiest of insults to make sound convincing, but he manages it with ease. 

Completing the ensemble, we have the Galsec colonists, and there isn't a bad performance amongst them. The decision to play them with South African accents is a good one, making a nice change from humans of the future speaking with an English accent. Their costumes are impressive as well, since they look convincingly worn and tatty, as they should do after days spent rough in the wilderness. Pete Rutherford is convincingly tormented as Roth, and Glyn Jones' performance is almost good enough to compensate the fact that he penned the dire 'The Space Museum'! Peter Walshe is impressively twitchy as the nervous Erak, and Donald Douglas completes the group as the treacherous Vural, playing the character like a natural. 

Basically 'The Sontaran Experiment' is a brief but enjoyable story, and benefits from superb location work and solid direction (even Styre's robot, whilst suspiciously flimsy-looking, works adequately). It maintains the high quality of 'The Ark in Space' and nicely bridges the gap between that 

I’ve always considered ‘The Mind Robber’ to be slightly overrated, but on viewing it again I realized why it is regarded as a minor classic. It is so different in tone and content that it immediately stands out from the stories around it, and achieves its surreal aims with considerable panache. Of all the Troughton stories, it is perhaps the story the survival of which intact is the most crucial, because a large part of its success lies in its highly distinctive visuals. 

Visually, ‘The Mind Robber’ is something of a tour de force, deftly overcoming budgetary limitations and making a striking impact. Episode One is the most obvious example of this, which is ironical considering that it was written at short notice with no available set. Rather than looking like an empty set, the white void instead looks eerily convincing, and this is helped by the White Robots, which are recycled from an Out of the Unknown episode and despite therefore being second hand props they look suitably creepy, an effect heightened by the weird noise that they make. In addition, the TARDIS exterior appears white whilst in the void, which is such a subtle but fundamental change to one of the series’ greatest icons that even in black and white the difference has considerable impact. The effect of the TARDIS breaking up at the end of the episode follows the same principle and even though I’ve seen the story before, I always find it disturbing. The rest of the story maintains the same high standard for the most part, with the labyrinth set and the exterior shots of the castle (fairy tale style, of course) especially noteworthy. The clockwork solders are much more sinister than the White Robots, again partly due to the noise they make, and the fact that are warped children’s toys made menacing. When Jamie climbs away from one of them in episode three, it’s single-minded marching into the wall, as its bayonet futilely scrapes the cliff face, makes it seem as implacable as any Cyberman. 

The Unicorn and the Medusa are both very well realized, the stop-motion effects used to show the movement of the snakes on the head of the latter looking on a par with many of Ray Harryhausen’s in films such as Clash of the Titans. Presenting her as an animated statue is an excellent idea, since it avoids rubber mask type make-up and instead allows the use of a static, but sinister, mask. The Minotaur is rather less convincing, but the director wisely keeps it out of shot except for a very fleeting appearance. The visuals are not perfect however; at the end of episode two, as the Unicorn runs at the TARDIS crew, it is painfully obvious that they are standing on a black set, which is shame since the white void in episode one looks so good. When Jamie climbs a “tree” in the forest of words to look at it from above, the model used is obviously a set of flattish letters on white card. In episode three, as the Master monitors the progress of the Doctor and his companions through the labyrinth, three moving lights on a small diagram of the maze plot their movements and show them advancing along a long straight tunnel from the entrance; the scene then cuts to the three of them in the labyrinth, with Zoe telling the Doctor that they have been following a pattern of left and right turns, only to then cut back to the Master and show that they have in fact only progressed further along the long straight section. Nonetheless, these are all fairly trivial criticisms. 

The plot of ‘The Mind Robber’ is, if you’ll excuse the pun, novel and highly effective. The danger of being transformed into fiction is surreal (and of course ironic, given that Doctor Who is fiction), but the horror of the fate confronting the Doctor and his companions is well conveyed. In terms of Doctor Who, the story’s closest precedent is ‘The Celestial Toymaker’, in that the Doctor and his companions are trapped in a world where nothing is as it seems and reality cannot be trusted; in that story however, the TARDIS crew managed to navigate the Toymaker’s world without falling prey to it, whereas here at various points Jamie and Zoe at least find themselves falling victim to the rules of the Land. This scenario is used to unsettling effect; on this occasion, all three of them find themselves facing a menace that cannot be fought with conventional means, and they must solve riddles and puzzles and face challenges to survive and hope to escape. Jamie’s literal loss of face is a disquieting example, as he automatically reacts to a threat that he understands (a Redcoat) by fighting, and is reduced to a cardboard cutout, which then loses its features. Due to the Doctor’s (comic) mistake in reassembling his face from the identikit provided, he ends up looking like somebody else (a bit of emergency recasting that is a stroke of genius just as much as the changeover from Hartnell to Troughton was). As the story progresses, all three of them start to learn how the Land of Fiction works and how to avoid becoming fiction themselves, but by the end of episode four even this is of no avail as Jamie and Zoe are forced into the book by the White Robots and become part of the Land. This bizarre threat looms over them right up until the end of the story, with the Doctor nearly transforming himself into fiction twice without thinking. 

On a smaller level, ‘The Mind Robber’ is full of nice thematic touches. Gulliver, only speaks in lines written for him by Jonathon Swift, as the Doctor realises in episode four; once the viewer knows this, it becomes obvious, but still works very well and the way in which writer Peter Ling manages to select appropriate quotations to suit whatever question the Doctor asks Gulliver is quite fascinating. Consequently, Gulliver speaks in a very elaborate fashion, and Bernard Horsfall delivers these lines with such aplomb that it makes for a memorable and striking performance. Zoe’s battle with the comic strip hero the Karkus is suitably over-the-top and reminiscent of the Batman TV series. I like the fact that having managed to frantically convince Zoe that Unicorn, the Minotaur and the Medusa were fictional and therefore could not harm them, the Doctor finds himself unable to do the same with regards to the Karkus, because he has never heard of him. 

The Master is also nicely handled; having been glimpsed from behind as a typical gloating megalomaniac manipulating the Doctor from behind the scenes, he is actually revealed to be a jovial old man who is as much a prisoner of the Land as the Doctor and his friends. Emrys Jones acts he part very well, effortlessly switching from his plaintive and rather sweet old man portrayal to a much harsher characterisation as the Master Brain takes control. The fact that a computer is actually behind the Land of Fiction and that we don’t learn who built it (at least until ‘Conundrum’ was published) is potentially disappointing and frustrating, but the story is so stylishly done that it manages not to matter. 

It has been reported that Troughton grew tired of the base-under-siege monster based stories of Season Five, and if so he clearly relishes getting a rather different script to play with. His performance here is full of marvellous moments, such as when he has to answer the riddles fired at him by the children in episode two, and the guilty look on his face when he is forced to admit that he was responsible for giving Jamie the wrong face. His finest moment however is when the Doctor is connected to the Master Brain and he determinedly announces, “You’ve given me equal power. It’s now a battle of wits between the two of us!” The ensuing scenes are hugely entertaining, as the Doctor and the Master summon up fictional characters including Lancelot, D’Artagnan, Cyrano de Bergerac (sic), and Blackbeard. The other regulars do well out of the script as well; Jamie rises to the challenges presented by the Land with his usual stoic determination, and takes in his stride having a change of face, climbing a “rope” only to find Rapunzel at the top, and seemingly losing the TARDIS for good. Frazer Hines is his usual reliable self, and Hamish Wilson doesn’t do too badly in his brief stint in the role. Wendy Padbury gets to prove that she can scream as well as Deborah Watling could as she clings to the TARDIS console in a silver catsuit in episode one, but during the rest of the story she continues in the resilient streak that she exhibited in ‘The Dominators’. In addition to dealing with the Karkus when the Doctor cannot, she also gets perhaps her finest hour, as she overloads the Master Brain computer and thus not only saves herself, Jamie and the Doctor, but also destroys the Land in the process. 

In summary, ‘The Mind Robber’ is a highly unusual but very effective Doctor Who story and a great example of just how flexible the series’ format can be.