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.

This is the classic 7-part adventure that would solidify Doctor Who's popularity for years to come. For it is in this adventure where the Doctor has his very first encounter with his deadliest adversaries... the Daleks. Of course, you who are reading this probably already know that.

Being this is the second adventure for the TARDIS crew, a great many things come about as a result.

Before I talk about the actors involved or the story itself, I'd like to talk about set designs and the costumes. The sets of the jungle itself are extraordinary, as are the sets for the Dalek City and the caverns. I was definitely impressed, considering much of this was studio enclosed, and it was way before the use of CSO or blue/green screen technology that would become quite infamous in the later years. 

The design concept for the Daleks' robotic casing at first glance would appear to be quite laughable and ludicrous, considering that they simply look like giant trash dispensers or pepperpots with plungers. However, the the robotic casing itself is truly unique and distinctly alien. Once the initial silliness fades, you realize how effectively terrifying those pepperpots are, especially when you think about what lies within.

The clothing worn by the Thals is also quite effective in symbolizing their peaceful nature as an agricultural society. Although I must admit the outfits worn by the males did make them look like the 'Kevin Sorbo Appreciation Society'. 

The story, exceptionally well-crafted by Terry Nation, is definitely thrilling, thought-provoking, intensely dramatic as well as exciting. Considering how this sotry was crafted in the early 60's, the idea of the effects of a nuclear war (even on an alien world) was something quite topical during this time. 

The TARDIS crew continue to shine as the varying viewpoints and character dynamics continue to clash, but their willingness to cooperate in times of peril asserts itself rather well. Especially in combining their intellects to exploit the Daleks initial weakness of gaining static electricity through the metallic flooring in order to orchestrate their escape. 

The Doctor continues to demonstrate his ambiguous nature as he still does not fully like the fact that Ian and Barbara are still stowaways about his vessel. It's fascinating to observe the Doctor's early behavior of someone that would manipulate and deceive others to get his way, as he does by purposefully removing the fluid link from the TARDIS consoles' inner circuitry, lying to the others about it losing its mercury, just so he could venture from the jungle to investigate the mysterious city. It's so interesting to see the Doctor being so callous at times, only caring for his own survival as well as Susan's. This is far from the adventurer willing to sacrifice his life for the sake of others that he would eventually become. This is especially true when he is willing to abandon both Ian and Barbara, and even the Thals and Daleks to their own devices. It showcases that the Doctor is first and foremost a scientist and an observer, with no interest in helping others. It is only when the fluid link is unknowingly taken by the Daleks that the Doctor wishes to use the Thals to get it back. This is not to say the Doctor is unlikeable in this story. One of my favorite scenes is the delight the Doctor takes in showcasing his food processing machine (which may actually have been the forerunner to the food replicator used in Star Trek). He shows a great deal of curiosity and fascination in learning about the history of Skaro and its people from Dyoni. In fact, he still showcases his vast intelligence and even a great deal of boyish excitement at collaborating with the Thals to outwit the Daleks. The Doctor also shows some remorse and admits to his lies when he realizes the apparent danger of radiation sickness. He also displays grim satisfaction at seeing the Daleks dying due to the loss of ambient radiation. 

Although Susan showcases moments of descent into the model of the shrieking young companion (which is understandable for a girl as young as she is facing unknown dangers), she still manages to provide input in assisting her grandfather and her friends. In addition, the fact that she was willing to go out of the Dalek City to the TARDIS to retrieve the anti-radiation gloves (oops, I mean drugs) alone shows a great deal of courage. 

Ian shows himself to be intelligent and a man of action as well. For it is actually he, not the Doctor, that wants to help the Thals to help themselves. It's Ian that condemns the Doctor's selfish actions that brought them to near death by radiation sickness and capture by the Daleks. It is Ian that understands the Thals stand on pacificism, but that there must come a time when you must fight to protect yourself and those around you from a danger you know will eventually eradicate you. It is this that Ian conveys to the Thals in order to gain their aid in confronting the Daleks and in retrieving the fluid link. 

Barbara balances out uncertainty and fear of the unknown with some level of intelligence, courage and compassion. The scene where she talks to Susan to comfort her after her frightening encounter, demonstrates an almost maternal quality that Barbara would display to one other companion, Vicki. 

The Daleks are portrayed with intelligence, arrogance, ruthless single-minded authority, cunning and are very xenophobic (at least only to the Thals). It is interesting to not that in this, their first appearance, the Daleks are only concerned with the continuation of their own species, not with conquering the universe or enslaving all existence. Their main concern was in erradicating the Thals and then adapting the planet to be efficient to the Daleks only. This is especially true when they use the Thals plight to lure them into a trap which results in the death of their leader Temmosus. Still, it was this first appearance that would continue to evoke horror and terror to fans throughout the years whenever we see them or hear them utter one single word: "EXTERMINATE!"

The Thals are quite interesting, as we see them as pacifists, people who are tired of war and only wish to live in peace. This peace exists only through the Thals avoidance of the Dalek City, and an ingrained refusal to revert back to what they once were, militaristic warriors. The Thals of importance to the story are very well scripted and fleshed out characters. 

Temmosus is a philosophical, idealistic man of peace, the benevolent rule of the Thals. Foolishly hoping to forge an alliance with the Daleks to establish a mutual exchange of ideas. Although foolish, it is understandable considering he and his people had no knowledge of what the Daleks had become after 500 years of separation. But Temmosus maintains a certain objectivity when he says that "certain things are often inevitable and we shouldn't fight against it". It showcases that on a certain level, Temmosus felt that his life was in danger when he decided to meet with the Daleks. It's a shame that he had to die, when all he wanted was to ensure the survival of his people through understanding and cooperation. Although his death is tragic, storywise it is necessary to demonstrate to the Thals something they needed to learn: it is futile being rational and reasonable to those who cannot be reasoned with. 

Alydon becomes the de facto leader upon Temmosus' death, and he too is an excellent character. Very kind, compassionate, trust-worthy and pragmatic. His adamant refusal to risk another war with the Daleks is understandable. Although the responsibility for the survival of his people has been thrust onto his shoulders, it is a duty he immediately takes to heart. It is only when Dyoni's safety is threatened by Ian's attempt to trade her to the Daleks for the fluid link that Alydon realizes what must be done. In true leadership capacity, he calls for a vote from his people on whether they are willing to risk their lives to ensure the survival of their race. 

Dyoni I like very much (even when she pouts). A beautiful and intelligent young woman that is proud of heritage and treasures the history of her culture and also hopes for a better future, but feels uncertain due to threat of famine. She shows a great deal of compassion towards her fellow Thals. She even takes a great delight in showing the Doctor information modules containing the history of Skaro and its people. She also seems to take great offense to outsiders who clearly do not know their ways or understand the necessity for their philosophy of pacifism. All in all she does an exceptional job as Alydon's lover, confidante, and friend. 

Ganatus is a pretty good character: brave, caring, loyal, open, and sensitive. His scenes with Barbara and the others provide many of the best character driven moments (forming a genuine and somewhat romantic bond with Barbara through the course of their time together). He showcases great strategic initiative by laying out the plan of attacking the city from the back through the dangerous swampland and through the mountains. 

It is an interesting note to see the opposing ends of both races. The Daleks are ruthless and vicious warmongers, while the Thals are too complacent in their pacifistic beliefs. 

All in all, this is one hell of an enjoyable story from all fronts. It is an excellent allegory of the consequences of nuclear war, as well as a parable for the pros and cons of pacifism. It is an excellent story that would solidify the show's popularity forever.

VHS... How quaint.

I've never really understood the bad rap that AMBASSADORS OF DEATH gets. Sure, it's in the middle of a good season, but I've never felt it was the weakest of Pertwee's first year. I'd much rather watch this again than view THE SILURIANS (I like the idea of SILURIANS much more than the actual story itself). AMBASSADORS is a straightforward romp that I found very enjoyable. When my copy arrived, I planned to watch the first tape one night, saving the second for the next evening. But I was having such a blast, I viewed the whole thing in one long sitting.

A lot of the time we fans find ourselves laughing at the show as often as we laugh with it. Time has not always been kind, and aspects of this serial show their age. Television and film were still new to the idea of portraying space travel realistically; it's amusing to see the production crew simulating weightlessness by turning the camera upside-down and running everything in slowmo. Gender equality is also something that the producers may have attempted, but, amusingly, Britain's Space Control Centre is staffed by a substantial number of pouting, miniskirted scientist-babes.

The story begins with the British Space Programme (well, it was the early 70s, and they were rather optimistic back then) mounting a rescue mission to discover what happened to their latest Mars Probe. When the capsule docks, contact is lost while a loud alien sound screams across the radio. The Doctor believes the sound is an alien message. Some time later, mysterious space-suited figures that can kill by touch are seen committing petty thefts, stealing radioactive isotopes and scientific equipment. 

My review is more a series of isolated thoughts. This is an entertaining romp, and deep, serious analysis wouldn't be particularly fruitful. My initial thought is that this is probably the story where the James Bond influence on the Pertwee era is the most apparent. The Doctor pulls gadgets from nowhere. He faces an earthbound menace with access to the latest military hardware. Gun-battles and chase scenes abound. There are even jazzy musical cues to punctuate the action.

On the subject of the music, I just want to say that I really dig the incidental score, occasionally inappropriate as it is (to me, action sequences don't scream out for flute solos). Of particular note is the piece played whenever the Ambassadors initiate their raids. Dreamy and atmospheric, I loved it the first time; multiple viewings have not diminished my appreciation.

Action by Havoc! Yes, the stunt-work in this one is impressive. AMBASSADORS relies on its action sequences and the team is more than up to the challenge. The battles are smoothly executed and sharply directed. Something that I found amusing (and I'm probably alone) is that one of the stuntmen reminded me of Stan Laurel. This presented me with very entertaining imagery. Stan Laurel shooting bad guys. Stan Laurel's rifle shot from his hands. Stan Laurel thrown from a helicopter. I guess life after Hardy was rough on the little guy.

The script contains quite a number of nice little moments. Reegan is particularly villainous, casually ordering his two lackeys to their deaths and then attending to the disposal of their bodies.

Visually, the story is strong. The blank faces of the space-suited aliens are as chilling as any other villain Doctor Who would produce. It's an effective way of highlighting the alien's fundamental otherness by placing the unfamiliar inside the familiar. Removing the face completely dehumanizes the aliens. It's a much more effective way of displaying their unsettling nature than if they had relied on cheap makeup.

The film sequences are fantastic -- a world of difference from the rather static studio portions. The shot of the Ambassador slowing walking towards the UNIT guard with the sun behind him would look at home in a smooth, atmospheric movie. Even the chase-scenes are inspired; note that stylish shot where Reegan races through metal walkways. He steps briefly into a puddle and the camera focuses on the reflection in the water as the ripples soften, allowing us to continue to see his progress. Cool stuff and not what one expects in a three-decade-old television production.

Towards the end, I was struck by the thought that the cliffhangers seemed unimaginative. Rather than having the episode build towards them, they just seemed to happen at whatever point in the story was up after twenty-five minutes. Wouldn't it have made more sense to move the episode five cliffhanger a few minutes so that it occurred as the alien spacecraft appears to smash the two capsules, rather than when the ship has merely appeared on the scanner?

In the later episodes, the story begins dragging. Liz gets very little to do, and her escape attempt adds nothing but time. The aliens are poorly realized outside their spacesuits. When the Ambassador removes his helmet, the director very wisely keeps the shots to a minimum, only showing the face either for a few moments, or from behind foggy glass. Unfortunately, he doesn't employee the same subtlety for the leader on the mothership, so we're treated to the sight of an alien made of oatmeal waving oven mitts at Jon Pertwee from behind a Venetian blind.

The restoration on the video is excellent. It's a pity that there was no alternative to fading between monochrome and color footage, but the transitions aren't especially jarring. The demonstration placed at the end of the second VHS tape really drives home how superior the cleaned up version is. 

There's a funny cheat in episode seven where Cornish explains that they can't obtain a good look at the alien spacecraft because radioactivity is blotting out cameras. That'll save a bit of money from the effects budget! But I have to forgive AMBASSADORS its cheats because it's just so damned entertaining. And while there are figures of power in the world willing to launch pre-emptive military strikes, this story will always be relevant.