Episode One: 

It's hard for a first episode to be poor, when all the Doctor has to do is arrive and witness some intriguing events. Intriguing events here include a burial, a wandering man, a ship that arrives and burrows into the earth, and finally the Daleks, though as usual, the title has given them away. The Movellans are serene cats in disco suits, and we don't know why they hate the Daleks. 

Episode Two: 

Suddenly, this goes downhill fast. I'll take the "Death Comes to Time" Timelords any day over Romana crying when "interrogated" with a few simple questions. It fits well with her plan, however, to drop dead after a half day's work, which the Daleks seem to believe without checking. Watch carefully for the Dalek who skips on his way into the Dalek bridge. The Daleks were digging, it turns out, for Davros, but the Doctor knows how to get there in seconds (um, OK I'll buy that I guess). Davros, having been exterminated by the Daleks, and then having sat there for centuries, wiggles his fingers for the episode climax. My God, has he been looking for the TV remote all these years?

Episode Three: 

After the rhyming Dalek ("seek, locate, do not deviate"), there is a little tension and suspense here, with the Doctor trying to hold the Daleks off simply by threatening to kill Davros. At last, in episode three, the Daleks show they're evil (a new viewer to the show would have been waiting all this time to understand what the big deal is about them) by exterminating prisoners to get the Doctor to cooperate. The Movellans are serene cats in disco suits, and we don't know whey they hate the Daleks, or why they put Romana in a tube with a bomb. Except, perhaps, to draw out the Doctor, who they suddenly seem to have decided is a better objective than Davros. We'll find out in… 

Episode Four: 

The Movellans are defeated because no matter how many times it happens, they never learn to prevent anyone snatching their exposed power packs. The Daleks, having been cruel enough to exterminate prisoners as a pressure tactic in the previous episode, are once again ridiculous. First, they allow the Doctor to sneak up on Davros, and then when one Dalek does stand in the Doctor's way, a hat defeats it. The other Daleks charge towards the Movellan ship, frantically repeating the idea that nothing can be allowed to stand in their way. Meanwhile, nothing stands in their way. The Doctor plays with Davros's arm and gets him to blow up his Daleks, while Romana is able to kick the last Movellan apart (presumably this is because he was wounded, I guess) and of course, snatch his power pack. 

Analysis:

After a promising beginning, the story becomes a silly and tedious affair. The conclusion is rushed, and a great deal goes unexplained, like who created the Movellans or where they came from. The idea of the two war machines at a logical impasse is interesting, but not really enough to sustain the story, or provide a payoff at the end for the viewer, in terms of a meaningful story. And while Genesis of the Daleks had something to say (in terms of showing us the stupid prejudice and hatred that gave birth to the Daleks), this story portrays them as incompetents who can't open a closet door, never mind conquer the universe. And the Movellans aren't any better. You wonder why the Doctor and Romana don't just leave. Fortunately, in Resurrection of the Daleks, with Peter Davision, some of the old menace would be back, and the sense of tension and danger much higher. Destiny of the Daleks remains a somewhat nonsensical and only somewhat entertaining interlude between those two stories. Oh, and it has the wrong guy as Davros.

When I reviewed 'The Creature From the Pit', I noted that after 'City of Death' the air of general silliness starts to extend beyond the Doctor to other characters. Whilst this was largely successful in that story, by 'Nightmare of Eden' it seriously undermines a potential serious plot that should, Doctor aside, have been played straight. It is doubly unfortunate that having co-scripted some of my least favourite Doctor Who stories of the series entire run, Baker delivers a potentially interesting script that suffers at the hands of the production team, but sadly that is what happens.

Firstly, I'd like to get a discussion of Vraxoin out of the way. Having elected to lecture the audience on the dangers of drugs, Baker faces the constraints of a four-part Doctor Who story, originally broadcast in a Saturday teatime slot. This presents a problem; on the one hand, there isn't really time to create an intelligent discourse on drug abuse, and on the other, there are limits to what could be depicted in a series with an audience containing a large number of children. Consequently, the writers resort to a simple "drugs are bad, m'kay?" message with Vraxoin their fictional stand in for real narcotics. And therein lies the problem. Drugs are fun. Addictive and destructive as they often are, most people who use drugs do not start taking them with the actual intention of committing suicide, they take them for recreational purposes. Vraxoin however, does not seem like fun; after a brief and seemingly pleasant high, it immediately causes such massive withdrawal pains that another dose is immediately required, and this is implied to lead very rapidly to death. As drugs go, it doesn't sound very marketable. Given the restrictions of the series format, I doubt Baker had few other options open to them in getting their message across, but frankly I'd much rather that they had just told another story instead of venturing into the territory of unconvincing bullshit. 

Regardless of this, Baker could potentially have made an interesting exploration of why people turn to drugs and why people like Tryst deal in drugs, especially from the point of view of the twenty-first century, when an increasing number of students are apparently resorting to drug dealing and prostitution to subsidize their income. In all fairness to him, he makes the effort, but Tryst's weak arguments about his need to fund his work and the ability of customers to make their own choices are utterly undermined by Lewis Fiander's ghastly portrayal of the character. Given the role of the story's principle villain and would-be ruthless drug dealer, Fiander elects to portray the character as a shambling buffoon with a ludicrous accent. His rationale for this escapes me and it may just be that he's a really bad actor, but his absurd performance robs the character of any sense of motivation whatsoever, as he descends into clichйd eccentric scientist mode. To add insult to injury, Fiander seems to think his performance is amusing, but it is merely painful. Geoffrey Bateman's performance as Dymond is somewhat better, played deadly straight and full of nervousness and anger, but still fairly unmemorable. 

Inappropriate silliness abounds. After his excellent performance as Jack Tyler in 'Image of the Fendahl', Geoffrey Hinsliff goes and spoils himself as Waterguard Fisk, another terrible performance and another wasted opportunity; as an official representative of a so-called pleasure planet the government of which seems to bandy about the death penalty very easily, Fisk could have been used to make interesting (or at least, vaguely convincing) points about fascism and police corruption. Instead, like Tryst, he's portrayed as a cretin, who utters such cringe worthy lines as "criminals are like that" and struts about in a horribly over-the-top fashion. I would mention Costa, but he's only present to give Fisk someone to spout expository dialogue at and does nothing else of note. 

Annoyingly, despite my reservations about the way the drug plotline is handled, the plot of 'Nightmare of Eden' is reasonably engaging and pretty much watertight, as the Doctor and Romana seek to separate the ships, return the Mandrels to the CET machine, and absolve themselves of blame for drug running. But the entire production is so crass that it becomes disappointingly pedestrian, and for the avid fan in the video and DVD age, the fact that the CET machine is little more than a bargain basement Miniscope robs the story of what might otherwise have been an interesting gimmick. The jungle set of Eden looks very artificial, which after the luscious jungle of 'The Creature From the Pit' is especially obvious, and most of the other sets are just bog-standard corridors. The model work is passable, but forgettable in a season boasting the Jagaroth and Movellan ships, and the costumes of the crewmembers on board the Empress are laughable. The fact that the incidental music made so little impression on me that I can't remember if it was good or not is not a particularly good sign either, although at least it isn't intrusive. The Mandrels are not as bad in my opinion as some fans seem to think, although their overly long arms look woeful. I do however like the fact that their big heads, huge glowing eyes, and strange mouths seem like a laudable attempt to avoid the usual humanoid in a suit look, and it does make them look alien. 

There are however some worthy aspects to 'Nightmare of Eden'; David Daker (previously Irongron in the marvellous 'The Time Warrior') is very good as Captain Rigg and portrays Rigg's drug-addled state later in the story quite well (certainly better than Stephen Jenn does as Secker). Barry Andrews is quite good as Stott, slightly compensating for Fisk and Costa. The direction is competent enough, and I like the fact that it seems to be poking fun at the series' limitations, as Tom Baker chases Barry Andrews through the same set three times in a row in Episode Two. Dymond's space suit, and the fact that he uses a shuttle craft to travel between ships is a nice reminder that the story is set in space, which the cheap cop-out of a transmat would have lacked (I am not, incidentally, suggesting that a transmat is automatically a cop-out, just that I feel it would have been in this instance). 

Finally, there are the regulars. As usual, Tom Baker clowns around as the Doctor, whilst Lalla Ward plays things relatively straight, and K9 makes sounds haughty from the sidelines. Also as usual, this generally works fine, but whilst the Doctor's lines about Galactic Salvage Insurance in Episode One are rather funny, his notorious "Oh, my fingers! My arms! My legs! My everything!" in Episode Four merely emphasizes the fact that the story has descended into farce. This is a shame, since Baker proves adept at conveying the Doctor's contempt for Tryst's activities and his attempts to justify them, as exemplified by his quiet "Go away" as Tryst is arrested at the end. K9 and Romana both get plenty to do too, and it occurred to me whilst watching this story that K9's tendency to soliloquize is a perfect vehicle for plot exposition without it sounding forced. Overall however, 'Nightmare of Eden' is a failure, a potentially decent story let down by lacklustre production, some bad lines, and some inappropriate acting. Which is perhaps ironic, given that the following story combines pantomime slapstick, a silly monster, farcical dialogue and a villain who is perhaps more over the top than any other villain in Doctor Who's entire run, and still manages to be enormously entertaining…

Very few Doctor Who stories get as bad a reputation as "Paradise Towers". There are quite a few reasons for the insults given to the story. Keff McCulloch's music is abysmal, for one thing, never being as dark and eerie as it should be for a story as dark as this one. The production is given a comical nature, rather than a dark, stylish production similar to that of Season 26. Then there's the fact that Bonnie Langford gives her second-worst performance as the irritating Mel Bush (her worst being in Time and the Rani). All these things, plus directions and casting going against the writer's intentions, lead to dragging this story down. Yet, underneath this garbled mess of a pantomime, is a story that is still watchable and, to me, enjoyable.

Stephen Wyatt had written a very dark and disturbing story. The Paradise Towers are full of cannibalistic old ladies, fascist caretakers, murdering cleaner robots, and a decaying environment. The setting and the situations of Paradise Towers makes one think of "Vengeance on Varos", which was often criticized for the violence, black humor and cannibalism within. Yet, "Paradise Towers" is filled with just as many horrifying, grotesque ideas as the aforementioned "Vengeance on Varos". If Nicholas Mallett hadn't treated this story like a silly comic book, and if Mark Ayres or Dominic Glynn had composed the music, this tale would be remebered with a far greater fondness from fans. Instead, it's treated as one of the worst stories of any era of Doctor Who.

Another reason that Wyatt's first story wasn't remembered as fondly as his later story is the acting. "Paradise Towers" boasts a great deal of characters, many of whom are acting terribly. Richard Briers' moustache and voice are almost as irritating as Mel's screaming and cheery optimism. Howard Cooke seems rather silly in his part, as it was designed for someone of a great build.The Kangs are a tad annoying, but their degradation of language and acting from the people who played Fire Escape and Bin Liner more than make up for the terrible hairdos and costumes. The Rezzies are quite creepy as intended, and come off all right. Sylvester McCoy, the most important one of the bunch, is far better here than in his previous story, and performs with much more confidence.

So, overall, despite some bad casting and the barely adequate production values (those Cleaners are rather silly), Paradise Towers is a story that I still enjoy. For me, it's actually the best one of Season 24. If you want a 1980's story from before Season 25 with a dark story and no continuity mentions, then this is the obne you should watch. Just fast forward through all the bits with Howard Cooke and Bonnie Langford, and you're all set.

After the pleasing interlude of Big Finish's Fifth Doctor and Nyssa audios, returning to the television series is rather disappointing given that the opening story of Season Nineteen maintains the quality of Season Nineteen's finale. By which I mean of course that like 'Time-Flight', 'Arc of Infinity' is crap. 

The plot of 'Arc of Infinity' concerns the return of Omega, the villain of 'The Three Doctors', and his attempt to bond with the Doctor in order to regain corporeal existence in the universe of matter. He tries this and fails, the Doctor gets dragged to Gallifrey for three episodes, then Omega tries again, partially succeeds, and gets shot by the Doctor. This sounds like an overly simplistic plot without any interesting subplots or subtext, and that is because it is precisely what it is. To make matters worse, writer Johnny Byrne, previously responsible for the horribly overrated 'The Keeper of Traken', litters his story with some horrible plot contrivances. The Time Lords' decision to keep the Doctor imprisoned in his own TARDIS is bizarre whether they disable it or not; it's akin to the police keeping people whom they've arrested locked in their cars with the sparkplugs removed. The script is littered with nasty expository dialogue, including "impulse laser?", and "that wasn't here before". In addition, the decision to have left Tegan on Earth in 'Time-Flight' results in a coincidence that seems ludicrous even by Doctor Who's standards, as Omega just happens to kidnap her cousin who is backpacking around Europe. One of the few plus points of the story is that Tegan is at least fairly well used in her scenes with Robin and Omega, proving as usual to be brave and resourceful. 

The acting doesn't help. The regulars are all fine, but half of the guest cast seems to be asleep. Which considering the characterisation that they are given to work with is unsurprising. Elspet Gray's Thalia and Max Harvey's Zorac are nonentities; Paul Jerricho's Castellan is one-dimensional and grumpy, and Jerricho seems annoyed to have been cast in the role. Leonard Sachs is wasted as Borusa, a character so different to the one previously played by Angus Mackay and John Arnatt that he might as well be a different character (and yes I know Time Lords' personalities alter somewhat when they regenerate, but Borusa so totally lacks any of the shrewd intelligence that he previously displayed that it isn't an adequate excuse). Equally wasted is Michael Gough as the treasonous Hedin, a man supposedly an old and dear friend of the Doctor's who sells him out to a nutter who previously tried to destroy the entire universe. There's a flimsy excuse about Hedin's obsession with history, but it isn't very convincing; lots of people are interested in history, but they wouldn't necessarily want famous historical madmen to come back to life and take over the running of the world. Mention of Hedin raises the question of why his voice changes when he's talking to Omega, since no explanation is offered beyond the obvious need to keep the identity of the traitor a secret. Possibly it has something to do with his frantically gesticulated wand. And on the subject of hitherto unseen old friends of the Doctor, we also meet Neil Daglish's Damon, a man so charismatic and interesting that it is a crying shame that he hasn't been seen before or since. I am of course being sarcastic. Daglish's performance is so wooden that he might be considered the worst actor in the story were it not for the presence of Andrew Boxer as Robin, a man from the Matthew Waterhouse school of acting if ever there was one. 

Mercifully, Omega is rather better than in 'The Three Doctors'. Partly this is because Ian Collier doesn't stamp around the set bellowing and pointing at the sky, and partly because he's more stable and therefore less of a pantomime villain than in he was in his debut story, but whilst still managing to retain the air of madness that the script keeps reminding us about during the last two episodes. Omega's motivation is believable, and Collier's largely vocal performance combines both menace and charisma. Once Peter Davison takes over the role, he gets to show off his acting skills and manages to make Omega different from the Doctor through body language and facial expressions alone; the oft-mentioned scene in which he smiles at a child as he watches a street organ in wonder is indeed highly effective, and does a great deal for Omega's character considering that he's just killed a gardener and shortly afterwards decides that if he cannot survive then neither will anybody else. Mind you, if I'd just regained corporeal existence of millennia of being trapped in the universe of anti-matter and I found myself in Amsterdam I wouldn't be standing around looking at street organs, I'd be nipping into a coffee shop to role a joint. By the end of the story however, everything goes to, erm, pot as Omega starts to decay. A protracted chase scene through Amsterdam shows off the nice overseas location work, but since 'Arc of Infinity' lacks the charm and wit of 'City of Death' it just feels like a gratuitous waste of license payers' money. In addition, the sudden switch from Davison to stuntman is painfully obvious despite the extensive makeup used to show Omega's degeneration, and the unconvincing blonde wig certainly doesn't help. The denouement is rubbish; Omega rants for a bit, then the Doctor shoots him.

The production is also rather poor. The attractive location work is undermined by some dreadful studio sets. The crypt looks OK, but Gallifrey does not. Back in 'The Deadly Assassin', Gallifrey had an air of faded grandeur, which 'The Invasion of Time' at least made an effort to recapture. Here, Gallifrey is represented by drab sets littered with office furniture and lurid plastic. On the other hand, perhaps designer Marjorie Pratt deliberately made tasteless sets for Time Lords to walk about in as a deliberate homage to 'The Three Doctors'. At least the recycled costumes look decent enough, and I like Omega's new outfit, although the Ergon looks ridiculous. Mind you, it's better than the Gel Guards. Ron Jones' direction is also rather drab, although he does at least get a great incidental score from Roger Limb to work with.

Finally, I can't mention 'Arc of Infinity' without mentioning Colin Baker, for obvious reasons. It's weird in retrospect to see him in a role other than the Sixth Doctor, but he's nevertheless playing a different character in the shape of Maxil. He plays the part with brutal efficiency, although Maxil isn't as sadistic as he first appears, merely very devoted to his duties. Beyond acting as henchman to the Castellan however, he doesn't get a great deal to do except stomp about bullying people; Baker is reasonable enough in the role, but there's little else I can say about him. Still, at least his later involvement with the series makes seeing him in 'Arc of Infinity' interesting, and it needs all the help it can get to be interesting. It is by no means as diabolical as 'The Three Doctors', but it is still very poor; hopefully Big Finish's forthcoming 'Omega' will be the first story featuring the character that is actually worthwhile.

I remember that I was very excited when I first read about this episode back when I was barely a teenager. In those carefree-days of youth where I was teased mercilessly as I was not a jock and had large thick glasses…on second thought they weren’t so carefree at that. Anyway I didn’t know any better and basically was, at that point, obsessing about all things Who from the posters on the wall to making up Doctor Who lyrics to popular songs ("Don’t talk to Cybermen" and "Dalek in the Centerfold" to name a couple). For years we were watching the Tom Baker years with the only glimpse of Peter Davison being that double-chinned face after falling to his regeneration in "Logopolis". Suffice it to say I was very ecstatic. Now, here it is 20 years later. Does the episode hold up? Can I get over my utter hatred at Script Editor Eric Saward whom I consider the man who destroyed Doctor Who? Read on, my children, read on. 

THE PRODUCTION: Producer John Nathan-Turner had planned for the 20th season of Doctor Who to bring back old enemies of the Doctor, which included The Black Guardian, The Mara, The Daleks (which got bumped back a year) and The Master. Script editor Eric Saward was very fond of "The Keeper of Traken" and asked writer Johnny Byrne to submit story ideas. Unbeknownst to Saward, "Traken" was almost completely rewritten by former script editor Christopher Bidmead. It was decided to have Byrne write the first episode of the season with the following stipulations: He had to reunite Tegan with the Doctor and Nyssa (designed as a cliffhanger, and isn’t it nice to see at least one of the characters dressed differently?), he had to incorporate Amsterdam, as JN-T decided to bring the show out of the country for the second time in it’s history (the first being Paris in the hugely successful "City of Death"), and he had to incorporate Gallifrey, which Saward wanted represented because of the show’s anniversary. 

Johnny Byrne came up with a script entitled "The Time of Neman" about the Doctor suffering from nightmares about his regeneration (weren’t we all?). These were happening because an entity from another universe known only as "the Avatar" was trying to permanently become a part of this universe. He takes on the Doctor's form and goes to Amsterdam where he takes over people’s minds. JN-T and Saward had immediate concerns about "Neman", especially that the Amsterdam location was essentially incidental to the plot and that the Doctor’s nightmares were similar to Tegan’s nightmares in "Snakedance". JN-T also wanted another old enemy in place of the character of Avatar. Unofficial Fan Advisor Ian Levine suggested bringing back Omega, who was in the 10th Anniversary story "The Three Doctors". His name came from the letters OHM (WHO backwards and upside down – the anti-doctor, as it were). Byrne re-wrote the episode; titled "The Time of Omega", then finally titled "Arc of Infinity" to make the return of Omega a big surprise (even going so far as to name him "The Renegade" at the end of Episode One so as not reveal the baddie. Which surprises me as any fan of the show was bombarded by pics of Omega in Doctor Who Monthly. So much for secrets.) 

And so we have "Arc of Infinity" a patched-together episode, which exemplifies what’s good and bad about Doctor Who during the Nathan-Turner/Saward years. 

I won’t go too much into the plot. I’m sure all of you have seen it, and if you haven’t then do so and come back. That’s ok. We’ll wait. Have you seen it yet? Good. Let’s continue. 

THE BAD: The episode suffers horribly with the aim to please everybody and in doing so loses any sense of competency. I look at the episodes of that time as the powers that be trying to give people what they think they want as opposed to telling a good story with the characters they have. I have a sneaking suspicion that at this time Doctor Who was looked at a moneymaking machine. How else do you explain Colin Baker’s coat in the next season? Merchandising. And the episodes lost out. 

Let’s take a look at this episode to illustrate the point. Gallifrey is shown as a Draconian military state with Commander Maxil shooting at everything before asking and the High Council is ready to fry the Doctor as if they were located in Texas. These are one of the supreme powers in the galaxy? You don’t see any other inhabitants; probably they’re afraid to come out of their rooms. Someone dies and immediately everyone who could possibly be innocent is placed under house arrest. Reactionary. Trigger happy. Gullible. This is the new Gallifrey. President Borusa’s doing a bang-up job. Where’s K-9 and Leela when you need them? It’s all well and good to bring back Gallifrey, just use it properly. A good story set solely in the TARDIS is worth 100 crappy stories set on Gallifrey. The story takes place in Amsterdam. Or does it? 

So much for going overseas as most of the action takes place on BBC sets. I’ve been to Amsterdam and didn’t see anything that reminded me of it except for 1 canal early on. In the "City of Death" you saw all the sites of Paris. Where were they here? The Van Gogh Museum? Anne Frank’s House? The medieval torture museum? The red light district?! Okay, maybe not there. But you get the point. Why go there when you don’t use the location. And don’t get me started on "The Two Doctors". 

And this Anti-Matter place that Omega’s in. People can walk in and out of it, so can the bird-thing that works for Omega, but Omega can’t because he’s in an anti-matter universe. 

And I just cringe when Tegan whines out "AM-STER-DAM". 

THE GOOD: Peter Davison rocks. And not as the Doctor, but as Omega. When he portrays Omega in the Doctor’s body, you just marvel at his character as he experiences life for the very first time, and you feel empathy for him when he tragically realizes. The loneliness, the pathos, the anger when he realizes he can never exist in our universe: it’s all there and beautifully realized. It’s too bad this theme wasn’t brought through the entire episode. 

God how I wish this season wasn’t as hacked together as it was! 

And let’s not forget Nyssa! She picks up a gun ready to shoot the council. Meow! She rocks in this show. She has the convictions and strength. Okay, I like her! I like her! 

OTHER NOTES: There are two very interesting casting choices in this show: Michael Gough and Colin Baker. Michael Gough, who plays the traitorous Councilor Hedin, is probably best known for his portrayal as Alfred the butler, in the Batman movies, and he also played the Celestial Toymaker in the First Doctor era episode – "The Celestial Toymaker". How apropos. Also part of the cast is the incredibly familiar Colin Baker who played the incredibly two-dimensional captain of the guard, Maxil. Baker was chosen because of his wonderful role on the Blake’s 7 episode "City at the Edge of the World" as Baybon the Butcher, or is it Baybon the Berserker (it’s one of my fave episodes). Other under consideration for the part of Maxil: Tim Woodward and Pierce Brosnan. Though Colin was happy to play Maxil, he was sad because to him it meant he would never be able to play the Doctor. Good thing he was wrong. 

Also of note: though Filming in Amsterdam went well, adoring Dutch fans became a problem when the recognized Peter Davison from his role as Tristan Farnon in All Creatures Great and Small. In fact, in a scene at a telephone booth, and though I wasn’t looking for it, rumor has it JN-T is visible in the background trying to chase away onlookers.

'Terminus' is a rather overlooked Doctor Who, but one of which I'm rather fond. Despite some shortcomings in terms of production and acting, it has much going for it, including an interesting plot, and it makes a fine leaving story for Nyssa. 

There are two major aspects to the plot of 'Terminus'. The first of these is the revelation that Terminus is a time machine that inadvertently caused the Big Bang when the pilot jettisoned fuel into a void. This is a rather controversial issue amongst fans, since it doesn't really hold up to scrutiny; the idea that jettisoned fuel could have created the universe seems a bit unlikely, and it is also paradoxical, assuming that Terminus was built by a race from this universe. Having said that however, it's an interesting concept and the impending repeat of such an action by the computer on board Terminus adds considerable drama to the final episode, given that if the Doctor cannot stop it the universe will be destroyed. The second plot thread is that of the Lazars, and more importantly their effect on Nyssa. Having discovered that Terminus is a rather inadequate hospital operating a kill or cure service for sufferers of lazar disease, Nyssa is rather painfully forced to see the true horror of the situation when she too becomes infected. It makes for some fine character moments, as she is forced into a shabby cell with other sufferers, callously manhandled by the bitter Vanir who have very little interest in their charges, and finally subjected to an insanely dangerous treatment in the form of a massive dose of radiation. For Nyssa, one of the most compassionate of the Doctor's companions, this is a perfect departure; having endured so much, she comes through her experience wanting not to get away and put it behind her, but to stay and help others facing the same situation. 'Terminus' is unrelenting grim, which is entirely appropriate given the storyline, but Nyssa's decision to remain on the station to try and improve things provides a ray of hope at the end, not only for the Lazars, but also for the Vanir, as she offers them a way to throw off the shackles of the corrupt and uncaring Terminus Incorporated. Sutton is very good throughout; she portrays Nyssa's distress very well, and the constant misery and suffering of such an inoffensive companion should tug at the heart of even the most cynical fan. The whole story works well at paving the way for her to leave, as she not only stays to help, but specifically remains behind to help by using her scientific skills, often overlooked during her television appearances. Her eventual farewell scene to the Doctor and Tegan is superbly well handled and very moving. It's a shame that director Mary Ridge makes her whip her skirt off for no good reason except possibly to titillate (yes, I know - she's feverish and takes it off to cool off. But it's still in close-up…).

The grim atmosphere of 'Terminus' is present from the start. The malevolent presence of the Black Guardian remains ominous for the TARDIS crew, and once Turlough's reluctant sabotage takes effect the feeling of foreboding mounts as the TARDIS locks on to the transport ship and a large skull motif appears on the wall of Nyssa's room as a door materialises. The skull motif is evident throughout the story, and helps to set the ton and so too does Roger Limb's funereal incidental music, but it's not just these obvious influences that make 'Terminus' seem so bleak. It's many things, from the spectre of lazars disease itself, the appearance of bandaged wrapped hands from behind locked doors and the pathetic moaning of the Lazars, the bitter weariness of the Vanir, and the corpse of the pilot still sat behind the controls of Terminus. I would imagine this dark mood does not appeal to many fans, and I can understand why, but it works to the benefit of the story. 

The use of the other regulars besides Nyssa is rather interesting. On first glance, it isn't very impressive; there is some soap opera bickering between Tegan and Turlough in the TARDIS at the start, and once the story moves to the ship the pair are effectively sidelined for the rest of the story by being trapped in some maintenance tunnels. But there's actually more to it than this, as it continues Turlough's development rather effectively; during his TARDIS scenes with Tegan, he initially demonstrates all of his worst character traits, as he proves smug and condescending. He is also of course still forced to work for the Black Guardian, albeit with increasing reluctance. But once he and Tegan become trapped in the ship, whilst they seemingly do little except wander about in an attempt to get out again, they actually start to form a guarded friendship as they are united by adversity; they swiftly start to cooperate, each seemingly developing a measure of respect, if not actual liking, for the other. Most importantly, Turlough's questioning of whether Tegan could commit murder in cold blood demonstrates his gradual redemption, as he increasingly comes to like the people he's travelling with. He's still obviously terrified of the Black Guardian, but he's becoming slowly more rebellious within the confines of his cowardice. Strickson plays the troubled character very effectively, conveying a great deal simply by frowning a lot. Davison meanwhile is his usual impressive self, and manages to forecast the impending destruction of the universe with remarkable conviction. He too is very good during Nyssa' final scene, and it's rather amusing to see him sidestep the question of whether or not it will be nice to see Tegan. This suggestion that he finds his loudest companion at this time rather tiresome on occasion is quite interesting, and was also hinted at during the final scene of 'Arc of Infinity'. It by no means suggests that he doesn't like her, but it adds slightly to their relationship that it is often less than harmonious, since friends inevitably annoy each other from time to time in real life. 

'Terminus' also benefits from some decent direction, adequate if unimpressive model work, and some excellent set designs both on board the transport ship and on Terminus itself. Where 'Terminus' falls down however is in the guest cast and certain aspects of the costume design. Whilst Valentine Dyall continues to impress as the malignant Black Guardian, the raiders and the Vanir are almost exclusively poor. The single exception is Peter Benson as the ailing Bor, but the rest of the Vanir are horribly melodramatic, especially Andrew Burt as Valgard. The two raiders are little better; both Liza Goddard and Dominic Guard as Kari and Olvir respectively adopt various daft macho postures whenever they are required to point guns at anything, and their delivery of certain lines is also rather dubious (most notably, Olvir's "We all going to diiiie!" at the end of Episode One). But their costumes really don't help; whilst the bronze plate armour worn by the Vanir is rather effective, the costumes worn by the raiders are diabolical, including as they do cartoon space helmets, small capes, and very big hair. Speaking of costumes, I'm also none too fond of those worn by the Lazars; bandages are understandable, but quite why lazar disease results in sufferers deciding to dress in filthy rags is beyond me. It would seem to be a rather unsubtle attempt to draw comparisons with traditional images of lepers, but the parallels between lazar disease and leprosy are already made clear by the script; it doesn't need to be hammered home. Finally, the Garm is reasonably effective, although the use of light bulbs for his eyes is deeply unfortunate. 

It's inevitable that dodgy acting will undermine a good Doctor Who story more than almost anything else save possibly for gaping plot holes, and to an extent this is unavoidable true of 'Terminus'. Nevertheless, it's worth trying to see past this to appreciate the rather satisfying plot, the great design work, and a fine departure for Nyssa.