It is so sad when you re-watch something you have thoroughly enjoyed in the past and found it to be lacking through older (but not necessarily wiser) eyes. You feel cheated, like all that time you have invested in the story has been for nothing, either that or you are getting more cynical and critical, as you get older. Either way, it is not good news. 

Black Orchid is does not really fall under this category although when I slipped it into the player recently I got the impression that Simon enjoyed it more than me. It is always good to remember how you felt when you saw a story for the first time and how refreshing it is to watch without knowing what is going to happen. 

There were a few problems I noticed this time that I didn’t notice or chose to ignore on previous watchings. Chief among them is the bitty direction, how the camera switched angles to incorporate Ann and Nyssa but never really achieves this convincingly. When you can see how the director is trying keep the actresses face out of shot then it become immediately obvious what he is trying to achieve and loses a lot of its effect. There are lots of sudden sharp twists of the camera leading to some sloppy editing, Nyssa and Ann deciding to wear the same costume is a fab idea but poor editing leads to them interrupting each other (“Isn’t that topping?” “Quite topping!”). I realise this was being made in a hurry and is unfair to compare the standards of today’s television but if the show could edit itself as well as Androzani then it should be able to do so here too. 

Also it pains me to continue my tirade against Peter Davison’s portrayal of the Doctor but he is so utterly ineffectual in this story to defy belief. Paul Cornell gave a wonderful piece in the Fifth Doctor magazine that DWM released early in 2003 that had me in stitches. Davison plays the part with energy apparently, he is the picture of the British aristocracy, he is generous and touchy feely. Hmm…he’s also dead boring. Am I honestly expected to look under the mask of his acting, to find meaning in his corridor wandering and detachment from the main plot, perhaps if Davison did something worth watching in the first place people like Cornell would not have to ‘look beneath the mask’ and see what is happening. What’s wrong with surface acting anyway? 

The real problem with the fifth Doctor is that he fits in so well in Black Orchid. The bland world of British aristocracy, where they clap effeminately, drink screwdrivers in their baths and hold fancy dress balls. He is so accommodating, so polite and so gentlemanly; in all respects he is a lovely guy. And this why he is so tedious because watching somebody slot perfectly into a story with no issues is as good as making him invisible, no tension or trouble and therefore no drama. Or excitement. Forgive me but I think variety is the spice of life…and good television drama and a bit of character conflict would not go awry here.

Even when he is arrested and charged with the death of Digby the servant the Doctor accepts his fate with the barest shrug of the shoulders. He gives a quick defence of his actions and then sits down and practically asks to be handcuffed. Gee whiz if this was the sixth Doctor fireworks would demolish Cranleigh Manor. 

“All aboard! All aboard! Step on board the number 40 TARDIS! Available to take you to any destination in the universe for a very reasonable fee!” The Doctor takes three more people into the TARDIS in Black Orchid as well as the three companions he already has! Rather than fight his defence in a rational and intelligent manner, revealing the plot of George/Black Orchid to the police (which he clearly has figured out) he introduces three policemen to a technological wonder light years ahead of their time. What is wrong with this guy? He cannot surely think this is a reasonable course of action! Well obviously because he does it again in the next story and then skip over a season and again in The Awakening. How these people accept the interior dimensions without going ga-ga is beyond me. The Doctor’s logic is lacking in a most severe fashion.

The only time Davison actually feels like the Doctor in this and not Peter Davison in a period drama is at the climax where he scales the staircase and fights through the burning house to rescue Nyssa, calmly (of course) talking George into letting her go. But one moment in two episodes is quite unacceptable. 

Highlighting the Doctor against his companions and he comes up even worse because for once the unworkable team of Adric, Tegan and Nyssa actually works! And why? Because of their cultural differences. It is a joy to see just how different each of them are from each other and yet realise how they have come to relax in each others company. When they all step from the TARDIS there is genuine warmth there, it is unspoken but very apparent, Tegan is smiling (swoon), Nyssa gently mocks the Doctor’s train obsession and Adric is culturally curious. Later scenes of Tegan and Nyssa in the bedroom dancing the Charleston are wonderful, a real sense of femininity in the show, two strong female characters relaxing in each other’s company. And how Nyssa and Tegan both chide Adric for his food obsession without prompting the other suggests a strong brotherly affection without ever explicitly saying anything. 

But rubbing shoulders with this much more soothing atmosphere amongst the three friends are the cultural differences which highlight just how alien Nyssa and Adric are whilst Tegan’s humanity is brought to fore in a more likable way than ever. The trio sit there and watch the Doctor play cricket, Tegan clapping and cheering and the Alzarian and the daughter of Traken shake their head in disbelief at this bizarre human ritual. Nyssa gently mocks the Charleston suggesting the dancing on Traken is “much more formalised and far more complex”. Adric’s huge stomach suggests Alzarians have a high metobolism (after his similar pig out in Kinda). And watching Tegan in the company of Sir Robert, ignoring his age and flattering him, joking with him and having a wiggle on the terrace is quite delightful, after stories full of Tegan’s psychotic neuroses it is such a relief to see she is also charming, pleasant to be with and engaging. I would love to meet the Tegan of Black Orchid. 

As for the story itself…well its fabulous of course! The one thing you can always trust the BBC to look gorgeous is a period drama and in the traditions of Pride and Prejudice, Emma and Sense and Sensibility Black Orchid has a sumptuous production. Its not just the aged location work, the wonder of the steam train, the lush green cricket fields, the characterful exterior of Cranleigh Manor but the atmosphere stretches to the detailed sets, the luscious ball costumes and the delicious grainy camera filter. It all looks very genuine, the characters say what you would expect them to say (“Ripping!” “Topping” “Smutty!”) and behave politely and are beyond reproach. 

Why shouldn’t we have an episode where the Doctor and co take a break from all the mosters and villains and problems of universe and settle down for a breather with a game of cricket, a dance and some good company. It annoys me when people call this story inconsequential and unimportant just because it doesn’t have the extinction of the dinosaurs or the Great Fire of London, the events in this story are just as important as those, they are essential to see because we finally get to understand why the companions travel with the Doctor. It is crucial to have a little human drama in each season of Doctor Who, a constant reminder that although we are dealing with Cybermen and Terileptils, there are also stories about people to be told just as effectively, actually probably more effectively because the costumes and reality do not let them down. The first episode of Black Orchid is practically flawless in this respect; so utterly different from episode four of The Visitation it highlights the shows possibilities very well. 

And I must congratulate the wonderful Sarah Sutton for her extreme theatrical performance as Ann. What a beauty! Terrance Keenan recently said he wasn’t fond of Nyssa because she was boring and here we have a choice opportunity to see just how terrible she could have been! Ann is the exact opposite, childish, emotional, a real wimp; she delights in the unexpected and enjoys playing around with people. Fabulous for one story but could you see her in all the others of this season, I think not! In the opposite corner you have Nyssa cultured, a bit spunky (I love the bit where she cons Adric and jumps into the Charleston) and funny (“What a very silly activity!”). She screams a bit too but she is faced with a disfigured man and a blazing fire so I guess we can give her that one. And Sutton plays both to the hilt, truly finding her place in the show by this point. 

The other performances are all highly engaging with particular praise for that ‘tip top’ chappie Michael Cochrane as Charles. His dialogue may be hugely mannered (“Ripping performance old chap, come over to the house and meet the Mater!”) but he has an energy and smiliness about him that wins you over completely. His dashing hurry to rescue Nyssa by scaling the walls of the house is stupid but heroic. 

Barbara Murray and Moray Watson both excel as Lady Cranleigh and Sir Robert, never less than one hundred percent convincing. It is their astonishingly mature performances and the period atmosphere that puts me in mind of the Hartnell historicals and this is in turn just as compelling as they were. Shame it never led to any more pure historicals but it is a nice reminder all the same. 

Black Orchid remains a favourite of mine, a Davison story that refuses to outstay its welcome and at two parts doesn’t feel as if it requires more time either. It has a beginning, a middle and an end plus a tiny coda that adds to the realism of the piece. Despite having the worst delivery of any line in the entire Doctor Who canon which still causes a spontaneous burst of laughter from myself and any who might be watching (in this case Simon when Tegan bursts “You are in for a surprise!”). Davison may let the side down but there is lots in the story’s favour, the atmosphere, the sting in the tail, the realistic companions, the production…for that one fault it is still my favourite story of the Davison era. 

A historical gem.

“I couldn’t bear the thought of being tied, to one plant and one time”

Having being exiled to 20th Century Earth by the Time Lords, the next time we meet the Doctor he has changed yet again. This time it is Jon Pertwee who plays the time traveller. His version of the Doctor is very different to the approach of his predecessor. After the rather muddling second incarnation of Patrick Troughton, Jon Pertwee brings back the authoritative figure that the Doctor once was. Once again he is a man who speaks his mind.

In Spearhead from Space Jon Pertwee puts in a performance that sets the tone for the rest of the season. He is truly brilliant as the Doctor and gets lost in the role. His sense of urgency towards the Nesten Invasion draws the viewer in. His sharpness to brand a lesser intellect an idiot, is a perfect example of the authoritative figure that Jon Pertwee was. He brings a refreshing approach to the role and it is only the shadow of a fantastic era to come. 

The Earth bound Doctor’s first companion is Liz Shaw (Caroline John). At first Liz is very sceptical of the Brigadier’s stories about little blue men with three heads. (Who wouldn’t be?) As the story progresses she learns to trust and respect the Brigadier and the Doctor. Caroline John puts in a great performance as Liz Shaw which continues into the season.

Spearhead from space is the return of UNIT. It is once more lead by Brigadier Lethbridge Stewart. Nicholas Courtney’s approach to the character is at its best here. He is respected and highly regarded by all members of UNIT. However it is unfortunate that this does not last for the entire era. In this story Courtney really does shine.

The Nestenes are a fantastic foe for the new Doctor. Hugh Burdens Channing is very creepy and naturally looks like an alien. The faceless Autons with their concealed guns makes an extremely convincing and spooky effect. 

Of course due to this story being the only Doctor Who episode made entirely on film, it gives a unique and realistic feel.

In conclusion it is a beautifully constructed episode. It makes a fantastic debut for Jon Pertwee and a great start for the season to come!

Carnival of Monsters is such an entertaining, imaginative story that somehow it is very hard to review. There are problems with the production, but I am prepared to be lenient on these issues because on the whole this is so enjoyable. 

The basic premise, of a machine in which whole worlds can be stored and played for the viewer's amusement, is on it's own rather clever, but Robert Holmes doesn't stop there, parodying 1920s fiction, the entertainment industry, and adding in a little politics. What would you expect from a man who most consistently deserved the accolade of best writer on the show out of all those who wrote for it?

The performances are all commendable. Jon Pertwee gets a chance to stretch his acting talents a little more than usual, now that the Third Doctor is no longer confined to Earth. It's a surprisingly varied performance and goes some way to trouncing the view that he was a somewhat one note Doctor. Michael Wisher is the best of the rest of the small but strong cast.

The production design is a tad tacky, but I won't hear a bad word said about the dinosaur who appears at the end of episode 1. Well, actually I've heard a lot of bad words said about it, but at least it makes only a minimal appearance, so no major damage is done. The Drashigs work marvellously thanks to the Radiophonic Workshop, who supply them with horrifying, eerie screams.

Carnival of Monsters will probably not worry The Caves of Androzani or The Talons of Weng-Chiang in the story polls, but I defy anyone to watch it and not get caught up in the sheer fun of it all. Good stuff!

Creature from the Pit is one of those stories that I have fond memories of enjoying in my youth. I remember showing friends the episode as an example of good Doctor Who when they used to ridicule my watching the series. They admitted there were some good points, but they found Erato to be a little too phallic and thus laughable for their tastes.

Sadly, years later as I watch the story again, I cannot find the charm or be reminded of what I found good about the story as a younger man. The concept itself is great; a monstrous ambassador from another world with a translator is separated from his device as a power-crazed woman throws him into a pit. The Doctor arrives and he tries to piece together the elements that make up this little mystery.

Unfortunately, the plot, while great, is too thin to hold up the entire story. Other elements, such as the thieves and Karela’s schemes are just rehashes of Lady Adrasta’s. Just when you think the story should have been over with Adrasta’s death, Karela tries to form and alliance with the thieves. And then the additional tack on of the destruction of the planet only seals this story’s fate as being less than good.

There is also the simple matter of the lack of any real acting in this story. We have Lalla Ward’s awful lament over K9 being attacked by the wolfweeds. We have Karela’s way OTT acting in most scenes. It’s not as if she chews up a scene as rather she destroys it in an annoying way.

And finally, I still, after all these years, cannot get over how phallic Erato is. He really is.

There is always that anticipation when a sequel to anything we hold in high esteem comes along. There are great expectations of how one is going to top what is considered a great work of literature or television or cinema. In the sixties, Terry Nation created the Daleks and with their first story, set them out as becoming as popular a character as the Doctor himself. When they returned one year later in the story, Dalek Invasion of Earth, Nation managed to create another epic that stood side by side with his original story. 

In the seventies, Nation wrote Genesis of the Daleks, a story that was supposed to reinvent, of sorts, the history of the Daleks. In creating the character Davros, Nation once again created a character that has proven as popular as the Doctor and the Daleks themse lves. And that’s where Destiny of the Daleks and most future Dalek stories fail. 

Davros, while indeed a great character and when written correctly can be a great foil for the Doctor, tends to overshadow the Daleks whenever he is used in a story. The Daleks become mindless drones with one obsession - restoring Davros so as to help them in their war with the Movellans. The Daleks have conquered earth and have developed their own form of time travel with an understanding of transcendental dimensions, and yet they keep coming back for Davros, looking for help. The Daleks don’t appear as threatening as they did in the sixties. 

This does present an interesting plot twist in the story though as the Movellans try to even the sides by engaging the Doctor for his aid. We are given some great moments as the Doctor explains to the robotic race how they will always be at a stalemate with the Daleks through the demonstration of the game, “Paper, Rock, Scissor s.” The interplay between the Doctor and Davros is excellent once again, but David Gooderson doesn’t drip with evil the way Michael Wisher or Terry Malloy does in their turns as the Daleks’ creator. So we not only have the Daleks watered down, but Davros’ presence isn’t strong enough to strike some tension into the story. 

The lack of music throughout most of the episode, in particular during some of the more dramatic scenes, also tends to take away from the story, especially when you add Gooderson’s performance into the mix. It appears as though Tom Baker’s trying desperately to make it work, but he hasn’t anything to interact with effectively. 

Lalla Ward premieres in this story as the character of Romana. Having played Princess Astra in the previous season, she is trying to find her way into the character and she appears more as the demure Astra then as the more outgoing Romana in this story, though we see some hope with her stopping the Movellan commander f rom detonating a nova device in episode four. 

I also found it jarring to see the BBC wardrobe department being raided to clothe the slaves of the Daleks. I spotted outfits from The Mutants, Colony in Space and Frontier in Space. I also believe Michael Keating wore Tyssan’s outfit in an episode or two of Blake’s 7. 

Overall, Destiny of the Daleks is a great idea with a great story, but it becomes only a good story when you consider what it has working against it. This is not a sequel that stands up to the original, Genesis of the Daleks as Dalek Invasion of Earth did with The Daleks back in the sixties. Not the best way to lure viewers into the 17th season of a long running television series.

Let’s get a few things out of the way right at the start. The Daleks are in a shocking state. Broken slats, wobbly, ill-fitting domes, chipped paintwork. They’re less supreme conquerors of the universe, more earthbound, ropey BBC props. Secondly, Romana’s regeneration. The worst thing is that the pace is a bit off; it feels like a rehearsal rather than a take. But, otherwise, it’s quite fun. It’s an appropriate appetiser for the new team, Tom and Lalla, the intergalactic sophisticates. I really can’t get worked up about it at all. But surely nobody does anymore, do they? 

Anyway, look, Episode One’s great! It’s really rather eerie. I know it’s Terry’s well-worn first episode template but so what? It’s well done here. There’s precious little dialogue or incidental music throughout, which feels really odd, but it works. The location filming’s great. That lovely tracking shot when they’re talking about concrete. None of this I appreciated at the time, of course. I was only five. Romana fell down the shaft, the Daleks burst through the wall and I almost dropped dead from fright. 1st September 1979. I was petrified.

And the Movellans. I love the Movellans. They look unlike anything else that ever appeared in the series. What does the Television Companion say? Their appearance leaves a little to be desired? Who are these people? They look great. I love the whole 1979-ness of this story: the white leatherette and bent aluminium tubing. That’s exactly what their spaceship would look like. It’s the future. It gleams, it dazzles. The TARDIS in the 1996 TV Movie should have looked more like this and less like the Batcave, but that’s by the by. The exterior looks great as well; it really imposes itself on the quarry. And then they find Davros. And when their backs are turned he wiggles his fingers. I couldn’t breathe. 8th September 1979. I could not breathe.

Now, Davros is rubbish, I’ll give you that. Not then, of course. God, not then. But now… well. Look, Michael Wisher wasn’t available, so there we are. It’s all been said before. Have we talked about Romana’s costume, though? It’s the best joke of the season (well, we’ll always have Paris). It’s witty and stylish. I love it. And Lalla’s great too: world-weary and aloof but look at the way she goes for Sharrel at the end. Can you see Mary Tamm doing that? No, quite. 

But before that they stick her in a tube with a bomb! Ken Grieve is inspired here. The Steadycam stuff is fantastic. It looks wonderful and makes you wonder why it wasn’t used more often on the programme. 15th September 1979. Can’t remember that one at all. But, come on. It’s the least terrifying cliffhanger, to be fair, and just meant I had something to look forward to when I was older. And to an adult eye it’s the most satisfying. So everyone wins!

Now, what haven’t we mentioned? Well, Roy Skelton spends most of the story veering perilously close to Zippy – just listen to Romana’s interrogation in Episode 2. The prisoners die in a really rubbish way. I suppose they’ve been shovelling rock and they’re exhausted and that’s why they… flop. But, still. And spot-the-costume’s an old game but it’s still funny to see the one dressed as Jon Pertwee walking around. And there’s the Chinese Detective! And one of the Movellans is called Cassandra. Just… Cassandra! (I love daft credits. What’s that other one? ‘Tarpok – Vincent Brimble’. Terrific!) 

So that’s about it, isn’t it? It was my first story proper (I remember running away from the title sequence prior to this and have vague memories of Roy Castle – that confused me for years) so of course I love it. I don’t always like it but I’ll always love it. It’s brilliant. It is. Oh, if you don’t agree you can just spack off.