'The Two Doctors' provokes a fairly lukewarm response from many fans, for a variety of reasons including the relatively high level of gore and violence on display. Given that Robert Holmes is by far my favourite Doctor Who writer, I must concede that it is rather disappointing; nevertheless, despite many flaws, it has much to offer and is arguably the best multi-Doctor story of the entire television series. 

There are several problems with 'The Two Doctors'. The most obvious is a rather gaping plot hole, which is the fact that the Sixth Doctor has no memory of the events taking place, despite the fact that he meets his Second incarnation here. This is arguably a problem with both 'The Three Doctors' and 'The Five Doctors', but is less obvious in those stories. In the former, the Time Lords deliberately cause the first three Doctors to meet, and the casual reviewer is reminded at the end of that story that they are capable of blocking memories (a fact first established in 'The War Games') as they restore the Doctor's memory of how to operate the TARDIS at the end. 'The Five Doctors' is less blatant, but the line "Old Rassilon is very clever" covers a multitude of sins. Here, there is no explanation at all for why the Sixth Doctor does not remember these events; whilst I can quite happily sit back and espouse the virtues of the "Season 6B theory" (which also, incidentally, explains the continuity problems for which this story is notorious amongst fans), the casual viewer should not have to resort to complex theories in order to explain the plot. The reason provided for the Doctors meeting each other is that the Sixth Doctor feels the trauma suffered by his past self, but this provides yet another logistical nightmare; unless the off-screen interference of the Time Lords in sending the Second Doctor to visit Dastari causes a change in the Doctor's timeline, it is akin to me feeling the trauma of some childhood injury, and if some change to the Doctor's timeline has occurred it raises the question of why only the Sixth Doctor goes in search of his past self. Neither explanation is at all logical. 

But despite this, I maintain that 'The Two Doctors' is the best multi-Doctor story of the television series, for the simple reason that the Doctor essentially bumps into himself on his travels. This isn't implausible for a time traveler, and I find the concept far more appealing than multiple Doctors being plucked out of time deliberately in order to combat some threat. Furthermore, of the three multi-Doctor stories in which he appears, 'The Two Doctors' boasts Patrick Troughton's best performance. He still doesn't quite recapture the fierce intelligence, compassion and whimsy that he brought to the role during his own era, but he's a lot better than the caricature of 'The Three Doctors' and 'The Five Doctors'. He also works well with Colin Baker, the pair complementing each other nicely without the rather contrived on-screen bickering that twice previously has characterised Troughton's appearances with Jon Pertwee. The Second and Sixth Doctors do bicker, but it feels far more natural and casual than that between the Second and Third Doctors. In addition, both Troughton and Baker seem to be enjoying themselves; Troughton is clearly pleased to be back in the role as a one off, and Baker has by now settled down somewhat in the role. Actually, it might be fairer to say that script-editor Eric Saward has allowed the Sixth Doctor to settle down. He's still egotistical, arrogant and temperamental, and he still argues with Peri a lot, but he's far less belligerent than in his first two stories, maintaining the more commanding and likeable persona of 'Vengeance on Varos' and 'The Mark of the Rani'.

'The Two Doctors' however, has other flaws. I haven't mentioned the forty-five minute episode format thus far, but it has a major limitation; with more time to fill before the first cliffhanger, the writers tend to prevaricate somewhat, with the Doctor taking a good twenty-five minutes or so to get involved in the action. 'Attack of the Cybermen' committed far worse crimes, 'Vengeance on Varos' made use of its grotesque supporting characters to distract from this problem, and 'The Mark of the Rani' avoided it altogether, but Episode One of 'The Two Doctors' does rather drag. After the Sontarans attack the station, we see little of the Second Doctor until the following episode, and the Sixth spends a great deal of time wandering about and achieving little. Whilst he tracks his former self to Space Station Chimera, he doesn't really find out what is going on until Episode Two, once he finds and calms Jamie. Meanwhile, he and Peri face some mediocre traps provided by the station computer, and then clamber about in a cheap and nasty jungle-gym set until the cliffhanger. 

Another problem of 'The Two Doctors' is the famously flat direction from the often-pedestrian Peter Moffatt. The ill judged long-shot revelation of the Sontarans has been well discussed, but the whole production is directed with very little flair. The overseas location filming is a waste of time and money, since little of Seville is actually seen on screen, creating the impression that the production team just fancied a holiday at the license payers' expense. Peter Howell's incidental score at least is very effective, but the overall quality of the production is highly variable; the Sontarans look absolutely dreadful, which is appalling considering how good Linx looked some twelve years earlier. Here, the Sontaran masks are rubbery and poorly fitted to the actors, and it doesn't help that Clinton Greyn's largely vocal performance as Stike is unconvincing and melodramatic. Greyn is not the only actor lacking; Lawrence Payne is terribly wooden as Dastari, despite far more successful performances in the series during the past, as Johnny Ringo in 'The Gunfighters' and as Morix in 'The Leisure Hive'. It perhaps doesn't help that Holmes' skill at characterisation deserts him on this specific occasion, since Dastari's motivation is highly unconvincing. From an old friend of the Doctor, he switches to an immoral excuser of his greatest creation's atrocities, failing to bat an eyelid at the slaughter of his colleagues on board Chimera. He equally unconvincingly sees the folly of his actions when he witnesses Chessene giving in to her Androgum nature and licking the Doctor's blood. Perhaps Dastari is just mad; this might explain why he leaves the keys stupidly near to the two Doctors after he chains them up in Episode Three… Finally, Jacqueline Pearce is unremarkable as Chessene; she basically delivers the same performance she usually gives as Servalan in Blake's 7, but without the flirting. Whilst Holmes' use of a female principle villain is long overdue, it doesn't help that Chessene is by far the least interesting villain of the piece; like Servalan, she is ruthless, intelligent and utterly untrustworthy, but unlike Servalan she lacks character. Fortunately however, there is another villain present in 'The Two Doctors' who more than compensates…

Shockeye is a great villain. Whilst Holmes' skill at characterisation deserts him for Dastari, it serves him well in the case of John Stratton's cuisine obsessed villain. Shockeye is so memorable because he has an unusual but consistent and interesting motivation; his all-consuming interest in food makes him extremely dangerous to everybody else, especially humans, or as he calls them "tellurians". Typically for Holmes, Androgum culture is well thought out, making Shockeye and by extension all of his species except for the augmented Chessene a detailed alien race, rather than merely a monster. The Androgum philosophy that "the gratification of pleasure is the sole motive for action" tells the viewer a great deal about them and clearly motivates Shockeye (and their clan system, with names such as the Quancine Grig and the Franzine Grig, is further attention to detail). References to blood ties, and other cultural traditions such as tasting the raw flesh of any animal they eat before starting to cook it provide a wealth of information without the need for crass expository dialogue. The fawning Shockeye is especially effective thanks to John Stratton's performance; he captures not only Shockeye's insatiable appetite for food, but also his obsequiousness and most importantly the fact that the character is extremely dangerous. It is this latter character trait that provides most of the controversy surrounding 'The Two Doctors'. Many fans in my opinion exaggerate out of all proportion the scene in which he bites a chunk out of rat, but then I just find it amusing. Perhaps more valid a criticism is that the murder of Oscar is rather too brutal a scene for a series once more broadcast in its traditional Saturday teatime slot, as the camera lingers on Oscar's staring corpse for far longer than it needs to. On the other hand, from my perspective as an adult watching the story on video, it works because after the highly entertaining scenes in which the semi-Androgum Second Doctor and Shockeye gorge themselves on a vast amount of food it suddenly reminds us that Shockeye can and will kill without compunction. His pursuit of Peri at the end of Episode Two is highly disturbing, because rather than fawning over her as Sharaz Jek did (itself rendered effectively disturbing), his desire for her is perhaps even more horrific, as he intends to butcher and eat her. All of which brings me to Shockeye's death, and the Sixth Doctor's use of cyanide to dispatch his foe; I have no problem with it whatsoever. The wounded limping Doctor is being hunted by a physically stronger being that is both able and determined to kill him and he deals with him using the only weapon that he has to hand; the Doctor improvising to bring about the defeat or demise of his opponent is not new to Doctor Who by this time. 

The Sontarans' also benefit from their creator's touch, even if they are poorly acted and presented on screen. Holmes' once more imbues them with a sense of brutal honour, Stike fretting about not being able to stand shoulder to shoulder with his men in battle due to the delays caused by Chessene. He vows that "When I die it will be with my comrades at the front", bemoans his need to rely on civilians, and general demonstrates the brutal cunning and resourcefulness that the Sontarans possess at their best. Failed thespian, moth collector and temporary restaurant manager Oscar Botcherby, who is very well written but sadly underused, also exemplifies Holmes' skill at characterisation. The sheer number of characters already vying for time in the story means that Oscar is sidelined until his unfortunate demise, although Holmes succeeds in making him likeable enough that his death really has an impact. James Saxon is perfect in the role, and had the character had more to do and more screen time, I can't help thinking that he might be as fondly remembered as such Holmes' creations as Jago and Litefoot. 

The regulars are generally well served by the script. I've already discussed the Doctors, but Peri gets plenty to do with surprisingly little whining, as she is called upon to visit the villa, resulting in her near-consumption by Shockeye. Jamie is also used well, Frazer Hines falling back into his old role with consummate ease. The briefly black-and-white scene at the very beginning of the story perfectly captures the old relationship between the Second Doctor and Jamie, and Holmes further builds upon this by allowing him to bond with the Sixth Doctor and Peri too. There is also plenty of gentle wit, including Jamie's obvious hope for a farewell kiss from Anita; disappointed, he makes sure that he gets one from Peri at the end. The Sixth Doctor's complaining about himself also works quite well, and there is also a superb moment when Oscar mistakes him for a policeman. He tells the Doctor, "I can see by your raiment that you are plain clothes division", prompting the Doctor to look down at his garish clothing in puzzlement... Overall then, 'The Two Doctors' is not the classic that it could have been, but it is far better than some fans suggest.

It wouldn't be very original of me to point out that 'Timelash' is an anagram of "lame shit", but I'm going to do it anyway. 'Timelash' is not merely bad; it is so very, very bad that I can't help wondering if writer Glen McCoy was taking the piss. Certainly Eric Saward must have been when he commissioned it. 

So is there anything good at all about 'Timelash'? Erm… well Robert Ashby is admirably restrained as the Borad, and delivers a coldly malevolent performance, which is something of a minor miracle considering the dross that he has to work with. And Colin Baker is as entertaining as ever as the Doctor, especially when he's displaying his exasperation with Herbert. Oh, and the incidental score by Liz Parker is quite good. I also like the much-derided Karfelon androids, whose purple faces, jerky movements and high-pitched voices manage to be quite eerie. And that's about it. 

Anyway, lets be brutally honest; the plot of 'Timelash' stinks. I say plot, but the festering morass of tedious and unbelievable events on offer barely qualifies. The basics of the plot are that the Borad, a nutter, rules the planet Karfel with a grip of iron, randomly turning off the power to hospitals and such like when the fancy takes him. His androids allow him to enforce his will. His eventual aim is to wipe out everything on Karfel aside from himself and the Morloxes, large reptilian monsters one of which he became fused with whilst experimenting with technobabble. Sorry, Mustakozene 80. His intention is to provoke the neighbouring Sock-Puppets into launching a Bendalypse warhead at Karfel in order to achieve this genocidal aim, after which he will repopulate the planet by shagging Peri, whom he intends to similarly transform into a mutant such as himself. The first obvious flaw in this boring and flimsy plot is that two people cannot repopulate a planet, which raises the question of why he doesn't just transform other Karfelons into half-Morlox mutants. Furthermore, he shows no inclination to take a mate from the native population at any point, so it is rather fortunate that the Doctor unexpectedly arrives with Peri in tow at an opportune moment. He clearly hasn't thought this through, and obviously neither has Glen McCoy. He also doesn't seem to have any sort of plan for dealing with the Bandril invasion force that will presumably arrive after they deliver their rocket, in order to harvest the grain that they desperately need. 

In case it hasn't become clear already, the characterisation of the Borad is horrendously bad. He's simply "Mad" in a generic way that makes even the Master's most loony plans seem well-thought out and sensibly motivated. He sits in a chair in a dark room with one big hand (leave it…) and sort of gloats at how evil he is. Oh, and he also clones himself in case anyone actually makes it to his inner sanctum and happens to have a means of dealing with his time weapon, a reasonably convincing special effect that ages people to death. Where the real Borad actually lurks in case he needs to make an unexpected dramatic appearance to make up unused plot time is not disclosed. Indeed, the sudden "resurrection" of the Borad with the crass revelation that the Borad killed previously was a clone is so incredibly bad that I can barely find adequate words to be sufficiently sarcastic about it. It would be the apex of the mountain of shite that is 'Timelash', were it not for the Doctor's unexplained trick with the TARDIS to deflect the Bandril's missile. There is a throwaway line in Episode One about the TARDIS being indestructible for the benefit of casual viewers, but given that the Doctor throws Peri out of the TARDIS because he thinks he's going to die, this isn't very convincing. All we actually get by way of explanation is a line to Peri, which amounts to "I'll explain later" and thus probably provided inspiration for 'The Curse of Fatal Death'. 

As though all of this codswallop were not bad enough, 'Timelash' also has the audacity to be immensely dull. There is considerable padding in Episode One, perhaps best summed up by the embarrassing scene in which the Doctor straps himself and Peri to the TARDIS console. There is also an incredibly tedious scene in which the Doctor arses about inside the Timelash in search of Kontron crystals, which might be slightly more exciting than it actually is if he wasn't surrounded by tinsel. It doesn't help that there is no sense of danger, given that the script gives the impression that Karfel is a planet of about a dozen people, all of whom live in the same small citadel. 

Then there are the characters. 'Timelash' is the only story in which I find Peri to be genuinely annoying, as she moans at the slightest provocation. The initial bickering scene in the TARDIS is actually quite good, as she accuses the Doctor of "aimless wandering", and he responds with indignation; her desire to stay when he offers to take her home is a reminder that however much they argue they remain friends, but this is pretty much the only decent piece of characterisation in the entire story. And whilst I'm on the subject of the Doctor and Peri, it's fortunate that he's had the albums out, since her ability to recognise Jo Grant saves her life. This is so contrived that it speaks for itself and therefore obviates the need for me to use the word "cack". 

Of the supporting characters, only two stand out aside from the Borad, and neither in a good way. Herbert is so irritating that I find myself happily imaging him being dismembered and eaten by a Morlox in order to occupy myself during the ninety minutes of my life that watching 'Timelash' obliterates, and he's clearly only present so that McCoy can nick ideas from H. G. Wells and then try to create the idea that he's being clever. Herbert is also used as an opportunity for some appalling vacuous wit in Episode Two, as he blathers on about dying heroically. David Chandler's performance is noteworthy only for the fact that it makes me want to punch him. Equally dreadful is Paul Darrow as Maylin Tekker. Much as I like Darrow's performance as Avon in Blake's 7, he is incredibly bad here as he hams it up allegedly in revenge for Colin Baker's over-the-top performance as Bayban the Butcher in the rather poor Blake's 7 episode 'City at the Edge of the World'. Given what he is given to work with, I can sympathize with his desire to muck about; Tekker is just as badly characterised as the Borad, and seems to be evil simply because he can. He smirks a lot and says nasty things and has no character motivation whatsoever beyond this. 

'Timelash' also suffers from a script that rivals 'The Twin Dilemma' for atrocious dialogue. Gems on offer include "Avaunt thee, foul fanged fiend!", "microcephalic apostate!", "He's dangling on the edge of oblivion!", and "Soon our planet will rule this corner of the universe with the power of a giant ocean!". The Bandrils, apparently popular with fandom in what I fervently hope is a sort of knowing post-modern ironic way, look like what they are; sock-puppets. They are also supposedly peaceful, although their solution to ending the Borad's refusal to send them grain is to commit genocide. I know they're desperate, but it seems a bit extreme… 

In summary, 'Timelash' is indeed, lame shit. And that's my final word on the matter.

After Season Twelve ending on a sour note, Season Thirteen gets off to a great start with 'Terror of the Zygons'. After the shoddiness of 'Revenge of the Cybermen', 'Terror of the Zygons' succeeds on almost every count, boasting great location work, cracking monsters, fine acting and a first rate script. 

Firstly, the Zygons themselves are excellent. Their costumes are amongst the series' best efforts, their sucker-covered embryo appearance being visually striking and rather disturbing. Good costumes alone however do not a decent monster make, and the Zygons benefit from a script that portrays them as ruthless, capable warriors armed with a novel but effective weapon on the form of the Skarasen. Their sibilant voices are suitably threatening, and the implication that they are equipped with stings (it is never confirmed in the script, but the way their victims scream when strangled suggests that they are suffering severe agony) makes them physically formidable. Further enhancing the success of the Zygons is the strong visual design of their spaceship interior, its organic appearance making it look authentically alien and fitting in with the visual appearance of the Zygons to make them look perfectly at home inside it. The fleshy controls are so unusual for Doctor Who that they can't help but be distinctive, and it makes a refreshing change to see a spaceship interior that isn't all polished metal and featureless corridors. The script also helps to contribute the success of the Zygons through its attention to detail; several Zygons aside from Broton are referred to by name, and throwaway remarks about "organic crystallography" and "dynacon thrusts" (amongst others) subtly reinforce that these creatures are using technology not known to this planet. The fact that these references are mentioned briefly and in passing somehow ensures that they don't sound like technobabble. Attention to detail is very important to the success of this story, from the deafening effect of the Zygon spaceship taking off from beneath the Loch, to the sight of the fluid rising ominously in the self-destructor in Episode Four. 

Another key factor in the success of the Zygons is John Woodnutt's superb performance as Broton in both his Zygon form and in his guise as the Duke of Forgill. Woodnutt, who previously appeared as the confused Hibbert in 'Spearhead From Space' and as the Draconian Emperor in 'Frontier in Space', is very, very good here, imbuing Broton with real menace, but also making him an actual character rather just a generic villain. As the Duke, Broton is required to pose as a human, and during the scenes in the castle in Episode Three, it is possible to forget that he's really a bigheaded green and orange alien warlord, as he displays dry wit and quiet courtesy, but he retains an air of menace as he keeps a cold, calculating gaze on his visitors at all times. As a Zygon, he's a threatening presence, glaring balefully from beneath large brows and hissing malevolently as he arrogantly boasts of Zygon supremacy to first Harry and later the Doctor. But he also has moments of real motivation; his announcement to Harry that he can never return home is matter-of-fact, but briefly stirs sympathy, before he flatly states that he intends to conquer Earth instead. He agrees with the Doctor's point that conquering Earth will be rather difficult for just a handful of Zygons, but adds that although it will be challenging it will not be impossible, which suggests that he has carefully considered his plans, rather than just decided to seize supreme power for the sake of it in a moment of megalomania. His defiant last words, as he grunts "the Skarasen will destroy you all", indicate a refusal to just give up even in the face of overwhelming odds, which I find strangely impressive even though he is trying to wreak havoc with a big puppet. 

John Woodnutt is not the only actor to put in a good performance in 'Terror of the Zygons' (although whilst I'm still on the subject, his performance as the real Duke of Forgill is further credit to his talents, possessing a warmth and good humour absent in Broton's impersonation). Angus Lennie is great as Angus McRanald, the local landlord who remains sceptical of UNIT's and Sarah's claims about monsters and aliens with bugs until the Zygon posing as Sister Lamont kills him. In truth, Lennie's performance is very similar to his performance as Storr in 'The Ice Warriors', but he's so right for the role that I don't really care if he's typecast or just playing himself, or simply doing a very good job. As with the Zygons, he benefits from the attention to detail in Robert Banks Stewart's scripts, and although his talk of second sight and knowing all the local gossip isn't remotely important to the plot, it adds some nice characterisation. Huckle too is well acted and characterised, Tony Sibbald providing a much better American accent that previous actors have done in Doctor Who! His performance nicely conveys Huckle's anger and distress at the loss of so many of his men and is, again, an example of the attention to characterisation that makes 'Terror of the Zygons' work so well. 

The regulars all benefit greatly from the script too. Tom Baker is superb, and it is impressive to see the Doctor's mood changes as he becomes involved in mystery of the rigs' destruction. Initially sullen and moody at having been summoned by the Brigadier to solve a problem relating to fuel, he's brought around by the Brigadier's sharp retort of "you don't want any more people to die?" which not only again nicely highlights the Doctor's sense of moral obligation to help people, but also serves as a reminder of how well the Brigadier knows him. As the story progresses, the Doctor gives an impression that he is enjoying himself, even when being chased across Tullock Moor by the Skarasen, admiring the creature as it stomps away in Episode Three. His scenes with Broton are great, as he casually belittles his enemy with lines like "Very good, very good. Almost impressive!" and "You can't rule the world in hiding. You've got to come out on to the balcony sometimes and wave a tentacle!" In addition, I also like the fact that this doesn't at all rile Broton, despite the Doctor's best efforts. I also like the Doctor's attitude towards the Skarasen; he has no qualms about blowing up the Zygon spaceship with them on board, but seems quite happy to let the monster go home (not, admittedly, that there is much else he could have done about it), since it was its masters who were responsible for it destroying the rigs and since it is basically a dumb animal that isn't really to blame. The unusual concept of the huge reptilian monster being allowed to go home and relax at the end of the story is rather endearing. Oh, and I love the Doctor's Scottish costume in Episode One!

Sarah and Harry also get plenty to do. Sarah's investigative skills are put to work in Episodes One and Three, and in addition she shows her usual mixture of curiosity and courage in following the tunnel in Forgill Castle down into the Zygon spaceship and rescuing Harry in the process. Mind you, points are deducted for her dithering on the cellar steps in Episode Four when the Doctor tells her to fetch the Brigadier. Harry also proves his value here. This is Harry's last story as a regular, and it's a shame to see him go, especially since his last ever appearance in the television series is in a story almost as bad as 'Revenge of the Cybermen', but at least he gets a last decent showing here. As well as getting another chance to put his medical skills to good use in Episode One, it is also Harry who first meets Broton, and learns about the Zygons, and although the Doctor doesn't actually find this out, Harry saves his life at the beginning of Episode Three, his interference with the Zygon controls releasing the trionic activator from the Doctor's hand just as the Skarasen attacks. Harry's last scene in the story, as he stands beside the Brigadier in full military uniform and politely but respectfully declines another trip in the TARDIS is a somehow very appropriate departure for him. In addition, Ian Marter gets to show off his acting skills by briefly playing a villain, which he does rather well; the nasty, sneering Zygon Harry is markedly different from the real Harry and the murderous look on his face as he attacks Sarah with a pitchfork is alarmingly convincing. 

'Terror of the Zygons' also marks the last appearance of the Brigadier for a good many years, and the last decent appearance of Benton and UNIT. As in 'Robot', the Brigadier retains some of his old credibility, or at the very least some of his old charm, and most crucially seems suitably commanding when he's organizing the attack on the Zygon ship in Episode Three and the hunt for the Zygons in Episode Four. The Brigadier is the subject of some wit, most notably his "Asleep? Impossible. I was on duty" line in Episode Two, but the story manages to incorporate this without making him the buffoon of 'The Three Doctors'. And in his last semi-regular story, it is worth noting that he finally meets a non-bullet proof alien menace, something he wished for in 'Robot', as he shoots Broton at the end. Benton too comes over well, ever likeable and ever reliable. I particularly like his "Why are you whispering?" scene with the Doctor in Episode Two.

Production-wise, 'Terror of the Zygons' is magnificent. The location work is superb, and although it wasn't filmed in Scotland it looks very authentic. The impressive incidental score helps to create this impression too. The Skarasen is of course the story's greatest limitation, but Douglas Camfield's careful direction means we only get very brief glimpses of it for the most part, save for the cringe-worthy shot of it rising out of the Thames at the end. Generally, the direction is very good, and the multiple fading shots of the Zygons' hands as they manipulate the controls on board their ship in Episode One are worthy of special mention. Overall, 'Terror of the Zygons' is a superb Doctor Who story and perfect start to the season.

After Revelation of the Daleks, the Two Doctors has to be my favourite DW story at that time and for pretty much the same reasons - lots of continuity references, old monsters and a quite unprecedented level of violence. However, there are many who dislike this story for precisely the same reasons, but I'll just give my viewpoints here.

Firstly, there is the heavy level of mythology in the story. What is wrong with this, in a twenty year old show? A story is only as good as its past and why should such a varied past be ignored? To spare confusion among present day fans? Please! And the humour here is also good, Doctor Who should always have humour somewhere in it and I don't think it was overplayed here. It nicely offset the other controversial aspect of the story, the violence!

This was so cool. I was a growing teenager at this time and DW seemed to be growing up right there with me. Tame stories like the Underworld or the Androids of Tara seemed half a lifetime away - come to think of it, it was. I loved seeing Stike's leg congealed in green blood, or Shockeye stalking a rat; they added wonderful menace and tension to the plot - the violence and the humour seemed to wonderfully dovetail each other out. In the middle of the Second Doctor/Shockeye in the restaurant scene, Oscar is brutally murdered for no good reason by Shockeye. Many people objected to this as too violent, fine. BUT, in a wonderful piece of poetic justice, Shockeye is himself killed by Oscar's cyanide kit, bringing the whole thing full circle. And people objected to Shockeye being killed as well! Okay, it was the Sixth Doctor wielding the cyanide,but he was in a life and death situation and didn't have any other means at his disposal.

The Sontarans were also excellent here - I love old monsters coming back and they hadn't been in a DW story for yonks, and that was the Invasion of Time. Enough said. more than time for their return, which was handled very nicely.

The only slightly peculiar thing about this epic tale is that the two Doctors should meet in the first place - in The Three Doctors and The Five Doctors this crossing their timestreams happened by direct intervention, but here it seems to be more or less by accident. Still, a minor quibble in an otherwise excellent fable. Loved Chessene and Dastari, loved the simplistic plot - but then, I love simplistic plots!

This is a review written by someone who has never seen Trial before until this month on my public television station. I was completely blown away by this certain show, and many people on the forum have told me to "brace myself", and I did, and I was still completely shocked.

Colin and Nicola have both grown into their characters by this time, and it's a pity because this is Nicola's last show and close to Colin's end as the Doctor. You can tell the hiatus had taken place; Colin's hair has grown into a beautiful mound of blonde curls, and Nicola, well, she was almost unrecognizable to me. Anyway, this was a great story, both Colin and Nicola acted superbly in this, you can see they have come a looong way since the "Twin Dilemma".

The person I feel sorry for the most, is the guy that had been transformed and he had those fangs...his mouth seemed to be drooped open for most of the show, and that had to be painful for him. 

I wasn't expecting the same character from Vengence on Varos to appear in this show, but there he was. It seems like these characters were up to no good, doing transformations on people as it had been done to Peri in Vengence.

Again it happens to her at the end of the show, and I was so shocked by this. I was never a big Peri fan, but I have grown fond of her since seeing Vengence, and I had this huge sickening feeling that something bad was going to happen to her. She becomes the creature that had been suffering massive aches in the head,and Peri herself is no more. Seeing Peri bald and completely mad, her eyes bulging out of her head as she sees the King Yrcanos come in, was very creepy. Since they air Doctor Who at midnight, I wasn't fully aware of everything that night, so I watched it when I was awake, and I found myself crying at the demise of Peri, and Colin's superb performance when he finds out Peri had been "killed". His eyes seem to water up or at least become glossy with shock and sadness, and not expecting this from the Sixth Doctor, I was left speechless and tears running down my face. When I say "killed", it has never been really proven if she has survived or not. Some people say there is a book that says she has survived, but when I read the books, I seperate them from the tv show. A website has said they believed Peri was truly dead because why should the Master tell the truth now after so many years hating the Doctor, and causing trouble. That's a good theory. 

Mindwarp is a great show in the Trial of a Time Lord series. If you haven't seen it, you're in for a real treat. Outstanding performances by all, even the guest actors. Also if you're a big fan of Peri, and happen to be a big softie like me, don't be surprised if you at least have one tear in your eye. Colin's performance in the very last scene will take your breath away!

There is something incredibly charming about stories like The Twin Dilemma - like old 1950s B-movies, where the monsters are cheesy, and the plots laughable, certain Doctor Who stories work, and are incredible watchable, because they just possess a charm and vitality which certain SF series, no matter how well-produced, will never possess. The Twin Dilemma possesses this charm, in my opinion, and as an added bonus, the primary performances in are really quite something too. 

Colin Baker's first time on screen as The Doctor has been described as 'misjudged', and at the time it may well have been. After the self-sacrifice of the magnificent Caves of Androzani, you would not need to apologize if you thought to yourself: who is this unbelievably arrogant, obnoxious person calling himself the Doctor, yet exhibiting none of the qualities that have become associated with 'The Doctor'... however, watching it now, it is a masterstroke to play the Doctor this way. It challenges what we know about the character, and places him into a far more alien position. Yes, it also alienates the viewer to a large extent (we sympathize with Peri, and find the Doctor very difficult to 'like' in any way), but by doing that the writers can prepare and plan for the moment when the Doctor re-enters our sympathies, and becomes our friend again - by having it that we dislike him for a time (yet know deep down that he is a 'hero'), the strength of our sympathy for him later will be all the stronger. And then, when we like him again, when he is our true hero again, the hints of the alien, and the strange will remain. There is nothing misjudged about this Doctor - it was simply that after the Fifth Doctor, this mad, bad Sixth Doctor felt utterly different. A Doctor, if he is to work, must be both alien and human. 

And there are constant hints in the characterization in The Twin Dilemma of what we like about the Doctor: his adamant claim to want to escape, his heroic saving of a life, his unceasing desire to save the world. The Doctor we know and love is there, but the characterization is underscored by an impatience to hang around (the scene when the police man gets trapped in the gastropod 'glue' is inspired and hilarious - the Doctor provides *absolutely no help whatsoever* while he struggles to free himself, and eventually just walks off!), a lack of selflessness, and a generally worrying change of character... But this side to the Doctor is not unknown. The Third Doctor could be arrogant, the First Doctor could be impatient, the Fourth Doctor was frequently high-minded... There are flashes of the past in this uncomfortable and unfamiliar incarnation of the Doctor. What a brave, wild thing to do for his first story. Colin Baker, and everyone on the crew, must have thought the writers were nuts. Place a crazed and mad Doctor into a basic, un-radical, but highly romp-ish pulp SF plot (good secondary work from Mestor)... light blue touch-paper... stand back... see what happens... Yes, the story is nothing special: as a story, a plot, a string of events... But as an experiment in character, the story is in inspiration. The plot is simply a side-show, a means to an end: the writers want to show us the nutter who is now the Doctor. 

I am now, more than ever, eagerly awaiting some Sixth Doctor novels. There is, and always has been, a huge amount of potential in the character.