#15 (6.1 - 6.5): The Dominators.

The Doctor is menaced by a Dominator.

5 episodes. Running Time: Approx. 121 minutes. Written by: "Norman Ashby" (Mervyn Haisman and Henry Lincoln). Directed by: Morris Barry. Produced by: Peter Bryant.


THE PLOT:

Dulkis is a planet of absolute pacifism. The only trace of warfare is on a single island: The Island of Death, where nuclear weapons were tested 172 years earlier before being permanently outlawed. "For centuries we have lived in peace," Director Senex (Walter Fitzgerald) brags. "We have proved that universal gentleness will cause aggression to die!"

But now the planet has been invaded by beings who know nothing of peace nor gentleness. The Dominators, Rago (Ronald Allen) and Toba (Kenneth Ives) have landed on the island. With the Dulcians incapable of waging war, or of acting at all, the Doctor and his friends must find a way to stop these enemies - before they and their deadly Quarks enslave or kill the entire population!


CHARACTERS:

The Doctor: With the Dominators believing that he and Jamie are Dulcians, the Doctor decides to behave as if he is meek and stupid. Even as the invaders dismiss him as a threat, he absorbs as much information as possible, until he is able to figure out exactly why the Dominators have come to this planet. In the final episode, he uses a medical kit to improvise explosives for Jamie and local troublemaker Cully (Arthur Cox), so that they can disrupt the Dominators' work. When a test shows that the explosives work, he jumps around like a gleeful child.

Jamie: Keeps the Doctor grounded, reminding him of immediate dangers - be it a Quark that is waiting at the site where their transport rocket is programmed to land, or a volcano that will soon erupt. He also displays skill as a guerilla fighter, leading Cully as they pick off Quarks to disrupt the Dominators.  He also comes up with the plan that finally thwarts the aliens - one which receives backhanded praise from the Doctor for being "so simple, only (Jamie) could have thought of it."

Zoe: Her first story as a proper companion doesn't really give her much to do; this serial would not be particularly different if it had been made with Victoria. Still, Wendy Padbury slips well into the existing Doctor/Jamie dynamic, playing well opposite both Patrick Troughton and Frazer Hines, and she is able to show more spark and humor here than The Wheel in Space allowed.


THOUGHTS:

The Power of the Daleks. The Macra Terror. The Abominable Snowmen. Fury from the Deep. All of those stories were junked... and this survived. The Dominators isn't quite the worst Troughton story - The Underwater Menace is stupider, and The Space Pirates is more padded. But it is probably the most generic serial of his tenure, a runaround that was deemed so tedious that the production team removed an episode from it. They probably should have removed two.

The script is credited to Norman Ashby - a pseudonym for Mervyn Haisman and Henry Lincoln, who were displeased when the story was cut and never worked for the show again. It is difficult to credit that this was the same writing duo that created The Abominable Snowmen and The Web of Fear - though in fairness, I thought Web had some issues that were largely obscured by an excellent production.

The Dominators does not benefit from its production. Given dull nonsense to shoot, Morris Barry falls back on the tried-and-true technique of pointing the camera at the actors and not doing much else. The Dominators exchange vital information in front of their prisoners, with no sign that they are even attempting to avoid being overheard. The heroes do the exact same thing, with Jamie and the Doctor not even bothering to whisper their assessment of their captors directly in front of them. The entire thing looks cheap, even by 1960s Who standards. Oh, and the Dulcian costumes are straight from the famed Window Drape Line, and provoke giggles on sight.

The interactions of the regulars keep the story watchable. Likely painfully aware of how weak the script was, Patrick Troughton and Frazer Hines insert even more bits of screen business than usual. These create bursts of amusement that help brighten up an otherwise deadly dull set of episodes.

In the end, however, a few good throwaway moments can't disguise how boring this is. Tedious villains, a generic plot, and a bland production all combine to create one of the least interesting stories of the Doctor Who's black-and-white era. When the end credits finally rolled over the closing episode, the only thing I felt was relief that it was over.


Overall Rating: 2/10.

Previous Story: The Wheel in Space
Next Story: The Mind Robber



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#8 (5.1 - 5.4): The Tomb of the Cybermen.

The Doctor is trapped by the Cybermen!

4 episodes. Approx. 97 minutes. Written by: Kit Pedler, Gerry Davis. Produced by: Peter Bryant. Directed by: Morris Barry.


THE PLOT

THe TARDIS arrives on the planet Telos just in time for the Doctor to witness an archaeological team uncover the entrance to the Tomb of the Cybermen. Professor Parry (Aubrey Richards), the expedition's leader, explains that they have come to find out why the Cybermen died out. But the Doctor worries that the tomb is a little too accessible, and that the entire edifice is an elaborate trap.

Inside, they discover a control room but no Cybermen. They do find a hatch to an area below, which logicians Eric Klieg (George Pastell) and Kaftan (Shirley Cooklin), who funded the expedition, believe must lead to the actual tomb. With a nudge or two from the Doctor, they are able to open it, and the group makes its way underground.

Where they find the Cybermen waiting in stasis - Dormant, but very much alive. Which is exactly what someone in their ranks was hoping for...


CHARACTERS

The Doctor: From the moment the Doctor hears the word "Cybermen," he decides he has to stay until he is able to make sure they will not reawaken. He's shrewd in how he goes about this. He doesn't step forward and take charge - Instead, he nudges the egotistical Klieg into figuring out how to turn on the power to the complex, then surreptitiously opens the hatch leading to the tomb. There's also a wonderful scene, a quiet character moment in the second half, in which the Doctor talks to Victoria about her father's death. He tells her that the pain will fade, and talks briefly about his own family and how he can let them sleep in his mind except when he actually wants to remember them.

Victoria: Her first proper story as a companion. Though Victoria's reputation in fan circles is very much that of a "screamer," she does show intelligence. When held at gunpoint in Episode Three, for example, Victoria glances at a dormant Cybermat and screams - distracting her assailant's attention long enough for Capt. Hopper (George Roubicek) to disarm her. Later, when most of the party has been locked in another room, Victoria is able to bluff her captors into believing that it's at least possible that the others may have a Cyber-weapon at their disposal. Deborah Watling is appealing throughout, able to sell that she's a character from a 19th century background even while taking part in this futuristic adventure.

Jamie: Patrick Troughton and Frazer Hines put in some wonderful bits of business that make their interaction special. When first entering the tomb, the Doctor and Jamie catch themselves holding hands and, in mutual surprise, all but throw their hands away from each other. At the start of Episode Two, when the Doctor is testing a control sequence that has just killed one member of the party, he advises that anyone who wishes to leave may. He then immediately adds, "Not you, Jamie," as the Scotsman prepares to make his exit. The result of these throwaway moments is a relationship that feels authentic, which I suspect is why this particular team is so well remembered a good 50 years after the fact.

Cybermen: "We will survive..." The early Cybermen stories work in a way that later ones often didn't, precisely because their goal is as simple as survival. Humanity is simultaneously a threat to their existence and a potential farm for them to create new Cybermen. Their attacks on humanity are motivated by their own urge to survive and reproduce - which ultimately amounts to the same thing. The story pauses to weave the Season Four Cybermen stories together, creating cohesive links between The Tenth Planet, The Moonbase, and this. The result is that, at this point in the series run, the Cybermen have a coherent, cohesive mythology... Though that wouldn't last for much longer!


THOUGHTS

For a long time, The Tomb of the Cybermen was among the many missing stories of the Second Doctor's era. The BBC even prepared an audio release, with narration by Jon Pertwee - a release that was rendered instantly obsolete by the 1991 recovery of a complete copy. Until the 2013 recovery of The Enemy of the World, it was the only complete serial from Season Five; it remains the earliest complete story of Patrick Troughton's era.

Bizarrely, its recovery led to a negative re-evaluation. During the time it was lost, the reputation of its visual element - particularly the scene in which the Cybermen break free of their tombs - was magnified to the point that many (rather unreasonably) expected it to have the production values of a feature film. When it was discovered that the serial had the usual hallmarks of the series' low budget, including a wobbly tomb door and a visible wire on a man meant to be held in mid-air by a Cyberman, some fans griped that being found was the worst thing that could have happened.

Thankfully, that balderdash has long since receded, and most seem to again recognize the story for the classic it is. Sure, it's low-budget. It is also imaginatively-produced and tightly-scripted - One of the Troughton era's highlights, and in my opinion the best Classic Series Cyberman story.

Though certainly exemplifying the "base-under-siege" format so popular in the Troughton era, it also anticipates the Hinchcliffe/Holmes formula. A team of archaeologists and their shady (conveniently foreign-accented) financial backers enter a booby-trapped tomb, only to be preyed upon by monsters... It's the Doctor Who version of The Mummy, and all the better for it.

Holding the Cybermen back until the midpoint of the story proves to be a good choice. The first two episodes build atmosphere and explore the tensions and mixed agendas among the group. Three members of the party die before the Cybermen awaken, two thanks to the various traps within the tomb, and one more thanks to treachery. The Cybermen themselves are viewed by the human villains as tools to be exploited - much the way the various human factions in Power of the Daleks viewed those creatures.  As was true of the Daleks in that story, the Cybermen here view the human villains no differently than the rest of the group, which reinforces how alien they are.

Contained to a briskly-paced four episodes, and peppered with effective suspense and good character bits, The Tomb of the Cybermen is one of the easiest Sixties stories to watch in a single sitting. Sure, its age and budget show - But it remains wonderfully entertaining, and is a story I have no hesitation dubbing a "must-see."


Overall Rating: 8/10.

Previous Story: The Evil of the Daleks
Next Story: The Abominable Snowmen


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#4 (4.23 - 4.26): The Moonbase.

"There are some corners of the universe
which have bred the most terrible
things... They must be fought!" 



















4 episodes. Approx. 97 minutes. Written by: Kit Pedlar, Gerry Davis (uncredited). Directed by: Morris Barry. Produced by: Innes Lloyd.


THE PLOT

The Doctor's attempt to control the TARDIS goes awry, landing the time travelers on the moon in the late 21st century. Jamie is injured while exploring the lunar surface, but is rescued by workers at an international moonbase. The base, which uses a device called the Gravitron to control Earth's weather, is suffering from a mysterious plague. The disease first hit the base's doctor, then started spreading among the scientists, with seemingly no reason behind it.

Though the Doctor's too-timely arrival draws some suspicion from Hobson (Patrick Barr), the base commander, he is still allowed to investigate. What he discovers are contaminated food stores, spreading an artificial disease designed to leave the base vulnerable to infiltration. The Cybermen have returned, and they are determined to eliminate all threats to their survival - which includes all life on Earth!


CHARACTERS

The Doctor: The Moonbase is the story that finally figures out exactly who the Second Doctor is. Gone are the disguises and funny accents of the previous two serials. The humor is still there (as well it should be), but it's used as part of his characterization, rather than being a replacement for characterization. Once he sees the effects of the space plague, we see a seriousness of purpose. He essentially lays out the mission statement of the rest of the Troughton era, as he proclaims: "There are some corners of the universe which have bred the most terrible things, things which act against everything which we believe in. They must be fought!"  Troughton keeps his voice nicely quiet as he delivers it, underplaying against the aggressive nature of the lines.

Ben/Polly: One of the things making Ben and Polly such a good pairing is the way their personalities balance each other out. Ben is cynical, impatient, and aggressive. This can put him into a  leadership role when the Doctor's unable to take that role himself, as when he takes Polly's idea about acetone and turns it into a practical weapon against the Cybermen. But on his own, Ben's impatience would have led him to walk out as soon as Hobson voiced suspicions about the time travelers. Polly balances this out - though on her own, as we saw when she let Zaroff escape, her compassion can override common sense. Between the two of them, they make one fairly impressive human being - which combines with the chemistry between Michael Craze and Anneke Wills to channel a genuine "couples" vibe that hasn't been present in any TARDIS team since Ian and Barbara.

Jamie: While Ben and Polly are reasonably well-treated and the Second Doctor gets his first really good characterization since The Power of the Daleks, Jamie is even worse-used here than in the last story. The scripts having been written before his addition as a regular, script editor Gerry Davis opts to fit him in by knocking him out almost immediately and having him spend the first half of the story unconscious, occasionally waking up to blather about "the phantom piper." Episode Three attempts to create a vague rivalry with Ben for Polly's affections, but this doesn't go anywhere and so isn't particularly interesting on any kind of character level.

Cybermen: The Cybermen's second appearance, after their very well-received debut in The Tenth Planet, and they've been significantly redesigned in the interim. I'm not sure I like all the changes. The sing-song voices of the Tenth Planet Cybermen were more eerie, as were the recognizably human bandaged faces. Here, they are recreated as strictly robots. However, they come across as more formidable here than in their first story, and there's a sense that they truly cannot be reasoned with. In any case, the Moonbase Cybermen work well within this story, but I can see why the design was further altered later.


THOUGHTS

The Moonbase would be an easy story to criticize. After all, just four serials after The Tenth Planet, here's a story that is in many ways a remake. But while the earlier story introduced both the Cybermen and the "base-under-siege" template, The Moonbase refines both. I might personally prefer the original Cybermen, but there's no question but that these are a more polished final product. As is the story, which offers stronger atmosphere and a more effective sense of both menace and claustrophobia.

The script, written by Kit Pedlar and given an extensive rewrite by story editor Gerry Davis, builds tension masterfully. The first two episodes see the Cybermen introduced gradually. The shadow of a Cyberman's head on a wall; a Cyberman's hand, within the Cyber-ship. Even when they are finally seen in Episode Two, Hobson refuses to believe it, insisting that they are all long dead... Right up until the cliffhanger reveal at the end of Episode Two. It's all quite well done, building the menace of the Cybermen in the background while letting the disease plot occupy center stage to keep the pace moving.

Though most of the base crew are one-dimensional, Patrick Barr's Hobson is one of the best-scripted "base commanders" of the Troughton era. In contrast to most of the series' authority figures, he is no imbecile. We see that he's under enormous stress, but he never comes across as unstable, and he clearly has the respect of his men. He maintains his dignity and authority even when his base is held hostage by the Cybermen, and he works well with his second in command, Benoit (Andre Maranne), and with the Doctor in fighting them. If this were rewritten to remove the Doctor Who elements, Hobson would make a pretty good lead for the story without any substantial change to his portrayal.

A comparison of this serial with The Underwater Menace is revealing. Both stories involve a threat to the planet Earth, as witnessed from two-and-a-half sets on a soundstage. Both stories have rather ridiculous elements. The Gravitron seems an outright liability to Earth, given that a few hours of issues with the machine apparently sends the entire Earth into chaos. But The Moonbase establishes an atmosphere of credibility, with the early episodes taking time to show the crew's regular routine. 

This presents a stark contrast to The Underwater Menace, with its generic high priests sacrificing the companions to generic gods, while generic cruel overseers force them to work in generic mines (mining what, exactly?), while a madman plots to destroy the Earth simply because he can. The Moonbase provides little details and tiny moments to make its setting feel somewhat authentic; The Underwater Menace... doesn't.

Lest my praise be too lavish, I should say that the serial's ending is deeply unsatisfying. The Cybermen are defeated at the end in a way that makes sense within the confines of the story, but which just feels like a complete anticlimax. All the tension built up over 3 1/2 episodes evaporates as a gizmo conveniently nullifies the threat. Still, a weak ending doesn't wipe away 3 1/2 episodes that are generally very good to excellent (nor is it the weakest ending to a Troughton Cyberman story). The Moonbase is a simple serial, but it is also an extremely well-executed one.


Overall Rating: 8/10.

The Moonbase Missing Episode Notes

Previous Story: The Underwater Menace
Next Story: The Macra Terror


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