Beware the Daleks! This looks absolutely fabulous. Colin Baker is such a great ambassador for Doctor Who.
Tag Archives: Daleks
The Daleks’ Master Plan – Feast of Steven Animation
Adam Bullock has produced an excellent animation of episode 7 of The Daleks’ Master Plan, The Feast of Steven. Uploaded to YouTube in a single part it’s a brilliant way of “viewing” this lost episode. As the original episode was not broadcast outside of the UK the chances of a recovery are almost non-existent.
Adam Bullock’s The Feast of Steven animation, The Daleks’ Master Plan Episode 7
The Daleks’ Master Plan – Loose Cannon Reconstructions Episodes 9, 11 and 12
Loose Cannon’s Daleks’ Master Plan, Episode 9 Part 1
Loose Cannon’s Daleks’ Master Plan, Episode 9 Part 2
Loose Cannon’s Daleks’ Master Plan, Episode 11 Part 1
Loose Cannon’s Daleks’ Master Plan, Episode 11 Part 2
Loose Cannon’s Daleks’ Master Plan, Episode 12 Part 1
Loose Cannon’s Daleks’ Master Plan, Episode 12 Part 2
The Daleks’ Master Plan – Loose Cannon Reconstructions Episodes 6, 7 and 8
Loose Cannon’s The Daleks’ Master Plan, Episode 6 Part 1
Loose Cannon’s The Daleks’ Master Plan, Episode 6 Part 2
Loose Cannon’s The Daleks’ Master Plan, Episode 7 Part 1
Loose Cannon’s The Daleks’ Master Plan, Episode 7 Part 2
Loose Cannon’s The Daleks’ Master Plan, Episode 8 Part 1
Loose Cannon’s The Daleks’ Master Plan, Episode 8 Part 2
The Daleks’ Master Plan – Loose Cannon Reconstructions Episodes 1, 3 and 4
Only episodes 2, 5 and 10 of The Daleks’ Master Plan are held in the BBC archives and have been released on the Triple set DVD Lost in Time. For the purposes of my marathon I viewed the aforementioned episodes on DVD and reconstructions of the remaining episodes. Searching for the reconstructions on YouTube can be a difficult task so this and my next two posts will be devoted to providing the appropriate links. Enjoy your journey!
Loose Cannon’s The Daleks’ Master Plan, Episode 1 Part 1
Loose Cannon’s The Daleks’ Master Plan, Episode 1 Part 2
Loose Cannon’s The Daleks’ Master Plan, Episode 3 Part 1
Loose Cannon’s The Daleks’ Master Plan, Episode 3 Part 2
Loose Cannon’s The Daleks’ Master Plan, Episode 4 Part 1
Loose Cannon’s The Daleks’ Master Plan, Episode 4 Part 2
The Daleks’ Master Plan – The First Deaths of Doctor Who Companions
Magnificent in parts, and downright dodgy in others, The Dalek’s Master Plan was a serial of extremes. It was condemned for its violence and criticized for its comedy interludes. In Australia it was one of only two Doctor Who serials that were never screened. As parts of the 12 part serial had been classified as adult, the ABC decided against reconstructing it to fit the child friendly time slot in which Who normally aired. Viewer reaction to the Christmas special, The Feast of Steven, which was broadcast as episode 7, was particularly bad. The comedy antics in the Liverpool Police Station and the 1920’s Hollywood film set would have perplexed an audience that for the previous month and a half had been viewing a serial resplendent with fear and violence. Similarly, the unexpected arrival of the Doctor’s adversary from The Time Meddler, the Monk, in episode 8 and the comedy interludes that continued with him through episodes 9 and 10, must have been puzzling to the audience. That being said, I love the Monk and only wish he’d again grace our screens. Steven Moffatt, are you reading this?
Given the length of the serial it is not my intention to provide even the most rudimentary synopsis. One transcript I’ve seen is 72 pages long and unfortunately I don’t have the time to write a 10,000 word dissertation! There are a number of books that provide excellent summaries of this, and other, Who serials. In particular I’d suggest David J Howe and Stephen James Walker’s The Television Companion. The Unofficial and Unauthorised Guide to Doctor Who. Published by Telos in 2003 the book is now out of print although copies frequently appear on eBay. Telos Publishing uploaded cover photos of Volume 1 and 2 of the 2013 edition of The Television Companion on their Facebook page in late 2012. I’m uncertain when the release is anticipated.

David J Howe & Stephen James Walker’s The Television Companion was published in 2003 by Telos Publishing
The death of real humans, and not the “Bug Eyed Monsters” that Sydney Newman so decried, was a permeating feature of The Daleks’ Master Plan. The deaths of three Tardis travellers, companions Katarina and Sara Kingdom, and Space Security Service agent Bret Vyon, upended all hitherto held presumptions that the Doctor always averted disaster. Unlike any Who serial that it had preceded in respect of violence, The Daleks’ Master Plan evidenced the new tangent that producer, John Wiles, was taking the show. It is to the lives and deaths of these three Tardis fellow travellers that I will be devoting today’s review.
KATARINA
Katarina, the deferential handmaiden of Cassandra, was a sudden and unwitting occupant of the Tardis as the credits rolled in The Myth Makers. Pushed into the Ship by the departing Vicki, Katarina was clearly out of her depth in a world of space travel. Possibly born as early as 1300 BC, Katarina’s fellow passenger was the space pilot Steven, whose era of birth was never stated but was probably born sometime after 2500 AD. With around four millennia separating their births, Steven and Katarina would have been as alien to each other as the Doctor was to Barbara and Ian when first they met in the scrap merchant’s yard at Totters Lane. Katarina was a women of her time and naturally observed and comprehended all around her in the context of a mystical or supernatural schema. Once in the Tardis she believed she had entered the hereafter and that the Doctor was her gateway to the Place of Perfection. She spoke barely a word during her full three episodes as a member of the Tardis Crew, and took no active part in any of the proceedings, save for operating some buttons on the console as directed by the Doctor and retrieving tablets from Bret Vyon’s pocket.
The object of the third episode cliff hanger, Katarina was taken hostage at knifepoint by a prisoner, Kirksen, who had boarded the Doctor’s stolen spacecraft after it had crash landed on the prison planet, Desperus. Unaware that Kirksen was onboard and hiding in the airlock, the spacecraft took off again after hasty repairs. Kirksen threatened to kill Katarina if he was not returned to the nearest planet, which inconveniently for the Doctor and crew was the very planet from which they’d just escaped, Kembel. Heated debate ensued between the Doctor, Steven and Bret Vyon as to whether they should turn back. Although a decision was eventually made to return to Kembel, Katarina pushed a button which opened the airlock door. She and Kirksen are sucked into space and died, and all within the first five minutes of episode four. Although Steven thought that this may have been an accident, the Doctor was convinced that she had sacrificed her life for them. He lamented her demise whilst congratulating her courage:
“She didn’t understand. She couldn’t understand. She wanted to save our lives and perhaps the lives of all the other beings of the Solar System. I hope she’s found her Perfection. Oh, how I shall always remember her as one of the Daughters of the Gods. Yes, as one of the Daughters of the Gods”.
Katarina’s shocking death was the first to befall a companion in Doctor Who and was yet another in an increasingly long string of failures for the Doctor.
BRET VYON
It is perhaps because Nicholas Courtney went on to become the much cherished Brigadier Alistair Gordon Lethbridge-Stewart, that the first character he played in Doctor Who, Bret Vyon, has not been accorded the status of companion in the annals of Who history. Spending as much time onscreen and inside the Tardis as the official companion Katarina, Vyon’s character has been viewed somewhat as an interloper, albeit one with an incredibly extensive role in episodes one through to four. Unlike the almost mute Katarina who was almost entirely compliant with the Doctor’s commands, Vyon was headstrong and self assured, and began his relationship with the Doctor on less than civil terms. On the planet Kembel with fellow agent Kert Gantry, Vyon was looking for leads on the fate of Marc Cory, the agent who met his demise at the Daleks’ hands in Mission to the Unknown. Gantry was quickly and violently dispatched by the Daleks within minutes of the opening of episode one, leaving Vyon alone in the jungle. Finding the Doctor outside of the Tardis, Vyon threatens him at gunpoint and demands the key. “Give me the key or I’ll kill you” he states. Leaving the Doctor outside, Vyon enters the Tardis and is confronted by Katarina and Steven, who is only in a semi-conscious state following the injuries sustained at the end of The Myth Makers. Vyon demands that the crew fly the Ship, together with him, off the planet. Rousing briefly in a groggy state, Steven uses a spanner and knocks out Vyon who falls to the floor.
The Doctor soon enters the Tardis and puts the unconscious Vyon into chair. Upon the disorientated Vyon waking up the Doctor says to him, “I call it the magnetic chair. It has a forcefield strong enough to restrain a herd of elephants”. After the Doctor leaves, Vyon assists Steven by guiding Katarina to remove two tablets from his pocket. The naive Katarina has never seen tablets before and has to ask Vyon if what she’s found is indeed them. By assisting in Steven’s recovery Vyon, whom the Doctor had earlier considered to be a “violent young man”, showed himself to be an ally of the Tardis Crew. Released from the restraint of the chair, Vyon thereafter works in coalition with the Doctor.
Again displaying his propensity for violence, Vyon commandeers Mavic Chen, the Guardian of the Solar System’s, Spar which for all intents and purposes is a hotted up spaceship. After sneaking into the ship and taking the pilot and engineer by surprise, Vyon shouts “I’m taking over this spaceship. Over there. Tie them up”. With just Steven and Katarina present during the heist, Vyon almost takes off without the Doctor after being shocked by the sound of an alarm. Luckily the Doctor returns just prior to take-off. After the death of Katarina along the way, the eventually arrive at Earth where Vyon meets up with an old friend, Daxtar, the manager of a research station. Vyon believes that Daxtar will become an ally against the Daleks’ and Mavic Chen’s plans for domination of the universe. Unknown to Vyon, Chen has already procured Daxtar’s allegiances. The Doctor quickly twigs to this betrayal upon Daxtar mentioning the taranium core, something which Daxtar could only be aware of if he was in league with the enemy. Without a second’s delay Vyon shoots Daxtar dead. Before there’s any chance to contemplate the consequences of Vyon’s actions, the group is scattered by the arrival of Space Security Agent Sara Kingdom and her colleague, Borkar. Sent by Chen to assassinate the “traitors” who had stolen the Taranium core, Kingdom shoots Vyon dead. It is only later that we become privy to the fact that Kingdom is Vyon’s sister.
SARA KINGDOM
Like Vyon, Sara Kingdom is an employee of the Space Security Service. The SSS is at the service of Mavic Chen, the Guardian of the Solar System and perhaps one of Doctor Who’s most evil villains ever. Highly regarded by the Service, Kingdom is known to obey orders without question in a ruthless and timely manner. It is with these credentials in mind that Chen dispatched Kingdom to seek and destroy the Doctor, Steven, and Vyon. Our hero, the Doctor, had masqueraded as Zephon, one of the delegates to the Dalek’s conference, and attended the meeting in which Chen had advised that the Daleks’ ultimate weapon, the Time Destructor, was complete. The real Zephon, however, had been tied up by Katarina and Steven at Vyon’s command. Upon Zephon freeing himself and activating an alarm, the Daleks’ conference went into a state of chaos and the Doctor was able to escape with the Taranium Core, the essential element required to activate the Time Destructor. It was because the Doctor and his crew had the Taranium Core that Mavic wanted them dead and the Core returned to him.
Unlike her brother Vyon, Kingdom is not yet cognisant of Chen’s treachery and assumes that he is working in the best interests of the Solar System. She immediately accepts Chen’s command and quickly dispatches Vyon with seemingly no remorse. Kingdom is portrayed as a cold blooded killer and orders her colleague, Borkar, to track down and kill the Doctor and Steven. After chasing the Doctor and Steven, Kingdom is caught with them in a laboratory. Whilst there they are accidently subjected to a molecular dissemination experiment (together with some mice, but that’s another story) and transported to the planet Mira. Confronted by invisible monsters named Visians, the Doctor, Kingdom and Steven retreat into a cave. Steven argues with Kingdom about Vyon’s death and accuses her of blindly following Chen’s orders without question. Had she not considered, Steven posited, why a space security agent, one of her own people, had become a traitor? She questioned neither Chen nor Vyon, and didn’t give Vyon a chance. Considering Steven’s story fantastic Kingdom eventually admits that Vyon was her brother and rushes out of the cave in a distraught manner. The Doctor takes this as a sign that Kingdom finally believes them. Shortly thereafter Kingdom returns to the cave after being touched by a Visian. From that point forward Kingdom is a firm ally of the Doctor and Steven.
Kingdom is adept at martial arts and karate chops several villains in the course of our heroes’ adventures. Unfortunately those episodes are lost in time so viewers are unlikely to ever see the black cat suited Kingdom doing her moves on our TV screens. She eventually loses her life in episode 12 after going back into the Daleks’ underground city to assist the Doctor. The Doctor activates the Time Destructor after the distraction caused by Chen’s execution, and he and Kingdom make their way back to the Tardis. Steven is already safely ensconced within, having previously been ordered back to the Ship by the Doctor. In the process of returning to the Tardis through the jungle the Doctor and Kingdom begin to rapidly age. Having both collapsed, Kingdom dies, is reduced to bones and quickly thereafter, dust. Presumably because of his Time Lord anatomy (although, of course, he was not yet identified as such in the series) the Doctor does not age as rapidly as Kingdom. Seeing the pair on the scanner, Steven rushes outside and also begins to age. In attempting to deactivate the Time Destructor Steven accidently puts it in reverse resulting in our two heroes returning to the correct ages. Being already dead, it is too late for Kingdom and also for the Daleks, who had until that point been seemingly immune to the effects of the Time Destructor. More about the fate of the Daleks, however, in my next review.
As an aside, there’s a rather nice interview with Jean Marsh, who played Sara Kingdom, in the special features of the Seventh Doctor’s Battlefield DVD. In the segment entitled From Kingdom to Queen, Marsh reminisces on her three appearances in Doctor Who – The Crusade (1965), The Daleks’ Master Plan (1965/6) and Battlefield (1989). Although not referred to in the interview, it’s interesting to note that Marsh appeared with Nicholas Courtney in both his first (The Daleks’ Master Plan) and last (Battlefield) appearance on Doctor Who. That makes the world of Who seem very small and incestuous, doesn’t it?
Stay tuned for my next review on three of the villains in The Daleks’ Master Plan – Mavic Chen, the Daleks, and the Monk.

An interview with Jean Marsh, From Kingdom to Queen, is one of the special features of the Seventh Doctor’s Battlefield DVD

Episodes 2, 5 and 10 of The Daleks’ Master Plan are included in the Lost in Time triple DVD set. The Daleks’ Master Plan was originally broadcast in the UK between 13th November 1965 and 29 January 1966.
Vivien Fleming
©Vivien Fleming, 2013.
Reference
David J Howe & Stephen James Walker, The Television Companion. The Unofficial and Unauthorised Guide to Doctor Who. Telos Publishing Ltd, Surrey, 2003.
Mission to the Unknown
Received wisdom has it that Mission to the Unknown is the only one part serial in classic Doctor Who. Moreover it’s renown for containing absolutely none of the regular cast members or the Tardis. In today’s language it would be described as a “Doctor Lite” episode. Such broad generalizations, however, fail to conceptualize the serial as it was originally intended – as part one of a story arc which fans now refer to as The Daleks’ Master Plan. Sometimes designated as a prequel to The Daleks’ Master Plan, Phil Sandifer in his tome, Tardis Eruditorum Volume 1: William Hartnell, persuasively argues that Mission to the Unknown is actually the first part of a five part serial, part two of which was aired five weeks later. Sandifer asserts that rather than being a single 12 part serial, The Daleks’ Master Plan is really four separate serials aired over a period of 17 weeks and encompassing both Mission to the Unknown and The Myth Makers. But more about Sandifer’s assertions in my review of The Daleks’ Master Plan.
It is sufficient for our purposes now to limit discussions to the single 25 minute episode entitled Mission to the Unknown. The last Doctor Who story produced by Verity Lambert, this serial was screened the week following episode four of Galaxy 4. Whereas the overwhelming number of Who serials start in the console room of the Tardis, Mission to the Unknown commences with a man unrecognizable to the viewer lying almost unconscious on the ground. Around him is a jungle, or at least we believe it to be a jungle because this episode, like another 105 others of 1960’s Doctor Who, is lost. Not only was it junked by the BBC, there are also none of John Cura’s extremely helpful telesnaps. Instead we are left with just a handful of photos to guess what the story looked like. This has not stopped fans making reconstructions utilizing the audio and ingenious methods of visually representing the action. For my marathon I watched two such reconstructions – an animation produced by lifelong Who fan, Ian Levine, and the other by Loose Cannon. Both can be accessed below for your viewing pleasure.
Ian Levine’s animation of “Mission to the Unknown” Part 1
Ian Levine’s animation of “Mission to the Unknown” Part 2
Loose Cannon’s “Mission to the Unknown” Part 1
Loose Cannon’s “Mission to the Unknown” Part 2
Mission to the Unknown brought a sense of terror back to the Daleks after the somewhat unsuccessful attempt at comedy in The Chase. Given that the Daleks were the “bread and butter” of Doctor Who it was a wise move by the production team to reaffirm their deadly disposition. Akin to the Daleks’ home planet of Skaro, the planet Kembel, on which three space travellers are stranded, is a dangerous place. Space pilot Marc Cory asserts that it’s the most hostile planet in the universe and is avoided by other civilizations. Unbeknownst to the space travellers on their arrival, there is a Dalek base on Kembel. Cory first twigs to this when he comes upon a Varga plant. Natives of the planet Skaro, Varga plants were developed in Dalek laboratories and grown to give the Daleks extra protection. Part animal and part vegetable, they look somewhat like a cactus and drag themselves along by their roots. The Varga plants have large thorns containing poison. If pricked by one the human victim dies and is quickly transformed into a Varga plant. The poison in the plant attacks the victim’s brain and produces in them an overwhelming desire to kill. They are devoid of all rational thought.

A press photo of Doctor Who producer, Verity Lambert, with one of the Daleks’ allies, Malpha. Is Verity offering the alien a cigarette?
First crew member Jeff Garvey, and then another, Gordon Lowery, are victims of the Varga thorns. Cory, who is with the Space Security Service, and therefore “licensed to kill” (Terry Nation had been watching too much James Bond!), shoots both Garvey and Lowery dead prior to their transformation into Varga. Both men transform into Varga after their deaths. Shortly thereafter Cory himself is exterminated after being encircled by Daleks. During all of these death our hero, the Doctor, is nowhere to be seen. The man who viewers have depended on for almost two years to always save the day is either unwilling, or unable, to thwart these vicious attacks. Moreover, the Daleks are holding a conference on Kembel with emissaries from seven outer galaxies. They are sure to all be horrid looking aliens. If only we could see them! The allies plan galactic domination and to conquer Mars, Venus, Jupiter and the Moon colonies. Their first conquest will be Earth. With a 100 per cent success rate in killing all three humans in the serial, things look decidedly rosy for the Daleks and their allies. These are troubling times indeed. Without the Doctor the future for the whole galaxy is bleak.
Vivien Fleming
©Vivien Fleming, 2013.
REFERENCE:
Phil Sandifer, Tardis Eruditorum Volume 1: William Hartnell. Self published, 2011.
Galaxy 4
If beauty is in the eye of the beholder then no better example could be found than in the premiere story of Doctor Who’s third season, Galaxy 4. It’s at this stage that you’d anticipate me summarizing the moral thesis of the story as my opening catch phrase alludes to. Not so! The beauty to which I refer bears no relationship to the relative physical characteristics of the Drahvins and the Rills, but rather to the viewer’s appreciation of the serial. In their book Running Through Corridors, Rob Shearman and Toby Hadoke approach a marathon watch of Doctor Who with the intention of finding the good in each and every story – even the downright shockers. Despite their best endeavours, neither Shearman or Hadoke could find much to endear them to Galaxy 4. I beg to differ, and as such am perhaps one of the few fans who genuinely love the serial.
It’s probably because I’m a woman that I find the concept of a female dominated alien race somewhat appealing. The Drahvins, natives of the planet Drahva in Galaxy 4, are a most practical bunch. When the Doctor and Steven ask the leader, Maaga, if all their race are female, Maaga’s response if most abrupt – “Oh, we have a small number of men, as many as we need. The rest we kill. They consume valuable food and fulfil no particular function.” I almost squeal with delight whenever I watch that segment, but please don’t tell my sons. They’ll probably find it hard to sleep at night! The Doctor responds cheekily by saying, “Yours must be a very interesting civilisation”. If ever there was an understatement, that’s one. When Maaga later offers to free Steven if he takes the Drahvins off the planet in his ship, his retort is classic. “Oh, yes, yes. But even assuming I believed you, that on the way you didn’t decide that I was eating too much food, there is a snag … I can’t operate it”, he states. There are no flies on Steven. He’s a bright one!
The Drahvins that the Doctor and his companions meet are small in number and comprise only four in total. All have long blonde hair and wear unflattering green and white uniforms. All but the leader, Maaga, are drones. Bred purely as soldiers, the three are without intelligence and cultivated in test tubes. Whilst Maaga is a living being, she considers the soldiers to be mere products, and inferior ones at that. “Grown for a purpose and capable of nothing more”, she says, “To fight. To Kill”. The soldiers are programmed to obey all orders on command and to offer themselves up to death if they fail in their mission. Like the Tribe of Gum in An Unearthly Child, the Drahvins cannot understand human kindness and why a person might sacrifice their life for another. While Maaga eats real food, the soldiers subsist on tablets only. Steven endeavours to reason with one of the Drahvin and convince her of the inequality of this class based system. Before he can succeed Maaga enters the room and stops the conversation.
The soldiers’ lack of intelligence is the cause of constant frustration to Maaga. Charged with finding a new planet for colonization, she was lumbered with soldiers to assist her. All thinking is left to her and the drones lack even the intellect to imagine the Rills dying on a white exploding planet. Death and destruction are things Maaga intellectually craves, but killing is undertaken in an automated and routine manner by the drones. They are incapable of enjoying the process of killing. Maaga is one sick and twisted psychotic individual!
It is little wonder that the writer, William Emms, saw fit to have the Drahvins all killed at the story’s end. They’re not nice people, even if the thought of a planet with limited men might appear momentarily enticing. Both the Doctor and the Rills’ failure to rescue the Drahvins, although logical, is morally troublesome. The Rills had long offered to transport the Drahvins home, notwithstanding their longstanding aggression against them. Earlier in the serial the Doctor had even stated to Maaga that neither he, nor his companions, kill. And yet, the Doctor leaves the Drahvins on the planet knowing full well that within minutes it will explode. Compare this, for a moment, with the Fourth Doctor’s classic moral dilemma in The Genesis of the Daleks. The Doctor is afforded the opportunity to destroy the Daleks forever, and yet he hesitates. Does he have the right to commit genocide, even though the Daleks are evil reincarnate and will cause death and suffering to millions of people? Sarah Jane certainly considers it morally acceptable but the Doctor is not so sure. By the Seventh Doctor’s tenure, however, such moral concerns appear far from his mind when Skaro is seemingly destroyed in Remembrance of the Daleks.
That Galaxy 4 featured humans produced by test tube, 13 years prior the first in vitro fertilisation (IVF) birth in 1978, is quite marvellous. The story canvassed the moral issue of cloning three decades before the birth of Dolly the Sheep in 1996. Future science, rather than science fiction, was at the core.
I opened with the phrase “Beauty is in the eye of the beholder”. This, undoubtedly, was the major theme of the writer, William Emms. The beautiful people in the serial, the Drahvins, are actually morally bankrupt and psychotically evil. Given their blonde hair, I suspect the Drahvins to be modelled on the Nazis. Not unlike Hitler, their leader Maaga rallied her troops’ support by openly lying about the “enemy”. The Nazis lead the German people to incorrectly believe that the Jewish people were the cause of Germany’s economic woes. Maaga convinced her people that the Rills had killed a Drahvin soldier and were necessarily evil. Maaga had actually killed the soldier herself.
The Rills are the “ugly” of the story and even consider themselves to be physically unbearable to all but their own kind. They are great big green blobs that can only breathe ammonia. They are, however, the good and the just of the story. Notwithstanding having their spacecraft shot down by the Drahvins, they offer assistance to the stranded women when both peoples are marooned on the planet. They continue to offer the hand of friendship almost to the end. They immediately forgive the Doctor for sabotaging their equipment and attend to the repair without seeking the Doctor’s assistance. Like the Sensorites, the Rill communicate telepathically. Having no vocal chords they speak through the robotic Chumblies.
I cannot end this review without mention of Chumblies. I love the Chumblies. They’re cute and chumble around in a most endearing fashion. So named by Vicki for that very reason, it’s somewhat amusing that the Rills had no problem using this adopted nickname when referring to their robotic assistants. Surely they already had a name for them! “Bring back the Chumblies” I say to BBC Wales, and while you’re at it, a big stuffed Chumbley would look rather nice on my bed!
Only episode three of Galaxy 4 exists in its entirety, having been rediscovered in 2011. A reconstruction of the missing story, using off-screen stills, audio recordings and animation, together with the recently recovered episode three, was included in the special features of The Aztecs Special Edition released in 2013.

A reconstruction of “Galaxy 4”, including the complete episode three, is included as a special feature of “The Aztecs” Special Edition DVD.
“Galaxy 4” was originally broadcast in the UK between 11 September and 2 October 1965
Vivien Fleming
©Vivien Fleming, 2013.
REFERENCE:
Robert Shearman and Toby Hadoke, “Running Through Corridors. Rob and Toby’s Marathon Watch of Doctor Who” (Mad Norwegian Press, Des Moines, Iowa: 2011),
The Chase
Less than 18 months after their creation, the Daleks made their third appearance as the Doctor’s arch enemies in the six part serial, The Chase. Almost universally panned in fan circles as the worst Dalek story ever, The Chase is not entirely without merit. It is in this story that Ian and Barbara leave the Tardis for the last time and return to 1965 London. Their arrival home in the Daleks’ time travelling ship is one of the most iconic and best remembered segments in Who’s history. The still photography of the teachers playfully posing against a variety of London landmarks joyfully demonstrates their relief to finally return to what passes as normality. How did they explain away their two year absence from Coal Hill School? That’s a mystery that remains unanswered.

Ian and Barbara enjoy London as they pose in front of a real Police Box. Yes, they really did exist!
Prior to their tear jerking departure from the Doctor and Vicki, Ian and Barbara were as close to home as 1966 New York. It was on the Empire State Building, in episode three, that the viewer meets the character of Morton Dill, played by Peter Purves. The viewers and the production team alike were unaware that Purves would reappear in episode six of that same serial as a stranded spaceship pilot on the planet Mechanus, named Steven Taylor. Evidencing the almost complete absence of forward planning in the Doctor Who camp, the decision to appoint a replacement for Ian and Barbara was not made until Purves impressed all concerned during his role as a naive tourist from Alabama. In a period of less than three weeks Purves went from a bit-part extra to a companion-in-waiting. It would not be until the next serial, The Time Meddler, that the character of Steven Taylor would be officially invested into the Tardis Crew. Purves was the first person to have appeared as two separate characters in the same Who serial.
My 12 year old son considers Peter Purves to be the Doctor’s best companion solely based upon his portrayal of Morton Dill. And he wasn’t even a companion then! My son loves the Alabama imbecile and finds it hard to contain his laughter as he watches Dill’s onscreen antics. Purves’ attempt at an American accent was at least consistent in that episode, unlike the season three story, The Gunfighters, where he occasionally forgets that he’s meant to be from the USA. Moreover, we don’t have to listen to him sing in The Chase!
Not surprisingly, The Chase witnesses a number of firsts. There’s the first, and regrettably only, appearance of yet another “next big thing”, the Mechanoids. Their unwieldy size, slowness and limited movement undoubtedly had much to do with this. It was not for want of trying that it took almost another 18 months for Doctor Who to eventually invent a genuine contender to the Dalek popularity stakes, the Cybermen. Another first and last was the Time-and-Space Visualiser, a large disc with television monitor which was taken as a souvenir from the planet Xeros’ Space Museum. Seemingly programmed by punch cards, the Visualiser enabled the Tardis occupants to view any event in history’s past. To demonstrate the machine’s awesome powers the crew were treated to clips from Abraham Lincoln’s “Gettysburg Address”, William Shakespeare conversing with Queen Elizabeth 1, and most prestigiously for Doctor Who, the Beatles performing in 1965. The Beatles clip was no mere piece of stock footage from the BBC Archives, but a song filmed specifically for Who and also shown on Top of the Pops. The Chase is the first to feature an evil android Doctor. The serial also sees debut of the redesigned Daleks, who at last have their own time machine.
Why is it that The Chase is held in such low regard? The answer would undoubtedly vary from person to person, although the hybrid nature of the story must be a likely cause. There are so many elements thrown in together, with no satisfactory explanation why. The only plot involves the Daleks chasing the Doctor and his crew to various locations throughout the universe. The Doctor is the Daleks ultimate enemy as he thwarted their attempts to commandeer the Earth as a spaceship in The Dalek Invasion of Earth. At least in The Keys of Marinus the crew were endeavouring to retrieve the lost keys to the Conscience of Marinus, and their adventures encompassed a series of locations and terrains on only one planet. During the course of The Chase the Doctor and his companions are variously in a Haunted House; the Mary Celeste; New York City; and the planets Aridius and Mechanus.
Bizarre is a less than adequate word to describe the Tardis Crew’s adventures in the Haunted House in which with a robotic Count Dracula, Frankenstein and Grey Lady reside. One is left wondering why, and whatever was Terry Nation thinking at the time. Nation would also have us believe that Daleks were the cause of the mysterious disappearance of the crew of the British-American merchant ship, the Mary Celeste, in 1872. The Daleks also had a keen interest in New York’s Empire State Building. Had the Twin Towers been built in 1965 then I’m sure Nation would have positioned them there instead. It almost seems as though Nation was giddy on the success of the Daleks and had assumed that viewers were gullible enough to accept anything thrown at them. Clearly the BBC production team agreed, at least at the time.
In retrospect, however, such criticism fails to acknowledge the sheer fun of the story. And it’s probably the gaiety of this serial which is the principal reason why The Chase is held in such high disregard. Daleks are meant to be menacing and intimidating. Throw in a mix of comedy interludes and the foreboding in which they are ordinarily met quickly evaporates. Viewers have no need for bothersome distractions of a witty nature. They just want to be terrified, even if by mid 1965 it was plainly obvious that the Doctor and his companions always triumph. The Daleks’ next appearance, in six months time, did not suffer from a similar fate. The highly regarded 12 parter, The Daleks’ Master Plan, gave the audience three solid months of terror and the first time, the death of not only one, but two companions. Hereafter the security of the Tardis Crew could never again be assured.

The Chase was released in a Box Set with The Space Museum entitled (you guessed it!) “The Space Museum The Chase”.
Vivien Fleming
©Vivien Fleming, 2013.
The Space Museum
You can always be assured that Rob Shearman will give a hearty defence of any long derided Doctor Who serial. Writer of the Series One episode, Dalek, and several Big Finish audio productions, Shearman joined with Toby Hadoke, of Moths Ate My Doctor Who Scarf fame, to author Running Through Corridors: Rob and Toby’s Marathon Watch of Doctor Who. Shearman’s affection for The Space Museum is laid bare in the DVD special feature, Defending the Museum. His devotion rests on the assumption that The Space Museum is a parody of William Hartnell era Doctor Who episodes. The aggressors, the Moroks, are little more than morons who invade a planet only to turn it into a museum for their past achievements. The rebels are excruciatingly bad. Dressed in black polo neck jumpers, they look like students in a coffee bar. Vicki starts a revolution only because she’s bored and the native Xerons don’t need a great revolutionary, just a locksmith!
Shearman is quick to praise episode one of The Space Museum, which he considers quite extraordinary. The story, he argues, is about inaction and how an event can be prevented once you know it’s going to happen. If this was in a theological context the argument would be about predestination and Calvinist theories of same. In the world of Doctor Who, however, does doing something really matter? In The Space Museum’s case it certainly does. Although all the motions of the Tardis Crew lead them into the very same situation, their actions have a positive effect on third parties. It is precisely because of other people’s deeds that history, for want of a better word, is changed and the Doctor and his companions are saved.
Although Shearman’s analysis is a worthy summation of the serial’s message, The Space Museum suffers from internal contradictions which counter this. In episode four Barbara laments that the crew have been on four separate journeys involving four discrete courses, yet they all lead to this one point. The Doctor explains that their actions may have influenced others, to which Ian responds by concluding that it can be others that change the future for them. Vicki quips in with the example of a revolution. What none of the Tardis Crew seem to realize, however, is that they’ve actually changed history themselves. The Doctor made much of the loss of one of Ian’s buttons earlier in the serial and chided him for not having noticed whether the frozen Ian in the display cabinet had a lost button or not. The Doctor and his companions, after all, were all wearing the same clothes. What no one twigged to, regrettably, was that once Barbara’s cardigan had been unravelled then she was no longer identical to the cardiganed Barbara in the display case. A bite of Barbara’s cardigan by a clueless Ian, and Barbara’s homely skills in teaching Ian how to retrieve wool from a knitted garment, was all that was required to save them. Heck, who needs a revolution with an arsenal of firearms when a knitted one will do!
The Space Museum is resplendent with comic interludes, the Doctor being given the majority of them. Eccentric as always, the Doctor frequently giggles at the cleverness of his own actions. After tying up a young Xeron rebel without the victim even seeing him, the Doctor hides in the casing of a Dalek exhibit. Popping his head out of the top of the Dalek is a classic moment. When hooked to the Moroks’ thought machine he is able to outwit the truth analyser which reflects thoughts onto a television screen. When asked how he arrived on Xeron, a picture of a penny farthing is flashed onto the screen. A pod of seals is seen when the Doctor is asked where he comes from. The Doctor naturally cackles with glee.
Ian is portrayed in a menacing and quite violent light in this serial. Although cheerfully playing a game of “Cowboys and Indians” after removing a ray gun from its exhibition case, Ian is soon brandishing the weapon like a true warrior. Threatening the aggressors with a gun comes easily to Ian, who astounds the viewers with his matter of fact acceptance of violence near the close of the third episode. Pointing the ray gun at the Morok leader, Ian is told by the threatened Lobos that he’d be a fool to kill him. “You will achieve nothing”, says Lobos. Ian’s reply is chilling – “Possibly, but it might be enjoyable”. Ian’s colleagues at Coal Hill School would scarcely recognize him.
Vicki is able to distance herself from the Doctor in this serial and spends much of the time in the presence of the young rebel Xerons. She has a rudimentary knowledge of the Daleks from 25th Century history books although she is surprised at how unintimidating they appear. Vicki has a sound understanding of time dimension theory and is able to re-programme a less than intelligent computer to accept truthful, but otherwise incorrect, answers. As previously mentioned, her crowning glory in the serial is convincing the laid back rebels that revolution is not only a good, but also an achievable, objective. Unfortunately everything concerning the revolution is too easy and entirely implausible, with young Vicki making it appear like a fun afternoon distraction.
Romance appears imminent at the story’s end as Vicki bids a fond farewell to the rebel, Tor. Holding both of his hands on their goodbyes, it appears for a moment that Vicki may have to choose between love and the Doctor. Alas, another quick marriage proposal is not made and Vicki remains with the Tardis Crew – at least for the moment.
Barbara’s role in The Space Museum is somewhat less forthright than usual, although she does display her characteristic homely skills in clothing (de)construction. The costume department failed her miserably and she is dressed in the most matronly garb yet seen. That the show was filmed almost live is evident from Barbara’s half slip being in view for the best part of an episode.
The serial ends with the revelation that the whole “time dimension” problem was caused by a stuck component in the Tardis. If this sounds familiar, well it is. The bizarre events of The Edge of Destruction were prompted by the same type of technical malfunction. As Tat Wood and Lawrence Miles state in About Time 1, the Doctor has clearly yet to discover WD40!
The special features on The Space Museum DVD are well worth viewing. Together with Rob Shearman’s defence, there’s also a delightful short piece, My Grandfather, the Doctor, in which Jessica Carney speaks about the career of her grandfather, William Hartnell. Comedian Christopher Green’s spoof, A Holiday for the Doctor, in which he stars as actress Ida Barr, is not to be missed.

The Space Museum was released in a Box Set with The Chase entitled (you guessed it!) “The Space Museum The Chase”.
Vivien Fleming
©Vivien Fleming, 2013.
Reference
Tat Wood & Lawrence Miles, “About Time. The Unauthorized Guide to Doctor Who. 1963-1966 Seasons 1 to 3″. Mad Norweigan Press, Illinois, 2009.



















































