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Category Archives: Doctor Who

“Fun for all”: The animated version of the Doctor Who serial The Macra Terror (1967, 2019)

As an avid Doctor Who viewer since the first episode on 23rd  November 1963  I  almost certainly watched “The Macra Terror”, aged 11, on its original broadcast March to April 1967, but I have no recollection of it whatsover. Which means that I got to this watch  the serial as though I was seeing it for the first time which was  a real pleasure.

“The Macra Terror” was one  of the many Doctor Who serials that was wiped by the BBC  in the 1960s and early 1970s.  Home video was just a distant dream, even  on Tomorrow’s World:  drama of any kind  were very rarely repeated so there was no notion at the BBC  that anybody in the future would want to see these programmes again.

The era in which Pat Troughton played the Doctor from 1966 to 1969  was particularly  hard hit because of this policy with 14 serials either  partly or wholly missing at one time. Fortunately some of  those are now available  to us once again, either because they turned up abroad (where they had been  sold decades ago to foreign broadcasters) in the case of the “The Web of Fear” and “The Enemy of the World” or  because they have been turned into animations using the original soundtrack which  forunately have survived. This was done in the case of “The Power of the Daleks”, the first serial in which Pat played the Doctor  for the first time, and which was wholly missing, The DVD was released at the end of 2016, 50 years after ist first broadcast. Now “The Macra Terror” from 1967  has also been animated  – in colour.

In an interview  published in Doctor Magazine (536) to coincide with the release the director Charles Norton said, “It’s not a reconstructuion of the original – it’s a new production of the story. The existing set designs and things like that are really more of a starting point than an end destination” while Adrian  Salmon,  who storyboarded the production, said, “We decided not to refer to the original  shooting script, but rather cast a fresh eye over the performances in the audio.”

The story  begins in the Tardis  with the Doctor  showing his three companions, Polly (Anneke Wills), Ben ( Michael Craze) and Jamie (Frazer Hines) a device known as Time Scanner which  looks into the future. Suddenly a large claw fills the screen.

On landing the travellers find themselves  on a human colony planet (how and when this colonisation happened is never discussed). At first glance this appears to be a space age Butlins with a drum majorette leading a parade as the travellers arrive, while there are constant exhortations from louspeakers: “The colony needs you” and “Fun for All.”. The Pilot (Peter Jeffrey), is in day to day charge,  but orders are received from the Controller (Graham Leaman) whose image  is seen on screen only,  like Big Brother.

This is your Controller speaking. There is no need for alarm. You may all continue your work and play confident that the best is being done for you…. Now, return to your work and play with fresh heart and renewed energy.

The travellers receive a friendly welcome and  are offered steam baths,  beauty treatments etc.  The Doctor even has his suede shoes polished.  All fine.

But the Doctor is already suspcious after an encounter with  Medok (Terence Lodge),  a  colonist who claims  that there are creatures that come out at night.  Soon we too will learn the truth about the colony –  and who is really in charge.

One  of the key  themes of the story  is how dissenting voices are treated by a society. In the case of the colony there is a Corrections Unit and also sleep-machines which brainwash Ben into  conformity for a time with their re-iterated messages;

The sleeper must relax and believe. Everything in the Colony is good and beautiful. You must accept it without question. You must obey orders. The leaders of the Colony know what is best. In the morning when you wake up you will be given some work. You will be glad to obey. You will question nothing in the Colony.

The Doctor  asks the Pilot: “Why do  you want to make everyone the same?” Why indeed.

To my eye this is a better animation than  “The Power of the Daleks” . If you are purist you can watch it in black and white, rather than the colour.

“The Macra Terror” was not the greatest story  of the Pat Troughton era  but it is still a welcome return.

 

 

 

 

 

 

 

 

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“pleased to meet you, hope you guess my name…” the new Doctor Who novel: Scratchman by Tom Baker and James Goss (2019)

This Doctor Who novel was a long time in coming. It began life as a joint  script dreamt up by Tom Baker and his co-star,  the late Ian Marter (who played Unite medic Harry  Sullivan in  Doctor Who between 1974 and 1975).    A good deal of the original story seems to have been  worked on between rounds  in their favourite London pubs or the Colony Club. Giving  it the name   name Doctor Who Meets Scratchman the two actors got as far as talking to director James Hill about a possible film,  but it never progressed any further.

Flash forward forty odd years and the project has been  revived and turned into a novel  in a collaboration between Tom and the very  experienced writer James Goss,  whose previous Doctor Who work  has included  the novels City of Death (2015), The Pirate Planet (2017) and  Doctor Who and the Krikkitmen (2018). In an interview in Doctor  Who Magazine (534)  James says:

At the start of the project I sat down with Tom and a storyline… Although a script of Scratchman exists, there were a  few hints that  it wasn’t quite what Tom and Ian had originally envisaged. So we went right back to the original story and built it up from there.  ..Tom was very influential in shaping the story. 

Scratchman features The Fourth Doctor, Sarah Jane Smith and Harry Sullivan. The story is told in a series of flasbacks by the Doctor himself who has been hauled up in front of an assembly of Time Lords with the snappy  title of the Convocation of Oblivion. They’re not happy.

Your recent actions endangered the enture universe,” the Zero Nun informed me.

Yes. Something trivial like that.

The crowd seethed. There was hunger to them….

“All right,” I told her. “But in order to do that I need to teach you about the fear”.

“Fear?” she blinked. That got her.

“Yes.” I addressed the  entire chamber. “You see, even the Time Lords are afarid of something . And tonight, I’m going show you what it is. Are you sitting  comfortably? Of course you are. And  I’m  rather afraid that’s the problem…”

The novel opens  with the Doctor and his companions landing on a  remote Scottish island. (Science fiction and Scottish islands seems to  naturally go together, one thinks  of Target Luna, The Andromeda Breakthrough, Orbit One ZeroAliens in the Mind etc).

A peculiar breeze drifted through the fading daylight on the island. The strange wind howled around the field, circling like a cat before settling down.

A sheep observed all this curiously. Confirming her worst suspicions, a large blue box pushed its way out of thin air onto the grass. The ewe shook her head sadly and trotted away.

The island is picturesque,  but the Doctor senses something in the air. He’s right, of course. They  soon discover that the scarecrows on the island are mutated villagers. They are alive (sort of)  –   and  malevolent,  and it’s not long before the Doctor and the remaining  villagers are barricaded  in the local church in a  classic “base under siege” scenario with the scarecrows hammering on the doors. (The Doctor comes up  with a collective noun for scarecrows, by the way  “a scratch”)

The Doctor manages to get them out of this,   but this is just the begining of their troubles. If the first half is gothic in feel, the second half draws on classic Greek tales, particularly The Odyssey.

The Doctor, having been separated from Sarah and Harry, finds himself in a mythological place. If I tell you that he’s driven there by Charon (in a London taxi) you’ll probably guess where he is (or appears to be, for nothing is straightforward and nothing is what it seems). Can the Doctor free himself and rescue his companions?

Between them Tom and James have successfully evoked a particular era of Doctor Who without it being a pastiche and I  personally enjoyed it a great deal, particularly some of the phrases in the novel. Here are a few of my favourites;

“Oh,”  said Sarah, and it was the saddest of “oh’s”.

“I love a good barricade, it reminds me of the Siege of Leningrad”.

“That”,  I said very  gravely, “is a bag of jelly babies”. I took the sweets  from Harry’s hand and offered them around. No takers.

I took refuge in the canapes, successfully helping myself to a vol-au-vent. It’s quite something when  only the profiteroles believe in you.

“What lies beneath… ” my review of the Doctor Who novel: Molten Heart by Una McCormack (2018)

This is one of three novels  published by the BBC which  feature The Thirteenth Doctor for the first time (the other two  are Combat Magicks by Steve Cole and The Good Doctor by Juno Dawson).

Team Tardis (the Doctor, Yaz, Ryan and Graham) land on Adamantine, a planet on which nothing ever seems to have happened, nor ever seems likely to . But nothing is what it seems (is it ever in the world of the Doctor?)

The best travellers  – the very best – aren’t fooled by surfaces. The best travellers know that if they want to find treasures, they must dig, dig deep, below the surface, down to the heart. And below the surface this world – Adamantine – indeed has many treaures to show. Many trearures, and some terrors,  and always, always adventure. The best travellers  always find adventure.

The time and space travellers do indeed find adventure, coming across a beautiful  city. This is  how Yaz sees it;

Sheer white towers shot skywards.Anywhere else, Yaz might have thought  they were glass skyscrapers, but not here.These were like huge  stalagmites, hollowed out, a whole city of crystals. They seemed to shine from within, and here and there white jewels and pale gemstones – sapphire and ruby and topaz and emerald  – had been set into the crystal structures to make patterns  and decorations., beautiful and intricate mosaics. Light bounced off these from every angle.  The whole City shimmered, as if the stone was gently swaying to an alien rhythm.

The city’s inhabitants (some friendly, some not) are even more remarkable:   the Doctor and her friends quickly  find themselves caught up in a  power  and philosophical struggle whose outcome will determine the future of the planet.

A key theme in the book  is  how  people (whether humans or aliens)  respond to challenges to existing thinking.  Some will  accept new knowledge  which overturns orthodoxy, others will violently  reject it as heresy.

Nobody  is truly evil in this book.   There are people making the wrong decisions from fear or ignorance,  but not from malevolence.

In conclusion, a excellent addition to the canon of Doctor Who novels  which  stretches back to 1964’s Doctor Who in an Exciting Adventure with the Daleks written by David Whittaker (and which I  can remember reading as a child )

 

 

 

 

” I remember everything”: Red Planets by Una McCormack (2018)

This Doctor Who audio adventure from Big Finish  features the Seventh Doctor (Sylvester McCoy), accompanied by Ace (Sophie Aldred) and Mel (Bonnie Langford). In essence it’s  an  “alternative history” story, a genre that I am  a bit of an addict for, my favourite being Pavane by Keith Roberts.

The story weaves together three threads whose connections only slowly became apparent:  Phobos, a   Communist spaceship on its way to Mars with a solo woman cosmonaut who proclaims “Good morning, brother Mars, we come in peace from all the people of Earth but then picks up a  mysterious signal from the red planet :  Ace’s adventures in East Berlin in November 1961 where she has been dropped off by the Doctor for a short break,  but immediately gets caught up  in a John le Carré-esque  espionage plot when she rescues an agent Tom Elliot  who has been wounded trying to cross the  newly built Berlin Wall; and finally, the Doctor and Mel’s  arrival in  London in  2017 to investigate a time ripple.

But they land in  a very different London, a London which is part of the People’s Republic of Mokoshia. And Mel is behaving  very oddly, recalling events that never happened in our time line, the take-over of Western Europe by Communism  in the  mid 1960s. If nothing else,  this story is worth listening to hear  just to hear  Mel  sing a snatch of The Internationale.

Back in East Berlin, Ace  finds that strange  things are happening, streets are vanishing, the city is disappearing,  and a deadly fog is killing people. In London the Doctor is trying to work out what  has caused the change in history,  “Nothing here is right,”  but finds himself in the hands of people who seem to know a lot about him. And on Mars  the expedition is heading for a rendezvous….with something impossible. Can the Doctor reverse history or will Mokoshia “unite the human race.”

This  is a  serious-minded story, which I enjoyed, driven by the idea that single events matter, that they can  send history down  a different  route. It’s also surprisingly violent with a number of characters not making it to the finale.

 

By the way, if you like me, you are womdering where “Mokoshia” comes from, Comrade McCormack tells me that she got it Mokosh, a Slavic goddess of women’s work and destinies. Mother Russia,  in fact.

More information here.

 

 

 

 

 

A god of death is born …The Word for World Is Forest by Ursula Le Guin (1972)

Ursula Le Guin is one of the most important science  fiction writers of the twentieth century, whose works such  The Left Hand of Darkness and The Dispossesed   continue to be very influential.  Ursula  was an activist in the USA in the campaign against the Vietnam War,  and The Word for World Is Forest clearly emerged from that experience. Much of the  war was fought in forests between the Americans,  who had vast  military techonology, and the guerilla army of the  Vietcong, who had no such weaponry, but  were armed instead  with an  unrelenting desire to be free.

The novel  is set on Athshe, a planet  entirely covered by forests  in which live the Athsheans, a  small,  peaceful,  highly intelligent,  humanoid  race whose bodies are  covered  with green fur.  The planet is colonised by  several thousand Earthmen –   who rename  it New Tahiti   –  and begin cutting down the forests and shipping  the wood  back to Earth. They make virtual slaves of the Athsheans,  using them as labourers or  for sexual  gratification as there are few  Earth women.

The  three  main characters are the Earthman Davidson,  the Earthman Lyubov,  and the Athshean  Selver. Davidson is a military man who regards the Athsheans  (or “creechies” as the colonists call  them) with contempt: “the creechies are lazy, they’re dumb, they’re treacherous, and they don’t feel pain”. He personifies the masculine mindset,  reflecting  to himself: “the fact is the only time a man  is really and entirely  a man is when he’s just had a woman or killed another man”.  Lyubov,  by contrast,   tries to underestand the Athsheans, their culture of singing , their  symbiotic relationship with  the forest, and the fact that the Athsheans dream when  they are awake as well as when they are asleep.

Davidson rapes Selver’s wife who dies.  Selver realises that the Earthmen  intend to destroy the forest,  and therefore his people,  unless they are stopped  – and  begins to dream of a way of achieving this. He tells his people:

If we wait  a lifetime or two they will breed, their numbers will double or redouble. They kill men and women, they do not spare those who ask life. They cannot sing in contests. They have left their roots behind them, perhaps, in this  other forest  from which they come, this forest with no trees. So they take poison  to let loose the dreams in them, but it only makes them drunk or sick. No one can say whether they ‘re men or or not men , whether they’re sane or insane, but that does not matter. They must be made to leave the forest. If they will not go they must be burned out of the Lands, as nests of stinging-ants must be burned out of of the groves of the city…Tell any people who dream of a city burning to come after me..

Selver co-ordinates attacks from  thousands of Athsheans on the Earth settlements, killing many men and women,  and setting fire to the buildings.  His friend Lyubov dies in one of the attacks. Selver  pens the survivors into a compound and negotiates a truce. This is broken by Davidson who  organises attacks on the Athshean cities in the forest. Finally, Selver captures him alive, and tells him:

Look Captain Davidson..we’re both gods, you and I. You’re an insane one and  I’m  not sure whether I’m sane  or not, But we are gods…We bring each such gifts as gods bring.  You gave me a gift, the gift of killing of one’s  kind, murder. Now, as well as I can, I give you the my people’s gift which is not killing. I think we each find each other’s gift heavy to carry. 

Davidson is not killed,  but put  on a treeless island, to live alone. Emissaries from Earth and other planets  arrive who prepare to evacuate all  the surviving  Earth colonists.  One of the envoys asks Selver whether Athsheans are  now killing Athsheans. Selver replies sombrely :

Sometimes a god comes…He brings a new way to do a thing, or a new thing to be done. A new kind of singing, or a new kind of death. He bring this across the bridge between the dream-time and the world-time. When he has done this, it is done. You cannot take things that exist in the world and try to drive them back into the dream, to hold them inside the dream with walls and pretences. That is insanity. What is, is. There is no use pretending  now, that we do not know how to kill one another. 

As well as the background of the Vietnam War, there are clear resonances in the novel of the way that  native Americans were treated by European  colonists who raped and killed them and took their land; and  the similar  experience of the Aborigine peoples of Australia, who also talk of a “dream-time”.

While  Selver and Lyubov  have some complexity as  characters,  with Selver  feeling that what he has unleashed is dreadful   but also feeling that he has not other  choice, Davidson is  one dimensional,  a man in thrall to  his own needs and desires –   and with no empathy for others.   Reflecting some years later Ursula acknowledged this flaw  in the novel. “….he is purely evil – and I don’t, consciously, believe purely evil people exist. But my unconscious has other opinions. It looked into itself and produced, from itself, Captain Davidson. I do not disclaim him“.

Whether she intended or not, Ursula’s novel is very much a feminist riposte to  Robert Heinlein’s Starship Troopers (1959)  – written against the backdrop of the Cold War  –  which  imagined  a  future society in which you can only become a citizen by serving in the military. It is in fact a paean to the alleged virtues of the military “code of honour” , a code unpicked  by Ursula in this novel to reveal its true reality: racism and murder.

The Word for World Is Forest had some influence  on “Kinda”,  a 1982 Doctor Who serial  written by Christopher Bailey,  his   first script for Doctor Who.  Like Ursula’s novel “Kinda ” is   set in a forest with a people  confonting colonists and is  a psychological, rather than an action serial, with layers of meaning and  a number  of spiritual  reference.  Bailey says  that he tried to write it without any people being killed, and  that he  name the main  characters after Buddhist terms, including the Mara (“temptation”),  Panna (“wisdom”),  and Anatta (“without self”).    Incidentally Panna was played by the wonderful  Mary Morris who,  among many other roles,  appeared in the BBC science fiction series  A for Andromeda and The Andromeda Breakthrough as the scientist Madeline Dawnay.

 

 

 

 

 

 

We come in peace: Looking back at the Doctor Who serial “The Ambassadors of Death” by Malcolm Hulke (1970)

ambassadors-1“The Ambassadors of Death”  is perhaps Mac Hulke’s least  satisfactory contribution to Doctor Who.  Originally called “The Carriers of Death,”  the serial  started life as a commission  for David Whitaker in 1968.  Whitaker was Doctor Who‘s  first story editor, overseeing some 51 episodes in the series’ first year. He also wrote a number serials,  including “The Crusade” (1965), “The Power of the Daleks” (1966)   and  “The Wheel in Space” (1968).

Despite this pedigree Whitaker’s script on the theme of aliens landing on Earth was  deemed unsatisfactory by the production team: his rewrites even less so. Eventually Terrance Dicks decided that Whitaker was never going to be able to produce a satisfactory script  and it was agreed in November 1969 that he  would be paid for his work and a new writer brought in.  Whitaker would still be credited as the writer, which seems quite generous. According to Dicks, Whitaker was relieved at being off the story.

Terrance Dicks called in his old friend Mac Hulke, with whom he had worked on The Avengers in the early 1960s  and  on “The War  Games,” a  10 week serial  which  they wrote together at great  haste in early 1969,  and featured Patrick Troughton’s final appearance as The Doctor.  It seems that  Terrance and Mac  worked together on this seven part serial,  now renamed “The Ambassadors of Death.”

ambassadors-2The story centres on a British spaceship Recovery Seven,  sent into space to investigate what has happened to the previous  Mars Probe  Seven.  It locates the  ship,   but then stops communicating. The Doctor and the Brigadier  are called in,  who  succeed in tracing  a mysterious signal to the Probe to a warehouse where a gun battle takes place with a number of military men commanded by a General Carrington.

Probe Seven returns to  Earth  with three occupants, who are  seized by Carrington’s men  in a dramatic scene. Carrington tells the Doctor and the Brigadier that it was neccessary to put the astronauts into protective custody as they had been infected by radiation. However, the Doctor believes that they are not the human astronauts. They  are now seized by Reegan, a man working for Carrington,   and  kept in a sealed  room where they are fed radiation.

The Doctor goes into  space and is taken into an alien ship where he learns that the earth astronauts are on board:  the astronauts on Earth are in fact   ambassadors from the aliens, who  threaten war unless they are returned.  Reegan kidnaps the Doctor’s assistant, Dr. Liz Shaw,  and makes her  work looking after the astronauts. He  forces the aliens to carry out raids, killing people with one touch with intense radiation, and also kidnaps the Doctor when he returns to Earth.

Meanwhile Carrington is planning  a global television. We learn  that he was on a previous Mars probe when his fellow astronaut was  killed by a touch from the aliens, and he believes  that they are a threat  to the whole world. He intends to show them on television  and call on the world to destroy the alien ship. The Doctor and Liz are rescued by the Brigadier and stop the broadcast. Carrington is taken into custody: the aliens will be returned to their ship.

One of the familar themes in Mac Hulke’s work, derived perhaps  from his membership of the Communist Party,  is  the notion that what we are being shown or being told is not really what is going. His work for Doctor Who often features a conspiracy which  is manipulating  events from behind the scenes; in this  serial  and in “Invasion of the Dinosaurs” it’s soldiers, politicians  and scientists;  in ” Frontier in Space” it’s  the Daleks; in “Colony in Space”  it’s the IMC mining expedition.

The Doctor plays much the same role as he did in “The Silurians,” seeking to mediate and prevent conflict.  He tells the alien commander; “Now let me go back to Earth and I will give you my personal l assurances that your ambassadors will be retuned to you.” And  is often the case in Mac Huike’s work even  the anti-hero Carrington is shown driven  not by personal greed or adesire for power,  but a mistaken belief  in an alien threat.

CARRINGTON: I had to do what I did. It was my moral duty. You do understand, don’t you?
DOCTOR: Yes, General. I understand

There seems  quite a big nod  to the first Quatermass serial The Quatermass Experiment (1953)  in which a space expedition returns  to Earth with a single astronaut instead of the three sent into space; it transpires that an  infection  from space has merged them tnto a single alien  entity. The idea of the astronauts carrying out raids and killing with a single touch harks back to two Avengers serials:  “The Cybernauts” (1965)  in which a robot created by Dr. Clement Armstrong (Michael Gough) is sent to kill his business rivals; and The Positive Negative Man (1967)   in which a scientist (Ray McNally) harnesses  electricity within a human body  and sends out  a man to kill with a touch.

ambassadors-3What  might have worked as a four part serial becomes quite threadbare when stretched over seven parts, leaving the viewer sufficient to time to ponder on some of the more improbable aspects of the  plot. Why is  the space control centre in charge of  the Mars probe expedition run by just four people? If the aliens are so powerful judging by the size of their ship, why not simply swoop down and rescue their ambassadors? Why is Reegan single-handedly able to run rings around UNIT, kidnapping and killing  at will? Why is  the space scientist Taltalian, who holds the Doctor and Liz Shaw  at  gunpoint in episode 2,  allowed to carry on working there and the incident  forgotten, after which he plants a bomb and tries to blow up the Doctor? And finally where did Liz Shaw buy her stylish hat?

The  serial enlivened by the set piece action sequences ie the gun  fight in the warehouse  and the seizure of the capsule in which Havoc, the stunt company run by Derek Ware,  pulls out all the stops and turn the scenes  into something resembling a James Bond film on a fraction of the budget.  Liz Shaw (or rather Roy Scammell, a stuntman standing in for Caroline  John, is dramatically  chased by villains  across Marlow Weir. The outdoor scenes with the astronauts shot against a low sun, with accompanying eerie music,  work well.

I was surprised on watching it again at the level  of casual violence  in a children’s tea-time serial. For instance  two of Reegan’s  operatives die  from radiation  when they get into a van with the aliens  and are just dumped in a gravel pit. Perhaps we children and teenagers  in the 1970s were tougher than t0day…

Overall not a classic.

“This is our planet”: looking back at the classic serial “Doctor Who and the Silurians” by Malcolm Hulke, (1970)

“Doctor Who and the Silurians” was the first script by Malcolm (Mac) Hulke for the new team  now running Doctor Who, ie producer  Barry Letts and script editor Terrance Dicks. Terrance  and  Mac were old friends,  having worked together to  write episodes for The Avengers  in the early 1960s. Mac then wrote two serials for Doctor Who in the late 1960s: “The Faceless Ones” (1967)  and “The War Games” (1969), the final serial of the Patrick Troughton era. I have written about Mac’s career here.

In an interview Mac  commented that Doctor Who is “a very political show. Remember what politics refers to, it refers to relationships between groups of people. It doesn’t necessarily mean left or right…so all Doctor Who’s are political, even though the other group of people are reptiles, they’re still a group of people”. Mac says of this serial  that  he was asked to do something in caves,  and that in science fiction there are only two stories. ”They come to us or we go to them and I thought, they come to us but they’ve always been here”.

silurians-5

In a previous post “the Doctor who fell to earth”  I have  written about the first Jon Pertwee serial, “Spearhead from Space”. This second serial it establishes his character  more firmly, as a somewhat  brusque and patrician figure, impatient  with  authority in all its forms;  and also as a scientist, with the Doctor spending a good deal of time in the laboratory in this  serial. He is  also a man of action, acquiring a fast bright yellow retro car nicknamed  “Bessie”, and venturing into the caves several times on his own.

The story begins with UNIT being called into  investigate  unexplained incidents and  power losses at an experimental  nuclear reactor  beneath Wenley Moor, with the reluctant consent  of the Project  Director, Lawrence.  We eventually learn that these are being caused by the Silurians, a highly  intelligent and technologically advanced  reptile race race who once ruled the earth  tens of millions of years ago . They retreated underground into hibernation  when they believed that the surface of the Earth   would be destroyed by an approaching small planetary body, probably the Moon. Their technology failed them , and they did not revive until they were disturbed by the building of the  reactor.  The Doctor attempts to negotiate peace but fails, and hostilities commence. The  Silurians plant a virus among humans which spreads quickly until the Doctor finds a cure. He also defeats their attempt to use the nuclear reactor to destroy the Van Allen belt and make the earth uninhabitable for humans, but not  for Silurians.  At the end of the serial  UNIT blows up the Silurians’  caves.

The key  themes of the serial are the Doctor’s  strong disapproval of the military mindset of shooting first, and  asking questions later, and  his attempts to broker peace between hostile forces. This  is surely inspired by the Cold War in which the West and the Soviet Union had vast  arsenals of weapons pointing at each other. By some miracle a nuclear war never took place. This  was a theme that Mac would return to in future serials for Doctor Who.

silurians-1In episode two,  as UNIT  head to the caves equipped with small arms and grenades,  the Doctor  comments  to  his companion Liz Shaw,”That’s typical of the military mind, isn’t it? Present  them with a new problem  and they start shooting at it”. He adds, “It’s not the only way you know, blasting away at things”.

Meeting  a Silurian for the first time in Quinn’s  cottage in episode three,  the Doctor  offers his hand and says, “Look, do you understand me?..What do you people want? How can we help you?…unless you Silurians tell us what you want  the humans will destroy you”. He tells the Brigadier that what is needed is “a planned, cautious, scientific investigation of those caves. Not an invasion by a lot of big-booted soldiers.” Later in the episode he has an exchange with Liz after she has been attacked by a Silurian.

DOCTOR: Liz, these creatures aren’t just animals. They’re an alien life form, as intelligent as we are.
LIZ: Why didn’t you tell the Brigadier?
DOCTOR: Because I want to find out more about these creatures. They’re not necessarily hostile.
LIZ: Doctor, it attacked me.
DOCTOR: Yes, but only to escape. It didn’t kill you. It didn’t attack me when I was in Quinn’s cottage. Well, don’t you see? They only attack for survival. Well, human beings behave in very much the same way

In episode four when the Brigadier asks what weapons the Silurians have, the Doctor responds, “spoken like true soldier” and says “so far they have only attacked in self-defence, let’s give them the benefit of the doubt”. He goes to warn the Silurians that  the UNIT soldiers are coming, “I want there to be peace between you and the humans. This is their planet now.”  The Silurian leader  agrees to a peace, but is killed by his  younger subordinate who wants a war with the humans.

silurians-3In episode six,  as the Doctor races to find  a cure for the plague, he  is still hoping for a peaceful outcome, pleading  that “at all costs we must avoid a pitched battle”.  In the seventh and  final episode the Doctor tells the Brigadier that he wants to revive the Silurians one at a time,  “there is a wealth of scientific knowledge down here..and I can’t wait to get started on it”. Unknown to the Doctor , UNIT  has planted  explosives which  detonate as he and Liz look across the moor.

DOCTOR: The Brigadier. He’s blown up the Silurian base.
LIZ: He must have had orders from the Ministry.
DOCTOR: And you knew?
LIZ: No! The government were frightened. They just couldn’t take the risk.
DOCTOR: But that’s murder. They were intelligent alien beings. A whole race of them. And he’s just wiped them out.

Another theme of the serial is the danger of seeking scientific knowledge without  moral responsibility. The project  Director,  Lawrence,  continually complains about UNIT and the Doctor, demanding to be allowed to get back to running  the reactor and achieving his goal of “cheap, safe, atomic energy”. He refuses to accept any of the Doctor’s warnings,  and also refuses to accept the reality of the Silurian plague, even when he has clearly caught it himself.

Quinn, a scientist who works at the centre and who first discovered the Silurians, gives them  help because they have promised to  reveal some of their  scientific secrets. He imprisons one  of the Silurians  in his cottage to force it to give him their  knowledge, but it kills him.

silurians-4Finally the Doctor’s companion Liz  has been  given a bit of a makeover  from  “Spearhead from Space”, no longer quite as prim, but now sporting fashionable  skirts and longer hair.  She is  often the only woman in  a world of men  – soldiers, scientists, civil servants etc  – who frequently  patronise her,  and she  has to assert herself.  In   episode two  she objects to being left behind when the rest of them head off to the caves, asking  the Brigadier, “Have you never heard of women’s emancipation?” In episode  four she does go into the caves  with the Doctor. In episode six , when the Brigadier  asks  her to man the phones  Liz snaps back,  “I am scientist,  not an office boy”.   In 1970 the Women’s  Liberation Movement  was  beginning to make its voice heard, something that a writer as politically  attuned as Mac would surely  have noticed.

You can read Mac Hulke’s  script of this serial  here

 

Where have I seen them before?

Peter Miles who plays   Lawrence also appears in “Genesis of the Daleks”  as Nyder and in “Invasion of the Dinosaurs” (also written by Mac Hulke) as Professor Whittaker.