Month: June 2020

Doctor Who – tape 28

Back to Doctor Who for this tape and we’re still with Colin Baker’s first full season. Today, it’s The Two Doctors. One of the better entries in this season for several reasons, the first being it’s written by Robert Holmes, one of the best writers of the classic series, who was brought back to the series by script editor Eric Saward to add a touch of class. Allegedly the producer, John Nathan Turner didn’t want older writers on the show, as he was worried his role as the most important person on the production might be eroded. Or something. But Holmes did write this story, and more in the next series.

It opens in Black & White with Patrick Troughton’s Doctor, along with Fraser Hines as Jamie McCrimmon, in the Tardis. There’s a bit of dialogue to explain why the other member of the Tardis team, Victoria, was temporarily absent, which is really only for ‘true fans’ as casual viewers like me wouldn’t even remember who the team was back then.

It doesn’t stay in Black & White for very long, as they take a look at their destination. Jamie: “Look at the size of that thing, Doctor.” Doctor: “Yes, Jamie, it is a big one.”

The Time Lords have installed a remote control device in his Tardis – I can’t remember if this nudges up against continuity, when I thought that the first mention of the Time Lords was in Troughton’s last story, The War Games. Did Jamie know about them in that or was it all news to him? I’m sure top continuity expert and alleged series consultant Ian Levine was on top of all this detail. And this is the second story we’ve seen recently which explicitly references a previous unseen adventure by a former Doctor (after Timelash) but at least this time we get Troughton, which is an objectively wonderful thing.

Landing on the base, in the kitchen, they meet the chef, Shockeye (of the Quornsing Grig). He’s identified as an Androgum, and spends the whole scene asking if he can cook Jamie. I don’t know why he’s dressed as a Scotsman. I find all the cannibalism dialogue rather unpleasant, if I’m honest, and it’s one of the reasons I don’t like this story more. But Shockeye is played with gusto by John Stratton. Given the general themes of the story, it would not surprise me if writer Robert Holmes was recently vegetarian, as this could put you off meat for good.

There’s another plus point for this story when we meet Chessene, played by Jacqueline Pearce, Servalan herself. She’s also an Androgum (of the Franzine Grig we’re told) but she has been scientifically enhanced to mega-genius levels. For guest stars from Blake’s Seven, she definitely got the better deal after poor Paul Darrow. Although that wig is awful.

Meanwhile, The Doctor (2) is talking to the scientist Dastari, and telling him that the Time Lords want some time experiments stopped, specifically the ones by Kartz and Reimer. Dastari is offended that the Time Lords think they can keep the secret of time travel all to themselves. But his bluster is slightly undercut by his glasses, which he appears to have borrowed from a 1980s advertising account executive.

Ten minutes into the episode and we finally cut to the Doctor (6) and Peri. They’re fishing. And bickering. The fishing isn’t a random choice, though, as it fits thematically with the whole carnivore vibe of the show. But it’s hardly dynamic.

Back with Doctor (2) and there’s an attack, and he’s captured by unseen forces after Professor Dastari was drugged. Jamie manages to get away. The Doctor is tortured a bit.

As a result, Doctor (6) somehow feels the result of this torture, and decides, randomly (well maybe subconsciously) that he should also visit Dastari. When he gets there everyone is dead. And the base computer is trying to kill them too.

Chessene, Shockeye and a Sontaran – the people who attacked the base – have travelled to Earth. Spain, to be precise. Because the production team fancied a holiday. Incidentally, this is the first time we see the Sontaran – a long shot where he’s already taken off his helmet. It’s very flat direction.

The only person at the villa they’ve booked over Air B’n’B is an old woman, Dona Arana. With the most unconvincing Spanish accent you can imagine. But she’s killed as soon as she’s introduced.

There’s another two humans looking around, though, Oscar and Anita. Oscar’s out looking for moths. “You really love them, don’t you?” says Anita. “I adore them” he replies. “Then why do you kill them?” she asks. “So that I can look at them.” He shows her his cyanide box which he uses to kill them. “It’s quicker and kinder to the little creatures.” Oscar sounds like a proto-serial killer. Although it totally fits thematically with the rest of the story.

They see a Sontaran spaceship fly overhead.

The occupants of the ship are the Sontaran Stike, the scientist Dastari (not dead, as Doctor (6) believes) and an unconscious Doctor (2).

Then, back with Doctor (6) and Peri, as they explore the innards of the science base, and there’s the oddest cliffhanger, strangely staged. The Doctor is fiddling with something, Peri has discovered something on the floor, she’s attacked by someone we don’t see, this causes a booby trap to go off in the Doctor’s face, and he falls onto some wires.

While Peri is literally jumped on by her mystery assailant, who has a sack over his head. It’s all so clumsily staged.

BBC Genome: BBC One – 16th February 1985 – 17:20

Next, here’s one of the earliest appearances of the new BBC ‘Computer Originated World’. The previous episode comes in as the title sequence has just started, as we didn’t get to see the older logo, but the COW was introduced on the 18th February, so this is the first episode of Doctor Who to be introduced by the new logo.

Peri fights off the man who attacked her and rescues the Doctor from the gas. When they check on her attacker, the Doctor recognises Jamie. Not sure I would, as the rule of the unconscious prone person is fully in play here.

Jamie still believes the Doctor was killed as he saw him being tortured. The Doctor finds out more about the Kartz-Reimer time experiments, and tells Peri that if the experiments continue, the whole universe with end “in a very few centuries.” Peri’s not so worried about that. “She can’t comprehend… The scale of it all.” Nice to see Colin Baker being given some actual acting to do.

He presses a random button, and sees Peri being tortured – but the image switches to Dastari, Doctor (2) even himself. So what Jamie saw was an illusion.

The Doctor tries to explain what’s happening to his other self. Peri complains. “I do wish you’d stop switching personal pronouns. It would make it a lot easier to understand what you’re talking about.”

Travelling to Seville in pursuit of the Sontarans, the Doctor meets Oscar and Anita. He thinks they’re police, since they’re in a police box. “I can see from your raiment that you obviously belong to the plain clothes branch.

Dastari explains the plan to Doctor (2). He wants to extract the symbiotic nuclei from the Doctor’s biology that allows Time Lords to travel through time. And it’s the genius Chessene who did most of the work.

The cliffhanger is another flatly staged affair – Peri is running away, after having visited the hacienda to find out who’s there, and Shockeye is running after her, because of course he wants to eat her. And she trips over. It’s very poor.

BBC Genome: BBC One – 23rd February 1985 – 17:20

Recording switches to next week, and it’s the sports results, just in tome to hear some football news, as John McClelland equalises. Watford won 3-1 this week.

But Watford and Luton are still near the bottom of the first division.

Pools News looking fair but no jackpot expected.

There’s a trailer for programmes later in the evening.

Then we have the final episode of The Two Doctors.

The Sontaran Stike wants to use Doctor (6) to find the symbiotic Nuclei to he threatens Jamie. This is the tallest Sontaran I’ve ever seen – he’s huge. I thought Sontarans were all short, being clones. Anyway, this move doesn’t go well for him, as Jamie has a knife in his sock, and stabs him in the knee to escape.

Chessene talls Dastari to turn the Doctor into an Androgum to be her consort.

Dastari’s surgery works.

Chessene deals with the Sontarans.

The Doctor and Shockeye go out for dinner, and choose Oscar’s restaurant. When he mentions the bill, Shockeye stabs him. Oscar might have been creepy and annoying but he didn’t deserve that.

Shockeye is still wanting to cook a human. I do find all of this repulsive. I think that might be the point.

Doctor (6) escapes with Shockeye in pursuit, so the Doctor uses Oscar’s cyanide jar to kill Shockeye. “His just desserts.” That’s just gross.

Dastari is finally persuaded by the Doctor to turn against Chessene, who uses the time capsule to escape, but the Doctor (6) had sabotaged it, so she’s killed too.

And in death she reverts to Androgum.

This is definitely vegetarian propaganda. At least it’s better than Timelash. Or The Timelash as the announcer calls it. But then, he also calls Eastenders ‘The Eastenders’ in the trailer that follows.

BBC Genome: BBC One – 2nd March 1985 – 17:20

Following the Eastenders trailer, I’m afraid there’s part of an episode of Jim’ll Fix it. 

A young boy wants to be a lift operator.

There’s music from Paul Young.

Three Nurses want to be his backing singers.

This recording ends during his song.

Underneath there’s an older recording, a Polish film called Man of Marble. The tape ends during this.

Born in the USA – Micro Live – The Tripods – tape 5

Another one of my older tapes, from Christmas 1984. It opens with the end of The First Noels.

There’s a trailer for the very last episode of MASH, Goodbye, Farewell & Amen. And in another weird coincidence, twenty minutes later, as I’m scrolling through twitter, I see this tweet referring to precisely that episode. And it’s not like I following a whole bunch of MASH fan accounts.

Then, we have Born in the USA, a Whistle Test special dedicated to an interview with Bruce Springsteen.

The interview is by David Hepworth.

I’m not the hugest Springsteen fan – I like quite a few of his famous ones, and I did own a copy of Darkness at the Edge of Town (which Springsteen cites as one of his albums he’s not as happy with). But he’s an interesting interview subject. I particularly liked his discussion of why he doesn’t really know what to do with videos for his songs. As far as he’s concerned, the song does its job and is a complete thing. A video can only illustrate it (“It’s like, are you gonna paint a moustache on it or something?”) or tell a different story.

Here’s all the interview bits, minus all the concert footage that got blocked by YouTube.

BBC Genome: BBC Two – 22nd December 1984 – 19:15

This recording stops there, and underneath, there’s an older recording. I shudder now to think what might have been on that first hour that is now lost forever, but the recording underneath is actually the complete recording of Micro LiveChristmas Special. Regular readers will know how much I love this programme, and how important it was as I was starting out as a professional programmer.

They’ve made an effort with the decorations, haven’t they?

There’s an interview with the hacker who recently hacked into Prince Philip’s Prestel account. I love that, during this whole thing, nobody questions the idea that Prince Philip actually uses Prestel, rather than just having an account given to him which is probably managed by staff.

Does anyone know who ‘Mike’ the hacker actually was?

Journalist Chris Palmer looks at some computer games, from arcade machines to the latest videodisc-based games.

 

Lesley shows a game that supposedly is controlled by psychokinesis, and on this live show, invites the audience to will the spaceship through the gates at the end. It misses, and you can hear Mac’s voice from across the studio. “Rubbish!”

Mac uses his prodigious artistic talent to create a Micro Live Christmas Card on a BBC Micro. For some reason, the moment when he can’t quite get the software to fill the moon with yellow has stuck with me, just the way he says “Didn’t work, the yellow moon.”

There’s a report from Freff in the US about an animation studio using computers to do some of the repetitive tasks in animation.

It’s for a film called Dragonflight, I think.

The cel colouring system has a huge palette of 15 possible colours.

The background painting system has a slightly better palette.

There’s a news section looking at the new ICL One Per Desk computer/phone combo.

Matt Nicholson from What Micro also demonstrates the new GEM graphical user interface.

Bill Bruford from King Crimson demonstrates his digital drum kit.

Dave Simmons, inventor of this particular brand of drum kit and synthesizer, talks more about the equipment.

John Coll takes a look at some possible Christmas presents for the techy members of your family.

One of the items is the Music 500 synthesizer for the BBC Micro, which I bought and played with a bit. It didn’t lead to a musical career.

There’s a festive Mode 2 end title.

The whole programme is available on the BBC’s archive site for the Computer Literacy Project.

Micro Live Christmas Special 1984.

BBC Genome: BBC Two – 8th December 1984 – 14:20

The recording continues for a while with the start of a movie, The Overlanders.

Then, after a minute, the recording switches to later that same day on BBC1 with the end of the News and Sport. Pools news is looking good this week – possible jackpot.

Then, a programme that wasn’t marked on my database, it’s the last episode of the first series of The Tripods. I still maintain the most exciting thing about this show was the very early use of computer graphics for the titles. Look at that shading.

Now, my memory of The Tripods is that it took a long time to not get very far. But I have to admit, possibly because this is the last episode of the series, this one isn’t bad. Our three heroes, Will, Henry and Beanpole, have finally reached the White Mountains, looking for the Free Men who are fighting against the Tripods. They managed to damage a Tripod in the last episode, so other Tripods are coming after them.

There’s a night scene, which always looks murky and ill-defined. The boys almost get squished by a Tripod foot. The production had made a full-size foot so that they could establish the scale of the Tripods without using the (frankly rather rubbish) BBC CSO.

But after escaping being squished, they find the people there, and they’re not Free Men, they’re the regular, Tripod-obeying authorities, who imprison the three of them and interrogate them as to why they’re there and what they know.

Beanpole has his glasses taken away, and who knows, in a year or two he was probably quite hot looking.

This part of the show looks a bit like an amateur dramatic production of the Next Generation episode Chain of Command where Picard gets tortured by the Cardassians. But it’s fairly dramatic, and ends with Will fiercely telling his interrogator that he won’t be the last person to look for the Free Men, and people would keep fighting the Tripods until humanity was free of them. I enjoyed this whole section.

You might have guessed by now that the whole interrogation was a ruse, to ensure that the boys aren’t conditioned Tripod agents come to infiltrate, and they are all actually Free Men. The last part of the episode sees them reveal their plan – to send people to compete in some kind of sporting event in the Tripod’s city, and everyone volunteers, It’s all very rousing.

BBC Genome: BBC One – 8th December 1984 – 17:20

After this, recording continues, with a trailer for programmes for Christmas on BBC1.

Then, an extra special treat, as what follows is most of an episode of Noel Edmonds Late Late Breakfast Show. Yes, the series that killed a man and injured several more. Noel is dressed up, because today is the final of Poseur of the Year. He’s not a finalist.

Mike Smith is in a swimming pool, also in a tuxedo.

There’s gymnastics.

Music is from Frankie Goes to Hollywood performing their Christmas No1 The Power of Love. Not to be confused with The Power of Love by Huey Lewis and the News. Or The Power of Love by Jennifer Rush.

There’s the Golden Egg Awards – basically a short segment of TV bloopers and home video accidents.

Then it’s time for Poseur of the Year. The judge is David Copperfield (not the magician) as Medallion Man.

The actual competition is as woeful as it sounds. I particularly like the one who forgot his little joke in his introduction. And the hair.

Part of the competition is having to chat up Marti Caine.

Sadly for posterity, my recording stops before the winner is announced.

BBC Genome: BBC One – 8th December 1984 – 17:45

The recording stops because I was busy inventing the Let’s Play video. I’d hooked up my BBC Micro to the VCR and recorded me playing some Elite. Sadly, I don’t also have a voiceover of me jabbering as I destroy raiders around the planet Beritere – there’s no sound at all because the BBC didn’t put the sound through the TV signal so it’s just white noise. Still, I’m way ahead of the curve, obviously.

There’s about four minutes of this before the tape runs out.

French And Saunders – tape 32

This tape opens with the remnants of an older recording. “With Oscar-winning special effects, showing for the first time on British Television” is all I get, but if I wrack my brain, given the tape number, I think that recording was probably An American Werewolf in London. Which I would have been happy to tape over since I would have got a commercial VHS recording.

So these recordings are actually from a lot later, and a repeat run of French And Saunders starting with their Gone with the Wind parody. We’ve looked at this one already, from its original broadcast.

BBC Genome: BBC Two – 2nd February 1991 – 21:05

The next episode takes on Dangerous Liasons, also on the other tape.

BBC Genome: BBC Two – 9th February 1991 – 21:05

Before the next episode, I notice that this was the week that the brand new BBC2 logo was introduced.

Then, an episode of French And Saunders I’m sure I’ve seen on another tape, but search is turning up nothing, so I’m probably just imagining it, and remembering watching it before.

The movie parody is Gentlemen Prefer Blondes.

“Nobody knows what the hell is going on.”

Ken from Raw Sex is trying to learn guitar from Ralph McTell’s 100 Easy Tunes for Guitar, but he can’t understand it. “There’s none of those little pictures to show you where to put your fingers.”

So Duane imagines a court case in which they sue Ralph McTell.

Exhibit A

They get all the people who wrote the songs in the book to play them, but when they try to play them from the book they can’t because they don’t have the little pictures. “Exhibit A” Starting with Mark Knopfler.

Other expert witnesses are Lemmy from Motorhead.

Dave Gilmour of Pink Floyd

Mark King of Level 42

And Gary Moore

The next sketch is set in a comedy club, with Mac MacDonald as the MC

Dawn plays an insult comic. “Get OUT of the pool.”

There’s music from Kirsty MacColl.

The two teenagers in the pub is a painfully well observed piece of comedy.

Next, quite an important sketch, as it’s the one which inspired Absolutely Fabulous. Jen is playing a proto-Edina, and Dawn plays the studious daughter Saffy.

BBC Genome: BBC Two – 16th February 1991 – 21:05

Before the next episode there’s the end of an episode of Rhythms of the World. Also, a trailer for Naked Hollywood.

Then, another episode of French And Saunders that we’ve seen on the earlier (later) tape. This is the last in the series, and features the Sublime ‘Opera Classics’ sketch,

BBC Genome: BBC Two – 23rd February 1991 – 21:05

4 Computer Buffs – Film 85 – tape 31

We’re hitting a sweet spot in my collection with today’s tape – 80s microcomputing and Barry Norman.

Starting with 4 Computer Buffs. This was the Channel 4 sister programme to the Thames TV programme Database, with the same presenting team. There’s Tony Bastable, a man who always seems like he’s just on the point of snapping and murdering a room full of people. Don’t get me wrong, I think he’s an excellent presenter, I just feel like there’s something simmering there.

Jane Ashton rocks a groovy bow tie and furry cardigan.

Ben Knox did the networking bit, this week with a BBC Micro.

And Guy Kewney has all the latest news, including the news that Olivetti had taken control of Acorn. Dark Days.

The big interview in this episode is with Atari’s Jack Tramiel, introducing a batch of new computers including the exciting Atari ST, the machine that was to take on the Apple Macintosh in the GUI wars.

Here’s the whole episode.

After that we’re done with the technology, as recording switches, t the end of an episode of Miami Vice. I notice Joel Surnow’s name in the credits – he also worked on The Equalizer and, later, 24.

There’s a trailer for programmes on Wednesday.

and onto the latest celluloid treats for Film 85, as Barry Norman grabs his popcorn and pic’n’mix and sits down to review the following films:

There’s a location report on 2010, the sequel to Kubrick’s 2001.

I should mention that, in the review of Dance with a Stranger, we see co-star Ian Holm, a lovely actor who died only a few days ago. I’m so very sorry.

BBC Genome: BBC One – 26th February 1985 – 22:15

In the next episode, Barry reviews:

There’s a location report on Morons from Outer Space. Look how positive everyone was.

And for the second episode in a row, there’s a film featuring Ian Holm, this one is Wetherby.

There’s also an interview with Roy Disney about what the future holds for Disney after a year of turmoil and boardroom battles.

BBC Genome: BBC One – 12th March 1985 – 22:15

In the next episode, Barry Norman looks at the following new releases:

There’s an interview with Daryl Hannah.

And a location report on Johnny Dangerously.

BBC Genome: BBC One – 2nd April 1985 – 22:25

In the next episode, Barry Norman reviews:

There’s a location report on Wild Geese II.

There’s also a look at Warren Beatty’s career.

BBC Genome: BBC One – 9th April 1985 – 22:45

In the next episode of Film 85, there’s only one review, of The Falcon and the Snowman

As well as a review there’s also interviews with Timothy Hutton and John Schlesinger.

There’s an interview with former heartthrob Tab Hunter about Lust in the Dust.

And a location report for the Comic Strip movie The Supergrass.

BBC Genome: BBC One – 23rd April 1985 – 22:45

And that’s it for this tape. The recording ends just as an episode of The 20th Century Remembered starts.

Doctor Who – Max Headroom – tape 40

This tape opens with a definite Proustian rush, as Final Score looks at the football tables. The highlight of some people’s days, but for me, just the boring stuff I’d have to sit through before Basil Brush. Still, it was a time when Watford were in the First Division, along with their bitter rivals Luton Town. Both hovering around the relegation zone, though.

The pools news wasn’t particularly exciting. No Claims Required. My mum used to do the pools. I don’t think she ever won anything.

More excitingly, Watford were playing Luton this week, and featured on Match of the Day, not a common occurrence.

Before the next programme, a warning from History.

Then, it’s not Basil Brush, it’s the other programme that I eagerly awaited through the football results, Doctor Who. This is still Colin Baker’s first season, and it’s Timelash. Not a fan favourite. And it starts off with Peri and the Doctor bickering in the Tardis. It’s interesting to think what a poor decision this was for the characters. The Doctor shouldn’t be a bully. “Never cruel or cowardly” should be the baseline. And it’s interesting to imagine what exactly this dialogue would sound like if, say the Tenth Doctor and Rose, or Martha, or Donna had been saying it? You could still have them ribbing the Doctor, but it would have an undercurrent of friendship, not abuser and abused. Still, that’s just the opening scene. I’m sure it will improve.

Next we meet some unknown people on an unknown planet. It’s funny how alien costume design almost always reflects the time the show was made. Check out those scarves – so 80s it hurts.

It’s not all bad, though, as Paul Darrow off of Blake’s Seven plays one of the rulers of the planet.

An incredibly young Steven Mackintosh plays a rebel. Although if I’m honest, Steven Mackintosh is still incredibly young, so it’s a shock to see him playing grown-ups now.

The rebels are sentenced to being put into the Timelash – a time corridor which goes to an unknown time and place. And a very cheap looking prop.

They’re ruled over by the Borad, a bit of a Wizard of Oz figure, appearing on a screen. He reminds me strongly of Jeremy Corbin. With the humanity of Donald Trump.

One of his ministers is overheard plotting against him, so the Borad ages him to death. “Time for another election.”

Incidentally, the name Borad keeps cropping up with me, because for some reason, whenever I have to type the words Broad or Board, I often end up typing Borad. And today, the first time I typed Borad I actually typed Broad. Fingers are funny things.

They’ve got big blue androids with white hair.

In the Tardis, the Doctor and Peri are navigating a Contron stream or some such. Is this the only time they’ve used safety harnesses in the Tardis?

The Tardis appears at the end of the time corridor – on the planet. They seem to know who he is, and the Doctor remembers visiting there in a previous regeneration.

The planet, Karfel, seems to be at war with another planet, the Bandrills.

Although they know The Doctor, the Karfelons aren’t friendly, and Tekker (Darrow) orders Peri killed while he schmoozes with The Doctor. Peri escapes by pushing a pot plant into the guard’s face. He must have awful allergies, as this makes him collapse to the ground.

Peri escapes to somewhere underground. “There’s nothing that way but rebels, dank tunnels, and the Morlox.” A Time Machine reference that definitely isn’t accidental.

She’s menaced by a disappointing monster.

There’s another change of scene. Someone is playing with Ouija cards.

Ooh, there’s a bit of continuity, as Peri is captured by rebels, who want to kill her. So much for the tolerant left. She says she was with the Doctor, and because they know about the Doctor here, one of the rebels shows her a picture in a locket given to her by her mother – and it’s Jo Grant. Luckily, Peri and the Doctor must have talked about previous companions at some point because Peri recognises her.

Back in the olde worlde, our currently nameless young spiritualist has a surprise visitor as Vena, one of the people thrown into the Timelash, appears in his room. She’s got a special amulet that can destroy the Borad, which becomes important.

The Doctor is asked, by Tekker, to find out where Vena went so he travels back and visits the young man, whose name is Herbert. I’m sorry, but there’s just something about the character that’s giving off a strong Adric vibe.

The Doctor persuades Vena to come back with him to Karfel, and of course Herbert tags along, stowing away on the Tardis. In a very bad suit.

Coming back to Karfel, The Doctor delivers Vena and the amulet, but Tekker doesn’t keep his end of the bargain and release Peri. It seems strange that the Doctor would think he would. “You gave me your word, you microcephalic apostate” says the Doctor in one of this story’s most leaden lines. Then Tekker orders the android to throw the Doctor into the Timelash, for a cliffhanger.

BBC Genome: BBC One – 9th March 1985 – 17:20

In the next episode, the Doctor evades the android by showing it a mirror. No, I don’t know why this works. The world has no mirrors (or reflective surfaces, as Peri observed in the previous episode) but the implication up til now is that this was because the Borad forbade them. Maybe it’s actually because the androids can’t process reflections. Or maybe this is just stupid, which is how it looks.

Having dealt with the android and the guards, they barricade the doors, then the Doctor has to be lowered into the Timelash to fetch some Kontron crystals, so there’s a long sequence that looks like he’s being suspended over a bad model of the Giants’ causeway.

But when they have trouble pulling him back, Herbert has to make it all about himself again by climbing into the Timelash. I don’t see how having two of them in there is easier to deal with than having one. This just feels like fake heroics. Even when they’re joined by a third rebel.

The Borad that everyone sees on their screens is actually an android. Not really a surprise at this stage, because we’ve seen someone lurking in a sparkly chair in the Borad’s chamber before now, but we haven’t had a look at who it is.

Peri is tied up underground. This is not a good story for Peri.

The council chamber is attacked, and the Doctor and the rebels fight them off. During the fighting, part of the wall is destroyed, revealing a mural of a familiar face underneath – The Third Doctor.

The Doctor goes to the Borad’s chamber, where he finds Tekker lurking.

The true face of the Borad is revealed. He’s half human half Morlox. He was a scientist who used a chemical to merge with a Morlox. They keep having conversations about this previous adventure that the Doctor is supposed to have had, but since this doesn’t actually come from a televised story, even fans will be scratching their heads trying to place it. It probably seemed like a good idea at the time (and has been used before, e.g. The Face of Evil) but here it only serves to confuse the story to no real effect.

The Borad reveals his plan to let the Bandrills destroy all the human life on the planet so that only he and the Morlox would be left. This is too much even for the obsequious Tekker, so the Borad zaps him with the old age gun too.

Then the Borad tries to use the aging gun on the Doctor, but he’s got a device that absorbs and delays such a beam, so that it’s sent back at the Borad, who ages to death.

Herbert goes down to the caverns to save Peri, who was there to attract a Morlox, and use the same chemical to merge her with a Morlox, because the Borad wanted a wife. Yes, really. Good thing Herbert is there to save the day.

The Bandrills have fired a missile at Karfel.

When he can’t persuade the Bandrills to call off their missile, the Doctor heads into the Tardis. Peri follows, so we get yet more bickering because he doesn’t want her there.

So after five minutes of the Doctor persuading Peri to leave so he can stop the missile, she leaves, and then we get pretty much the same scene, except now it’s Herbert who’s there and won’t leave. Oh good grief, this really is poor. Here’s the Doctor about to throw his Tardis between the missile and the planet, probably dying in the process, and I don’t give a shit.

Everyone in the council chamber is now sad because the Doctor is dead after stopping the missile, but at least the Bandrills are calling off the war, because apparently, futile sacrifices mean something here. But the crying and celebration will have to wait because Peri is grabbed by The Borad. Yes, the same Borad that we saw aged into dust earlier. Because he had a backup clone  ready or something. Sure, that’s it.

But not content with bring one character back from a concrete, absolute death, here’s The Doctor (and Herbert) back too, with literally no explanation as to how. Not even a handwavey explanation. Nothing.

We then get a really terrible scene where the Doctor says that if the Borad lets Peri look at his face, and she doesn’t scream, she can marry him. Because of course it’s his hideous face that’s the issue, and not all them murders he done. Not to mention threatening to put her eyes out. They all seem to be working under the assumption that if this murderous, genocidal, abusive person would be fine if he was smoking hot. And just to underline that position, the Doctor smashes up his mural to reveal a mirror behind it. How did he know that was there? No idea, and the programme literally couldn’t care.

It’s only left to the Doctor to elbow the Borad into the timelash, because his problems with his own body image are so crippling.

It only remains for the Doctor to take Herbert back to his own time. Which is quite important, because here’s his card. He was H.G.Wells all along. How clever.

I try to be positive about everything I watch, but I think this story has broken me.

BBC Genome: BBC One – 16th March 1985 – 17:20

What I really need now is a palate cleanser. Something genuinely good, groundbreaking, perhaps something that isn’t nearly as famous or well known as it should be, something that spawned a genuine media phenomenon, and yet is barely known about.

We need to go Live and Direct, 20 minutes into the future.

This is Max Headroom. The original film, made to launch Max Headroom as a TV personality, which manages to channel Terry Gilliam’s Brazil and The Hitchhiker’s Guide to the Galaxy to create a rather wonderful thing. It starts with a news report on TV station Network 23.

Ace reporter Edison Carter is on the trail of a story of an explosion in an apartment.

They have an eyewitness on videophone (remember this was all made in 1985).

Oodles of graphics.

Roger Sloman – in the role that was taken by Jeffrey Tambor in the US series. Sloman forever!

Nickolas Grace as the oily head of Network 23.

I much prefer this version of teen genius Bryce Lynch, played by Paul Spurrier. “I’ve succeeded in computer generating a parrot on screen.” “My congratulations. Whatever next.” “It Squawks.”

It’s important to remember that in 1985, CGI wasn’t really a thing except for a few pioneering efforts (TRON, The Last Starfighter). So pretty much all the computer graphics in this show used the same technique as they did for the Guide in the 1980 version of the Hitchhiker’s Guide to the Galaxy, and they were animated by the same person – graphic artist and genius Rod Lord.

Amanda Pays stars in the first of a seemingly endless ‘woman at a screen guiding our hero around’ roles. Well, it was this, the US remake and Flash, but it seemed like that’s the only part she’d be considered for.

There’s Breugal and Mahler, the two heavies who get rid of the bodies for teen Genius Bryce Lynch.

And the wonderful W Morgan Sheppard (father of Mark Sheppard) as Blank Reg, who with partner Dominique runs Big Time TV from a mobile transmitter.

And because I haven’t explicitly mentioned him, star of the show, as Edison Carter, the great Matt Frewer.

Talking of the eponymous Max, here he is. It slightly boggles my mind that this frankly brilliant bit of SF TV was just the ‘origin story’ for Max Headroom, who was actually created as the Computer Generated host of a TV show where he would introduce pop videos and do the occasional interview. As a result, I wasn’t that interested in the weekly show, but this programme was brilliant. And in case you were wondering how 1985’s Channel 4 managed to produce such a good CGI head, they didn’t. Max was Matt Frewer under a very heavy layer of prosthetics to mimic the ‘look’ of computer graphics. To this day, a lot of the audience still think he’s fully CGI because in a strange way, he almost defined the look of a CG character.

It really is worth watching if you’ve never seen it before. In a just world, directors Annabel Jankel and Rocky Morton would have been superstar directors, but their feature career was far too short. After the entertaining Dennis Quaid/Meg Ryan thriller D.O.A. their next feature was Super Mario Bros, and that was the end of a promising run. But this is a jewel.

After this, there’s a trailer for a Channel 4 school drama Birth of a Nation, and the recording ends.

Cheers – tape 128

Here’s a tape of episodes from season four of Cheers starting with Fools and Their Money. Frasier is still coming to the bar, and still in love with Diane (she left him at the altar at the end of the previous season). He asks her if she wants to join him on holiday, and when she declines he starts nit-picking at her grammar. He’s so real.

Woody seems to have a knack for predicting the winners of football games.

He asks Sam if he can bet $1000 on his selection, and Sam thinks it’s a terrible idea, and he’ll lose all his money. But when Paul offers to find a bookie for him Sam tells him he’ll make the bet. “Keep it in the family.”

“Where’s the money?” Woody starts taking his shoe off and everyone laughs. “You guys really do think I just fell off the turnip truck. This is where I keep the map of where the money’s buried in my back yard.”

Woody wins his huge bet, and Sam reveals to Diane that he never put the bet on, to try to protect Woody from making a stupid mistake. So now the bet was won, he owes Woody $10,000.

He has to confess to Woody what he’s done, and Woody thinks it’s the nicest thing anyone’s ever done for him, which ironically makes Sam feel even more guilty. Woody tries to make it better. “Would it make you feel better if I took the dollar a week?” “A dollar a week is meaningless.” “How about a dollar a week and a raise?” “Nice gesture, not good enough.” “OK, how about a dollar a week, a raise, and your corvette?” “…my car?”

Sam doesn’t want to give Woody his car. So he tries to use Coach’s old technique for defusing an argument – singing “Home on the Range” together. “You feeling better?” “I still want your car.” “HOME, HOME ON THE RANGE!”

The next episode is Take My Shirt… Please? Diane is helping out on a PBS pledge drive, another of those things that I know about from US TV shows because we literally don’t have anything like that here.

Norm is trying to impress a potential accountancy client, but the couple are very boring indeed.

So he enlists Cliff’s help, because the woman’s father was a postman. “So, your parents wore the colours?”

Sam donates one of his baseball shirts, and then spends the rest of the episode worrying that nobody’s bidding for it. In the end, a man buys it, and Sam invites him to Cheers, where he tells Sam that he only bought it to ‘put it out of its misery’.

Next, it’s an episode called Suspicion. Diane points out a man who’s watching everyone int eh bar, and paranoia starts taking hold.

But when Diane reveals that the man was a friend of hers from her psychology class, and she was doing an experiment in paranoia, everyone’s angry with her, and she’s worried about how they’ll enact their revenge.

 

A local TV show asks Diane to appear on their show Boston’s Working Poets. So she thinks this must be the gang setting up their revenge, so to scupper their plans, she performs a poem that’s just her doing a chicken impression for five minutes. Sadly for her, the show is real. “It’s called ‘Ode to a Cornish Hen’.”

At the end of the episode, the gang get their actual revenge, which is not nearly as nuanced as Diane was expecting, somewhat to her relief. “I love you guys.”

Next is The Triangle. Frasier is still having trouble getting his career back on track after Diane dumped him, so she persuades Sam to pretend he needs Frasier’s help with a personal problem. With hilarious results.

Finally on this tape, Cliffie’s Big Score. Cliff is getting an award for Postman of the Year at the annual Postman’s Ball.

He invites Diane to go with him, and she initially refuses, so he asks Carla, who agrees if he pays her. But then Diane feels bad about not supporting Cliff on his big day so she says yes, which means Cliff has to find another date for Carla.

In the car on the way home, Cliff tries it on with Diane who’s having nothing of it. “Get out. NOW!”

The tape ends after this epsiode.

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Star Trek – tape 75

Staying in 1985 for some episodes of classic Star Trek beginning with The Doomsday Machine. It’s a great episode, but it’s one I’ve already looked at from a later broadcast.

BBC Genome: BBC Two – 26th September 1985 – 18:00

Before the next episode there’s a trailer for Queens’ A Cambridge College. (Punctuation as given.)

Then, another Star Trek episode – Catspaw. Once again, I also caught this one on the 1993 repeats, so you can see what I thought of it there.

BBC Genome: BBC Two – 3rd October 1985 – 18:00

Completing this trio of episodes is another classic, I, Mudd which was on the same tape as Catspaw.

BBC Genome: BBC Two – 10th October 1985 – 18:00

After this, the recording stops, and underneath there’s the remains of an older recording, an Australian police show called Bellamy. There’s a few minutes of this before the tape ends.

I feel like this tape of repeats is a little short-changing my readers, so as a tiny extra, here’s the ad break. Is the man in the R Whites ad John Otway? He looks a bit like him (although it’s obviously not his voice).

Update: Yes, it’s definitely him.

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The Time Machine – tape 12

We’re really flying backwards and forwards in time with these tapes. Yesterday we were looking at stuff from 2001, and today it’s back to 1985 and, appropriately enough, George Pal’s film The Time Machine. It starts with a group of stuffy Victorian men who have been gathered by a mutual friend, who’s late to greet them. When he appears, he appears a little worse for wear.

He then reminds them of their last meeting, five days ago, when he shows them the little model he’s built of a Time Machine.

A mention for Whit Bissell as one of the invited men.

He demonstrates the model disappearing, forward in time as he claims. But the visiting men think he’s talking nonsense. All except his friend Filby, who is worried about his friend, and urges him to stay at home. “I promise you I won’t walk out the door.”

It’s no surprise that he’s already built a full size version in his conservatory. It’s a beautiful design. These days we’d call it Steampunk. The prop still exists – it was bought by a film historian called Bob Burns, who used to show it at conventions, and it’s turned up in various places like the background of a scene in Gremlins, and in an episode of The Big Bang Theory.

According to the date plate on the machine, the time traveller’s name is H George Wells.

He travels into the future, letting the film have fun with some timelapse photography. I like the way it shows the passage of time through the changing fashions on a mannequin in the shop across the road.

In 1917 he stops. The house has been boarded up and is full of dust and cobwebs. He goes outside and sees the street looking different. Lovely matte painting.

He spots a familiar face – his friend Filby. Except it’s his son, and Wells’ friend Filby had died in the war the previous year.

His next time stop is in 1940, and another war.

Skipping forward now to 1966, and because this film was made in 1960, he doesn’t stop to watch England win the world cup. Instead, everything looks quite futuristic.

There’s a lovely memorial to his friend Filby.

But it’s not a modernist utopia. Wouldn’t you know it, he’s stopped during another war, a future war, as hundreds of people rush for the Underground shelters. He sees an old man rushing and asks what’s happening. Amazingly, it’s young Filby, now old and wearing an ill-advised figure-hugging onesie. He tells Wells that he should get underground, as the atomic satellites are zeroing in.

Pretty soon, it’s all out cataclysm.

 

As volcanoes erupt and lava starts flowing everywhere (In the south of England?) he jumps back in the time machine and heads forwards again. Luckily, the lava doesn’t destroy his machine, and he ends up encased in rock, and has to wait for a long time for the rock to wear away. I think this would be the point at which I went back in time. but he’s made of sterner stuff than I.

His persistence pays off, and on October 12th 802,701, he stops the machine.

He’s stopped outside a temple of some kind.

It looks pretty good, if you like a population who are entirely white and blond haired.

But there’s something wrong – a woman has fallen in the river and is drowning but nobody helps her. So Wells jumps in and saves her. Then she just walks off – as do all the people there.

The young woman he saved is at least nice enough to return his jacket, and she asks why he came after her. Her name is Weena, which surely can’t be right.

He learns that the young people are the Eloi, and they just spend all their time loafing about, and all their food is provided for them, although they don’t know how.

 

He’s taken to a place where they have books, but preservation isn’t a priority for them as the all crumble into dust. I remember finding this image quite disturbing when I first saw this film.

He’s disgusted that people have lost all curiosity and drive. He goes back to his machine and finds it’s gone, dragged into the temple which is shut again.

Weena takes him to a place where there are recordings from the past, played by spinning metal rings on a table, an image I’ve always liked.

Wells discovers some shafts leading underground, and the sounds of machinery, and decides to venture down to find his machine. But then a siren sounds, and Weena starts walking away, towards the temple. crowds of the Eloi are walking into the temple, including Weena, but before Wells can get there, the temple door shuts.

Descending into the shafts, he discovers the truth about the underground dwelling Morlocks, who run the machinery, and apparently produce all the food for the Eloi – they are cannibals.

It’s probably a good thing that the Morlocks live in the dark.

Wells frees all the Eloi, fights off the Morlocks with fire, and burns all their machinery, before all escaping up the shafts. Then they drop more wood down the shafts to fuel the fire until the whole Morlock underground collapses. So much for the tolerant left.

They make their way back to the temple, where the doors are open, and Wells can get to his machine. But as he enters, the door closes, and he’s attacked by the few remaining Morlocks. He knocks one down, jumps in his machine and goes forward again, treating us to a decaying Morlock.

But then he goes back to the start of 1900, just when his next dinner party is scheduled. None of the men believe his story, and even his friend Filby is slightly skeptical, but he can’t identify the flower that Wells brought back, so he does believe him.

And when Wells says goodbye with some finality as he leaves, Filby pauses, wondering, and returns to the house. But Wells isn’t there any more. In the conservatory, Filby finds the tracks in the snow showing where the Time Machine had returned, and Wells had dragged it back, so that when he returned to the future he’d return outside the temple.

The final mystery of the film appears when Filby discovers that Wells took three books with him when he travelled back to the future, but they can’t tell which books he took.

And that’s the end. We don’t get to see him back in the future, which threw me slightly, because I have a distinct memory of there being one shot of Wells in the future stepping out of the machine and hugging Weena, but that’s clearly a false memory.

The only question I have is, where do the Eloi get their clothes. Since none of them do anything, and everything is provided for them, does that mean that there’s a room somewhere underground filled with Morlocks sitting at Singer sewing machines making all the skimpy dresses and costumes that the Eloi wear. Just as there must be a kitchen somewhere that makes all the food that gets left out for the Eloi. So perhaps one of the books Wells took with him was Mrs Beeton.

Another thing that occurs to me which has probably been pointed out by absolutely everyone – how much the first Doctor Who Dalek story owes to this. Blond pacifists vs hidden, ‘ugly’ monsters, with the visiting time traveller teaching them violence and uprising.

The tape ends just after the film. I was clearly hovering over the pause button for this one.

 

 

 

Enterprise – Buffy The Vampire Slayer – Angel – tape 2931

Back to Sky One today, and first, an episode of EnterpriseStrange New World. It opens with the ship coming into orbit around an M-class planet, with the crew being very excited to experience a new planet for the first time. Vulcan liason T’Pol describes the Vulcan protocol, which involves a week of remote probes, and Archer goes “Nah, we’re going down there in person.”

Not enough landing party missions start with a group photo.

It’s a very pretty planet.

They tell spooky stories around the campfire.

Then the weather gets bad. These tents look rather contemporary.

They even have creepy crawlies in their sleeping bags.

They retreat to a cave, and people start seeing other humanoid figures on this apparently uninhabited planet. There’s glimpses of something in the rock.

Some of the crew think T’Pol has been talking to these mysterious aliens. Starting to feel a few Thing flashbacks with the paranoia.

One of the landing party is having an episode, and they use the transporter to bring him up – but with unfortunate side effects because the transporter is still a bit experimental.

There’s an hallucinogenic pollen in the planet, so they’re imagining the rock people, so there’s a stand-off between Trip and T’Pol.

Next, another episode of EnterpriseUnexpected. The gravity plating is malfunctioning while Archer is showering.

Unless T’Pol has ordered a glass of Nutella, something is wrong with some of the ship’s systems.

There’s a cloaked ship hidden in the Enterprise’s slipstream.

The aliens have a faulty warp drive, so Trip is tasked to visit them to help them fix things. But the alien environment is a bit, well, trippy for him.

But after he (reluctantly) sleeps for a short time, he’s suddenly acclimatised. I’m sure we had something like that thing he’s sitting in at the BBC.

The alien helping him starts feeding him Turkish Delight. Is that a Narnia reference?

The aliens have a holodeck. This is all new to Trip.

He plays a ‘game’ with the alien looking after him. Why are all these games slightly ‘erotic’? What’s wrong with a bit of Super Mario Bros?

Trip returns to the ship at the halfway point of the episode, so if I had to guess, he’s probably going to be pregnant with an alien baby.

Haha! Called it. He’s growing a nipple on his wrist and he has an alien baby growing in him. T’Pol gets a lot of mileage out of suggesting he couldn’t keep his trousers on. It’s interesting that nobody’s really talking about consent here, perhaps because he’s a man.

They go looking for the aliens, and who do they find? There’s Klingons off the Starboard Bow. I love this ship design. I used to have a kit version of it.

The Klingons are hostile, but Archer persuades them that maybe the aliens would give them some of their holodeck technology in return for being left alone. While there, Trip talks to the Alien who accidentally impregnated him. “I had no idea this could happen with another species.” But it’s not too late to transfer the embryo to another host. The show, perhaps wisely, doesn’t try to address the issue of abortion. And the small moment of Trip seeing the scan of the embryo was quite touching.

The aliens show the Klingons the holodeck using topographical data from the Klingon planet Kronos, which leads to a moment that had me roaring with laughter.

“I can see my house from here.”

Well played, Enterprise.

Recording switches, and there’s the end of an episode of The Simpsons.

Then, we have an episode of Buffy The Vampire Slayer from early in season six – Life Serial. Buffy has to come to terms with having no money, after Joyce’s hospital bills, so she has to work out what to do with her life.

Meanwhile, Warren, Jonathan and Andrew are planning to test the Slayer to see what her weaknesses are, all from the safety of their bitchin’ van.

When a TV Show wants to show some CCTV footage, it’s easier to just use Quicktime Player to play a video. Top Tip. Jurassic Park does the same thing.

This isn’t conspicuous at all.

Warren has placed an ‘inhibitor’ on her, that makes her experience time jumps and weird time effects.

She finds the inhibitor, so the gang self destruct it, and there’s no proof anything happened. Her next work experience is helping Xander on his building site. Slayer Strength is an advantage.

There’s a demon attack, but they melt away when she kills them, and the big butch builders refuse to admit Buffy saved them.

Next is a stint in the Magic Shop, and Jonathan conjures a spell which means Buffy has to make a successful sale involving a recalcitrant mummy’s hand.

So she goes to see Spike, who takes her to a demon bar, and a game of poker played for kittens.

Buffy feels like she’s failed, but Giles assures her that she hasn’t. And he gives her some money to clear her current money problems. Buffy tells him it’s almost like having her mom back, but he prefers to be a slightly rakish uncle. I love Giles. The role of the grown-up on a teen show can have all kinds of pitfalls, but Giles usually avoids all of them. They can play this scene, in Buffy’s He’s one of my favourite characters in the show. And the end of this scene has a bittersweet edge because the audience knows that at this point he’s intending to return to the UK (and Anthony Head was known to be leaving the show for most of this year, also to spend time with his family in the UK).

Next, an episode of AngelThat Old Gang of Mine. This is near the start of season 3, and Angel is doing some therapy with a demon. Who then goes back to his home and is murdered by someone unseen.

Next morning, Gunn is paged, and finds Angel and Wesley investigating the demon’s place, and his obviously violent demise. Gunn didn’t see anything when he dropped him off, and he’s wondering why they’re bothering now, since Angel and co also kill demons.

Gunn visits his old gang, where there are a few new members who are suspicious of Gunn working for a Vampire.

Meanwhile, Cordelia is worried abut Fred, whom they rescued from another dimension where she’s been trapped for five years. She still hasn’t been able to go outside despite being back for months.

A large white floppy demon is attacked in the sewer – by members of Gunn’s old gang.

Gunn, Cordy and Wesley take Fred to Caritas, The Host’s club, so she can sing and he can read her. But then, Gunn’s old gang arrive with lots of guns, and start shooting up the place. The club is protected by a spell, so demon violence is prohibited, but good-old gun violence from humans is fine and dandy.

This gets very tense, as the gang send Cordy to bring Angel, threatening to kill the others if she doesn’t return with him. Angel tells her to visit the women who made the protection spell for the club, to ask them to remove it so he can fight there. They quite like Angel.

Angel goes to the club, hoping the spell will be removed before they kill him. Gunn’s former friend tells him he has to kill Angel. But Gunn won’t. He doesn’t like demons, but Angel’s mission is the same as his.

So his friend looks for someone else to do the honours, and Fred, who has been terrified this whole time, steps up. But she’s not as afraid as she looks.

Gunn’s friend manages to grab the crossbow from her, but she’s delayed things enough for the spell to be lifted, so Angel and friends can fight the gang properly. And because the other demons left in the club can also fight, Gunn’s (former) friend gets his head bitten off by the one he was ignoring behind him.

I liked this episode, as it had a nice semi-Die Hard vibe to it.

After this, there’s the start of an episode of Scrubs, and the tape ends,

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Doctor Who – tape 1554

Today it’s over to UK Gold for some Jon Pertwee era Doctor Who and the story Inferno.

I’ve been watching Doctor Who about as long as I can remember. Longer than that, probably. One of my earliest memories was of the Autons – the shop-window dummies that came to life. I used to call them the Dollymen. And for many years after, I had assumed that this was Jon Pertwee’s first story, Spearhead from Space.

However, then I started reading the Target novels, and when I read the novelisation of The Silurians I realised I didn’t have any memory at all of watching that. And later still, catching up with these repeats on UK Gold, I couldn’t remember The Ambassadors of Death, or this serial, Inferno.

But I did have a very early memory – it was of someone being carried around on the front of a dalek. I had always assumed this must have been Roy Castle in the Peter Cushing movie, until I mentioned it to a BBC colleague who was a much bigger fan than I was, and he said it sounded like it might have been from one of the lost Troughton stories, Evil of the Daleks. I still don’t know how likely this was since I would have been 2 years old, but it’s a nice thought.

But all this means that I came to Inferno without any nostalgic baggage, although by the time I watched it, I knew it was quite a popular story. I have watched this before, and don’t really remember being overly impressed at the time, but let’s see if it’s improved with age.

The first unusual thing about this story is that the story title doesn’t come over the main titles as it usually does in this era, but over some stock footage of a volcano erupting. I don’t think they did this again, although real fans can correct me if I’m mistaken.

The Doctor is singing Verdi as he drives somewhere in Bessie.

Another man is cycling, and whistling. I like this bit of mirroring. I can’t work out what tune he’s whistling, though. He’s cycling through a big refinery or other similar industrial complex – it’s always good value when the show can shoot at big impressive locations.

Inside the control centre we meet Prefessor Stahlman, who’s angry that the drilling rate has slowed because of a repair. You can tell immediately that he’s the kind of pig-headed person who’s perpetually convinced of his own genius, and will ultimately cause whatever catastrophe this story is about.

He’s arguing with Sir Keith Gold, Executive Director of the project. For whom Stahlman has little respect. “Your concern is with such important matters as the canteen facilities and the new roster for the cleaners. Anything to do with the drilling is my concern and mine alone.” Gold is played by Christopher Benjamin, one of those actors that always seems vaguely familiar, but who’s in so many things that it’s hard to place him, although Doctor Who fans are most likely to remember him from the Tom Baker story The Talons of Weng Chiang as Henry Jago.

There’s green gloop escaping from the pipe that’s being repaired by our whistling cyclist. That’s never good.

Don’t touch it, cycling whistler! Something bad’s sure to happen. Sure enough, pretty soon he’s wandering around looking like he’s in some kind of trance.

Someone sees him staggering around outside and goes to help, but he attacks them. There’s a nice cut between him raising his arm to strike, and a hammer putting a nail into a wall.

Who’s putting up a picture? It’s Sgt Benton. I loved the Unit era.

The Doctor arrives and looks at another of the Brigadier’s photos. He can’t recognise him, so the Brigadier tells him. Apparently he’s the one on the front row on the left. Incidentally, he’d got about five or six of these framed photos. Presumably he takes them to anywhere he has to set up a temporary office.

The Brigadier has arrived because of a murder – the technician murdered by the whistling cyclist, Harry Slocum. Slocum is missing, and the wrench used in the murder was red hot when it was discovered.

Back in the control room, an expert in oil drilling has arrived, Greg Sutton (Derek Newark).

You get a good sense of who he is when he’s introduced to Petra Williams (Sheila Dunn) and immediately starts hitting on her. “Perhaps you could help me settle in the place.” “How do you mean, Mr Sutton?” “Well, you know, show me round, dash off a few letters. Perhaps I could borrow you for a bit.”

The Doctor is worried that the warnings being given by the computer are being ignored. “Mind you I’m not wild about computers myself, but they are a tool. If you have a tool it’s stupid not to use it.”

The Doctor has a remote control door to his temporary laboratory, which he opens with the sonic screwdriver. This is literally the stuff of science fiction in 1970.

Already there is Liz Shaw (Caroline John) one of the less remembered companions. It’s nice to have a professional scientist in this role.

The Doctor has the Tardis Console in the lab. Outside the Tardis. In fact, the Tardis is nowhere to be seen. This strains my mental model of what the Tardis is. Did he have to disassemble it to remove it? Surely it’s too big to take through the exterior Tardis doors in one piece. It’s doin’ me bleedin’ nut in.

Whistling Cyclist Wrench Murderer Slocum is starting to look a little zombie-like. And also, for some reason, he’s looking a little bit more like Professor Robert Winston. But with hairier hands.

The Doctor is trying to use the nuclear power from the facility to power the Tardis. Special power that’s measured in Megga-Volts. None of your ordinary Mega-Volts here.

While The Doctor is powering the console, Slocum kills another technician, and boosts the facility to full power, which has an effect on the Doctor’s experiment, throwing him into a malfunctioning hall of mirrors.

This shot looks like it’s from The Thing.

The power boost is also causing problems with the drilling, so there’s alarms, running about, everyone shouting at Stahlman because he seems to be doing the ‘This is fine’ thing. The Doctor and Liz find the technician killed by Dr Robert Winston, who then jumps out an snarls at them, for the episode cliffhanger.

In episode 2 they deal with Zombie Robert Winston, and the Doctor has to use the Brig’s pistol handle to set the big power slider back to zero, because it’s too hot to touch. I’m slightly amused by the fact that all during this tense scene, the sound of a trimphone ringing is heard, because the control room are calling to ask what’s happening there. The trimphone ringing sound probably seemed terribly modern at the time. It certainly seemed modern when we got our first trimphone.

Two more people seem to have been affected by what affected whistling, cycling Robert Winston lookalike. Is it a Zombie apocalypse? The Doctor thinks he’s seen something like this before, when the volcano on Krakatoa erupted – an unseen adventure which I presume was the subject of a Big Finish or New Adventures spin-off at some point.

The two new victims vanished before they could be examined, and the Doctor spots one of them and gives chase. The show’s making the most of their location here with lots of running about high up on gantries and walkways. The affected guard is also showing zombie-like traits, but as he’s trying to bash The Doctor with his gun (a nice touch, implying his mind has lost the knowledge of what a gun is, so he’s using it as a stick) he falls from a high walkway.

They’ve found some of the green goo that affected Slocum, but can’t analyse it because it’s too hot. Again, The Doctor recognises it from Krakatoa.

“I’ll tell you something that should be of vital interest to you, professor.” “Well, what?” “That you, sir, are a nitwit.”

The green goop is overheating and the flask is about to crack, so the Professor grabs it an puts it back in its box. I wonder where the scientist was with the insulated gloves who took it out of the box in the first place? This operation is very badly run.

Stahlman is still ignoring the computer warnings. The production didn’t seem to know how to represent the computer in this serial. There’s no screens, and occasionally the Doctor is looking at ticker tape, but sometimes they’re just vaguely looking at a black table. Then Stahlman annoys the Doctor by telling him that he’s cutting off the power to his lab for his experiment. Which annoys the Doctor.

The Doctor surreptitiously resets the power to his lab.

While Stahlman surreptitiously removes a part from the Computer.

The Doctor catches Stahlman about to smash the circuit, and when Stahlman, already being affected by touching the flask of goo, tries to bash him with a pipe, he stops him with some Venusian Karate.

So the Doctor goes back to continue his experiments, getting rid of Liz by asking her to run some calculations on the computer for him. When she returns to the lab with the Brigadier, they see the Doctor vanish with his console and Bessie. Cue cliffhanger.

In the next episode, the Brigadier and Liz demand Stahlman restore the power to the Doctor’s experiment. But he refuses. He’s definitely giving off some big Dominic Cummings energy, the ‘brilliant expert’ who can do whatever he wants, and the government will back him up.

Meanwhile the Doctor wakes up, back where he started, in the hut where his Lab is. Except all his experimental equipment is gone. And there’s a strange poster up saying ‘Unity is Strength’.

He leaves the lab in Bessie and almost immediately people start shooting at him, including Sergeant Benton, wearing a different uniform.

There’s an epic chase sequence, with some great stunt work.

The Doctor is menaced by one of the infected technicians, and there’s more grappling on top of a big tank.

Then he finds Liz – who’s had a sudden makeover.

She takes him to see the Brigadier, who’s changed too. He’s now the Brigade Leader. The Doctor realises that he’s moved into a parallel dimension. And that eyepatch is textbook evil universe costuming. Plus the scar.

Even Stahlman has a different costume and haircut. Plus some cool shades. Pity he’s also still got the blue hand from touching the flask, which obviously all happened in this dimension too.

Alarms start going off, as the drilling is causing problems, as the computer and the Doctor were predicting. Everyone’s running around, and technicians are being ordered to stay at their posts. This is suddenly looking like a 1970s production of Chernobyl. The Doctor tries to repair the computer, but Benton stops him and threatens to shoot him. Cue another cliffhanger.

The Doctor manages to repair the computer, and the emergency is over for now. The Doctor tries to reason with evil Liz, but everyone here is full-on Nazi.

They interrogate The Doctor, but he can’t tell them anything because he’s already told them the truth.

Back on Earth Prime, the Executive Director is going back to London to speak to the minister, and bringing his anxieties about the pace of the drilling. He wants the drilling slowed as they get closer to penetrating the Earth’s Crust (the whole point of the drilling). I hope he doesn’t die on the way, like his counterpart on the Evil Earth.

Back on Evil Earth, the Doctor’s cellmate is the zombie technician, who attacks a guard and is able to bend the bars. The Doctor uses this opportunity to escape the cell.

He finds a hazmat suit, so he’s able to disguise himself and get back into the control centre. The drilling is getting closer to penetrating the crust. The Doctor tries to stop it but the Brigade Leader spots him. He almost shoots the Doctor, but drilling expert Sutton stops him. Of all the people on Evil Earth, he seems least like a Nazi. I wonder if he’s also not a misogynist in this Earth. The Doctor tries to run but guards stop him, and Stahlman now has the Brigade Leader’s gun and is about to shoot, giving us cliffhanger 4.

Luckily, the drill gets through the crust before Stahlman can shoot, and the whole facility is rocked by quakes, and some nice miniature explosions.

The Doctor, Sutton and Stahlman go into the drilling area to try to cap the bore. But Stahlman bashes Sutton with a pipe, then fights with The Doctor. It’s a good thing Stahlman and Sutton have massive name badges, otherwise I wouldn’t have a clue what was happening.

The Doctor and Sutton get out of the bore room, leaving Stahlman in there, quite happy in the heat because he’s turning into one of the goop zombies, albeit much slower than all th others we’ve seen. The Doctor breaks the news to everyone that, because the drill has unleashed the raw power inside the Earth, the Earth is now doomed to ‘dissolve in the fury of expanding gasses’.

Greg Sutton and Petra Williams are rather being thrown together by the end of the world.

The Doctor tries to persuade the Brigade Leader and Liz to help him get back to his own dimension and save that Earth from the fate of this one.

Stahlman comes out of the bore room, and at least he still has his hair. He also has friends.

Oh No! Sgt Benton is attacked by Stahlman, and even he turns green. This is classic alternate world stuff. RIP Benton, you is wiv da angles now.

We get a quick look back at Earth Prime, and Sir Keith is driving back from the Minister, having got his full backing to suspend the drilling. But his driver has been ordered to take him the wrong way so he can’t give those orders to Stahlman, and when Sir Keith learns this, and orders him to take him directly back, they’re involved in a car accident. Poor Sir Keith.

The Doctor explains his plan to repair the power circuits, but they are interrupted by one of the furry zombies trying to break through the door, and another cliffhanger.

Now here’s a slight interlude. I’ve cut out most of the ad breaks and the idents from this tape – I was clearly watching while I was recording – and so far, all the UK Gold idents were these ones, with lots of dogs running around.

You might wonder why UK Gold’s idents are a whole bunch of dogs in wacky lighting. Well, in order to clue us in, just before the next episode, we get an older UK Gold ident. As you’ll see, it features a Golden Retriever, which makes sense on a branding level. So I presume, when it came time to refresh the idents, they didn’t have anyone in the room who remembered that it was specifically a Golden Retriever in the old idents, and all they could think of was ‘dogs’ so we got the random dogs and the school disco lighting. It was probably a couple of years before they did another refresh and dropped the dogs entirely, going with molten gold, which wasn’t bad and was at least on brand.

So now we reach episode six of Inferno, and the remaining few have to figure out how to get back into the control centre, fight off the zombies, and repair the circuits so the Tardis console get get the Doctor back to Earth Prime. Fire Extinguishers are cold, so they can drive back the heat loving zombies, so we get some exciting scenes of the group holding off the zombies while the Doctor tries to fix things. It’s only slight undercut by the fire extinguisher they have not actually having much gas left in some of the shots.

Luckily Sutton is able to get some of the coolant from the drill, which is a much better deterrent.

The Brigade Leader, Petra and Liz get out of the building. I love the filters they’re using to illustrate the impending death of the planet. It feels ultra modern. This story was directed by Douglas Camfield, who was a young director who was particularly good with action. He died very young, and was a great loss to the show, but these stories really show his visual and storytelling flair. This is a long story but it hasn’t felt like it’s flagging at any point.

We go back to Earth Prime again, and the Brigadier can’t find out what happened to Sir Keith. There’s a lovely scene here with the Brigadier and Benton, as Benton tells the Brig that Stahlman won’t come, and when the Brig presses him as to why, Benton says “he’s too busy to bandy words with a pompous military idiot, SIR!” The Brigadier insists. “Carry him here if you have to, but get him” he bellows. But when Benton leaves, you can tell by the Brig’s expression that he’s amused, and possibly impressed with Benton’s candour.

Back to Earth Inferno, and The Doctor fixes the circuits so he and Sutton get escape. But Stahlman is still going – and we can tell it’s Stahlman because he’s still got his handy name badge. Or is it Stahlmann? No, the credits say Stahlman, so the name badge is wrong.

They’ve got back to the hut with the Tardis Console, but the Brigadier is plotting to get the Doctor to save all of them, despite The Doctor having told them that this would violate some kind of universal law. He’s also hassling Petra Williams as she tries to fix the power boost.

But she can’t fix it (probably because of the Brigade Leader’s micromanagement techniques) so they run to the Doctor’s lab. Where the Brigade Leader practically has a breakdown, tries to shoot Sutton, then has a fistfight with him. No wonder this was one of Nicholas Courtney’s favourite stories.

After subduing the Brig, Sutton realises that Petra has gone – she’s run back to the nuclear power switch room to finish her repairs. When he finds her back there, he asks “What are you trying to do, commit suicide?” “What does it matter, we’re finished anyway.” This is magnificent stuff.

Now that the power’s flowing, the Tardis starts powering up, but the Brigade Leader’s recovered from his bashing, and he’s loaded his gun, so he intends to go with the doctor, despite the Doctor telling him it would create a ‘cosmic disaster’. “You’ll have to shoot me, Brigade Leader. I have no intention of taking you.” And before the Brig can shoot, there’s a gunshot and he falls. It’s Liz Shaw! “Now’s your chance, Doctor.” This is absolutely incredible. I love it so much.

We even get a montage of the cataclysm happening outside, with stock footage of lava and eruptions, mixed with the filtered shots of people running through smoke, and as the Doctor says he can’t leave yet because it’s still too erratic, the episode ends with this shot of the lava approaching the hut. OK, it’s 1970 vintage CSO, but that doesn’t undercut the stakes.

I’m almost afraid to watch the final episode, as I don’t think it can really match up to that ending. It opens (after the cliffhanger recap) with the Doctor lying unconscious, back on Earth Prime.

Meanwhile, because Sir Keith is still missing, Stahlman is insisting on accelerating the drilling, against the advice of everyone else. At this point perhaps we can assume this is more than pig-headedness, and he’s being affected by the zombie virus.

The Doctor is mumbling things about what’s gone wrong, “Number Two Output Pipe Blown” because he saw that in the other world. “Only one thing to do – reverse all systems.” Then he lapses back into his coma.

Liz takes this suggestion to Control Centre, and Sutton agrees it could work, based on his experience with oil drilling.

The Doctor wakes up to see the real Liz and Brigadier. “You really do look better with that moustache.” He tells them about where he’s been, and starts asking questions about what’s happened. He’s wondering if it’s possible to stop the same thing happening here that happened on the other Earth.

There’s a knock at the door, and who should enter but Sir Keith. Slightly the worse for his car accident, but not dead, as the Doctor keeps saying. I never thought I’d be so happy to see a mid-level bureaucrat in a Doctor Who story.

“So not everything runs parallel. An infinity of universes, ergo an infinity of choices. So free will is not an illusion after all. The pattern can be changed.” This episode is a bit lower on the action stakes, but in terms of the philosophy it’s still firing on all cylinders.

The Doctor goes to the control centre, and tries to stop the drilling, but he’s a little too proactive with a wrench, so the Brigadier has to restrain him and march him off.

This allows Stahlman to take control of the drilling, and he locks himself behind the heatshield. “I shall control the last phase of the drilling myself.”

The Doctor isn’t under arrest for very long, and we get a bit of action as he runs around, and faces down one of the zombie technicians.

Stahlman, in the bore room, gets more of the green goop.

There’s two minutes before the drill penetrates the crust, and somehow, Sir Keith is still reluctant to order a shutdown without Stahlman’s say so. “We have no proof of an emergency situation”

Then the heatshield comes up again, and Stahlman has gone full furry. Proof if proof be need be of an emergency.

The technicians try to shut down the drill, but the buffer controls will keep it drilling, and Stahlman has smashed those controls. Can the Doctor fix them in time? Notice the way the story keeps The Doctor in play right to the end, when it could just as easily had the technicians just shut everything down. Plus we get a nailbiting countdown before The Doctor and Sutton return to the control room, and the countdown voice announces the drilling has stopped. Hooray!

Now the Doctor has to say goodbye to the Brigadier and Liz. He’s sad to say goodbye to Liz, but calls the Brigadier a “pompous self-opinionated idiot.” Then he activates the Tardis console and disappears.

But he’s back a moment later, having travelled about 100 yards away, into the rubbish heap. Asking for the Brigadier’s help moving the now stranded console, he says “We don’t want to bear a grudge for a few hasty words, do we?”

And Liz laughs as they leave together. It’s a shame this was her last appearance, as in the next season, Jo Grant appears.

So that’s Inferno, it’s a fan favourite, and after this watching, I can see why. I don’t think I appreciated it as much the last time I watched. Admittedly, it already has a head start because it’s an alternate universe story, and I believe that those are always a lot of fun, any time a series does them, but this one really does pull it off. Great stuff.

The tape ends just after the last episode. I was ruthless with the pause button on this one.