“Meglos” features one of the shortest run times in all of classic Doctor Who. If you remove recaps and the credits, the entire run of this one barely runs just a shade over eighty minutes — well short of the standard run time for a four-part serial. And while many will agree with this is the weakest entry for season eighteen, I choose not to see that as a blight on the story, but rather a compliment to just how good season eighteen really is.
And if we’re being honest, I’d rather watch “Meglos” than “The Horns of Nimon” any day of the week.
So, the sheer fact that Terrance Dicks is able to get the novel up to its usual page count and to actually enhance the story a bit is a testament to just how good Dicks can be. Oh sure, he can’t really explain away a sentient, talking cactus as the main villain, but he can at least give us a bit of backstory and a name for the kidnapped human who serves as a host for the titular “Meglos.”
Dicks also fills in a few gaps in the history of both worlds and the conflict between them, adding a bit of depth to the story. And yes, this is a story of doppelgangers and huge coincidences, but I honestly didn’t mind them as much on listening to the audiobook of this one. This isn’t a classic serial, but if taken in the right way, it’s a good one. The commentary on the conflict between science and religion on the planet Tigella seems like it could or should be more interesting or substantial than it turns out to be.
The audiobook of this one is another solid entry in the line. John Culshaw has become one of the strongest readers as the range starts to wind down — and not just because he imitates Tom Baker spot-on. Of course, having John Leeson on hand to read K-9’s lines is an added bonus.
Look, this isn’t a great story but it’s a damn fun one –and the audiobook reflects that. I don’t regret a moment I spent with this one.
Cited by modern Doctor Who showrunners, Russell T. Davies and Steven Moffat as the best story of the classic era, “The Ark in Space” is also a great entry point for fans who want to see what all the fuss classic Who is about.
Robert Holmes had just taken on the reigns as script-editor when he had to do a full page-one rewrite of a script by John Lucarotti. Holmes kept the setting of a space station because the sets were already under construction (a cost-cutting measure for the first fourth Doctor season had the sets used here and later in “Revenge of the Cybermen.”) In place of the original story, Holmes gave us a four-part serial with an utterly chilling monster and a high stakes as the Doctor and a group of humans fight for the survival of humanity.
In many ways, this is Holmes taking the base-under-siege stories of the Patrick Troughton era and upping the stakes dramatically. Yes, we’re concerned with the fate of the group of newly revived humans as they battle the Wirrin. But also at stake is the future of humanity and whether or not humanity will survive or become Wirrin food. Continue reading
On television, “Dalek” is a masterpiece and possibly the best hour of the revived Doctor Who has yet produced. I’ve loved it since it first enthralled me upon first airing and it’s probably the new Who episode I’ve revisited the most.
So, when news broke that Rob Shearman was adapting the story for the second set of new Who Target novels, I was very excited. And a bit nervous, fearing the novel might not live up to my lofty expectations. Expectations only grew when the four new Target novels were pushed back a year in the early days of the pandemic and lockdown.*
* On a positive note, this gave me a chance to explore some of Shearman’s other writings, including his collection of non-Who short stories. This, as it turns out, was a very good thing.
And so it was, at last, that the four new Target novels hit my download queue and I could finally take a listen to “Dalek.” And I’m happy to report that Shearman has hit out of the park with this one. He’s taken one of the quintessential episodes of Doctor Who and turned it into a quintessential Target adaptation. I’m not sure I could have enjoyed this one more. Continue reading
Doctor Who was originally intended as an education program for families — one that would see the TARDIS crew traveling backward to various eras and imparting a bit of knowledge about history to the viewing audience of the day.
But by the time the series celebrated its first decade on the air, journeys to historical settings had become a thing of the past. That is until producer Berry Letts and script editor Terrance Dicks decided to bring back the historical story for the show’s eleventh season debut. Dicks jokingly says that he dragged Robert Holmes “kicking and screaming” into the Middle Ages with the debut story of Jon Pertwee’s final season, “The Time Warrior.”
“The Time Warrior” is a story of a lot of firsts. First appearance of the Sontarans, first appearance of Sarah Jane Smith, the debut of the diamond logo and new opening credits (I can’t tell you how much this surprised on my first viewing of season eleven), and the first time Gallifrey was used as the name for the Time Lord’s home world. Given all these firsts, it feels like a no-brainer that Letts and Dicks would go to Holmes for the story. Continue reading
Big Finish made headlines when they finally convinced Christopher Eccleston that returning to his role as the ninth Doctor was something that could and should happen. The result is a couple of box-sets of stories with Eccleston in the role — which is probably as close to him playing the Doctor again as we’ll ever get.
The first box-set is out now and I finally got around to listening to it. I reviewed each installment after listening. So, if you notice some kind of horrible error or oversight in my thoughts on part one or two, please know I had no idea what was coming….
1. Sphere of Freedom
Christopher Eccleston effortlessly steps back into his role as the ninth Doctor in this introduction to the series. The first installment is all about setting up things for what’s to come, including establishing a new character called Nova, who serves as a de-facto companion. Give the drama a bit of credit for having Nova call out the Doctor for issuing forth technobabble for his own sake and not because she understands a word of it. Continue reading
This is one of the few novels from the Tom Baker/Louise Jameson era of classic Doctor Who I had in my original Target books collection. It was only because I somehow kept missing the serial — whether it was my PBS station skipping it in the rotation or just plain not setting the VCR right to catch it when it was repeated (ask your parents, kids).
So, for a long time, my only impression of this story came from Terrance Dicks’ adaptation of the Bob Baker and Dave Martin scripts. And that probably helped things a good bit because, quite frankly, Dicks seems a bit more invested in this fourth Doctor story than he is in many of the others he adapted. Continue reading
For the series’ twenty-fifth anniversary, Doctor Who took a moment to offer up a satire of the series and its fans with “The Greatest Show in the Galaxy.” Set at the Psychic Circus, the serial sees various parties trying to keep a trio of ever-hungering god-like beings entertained with varying degrees of success. In many ways, the serial is a predictor of the ever-increasing hunger that the world seems to have to consume pop-culture and then how quickly it can be and is forgotten. The Gods of Ragna Rock use up various acts, quickly moving on to the next one with the constant chorus of “Entertain us.”
It’s a brilliant, subversive bit of Doctor Who and one that sits in my top ten.
But, it wasn’t the first time that Doctor Who would be so subversive. The series would offer up a satire of itself fifteen years early to celebrate the show’s tenth anniversary. But as with everything involving the late, great Robert Holmes, not only would the serial be subversive and point out the current state of Doctor Who, but it would also create a template for the next decade or so of our favorite program. Continue reading
Like many of the fifth Doctor stories in the Target range, this is one that I simply skipped in my earlier collecting years and never got around to reading. Listening to the audio version, I can see why.
Arc of Infinity is a solid example of Terrance Dicks taking the shooting script and adapting it for the printed page with ease and professionalism. But for a story that’s a sequel to one that Dicks himself worked on during his tenure as script editor, it feels a bit wanting and thin at times. The story goes to great lengths to keep the identity of various villains secret during its four-episode run time. And translated to the printed page, it feels like there’s a lot of treading water taking place from the Doctor’s being almost taken over by Omega in episode one until Omega is dispatched in episode four. In between, there is some running up and down corridors and later along the streets of Amsterdam.
Dicks is able to consolidate much of the running about via his prose, but somehow it makes the story feel thinner than it did on-screen. I couldn’t help but find myself wishing for the Dicks who gave us “The Auton Invasion” or even “The Three Doctors” to fill in some gaps here or to give us some other reason Omega is still lurking about other than “well, we wanted to bring him back for the twentieth anniversary.”
All that said, the saving grace for the audiobook is the performance by Geoffrey Beavers. As I’ve said before, Beavers could read a take-out menu and hit the right notes of menace for a Doctor Who villain — and that is certainly the case here. Beavers does his best with the material he’s given, elevating it a bit and making the entire experience a bit more enjoyable.
You have to admire the sheer audacity of Barry Letts and Terrance Dicks. A mere three stories after “Spearhead from Space,” the team not only brings back the Autons to invade Earth yet again, but they’re brought back in virtually the same story as we saw in “Spearhead from Space.” Just substitute the Master in the role of Channing from “Spearhead” and the two serials are remarkably similar.
The Nestene, using the Autons, have decided it’s time to invade Earth again. Though this time, the attempt to take over our world features a different ally and is a bit more subversive. Whereas “Spearhead” is a full fledged frontal assault (complete with the memorable image of the Autons coming to life as shop dummies), this invasion comes more from within with the Master spearheading (pardon fully intended) the wiping out of a great number of the population and then invading in the chaos.
The Nestene appear to have decided — or possibly been persuaded by the Master — that taking over Earth is easier if you plunge the world into chaos by killing off large chunks of the population via plastic chairs or daffodils. The invasion plot continues a theme from Robert Holmes’ “Spearhead from Space” of taking the everyday, mundane, or even safe things of life and making them scary somehow. In this case, you can be killed by authority figures like the police or struck down in the safety of your home by a plastic daffodil cutting off your ability to breathe.
It’s a pretty chilling invasion plot, if you step back and think about it. And the idea of your final moments being given over to fear as you’re attacked by a plastic doll or daffodil is one that’s pretty chilling. Continue reading
Nostalgically, “Time-Flight” holds a special place in my heart as the first Doctor Who serial I watched one warm summer evening on San Jose’s KTEH. The story of a Concorde vanishing into pre-historical times hooked me on Doctor Who for life. And since I didn’t have much to compare it to, I thought it was one of the best things I’d ever seen.
It didn’t take me long to realize that “Time-Flight” wasn’t necessarily the best offering for not just the Peter Davison era but also Doctor Who as a whole. That’s probably why I skipped the Target book during my teenage years.
Forty years later, I’ve finally experienced the Target version of the story in audiobook form. And it was about as disappointing as I thought it might be forty or so years ago.
Freed of the limitations of an overstretched budget, I’d hoped that author Peter Grimwade might use the printed page to enhance and expand the story a bit. Instead, Grimwade seems to follow the Terrance Dicks of the Tom Baker era model and just translate the script to the page with a few descriptions of items, sets, and characters thrown in for good measure. The story of a Concorde being stolen down a time corridor in order to help out the Master’s latest nefarious scheme doesn’t even come close to making one lick more of sense on the printed page. It really does make one yearn for the days of Roger Delgado as the Master when the villain’s schemes felt like they had a bit more planning behind them.
The audio version of this one tries its best with Peter Davison in there giving it his all and the story full of sound effects that try their darnedest to make it all a bit more palatable. Alas, it never quite all gels and I can’t help but feel that this one was a bit of a disappointment.