Category: The Doctors
Some stories are simple.
There is, in Sheffield, a family. A grandmother, a grandson she’s bringing up. A second husband, that the boy (nearly a man) wants to keep at a distance. A dead daughter-in-law, a son who would rather run away than cope with the responsibilities that follow death.
There was, once, a traveller. A grandfather, a granddaughter that he brought up and who left. A later wife, who died. A traveller who tries to help, when he sees that help is needed – but who would rather run away than cope with the responsibilities that follow death.
And then the little family is broken apart a second time, because a monster, a serial killer, decides to come to Sheffield. The traveller tries to help, because she sees that help is needed, but she can’t (he almost never can) save everyone. And one of the people killed, one of the almost endless series of people killed since the traveller ran away that very first time, is the grandmother.
Okay, we’re just over halfway there. Six episodes down, four to go, and the shape of the new era is starting to be visible, shimmering like the TARDIS in The Ghost Monument.
Well, I think so. 🙂
This has been a blog I’ve been intending to post all summer but with one thing or another, have never quite managed it. But as we’re on the verge of Chris Chibnall taking the reins of the show, it’s now become very much a now-or-never moment. My intention here is not to take the attention from Chibnall’s big moment and we have, let’s face it, spent rather a lot of time already dissecting Moffat’s work. Rather my thinking is that this is the first time this forum has seen a ‘regime change’ on the show and it might be interesting to mark that, as well as provide a baseline for us to work from as we watch the Chibnall era unfold. Read more…
The beginnings of a bonkerish theory…
… the Christmas Special is partly set up to explain why the Doctor, after a solid run of thirteen male bodies, regenerates into a female body. And it’s connected with the First Doctor.
Moffat likes his Who metaphors: I’ve argued before that the episodes immediately leading up to the 50th Anniversary could all have been read as metaphors: each representing the various ages of the Before Gap programme. During the Capaldi era, he’s played quite heavily on the metaphor of ‘Doctor Who as legend’, as ‘story’. The Capaldi incarnation of the Doctor is often struggling to retrieve the real person who lives behind the legend of ‘The Doctor’. Robin Hood thought it was better that the legend be remembered; the Capaldi Doctor is not so sure.
Moffat also likes explaining things. The ‘explanation’ is very often a ‘blink and you miss it’, ‘available if you think about it’ kind of explanation, but Steven Moffat is still, at heart, the completist fanboy. The Doctor Falls, for example, sneaked in an explanation for why the Master became Missy after staying resolutely (and misogynistically) male for body after body. Quite simply, having met himself as a woman, the Master now knows (at some level) that he will have to make a gender switch. Missy didn’t ‘just happen’; Missy is part of a Moffat loop.
So I’d suggest that, rather than leave the Doctor’s regeneration into a female body as an ‘Oh, look, I’m a woman now, funny it took so long’ there will be an explanation – just as Moffat didn’t ignore Peter Capaldi’s previous appearance as Caecilius, but briefly explained why the Doctor had unconsciously chosen that face.
Why might that explanation be connected with the First Doctor? Because in a way, William Hartnell’s regeneration into Patrick Troughton was the real beginning of the transformation from ‘programme’ to ‘legend’. Up to that point, Doctor Who was like Journey into Space or Space Patrol. Massively popular, but didn’t outlive its time. It was regeneration that gave Doctor Who the potential to become one of the immortal stories.
But if it was the regeneration of William Hartnell into Patrick Troughton that began ‘legendary Who’, then did the regeneration of the First Doctor into the Second Doctor begin the long process of becoming ‘legendary Doctor’? Might the Capaldi Doctor see it as the beginning of the process of losing his ‘real’ self behind a legend? Given that Steven Moffat does like connecting events in-story to the history of the programme, I’d suggest that such a connection will be made.
Are the First Doctor and the Capaldi Doctor still the same person? Is that original 1960’s Doctor Who still the same programme as the bigger budgeted, CGI’d juggernaut that is the 21st Century Who? Or is that moment of doubt in Deep Breath, where the Doctor clearly wonders if there’s anything of his original self left, prophetic on both levels? In all that change, is the core self (the ‘soul’) – of the Doctor, of the programme – still the same?
What do you hold on to, when you’re a shape-shifter? What do you hold on to, when your leading actor and your production team go through periodic, complete, changes? When you can be ‘whatever you feel like when you get up in the morning?’
And, in-story, Gallifreyans aren’t just shape-shifters – unlike Zygons, their periodic regenerations shift both body and persona. They must have cultural methods of coping with this – but the Doctor has fled from his own culture. The one and only constant in the Doctor’s life is that his TARDIS likes to appear as a police box. Oh, and that he always regenerates as a white male.
Hold on to that last thought. After Moffat’s finished with the Christmas Special, it’s possible that we’ll be able to see that in a different way.
The production team have one advantage that the Doctor doesn’t have; despite the ‘missing episodes’, there’s an awful lot of Doctor Who history available for instant reference. The production team know what they’re changing from. Even though the latest actor to play the Doctor wasn’t alive when William Hartnell was the one and only Doctor, she can haul the episodes out of the archives, put the DVDs on expenses and effectively ‘remember’ the previous characterisations. If she wants to.
The Doctor doesn’t have that luxury. He’s over two thousand years old; his childhood was so long ago that he tells Bill that he can barely remember whether he was a boy or a girl. He has a photo of Susan and River on his desk – as if he’s now frightened of forgetting his own family. If the Smith Doctor was ‘the Man Who Forgets’, the Capaldi Doctor has become ‘the Man frightened of forgetting too much’. In episode after episode the Capaldi Doctor struggles to remember stories that much of the audience know perfectly well. The Second Doctor told Victoria that his family slept in his memory – which implies that he didn’t need photos; he remembered them without any props. The Capaldi Doctor keeps their pictures on his desk.
What do you hold on to, when you’re a shape-shifter who’s over two thousand years old? What do you hold on to, when your memory of your childhood is slowly fading and you need a photo to remind you of the granddaughter who was once so precious?
What do you hold onto when you’ve always hated regenerating?
We first saw the Doctor as an old man with a granddaughter. At that point, regeneration wasn’t even a twinkle in Sidney Newman’s eye; he wanted some actor with a bit of gravitas, and in the 1960’s that meant age.
But once regeneration becomes part of the lore of the programme, you start to wonder why the First Doctor would keep that first body so long that he was literally starting to wear out. Then you look at the Second Doctor (forcibly regenerated by the Time Lords) and all the following Doctors. None of them chose regeneration – except in the sense of ‘regenerate or die’.
Romana, on the other hand, seemingly regenerated because she fancied a new body. She also appeared to have considerably more control over the process than the Doctor does; the only time the Doctor managed to control the process was when the Tennant Doctor regenerated into the Tennant Doctor, by diverting some of his regeneration energy.
Let’s look at this again; it seems that the Doctor has never willingly regenerated – and in fact, once chose to keep the same body. The Tennant Doctor compared regeneration to dying – a ‘new bloke’ walks away. The Capaldi Doctor had to insist that he was still ‘me’, the same person as the Smith Doctor.
But then, unlike those Gallifreyans who regenerate among Gallifreyans, the Doctor generally regenerates surrounded by people who struggle to accept the new body, the new persona. Regeneration, for the Doctor, has become traumatic. Through the eyes of his companions, he sees just how much each regeneration changes him; no wonder that he has to insist that he is, indeed, still ‘me’. And unlike the Master, or Romana, he doesn’t generally start his regeneration process exclaiming ‘great, a new body to look forward to’.
Metaphors again: the Companion is the audience surrogate; their difficulty in accepting the ‘new Doctor’ represents the audience struggle to accept the ‘new bloke’. Until Smith, new Doctors generally had an old Companion or a continuing character (like the Brigadier) to make the cross-over with them and be the lightning rod for any audience confusion. But how far can the Doctor change until they stop being ‘The Doctor’? How far can the programme change the Doctor until the character stops being that Doctor created by William Hartnell, Verity Lambert and Sydney Newman?
Moffat likes paradoxes. At what point in the Doctor’s life will the paradox of Theseus’ Boat come into play? Can the Doctor replace everything about himself over a dozen times, and still be the original? Is he still that little boy who’s afraid of the monsters in the dark?
He tells Bill that he’s not sure whether he was a boy or a girl any more – yet Rule One is: the Doctor lies. Because when he returns to Gallifrey he (twice) goes straight back to the barn where that little boy hid.
He’s changed everything about himself a dozen times. Except for one thing. He’s still that little boy.
If gender selection at regeneration is a true 50/50 chance, then the probability of the Doctor managing all male regenerations this number of times is about 1 in 4000. Moffat’s been hinting that it isn’t truly random; the General loudly insists that she’s never trying that again, the Master has met Missy. The suggestion is that Gallifreyans can, at some level, select which gender they will become. The General prefers being female, the Master prefers being male; so that’s what they usually choose.
And the Doctor doesn’t like regenerating. He’s scared that he’s going to lose himself; that the ‘new bloke’ might be the one who finally makes the break from that original self, that the humans who generally surround him at regeneration might one day be right – regeneration makes him a different person, not just a different persona. So if there’s one thing he can control, one thing he can choose not to change – is he going to dare to change it? Or is he going to always keep that connection with the original self, the little boy in the barn, by always being the white male of his childhood? The little boy and the 2000+ year old man are still, literally, the same man.
If that’s the case, would the Doctor ever dare to regenerate as a woman? Or would that represent, to him, the last, final break with his childhood, his first body, his self?
And then we go back to meeting the First Doctor. Because it’s not just a question of whether the Capaldi Doctor remembers that long ago self. It’s a question of whether that long-ago self can recognise his incredibly older, much regenerated self – as still himself. The Doctor’s met himself before, of course. But those other meetings were much closer in time.
If the First Doctor recognises the Capaldi Doctor as himself, as ‘Doctor Who’, even after thousands of years and over a dozen regenerations, then those ever-changing personas were just … personas. The core self, the soul, has always remained. The Doctor has always been the Doctor. The Doctor Who of 1966 is still recognisably the Doctor Who of 2017.
But there’s more. Because the Doctor (and Doctor Who) has changed. You can see it in the role of the Companion, you can see it in the way the man who would kill a primitive human now counts humans as friends, you can see it in many, many ways. It is not just a matter of that original self being able to recognise his future self as himself. It’s a matter of the Capaldi Doctor being able to recognise that the changes that have happened weren’t all bad. He is, after all, still scarred from nearly committing genocide. He’s still haunted by the thought that he might not be a good man. He’s scared that his changes might have been for the worse.
So meeting his original self also becomes a matter of recognising that it might not necessarily have been a bad thing to change some aspects of that original self. Some childish things we keep. Others we put away. Sometimes, what we need is to look in the mirror of our old self – and realise that we like the way we’ve changed.
Did the Doctor ‘lose himself’ by becoming the legendary ‘Doctor Who’? Or was the ‘change’ he’s so worried about really ‘growth’? Did becoming the legend make him more truly ‘The Doctor’ – and is ‘The Doctor’ who he truly wants to be? Is the legend something to live up to, rather than to deny?
If his first self recognises his current last self, then the Theseus Boat Paradox has an answer. However many times the body changes, the person within the body is the same person. However many different personas there are, the self remains. His ‘self’ (or soul) is the constant thread that runs through the Doctor’s lives. Regenerations are not a way of losing oneself; they’re the Gallifreyan way of changing and growing. Humans struggle to understand that – but the Doctor isn’t human.
And with that understanding, he can not only choose to regenerate. He can choose to step outside the self imposed limits of the previous regenerations. He no longer has to cling to that little boy by always being a boy; he can recognise that, man or woman, he will always be the same person as that boy.
And recognising that, secure in that core self – he might choose to no longer be a good man – but try to be a good woman, instead. After all, he’s just seen how it appeared to change Missy for the better. Maybe it’s time to try a major change
But she might keep the hoodie. 😉
Master: Is the future going to be all girl?
Doctor: We can only hope.
With hindsight it was obvious this regeneration was going to be the one. The one that brought us a woman Doctor.
We’d seen it established that Time Lord regenerations can involve a change of gender as well as of height, hair colour, apparent age and so on. We’d engaged with the Master/Missy conundrum.
DOCTOR: She was my first friend, always so brilliant, from the first day at the Academy. So fast, so funny. She was my man crush.
BILL: I’m sorry?
DOCTOR: Yeah, I think she was a man back then. I’m fairly sure that I was, too. It was a long time ago, though.
BILL: So, the Time Lords, bit flexible on the whole man-woman thing, then, yeah?
DOCTOR: We’re the most civilised civilisation in the universe. We’re billions of years beyond your petty human obsession with gender and its associated stereotypes.
BILL: But you still call yourselves Time Lords?
DOCTOR: Yeah. Shut up.
With lines like the above, we were being set up to welcome (or not) a woman to the role. Still, at some level, at least until a couple of days before the announcement, I really thought they might row back from that and say no, not yet, not this time. I really wasn’t sure they had the bottle to do this.
There’s been a lot of rather predictable frothing at the mouth, harrumphing and incipient apoplexy, with claims that this is the BBC surrendering to some mysterious all-powerful Political Correctness lobby (‘Murdered a part of our culture for feminazi political correctness ideology!’ ‘Doctor Who … didn’t die nobly as you might expect. He was murdered by Political Correctness’). That’s best ignored, by and large. I fear that Jodie Whitaker will have to contend with worse than that, and with personalised unpleasantness, but I’m sure she’s well aware and will be ready for the haters.
Not everyone who dislikes the change is of this breed, of course. There has to be a core of Doctorness with each regeneration, and some feel that maleness is a part of that. I disagree, but I suspect that many of those people, if they genuinely love the programme, will continue to watch and will be won over. Another response was that whilst of course boys have far more heroic role models in popular culture to emulate and be inspired by than girls do, the Doctor is different, and valuable because of the ways in which he is different. I do see the need for boys to have role models who aren’t all about action and fighting (even fighting for Good against Evil), but part of what makes the Doctor different, for me, is that gender roles and stereotypes simply aren’t (or shouldn’t be) relevant.
A plethora of girls and women have regarded the Doctor as a role model, and identified with him, over Doctor Who’s 50 year span, whilst he’s regenerated, repeatedly, as a man. The Doctor is still, no doubt, going to be the Doctor as portrayed by Jodie Whittaker – alien, two hearts, both of gold, funny, witty, snarky, capricious, kind, adventurous. (Juniper Fish, Doctor Who Forum)
The Doctor can and should be a role model for both boys and girls, in a way that Captain America or Batman can’t quite be – and probably Wonder Woman and Buffy can’t quite be role models for boys either. So, the Doctor can continue to inspire boys whilst giving girls and women a whole new image of how to be wise, and brave, how to save the world, to do what’s right, to be kind. Girls need to develop the confidence to take the lead roles, not to assume that a hero/a protector is by default male.
Who I am is where I stand. Where I stand, is where I fall. Stand with me. These people are terrified. Maybe we can help, a little. Why not, just at the end, just be kind?
Funnily enough, whilst the Outraged/Betrayed/Will Never Watch Again lobby were as loud and silly as one might have expected, overall what I found on Twitter was a mix of sheer delight, excited anticipation – and a different kind of silliness. See the #TardisFullOfBras hashtag, for example – someone took a hostile Daily Mail comment and turned it around, so that it’s full of fan art and daft jokes (and bras). That’s the way to go, I think.
There’s little point in trying to engage with someone who throws ‘feminazi’ into the conversation simply because someone gives a job to a woman that has been previously held by a man. There’s little point in trying to unpack the hotchpotch of false analogies and fake news and mythology that is evoked whenever the term ‘political correctness’ is used. And if someone believes that ‘social justice warrior’ is an insult, we don’t really have a lot to talk about.
What matters here, to me, is the delight that this news has brought to so many of us. It’s only a story, but stories are the most powerful things in the world.
Stories can make us fly.
We need stories, and we need heroes. And if we can’t immediately see around us the heroes we need, we build them. It seems that we are having a real moment here.
When I wrote about Wonder Woman, only a week or so ago, I did not know – though I hoped – that the 13th Doctor would be a woman. They’re quite different of course, but what is so glorious is that now, right now, there are two more in the pantheon of women who can, women who can stand up, will stand up. We have a woman (OK, a demi-god) who uses superhuman physical strength, courage and a fierce sense of what is right, in the service of humanity, and another (OK, a Gallifreyan Time Lord) who uses the wisdom of centuries and galaxies, wit and invention and intellect, courage and a fierce sense of what is right, in the service of humanity.
without hope, without reward, without witness
I felt when I was watching Wonder Woman like punching the air and having a bit of a cry at the same time, and when I think about the Doctor’s next regeneration, I feel much the same. Of course it is vital that the stories are well written, that the wit and humour is there, as well as the thrills and chills. Of course it is vital that the gender thing is dealt with intelligently, that stereotypes are undermined or dismissed with humour and that the Doctor is and remains Doctorly, demonstrating both difference and continuity as each new incumbent has done over the last 50 years.
It is perhaps even more vital that the stories are strong because there are those who (even though they may have vowed never to watch it again) will be waiting for it to fail, wanting to say that they told us so, that it could never work, that the Doctor can’t be a woman. If Jodie kicks it out of the park, as we hope and believe she will, then each regen that follows can be whoever seems right at the time and whoever takes it on will be critiqued for their ability and not for their gender.
Meantime, we’re loving this moment. Loving it for ourselves and for our daughters, nieces, granddaughters, all the young women who can now enjoy Doctor Who in a different way, who can take on the lead role in playground games. Not just companions or assistants but The Doctor.
My love for Doctor Who is, I realise, a bit ridiculous but I don’t bloody care because we all need escapism sometimes and, as my often tested loyalty to lost causes show, my love is nothing if not tenacious. At primary school I distinctly remember the humiliation of a school assembly where some of us were asked to share our pictures of what we wanted to be when we grew up. A Timelord was not an appropriate aspiration for a girl apparently and the piss was duly ripped. Not the first, worst or only time youngling (or indeed “grown-up” me) encountered sexism and ridiculous gender stereotypes but, because as a troubled kid my fantasy life was a refuge and a solace, one of the hardest stings. Anyway, fuck that nonsense because anything can happen with a Tardis and hooray for progress and little girls being allowed imaginations. And no, that does not come at the expense of little boys at all, and yes, I am really sorry Capaldi and Bill are gone because when they got the scripts they were brilliant and that, actually, is the heart of what I want. Good writing, please, please, please (and obviously for me to get a ride in there somewhere with them, because what is the Doctor if not an intergalactic anarcho-flaneuse who needs a bit more glitter?) (Morag Rose)
Doctor Who is a different sort of hero. The Doctor solves problems not by being the strongest, the fastest or the one with the biggest army, but by outthinking everyone else in the room. Far too many female characters are two-dimensional. I’m ready for one that can travel in four. I’m ready to watch a woman save the world again and again by being very, very clever and very, very moral, without having to have a man sort anything out or come and save her. I’m ready for a woman hero who’s older than recorded history and weirder than a three-day bender in the BBC props cupboard. I’m ready for a female super nerd. And so is the rest of the world. (Laurie Penny, The New Statesman)
1979, London, England, Super8 film format, colour, sound, 75 minutes long.
Ocean in the Sky is the great lost epic fan film. It’s not the earliest documented fan film – that honour goes to Kevin Davies ‘Doctor Hoo’ a three minute animated short from 1977. Before that there’s a rumour of a fan film called ‘Son of Doctor Who’ from the late sixties or early seventies. But Ocean stands out as a milestone for the sheer level of ambition – 75 minutes, as long as a serial or movie feature, and for the ambition of the production, featuring Daleks, monsters, genuine actors, special effects, and as many as fifty people involved in the production. So far as we can determine, it was shown in its entirety, only a single time, in 1979.
The story, what we know of it from personal communication with Marc Sinclair, involved Daleks at a base on Mars, attempting to invade the Earth through a blue portal in space, thus the title ‘Ocean in the Sky.’
A newspaper article posted by Richard Bignell elsewhere refers to multiple ‘blue holes’, and monsters called ‘Ancholi’ and assorted ghouls. Accompanying pictures depict gauze draped ghostly figures attacking or chasing the Doctor. One set of pictures shows the Doctor fleeing a tentacled columnar thing that might have been an Ancholi, or perhaps an Emperor Dalek. The Dalek Mars base was shown, by using, according to Sinclair, “a hospital corridor on a model set.” I’m not sure what that means, but I assume it was a miniature. The ‘stars’ were two Daleks, nicknamed ‘Fred’ and ‘George’. Looking at the available pictures, it’s very hard to say. From what we can see, these Daleks look pretty good. In clips, there is a red one and a black one. In some of the photographs, the black ones silhouette and appearance doesn’t seem right, too narrow around the neck. They look slightly different, as if from different builds. There’s definitely signs of serious wear and tear in some pictures, with collar rings misaligned and the lower skirting along the base of one seems seriously damaged. Who they were, where they came from, we can only guess. Sinclair mentioned that they had a third unit, an Emperor Dalek. If true, it’s possible that this was an third original build, separate from at least one, possibly both. Or it may have been cannibalized or adapted from one of their existing Daleks, perhaps just a bit of ‘dressing up’. As to the ghouls, nothing much stands on them. Steal someone’s gauze curtains, wrap it a round an extra there you go. The Ancholi may have been more ambitious, but we don’t know much about that costume. At the same time that Sinclair obtained at least one of his Daleks, in the early to mid-seventies, he also acquired a Tardis shell. There was apparently a Tardis interior/control room, was constructed by Reg Spillett, costing about three hundred pounds to construct, which shows the scale and ambition of the project.
The Doctor was played by Leo Adams, a local actor with the Manchester Repertory Company, then 69 years of age. He would pass away at the age of 92, having hopefully lived a life as full as it was long. – perhaps fifty people were involved with the production, at various points and in various ways. Adams and Woodley were the only credited cast members known.
The project attracted Mark Ayres, then studying music at Cambridge, for Music. Ayres would ‘go pro’ in the late 1980’s providing musical scoring for serials during the Sylvester McCoy era.
Kevin Davies participated, and seems to have formed a separate second unit/special effects unit who operated on their own, together with David Beasley, Jon Saville and Peter Cox. Davies would go on to direct Shakedown, two episodes of Space Island One, as well as Dalekmania, 30 Years in the Tardis, and numerous Doctor Who themed documentary shorts.
AS we finally approach the beginning of Series 10 and with the end of the 12th Doctor’s era now hard upon us, I thought now be a good time might be too reflect what he’s brought to the role, what he might give us for his final year as the Doc and where he leaves the show. Read more…
This is a working cover for a book I plan to publish this month.
The Grimwade story is an interesting one. Like many of the show’s figures, his career with Doctor Who spans an immense period of time.
His first work on Doctor Who was as a production assistant on Spearhead From Space, with Jon Pertwee. He followed it up with a similar position on The Daemons, also with Pertwee.
From there, he jumped to the Tom Baker Doctor, again, a production assistant and precociously directed the miniature shots for Baker’s first serial, Robot. He was production assistant for Pyramids of Mars, Robots of Death and Horror of Fang Rock, which, if you have to be connected, is a pretty damned good trinity.
In Robots of Death, he achieved a sort of notoriety, when Tom Baker ad libbed ‘Grimwade’s Syndrome’ as the name for a pathological fear of robots.
But he wasn’t just a production assistant. Peter was kind of a jack of all trades. As early as 1969 and 1971, he was getting professional writing credits on productions of Z Cars and Spare the Rod. He was an enthusiastic young man. In the late seventies, he submitted a proposal for a script called Zanedin, which was almost accepted. He took the BBC’s in-house Director’s workshop program.
And he got to know John Nathan Turner, when the two of them were working on All Creatures Great and Small, starring Peter Davison. For Turner, Grimwade was in the sweet spot. Turner wanted to bring new blood into Doctor Who – new writers, new directors, out with the old and in with the new. Sometimes that worked brilliantly, sometimes it was disastrous. But the bottom line, Turner wanted to shake things up. At the same time, Doctor Who was, even then, perhaps especially then, a peculiar thing, not everyone had the hang of it.
With Grimwade, he had a young man who actually had real history of the show, who had worked with Baker and Pertwee on some of their best serials, but was for creative purposes, new blood.
So Grimwade got his first chance to direct: Full Circle, 1980, the first serial in the E-Space trilogy, from Tom Baker’s final season. It’s not bad, it’s a mysterious and moody piece that’s quite well done, though it tends to stand in the shadow of Warrior’s Gate. It’s also known for introducing Adric, as a sort of fish-man evolved to full pseudo-humanity.
That went well enough that he was assigned to direct Logopolis, in 1981, Tom Baker’s final serial. Logopolis was marked by little production crises, the house originally set to be shot in was not available. A police box was in a state of disrepair. Grimwade handled these challenges with aplomb, basically, all that time in the trenches as a production assistant paid off.
In 1982, Grimwade directed Peter Davison’s Kinda, a very unusual story, full of buddhist overtones, with the Doctor and his companions encountering a psychic creature of evil, the Mara, who would possess Tegan. The Mara came back the next year for Snakedance. Personally, didn’t really get into it. But it was both an unusual story and a very well done production.
From there, Grimwade went on to direct Earthshock – and what is there to say about that? Brilliant direction, sterling performances, the surprise return of the Cybermen, it had been seven years since their previous outing with Tom Baker in 1975’s Revenge of the Cybermen, and fourteen years since their last story before that, in 1968’s Invasion. It also featured the death of Adric and the extinction of the Dinosaurs. It was a tour de force.
It was also kind of ironic when you think about it. As a Director, Grimwade had helmed Adric and Matthew Waterhouse’s entry into the Doctor Who Universe, in Full Circle, and then ushered him out in Earthshock.
While all this was going on, his script Zanedin was working its way through the bowels of the system, finally being produced as Time-Flight, a somewhat muddled story of a Concorde supersonic passenger jet being kidnapped into the Jurassic by a mysterious alien force which turns out to be the Master.
Okay, I’ve been waiting to say this for years – But if you’re going to throw a story into the Mesozoic era, there’d better be some fracking dinosaurs! Jurassic, people, Jurassic! I’m not fussy, I don’t need T-Rex. Stick a few sauropods, an iguanadon, a pterodactyl, have a stegosaur lumber through the frame. Throw us a bone! And if you’re not going to throw in some dinos… Don’t go their. Set it in the precambrian, or the ‘earth was a lifeless desert’ or the ‘marshes and slime molds’ era. But don’t go Jurassic, and then screw us out of dinosaurs. Really!
Time-Flight was initially quite well received, but it hasn’t actually stood the test of time very well. There’s some interesting things going on, the fact that the crew and passengers of the Concorde, trapped in a Jurassic world, are mesmerized into believing they’re at Heathrow, that’s odd and creepy. But there are too many negatives. The script has clearly been in the oven far too long, its been polished too much, too many revisions and alterations, it’s gotten mushy. It also suffers from ‘end of season-itis’ – when the budget is mostly blown and everything has to be done cheap and fast.
For me (…. must…. not… rant… about … dinosaurs… again!), the big problem with Time-Flight is ‘Didn’t we just watch this?” Think about it: Mysterious alien enemy which turns out to be a familiar old foe, a mysterious time warp, a detour to the Mesozoic – it feels like the same key elements. It’s like the way McCoy followed Remembrance of the Daleks with Silver Nemesis.
Davison’s first year had been a good year for Grimwade. Of the seven serials of that season, Grimwade had accounted for three – two directed, one written. Maybe too good a year. This was the John Nathan Turner era, and Turner was… Well, a personality. The Baker years had come to be overshadowed by Tom Baker’s ego. The Turner era would see three different Doctors, but the real dominant personality, the real ego of the series, was Turner – brash, domineering, arrogant, indifferent, Doctor Who was his baby. A lot of the desire to throw out so much of the old was to eliminate rivals, to make the show his and his alone. Basically, Turner didn’t really have room for anyone but Turner. So being too successful, too dynamic, too forceful or regarded as a creative force in the show… Well, jealousy started up.
For the next season, 1983, Grimwade had a second script accepted: Mawydryn Undead, a complex time travel story, featuring the return of the Brigadier, the introduction of Turlough, and a strange and tragic group of lost dutchmen.
Grimwade was also slated to direct the final serial of the year, The Return, to feature the return of the Daleks. Unfortunately, labour troubles intervened. The Return was cancelled, literally two days before shooting was to start. Everyone was out of a job.
To console people, Grimwood took the cast and crew out for lunch. Turner wasn’t invited. The intent, we’re told, is that Grimwade had intended to have Turner out for a private supper. That doesn’t seem implausible. But Turner took it as a deliberate insult, and that was that.
The Return eventually made it onto the third year roster, as Resurrection of the Daleks, directed by someone else.
Eric Saward, the Story Editor, whose relationship with Turner was also deteriorating steadily, tried to bring him back as writer for Planet of Fire, Davison’s second last serial in 1984. Planet of Fire, ironically, saw the departure of Mark Strickson, and his character, Turlough. As with Waterhouse, Grimwade had ushered him in, and ushered him out.
Planet of Fire turned out to be a bit of a nightmare. Changing circumstances ensured constant rewrites and very little support. The production was being shot on Lanzerotte in the Canary Islands, but Grimwade was specifically excluded from the junket by Turner. Instead, he was asked to do a location script for a location he wasn’t allowed to visit. Eventually, Grimwade just let Saward rewrite it as he wished.
That was about it. Grimwade submitted one more story, the League of Tancred, which was kicked around for a while, but eventually rejected. But his career and association with Doctor Who was largely over. He wrote novelizations of his three scripts, something Turner had no control over in 1985, but he was largely absent from television, either as a writer or director after 1984.
Peter Grimwade spent most of the rest of his career directing industrial films, which, I suppose pays the bills. But it’s hard to think of it as a preferred career choice. He died of Leukemia at the age of 47 in 1990.
So what did it come down to? Directed four serials with Tom Baker and Peter Davison, wrote three scripts for Peter Davison, wrote three novels based on those scripts, worked production on six of Pertwee’s and Baker’s best serials, and had one unmade script, that’s not a bad career, all things considered. I’m willing to give him a big pass on Time-Flight, it’s a first script, and a lot of what goes wrong doesn’t really fall on his lap. But you have to wonder, he showed a lot of talent as a director and writer, handling very difficult material adeptly, if not for Turner’s ego… What might he have done, what could he have written or directed or contributed to the later floundering seasons of the classic series. But that career was over.
In 1986, Peter Grimwade, revenge came in the form of “The Come-Uppance of Captain Katt.”
Okay – Captain Katt is an incredibly popular space opera on a private television station. The Actor who plays Captain Katt is a beloved celebrity, wildly popular with kids, perpetually in demand for things like supermarket openings, and a gigantic dickhead. Also, someone is trying to kill him. The half hour story switches back and forth between the show and the production of the show, as we find out that just about everyone wants him dead.
“The Come-Uppance of Captain Katt” was written and directed by Peter Grimwade as part of ITV (a rival British network)’s ‘Dramarama’ youth program. Dramarama seems to have been a half hour children’s anthology series – each episode was a stand alone story. “Captain Katt” was the lead episode of series four.
Basically, what Grimwade did was take all his experiences working on Doctor Who, his observations, frustrations, everything, and pour it into ‘Captain Katt’ as a sort of Anti-Valentine. He was pretty honest about it too. If anyone asked him, he’d be quite upfront in admitting he drew on his experiences with Doctor Who.
Is it nasty? Well, there was a limit to how vicious you could be, or how polished. This was a low budget youth oriented one-off program after all, and half an our really doesn’t allow you to develop the characters of a large cast, or really explore the complex premise he sets out. But if you allow for the limitations, it’s definitely got an edge.
There’s no laugh track, instead, you either get the gags or you don’t. Shot as a drama, I think some of the comedy beats are off. Alfred Marks who plays Captain Katt and his alter ego is a human train wreck, utterly self absorbed, insecure, bullying, greedy and grasping, he’s a figure of titanic ego, a man lost in his own imaginary glory. He’s clearly a reflection of Tom Baker in his final year as well as John Nathan Turner. His opposite number is his savage alien companion, Mugwump, played by Ros Simmons, a stand in for hapless companions from K9 to Adric. Watching it, we can’t help but wonder about the rest of the cast and crew, who they represent, what incidents and moments from Doctor Who have been borrowed. It would be great to see an annotated version. It’s a lot of fun.
So check it out….
The Trodos Tyranny -https://whopix.wordpress.com/2015/01/17/dr-who-in-the-trodos-tyranny/
Return of the Trods -http://img3.wikia.nocookie.net/__cb20110104182443/tardis/images/7/78/Trod.png
The Trodos Ambush -https://whopix.wordpress.com/2015/01/24/dr-who-in-the-trodos-ambush/
Pursued by the Trods – https://whopix.wordpress.com/2015/02/14/dr-who-in-pursued-by-the-trods/
The Time Museum – https://whopix.wordpress.com/2015/02/22/dr-who-in-the-time-museum/
Take it with a grain of salt. These comics are the products of a different era, a different culture. The stories are brief, almost superficial. They’re like potato chips, more food-like than food. There’s a sense of brevity to the things, I think that an average story would be hard pressed to translate into a fifteen minute episode. They weren’t great literature, even for their time. But, I think for the people who grew up with them, they were probably pretty terrific.