Episode 204: The Wheel in Space (1)

Synopsis:

Jamie watches as Victoria's image recedes on the TARDIS scanner. Upset by her departure, he cares little about where they will end up next. The Doctor reminds him that he was fond of her too.

The ship materialises and the Doctor detects that they are surrounded by metal. The scanner, however, shows a tranquil outdoor scene. The image changes and suddenly it is a night scene. As other pictures appear, the Doctor realises that the TARDIS is trying to tempt them away from here because of some threat it has detected.

He asks Jamie to check the fault locator and it indicates an issue with the fluid links.

A section of console suddenly explodes and the room begins to fill with toxic mercury fumes. The Doctor quickly opens a panel and removes a metal rod from the compartment within as he pushes Jamie outside.

After emerging from the TARDIS, the Doctor informs his companion that the rod is the Time Vector Generator, and its removal has caused the internal dimensions to reduce to match those of its external shell. 

They find themselves in the corridor of a spacecraft and go in search of mercury to replenish the faulty fluid links.

The spaceship has a number of locked doors, including the one leading to the control cabin. Operating a monitor which shows the cabin interior, they realise that the vessel appears to be deserted and they are drifting aimlessly through space. There are odd rectangular tracks on the floor.

They can find no mercury and so go to the crew room to look for food - unaware that a squat Servo Robot has just been activated in the control cabin.

It begins to operate pre-programmed settings, indicated by a clock-like display on the control panel. A countdown commences.

From the number of bunks, the Doctor deduces that this ship ought to have a crew of four - two on duty and two resting. They enjoy a meal from the automated food machine, unaware that the Servo Robot has left the control cabin and moved along the corridor. It welds shut the door to the motor room in which the TARDIS stands, before returning to the control cabin.

Having heard sounds, the Doctor leaves the crew room as Jamie sleeps on a bunk. He spots fresh tracks and follows these to the control cabin, but the monitor now only shows static. The Servo Robot has plugged itself into the vessel's computers and activates the engines. 

As the ship makes a sudden movement, the Doctor stumbles and hits his head. The movement has woken Jamie, who sees the Doctor stagger in and collapse.

The Servo Robot has opened the airlock door in the cabin, and from a large metal box a number of small white globes emerge and begin to float out into space. It then moves back along the corridor where Jamie finally sees it. He throws a blanket over it, blinding it temporarily. The Doctor is still dazed but is able to instruct him in using the Time Vector Generator to unseal the motor room door.

The Servo Robot throws off the blanket and moves towards Jamie, who is forced to use the Generator as a weapon to destroy it.

The Doctor has now lost consciousness.

Jamie is looking out of a porthole and spots a large structure floating nearby - a wheel-like space station...

Commander Jarvis Bennett and his command team - Dr Gemma Corwyn, Leo Ryan and Tanya Lernov - are observing the spaceship closely. It is the Silver Carrier, a supply vessel which was reported overdue at Station W5 several weeks ago. Attempts to contact its crew have proven unsuccessful, and Bennett is sure that no-one can be left alive on it due to the timescale and distance it must have travelled to get here. He is concerned that its motors may have guided it here automatically - and they could fire again without warning, putting it on a collision course with this station. 

This is W3, known simply as "The Wheel" to its crew.

The crew note small drops in pressure as the white globes reach the Wheel's hull before being absorbed into it. Bennett suspects that some small objects have been cast adrift from the Silver Carrier, but Corwyn reminds him that they would be drawn to the ship and not to them. Bennett, however, dislikes anything which cannot be explained rationally.

He then orders the X-ray laser be made ready, and informs his crew that they are about to witness a rare event - the destruction of a vessel in space...

Data:

Written by David Whitaker (from an idea by Kit Pedler)

Recorded: Friday 5th April 1968 - Lime Grove Studio D

First broadcast: 5.15pm, Saturday 27th April 1968

Ratings: 7.2 million / AI 57

VFX: Bill King / Trading Post

Designer: Derek Dodd

Director: Tristan de Vere Cole

Guest cast: Michael Turner (Bennett), Anne Ridler (Gemma Corwyn), Eric Flynn (Leo Ryan), Clare Jenkins (Tanya Lernov), Donald Sumpter (Enrico Casali), Freddie Foote (Servo Robot)

Critique:

With the Daleks having been withdrawn by their creator Terry Nation, the Cybermen had become the new popular recurring monsters in the series. However, during 1967 a dispute had arisen between the production office and writer Kit Pedler over the rights to the creatures. This was resolved in September when Pedler was awarded an equal share in the Cybermen with the BBC.

Nation's attempts to establish the Daleks in their own series had failed, and so he was approached through his agent to see if they were available to return to the series this year. The idea of a story which featured both them and the Cybermen was also mooted.

Nation responded that he had no problem with the Daleks being used once more, but with conditions. He should be given first refusal on writing any new stories, and under no circumstances were they to appear with the Cybermen. He was too busy to write anything himself at present, however. Additionally, he was not keen on David Whitaker handling the Daleks any more as he had been unhappy with certain aspects of both The Power of the Daleks and Evil of the Daleks.

The Daleks were put on the back-burner for now and Pedler was asked to come up with a new adventure pitting the Doctor against the Cybermen - one which would act as the final story of the season. As such they would top and tail the season.

Previously Pedler had collaborated with Gerry Davis but he had now moved on from the series. As he wasn't an experienced writer himself, it was felt necessary to partner him with an old hand - Whitaker. Pedler proposed the space station setting, as well as certain scientific elements such as an X-ray laser and neutron field barriers.

The prominence of the fluid links and a search for mercury, mention of the fault locator, plus a scene revolving around a food machine clearly represent input from Whitaker. All had featured in The Daleks, which he had story-edited, and two of these also featured in The Edge of Destruction, which he wrote. 

Discussions between Pedler and Whitaker took place before Derrick Sherwin joined the programme as Story Editor, and he was unhappy with the story which Peter Bryant had already commissioned.

Sherwin's priority was the introduction of the new companion in this story. It was Peter Ling, then working on a story provisionally titled "Man Power", who came up with the name Zoe. More on her next week.

In the original version of this episode, there was more dialogue about the TARDIS scanner sequence. The Doctor told Jamie that he had accidentally switched on the automatic defence network - "an optional extra on these models". He usually had this disconnected as he would never leave the ship otherwise.

The Wheel crew had different names. Dr Corwyn had the forename Nell, and Leo Ryan was Tom Stone. Tanya had the surname Lerner. Radio operator Harry Carby became Enrico Casali, and a character named Ken was renamed Chang. These changes were the input of director Tristan de Vere Cole, who wanted the space station to have a more international make-up.

The robot was simply known as "the Servo" and the Time Vector Generator was described as being a gold rod with black tips at either end.

Originally planned for studio, it was decided to pre-film a lot of the solo Servo Robot material on the Silver Carrier set at Ealing. This may have been to reduce the pressure on Patrick Troughton and Frazer Hines, who would have to carry the bulk of the opening episode alone. There were some laser effects, such as when the robot welded shut the door, which were also more manageable at Ealing.

Playing the robot was 15 year-old Freddie Foote, from the Barbara Speake Stage School. The fibreglass shell of the prop had been constructed by freelance contractors Jack and John Lovell and included flashing lights. The Lovells would also provide the new Mark III Cybermen - more of which later when they turn up.

This material was filmed between Monday 18th and Wednesday 20th March.

The white globes were balloons, manipulated on fine wires.

The set was dressed with distinctive large metal circles. These were commercial kitchen dish covers.

The BBC VFX department were particularly busy at this time and unable to work on the programme, so another of their external contractors was called upon to help out. Bill King's company Trading Post were responsible for the model work seen in this episode. This included the Silver Carrier rocket and the Wheel itself. 

The model filming took place at the BBC's puppet theatre on Thursday 21st March. This small studio got its name from having been the one in which Muffin The Mule had been produced. It was notorious for having a structural pillar in the middle of the workspace, but would come to be used by the VFX team for much of the model work seen on Doctor Who throughout the 1970's.

Also recorded were the Servo Robot exploding, close-up shots of the food machine in operation, and the mercury leak in the TARDIS. Shots of the "eggs" were also filmed, emerging from a model of the control cabin airlock and moving through space.

The Lovells were annoyed when only Bill King and his company were credited on the programme.

Most of this story's guest cast had worked with de Vere Cole before on episodes of Z-Cars.

Rehearsals began on Monday 1st April, when Troughton expressed his dissatisfaction with the scripts. During the afternoon of recording back at Lime Grove, he and Hines posed with Foote in the Servo Robot costume for publicity images.

The episode began with footage taken by Hugh David for the previous story, of Victoria on the beach as filmed from a helicopter. This would be shown on the TARDIS scanner. Debbie Watling was credited on the episode for this one sequence, as new companion Wendy Padbury wouldn't be making her debut until Episode 2.

The other images which appeared on the TARDIS scanner comprised various items of stock footage, including a yawning hippopotamus from a David Attenborough wildlife film.

A flash charge was detonated on the TARDIS console and the first recording break allowed Troughton and Hines to move from that set to the Silver Carrier motor room. This entailed the pair emerging from the Police Box prop in which a smoke machine had been set up. Hines burned his arm on this, which caused a delay while it was attended to.

A TV monitor in the corridor set was fed still pictures of different sections of the spaceship, including the control cabin.

A recording run-on allowed for the welded-shut door to be replaced with an open one, with smoke effects added.

The episode ended with a close-up of the unconscious Doctor's face. 

After completing recording, Troughton embarked on a week's holiday as the Doctor did not appear in the following week's instalment.

This episode is unusual in that for much of its running time we follow only the Doctor and his companion, with just the non-verbal Servo Robot for company. The crew of the Wheel are only introduced around the 19 minute mark, to set up the cliff-hanger as they prepare to destroy the Silver Carrier with the TARDIS travellers on board.

The TARDIS tries to warn its occupants of danger but in a cryptic manner - just as it did in The Edge of Destruction (Whitaker again). The scanner throws up images of more attractive locations.

Quite what the danger is, we're not entirely sure. Is it the proximity of the Cybermen, the Servo Robot, or is it simply the imminent technical fault with the fluid links? We no longer have this episode, and there are only a handful of telesnaps from the opening TARDIS scene, but the dialogue seems to suggest that the fault locator is now incorporated into the console, contained in a black box with a lid according to the script.

One thing which is odd is that instead of stating that the interior is now the size of a Police Box, the Doctor suggests that it has reverted to its original Police Box interior - which implies that the TARDIS used a real one as a shell rather than simply disguising itself as one. Did Whitaker think that it had somehow materialised within a Police Box back in November 1963?

Apart from the glimpse of Victoria on the beach at the start of the episode, this is the first time in a long time that the TARDIS has left Earth. It was last on an alien planet - Telos - in The Tomb of the Cybermen. Since then we've had four six-parters, all Earthbound. We won't actually visit another alien world until the start of the next season. Here, we are about to be spacebound for the entirety - something which was actually rare for the series in its early years.

As you can see below, Radio Times had already flagged up that this was going to be another Cyberman story, but they won't be along for a while. Instead we are introduced to the Servo Robot which, thanks to a number of publicity pictures (two of which appeared as full page posters in DWM's 1982 Winter Special), has become better known than it really ought to be - as it only features in this one episode.

It looks like a stereotypical man-in-suit robot, like many seen in movies and TV shows since the 1950's - and yet there's something especially endearing about it. I think it's the relatively small size, which gives it a certain childlike quality. 

In terms of the story, we don't actually know the Robot's origins. Do they come as standard machines on these spacecraft, and it has been reprogrammed by the Cybermen? Or is it actually an early example of their own developments in robotics? We will see them employing androids in a later story after all. The designation "Servo Robot" does suggest the former.

Jamie seems to have picked up some anachronistic phrases on his travels, such as describing a meal as coming "with all the trimmings". His choice of meal is roast beef with potatoes and cabbage, followed by fruit cocktail, whilst the Doctor opts for pork, potatoes and carrots, followed by ice cream.

"Trimmings" as pertaining to a meal only came about in Victorian times, and the invention of the traditional Christmas dinner. Interestingly, he says "potatoes" and not "tatties" like a good Scot would.

Jamie also knows the phrase "a square meal". Whilst long thought to refer to meals being dished out on square wooden plates on sailing ships, the earliest known recorded mention of the phrase is in the 19th Century - so after his time.

Trivia:

• The ratings get off to a good start, with a small rise on the previous week's episode, and the appreciation figure remains healthy.
• In the run-up to the return of the Cybermen, presenter David Coleman revisited the controversy about the violence in Tomb of the Cybermen on the Talkback programme. The TV review series was coming to an end and this was part of an overall round-up of previous items.
• Early fandom would have had you believe that Eric Flynn was the son of the Hollywood movie star Errol. His dad was in fact a government official - a customs officer in Hong Kong - and Eric was born in China in December 1939. Prior to his only Doctor Who appearance he had played Alan-a-Dale in A Challenge for Robin Hood (which starred Barrie Ingham in the title role), and Germanicus in The Caesars. 
• Like Flynn, Anne Ridler was also born in China, in 1930. She had been a regular on Dixon of Dock Green.
• Clare Jenkins had previously played Nanina in The Savages.
• Donald Sumpter will be back as the submarine commander in The Sea Devils and more recently as Rassilon in Hell Bent. He also appeared as Erasmus Darkling in The Eternity Trap, one of The Sarah Jane Adventures.
• Radio Times gave the game away as to the nature of the threat in this story, by including artwork depicting a Cyberman doing a Tommy Cooper impression, and a Cybermat. Spoilers weren't so much of a thing back then - it was more important to advertise the return of a popular monster to attract the viewers.

• The original Servo Robot prop, minus its legs and feet which have been lost over the years, featured in an exhibition in Bradford, Yorkshire, which I visited in February 2014:

Story 314: Lux

In which the Doctor and Belinda visit 1950's Florida as part of his scheme to get her home.

The TARDIS materialises in Miami in 1952 and, after donning appropriate outfits, they venture outside  where the Doctor sets up a Vortex Indicator, or "Vindicator". Positioned at various locations in time and space, these should work together to guide the ship to London in May 2025.

It is 4am and they have arrived outside a boarded-up cinema - the Palazzo - which intrigues the Doctor, after reading a note left with some flowers. The last movie to play here was a Rock Hudson feature called The Harvest Bringer. Some of the marquee display letters have fallen away.

They go to a nearby late-night diner, which should enforce segregation, but the young man serving - Logan - is happy for them both to come in. He tells them of how fifteen patrons vanished from the cinema one morning some 3 months ago. There is only one other customer, a woman named Renée Lowenstein. She comes here every night as her son, Tommy Lee, was one of those who disappeared. Seeing the Police Box, she thinks that someone has finally taken note and come to help, and the Doctor assures her he will find her son.

The Doctor learns that the cinema is not empty. The projectionist Reg Pye, is always there.

They break in and meet Reg, who tries to warn them to leave. He starts talking to some unseen person - asking them not to hurt the newcomers. They hear tap-dancing coming from somewhere, and then see a spotlight hit the cinema curtain. A cartoon starts up, featuring a character named Mr Ring-a Ding who sings and dances.

They are shocked when the figure then begins to address them directly. The Doctor ascertains that this is not a hologram, and asks if it knows what happened to the missing audience members.

Mr Ring-a-Ding answers only in riddles and corny jokes. Outside, on the cinema marquee, further letters fall away to leave HAR - B - INGER. The Doctor tells Belinda that the Gods of Chaos employ Harbingers to pave the way for their appearance. The cartoon figure announces that he is Lux, Imperator - the God of Light. Having spotted that he has to complete his song whenever he launches into it, the Doctor realises that this delay will give them time to escape.

They go to the projection booth and speak to Reg, curious to know why he wasn't taken like the others. He reveals that Mr Ring-a-Ding needs him to play movies in order to feed him the light he craves. He tells them the story of how he lost his sweetheart many years ago, but Mr Ring-a-Ding has brought her back to him - captured forever on film. He reveals that this was the fate of the missing people. They have also been trapped on celluloid.

Mr Ring-a-Ding is able to leave the screen and walk up to the booth, threatening to burn all the celluloid in the room if Reg helps the Doctor and Belinda any further. He tells them that he was created by chance, when moonlight bounced off a spoon and passed through the projector as a Mr Ring-a-Ding cartoon played.

He then turns the two projectors on them - turning the Doctor and Belinda into animated figures on the big screen. They find themselves trapped in 2-D bodies. The Doctor realises that they are contained within frames of film, and if they can break these then they may be able to escape.

They are able to drag the film frame edges down and tear them apart, and find themselves back in the cinema. They are then confronted by an armed policeman who is accompanied by Mrs Lowenstein. She accuses them of being troublemakers who claim to know what happened to her son, so must be involved in the disappearances. The Doctor spots a discrepancy straight away. The officer is wearing a New York Police Department uniform, yet they are in Miami-Dade county. They are still within a film. This time they decide to push their way out of it. Climbing through an aperture they find themselves in a 21st Century living room - having just emerged from the TV set.

Present are a group of young people wearing familiar items of clothing. One has a long multi-coloured scarf, others Cyberman and Meep T-shirts, and another a fez. They are Doctor Who fans. The Doctor and Belinda sit down and talk with them, learning that their favourite episode - unanimously - is Blink. They aren't too keen on Fifteenth Doctor episodes. They know about Belinda's parents, as she had described them to the Doctor on first arriving in Miami, and they have been watching. They think the ending to this episode has been signposted by the mention of highly flammable celluloid. They are unable to help any further as they are part of this fiction.

The Doctor and Belinda must once again break out of the picture.

They realise that the only way to achieve this is to break the film. They must stop it rolling through the projector, though the danger is that the bulb in the machine will cause the celluloid to burn, with them still trapped within the image.

They know they are back in the real cinema as the Doctor burned his hand slightly in escaping. He uses regeneration energy to heal it. Lux appears and is fascinated by this. The Doctor is full of light, which he can feed on. He believes the other Gods failed as they were saving the Doctor for him. He is captured by rolls of celluloid which writhe like snakes. Lux has seen footage of atom bomb explosions and wants to experience the light of the real thing. He will tap the Doctor's regeneration energy to build himself a corporeal body in order to escape into the outside world.

Remembering what the fans had said, Belinda decides to ignite the celluloid stock. The resulting explosion blows a hole in the wall, through which they see the sun rise. Lux is growing and becoming more solid.

The Doctor realises that the sun's energy will attract Lux towards it and away from the Earth, as no light source can compete with it.

He and Belinda run outside and meet Logan, and they see Lux grow to gigantic size before floating up into the air to dissipate into photons and merge with the sun.

The fifteen missing patrons emerge from the cinema and Renee is reunited with Tommy Lee, whilst the Doctor and Belinda slip away.

As people crowd round, a familiar figure pushes her way through to see what is going on. It is Mrs Flood.

Meanwhile, in a British living room, the group of fans realise they are still here. They are real...

Lux was written by Russell T Davies, and was first broadcast on Saturday 19th April, 2025.

It sees the introduction of the latest member of the pantheon of deities which have included the Toymaker and Maestro, who are glimpsed in flashbacks to The Giggle and The Devil's Chord. It's Belinda's first trip in the TARDIS and the latest story to have a historical setting - this time the near past of the 1950's. 

The location is Miami, Florida, during the era of racial segregation and this is touched on in the script, obviously, as we have our first non white TARDIS team. It's mentioned first when the Doctor and Belinda go into the diner, but young Logan declines to enforce the law. The police officer later talks about the segregated nature of the cinema.

Of course, a black companion with a medical background had already questioned the practicalities of visiting historical eras when racism was more prominent - Martha Jones, in The Shakespeare Code. Then, the Doctor had pointed out that earlier societies have been far more tolerant and diverse than people think. Here, they are in a society where division is enshrined in law.

Once touched upon, this doesn't have any impact on the rest of the story, which is very much one about fiction and visual imagery - especially the language of film.

As with The Mind Robber, the TARDIS travellers become trapped in a world of fiction - this time cinematic rather than one of literature. The villain of the piece is a cartoon character, of the sort created by animator Max Fleischer in the 1930's and '40's (Betty Boop is his best known creation).

Mr Ring-a-Ding is simply the form which Lux, God of Light, has found himself in. 

The Doctor and Belinda are transported onto celluloid, initially as animated characters themselves. This isn't exactly original - there's an episode of Supernatural, for instance, in which the main characters - Sam and Dean - become animated and meet Scooby Doo and his gang. (Here, the Doctor actually refers to himself and Belinda as Velma and Fred respectively).

Star Trek went the other way and had characters from Lower Decks appear in non 2-D form in an episode of Strange New Worlds.

Cartoon / live action interactions go back a very long way in cinema history. Remember Gene Kelly dancing with Jerry Mouse from the Tom & Jerry cartoons, for instance?

And let's not forget the Torchwood episode Out of the Rain, which centres around a cinema and features figures who exist on celluloid. Fear Her also had people trapped within images.

Talking of Supernatural, that series also featured Sam and Dean discovering that they existed within fan fiction, and their entire lives were being written as a series of novels by a deity.

The fans whom the Doctor and Belinda encounter are fairly stereotypical of the audience which RTD2 thinks is following the programme - the target audience which the BBC and Disney sought to capture. They are all of a similar age - '20's - and there's a mix of gender and ethnicity.

They are certainly not typical of the active fans of the programme - the ones who don't just watch the series but spend time and money to attend events. Whilst the gender mix is true of them, there is a much wider age range and they are still predominantly white affairs, at least as far as the UK is concerned in my experience.

The main guest artist this week is only heard, not seen. Voicing Mr Ring-a-Ding is Alan Cumming, who had previously played King James in The Witchfinders. In the US he is best known for hosting The Traitors these days, but first made his mark on Broadway and in movies such as Goldeneye and the first X-Men sequel. In the UK, an early TV role was in the Scottish crime drama Taggart, playing a teenager framed for murder. He is currently artistic director of the Pitlochry Festival Theatre, and is touring with a live show based on his airline sitcom The High Life.

Reg Pye is played by Linus Roache, who is the son of Coronation Street icon William Roache. He first came to notice in the film Priest (1994), starring opposite Robert Carlyle and Tom Wilkinson. In this he played a Roman Catholic priest struggling with his sexuality. TV appearances have included regular roles in Vikings and Law & Order: Special Victims Unit.

Diner worker Logan is played by Lewis Cornay. His work is primarily in musical theatre, including the title role in the The SpongeBob Musical. Currently in The Book of Mormon in the West End.

Renee Lowenstein is Lucy Thackeray. She's been in EastEnders and has appeared in Marvel's Moon Knight, and features in Jurassic Park Rebirth.

William Meredith, who plays the police officer, had previously appeared in Arachnids in the UK, where he played Jack Robertson's bodyguard Kevin.

Finally, Anita Dobson is back as Mrs Flood - appearing outside of a contemporary London setting for the first time. This forms part of this series' story arc.

Overall, it's a fun episode with an interesting new adversary - though one that would be difficult to ever bring back. Visually impressive, if not entirely original, it's still one of the better episodes of the Gatwa era. The appearance of the fans is one of those What?! moments.

Things you might like to know:

• Lux debuted with overnight viewing figures of only 1.58 million - the lowest in the programme's history and the first time ratings had dropped below 2 million.
• RTD2 claimed that he had wanted to do an episode that mixed animation and live action for some time, but never had the budget to carry it through successfully. He had considered an episode like this during his first tenure as showrunner, though it would have been a hologram rather than a properly animated figure due to cost.
• Alan Cumming recorded all of his dialogue before any filming had taken place, some of it in a sound studio in New York. Gatwa and Varada Sethu asked for these to be played in during filming of their scenes so that they could react to them in real time.
• They watched episodes of the original Scooby Doo series by way of preparing for their performances as animated versions of their characters.
• Some of the animators who worked on this story had previously contributed to Who Framed Roger Rabbit? - another example of mixing live action and animation.
• Previously the Doctor could heal with regeneration energy, though it meant shortening his life to do so. Now it is said to be a by-product of bi-generation. (Even though The Timeless Children had established that he was actually a self-healing immortal anyway).
• Amongst the items owned by the fans are K-9 and Dalek mugs, a cushion with a Weeping Angel on it, a Third Doctor sonic screwdriver and a poster of the Fifteenth Doctor and Ruby. They also have Doctor Who figurines and a Tenth Doctor Build-a-Bear. The actors playing the characters are all said to be real fans of the series.
• The Doctor points out to Belinda that humans are 60% water but can still drown - something he previously told Rose Tyler when using light to destroy another creature, in Tooth and Claw.
• The Palazzo Movie Theatre location is the art deco Penarth Pier Pavilion Cinema, should you ever wish to visit.
• There's a poster for a film called "Rocket to Venus" on the projection booth wall. Alan in The Robot Revolution had the same poster in his bedroom.
• Sadly, the director - Amanda Brotchie - died in December 2025. She also directed The Well, filmed with Lux as part of the same production block.

Inspirations: The Husbands of River Song

Having penned a story called The Wedding of River Song, it was only natural that Steven Moffat would come up with a title such as this. It is Husbands, plural, as we get to see three other spouses as well as the Doctor. Two elements are introduced which will reappear later - the character of Nardole and the "Shoal" - humanoid in appearance, but who are able to open up their heads, and have a scar running diagonally across their face.

This was to have been Moffat's final episode as showrunner - though he had planned to leave much earlier. Originally he meant to hand over to someone else after three years, ending his run with the 50th Anniversary celebrations. The new showrunner would then have introduced their own Twelfth Doctor at the end of the 2013 Christmas Special. However, he had been unhappy some aspects of his own work on Series 7 and wished to bow out on a more satisfying note. Then, at the end of Series 8, Jenna Coleman decided that she wanted to stay on longer. Moffat wanted to round off her story himself, so this led to Series 9.

Rather than saddle a new showrunner with a companion created by himself, he decided on a one-off companion figure for what he thought would be his final episode.

Russell T Davies had been encouraging him to pair the Twelfth Doctor with River, so he decided that there was one more story of hers to tell.

The idea that she would encounter a Doctor she didn't recognise appealed to him. The Doctor would be able to see what she was like when he was not around (as far as she was aware).

Believing that The Name of the Doctor had been her final appearance, Alex Kingston was more than happy to be invited back.

It had always been known that the final meeting between River and the Doctor would be at the Singing Towers of Darillium, and so this was an obvious setting for this episode. This location had first been mentioned by River in Forest of the Dead back in 2008. This was their last date before her death in the Library. Knowing this, the Doctor had been avoiding taking her there in the special mini-episodes recorded for the Series 6 box-set (First Night / Last Night).

As the Series 4 two-parter had been his last scripts before becoming showrunner, setting a story at the Singing Towers would bring Moffat's own story with Doctor Who full circle.

The person deemed best fit to take over from Moffat was Chris Chibnall. A known fan of the series who had also written for it, as well as co-producing Torchwood, he had raised his profile significantly in the industry with crime drama Broadchurch. Moffat took him out to lunch to sound him out about taking over - only to learn that he was heavily involved with the third season of Broadchurch as well as the launch of a US version. Moffat decided not to even mention the idea of him taking over Doctor Who, and realised that he would probably have to stay on for another year, when Chibnall could potentially be in a better position to succeed him.

This late change of plans, plus his commitments on Sherlock, is the reason why we were about to get another gap year.

Before the Doctor and River got to the Singing Towers, Moffat wanted a yuletide romp inspired by the screwball comedies of Hollywood's golden age. In these, a man and woman were thrown together by a particular set of circumstances and, despite having opposing personalities, had to work together to overcome these - usually disliking each other at first but becoming romantically involved as they got to know each other better.

An early idea was for River to steal the TARDIS, with the Doctor an apparently unwilling companion for her. He would pretend not to know about the ship and act all surprised at what he saw inside. This, of course, made it through to the broadcast episode, and is one of its highlights.

The villain of the piece would be a big, overblown character who wasn't actually all that much of a threat, despite their bluster.

The idea that he had a robot body, with interchangeable heads, was an early one.

Hydroflax is known as the "Butcher of the Bone Meadows". This was another location mentioned by River as appearing in her diary.

For his spaceship, the director looked to old sci-fi movies, especially the saucer which appears in Forbidden Planet (1956). It was designed to also resemble a Christmas tree bauble.

Ramone and Nardole were deliberately cast as being very dissimilar in looks to emphasise River's wide-ranging tastes in men - which included different incarnations of the Doctor.

She said she knew all the Doctor's faces in The Time of Angels, and here we see a folding wallet with photos of the first eleven incarnations.

When the Doctor comments on River's numerous husbands, she counters by pointing out his marriage history - Queen Elizabeth I, Cleopatra and Marylin Monroe as well as herself.

For his date with River, the Doctor wears the suit he had worn on the space-going Orient Express - which was supposed to be his final trip with Clara.

The street in which we first see the TARDIS is very clearly a reused set - the Trap Street from Face The Raven.

When River states that "one should always have something sensational to read on a spaceship" she is paraphrasing Gwendolen in Oscar Wilde's The Importance of Being Earnest, where it is on a train.

Next time: A boy wonder grows up to be a super man, whilst the villains need their heads examining...

Blog Update April 2026

Meant to post this sooner but I'm away on holiday for a week from Saturday 11th April, returning the evening of Sunday 19th. Visiting London again, but don't expect to see any Daleks on Westminster Bridge like these lucky people above (though I am getting to visit inside the Palace of Westminster on the 18th).

I may finally make it to Milton Keynes to visit the Sci-Fi Museum, however, and will inflict more of my holiday snaps on you should I get there...

I'll post the next Episode - The Wheel in Space (1) - on Monday 20th April, after which things will get back to normal, though a new rota at work might mean different days to what you're used to. 

Hopefully there will be two more posts this week before I go - Inspirations: The Husbands of River Song (Tues) and Story 314: Lux (Thurs).

Naturally, if any big news breaks while I'm away I'll give you my thoughts on it.

Finally, a quick thank you to everyone for visiting this little blog of mine. I know that there are Doctor Who vlogs and podcasts all over the place these days, so it is very much appreciated. You have wonderful taste.

Episode 203: Fury From The Deep (6)

Synopsis:

The Doctor and Jamie have been flown out to the control rig, and the sound of Victoria's cries has brought them to a foam-filled room in which Robson stands - telling the Doctor that they have been waiting for him...

He then informs the Doctor that the weed is their new master and he will help it. The human mind is obsolete and the weed offers life. As Jamie slips away to find Victoria, the Doctor counters that the mind will always triumph over matter.

Robson then attacks him with his toxic breath.

When Victoria appears with Jamie, she lets out a scream and Robson is crippled with pain. The Doctor urges her to scream again and they make their escape onto the foam-covered deck above.

Realising that their pilot won't be able to see them because of the foam, the Doctor decides their only escape route is to use Robson's helicopter.

The Doctor reassures his nervous companions that he ought to be able to master the controls after seeing Astrid Ferrier pilot one of these machines. However, he finds it extremely difficult to steer and almost crashes into the rig before the pilot of the other helicopter begins relaying instructions to him.

They eventually make it back safely to the ESGO airfield and head for the control room.

There, Megan Jones has decided to call for government help and has requested a fleet of vehicles carrying oxygen.

The Doctor enters and tells them that he has discovered another weapon to use against the weed - sound. He informs them of the reaction to Victoria's screams. They had visited the medical bay on their way back from the airfield, and found that Mr Quill is now free of infection.

The Doctor then requests half an hour to prepare their counterattack against the weed, before Jones evacuates the compound. He must generate sound of the right frequency, which will carry all the way to the control rig. This will be achieved by channelling it through the pipeline.

Price will record Victoria's screams, and the tape will be put on a permanent loop for broadcast.

The Chief Engineer then alerts them to what is happening in the impeller room. The weed is about to break out.

At first Victoria struggles to scream on cue - but then she sees the mass of foam begin to burst into the control room - with a large weed creature thrashing around within it.

Harris and Price begin to panic - the former wanting to flee, and the latter frozen in fear.

The Doctor drags Price away and is finally ready - feeding the sound of Victoria's screams through a special amplifier he has put together.

The weed and foam begins to retreat, and after a few minutes the compound is clear of it.

Harris instructs Price to contact the rigs, ordering that a helicopter be flown out to check on them.

On contacting the control rig by video, they are pleased to see Robson and Maggie Harris unharmed. Robson reports that Van Lutyens is also fine.

The Doctor and his companions are invited to a meal that evening with the Harrises, with Robson also in attendance.

After his experiences, Robson has mellowed somewhat - but not to the extent that his staff will have an easier time working for him.

Afterwards, the Doctor has a word with Victoria, letting her know that he is aware that she is unhappy and wishes to leave. He tells her that she could settle down here if she wants. The Harrises state that they would be more than happy to let her live with them. The Doctor tells her that he and Jamie will stay on for another day or so, to give her time to make up her mind.

On their last evening together, Jamie tries to talk Victoria into staying with them, but she gives her reasons for wishing to settle down.

The following morning they all go to the beach where Victoria bids farewell to the Doctor and Jamie. The TARDIS has floated away from the shoreline and they have to use the dinghy to get to it.

Jamie is especially unhappy to see her go, but the Doctor points out that he was very fond of her also.

They see her image diminish on the scanner as the TARDIS departs - spinning up into the air...

Next time: The Wheel In Space

Data:

Written by Victor Pemberton

Recorded: Friday 29th March 1968 - Television Centre Studio 1

First broadcast: 5.15pm, Saturday 20th April 1968

Ratings: 6.9 million / AI 57

VFX: Peter Day

Designer: Peter Kindred

Director: Hugh David

Additional cast: Keith Sissons (Helicopter Pilot), Peter Day (Weed Creature)

Critique:

The biggest change made to this final episode was the nature of the weed creature's defeat. The sound which repelled it was originally to have been artificially generated by the Doctor, and to do this he needed equipment from the TARDIS. The Doctor sent Jamie to fetch this, telling him to play his bagpipes if he came under attack by the weed on the way.

Once it was confirmed that this was to be Debbie Watling's final story, it was decided that Victoria should play a more prominent role in proceedings. Watling was well known for her screaming  - earning her the nickname "Leatherlungs" - and so it would be her screams which would prove to be the successful weapon against the weed.

Pemberton's original script stated that there were numerous weed-infected beings on the control rig -  specifically its crew, Maggie and Van Lutyens - as well as Robson. They surrounded the Doctor's helicopter to try to stop it taking off.

Robson's dialogue with the Doctor mirrors the words of the mud-possessed Hugh Deverill in The Slide. In the radio drama, it was light which countered the threat rather than sound.

We are never told on screen how Maggie survived walking into the sea, but Pemberton dealt with this point when it came to novelising the story. He claimed that the foam acted as a protective cocoon around her.

Sunday 4th of February was the day when the regular cast were present at Botany Bay on the Kent coast, and this is when Hugh David filmed the shot to be seen on the TARDIS scanner of Victoria watching as the ship rapidly rose up into the air, all captured by a helicopter-mounted camera. 

The farewell scenes on the beach, with actors Roy Spencer and June Murphy as the Harrises also present, were filmed the following day.

Troughton refused to go up in a helicopter, but Frazer Hines and Watling were given a flight with Pilot Mike Smith - "Mad Mike" - doubling as the Doctor. They found the experience rather terrifying when they thought they were going to crash into the cliffs. Smith had worked out the helicopter sequences with the director and they extended them to make this a big action set-piece for the final episode. Smith was asked to fly the aircraft under the sea fort's external walkways at one point.

David would later cut the sequences to make it look like the helicopter was doing impossible things, like looping the loop.

As with last week's episode, all of the helicopter close-up material was filmed at the airfield at Denham, with the aircraft stationary on the ground, surrounded by a mass of fire-fighting foam for the scenes set on the rig. Most of this material was filmed on Monday 12th February.

Pilot Keith Sissons, who had been flying one of the 'copters during the location shoot, provided the dialogue talking the Doctor through the controls. He mostly ad-libbed.

David mounted a camera in a dolls pram (borrowed from one of his daughters), for fast tracking shots across the side of the helicopter.

The climactic scenes of the weed creature attack on the control room were filmed at Ealing between Wednesday 7th and Friday 9th February.

The creature itself was designed by Martin Baugh in consultation with Peter Day, who was going to be wearing it. It was basically X-shaped in form, made from a sacking material and covered in plastic seaweed fronds bought from a plastic flower manufacturer. Rope-like tendrils of material were attached to the ends of the "arms", which Day would wave above his head. Only one costume was produced, as it had been decided that it would be more practical to have the creatures concealed in foam for much of the time, with only the odd tentacle being seen. Day and the director realised that the tendrils on the arms would capture the foam and throw it about in whiplash fashion, which might make for a striking effect.

There was only very limited air available in the costume, so Day could only wear it for short periods.

In interviews he has spoken about the very last sequence in which the creature breaks into the control room from a corridor filled with foam. Unable to see, a piece of string was attached to his foot - to be pulled when it was time to burst through the doors. As his air ran out, he couldn't wait any longer and so made his entrance whether David was ready for him or not - but luckily this coincided with the cameras rolling.

Troughton found the costume hilarious and struggled to keep a straight face as it thrashed about.

The foam gave everyone a form of snow-blindness under the bright studio lights.

Shots of Victor Maddern in the foam filled rig cabin were filmed on the Thursday, for the sequence bridging Episodes 5 and 6.

Rehearsals began on Monday 25th March - Patrick Troughton's 48th birthday.

Studio recording on this episode saw a significant change to the weekly routine. Production returned to Friday evenings, and the venue would no longer be Lime Grove Studio D on a regular basis. That studio would continue to be used occasionally, but TV Centre would take over (with the odd return to Riverside) before finally settling at Wood Lane.

Derrick Sherwin was continuing to rewrite scenes up to the last minute - including adding the Doctor's dialogue about checking in on Quill in the medical bay when he spotted that the sinister technicians simply vanished from the story after Episode 5. Graham Leaman was also given a little more to do as Price.

After setting up the idea that Victoria's screams would save the day, there was a problem in that Watling was suffering from a cold and could not scream. A radiophonic effect previously used for the Goddess Amdo in The Underwater Menace was employed to treat AFM Margot Hayhoe's voice instead.

The episode opened with a filmed reprise of the cliff-hanger, and David elected to insert new close-ups of Robson which did not match his appearance in the other footage - the foam positioning being impossible to replicate.

A significant amount of the episode had been pre-filmed.

Maddern and Murphy appeared on a TV monitor to show that they were alive and well on the rig, but John Abineri had moved on to other work so Robson and Maggie simply tell the others that he is fine.

One camera break allowed everyone to reposition themselves for the evening dinner scene on the Harris patio set. This opened on a close-up of the record player.

Closing titles began over the shot of Victoria's image rapidly diminishing on the TARDIS scanner.

A trailer for the following week's story, The Wheel In Space, was shown immediately after broadcast.

This was Hugh David's final work on Doctor Who - a series he might have starred in back in 1963 had Rex Tucker had his way.

Unusually for the time, we get to see several scenes showing the aftermath of one of the Doctor's adventures - about seven and a half minutes worth. Not only do we see him stay on for a while and socialise with some of the main guest characters, but we also see Robson return to work at the control centre, where he chats with Price and even has a little joke with the Chief.

The main concluding scenes, however, concentrate on Victoria's departure. Compared with some, hers has been reasonably well set up, with her unhappiness at their dangerous lifestyle being threaded in dialogue through the earlier episodes. She does not suddenly tell the Doctor she's not going with them as they are about to return to the TARDIS.

The Doctor has been a surrogate father-figure to her, whilst Jamie has played the role of the protective big brother, and they get to give their reactions to her departure. Jamie is so upset the tells the Doctor that he couldn't care less where they end up next, and the Doctor has to remind him of his own feelings.

All of the video recordings of Fury From The Deep were wiped by late 1974, after earlier instructions for their destruction hadn't been actioned. The film copies were withdrawn from sale and junked the same year.

These 16mm film prints had been sold to Australia, where the censors took exception to some scenes which were cut. New Zealand took it in December 1970, then elected to reject it and never broadcast it.

It was also sold to Hong Kong, Singapore and Gibraltar.

David's set of John Cura telesnaps turned up in 1993.

The censored scenes were found in 1996 by Australian fan Damian Shanahan and sent back to the BBC. Prior to that, the only sequence known to survive from the story was the TARDIS landing, due to it being reused in the final episode of The War Games.

In 2003, some silent film trims from the final episode turned up in the BBC Film and Videotape Library. These included alternate takes to broadcast scenes.

To date, no full episodes have been recovered, making Fury From The Deep the last Doctor Who story to be missing entirely from the archives.

As mentioned last time, its status as missing has added to the mystique of this particular story, but this can also be put down to the atmospheric soundtrack and those brief glimpses which, due to their source, feature especially creepy and disturbing scenes.

The story overall has the reputation of being one of the scariest of the monochrome era.

It's not entirely clear what happens to the weed at the end. Has it been destroyed, or has it simply been forced to retreat back into the depths of the sea? It would be nice to think the latter, as it could make for an atmospheric sequel - a brisk base-under-siege tale set on an isolated location using the VFX of today to realise it. Then again, if it really is as good as people remember it, maybe best just leave alone...

As well as Debbie Watling's departure, this was to be Victor Pemberton's final contribution to the series. He did submit a further idea - "The Eye in Space" - which involved a huge octopus-like creature, but this was never taken up. He would reuse elements of Fury From The Deep in one further Doctor Who project, however - the Fourth Doctor / Sarah Jane Smith audio adventure Doctor Who and the Pescatons. This was released on LP by Argo in July 1976, with a CD version following in 2005. Demon Records re-released it on vinyl in 2011. Pemberton also novelised the story for Target in September 1991.

The writer expressed an interest in producing Doctor Who as an independent co-production after it was taken off the air in 1989.

Trivia:

• After the steady decline over the last month the ratings suddenly take an upswing of a million viewers, and even the appreciation figure goes up.
• There's a nice continuity point as the Doctor states he learned something of piloting a helicopter from Astrid Ferrier (in The Enemy of the World).
• This is the 30th consecutive episode to be set on Earth, though the run ends here.
• Design assistant Tony Cornell was present at Ealing when the climactic scenes were filmed, and he captured some of the action in colour on his 8mm cinecamera. This was included on the unofficial documentary VHS "The Doctors", and later on the Lost In Time DVD set. From this we know that the control room decor was light blue, and Price wore a pink tunic.
• Stage And Television Today was still talking about the serial in late June 1968, describing the story as poor, with its "crazy foam threat".
• John Wyndham's 1953 novel The Kraken Awakes, which deals with a marine threat, also has sound being used as a weapon.
• The story was adapted for the stage in March 2002, by the Bedlam Theatre Company. It made use of specially filmed location footage, including helicopter shots. Actor Michael Sheard had a cameo role playing rig chief Baxter on video, and Van Lutyens and Perkins became female characters.
• On leaving Doctor Who Debbie Watling went into the theatre for a time but soon landed a TV role in a soap called The Newcomers, in which she once more got to work with her father, Jack. The series, which began in 1965 under the producership of Verity Lambert, ended only four months after she joined the cast - Debbie appearing in a total of 26 episodes. Thereafter theatre work was her main employ, though she also landed a couple of films with a musical bent - starring opposite Cliff Richard in Take Me High, and appearing with David Essex and Ringo Starr in That'll Be The Day (both 1973). 
• She and her father appeared together in a celebrity edition of The Generation Game in 1972. Another TV success followed in 1979 with Danger UXB, a wartime drama about a bomb disposal squad. In this she played a character known as "Naughty" Norma.
• She dated Frazer Hines for a time after leaving the series.
• She was invited to take part in The Five Doctors, but had to turn it down due to the offer of a full series with comedian Dave Allen. Unfortunately this got cancelled, so she missed out on both jobs.
• She did come back as Victoria for the Children in Need Doctor Who / EastEnders charity crossover Dimensions in Time. For some reason she was dressed in Victorian fashion, the shawl helping to hide her injured arm. JNT should have known she left the TARDIS in the late 20th Century.
• She also reprised Victoria, in the correct contemporary setting this time, for the unofficial spin-off video production Downtime (see my post Episodes: Afterlife - the Yeti) - again getting to act alongside her father. She can also be seen in The Five(ish) Doctors Reboot.
• Debbie Watling passed away, aged 69, on 21st July 2017. 
• Victor Pemberton, writer of her final Doctor Who appearance, died only a few weeks later, on 13th August.
• Ironically, Hugh David's first story as director - The Highlanders - was the very first to be wiped by the BBC, and his only other story was the last to suffer this fate. He passed away on 11th September 1987.
• Finally, a pensive Troughton on the control room set:

Devil's Planet - a Review

The interim episode of The Daleks Master Plan already exists in the archives, so we move on to the Doctor's escape from Kembel in Mavic Chen's purloined Spar 7-40 space yacht. Bret is at the controls, with Steven and Katarina also on board.

The Daleks use a device to randomise the ship's controls, causing it to crash land on the planet Desperus - the "Devil's Planet" of the title, as it is a hellish penal colony.

This is the first of the "adventures within the adventure", helping the story span its 12 weeks. Terry Nation had previously given us the quest story The Keys of Marinus, in which the travellers encountered mini-adventures in different locations across the planet in search of the titular keys; and The Chase, which again saw self-contained incidents within the larger narrative of the Dalek pursuit. (Episodes 5 - 10 of this story will end up following the same pattern as The Chase, with a Dalek time machine pursuing the TARDIS).

In this episode, the Doctor is separated from the TARDIS and having to rely on Bret's piloting of the Spar, before the Daleks intervene.

This was more of a mystery, visually, than The Nightmare Begins. We do have a bit of a clue as to the ending of the episode, as the shocking resolution to the cliff-hanger survives thanks to Blue Peter (though it was nice to see more of the ship's interior. I liked that huge round porthole / screen, and there was our old friend, the Morok Freezing Machine prop, as well).

There was also a lengthy clip of the Daleks first attacking the Spar with their randomiser, as its occupants are told by Bret about the planet they are being diverted towards.

The bulk of the instalment takes place on Desperus, and we have always had very little idea about this world. 

One thing I wanted to know was just how different they had managed to make the sets look from those of Kembel (bearing in mind that Mira is also just around the corner). 

There's one photograph of a Screamer I know of, but it's just a black shape at the top of a blurry image, and there are only a handful of images of the hirsute convicts themselves.

I wanted to see how the Screamers were realised, and also if the episode featured any model shots.

Mavic Chen gets to appear in two scenes - the execution of Zephon, and a later one where he first starts letting slip his arrogant attitude towards the Daleks before returning to Earth.

When the Master of the Fifth Galaxy perishes, we see Chen casually leaning nearby, studying a Dalek monitor - not even bothering with what's just happened. 

The Dalek control room contains lots of equipment dating back to their first appearance.

For some reason I felt sure that at least some of the other Planetarians featured this week, witnessing Zephon's demise, but it's another episode in which they don't appear.

Sadly the Screamers turn out to be just wing shapes being flapped about above the actors' heads.

And as for all the spaceship action in this episode, we do get a shot of the Spar in space, but all the other stuff is simply 'noises off'.

Desperus is rendered different from Kembel, being more sparsely forested. 

One nice shot is a landscape view of the planet as seen by the Doctor and Katarina - a painting of mountainous terrain with three small lights superimposed, indicating the torches of the approaching convicts. I noticed they all have a big letter "D" on the back of their overalls, to indicate their destination.

Courtney has less to do this week but I do enjoy his sardonic humour, and it's very much a pity that he couldn't have been retained for more of the story. 

Hartnell is still great to watch, though he does have a little difficulty with his lines in this episode.

"The Daleks will stop at anything to prevent us..." for instance.

There's a little silent character moment for the doomed Katarina, as she is fascinated by the stars on one of the monitors.

The interplay between Steven and the Doctor, and between Steven and Bret, is also nice to observe.

Overall, whilst it's fantastic that these two episodes are safely back, and that we have been able to enjoy them so quickly, you do come away with a disappointment - because you really, really want to watch the rest of the story even more now. At least these episodes come from the start of the story, and can be linked by the already surviving second instalment. For me the first half of The Daleks' Master Plan is by far the superior half. 

Oh, for The Traitors...

The Nightmare Begins - a Review

The Nightmare Begins has the task of setting up a  a 12 part epic, though it has been helped on its way by the prequel episode Mission to the Unknown. That laid the groundwork as to the Dalek plan to invade the Solar System, aided and abetted by an alliance of beings from the Outer Galaxies. (They go by various names, but we'll go with Planetarians).

 

This episode follows on 6 months or so later, bringing the Doctor into events and introducing us to the agent who came looking for Marc Cory - killed in the stand-alone instalment. Bret Vyon is played by Nicholas Courtney, the future Brigadier Lethbridge-Stewart, and so this marks his very first appearance in the series.

We also get to spend some time with short-lived companion Katarina, who only joined the series in the (now lost) previous episode. There's another direct link to that episode as Steven has contracted blood poisoning from a sword wound inflicted during the fall of Troy, and he's seriously injured.

We're back on the densely jungled planet of Kembel, where the Daleks have assembled their invasion force and where their alliance meets.

Having sat out Mission to the Unknown, the Doctor is unaware of what is going on here, and is simply looking for medical help for his companion. We know far more about this place than he does.

The Dalek Master Plan is shown to have expanded to include an enemy working within the Solar System itself - its Guardian, Mavic Chen. 

His appearance is certainly one of the things I was most looking forward to seeing when it was announced that this was one of the two episodes recently recovered from a private collection by Film is Fabulous. Kevin Stoney is superb, and he is responsible for two of the greatest villains in the history of Doctor Who - Chen and Tobias Vaughn.

Despite the absence of telesnaps, we did know a little about what this episode looked like. Three clips survived - the TARDIS materialisation, the landing of the Spar 7-40 at the space-port, and the longer sequence showing the ambush and death of Bret's colleague Kert Gantry. Also, the jungle and some sets for the Dalek city are seen throughout the surviving second episode.

What we have been missing are the TARDIS interior sequences, and the Communications Centre scenes on Earth.

We can now see Chen's introduction, via a couple of incidental characters - Lizan and Roald - watching a news broadcast featuring him. The bald-headed Technix, who featured prominently in publicity images back in 1966, have only been seen very briefly (crewing the Spar).

They're one of the more obscure characters in the series thanks to all those photos - but a lack of actual footage. And no-one talks about them in dialogue. Is it simply policy that these workers have to shave their heads, like part of a uniform, or are they - as I suspect - some sort of genetically engineered drone workers, or clones. (Spin-off literature goes with them being clones in one place, and cyborgs in another). Sadly we still don't know, but at least we now get to see them.

One thing which strikes you even more is how the Earth of the year 4000 resembles a fascist technocracy. We had already seen the literal uniformity of its people - everyone seems to wear tabards - and the jackbooted security forces which police it, but this episode certainly reinforces the image.

Unfortunately, we don't get to see any more of the Planetarians here - they aren't introduced until The Day of Armageddon.

The Daleks themselves don't show up until quite late on in the episode - the ambush on Gantry - and are merely shown waiting to welcome Chen later on. (One thing I didn't know was that the Dalek Supreme doesn't feature in this instalment). 

The episode concentrates instead on Bret and the TARDIS crew.

Despite playing another character of military bearing, Bret is a very different character to the Brigadier, which demonstrates just how good an actor Courtney was.

Things we wouldn't have known about without the visuals include Bret's communicator resembling the ones later used by the Cybermen.

Whilst he and Kert mention Varga Plants, they don't actually feature in the action - but we see a couple of them lurking in the jungle. 

I certainly had no idea that Steven spent the entire episode shirtless and in modern trousers. I had expected him to still be wearing his ancient Greek gear.

One rather shocking image is a lingering shot of the dead Kert's face, eyes wide open and mouth agape.

Something else I wasn't aware of from the soundtrack was the way Roald mouthed the words of Chen's speech, clearly having heard it all before. 

It's these little details which we lose out on by only having the audio.

As well as being a very good episode for Courtney, William Hartnell is at the top of his game here, even though he spends most of the episode talking to himself.

I think you can also see, very clearly, why new companion Katarina simply wasn't sustainable.