Episode 230: The Krotons (3)

Synopsis:

Jamie has entered the Dynatrope, and has been captured by the newly reanimated Krotons. Assuming him to be a "high brain" like the Doctor and Zoe, he is subjected to their mental analysis machine - the power of which will kill him if he lacks their intelligence level...

The Krotons cancel the process before he can be harmed, as they realise he may prove useful in helping recapture his friends.

Having left Jamie looking after Vana, the Doctor thinks him safe as he leads Zoe to the TARDIS. 

They are watched on a monitor by the Krotons in their machine. Jamie sees them enter the ship, and worries that they are leaving him behind. The Krotons then begin questioning him.

Beta is visited at his home by Eelek and Axus, who have come to consult him on attacking the Krotons.

As much as he would like to see the Gonds free, the scientist urges caution as he has heard the Doctor speak of how powerful they are. They have many gaps in their knowledge, thanks to the aliens - and he can see how these must point to techniques which the Krotons deem dangerous to themselves.

He tells Eelek of how the Doctor and Zoe entered the machine.

When Eelek insists they must attack the Krotons, Beta states that they should hear what Selris has to say first - only to be told that they will no longer obey their leader.

The Krotons can destroy the TARDIS remotely with their dispersal units, but wish to obtain the Doctor and Zoe unharmed. One of them is sent out into the wasteland to fetch them, armed with a dispersal unit. They are blind outside the Dynatrope, and the other has to guide it.

At Selris' house, Vana is recovering. The leader tells his son that the strangers have all gone into the machine and a council meeting has been arranged. Thara wants actions, not words.

He tells his father that Eelek has taken over and plans to attack the Krotons. Selris is horrified as he fears the reprisals which will follow. He thinks there may be another way to attack them - one where they may not realise they are being attacked until it is too late...

In the Dynatrope, Jamie is formulating an escape plan - asking the lone Kroton questions about why they need the Doctor and Zoe whilst it is concentrating on the monitor as it guides its co-pilot closer to the TARDIS. The Kroton simply states that they need "high brains" to operate the Dynatrope, and there are none among the Gonds.

Beta attends the council meeting where it is confirmed that Eelek has taken over. He tries once more to warn the Gonds against taking action - reminding them of the wasteland. Their weapons are primitive compared to those of the Krotons.

The Doctor and Zoe emerge from the TARDIS. He is armed with a carpet bag and a specimen bottle.

Tests on the liquid in the tank aboard the Dynatrope have revealed that it and the creatures themselves are all composed on tellurium. The Doctor informs Zoe that he needs some sulphur, whilst she gets the feeling that they are being watched...

Jamie sees them on the monitor, urging them to go back inside or move away as the other Kroton has almost reached the TARDIS. 

Distracted as they collect sulphur samples, they fail to see the Kroton approach. It orders them back to the Dynatrope. Jamie seizes one of the dispersal units and tries to use it on the Kroton guarding him.

The one is the wasteland is rendered blind as the other struggles to subdue Jamie - allowing the Doctor and Zoe to run and hide.

With scanner control restored, it is instructed to destroy the TARDIS and so prevent the "high brains" leaving the planet.

Zoe is horrified to see the Kroton fire its dispersal unit - leaving only bare ground where the TARDIS had stood...

The Kroton departs back to the Dynatrope, where Jamie feigns unconsciousness.

Selris attends the council chamber but fails to dissuade Eelek from attacking the aliens. He takes Beta aside and tells him of what he saw earlier in the under-hall - of how the machine is supported only by three large pillars.

Zoe is surprised that the Doctor does not seem unduly upset by the loss of the TARDIS - and then sees it rematerialise on a ledge halfway up the mountain above them. The Doctor explains that he had remembered to set the HADS - Hostile Action Displacement System - which causes it to relocate when it comes under attack.

They set off for the Gond settlement.

Jamie hears the Krotons speak of a time limit in which they must capture the Doctor and Zoe, before they exhaust. His captor had previously explained that they cannot die - merely revert to their chemical constituents, which can be reanimated again and again.

He slips away as the Kroton continues to guide its fellow back to the Dynatrope.

The Doctor arrives at Selris' home, to find Vana fully recovered and learn that Jamie has gone off looking for him. Thara tells him of his father's plan to attack the Krotons by undermining the machine in the under-hall.

They have attached chains and plan to pull down the supporting pillars.

The Doctor must stop them, but wishes to see Beta first. He gives him the sulphur samples and a set of instructions as to what to do with them, then hurries off to the Learning Hall.

Beta tries to encourage Thara to take Vana to safety in the hills - but she refuses to go.

The Doctor and Zoe enter the under-hall as the Dynatrope begins to sway and sections of the roof start to fall. He tries to warn Selris that they are meddling with things they don't fully understand.

The roof above the Doctor suddenly collapses, burying him in rubble...

Data:

Written by Robert Holmes

Recorded: Friday 6th December 1968 - Lime Grove Studio D

First broadcast: 5.15pm, Saturday 11th January 1969

Ratings: 7.5 million / AI 56

VFX: Bill King & Trading Post

Designer: Raymond London

Director: David Maloney

Critique:

In the draft outline for his story, Holmes had the Gonds attack a power line which fed the Dynatron, as it was then called. This cable ran through a tunnel, and it was this which caved in on the Doctor at the cliffhanger.

Some of Eelek's dialogue was shared with Axus, and there was a third council member present - whose lines were later given to Eelek.

The Kroton which went outside was armed with a "laser carbine" and Jamie used one of these on the other Kroton, which Holmes described as firing white hot energy like a flamethrower. The Kroton smashed the gun to pieces and then picked him up and physically threw him against a wall when the weapon failed to harm it.

This made it through to the stage directions, but the realities of the costume made the moves impossible in studio.

Filming for this instalment took place at Pyx Granite Quarry near Malvern on Sunday 10th November, beginning with the sequences involving the Kroton moving through the wasteland. Operating it was Miles Northover, who would be playing the more junior Kroton 2.

Various POV shots were also filmed, to be viewed on the monitor in the Dynatrope by Kroton 1.

The TARDIS which was attacked and forced to rematerialise elsewhere was the larger of the model versions. 

Also filmed this day were the Doctor and Zoe returning to the TARDIS, and other POV shots to show the disorientation of the blinded Kroton 2.

Work continued at the second location - the West of England Quarry - on Monday 11th, which included more disorientated POV material, and the Doctor and Zoe crossing the wasteland.

Filming then moved to Ealing for the rest of the week. Wednesday 13th saw Kroton 2 emerge from the exit hatch, as well as Jamie's attack on Kroton 1 with the dispersal unit, with other material from this sequence scheduled for the following day. Miles Northover played both Krotons.

Friday 15th was the day on which all model sequences and graphics were to be filmed. For this episode, this included shots of the under-hall roof breaking apart and collapsing.

This episode was recorded at Lime Grove the day before Wendy Padbury's 21st birthday.

Recording began with a restaging of the cliffhanger as Jamie comes under mental assault.

A photo-caption of the TARDIS taken on location appeared on the Dynatrope scanner, and some of the location POV shots were used more than once to extend Kroton 2's journey across the wasteland.

Maloney cut to a shot of Frazer Hines, to avoid having to show the Kroton uncoupling its hosepipe connection.

Padbury cut off her line about tellurium's atomic weight as Zoe sees the Kroton bearing down on them. The weight is 52 but she only gets the "fifty-" part out, making it look like she has got it wrong.

A new set was the under-hall, which had only been described by the Doctor and Selris at the beginning of the previous episode. It comprised elements of the Learning Hall set - not needed this week - covered in latex cobwebs and with chains and a large circular winch installed.

The heads of the Krotons spun as they registered the swaying of the Dynatrope - something which was never specified in the script.

A line of dialogue intended for one of the Gonds in the under-hall was reassigned to James Cairncross, to save on hiring another speaking part. Unfortunately, Beta had just been seen back in his laboratory with Vana - so he appears to be in two places at the same time...

It's the episode everyone remembers, and is regarded by its fans as the best of the four. This is mainly due to the sequence where the Kroton actually comes out of the Dynatrope and onto location, and attacks the TARDIS. The ship appears to have been destroyed - only to rematerialise a few moments later in a different spot - halfway up a mountain. As the Doctor says:

"... what a stupid place to land. You can tell that the captain is not at the helm, can't you?".

He has activated the HADS - the hitherto unmentioned Hostile Action Displacement System - which causes the TARDIS to move to a place of safety when it comes under attack. It is a pity he didn't have it set on the planet Dulkis - though we would have missed out on our trip to the Land of Fiction when it was engulfed in molten lava. Indeed, it may well have been that recent incident which has prompted him to set it this time.

However, it won't be deployed again for a very, very long time - not until the events of Cold War in 2012.

After sitting out last week's episode, we see the return of Eelek and Beta, who are both given a lot more to do. Philip Madoc in particular has been underserved in this story. Here we see Eelek reveal his ambition as he takes control over the ruling council, and he is determined to wage war against the Krotons. This does rather come out of nowhere, however, as he was simply a bit rude and arrogant in Part One. Indeed, he was all for obeying the Krotons in the first episode, arguing with Thara about the dangers to them all should Vana not enter the machine.

Beta, meanwhile, reveals that he has been aware of the significance of the gaps in knowledge given to them by the Krotons - especially in the field of chemistry. He just hasn't done anything with this information.

The development of these characters, especially Eelek, is a failing of the story's structure. They simply aren't given enough screen time, and are one-note characters anyway.

Last time I mentioned that Jamie was taking on more of the female companion role in this story - the one needing to be rescued. Unlike most of the female companions, however, he is able to arrange his own escape without having to be saved by the Doctor. Indeed, the Doctor isn't even aware that he needs rescuing, thinking him still back at Selris' house tending to Vana.

Time now to talk about what the Krotons are up to, and how their scheme doesn't make much sense. As mentioned, they have left gaps in the knowledge they allow the Gonds, and eventually one of them is going to realise the significance of these and so be guided towards a weapon that could be used against them.

Then there is the quest for mental energy. The two smartest Gonds have theirs absorbed by the Dynatrope and are killed immediately afterwards. In effect, they are destroying the very means of achieving their escape by removing the more intelligent Gonds from the gene pool. Better to have them breed than to kill them. At one point Kroton 1 states that there are no "high brains" amongst the Gonds - but this situation is one of their own making. They are hindering the mental development of the race and so are dooming themselves to a very long wait for escape.

And what about their mission? There must have been some purpose behind them being in this region of space in the first place - either exploration or military conquest. They've been suspended in a tank for a very long time, so is their mission even relevant anymore?

Trivia:

• The ratings have fallen by 1.5 million from the opening instalment, but are still strong for the period overall.
• Tellurium (Te) is a silver-white metalloid which is very rare. It is brittle and melts at 449 degrees Celsius, and boils at 988 Celsius. It gave its name to the town of Telluride, Colorado, as the mineral was associated with gold and could indicate its presence.
• Hydrogen Telluride (H2Te) is described as a colourless gas which smells like rotting garlic at low concentrations, and rotting leeks at higher ones. It rapidly decomposes into its constituent parts when exposed to light - so it's odd that it is so noticeable on a planet with two suns...
• When viewers sat down to watch this episode, it would have been in the knowledge that Patrick Troughton would be leaving the series at the end of its current season, as would Frazer Hines. Items appeared in the press on 7th and 9th January: 

DWM Chronicles: 1972

The next Chronicles release from DWM has been announced, and it takes us back to 1972 and Season 9. It's out on 5th November but you can pre-order now from Panini.

The Art of... The Krotons

The Krotons was novelised by Terrance Dicks and published in hardback in June 1985, with the paperback version following that November.

The cover art was by Andrew Skilleter, and depicted a lone Kroton against a pattern of hexagons - a design element which runs through the story. 

By using an airbrush, Skilleter is able to give the monster more of a crystalline appearance, as had originally been intended for them. He only had a single B&W image of the Kroton on location for reference.

The novel was reprinted by Star Books in September 1988, coupled with Doctor Who and the Dominators. The Kroton artwork was relegated to the back cover. It had initially been planned that it would be paired with the novelisation of The Seeds of Death, the story which immediately follows it.

The book was reprinted in July 1991, with new cover art by Alister Pearson. This was to act as a tie-in with the VHS release of the story.

We have the same lone Kroton once again, this time armed with one of the dispersal units, and the portrait of Zoe does derive from this story. Jamie's comes from a publicity shot from The Wheel in Space, whilst the Doctor's is from The Invasion, and is given a pixelated appearance to match what the Dynatrope monitor showed, when he was attacked by the probe at the climax to the first episode.

Despite being complete in the archives, the story was released on CD as part of the BBC Audio Collection in November 2008. As with all of these, there is a brightly coloured photo-montage cover. In this case, however, they have decided to focus on a single scene of Krotons attacking the TARDIS (even though only one does so in the actual story). Usually these covers comprise lots of smaller images of characters from the story, as well as the Doctor and companions.

Hexagons feature prominently once again.

The narrator is Frazer Hines, who also contributes an interview.

The VHS, with the Pearson artwork, was released on 4th February 1991. At the time, it was the last of the complete Troughton adventures to be released on video.

The story arrived on DVD in July 2012, with cover art from Lee Binding. As with the VHS it was, at the time, the last complete Troughton story to be released in this format.

David Maloney opted not to go to the expense of incidental music for his story, so the soundtrack was the work of Brian Hodgson and the Radiophonic Workshop only. This was released by Silva Screen in May 2013, using the same artwork as the DVD though with a darker purple background.

There were 24 tracks, mainly from the opening episode.

It was also available on 10" black vinyl, this time with a monochromatic purple-tinted cover

And finally, the Target novelisation was released as an audiobook in April 2020, using Skilleter's original cover art. The reader, as you can see, was Frazer Hines.

TARDIS Log: The Aztecs

Where and when:

The TARDIS materialises in a tomb, and Barbara is the first to emerge, closely followed by Susan. The History teacher immediately recognises the burial goods as Aztec, and belonging to their early period - reckoning around 1430.

So we are in Mexico of the mid-15th Century if Barbara is to be believed - and she does claim that she specialised in this culture and its history.

We'll later learn that this tomb was specifically built for the High Priest Yetaxa, and the designer's son - Ixta - is a young man.

The tomb can therefore be no more than a couple of decades old, depending on what age Ixta was when his father disappeared.

This gives us an approximate dating of 1450 for this story.

Had we information about a total solar eclipse in the region around this time, we could have pinned down the date precisely - but the only one in this timeframe I can find is that of 17th June 1433, and totality would only have been observed in latitudes far to the north of Mexico. (Our main eyewitness source for it was in Scotland).

Other than being in Mexico, we have little information to go on as to where, specifically, The Aztecs is set.

What we can say, however, is that this cannot be their capital of Tenochtitlan as there is no Emperor present, or even mentioned. 

Depending on the exact year, this would be either Itzcoatl (1427 to 1440) or more likely Moctezuma I (1440 to 1469) if Barbara is right.

High Priest of Knowledge Autloc, and High Priest of Sacrifice Tlotoxl, seem to run the city between them, with no political figurehead. 

Yetaxa was apparently senior to both - so it is surprising that he hasn't been replaced, despite having died years ago.

Also odd is that Ixta is the intended leader of the army - so who is leading it now? It's inconceivable that there is an army with no leader in this society which prized warriors so highly, so we can only assume that the previous commander has only just died, but there's no automatic right to succeed in place.

Unseen journeys:

None mentioned this time. The Doctor has picked up some strange knowledge along the way, however, such as knowing the soporific properties of a specific plant, and how to exploit it.

The TARDIS:

As we never get to see inside the TARDIS until the story is technically over, it is simply seen standing in the tomb.

We do get a console room scene at the very end, which is the lead-in to the next story. Some time has passed as the companions have changed their outfits.

The Doctor is puzzled, as one instrument on the console indicates that they have landed - but another states that they are still in motion.

It is suggested by his companions that they have landed on top of something, or perhaps inside something. 

We'll later discover that they have materialised inside an orbiting spaceship - but the Doctor's puzzlement suggests that this hasn't happened before. Considering how often the ship will land within different modes of transport in the future, this might indicate that he is not that widely travelled at this point.

The two instruments are next to each other on the console.

The ship's wardrobe gains some his and hers Aztec gear, including Barbara's fancy High Priestess outfit. The Doctor adds a love token from his fiancée to his collection of souvenirs...

Behind the scenes:

As mentioned, the TARDIS interior only appears at the end of the final episode, so only the console and one section of wall is seen.

What we can point out is the way that David Whitaker and the writers have striven to separate the Doctor from his TARDIS up till now. This story, for instance, is entirely about getting back into the tomb to retrieve it, and everything else comes off the back of these efforts.

This will continue for a while but, starting from the next story, the Doctor will begin involving himself in their adventures by choice - as it's the right thing to do - rather than simply act in a way that will allow them to regain access to the ship and leave again.

John Lucarotti novelised his story - and gave a date of 1507. This would make Barbara's estimate way out, and is probably there simply to make the fall of this culture more imminent. Cortes arrived in 1519 (not 1520 as Barbara states) and the Aztecs were conquered within the space of two years.

With this dating, Tlotoxl may have lived to see the fall of his civilisation.

Episode 229: The Krotons (2)

Synopsis:

Thara and his fellow students have been smashing the teaching machines in the Hall of Learning, to draw the Krotons out of their machine. The Doctor and his companions have arrived to try to stop them. An automated system within the machine focuses on the Doctor as the suspected ring-leader and a serpentine probe emerges and homes in on him. As he retreats, he stumbles and falls - and the probe bears down on him...

The probe seems confused when he protectively brings his hands up to his face, and he realises that it works by pattern recognition - the pattern being his features.

One of the students attempts to attack the probe with a stone axe and it lunges at him - dissolving his body with a spray of acid. It then retreats back into the machine. The Doctor explains that the confused probe must have thought that it had destroyed its target.

The booming voice is heard once more, claiming to have killed their leader and demanding that everyone leave the Hall.

Back at Selris' home, the Doctor examines Vana once more and finds she is recovering. Zoe points out that the Gonds are advanced scientifically in some ways, but not in others - having little chemical knowledge for instance. The Doctor suspects these gaps in their knowledge are significant.

He orders Jamie to stay behind and look after Vana, whilst he and Selris return to the Hall so he can investigate it properly. Zoe will accompany him.

On entering the Hall, the Doctor notes a trapdoor set in the floor, and Selris explains that this leads to the under-hall which hasn't been visited for many years.

He and Selris descend and find the foundations of the Kroton machine, resting on three huge pillars.

Coming back up, the Doctor is shocked to see Zoe seated at one of the teaching machines, wearing a metal headset. She explains that she was simply curious. She has taken a test, and states that the Krotons were very pleased with her performance - or so she felt.

The Doctor reminds her that they know the Krotons are not friendly, and she has had an impression planted in her mind.

Selris indicates a dial which shows that she has obtained one of the highest scores he has ever seen. Most Gonds register half of what she has achieved.

Vana wakes from a nightmare, talking about a burning ball. Thara thinks this must be some Kroton weapon she has been exposed to. Jamie decides to go and tell the Doctor.

The Doctor is telling Zoe about what he saw in the under-hall, which resembles a root structure. He believes it to be organic and hopes to get a sample.

A gong suddenly sounds, and Selris receives another document from the hatch in the machine.

Zoe is horrified to learn that she has been selected as a Companion of the Krotons and must enter the machine. Selris warns that there will be a terrible price to pay for the whole community if she fails to do so.

The Doctor has no choice but to take the test himself so that he can at least accompany her. Somewhat flustered, he makes a few mistakes but soon achieves a higher score - though only by answering more questions.

Jamie arrives just in time to see them enter the machine.

They explore inside and find that it appears to be deserted. They come upon two chairs and sit down - and are then gripped by a powerful forcefield which immobilises them, though the Doctor is first able to give Zoe one end of a small metal chain to hold. A device descends from the ceiling above them - appearing like a burning ball - and they are bathed in a bright light. The Doctor hopes that the chain will help equalise the power being exerted against them.

Jamie tries to break into the machine, but without success. 

The Doctor and Zoe pass out momentarily, but wake to find a vat of liquid bubbling away beside them. Zoe thinks that the Krotons have a way of turning mental power into pure energy. They have been used to activate some device.

The Doctor takes a sample of the liquid. He identifies it as being a solution of crystals in suspension, and reminds Zoe that life on Earth began as a form of primordial soup. They see a shape begin to form in the vat and decide it is time to leave.

Behind them, a huge crystalline form has emerged from the vat, linked to it by a hosepipe. A second shape is beginning to form.

Once complete, the two Krotons consult - noting that the Gonds they have just processed should still be here as they have been programmed to obey.

The Doctor and Zoe reach the exit into the wasteland. He uses a piece of mica to trip the door mechanism and they hurry out, jumping down to the side of the ramp to avoid the acid sprays.

The Krotons observe this on a monitor, and identify that the pair cannot be Gonds. They must be captured and brought back - and the Gonds will be used to do this.

The monitor then shows the Hall of Learning, and they note that Jamie isn't a Gond either. They suspect that aliens have arrived on the planet, and assume he is a "high brain" like the other two.

Jamie believes that his efforts to open the door have been successful - unaware that he has been allowed to enter.

He is captured by the Krotons and forced into one of the chairs before having his mind analysed.

They identify that he is not a "high brain", and state that the power will destroy him...

Data:

Written by Robert Holmes

Recorded: Friday 29th November 1968 - Lime Grove Studio D

First broadcast: 5.15pm, Saturday 4th January 1969

Ratings: 8.4 million / AI 57

VFX: Bill King & Trading Post

Designer: Raymond London

Director: David Maloney

Additional cast: Patrick Tull (Kroton Voice), Robert La'Bassiere (Kroton One), Miles Northover (Kroton Two)

Critique:

Two rumours persisted for a very long time about the Kroton costumes. The first was that they were the result of the Blue Peter "Design A Monster" competition; and the other was that due to some miscalculation of Spinal Tap proportions, they were manufactured too short and the rubber skirt had to be added at the last minute to cover this...

Regarding the latter, you can see the rubber skirt quite clearly indicated on the design sketches - as reproduced below in Marcus Hearn's book Doctor Who - The Vault:

As for their real origins, they were designed by Bobi Bartlett, and constructed by Bill King's Trading Post company, who were based in Southall, West London (and not by the Lovells, as DWM's "The Complete History" Vol 13 claims).

The idea, which was in the script, was that they should be crystalline in nature, hence the use of diamond shapes. Ideally they ought to have been transparent, or more glass-like. Instead, they look like metallic robots, as it would have been impossible to have something both transparent and with an operator inside.

Bartlett was generally pleased with the design, especially the rotating head - which didn't feature in Holmes' script - and the fact that they were faceless. There had been a thought to have them glide along on rails in studio, but the need for one of them to move around on location led to the notion of a hovercraft-like skirt. The heads were made by a company which specialised in manufacturing racing cars.

David Maloney himself claimed that the Krotons were built too short, and if anything Bartlett was surprised to find that the upper bodies had been made much larger than she had envisaged, expecting something sleeker. Maloney went on to say that Holmes was not pleased with how his monsters had turned out, hoping for a more humanoid form - "crystal men". In his initial draft for this episode he writes that the Doctor and Zoe see "a man-like form emerge from the tank".

A later version has the Kroton "now solidified into a recognisable humanoid shape... a silver hand and arm, covered in metal pyrites, comes out of the liquid. Kroton One is climbing shakily out of the tank... It gropes for one of the tank pipes and clips it into a socket at its waist...".

The only filming required for this episode was work undertaken at Ealing on Wednesday 13th November. These were scenes set inside the Dynatrope of the Doctor and Zoe being subjected to the mental processing. Maloney distorted the image by using a fish-eye lens, and Catherine Wheels were filmed to be superimposed over the picture in several scenes.

Extra Barry Ashton played the Gond student who is killed by the probe.

Also filmed were the Doctor and Zoe escaping through the exit hatch of the Dynatrope.

The following day, Miles Northover was present to film the sequence where the first of the Krotons is reconstituted from the vat, along with other material of the bubbling tank of liquid. Northover had already played Kroton Two on location earlier in the week, for sequences in the third episode.

Friday 14th saw graphics work undertaken, which included the various test images which would be shown on the teaching machine monitors. These animated sequences were the work of Janet Pimlott of the BBC Graphics Department.

Joining the cast in rehearsals for Episode Two was Robert Grant, who would perform as Kroton One. He requested that he be credited as Robert La'Bassiere on screen (with the unintended result of him sometimes being mistakenly named La Brassiere in some publications).

Publicity photographs were taken on the day of recording, of the Doctor with Vana, and of Zoe using the teaching machine.

The cliffhanger sequence was restaged, though using the same filmed material of the serpentine probe as used the week before.

Recording run-ons rather than breaks were employed to allow cast members to move from set to set.

Reexamining Vana, the Doctor wished for an ETC machine. This ought to have been an ECT, but it's not a mistake by Troughton. Holmes had misspelled it and he was simply giving the line he had read.

Dummy teaching machines had been in studio the previous week, as they would be smashed by the rebellious students, but this time one had a monitor installed on which the Kroton tests could be shown.

The Catherine Wheel superimposition effect was used as Vana began to recall her experiences inside the Dynatrope, and when Jamie comes under mental assault.

Troughton ad-libbed the "great jumping gobstoppers" line, when the Doctor hears the gong sound.

The exit hatch set was not needed in studio, and a couple of photographs had been taken of it the week before - one with the door closed, and another with it open. These could then appear on the monitor in the Dynatrope, as viewed by the Krotons.

Maloney opted not to show too much of the monsters until the very end of the episode.

The Dynatrope interior sections were mostly achieved by use a number of different flats set against black drapes, dressed with props which included items from previous stories - such as a Cyberman spaceship from The Invasion (as can be seen below at right of image).

Last week Jamie had a fight with Axus, but he will have less and less to do in this story as it progresses. This week, after being left behind to look after Vana, he takes on the "damsel in distress" role usually assigned to the female companion, whilst Zoe gets to demonstrate her scientific knowledge, having been paired with the Doctor.

This leads to the highlight of this episode, and probably of the whole story - the sequence in the Hall of Learning involving the Doctor and Zoe sitting the Kroton tests.

It results in some amusing interplay.

The Doctor (to Selris): "Yes, well, Zoe is something of a genius. It can be very irritating at times..."

Then later, when Selris suggests that the Doctor might not be able to answer all the questions on their most difficult machine, Zoe responds: "Of course he can. The Doctor's almost as clever as I am."

There's also the business with the Doctor first sitting his test...

Zoe: "Oh sit down. And put this headset on. And press the button... Press the button!"

The Doctor: "Alright, there's no need to shout. Now go away and don't fuss me. No, come back. What's this? It's alright, I know...".

Robert Holmes originally intended the Gonds to have "gond" as a suffix to their names, such as Eelekgond or Tharagond. This was dropped, though the Krotons use this nomenclature. When the Doctor is summoned to enter the machine he retorts "Doctor-Gond. Idiots!".

The Krotons themselves may not have turned out quite as everyone had hoped, but they are actually impressive - from the waist up. It's that rubber skirt which lets them down as a piece of design, and the fact that they simply resemble robots - despite what the dialogue does its best to state.

David Maloney shows once again that he liked to experiment visually. In The Mind Robber he had employed stop motion animation for Medusa's snakes - a technique he will use again in The War Games. Here, he uses computer animation-style graphics for the teaching machine. Janet Pimlott, who provided these for him, is probably best known for the title sequence to the popular '70's sitcom The Good Life.

Trivia:

• Last week's episode had the highest viewing figure for the entire Troughton era - so it's inevitable that we see a drop this week. However, it's only a small one and the figure remains well over 8 million, and with a strong appreciation figure.
• As it concentrates mainly on the Doctor and his companions, Eelek, Beta and Axus are all absent from this episode.
• Patrick Tull was a character actor who featured in several British TV shows of the 1960's, including Z-Cars, Softly, Softly and soap Crossroads. He moved to the USA, settling in New York, where he had a successful stage career.
• Miles Northover had previously appeared as an IE warehouseman in The Invasion. These are his only acting credits.
• Robert La'Bassiere may well have changed his name to differentiate himself from Bob Grant, famous for playing bus conductor Jack in On The Buses, which was just about to launch on ITV. La'Bassiere also appeared in Moonbase 3 and films including Ken Russell's The Boyfriend, Revenge of the Pink Panther and Arabian Adventure.
• Radio Times used a small photograph of Patrick Troughton from The Power of the Daleks to accompany the day's programme listing for this episode - but only in some regions.

What's Wrong With... Father's Day

My biggest problem with this is the Doctor. 

What on Earth was he thinking of even agreeing to any part of Rose's plan in the first place? This is especially annoying as it comes only one week after he has ditched Adam for potentially tampering with history and claimed that he only takes "the best" as his companions. Adam's only crime was to attempt something - whereas Rose actually messes up the timeline so much that it puts the entire world in danger.

Whilst you can just about imagine him allowing her to see her father on the day he died, his next actions in letting her try again and again, when he knows the potential dangers, stretches credulity.

Later on he'll accuse her of only having joined him in the first place in order to save her dad - yet he still keeps her on as a companion.

The Reapers never act in any consistent fashion, and it's not helped that the Doctor seems confused as to what they are and how they act. At one point he describes them like an infection - "bacteria" attracted to the wound in time. Then he describes them as sterilising agents, cleaning the wound and behaving like antibodies.

One minute they target the new, the next they target the old. They seem to go for anyone and anything which doesn't actually have a bearing on the temporal wound. The Doctor and Rose caused it, and Pete is the resulting anomaly - so why do they not simply target them and ignore everyone else?

If age is a defence against them, why do they take Mickey's mother and not him?

Everyone takes shelter in the church as it is an old building - but it is clearly a Victorian or even Edwardian neo-Gothic structure and probably about the same age as the buildings around it. The Doctor also mentions the doors being a barrier due to their age, but who knows how often they might have been replaced over the last century. We're in South London, which was heavily bombed in WWII, so the church fabric might not even be as old as the late 19th / early 20th Century.

The Reapers also seem to target people only - but attack the TARDIS, leaving only the external Police Box shell. But the TARDIS is ancient, so the idea that the older something is, the stronger, becomes a nonsense once again.

Why did the Reapers only take the interior dimension, and not the whole box?

How can the TARDIS revert to being an ordinary Police Box, when it never was one in the first place - it just looked like one from the outside and would never have had a real Police Box interior.

The Doctor says that the link between interior and external shell has been broken - but we then find out that it hasn't been broken at all, as he tries to use the key to bring it back.

Why does the key wait that long to suddenly heat up and glow, if the link was never properly severed?

The Doctor charges the key using a mobile phone battery, which he has to charge in turn with the sonic screwdriver. Why didn't he just use the sonic directly to charge the key?

The car which keeps appearing and disappearing - the one which killed / will kill Pete - seems to be at the heart of the wound, keeping it open until the timeline can reassert itself - but the Reapers ignore it.

Shouldn't the car be appearing where the accident was supposed to happen anyway?

An early clue that time has been messed up is the first telephone message by Alexander Graham Bell coming through on Rose's mobile phone. But that first call was a series of electrical pulses transmitted along wires - not how modern mobile phones operate.

When Rose holds the baby version of herself, is this a new paradox being created, or just a continuation of the one she already triggered? If the latter, then it shouldn't have the impact on the Reapers which it does. 

We never actually see her make skin to skin contact with the baby, so actually only their clothes touch. We don't get Reapers appearing every time we dig out our old baby clothes, or sort through old stuff for a jumble sale, do we?

History has been changed at the conclusion, if only in a small way - so technically the timeline remains disrupted. Pete has died at a different location, wearing different clothes, and at a different time of day. The accident would have been attended by paramedics and police, and the body would have been dealt with by hospital staff and undertakers, who all interact with other people in their lives - and they with others. Like ripples on a pond, this ought to have had further reaching consequences. Wasn't it the Doctor himself who said that an ordinary man could be the most important person in creation... Not when you want a tidy episode ending, apparently.

Inspirations: The Eaters of Light

Writer Rona Munro had scripted Survival in 1989 - what turned out to be the final story of the classic era.

Since the programme's return in 2005 she had wanted to contribute to it again. Attending an event at the Edinburgh Festival in 2006, she was approached by Steven Moffat and Russell T Davies as they both wished to meet her. She told them how much she was enjoying the revived series - hinting that she might like to write for it again. When Moffat took over as showrunner he recalled the meeting with Munro, but was unsure about approaching her. When he finally did, he discovered that she had been hoping to be invited back.

In discussions about a potential new story, she stated that she would like to write one with a strong historical background, having studied History at Edinburgh University. Moffat pointed out the significant proportion of children who followed the show, and she recalled the 1954 children's novel The Eagle of the Ninth, which she had enjoyed as a child. Written by Rosemary Sutcliff and published in 1954, it told of a young Roman soldier's quest to discover what had happened to his father's legion, the Ninth, which was reputedly wiped out by northern tribesmen.

Munro also took on board the advice about the audience demographic by making all of the main guest characters young people. Other than the TARDIS travellers, adults play no significant role in the story.

Sutcliff's novel was inspired by the disappearance of the Legio IX Hispana, which was recorded as coming to Britain in 43AD as part of the Claudian invasion, but which had vanished from the British records by 117AD. ("Hispana" came from their having served in Spain under Augustus).

Munro had discussed the various theories about this event with her archaeologist brother. She had a local connection as well, as the Ninth Legion was said to have been lost fighting in the Grampian region of Scotland, and she had been brought up in Aberdeen.

This region, in the north east of Scotland, is famous for its association with the Picts.

The name derives from the Latin Picti, meaning "painted people" or "tattooed people". They were said by the Romans to go into battle with their bodies covered in the blue dye woad.

They were formed from a confederation of other tribes, most notably the Caledonii, who came together to fight the common threat posed by Rome. 

The first recorded mention of them isn't until the late 3rd Century, however, so they would not have been contemporaries of the Legio IX Hispana. (Munro was aware of this, and merely used "Picts" as shorthand for her Scots characters).

The other big issue is that the Legio IX Hispana gets mentioned in an inscription found at Nijmegan in the Netherlands after its supposed destruction in Scotland. A list was drawn up of all legions at the time of the Emperor Septimius Severus (193 - 211AD) which doesn't include it - so it had definitely been destroyed, or simply disbanded, before then.

For her monster, Munro was inspired by carvings on Pictish standing stones, which depict strange animals. These "Pictish Beasts" may well be stylised versions of real animals such as wolves, boars or horses, though some of them look like aquatic creatures. When you add the 'Celtic Knot'-style of ornamentation associated with these carvings, you get the notion of an animal covered in tendrils.

Northern Scotland isn't exactly noted for its hours of sunshine, and this inspired the idea to have the Eaters of Light being creatures of darkness which consumed light, absorbing Vitamin D from their victims. 

Scotland is also a country steeped in folklore, myth and legend - a liminal region where the natural and the supernatural dwell closely side by side.

There are many local legends of ghostly sounds emanating from under the ground - often associated with the Devil.

One story tells of a tunnel in which the Devil was said to lurk. A piper said he would enter the tunnel to disprove the myth, telling his friends he would pipe as he went so they could hear his progress. After a few minutes, the sound of pipes abruptly stopped, and the piper never emerged. Ever since then, the sound of his pipes can sometimes be heard coming from under the earth. (Some variations have the person entering the tunnel being found dead, with a look of horror on their faces).

Another version has someone send their hunting dog into a tunnel. It suddenly began barking furiously then stopped with a howl, never to be seen again - and legend says that you can sometimes hear its howls coming up from beneath the ground.

For the mythology associated with crows, see my recent A-Z post "R is for... Ravens".

That the local Scots contingent are led by a young woman, the inspiration is in characters such as Boudicca, who led a rebellion against the Romans around 60AD. Archaeologists have also uncovered a number of Iron Age graves of warriors, judging by grave goods, who have been found to be female. 

Kar's speech about the destruction wrought by Rome was inspired by the writings of the Roman historian Tacitus in his Agricola, referring to the Battle of Mons Graupius in 83AD:

" To plunder, butcher, steal, these things they misname Empire: they make a desolation and they call it peace", as one translation reads.

Missy had been released from the Vault by Nardole at the end of Empress of Mars, and this episode ends with her in the TARDIS. She cries at the sound of the battling Scots and Romans for what it symbolises - former enemies setting aside their differences and sacrificing themselves to defeat a common foe. This hints at her reformed status, which carries on into...

Next time: Genesis of the Cybermen, or, The Two Masters...