Tag Archives: Doctor Who

Enter Tom Baker, Davros and Harry Sullivan; Fourth Doctor, First Season

They say your first Doctor is your favorite, but I think I like Tom Baker in DOCTOR WHO even more than William Hartnell.

None of the Doctors have much use for the powers that be. William Hartnell sneered at them, Patrick Troughton shrugged them off, John Pertwee snarked at them. Baker meets them with a mocking smile, like a michievious kid who can’t wait to pull a trick on some stuck-up twit. All the Doctors stir up trouble, but the Fourth Doctor relishes the opportunity.

Baker’s stories are probably the episodes I’ve seen most, because they ran in constant daily rotation on PBS in the 1970s. The first season holds up well, though the special effects get pretty bad — worse than most past seasons, I think, because they’re a little more ambitious.

The first serial, Robot, is a Pertwee UNIT story, reminiscent of Invasion of the Dinosaurs: a cabal of technocrats plots to build a perfect world, and steals an unstoppable super-robot to do it. It adds Harry Sullivan (Ian Marter) as a new companion, so that if Baker wasn’t suited to action scenes, they’d have someone to handle them. Baker was perfectly suited, so Harry wound up being superfluous, often little more than a buffoon, particularly as Elisabeth Sladen (Sarah Jane) and Baker played off each other well. Most significantly, this serial establishes that regeneration is a normal Time Lord ability in contrast to a freak power of the TARDIS (Hartnell to Troughton) or compelled by the Time Lords (Troughton to Pertwee).

THE ARK IN SPACE is a much stronger story, the first to use the horror elements that would be a recurring part of the next few seasons. The Doctor, Sarah and Harry arrive on an orbiting space ark holding humans in suspended animation against the day when polluted Earth becomes livable again. The day has arrived, but so have the Wirrn, insectoid parasite s laying their eggs on the Ark and whose larva have taken over Noah, the ark’s leader.

That leads directly into THE SONTARAN EXPERIMENT, a two-part serial. On behalf of the space station survivors, the Doctor, Sarah and Harry check out Earth to see if it’s really livable. Wouldn’t you know, a Sontaran has captured some of the few surviving Earthlings as a run-up to taking over the planet. This one is competent, but effective.

 

And then came THE GENESIS OF THE DALEKS, one of the all-time classics. The Time Lords tell the Doctor that the Daleks will inevitably conquer the universe unless someone aborts their creation. The Doctor, Harry and Sarah arrive on Skaro when it’s riven by a thousand year war between the Thals and the Kaleds that’s reduced the planet to an irradiated wasteland. Davros, a Kaled scientist has a solution: forced evolution of his people into a form that can thrive in the radiation, even though it will require a mechanical transport to move around and kill … and while he’s at it, why not eliminate all those inconvenient emotions?

A solid, six-episode arc anchored by the grim tone (the Thals are no longer unambiguously good guys) and by two performances. Michael Wisher as Davros manages a voice that sounds just like a human Dalek, intense yet monotone. As his coldblooded aide Nyder, Peter Miles is equally memorable.

Unfortunately the season doesn’t do as well by the Cybermen in the final segment, REVENGE OF THE CYBERMEN. Arriving at the space ark back when it’s just a minor space station, the good guys become embroiled in a struggle between the human crew, the Cybermen and the Vogans, inhabitants of a planet of gold. Gold, you see, can be used to clog up Cyberman respirators, choking them, which is an unconvincing weakness. The Cyber-actors use their own voices, and the Cybermen come off way too emotional. A disappointing finish to a solid season.

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Is There a Doctor In the House? Lots!

The past week reminded me of when I’d be watching nothing but time travel material for Now and Then We Time Travel. I started subscribing to BritBox, a streaming service for British shows. The main reason was the access to Doctor Who, which is surprisingly spotty on Netflix. I’d Netflixed the first two Tom Baker serials a while back, but I started on Britbox by going back further …

THE POWER OF THE DALEKS was the first Second Doctor serial; Patrick Troughton here is so dotty and so unlike William Hartnell’s cantankerous senior that companions Ben and Polly and even the Doctor himself aren’t sure he’s really who he says he is. To make matters worse the TARDIS has dropped them on a colony planet riven by rival factions, one of which is convinced these mechanical creatures they found in a spaceship will make wonderful robot servants … Although the video was lost the soundtrack wasn’t, so the Beeb animated it as they did with Hartnell’s The Reign of Terror. Not a classic story, but a landmark for proving the show could survive the loss of its star. The emphasis that the Doctor survived through the power of the TARDIS shows they still hadn’t established regeneration as normal — even when Troughton left at the end of War Games, it was the Time Lords forcing him to change (it wouldn’t be until the Fourth Doctor that regeneration became a normal Time Lord thing). “The law of the Daleks is in effect.”

Enough of THE WHEEL IN SPACE survives that rather than use animation, the BBC used stills from the show to accompany the voice track (two episodes remain intact). The Second Doctor and Jamie land on a drifting rocket from which they wind up on the eponymous space station. Here they meet Zoey, a brilliant, petite young woman who begins to realize her life has trained her to prepare for emergencies but only carefully predicted ones. Which does not include an attack on the Wheel by the Cybermen … Zoe’s one of my favorite companions (cute, small, brainy brunette — it’s like I have a type!) and the serial is overall good, but loses steam at the finish (the purpose of all the Cyber-scheming to seize the Wheel is quite underwhelming). And it’s depressing to think of the Time Lords just wiping Zoe’s memory at the end of War Games and dropping her back on the Wheel; I do hope she found some other way to break out of the box her society put her in. “Logic, my dear Zoe, only allows one to be wrong with authority.”

Last year’s Christmas special TWICE UPON A TIME (on Amazon Prime, not BritBox) has Capaldi contemplating not regenerating when he winds up meeting the First Doctor (David Bradley) who’s contemplating doing the same thing, which would, of course unmake the entire series. Can they survive and work together long enough to stop the seemingly sinister schemes of …. Testimony? A fun concept, though a bit heavy-handed on First Doctor Sexism; the ending gives us the new female Doctor, though not for very long. “By any analysis evil should always win. Good is not a practical survival strategy.”

THE FIVE (ISH) DOCTORS REBOOT was a spoof special tied to the 50th anniversary of the show in which Peter Davison, Colin Baker and Sylvester McCoy (Doctors Five Through Seven) desperately try to convince current showrunner Stephen Moffat that they’re a vital part of the history and need to make an appearance — oh, did you know McCoy was in The Hobbit, a major blockbuster theatrical release? Fluffy but very funny. “Instead of a sonic screwdriver I could have sonic beams come out my eyes!”

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Sixties spies and families, teen runaways and the Doctor: TV seasons viewed

Due to attending Illogicon, I didn’t watch any movies last weekend, but I’ve wrapped up a few TV seasons recently, so—

GET SMART was easily the best of the many Bond parodies that appeared in film and TV during the 1960s (the first season launched in 1965). Don Adams (left) plays Maxwell Smart, agent for CONTROL working to defeat KAOS, “the international organization of evil” (neither name is an acronym) with the help of Barbara Feldon (right) as Agent 99. The biggest challenge, though, is that Max is an utter and complete idiot. Funny scripts and deft performances (including Ed Platt as CONTROL’s Chief) makes this one a winner, though like a lot of 1960s material it sometimes shows its age (like one involving stereotypical comic Native Americans going on the warpath again). Amusingly the very first gag in the show involves Smart’s shoephone (seen above) going off in the middle of a concert audience — as co-creators Mel Brooks and Buck Henry note in the commentary track, what’s now routine was outrageously ridiculous at the time. “What you’re saying is that there could have been 50 people in this room with the victim, but only two of them smoked!”

The second season of THE DICK VAN DYKE SHOW improves on the first: it’s funnier, and there are fewer variety-show episodes where everyone’s doing a musical number. As always the cast is top notch, like one episode in which a game of charades turns extremely personal. And like Anatomy of a Murder, it’s a hand visual guide for writers, in this case what an upper-middle class suburban lifestyle was supposed to look like in the mid-1960s (within limits: most couples didn’t sleep in twin beds). “How did you get On The Street Where You Live from that?”

RUNAWAYS‘ first season makes a number changes to the Marvel comic, some of them typical (much the same way Asgardians are ETs in the MCU, the Minoru Staff of One is explained as nanotech), some of them presumably because the characters are people rather than drawing — the parents get more screen time and they’re not as openly evil. That said, I thoroughly enjoyed the story of a group of LA teens who discover their wealthy parents are actually members of a sinister cult known as the Pride, organized around sinister Julian McMahon. The only change that really didn’t work for me was that Molly’s not old enough to really stand out from the other kids. “After twenty years, your cheese jokes still never fail to amuse me.”

The latest season of DOCTOR WHO (tenth season of the new era) as y’all may know, is Peter Capaldi’s last, and I think he went out on a win. He has a new companion (black lesbian Bill), another new companion (the ET Nardol) and finds himself dealing with Ice Warriors, the original Cybermen, Missy and the Master’s previous incarnation in various stories. One or two yarns were weak (Eaters of the Light didn’t do much for me) but overall a solid season. “You can’t possibly set a trap without painting a self-portrait of your own weaknesses.”

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Exit Jon Pertwee, enter Elisabeth Sladen: Doctor Who, Season Eleven (#SFWApro)

Following Jo Grant’s departure in S10, the opening arc of S11 introduces an even more popular companion, Sarah Jane Smith (Elisabeth Sladen). An investigative journalist, she uses her virologist aunt’s credentials to sneak inside UNIT in THE TIME WARRIOR. After butting heads with the Brigadier and the Doctor, she slips inside the TARDIS as the Doctor investigates the mysterious disappearance of multiple scientists. The trail leads him and Sarah to medieval times, where a Sontaran, Linx, is using them to prepare his ship to return to the stars. It’s a good debut for the Sontarans and for Sarah, who shows no shortage of courage under trying circumstances (producer Barry Letts says in the special features that she won the part by playing scared and brave at the same time). “A straight line is the shortest distance between two points but it’s far from the most interesting.”

The Doctor and Sarah return to London only to find it ravaged by THE INVASION OF THE DINOSAURS (all rights to image remain with current holder), a very good serial reminiscent of some British SF films of the era in its shots of abandoned London. Something is ripping through time to send the dinosaurs rampaging through the city but what? It turns out that a radical scientific group is planning Operation Golden Age, a chance to rewind time to the dinosaur age, send chosen volunteers to occupy the dawn age and do history right next time — which of course, requires erasing all the history we already have. Good, and particularly nice use of Mike Yates, who’s on the revolutionary side after seeing what big business is doing to pollute the Earth in last season’s The Green Death. “It’s a triceratops! Look Brigadier, try and keep it occupied while I’m finishing this off, will you?”

Unfortunately things become a lot less interesting with DEATH TO THE DALEKS. The Doctor and Sarah arrive on the planet Exxilon along with a Dalek scouting party and a human ship seeking a rare mineral that can cure a pandemic. Unfortunately the isolationist Exxilons have a beacon in their fortress that deactivates all electronic devices (the Daleks can move but they can’t zap people) forcing humans and Daleks into an alliance despite the Doctor’s warnings. Unfortunately it all feels rather listless, badly structured and uninspired — and like Colony in Space, it’s annoying that the alien race, though not genuinely evil, obligingly dies off at the end. “Inside each of those shells is a bubbling lump of hate.”

While I found the Curse of Peladon serial a fun costume drama, THE MONSTER OF PELADON is much less fun. Once again the beleaguered government of Peladon is coping with recalcitrant miners; once again the monstrous Aggedor stalks the mines; and lots of running through tunnels to pad things out. The Ice Warriors in their last appearance until the new series of Who, add some spark, but not enough. “You forget, Doctor, I am your judge.”

THE PLANET OF THE SPIDERS was Jon Pertwee’s final serial, reminiscent of The Daemons in its parapsychology. It turns out Mike Yates has been getting his head together in a retreat run by Buddhist monks, only he’s discovered some of the retreaters are up to No Good. Sure enough by tapping the mental powers the monks have taught them, some of the apprentices have contacted the spiders of Metebelis, who plan to use the humans to provide a gateway to invade Earth. I like this better than a lot of people, but it definitely isn’t first rate. However I do give it extra points for giving Mike Yates a character arc, something you don’t see much in the show’s supporting cast. And of course we have the final scene in which the Third Doctor morphs into the Fourth … “While I admire your optimism in the face of the inevitable, will you please shut up?”

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New Screen Rant column: 18 things you didn’t know about the Daleks (#SFWApro)

As my new Screen Rant column explains:

Daleks can climb stairs!

An appearance in Looney Tunes: Back in Action almost kept the Daleks from appearing in the new Doctor Who series.

There’s actually a Christmas song about Daleks.

And more quirky trivia from the nastiest of TV’s aliens. Go read right now or — “Ex-ter-min-ate!”

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Goodbye Jo, Goodbye Jackanapes: Doctor Who, Season Ten (#SFWApro)

As I don’t have enough material for a book-review post this week, how about Doctor Who? Season Ten was noteworthy for writing out Jo Grant and for losing the Master (afterRoger Delgado died in a car accident, nobody wanted to replace such a fan favorite write away).

The season kicks off in high style with The Three Doctors (all rights to image remain with current holder) in which the renegade Time Lord Omega threatens all time and space; when the Third Doctor fails to stop him, the Time Lords send in the Second and the First (though Hartnell’s health issues left him only an image on the TARDIS monitor). This was an outstanding one, though slightly undercut by the low budget — Omega’s monster servants look like they’re spackled with gumdrops. Noteworthy also in that ends with the Doctor regaining his freedom to travel the time stream. “If I exist only by my will, then my will is to destroy!”

In Carnival of Monsters, the TARDIS’ first test flight appears to land the Doctor and Jo on a cruise ship in 1937, only it seems time is repeating over and over … because the ship is actually trapped in a time-space viewer an alien huckster is using to entertain another planet. Oh, and the monsters from some of the other time-space snapshots are breaking out … This gets a bit too crowded — the issue of the aliens overthrowing their despotic leader gets very short shrift — but it’s not bad. “They’ve no sense of responsibility. Give them a hygiene chamber and they store fossil fuel in it.”

In trying to return from that adventure, the TARDIS materializes on a space freighter plying THE FRONTIER IN SPACE. That doesn’t go well as Earth is convinced the alien Draconians are preying upon Earth shipping; the Draconians, conversely, are convinced Earth is responsible. Hmm, could someone be setting the two sides against each other? This starts stiffly with the guest cast clench-jawed in intensity, but it picks up as it goes along. And I really like that Jo gets some great moments, such as blocking the Master’s hypnosis (not easily done). This included the Master, the Ogrons (their last appearance — surprisingly the new series has yet to revive them) and the Daleks; the ending sets up a battle between the Master and the Daleks but Delgado’s death nixed that (as the ending is primarily a segue into Planet of the Daleks it’s a little awkward anyway. “Allow me to congratulate you—you have the most closed mind I have ever encountered.”

PLANET OF THE DALEKS comes off as a remake of the series’ second serial, The Daleks: once again the Doctor and the Thals (the other inhabitants of Skaro) join forces to attack a Dalek citadel (where several thousand Dalek warriors are in suspended animation waiting for reactivation). Of course by this point there were lots of fans who’d never seen the original (I hadn’t) — but by the same token, I wouldn’t have gotten any kick out of the return of the Thals (“Who?”). This does have a great turn by Katy Manning, as Jo’s virtually a solo act for half the first episode. “Earth doesn’t exist — it’s a name out of old legends.”

Last and least we have THE GREEN DEATH, in which Jo gets involved in a protest against a polluting corporation, then discovers (along with the Doctor) that its pollution is breeding Giant Killer Maggots, oh plus there’s an evil computer in charge plotting to take over the world. The elements are there for a good one, but they never pull together — while the idea the maggots result from the computer’s neglect rather than intentional evil is interesting, it never gelled (it’s like The War Machines just happened to be rolling through London at the same time as the Doctor fought WOTAN). Add in heavy-handed ecological preachment (even though I’m sympathetic to the sentiments) and Jo become much more dimwitted so the Professor (whom she goes off with) can demonstrate his braininess makes him worthy to claim her affections from the Doctor. However I do highly recommend Global Conspiracy, a short mockumentary in which a reporter tries digging up the incredible truth of what exactly happened during the serial (or is it just an urban legend, like “stories of lizards in vests attacking seamen?”). It’s pitch-perfect, and hysterical. “A shame we didn’t arrange for an orchestra to play a symphony at my ascension.”

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Doctor Who, Season Nine: Back out in space and time (#SFWApro)

Jon Pertwee’s third season was a season of changes. After using the Master in every serial the previous season, the producers decide to cut back so his appearances would be a welcome surprise. They were also tired with using the UNIT format in every story, so they found ways to get the Doctor and Jo Grant back into space and time without untethering the Doctor completely from Earth.

doctorwho_dayofthedaleksDAY OF THE DALEKS, for instance, has time travelers from the future attacking a peace conference in the belief one of the diplomats is plotting to launch a nuclear war. However that war gave the Daleks control of future Earth so they’re coming back to see everything plays out the way it’s supposed to. There’s time travel in this one, but only using the future travelers’ tech, not the TARDIS. It’s a good story, though hamstrung slightly by only having access to three Daleks. The serial introduces the Dalek’s orc-like hench-aliens, the Ogrons, but they didn’t take: one more serial next season (IIRC) and they were gone (all rights to image with current owner).

THE CURSE OF PELADON has the Time Lords once again pluck the TARDIS into space so that the Doctor and Jo can intervene on the planet Peladon, as the forward-thinking monarch and his reactionary ministers lock horns over whether they should join the Earth federation and enter the modern world. This is a rather old-fashioned costume drama in many ways (even though it was inspired by debates over Britain joining the European Union, known back then as the Common Market), but it’s fun, and makes good use of the Ice Warriors. However unlike the previous season’s Colony in Space it’s hard to see any reason the Time Lords should care enough about Peladon to deploy the Doctor.

THE SEA DEVILS are kin to last season’s Silurians who like their brethren are disgruntled to wake up and find evolved apes have taken over their planet. The Doctor hopes that this time he can broker a peaceful solution, but the Master is just as determined to unleash the Sea Devils on humanity. This could have been great, but at six episodes it feels padded, included a protracted fencing scene between the Master (Roger Delgado was a skilled fencer) and the Doctor (because every high-security prison has fencing foils on the wall).

Then the Time Lords once again use the Doctor as an errand boy in THE MUTANTS, sending him to a planet where the oppressive Earth colonial regime is struggling against granting the natives independence — and what about the strange mutations among the inhabitants? This is too stock, with way too many familiar tropes, to work for me.

THE TIME MONSTER plays like an unsuccessful knockoff of last season’s The Daemons. This time the Master wants to destroy Earth by trapping the cosmic entity Kronos, a time-devouring chronovore. This turns out to require a time trip back to ancient Atlantis, with the Doctor following along to stop him (the TARDIS is up and running again) so we get a lot of Lost Continent sword-and-sandal adventure along with the SF. Although Roger Delgado is in fine form as the Master, overall this is pretty mediocre, particularly the visuals for Kronos (looking something like an acrobat in a white costume and floppy sleeves).

Overall this was inferior to the previous season, but still enjoyable—of course, I’m a diehard fan so YMMV. Haven’t started Season Ten yet, but I’ll return to the topic when I do.

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BBC TV: The Doctor’s Ninth Season and Sherlock goes Victorian (#SFWApro)

doctor-who-season-9-jenna-coleman

So I finished the ninth 21st century season of Doctor Who (all rights to image remain with current holder) and I found it a very mixed bag. Among the good:

•The return of Missy (Michelle Gomez), the Master’s new identity (we also see another timelord switching genders on regenerating—I wonder if they’re setting us up for a woman to replace Capaldi?).

•I love Clara (Jenna Coleman).

•The two part Zygon episode is great. And I don’t think of the Zygons as really having greatness in them (they’re definitely a second-string adversary). And I love seeing Osgood (Ingrid Oliver) again after her supposed death at Missy’s hands.

•The Dalek/Missy/Davros story kicking off the season, “The Magician’s Apprentice,” was good.

Now the less satisfactory part:

•Part two of the opener, “The Witch’s Familiar,” didn’t work at all. We get a lot of background on the Daleks but it’s all just set up for the ending twist and I found it forced.

•”Sleep No More” is a found footage episode that doesn’t work at all. The concept of monsters formed from eye mucus would have been great if the episode worked … but it didn’t.

•The final two-parter, “Heaven Sent” and “Hell Bent,” includes a spectacular solo episode by Peter Capaldi, but the story left me flat. It didn’t help that we have the return of Gallifrey just hand-waved as nothing worth discussion. However I will say the final fate of Clara and the immortal Me (Maisie Williams) is probably the best write-out for a companion in the reboot series.

Looking at it overall, we have more pluses than minuses, which I’d forgotten after watching the disappointing ending.

I also got around to watching SHERLOCK: The Abominable Bride which is what the Beeb offers to tide us over until the fourth season. In this TV movie, Sherlock starts imagining himself and Watson as Victorian detectives investigating the case of a dead bride who somehow rose from the dead to kill, and kill again (this is loosely inspired by one of Watson’s untold tales, “Ricoletti of the Clubfoot and his Abominable Wife”). This was fun, though while they crack a lot of jokes about the classic series, I notice they don’t bat an eye at Sherlock wearing a deerstalker (he only wears one occasionally in the illustrations for Doyle, and never in London). A fun diversion.

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Non-time travel movies, some time-travel TV (#SFWApro)

As THE DARK CRYSTAL (1982) is a favorite of LeAnn’s, I suggested catching a showing when they ran it at the Carolina Theatre. This was Jim Henson’s first non-Muppet movie, and a startling accomplishment at the time for being an all-puppet film with no humans. Now, of course, the designs don’t look as startling, and I don’t find it as imaginative as I do Labyrinth, but the story of a gelfling trying to restore balance to the world by repairing the eponymous giant gem is a good fantasy film and the visuals still look pretty neat. “Writing is words that stay.”

Akira Kurasowa’s NO REGRETS FOR OUR YOUTH (1946) traces the story of a young woman and her radical lover from his early days as a college protester through some undefined anti-military activism (I’m guessing his agenda would have been obvious to the Japanese audience, but to me it’s as unclear as My Son John‘s evil plans). This starts off slow (I think Kurosawa could have skipped a lot of the early years) but improves once the woman pairs off with her boyfriend. “I’m sewing you a kimono you may never get to wear.”

I haven’t rewatched SLIDERS for my time-travel book (even though I do include alternate history), because I remember it well. However I did feel it worth catching the first episode, just to confirm my memory of the fine details was accurate—and no, it wasn’t. Mostly reminds me of how uneven the show was, with clever bits (a world where JFK is apparently married to Marilyn Monroe) and clunky bits (I always found Rembrandt Brown’s comic relief more painful than comic). So I’m cool with not watching more.

p8158511_b_v8_aaK9 was a 2009 Doctor Who spinoff in which a scientist pulls the “little tin dog” out of time while attempting to reach his lost family. And then it turns out more and nastier things start coming through … Not as fun as Sarah Jane Adventures but watchable (and more time-travel centric, too). This is what consumed most of my viewing time this week as I realized it qualified and started watching.

I haven’t quite decided if STAR TREK: Deep Space Nine qualifies or not: the space station is floating near a wormhole occupied by timebending aliens who keep getting involved in events, but that aspect isn’t as big a part of the show as I remember it (most of the time travel stories are standard time glitches such as could happen in any Trek show). However, I do think I’ll include a section on the “Mirror Universe” stories that start with Star Trek: Mirror, Mirror then figured into several DS9 episodes, then came ENTERPRISE‘s “In a Mirror Darkly,” showing the early days of the Empire (unlike the other stories, this one is set entirely in the Mirror Universe, even changing the credits to match).

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TV I haven’t watched all of (#SFWApro)

A busy week for watching time-travel television, not to mention some series I had to settle for just researching. And in several cases, I only watched a couple of episodes—the anime DORAEMON (1973), for example, doesn’t have any sort of big arc or grand design, just a flexible kids-TV concept. The impoverished descendants of pre-teen Nobita send a robot back to help him succeed in life (because then they’ll be better off) but the best they can afford is Doraemon, a talking cat-bot with an amazing arsenal of gimmicks to get Nobita out of trouble (like the Dandelion Fluff Comb: your hair puffs up like dandelion seeds and you float gently through the air instead of falling). I can see why it’s hooked kids for 30-plus years, but I’m way outside the target range.

MV5BMTkyMDQ0NDY1M15BMl5BanBnXkFtZTcwOTU1Njk3MQ@@._V1_SX640_SY720_EUREKA (2006-12) gets into the book for a plotline in which several cast members traveling back in time leads to major changes in the status quo: nerdy Fargo now runs the town of geniuses in which the series is set; Jo’s boyfriend loathes her; Allison’s autistic son is now normal; Henry is married. And they can’t explain why any of this is weird because if word gets out, they’ll be subject to serious military sanctions … I can probably put this in the appendix (it doesn’t massively affect the plot after the first few subsequent episodes) but it had enough of an effect perhaps I won’t. In any case, this was a fun one to rewatch (rights to image reside with current holder). “I’ll call my paper ‘Beam Me up Scotty’—unless I go for a title that’s more recent and more serious.”

DOCTOR WHO: Day of the Daleks kicked off Jon Pertwee’s third season (as Hulu’s no longer streaming these, I’m back to watching and reviewing intermittently rather than season by season), bringing back the Daleks for the first time since their destruction in Evil Of the Daleks. A series of assassination attempts on a prominent diplomat trace back to a Dalek-ruled future Earth, but coming from the resistance (which believes the man is responsible for the devastating war that left us vulnerable to invasion) rather than the Daleks. This has some good use of time paradoxes (though one, the Doctor and Jo showing up to meet themselves, isn’t resolved) and introduces the Blinovitch Limitation Effect (a rule of time travel that says you can’t go back and undo your own actions). However it looks too much like a low-budget version of Dalek Invasion of Earth: only three Daleks and the future sets are either cellars or open fields. “Every choice we make changes the history of the world.”

I’m a huge fan of INUYASHA but given my current time constraints I was quite bummed to learn of a sequel series, INUYASHA: The Final Act, because I’d have to add that in. Surprise! I already saw it but misremembered it as part of the main series (but rewatching the last episode cleared some misperceptions of how it finished). The story of a time-traveling schoolgirl, a permanently grouchy dog-demon and their oddball companions is one of my favorites, and if time had permitted I’d have been happy to rewatch the whole thing. Inuyasha—sit! “The sound of your voice has only given Kagome false hope.”

ATLANTIS (2013-15) by contrast is a clunking adventure in which a man stumbles through a dimensional gate into ancient Atlantis, where he has the usual sword-and-sandal adventures with an occasional touch of magic. There’s nothing in this I haven’t seen done better countless times. “How could a city exist under the ocean?”

BEING ERICA (2009-11), by contrast, was charming enough under other circumstances I’d have enjoyed watching it. The protagonist believes her miserable no-boyfriend, no-career, no-parental approval life is the result of all her bad choices; her enigmatic therapist gives her the chance to go back in time and change them (though like Roark on Fantasy Island, the lesson learned is usually what Erica needs, not what she wants).  Online research indicates that while Erica has a lot of experiences, I can get a reasonably good sketch of the show with the couple of episodes I found online. Extra points for making fun of the butterfly-effect theory (“Is it possible that your alcohol consumption, while important to you, does not affect the world?”) “There are many mistakes, but listening to your inner voice isn’t one of them.”

SIR ARTHUR CONAN DOYLE’S THE LOST WORLD (1999-2002)is a series I’m familiar with but I rewatched the final two episodes just to refresh my memory. This story of Professor Challenger and his crew trapped on a plateau that includes not only Doyle’s dinosaurs but time warps and jungle girls isn’t A-list but I’d certainly have been back if the cliffhanger (everyone trapped in a different time zone facing a different peril) had been followed by another season. “It’s not reincarnation at all—it’s my body!”

More in the next post.

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