DrWhoSeason7

Season Seven represented a momentous turning point in the evolution of DOCTOR
WHO. Further to the obvious advent of colour and introduction of a new and radically
different character to prominence, the programme adopted an original direction
towards serious science fiction and possible "real-life" scenarios. Furthermore, a
mature attempt was conducted to investigate and address social and moral issues.
These were reflections from the then present and fashionable newsworthy items;
events within which the interests of normal people had become irrevocably entangled.
Whether purposefully or unintentionally, several political, ecological and sociological
ramifications were exaggerated and exploited. Season Seven premièred in January
1970; similarly with the commencement of each virgin decade we are promised the
Earth. With this partially subjective ploy, they delivered exactly that. Supposedly for
the sake of viewer identification and additionally the ever-present monetary restrictions
-- in this instance fundamentally scenery and effects budgets -- the decision was
undertaken to restrict the third Doctor to the confines of Earth, acting as voluntary
Scientific Advisor to UNIT under the supposed leadership of the Brigadier.
Consequentially, 1969 proved to be a veritable goldmine for those involved in writing
and production. Many occurrences during this year offered bright and exciting visions
for the future, including the maiden flight of the Anglo-French Concorde, the maiden
voyage of the QE II, and the first men on the lunar surface (if you believe they actually
did it).

The initial four stories of the new decade comprised a diversity of relevant issues and
thought-provoking subject matter. For the first time in the programme's history the
monster creations and visual effects became secondary to powerful and tight plotting.
The concluding story investigated the implications of tampering with the laws of
Nature; a battle between man-made science and the ecology, with an alternative
dimensional reality thrown in. This appropriately conflicted with an intelligent reptilian
race, vying hostilely (at least latterly) for a returned dominance of the Earth -- the
second story. The third depicted an associable space conflict with prominent Earth
officials the aggressors, and the opener a storyline in which an alien conscience
dangerously manipulated probably the commonest artificial substance utilised in
everyday activity.

Testament to the fact the first two stories of the season feature intelligent alien life
forms accrues the knowledge the majority of people still believe in the existence of
extra-terrestrials (in my humble opinion, it is rather conceited to admonish the
possibility). However, this is precisely what occurred in America. An official
announcement was broadcast categorically denouncing the existence of extra-
terrestrial UFOs; this concluded the American Air Force Project Bluebook
investigations of reported alleged incidents -- despite limited proximation of said
enquiries and an admitted fifteen percent of unsolved and therefore unclassified cases.
This actually had the effect of heightening interest, as opposed to the required
opposite. Many saw this as a government cover-up, otherwise why bother to make the
statement at all? Hence, the legends surrounding the Hanger 18 incidents, of which
there was said to be a number of eye-witnesses to a crash-landed UFO that was
quickly recovered by the USAF. Spearhead From Space has the Brigadier explaining
to Liz Shaw that ten tons of alien material falls on the Earth every day, and that The
Institute of Space Studies, Baltimore, reports five-hundred planets capable of
supporting life in our sector of the galaxy.

Robert Holmes achieved an original storyline with the established DAY OF THE
TRIFFIDS / INVASION OF THE BODY SNATCHERS plummeting pod scenario.
The majority of the most effective horror stories are those which materialise
comfortable or taken-for-granted everyday objects into something to be feared. The
concept of a collective intelligence manipulating the very nature of plastic is nothing
short of sensationally inspired. Disregard the Daleks' tour de force across Westminster
Bridge; what can compare to the chilling but thrilling sight of showroom mannikins
breaking through the shop windows and emerging on to the street pavement to
summarily kill not just the military, but common civilians -- individuals, including
elderly women, awaiting public transport -- and a beat policeman, which were treated
with considerably more respect than today. It sounds outrageous to comment thus,
but it is no longer shocking or indeed unusual to hear of an injury or killing of a law-
enforcement officer in the line of duty.

I can currently summon to mind only three possible influences for this premise: The
After Hours, an episode from THE TWILIGHT ZONE screened in 1960, portrayed a
female character discovering a mysterious ninth floor in a department store, on which
the mannikins become animated one month in every year, only to discover she is one
such example. THE HOUSE OF WAX story, which was turned into a successful
Hammer Horror movie, had individuals disappearing and being fashioned into
waxwork models for a sinister purpose. In Ray Bradbury's Marionettes, Inc., a
matrimonially oppressed husband is offered a temporary improved facsimile of his
wife. The latter instance is undoubtedly a cross-over towards an android storyline, of
which there are countless previous examples.

The success of Spearhead From Space birthed a sequel the following season, further
exploiting the manipulation of manufactured plastics; Terror of the Autons offered
additional realism to the viewing public with the introduction of plastic daffodils,
distributed by the costumed Autons to anybody prepared to accept them. Not
significantly long prior to the airing time of the story, plastic daffodils were dispatched
as promotional "freebies" with brands of soap powder. But in this fictional scenario, a
prearranged signal caused a hardening film of plastic to be sprayed over the nose and
mouth. The most fundamental items of a civilised society -- namely a child's toy, a
comfortable chair, a telephone cord and even false policemen -- were seen to murder
at a given signal or directive, gaining the programme criticism for a general lack of
consideration regarding the vulnerable and malleable minds of children.

Doctor Who and The Silurians, the only story name to contain the programme title,
investigated the dilemma of scientific curiosity against survival of the fittest. Malcolm
Hulke's excellent script contained a variety of comprehensive exploratives. The
premise of evolutionally advanced reptilian life forms has been exploited in other areas
-- particularly since this story -- but seldom in a prospective co-existence with Man.
Only two post examples spring to mind: one being the 1984 American mini-series, V,
an alien invasion in a modern / futuristic setting; and the popular Harry Harrison literary
trilogy, West of Eden. Prior instances are limited to the GODZILLA / terrorising
monster movies. In a prehistoric setting, the West of Eden books had man hunting
further afield and discovering the Yilanè, a reptilian race of advanced intelligence. Their
technology was based on the direct manipulation of nature, vegetation for buildings
and appliances, and various land and sea-fairing animals for transport -- unlike the
Silurians who, coincidentally, developed their science electronically, paralleling that of
mankind. At least, this is what the appearance of the deep-hibernation incubation units
indirectly informed us.

The third psionic eye acted as an in-built multi-purpose Swiss Army Knife, emitting
signals which operated locks and machinery, opened doors and burned through metal
and rock, as well as maim and kill. It also controlled the Tyrannosaurus Rex, utilised
as a guard.

When Hulke was initially approached to contribute a script, he was determined not to
produce an alien invasion or corrupt official story, which he felt the Doctor's
restriction to Earth had limited the writers to. The concept of co-existing intelligents on
Earth cleverly opens a veritable can-of-worms; the implications both morally and
indeed racially are staggering. How would the population react to the knowledge of
high-intelligence reptiles? Doubtless, an inbred irrational fear would assert itself, and a
bloody war become inevitable (the Silurians, nonsensically, have no phobias about
man, except instantly considering them lower life forms, and so expendable). With this
prophetic scenario so probable, is it then acceptable to take action before the fact? To
possibly save millions of human lives at the cost of countless Silurians who,
conjecturally, have equal rights to inhabit the Earth? After all, they were indigenous life
forms. To the Doctor's utmost disgust, the Brigadier behaved thus, effectively
committing xenocide by exploding the caves. A typically simplistic militaristic answer
to a prospective gigantic problem. But were his brutal actions justified, or should they
be compared to Hitler's extermination of the Jews in World War II? We were offered
an explanation in the outcome of the plot: if the diplomatic elder had remained leader --
there was a Silurian leadership dispute, which is possible, perhaps inevitable in any
hierarchical system -- negotiations for a peaceful settlement may have been reasonable;
however, having been usurped by the impetuous and aggressive young puritan killer,
who had already spread a virus deadly to humans, prospects for the future looked
decidedly bleaker. Still, is this a rational excuse?

Incidentally, on the subject of racism, in 1969, a year before The Silurians was
screened, Conservative MP Enoch Powell proposed that Harold Wilson's Labour
government repatriate resident blacks and Asians. In America, James Earl Ray was
sentenced to ninety-nine years imprisonment for the assassination of Martin Luther
King.

Many an evening could be filled with philosophical discussions of this nature, which
only further signifies the epic potential of this masterpiece script. Proof of this is
evident in the fact that a Silurian is not seen in its entirety until the conclusion to part
three.

There was another interesting dilemma created by Hulke in this story. Cyclotron
proton accelerator operator, Dr Quinn, was helping the reptiles in return for promised
secret technological knowledge which he planned to write-up into a book. Given the
prospect of worldwide fame and limitless monetary resources, it would be interesting
to record how many people might sell out the human race, bearing in mind it would be
mankind offering the recognition. For his troubles, Quinn found only death.

Arguably the single most significant media event of 1969 was the American Apollo 11
lunar landing (?!) on July 20, coming after a string of previous attempts to investigate
space and primarily the moon -- including the first link-up and transfer of men from
one Soyuz craft to another, and the disastrous unmanned Russian Lunar 15 which
crashed into the moon. Interest at the prospect of space adventure, spawned by the
visionary writers of the nineteenth and early twentieth century and furthered by the
numerous 1950's serialisations and Uri Gagarin's momentous representation of
mankind's initial venture into space, was revitalised by Neil Armstrong and associates
firmly traversing extra-terrestrial ground -- albeit merely the Earth's natural satellite. The
space program became of paramount interest; the world's most topical incidents,
although some unfortunate occurrences on terra firma demanded more immediate
attention. Progression required a relating storyline which would transcend the concepts
of rudimentary Earth-originated spacial travel. David Whittaker's The Ambassadors of
Death materialised as CAPRICORN ONE at the extreme opposite end of the
spectrum. Opposed to the US government endorsed conspiracy regarding a faked
space expedition portrayed by the movie, this third outing in the Season Seven quartet
analysed the concept of men journeying into space and radiation-infested alien
doppelgangers returning in their place. This was an inventive original twist on the over-
utilised all-media angle of the astronauts returning possessed or dangerously
traumatised.

Rather than the collective intelligence of the Nestene in Spearhead, these aliens were
highly radioactive, requiring an almost constant supply of in excess of two million
Rads to maintain proper health and mobility. A minor weak link in an otherwise serious
and intelligent storyline came in the latter stages when the Doctor was threatened with a
phrase reminiscent of all the worst fifties B-movies: "We will destroy your planet."
However, this clichéd slip is excusable in an otherwise gripping and thought-provoking
story. It exists most importantly as a sign of outstanding eminence; the high-regard in
which the Russian / American Space Race was currently being held. Proving
corruption is not uncommon within the corridors of power, General Carrington, head
of the Space Security department, hired the villain Reegan to kidnap the ambassadors
the astronauts had been exchanged for, and utilised them as killers to rouse public
opinion in an attempt to persuade the combined nations of the Earth to launch an
attack against the UFO. Initially, Reegan believed them to be the Earth spacemen,
altered by a dangerous infestation of radiation sustained when passing though a rogue
space belt; therefore controlling them by means of a primitive communications
command device to venture forth on a robbing spree. At the conclusion, when the
danger had passed and Carrington's treason had been highlighted, the Doctor calmly
exited the space operations control room like Clint Eastwood's spaghetti western
Stranger.

In retrospect, it is rather ironic that more than thirty-five years after that auspicious
Apollo 11 display, the Space Race has not progressed far beyond the likes of
sophisticated communications satellites (the majority of which were privately funded),
long-range modules dispatched to relay tantalising graphic images of our solar system,
and a string of troublesome shuttle launches. Imagine how further regressed than our
present situation we might be had not World War II initiated the Nuclear Arms Race, a
passive battle for military supremacy (don't adopt the preconceived misconception
that I condone the act of war; it couldn't be further from the truth!). More than a
quarter of a century separated the TV character Michaels' plunge into infinity and the
reality of Briton Michael Foale's Discovery excursion to test the practicalities of an
environmental suit. The coincidental name similarity is rather prophetic, connecting
together over three decades in full circle. Incidently, in 1969 NASA was contemplating
the possibility of a ten year plan for a Mars colony! This was reflected in The
Ambassadors of Death with an early Earth Mars Probe making contact with
individuals of an intelligent race.

Don Houghton's Inferno managed to portray just what Malcolm Hulke had earlier
strived to avoid: it created both an unimaginative monster and a power-crazed
scientist. But despite this it worked extremely well. Many exploitative options and
situations were opened. A project to drill into the Earth's outer crust to release limitless
natural resources of energy gradually malfunctioned. When Professor Stahlman
vehemently refused to halt or even decelerate the rate, Swarfega began to squelch from
the outlet pipes. Comparative to The Silurians, the machinery malfunctions were
symptomatic of a considerably larger problem. When the hot green substance was
touched, the victims retrogressed into green-faced David Bellamys -- otherwise known
as Primords, adapted to extreme heat and so sensitive to low temperatures.

Originally, this was believed to be too compact a script for the allocated seven parts,
so the additional concept of the alternative dimension was written in. Nevertheless, it
came across as being heavily padded, with many similar scenes and dialogue. But the
plot allowed this to be acceptable, even enjoyable, as the Doctor attempted to change
the course of history to prevent the catastrophe which destroyed another time-line. In
the alternative reality, there existed several subtle but significant alterations. UNIT was
now the Republican Security Forces organising a scientific labour camp for the drilling
project. They were a Nazi-like group -- manipulated to their full potential years prior to
the Tom Baker classic Genesis of the Daleks -- with the "Brigade Leader" a ruthless
and self-important Hitler, possessing little compassion where torture and killing was
concerned. The paradoxical dimensional realities, to which the Doctor was strangely
immune, allowed the situation to be played out in its entirety, letting us witness the
result of an apocalyptic human error without sacrificing our own time-line. Infinitely
more original than waking up to discover it had all been an awful nightmare!

The potential time-bomb of ecological disaster is particularly valid in this day and age,
with chemical pollutants, global warming, industrial wastes and a hundred other
problems of living in a modern so-called civilised society. Certain parties continue to
condemn or entirely ignore the work of Greenpeace. Inferno has proved to be rather
prophetic in an indirect manner; 1970 was not generally considered to be an
environmentally aware period, with only two turn-of-the-decade newsworthy items:
Canada banning the hunting of baby seals in the Gulf of St Lawrence, and antipollution
guidelines being issued by the Health Education and Welfare Secretary in America.
Only the fictional but equally prophetic DOOMWATCH TV series, shown at around
this time, was flying the flag for Mother Nature. It is unlikely that this had any direct
bearing on DOCTOR WHO, although there was the obvious Gerry Davis and Kit
Pedler connection.

Each of the stories possessed the all-important ingredient of an outstanding
perpetrator, which elevated the plot beyond mundaneness. Everyone loves to hate an
identifiable individual in these things; monsters, whether physical, parasitical or
spiritual, is the regular answer to this conundrum. However, these are to a certain
extent removed from emotional contact -- meaning we are supposed to be terrified and
discriminately dislike every individual of the species, although in this case the Elder
Silurian is the exception to the rule. A human, or at least humanoid, is required for
association purposes. An alien can be excused for the manner in which it acts. It might
be inherently aggressive and know nothing else. But it is curious to discover the reason
for a human conducting himself similarly. What are his / her motives? Perhaps a lust
for wealth, power or status -- all darker human foibles.

In the case of Channing in Spearhead, played by Hugh Burden, it is establishment of a
set goal. As a Nestene, it was his task to bring together the collective intelligence. His
motive was clear: world domination. Playing the part of a human running a plastics
factory, he was represented as an extremely cold and aloof character, with eyes which
displayed the fact that he was always somewhere else -- an integral part of the octopod
intelligence. Channing reminded me of an early incarnation of the Master; the
fundamental difference being that the late Roger Delgado's excellent portrayal was
brimming with charismatic charm, essentially revealing the fine line between good and
evil and the grey areas between. But was this the seed of the notion? After all,
Delgado's début was made in this classic's sequel, the first story of Season Eight.

Dr Quinn (Fulton Mackay) in The Silurians was not so much a fully-fledged villain as a
hero with delusions of grandeur. Whilst carrying out a highly specialised task with the
Cyclotron, he aided the Silurians by allowing them to tap into the power required to
revive their race from forced hibernation. In return he was promised scientific
knowledge to revolutionise human technology. His objective was to retire and write a
book; a reasonable enough aspiration, but not when condemning humanity to achieve
it.

With General Carrington (John Abineri) in Ambassadors, it was a sense of xenophobia
and anxiety of the unknown which drove the character. Hiring petty criminals to
kidnap the Ambassadors and utilising them to rob and murder, he hoped to turn public
opinion against them and persuade several nations to combine forces to attack the
UFO.

Inferno had Professor Stahlman (Olaf Pooley) aspiring to greatness. He initiated the
drilling project and supervised it every step of the way. However, such was his haste
for personal achievement and ultimate recognition through success, he refused to
recognise the signs of impending disaster. Ultimately, the intelligent scientist steadily
evolved into a power-crazed megalomaniac -- within the confines of the plant -- who
was desperate to witness his objective at any cost and prove to the world that he was
correct.

Manneristically, the Doctor was obstreperous at times, possessing little patience for
individuals without similar superior knowledge and who disagree with his views of the
situation. He rather bullied his way into positions of authority, thinking nothing of
ridiculing high-ranking officials. He harboured no regard for pompous officialdom.
When the Doctor first entered the space centre operations room in Ambassadors, we
heard, "No, I haven't got a pass. Why? Because I don't believe in them, that's why!"
There was a similar exchange in Spearhead, when he bluffed his way into UNIT HQ.
Once he had manipulated himself into high-security confidence, the officials found
themselves sitting back and ultimately relying too heavily on the skills of the
newcomer. The eccentric character of the third Doctor was exacerbated by the showy
clothing he originally "borrowed" from a flamboyant hospital doctor, and the Victorian
Roadster, Bessie, his regular transport from The Silurians onwards.

As an accompanying scientist to the Doctor, Liz Shaw was given essential tasks
relevant to the revealing of the plots. However, she appeared capable of doing little
alone. For example, she helped the Doctor build the machine to destroy the Nestene
intelligence, aided him in seeking a vaccine for the Silurian deadly virus, and assisted in
his TARDIS console experiments. As an assistant, she was too scientifically qualified
to have countless explanations of the proceedings bounced from. In many instances
during these four stories other characters have had to suffice as temporary
replacements.

In 1970 the military was constantly in the news; the previous year the British
Government was officially called into Northern Ireland to guard public utilities and
keep the peace between Catholic and Protestant factions. Ironically, it took twenty-five
years before progress was even hinted at. In 1995 an entire command had been
instructed to return home as a goodwill gesture. In America, the Vietnam war had
dragged on, culminating in the gradual but progressive withdrawal of troops. Season
Seven marked the introduction of UNIT as a regular force in the programme. In this
season, Lethbridge-Stewart was a strategic component in the UNIT organisation --
mucking in with the troops -- as opposed to the mainly supervisory position he
regressed to subsequently. The Brigadier hadn't commanded his position of authority
without possessing the required attributes and abilities; he treated the flamboyant
character of the Doctor purely as a knowledgable Scientific Advisor, accepting his
advice / instruction only when the situation was critical, or when he had no superior
impression of the requirements. John Levene returned as Benton, the only other regular
UNIT member at this stage, from Inferno onwards. In the alternative reality scenario he
achieved his utmost in being uncharacteristically nasty, and got to join the David
Bellamy club.

Season Seven reflected the previous year's prospects for hope and aspirations for
short-term advancement. For the most part, recent British and global events promised
a new turning point, directing us to a bright future, humanely, economically, and
morally.

This wasn't simply children's teatime TV. The format wore the appearance of being
intensively researched, to the furthest possible extent within the confines of science
and science fiction. The extremely well-developed characters, aided by the time-
versatile seven-parters, and the meticulous pressures of industry to achieve Nirvana
speedily when hurried endurance so obviously results in accidents, sometimes
devastation, compounds the overall feeling of realism when these storylines might
otherwise be considered far-fetched. The entire season was vernacular, appealing to
intellectuals who might philosophise contemplating such possibilities, in addition to a
standard viewing audience who merely wished to be excited by a rip-roaring
adventure. A conglomerate of refreshing statements were made unobtrusively, offering
the feeling of synergism at the conceptual stage. This was serious drama at its very
best.

END

This article first appeared in DreamWatch magazine.

Spearhead From Space is currently available on DVD. The other three stories have
been released on video.