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Staggering Stories Podcast
Are blobs always evil? Yes, Staggering Stories Podcast 49: Daleks Are Special, Too is now available!
Doctor Who's Daleks (in general).
Listener's Escape Pod Discs.
A 30 Second Recommendation: Legend (by that fine fellow Benjamin Elliott of This Week in Doctor Who)
Plus, as ever, lots of news (Torchwood, Sarah Jane Adventures and more!)
More madness than a Dalek with hair, playing scrabble!
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forum crossing over
I find myself reluctant to participate in this new forum for two reasons. I suppose the main reason is that there's not a lot happening in this inter-season "lull". My participation always tends to pick up when we're actively in the midst of one of the three series.
But I also genuinely dislike the new "forum". It's a little better now that the rich-text editor has been made default, but it's still more of a commenting system than a true forum. I find it exceptionally difficult to follow the conversations, because each comment is titled separate from the thread title. Thus, the "Recent Comments" sidebar is all but useless. Who has the time to click each one of the individual comment titles to see if it's in the thread you're interested in following? I'm further befuddled by the difference between the comment-follower on the left and the topic-follower on the right. Who cares about topics that are new, but have "died" due to inactivity? I want to know about the status of topics that are getting new comments; i.e., the ones that have an actual discussion brewing. Now, luckily, we're given that info under the "Active Forum Topics" sidebar, but that just makes the "New Forum Topics" sidebar all the more a waste of space. I say get rid of that thing and give us back the sidebar that tells us who's online at the moment. Or, better still, just give us some much-needed white space.
It also should be noted that none of these three different trackers actually tells who's making the comments. And that's key. If you're having a discussion with someone, it's useful to know when they, particularly, have made a new comment in a thread of interest. With this new board, you have no idea at all who's commenting until you click on the comment. That's just a big waste of time.
But my big problem continues to be quoting. It's more difficult to perform, and certainly harder to read, than it is in just about any other fora in which I participate. It should be easy to do multiple quotes, because the whole reason for having a forum is to foster specific discussions, but instead it's a pain in the ass. Yeah, you <b>can</b> (oops, that doesn't work: can) quote with this software, but by the time you get it all set up manually, you run the risk of forgetting the point you were trying to make. Yeah, there's a greater ability to format your entries on this new board, but we've sacrificed core functionality for the ability to use crazy fonts.
Not a great trade-off, if you ask me.
What I'm looking from the change of guard...
sorry, i should have put a comma in the "dalek void, mind." I mean Having a Davros story without even a mention of Daleks. They will not have been invented yet. A pre chair/accident story maybe pertaining to the start of the war between the Kaleds and Thals from the point of view from a third species on skaro. Never really understood this 2 species on a planet stuff in sci-fi Dan Dare was the same. Treens and Therons on Venus, which i believe was the inspiration for Skaro.
What I'm looking from the change of guard...
What's a Dalek/Davros void mind mean?
I hate Peri. She was a step backward IMO from all the other recent companions from Leela to Nyssa. But I see why men like her. And maybe some women too.
I love Sally Sparrow and believe she'd be a great companion but I'd like to see her with her boyfriend together with the Doctor. That would make a great three team and great conflict too. There was a small hint of that when she met the Tenth Doctor and the other man in her life came out n held her hand or she took his rather to show the raving mad sex pot macho alpha male Doctor that she was taken. Imagine if the three of them were thrust together (Matt Smith maybe have a different take on things and not be after every blond he sees).
I think a female companion alone is old hat but it seems the series wants to play it safe and that's going to be thier undoing. I believe if the scripts don't get better and we get more of the same as ever people are going to tune out and blame Matt Smith which isn't fair as I feel he's going to be a great Doctor. I guess Moffat will do well but the next story looks like a Water Alien story he did from one of the Ninth Doctor annuals. That's not a good thing. I mean the story was good the way it was in the annual but if Moffat is not even starting yet and drawing upon stories from elsewhere, that makes me worry.
Frankly, they should bring back Adam and maybe he can explain himself. As I've ranted about in the past, the original idea was to have him send stuff back from the future to save his dying father (which would lead to Rose's idea to save her father). That was dropped but maybe Adam can use this...but as RTD is leaving, I imagine Moffat won't even think of this idea. IT might even be good to have Adam back as...maybe a bad guy who wants revenge on the Doctor or someone who needs saving from some government (maybe the US is the villain taking over Adam's forehead device).
I was talking iwth someone who felt DW slid since 2005 and he thought that it was okay as DW was always cheesy. I disagree. I mean I guess it was cheesy in the past but since that 2005 season was so good and along the way we've had some GREAT stories, I can't dismiss the crap as "Just DW being DW" any more. It deserves better. And if anyone has read RTD's latest article in DWMagazine, and isn't worried...why not? He truly sounds as if he has/had writrer's block for DW and his "I can't write the last words for this Doctor in a spinoff because it has to be great" AFTER he's already written the ending for Tennant...makes me worry about this grand finale. DW should be going the more mature route and/or along with more young people route. Instead it's sort of going nowhere.
I hate John Simms as the Master. His return to the show does not bode well. I also hate what they've done to the Daleks. After PARTING OF THE WAYS, DALEK, and DOOMSDAY made them seem to very dangerous and powerful, we got the two part EMPIRE STATE BUILDING travesty of a limp story or rather pieces tied together to resemble a story AND the crap STOLEN EARTH/JOURNEY'S END which brought them right back to "let's push this Dalek to its death" status. In DALEK, you couldn't even touch a Dalek! It also makes me worry that they're talking about cosmetic things...which JNT talked about when the series was going down the tubes in the mid 80s. Changing the theme tune is not going to save a limp show with weak scripts and no ideas left. I also wonder about RTD's wish list for stories and seasons which also is something JNT did. Unless I"m very wrong, the ratings for PLANET OF THE DEAD slipped on first airing as compared to other stories.
When did Chase take over the forums?
Sorry if it seems i'm taking over, I just try to post stuff I think people might be interested in.
When did Chase take over the forums?
I admit, I haven't been around much since the Christmas special. I didn't even know about the new website look. I had to reregister for the new site today.
What I'm looking from the change of guard...
I have to challenge the logic of your #4 and #9. You say you want male companions because the boys don't count, but then you want to bring on a female guest-star that was in only an episode for an entire season. Look I think she's as pretty as the next dude, but I have a feeling that that character would not stand up to the scrutinity of a 13 episode season. You want to do a two-parter special? Go ahead. But give me a companion that starts fresh and let them run. I have the same opinoin of Jenny. Go ahead and do a two-parter, but then let her go on her merry way.
So what does make a companion count? How many episodes in the box do you need "in the box"? Did I just open a can of worms there?
I do like the young Davros idea. I would also like to see a young Doctor/Master on Gallifrey story. Perhaps Davros could create a different monster beside the Daleks, a new one without time travel abilities and a different kind of menace.
Wibbley-wobbley timey-wimey over a season would be cool. We've alread seen RTD thread little things throughout a year, maybe episode one could be one set of events and then by episode 13 they have to go back to the same spot and do them all over again a different way.
When did Chase take over the forums?
There's no doubt or question that he is very prolific with his postings, but don't let that deter you or others from participating here as well.
What I'm looking from the change of guard...
I believe John Simm was instructed to play him that way. I think he could just as easily take a more Roger Delgardo approach to the character if given that creative direction.
What I'm looking from the change of guard...
Thanks for taking the time out in replying, Louis.
The return of Peri. Only because she was my first love! haha! i know, i know- perv! lol
I loved Anthony Ainley as The Master. He was "My Master." But after I watched Roger Delgardos Moriaty style Master, that became the all time favourite for me. Simms potrayal was good but too maniac-ish (is that even a word? lol) A kids cartoon bad guy. That is what I was reminded of when i watched those episodes. Pity
Maybe the timey wimey stuff could be joined with Davros. A story on young Davros would be amazing (I think its been done through big finish).
And they have to re-do Shada!
Video Release Information in Video Business
I was scared at first when I read "hour-log musical feature" included as a DVD Extra until I quickly realized they were speaking of the Doctor Who at the Proms. Please, no Doctor Who musicals!
forum crossing over
Ha! "The Mysterious Administrator" sounds like a classic Doctor Who adversary. It is merely mostly out of laziness of not wanting to have to log-out and re-log back in that I have been posting from that account. Now that the regenerated site is more or less up and going, it may be less so now.
There are many people that have not yet re-created their account on the new regenerated 3.0 site. To this date there is only about 166 accounts here on the 3.0 site. Of those which are recreated accounts from the 2.0 site, I don't know. But it's only been a month. The site still gets more visitors that are not logged in account holders than those that are logged in.
Doctor Who: Podshock - Episode 155
Thank you David. I believe the Davros box set R1 release date has been postponed without a new one being set. So, we haven't received the Remembrance of the Daleks Special Edition DVD in North America yet.
Wow. You listened to this episode so quickly that you caught your mention before I had a chance to tweet you about it.
forum crossing over
What's up? Since we moved over to the new site, things are very quiet. It feels like it is just Me, Chase, Mr Magister, Namariee, Troy, Idiom, Davac and 'the mysterious administrator' that are here on a regular basis. Everyone on vacation?
Hey Louis, how many users have signed up on the new site?
What I'm looking from the change of guard...
I agree for the most part...
1 - We have been saying this for the last four years. Admittedly, it has gotten a little better in the last year or so, but still. I am already trapped on Earth in my everyday life, let's escape this ball of wax more often.
2 - I've been saying this as well. Having them included in each year only dilutes their impact. Having said that, beware of this rumour --> (typed in white type as it could be considered a spoiler. Highlight it to read it) It is rumoured that that the first story starring Matt Smith as the 11th Doctor will be a Dalek story. (end white text)
3. - I've been saying this for years as well. Bring back the real Cybermen. Since the series returned in 2005, all we got was dead Cyberman head in a museum. Leave the "Pete's World" Cybermen in "Pete's World"
4. - Again, I have been singing the same tune since the series came as well. Why not even have a multi-companion sprint which could contain a male companion. The previous male companions since 2005 don't really count as they each of their run were so short.
5. - Time stories are always fun.
6. - I like John Simm. I wouldn't mind him as the Master, though they could tweak his character a bit to more aligned to the Master we know from the past. It's time to return to the Roger Delgardo style of Mastering.
7. - The return of Peri? I don't see why. I personally rather see other companions make return before Peri.
8. - Multi-Doctor stories. I would welcome one, but it has to be a real episode, not a special 10 minute Children in Need special.
9. - Sally Sparrow returning. I wouldn't be surprised if it happens. Many viewers would be pleased if it did.
10. - A Davros episode where he is not competing with every companion of the last four years returning and everything including the kitchen sink in the episode would be nice.
LOST IN SPACE-the Hungry Sea review part one
TO BE CONTINUED NEXT WEEK SAME TIME SAME CHANNEL
ADDITIONAL NOTES: The musical cues during the water storm and the earthquake in the cave-city are very similar but occur in different places and have some other music--mostly from the listed sources--DAY THE EARTH STOOD STILL, JOURNEY TO THE CENTER OF THE EARTH, JASON AND THE ARGONAUTS, THE LAST WAGON, THE ENEMY BELOW, and possibly others. Maureen screams a great deal during the water storm in the Unaired Pilot Number One; there is also more water dumped onto the Chariot in that one. ENEMY BELOW music plays longer in the first unaired pilot. In the second, there are some quiet moments without music during sea ride just before the storm hits. The bang on the scope as John tells Judy to come up front is different in unaired pilot one. Will's fall into the trap door in Unaired Pilot Number Two has stock music that is heard in THE LOST CIVILIZATION and FOLLOW THE LEADER as well as many episodes of THE TIME TUNNEL and VOYAGE TO THE BOTTOM OF THE SEA (third and fourth season). Some Chariot music in Unaired Pilot number two is also heard in THE TIME TUNNEL-VISITORS FROM BEYOND THE STARS--all stock of Bernard Herrman music. VOYAGE TO THE BOTTOM OF THE SEA music by Paul Sawtell is heard as the Chariot encounters the Cyclops in unaired pilot number two. Both pilots use a diary insert over the filmed scenes whenever John writes in his logs in the year 2001 (almost 2002), Unaired One has them in longer than Two. Also in Two that is not in One is when John says, while narrating, "We are humbly grateful," just before and while he reads the Bible in the tropical jungle. And both unaired pilots contain a pull back from this scene of two aliens watching the Robinsons and Don (and the Bloop). The heads of the aliens seem similar to INVADERS FROM THE 5TH DIMENSION aliens but here, the aliens have bodies and mouths and different, more beak like noses. They are shorter than the INVADERS FROM THE 5TH DIMENSION. We also spot a lake behind the aliens, who seem to be watching from large stalks of brush--a swamp?
REVIEW: When we come to the end of this episode, we end the best five episode story arc ever in any show. LOST IN SPACE never recovered this expedition feeling, opting most of the time to have the family stay at the spaceship and allowing alien beings or Earth travelers to come to them...of course there were exceptions to this but not very many. The exploratory mission of these first five shows should have been repeated in different ways on other planets. Also--we never find out the secret of the civilization in the caves in the aired episode. THE HUNGRY SEA is enjoyable, again, on many levels: it creates friction between John and Don which allowed for some nice dramatic touches between the adults--for once in the series. This was lost as the first season waned away and by THE SPACE CROPPERS, the rest of the family aside from Will, Smith, and the Robot were mere cameos or guests in their own show. The weather situation is fun as are the various setting up of camps along the way. Some of the Smith scenes may have gone on a bit too long but it proves how mean he could really be but by the end, he relents--perhaps from not wanting to be alone and not having a pilot to fly him back to Earth but there was something more in his voice, too. Maureen was correct when she said he sounded really worried---he was. After this, while being somewhat greedy and evil minded, he was never as evil as he was in these first five episodes. The special effects in THE HUNGRY SEA as well as the other four are splendid, movie quality. In fact, many movies do not have the quality these five episodes have. The character stuff between Don and John makes the whirlpool and storm sequence quite more interesting than it would have been without it (in the unaired pilots there is no friction between Don and John at all in this scene--its just a loose connection). The five episodes bravely used a great deal of footage from the unaired pilots---footage that was too good not to use--too special---and added to it by expanding the characters, setting them into situations that could have lasting effects. As good as both pilots are, THE RELUCTANT STOWAWAY, THE DERELICT, ISLAND IN THE SKY, THERE WERE GIANTS IN THE EARTH, and THE HUNGRY SEA are far better. Score wise, these five episodes, combined with WELCOME STRANGER, MY FRIEND MR. NOBODY, and INVADERS FROM THE 5TH DIMENSION are the best music science fiction-fantasy has to offer---aside from the excellent scores for LAND OF THE GIANTS. Superior in every way--every note deserves to be on its own CD for these eight episodes. Alas, it is not to be. The weather and orbit bits are a nice piece of fantasy even if unrealistic--a few days of this and the planet would probably be a disaster area and very unlivable.
NOTE: Since both unaired pilots are inferior to THE RELUCTANT STOWAWAY, THE DERELICT, ISLAND IN THE SKY, THERE WERE GIANTS IN THE EARTH, and THE HUNGRY SEA, I have decided to put both unaired pilots after these five episodes--since these used stock footage from both pilots---as for readers to be able to compare the unaired pilots to the much better versions seen in the episodes. Both pilots are important, however, because they give us some background not given in the aired episodes. There is less development of characters and situations, however in these unaired pilots.
UNAIRED PILOT NUMBER ONE
The Jupiter II was originally called the Gemini 12 and could travel at 18412 miles per hour. The TV man commentator is the narrator, not Dick Tufeld. The countdown is started in this story at 6 minutes and 40 seconds. The credits start right away with DAY THE EARTH STOOD STILL music. The Robinsons will stay in their suspended animation slumber for 98 years. Alpha Control mentions the Bermuda Tracking Station and an electronic brain on the spaceship Gemini 12. Dr John Robinson is seen on the screen over Alpha Control's main control area. He is a Professor of Astro Physics the University of Stellar Dynamics. With him for the first time that anyone other than an adult male passed the International Space Administration's grueling physical and emotional screening for intergalactic flight is his wife, Dr. Maureen Robinson, the distinguished biochemist of the New Mexico College of Space Medicine. We hear FANTASTIC VOYAGE movie sound effects quite loudly in this scene as the Robinsons are introduced and go right into their freezing tubes. I prefer the scenes in THE RELUCTANT STOWAWAY through THE HUNGRY SEA as it gives the Robinsons more dimension and character interplay and development. Their daughter, age 19 has rather heroically postponed a career in the musical comedy field for the next two centuries at the very least. Their son Will, who graduated from the Camdo Canyon School of Science at age 9---the highest average in the school's history. Penny, age 11, IQ 147, hobby: zoology. There is also a behind the freezing tube shot in this one and the unaired pilot two. Their assistant Dr. Donald West from the center for radio astronomy. Last year his theory about other planets and fitness for human habitation rocked the scientific community. The scenes are longer. They will be in limbo for a "lifetime"---98 years. The President makes his speech after they have been frozen, making what he says to them a bit...belated. Here, his speech is uninterrupted as it is for a few seconds in THE RELUCTANT STOWAWAY when Don turns on the screen in the Jupiter II. The liftoff of the spaceship is seen from the scanner at Alpha Control. We also see more window shots---the astrogater bubble rising and lowering, the galaxies at the window, the spaceship flying over clouds of Earth. Then a swirling mass at the window. There is a long shot and a very different exterior scene as the meteors rain down on the Jupiter II, 25 thousand miles per her at a diameter of 1000. Bernard Herrman music fills the unaired pilots, different takes of each musical cue but similar. This pilot has longer sequences. There is a close up of a Hot Wire Liquid Gas Channel device. It is mentioned the spaceship can regenerate its own controls. A voice from Alpha Control also mentions there is a heat fire behind all the controls in the spaceship. The ship ends up over a planet. We see the planet at the window---it has no cloud cover. It would have this more realistic cloud cover in the cliffhanger to THE DERELICT and in ISLAND IN THE SKY. "Alpha Control's final analysis on the Gemini 12's flight indicates unhappily that the spaceship has either been destroyed or must be presumed LOST IN SPACE. (Unaired Pilot Two now has the credits zoomed into our face with a loud rocket like take off whistle on the musical cue). There seem to be a few extra shots on the Ship
JOHN'S DIARY: December 3rd in the year 2001: None of us knows for sure how long we traveled in suspended animation. Our atomic clock indicates three and one half years but we're not positive. We do know for a fact that it is now six months since our landing on this unknown planet. Thank Heaven that we survived that terrible crash which completely disabled the spaceship. We are hopeful of its eventual repair and our ability to use it again. Meanwhile all goes reasonably well. We've established a base camp, domesticated some of the local animals and cultivated a small farm.
Rocks are more craggy and abundant as Will chases an ostrich in extreme long shot. We see over the spaceship to larger rocks than used in the first season, the ship's canvass overhang, and the women. Will keeps calling the ostrich to come back here. It was supposed to have taken one of his electronic devices. Penny is under the table with Debbie the Bloop, a monkey like creature which makes squeaky noises, not bloops. Penny calls Will and the ostrich, "Children," and hugs Debbie, "Wait till father comes home." Maureen says, "They were due back a half hour ago." Judy asks, "You don't think anything happened?" Maureen says, "Oh no of course not." Penny plays with Debbie some more. John and Don are on the cliff side while werid music plays--music used in THE TIME TUNNEL-VISITORS FROM BEYOND THE STARS and some VOYAGE TO THE BOTTOM OF THE SEA third and fourth season episodes. It is obviously Bernard Herrman music. They check the instruments. As they do, music from BENEATH THE 12 MILE REEF is heard--this music is also heard later when Penny talks to the Bloop and the Spiked Turtle in this, the unaired pilot two and THERE WERE GIANTS IN THE EARTH. It seems John is aghast when he reads that the day after tomorrow it will fall far below zero--this is a different take from the one in THERE WERE GIANTS IN THE EARTH. There are many similar scenes across this, the unaired pilot, and the first five episodes of LOST IN SPACE, some exact, some slightly different, some with dubbed in dialogue, some just trimmed short of scenes and dialogue. John tells Don, "It's moving day, Dr. West." They go to check another gauge but find it wrecked in a giant footprint, one of many. There is no talk of the Robot here--Smith and the Robot are not in either unaired pilot. The cyclops first appears--we hear DAY THE EARTH STOOD STILL music. They run. John yells, "Don!" He does not in the THERE WERE GIANTS IN THE EARTH--although it might be that the soundtrack is too loud with music and roars--different roars in THERE WERE GIANTS--scarier ones in THERE. The roars here are heard in a variation in THE SKY PIRATE by the glob thing. When Don and John go in the cave there is music from JOURNEY TO THE CENTER OF THE EARTH and DAY. At the ship, Will works on the radio telescope. Pictures no sound. Maureen takes out the wash, we see the fence and ostriches. Will calls her in to look through the scope. She sees the giant. Will looks, "Holy cow! It is--a giant!" Judy and Penny come up the ramp. Maureen looks again--no "Let me look again." Judy gets upset and Maureen tells her to calm down, "Besides, there's nothing we can do about it now." Will grabs the laser gun, "Oh yes there is!" He runs out amid JOURNEY TO THE CENTER OF THE EARTH--Lindbrook's abduction in the stagecoach music. Organ music when we see the Cyclops--also from JOURNEY. Will's belt clinks against the cliff rocks. As the giant shoves a tree in, John yells, "Lookout," which he may have in THERE but which couldn't really be heard as well. Music concludes from JOURNEY (the scene when the villain dies) as Will shoots the monster. It falls and then we switch musically to DAY THE EARTH music again. Will says, "Dad! Dad! I killed the giant. I kilt him!" This is changed simply to "I did it! I did it!" for THERE.
The scene after is John rushing to kids to pack, "C'mon kids, keep moving. I want us out of here in the next five minutes." This is changed in THERE to "C'mon kids, keep moving, we have to get out of here!" Maureen and Will's scene is the same. I've noticed a pile of wood by the spaceship door area. John's lift off seems longer and in a long shot. His flight up looks longer and the entire sequence on the flying belt is much longer. "I'll find her," he calls down to Maureen. In THERE he calls "Don't worry! I'll find her!" He flies up and then around a rock. We see a behind shot which is the same as the episode. We also see him pass a canyon which is longer. Close up on John as he looks at the canyon. Also a semi-side shot. Extreme long shot of John flying follows the semi side shot. Point of view shots follow--we see trackless desert ground passing beneath John. Another sideshot. The BENEATH THE 12 MILE REEF music plays throughout this and the rest of the sequence--ending when they get back to the Chariot. We see the same overhead shot of Penny on the turtle. Penny says, "Now we're all lost." Debbie gets off her lap and moves away, "Hey come back here. We'd better stick together or none of us will get home." Debbie comes back and Penny calls her, "Good girl." John hovers over the same spot, a two pronged rock jutting up behind him. He flies over hills and pointy rocks. He is higher up. Penny calls, "Daddy, Daddy," and it seems more times than in THERE. John lands. Their lift off is longer with a medium shot of all three. John asks, "How do you like it?" Penny, "Oh, it's great." "How's the Bloop?" "Oh fine." Then we see an extreme long shot of all three flying. They fly over rocks. Maureen and Will get in the Chariot. Don calls John, "Dr. Robinson," telling them John picked ten below zero as a deadline, "...but it will be us who's dead if we don't stick to it." Judy throws her tantrum (and in the NO PLACE script picks up a gun at Don) but Maureen yells at her, "Oh Judy please stop it!" Judy says, "We're not going without them!" Maureen's line cut from THERE.
After Penny, Debbie, and John return, the Chariot goes along as we hear some more werid music used on THE TIME TUNNEL and which sounds like it is from DAY. The Cyclops's growls are different from THERE. When they pass the dead Cyclops--after Don shoots it down with the unusual laser rifle--Debbie squeaks and bangs a bit longer. The whole "dead cyclops" scene seems longer.
Chariot drives on. John is play punching the monkey Debbie who was trying to touch John's face. We can also see the monkey wearing diapers, something which I really never took notice of in the aired episodes. Don is driving. Maureen asks, "I wonder how cold it is back at the spaceship now." John says, "Too cold." Don then announces, "Oh no," and mentions the boulders didn't do the power unit any good. Chariot sounds louder in the pilot but this could be the louder music used in THERE WERE GIANTS IN THE EARTH drowning out the Chariot sound. Will plays Greensleeves. The camp scene seems lighter but this might be the copy I saw. Penny's snoop report on Don and Judy is accompanied by the romance music from JOURNEY TO THE CENTER OF THE EARTH. Right after this scene, in THERE, we saw a Chariot riding scene which looked like a daytime scene. In this UNAIRED PILOT NUMBER ONE (and TWO) we see the camp scene end and the lightning scene begin right away. Don calls John Doc which is also used in the other versions including THERE. Upon entering the cave, Maureen asks, "What kind of a place is this?" Penny says, "It..it looks like a big cave." John says, "Let's take a look." Don lights a flare and then gets the flashlights and Debbie. For some reason, while Don gets Debbie we hear Guy Williams's voice saying, "Debbie, come on, Debbie." As the family passes webs, John looks back, "Everybody alright back there?" There is more DAY music--creepy music which is used throughout LOST IN SPACE. It lasts longer here. Later, when Will and Penny are lost, Will falls through a trap door and we hear his yell, "Penny help!" THERE doesn't seem to have his saying this but that might be, again, due to the louder music. Penny's scream at the mummy is louder here and she screams more times. When Don and Judy open the door to find the pair, Penny says, "Look Don!" This is not in THERE. When the cave starts shaking, Don just yells, "Earthquake!!!" In THERE, he yells "It's an earthquake!" All the screaming in the quake sequence seems louder and more confusing...and louder...all at the same time. Don does not say, "Judy, stay close to Penny," here, nor does he say, "Don't be frightened! It'll be open in a minute!" These are present in the unaired pilot two and THERE as well as in the teaser to THE HUNGRY SEA. Phew! It is easier to hear the dialogue in the unaired pilot number one. Maureen yells, "Push," as the others try to push open the block John cut out with his laser. This escape from the tomb room has more intense music--more so than in THERE and the UNAIRED PILOT NUMBER TWO. The sense of urgency is best here musically speaking. Not to say that the music in THERE was bad. It is far superior to all the music in the unaired pilots---but in this one short scene---it is more effective the way it was in the original pushing of the stone block.
NOTE: All scenes of John's Diary are superimposed under the diary itself--and in both pilots these diary readings are the same except for four different words added to the last one in the unaired pilot number two. In comparing the unaired pilot one and the unaired pilot two, the diary scenes seem to last longer in some scenes but in other scenes the diary shots do not last as long. These diary superimposings and readings are removed from Chariot shots in THERE, THE HUNGRY SEA, and even in ISLAND IN THE SKY.
JOHN'S DIARY: December 5th in the year 2001---the attack of the fearful lightning bolts followed by equally terrible earthquake frightened all of us. We're still puzzled by the strange signs of civilization we found in the cave. Either this planet once sheltered human life or mysterious beings still lurk in the shadows, watching us this very minute. Perhaps one day we will return to the cave and learn more. Right now we feel lucky to be alive and are bending every effort to reach the Inland Sea, our last barrier to the tropics that promises warmth and peace.
Chariot scene here only: Will runs up to Don, "It's working, Don, it's working!" Don says, "Let me see---hah, I told you, you could do it." John tells Will to put his seat belt on. They approach the Inland Sea. JOURNEY music lightly accompanies this. Then the storm hits--JASON music and LAST WAGON music also hit--and the musical cues seem longer as do the scenes. We seem to see the back of the Chariot more often in the storm in this unaired pilot than in THERE and the unaired pilot number two. Judy has a closeup which seems present in all three versions. When they enter the whirlpool, John says, "I can't even get it into reverse." Cue THE ENEMY BELOW music. Maureen screams more and louder. She calls Don. We see his hand holding onto the side of the car. Why couldn't they see him? The storm? It takes John longer to get up to the bubble to find Don and he has to hang on. He can't. Later, they leave the whirlpool but the storm persists. Don climbs up and bangs, yelling, "Help! Help!" Judy pulls him in. The Chariot escapes with different musical cues--longer versions here. When the Chariot comes out, we hear very grand music--JOURNEY or DAY most likely.
JOHN'S DIARY: December 8th in the year 2001: Our great adventure in the wild sea is now happily behind us. At last we've reached the tropics. The weather is warm, the vegetation lush and the stillness of the air promises peaceful days. Yet so much has happened in our short stay on this strange planet, that we take nothing for granted. We've experienced dangers unknown by Earthbound men. We breathe easily now but only for the moment. Our every instinct tells us there are wild, wonderful adventures just ahead.
As they stop and give thanks, Maureen passing the Bible to John, the camera pulls out so we can see the two alien beings watching them from behind stalks or large swamp weeds. Nearby is a lake of some kind or the ocean. First--JOURNEY music to accompany the aliens. We hear DAY THE EARTH STOOD STILL music during the credits.
UNAIRED PILOT TWO:
There is a delay in the liquid oxygen tanks loading valve. The TV commentator is better paced and there is no foreign press yet. Musical cues are very different in this one. The fire is in back of all the magma panels--a quote as seen in THE RELUCTANT STOWAWAY but NOT in the unaired pilot two. Jupiter II goes right to the planet. "Alpha Control's final analysis indicates unhappily that the spaceship has been destroyed or must be presumed LOST IN SPACE. The credits whistle (like a take off of a spaceship) into being and are accompanied by Bernard Herrman music. Will chases the ostrich amid windy sounds; Debbie bloops bloop sounds--as she did in the entire run of LOST IN SPACE, despite what errors John Peel feels he can make about the show. All the other scenes are the same up to when John says, "I don't want to leave the family alone a second longer than necessary." It changes to Will at the radio telescope and Maureen takes the wash out to the auto washer. She works it and then takes the clothes out. A fade goes into the scene of John yelling, "C'mon kids, keep moving. We have to get out of here," which is what we hear in THERE but not in the unaired pilot number one where he says, "C'mon kids, keep moving. I want us out of here in the next five minutes." John's flight to find Penny is shorter than in the unaired pilot number one but is the same or as close to THERE as possible. Before he takes off, he refers to the "close call they had this morning" with the giant--thus this scene was edited out of this unaired pilot for some reason. His call to Maureen, "Don't worry, I'll find her," is the same as in THERE but "I'll find her," is not in the unaired pilot. There are less flying scenes in this than in the unaired pilot-in fact he doesn't hover in this second pilot. There is no point of view shot and no Debbie wandering off Penny's lap. John does not ask Penny about how she likes the ride up nor does he ask her about how the Bloop is doing. Maureen does not tell Judy to stop her tantrum. All of this is also missing from THERE WERE GIANTS IN THE EARTH.
One interesting musical cue is Paul Sawtell type music from the first season of VOYAGE TO THE BOTTOM OF THE SEA as the Chariot moves through the valley just before it encounters the Cyclops. This musical cue is different from both the Unaired pilot one and THERE WERE GIANTS. We get the JOURNEY music as the Cyclops attacks and it growls like the Cyclops in THERE WERE GIANTS. There is some other type of Bernard Herrman music as the Chariot passes the dead Cyclops--very grand music and very different. This may have come from BENEATH THE 12 MILE REEF. Maureen's line of how cold it is back at the spaceship and John's answer, "Too cold!" are here. At the camp at night, they have a fire. It seems darker but that may be the copy I saw it on. Just before we see no extra Chariot scene which is also missing from the unaired pilot number one. There is a brief shot of the Chariot moving across the desert just before the lightning bolt attack in THERE. Also missing from the "entering the cave" sequence: no talk of the cave by Penny, no talk of Maureen and John wondering what it is, no Guy William's dub of "Debbie, c'mon Debbie," when Don is taking Debbie out, and no music for the first few minutes as they start out in their quest to see if it is safe to spend the night. The soundtrack is quiet for a few minutes, then back to DAY music. It is a different arrangement from both the unaired pilot one and from THERE. John does not ask if everybody is alright back there. The music stops as Penny goes through a cobweb, looking for Debbie. There are a few minutes of silence as Will looks for Penny. No music up to when Will falls through the trap door, "Penny help!" We hear different music--not from DAYS now but from some other movie which can also be heard in THE TIME TUNNEL from time to time or the later VOYAGE seasons. It is also used in LOST IN SPACE-THE LOST CIVILIZATION and FOLLOW THE LEADER. There are less screams from Penny as Don and Judy find Will and Penny. Penny does not say, "Look Don." Present in the earthquake that follows is: Don says, "Judy, stay close to Penny" and "Don't be frightened, it'll be open in a minute." Penny's scream as John lasers the door is the same but louder than in pilot number one. The bloop comes blooping as it did in THE HUNGRY SEA but made squeals in the unaired pilot number one. In unaired pilot number two, we hear one left over squeak from Debbie that slipped through the soundtrack. Every other time, in unaired pilot number two, Debbie bloops. At the scene that the four trapped younger Earthlings push on the stone block, it is easier than in THE HUNGRY SEA to hear what everyone is yelling, "Push harder," is heard. Music as they escape the cave is not as intense as unaired pilot number one but tenser than in THE HUNGRY SEA. This is not to malign THE HUNGRY SEA's score--it is fantastic.
Chariot goes out. We do get the Will--it's working, Don and Don telling Will told ya you could do it--scene. John tells Will to put on his seat belt. Inland Sea time: John holds Maureen's hand before they enter the sea. Just before and during this entering the sea scene, Penny asks Will about Mars and there is actually another minute--maybe two--of a quiet soundtrack. Music starts up soon though. The storm is shorter than in unaired pilot number one and there are, surprise, different musical cues--similar and from the same sources but at different running times. When John hits the scope for Judy to move up--the sound sounds different from the unaired pilot number one but the same as in THE HUNGRY SEA. John, in the whirlpool, says, "I can't even get it on left (or unlocked" but it is difficult to hear and is present in HUNGRY. He says, "I can't even get into reverse" in unaired pilot number one. There are less behind the Chariot scenes and almost no screams from Maureen. She also gets hit with less water as do the others. The storm and whirlpool are more like they appear in THE HUNGRY SEA. The storm is also much louder than it was in the unaired pilot number one. Don does not yell, "Halp! Halp!" in this and does not yell it in HUNGRY. He does yell help in the unaired pilot number one. As the Chariot leaves the sea THE ENEMY BELOW music ends---as it does in THE HUNGRY SEA but in the first unaired pilot (ONE) THE ENEMY BELOW music ended as they touched the land. Not so here. The credits list Lamar Lundy as the Giant and are also cued from DAY THE EARTH STOOD STILL. The two aliens watch as the Robinsons kneel, Don stand with the Bloop. We see the lake and the ocean. The aliens have beaked noses, mouths, bodies, and ornaments around their necks. Their bald heads look a great deal like the alien heads in INVADERS FROM THE 5TH DIMENSION but clearly, they are not the exact same aliens.
JOHN'S DIARY DIFFERS ONLY HERE:
JOHN'S DIARY: December 8th in the year 2001: Our great adventure in the wild sea is now happily behind us. At last we've reached the tropics. The weather is warm, the vegetation lush and the stillness of the air promises peaceful days. WE ARE HUMBLY GRATEFUL. Yet so much has happened in our short stay on this strange planet, that we take nothing for granted. We've experienced dangers unknown by Earthbound men. We breathe easily now but only for the moment. Our every instinct tells us there are wild, wonderful adventures just ahead.
HURT/HEAL: The COMPANIONS
- Ian 15 - Zoe 13 - Romana I 11 - Barbara 12
- Liz 6 - Donna 14 - Vicki 7 - The Brigadier 20
- Nyssa 8 - Stephen 6 - Jo Grant 19 - Tegan 6
- Polly 8 - Sarah Jane 18 - Ben 10 - Victoria 7
- Harry 15 - Jamie 20 (+1) - Leela 14 - Captain Jack 5
21. K9 0 (-2)
22. Rose 23. Peri 24. Ace 25. Martha
26. Turlough 27. Romana II 28. Mickey 29: Adric
30. Susan 31: Grace 32: Dodo 33: Mel
From the Beginning: The First Doctor
On first viewing of THE ARK, I was bored. I mean having read and watched sci fi for years, the ideas here are just too too old hat. On second viewing, quite recently and one ep at a time over time, it was much better. I mean what struck me is that the Doctor acts like a medical Doctor and is all the more better for it. Dodo seems concerned and the fate of the Earth is a nice touch. The aliens are pretty different to be worth something and their gun ray fights were a bit tedious butr interesting in that I think the sympathetic ones were killed along iwth the good ones. WHat I noticed is that the inteference of the TARDIS crew made things worse in many ways here but I guess that was reversed in the end. The statue makes an impact. Not much else does in this but the idea that the TArdis lands in the same place but a future time from whre it was was also new to this show so that's worth mentioning. I also think the jungle set made an impact and this might be the first time (although maybe THE DALEKS had some children) that we see many children among the future crew. But please get better clothes for our future generations! :)
From the Beginning: The First Doctor
When I first heard the SAVAGES on audio, I couldn't make it through the entire story and never finished it. Then I watched, years later, the reconstruction. I was able to see more of what supposedly went on and able to hear the grand music. THe music in this is, like the story, so traditinally sci fi/fantasy, that it's hard not to like it. I also like the idea that one of the aliens got the Doctor's personality into him. It was well done, even if cliche. The gas sequence is pretty terrifying, Dodo and Steven do a great job of being companions and the aliens seem powerful enough to have followed the Doc's travels! I also like the pursuit in the cave sequeence, mostly due to the music but for once the companoins are chasing someone else through a cave, in fact they are chasing an alien baddie (maybe a baddie, I also like the idea that not everyone in this is traditionaly evil but more politically motivated) through a cave : a reverse of the cliche of DW and sci fi in general. And isn't there a scene where the humans have to smash the entire set inside the alien contorl room? That was nice! Steven's leaving scene was strange as if the Doc just foisted Steven onto the aliens and Steven wanted to stay, maybe looking for an out as he would probably have died if he stayed on too long. In fact, despite a few rough edges, I liked Steven. I mean what comp , male, would go back into a fire to save a stuffed Teddy bear!?
From the Beginning: The First Doctor
This story seems to be played as a comedy, however, there's a lot of death as in THE ROMANS, moreso here I'd say. Some of it seems very dangerous especially to Steven, who CAN'T be an Ian against gun toting gunslingers who can kill him in an instant. TO be fair, he survives as best he can. Dodo gets kidnapped or something and she's pretty good in this story, much better than in THE TOYMAKER story. Doc Holiday was well done and the other cowboys seem to be playing things completely straight. For what it's worth, I found all of them pretty believable as killers who can shoot straight. I also, once I got used to it, didn't mind the singing interludes. It was diffrent that 's for sure. I also like the piano playing sequence and the jail stuff. Hartnell is hilarious when he says, "People keep giving me guns and I'd wish they wouldn't!"
There's so much else going on here I didn't find it boring and in fact, for the UK in the 60s, this is not a terrible western. I give the story credit jsut for trying probably a 6 or 7 out of 10. And a child visitor to the set became the producer of the McGann TV MOVIE. Philip Segan may have had a relative working behind the scenes here.
From the Beginning: The First Doctor
This story, the CELESTIAL TOYMAKER could have been so much more but maybe the team didn't want to scare children too much. As it is, it's a strange story and I'm glad that DW can tell a story that so surreal, a bit babyish, a bit oddball, and plenty strange. I'm also glad for a chance to change and make it so that this isn't just a space fantasy but a truly otherworld dimension and Gough and Hartnell together are magical. Still it is a bit dull and slow in places and could stand to have been trimmed by an episode. It is really one of the first surreal places the crew visit. Gough also makes one feel as if he really has the power he talks about but...a lot of this is not explained even down to the Toymaker's toys or maybe it is and I wasn't paying attention. Somehow I can't be too hard on this story as it really is unique and if you focus on it too much, it's very very disturbing. IF you don't, it's just Steven and Dodo playing games while the DOctor plays trilogic games invisble some of the time. I like that Steven was willing to sacrifice himself and it was truly upsetting that Dodo's sympathy for Cyril made her lose and have to go back to the start...and she could lose her life for that moment of being human and caring! That's scary! Still, the sameness of the episodes is annoying and one ep in particular, maybe 3, has the kitchen sequence...that was really poor. All in all, for trying I"d have to give this a 5 or 6 out of 10.
Okay I still get a lump in my throat watching this. And no where else. Anyway, I almost cried. There are two ways of looking at this. One: Adric failed miserably and died for nothing and what was going to happen had he been there or not happened and the dinos were killed off. It would have happened if he were on board or not and I believe this is how the novelization makes it seem AND probably what Eric Saward intended and the production team. The other way of looking at it and the more optimistic is that Adric slowed the Freighter down enough to stop it from splitting Earth in two or destroying it utterly. His interference caused the Frieigther to not have the same impact it would have had. This some small mammals survived, thus the Earth itself wasn't split in two and survived and the dinos were wiped out by Adric's moves. To be fair, almost everyone talks about the Earth being destroyed totally. Almost everyone says that the Earth will never have existed...thus the second thing holds some water. On the other hand, the Cyberleader talks of other Cybermen troops moving in and dealing with or rounding up the survivors. WHAT? So he thought Earth wouldn't be destroyed. Adric talks of the idea that the planet will still be there but unusuable. I'd like to live in denial this one time and say that Adric saved the Earth and even took out the dinos by tampering with the device but ...tha'ts not what the actors, writrs, and team say happened...I"d like to have him the hero in the end but really he just mucked it up, I guess. But on the other hand the Friegither explodes before it hits the Earth.
There's some real sloppiness going on here: one moment a female trooper is grabbed frm behind by a Cybermaan as Scott and two other males enter the TARDIS and the next...THAT same female is entering the TARDIS with Scott and one other male. Later, one of the males stands guard for Scott and then that one is the one that is iwth himn on the bridge and the other one who went iwth Scott is seen on guard duty which where ...you get the idea. I think their names are Marshall and Brooks and they seem to change places magically from the hallway to the bridge! On leaving the TARDIS, Scott leaves with one male and one female but she's gone again never to be seen again. And it seems Marshall was either killed by a Cyberman i the battle or was left on the station, I"m not sure which as Brooks escapes with the women and Scott. WHy they left Adric on board is beyond me, the door closed --they could have opened it and got him.
The bridge scenes are all tense and nicely done. The Doctor's debate with the Cyberleader is well done and he loses the debate and allows Adric to remain on board. He should have sat down and refused to go.
Nyssa using a gun, being forced too could go a long way emtionally and it was nice to see her get some action and go against her peaceful ways. It was also very rewarding to have the Doctor kill the Cyberman with Adric's gold badge.
Adric's death scene is still sad and still unforgetable and the entire ending is well done and really works in terms of gripping you in a terrible state...
I can't watch this again so I guess this is it for me.
Also remember I didn't know how Adric would die only that he would and the tension was almost unbearable as the wounded Cyberman came up on to the bridge. Would he shoot Adric?
All in all, a good story wiht ALOT OF production problems that should have been caught and fixed. Matthew claims he wasn't sad but in past interviews he claims he was. I wouldnt blame him.
Adric was, as I've gone on about elsewhere a missed oppurtunity to follow a male companion from boyhood to adulthood and the team failed this utterly.
From the Beginning: The First Doctor
So a return to a more classic Sci-Fi story. Fairly enjoyable, although it does seem a little slow. It reminded me a little of of Brave New World (No children in either society!), but nothing exceptional (good or Bad) a definite improvement on some of the preceeding stories.
And so farewell episode titles. Hello story titles with part numbers. (until 2005 when we will go back to episode titles)
Also farewell Steven Tyler. I have not really taken to him, as well documented above (can it really be 44 episodes since you joined in the Chase?). I watch with some humor as Dodo asks the Doctor if they will see him again. The Doctor replies that with the nature of Space and Time travel you never know. I am thinking that in the Doctor's head, he is thinking 'No, cause I'm going to dump you as soon as we next land'.
It was nice that Steven, didn't leave because a) the Doctor had kicked him off the ship b) they had got him home c) He fell in love with some girl that he had met for about 20 minutes.
And so onto the War Machines to round out Series 3. I watched this 4 or 5 months ago before starting my from the beginning marathon. It will be interesting toi see if my perspective has changed when I rewatch the DVD.
Torchwood and RTD covered
Doctor Who: Podshock - Episode 155
thanks Guy's for the plug I'm 'dead chuffed' and by the way the Rememberance of the Daleks DVD special is the same one included in the Davros box set *cheat*