Pitting our heroes against not one but two formidable adversaries, we look at the six-part coup d’êtat story that ends not only the 15th classic season, but a very important relationship as well. We discuss the unexpected nature of this “Agnew”-penned season closer, the ever-changing nature of the conflict that helps maintain interest through a six-part story, and the unusual performances of Baker and Jameson, given the timing of the production.
With a slow and steady float down a tunnel of diminishing quality, we reach the core of the penultimate Season 15 story, “Underworld”.
We all conclude that this Season 15 satire by story editor Robert Holmes is one of the gems of the Fourth Doctor era, as humorous as it is scathing.
With all the best intentions (and the glowing skull of Eustace) we set out to fully enjoy this horror story from Series 15…but there are a few bumps along the way. Performances are enjoyable from both Baker and Jameson, and the supporting cast does a great job of punching up their roles to suit the story’s brooding horror. The script from Chris Boucher gives us a buffet-table of entertainment options to pick at. But is the meal satisfying once the dishes are cleared?
We didn’t have particular concerns about jumbo shrimp until this Season 15 story came around. Now we feel a bit ‘nerve-ous’ around them. (Get it? Brain? Nerve? *sigh*)
Jeremy Radick joins us again a the top of Season 15 for a nice, leisurely tour of a lighthouse on a perfectly serene evening. Everything is just fine. Nothing unusual or alarming.
With an attempt to acknowledge the quality of the storyline while remaining keenly aware of the careless, and inarguably racist execution, we delve into the six-part conclusion to Season 14 and all the issues it brings to light.
With a fistful of sticky bike reflectors, we head into the Fourth Doctor and Leela’s second adventure, an Agatha Christie-meets-Isaac Asimov murder mystery with Leninist overtones. (Oh, and sand!).
Poisoned thorn gripped tightly in hand, and memory failing us ever so slightly, we lunge toward Xoanan in search of missing female character representation.