This article previously appeared in the Who fan blog Cloister Bell as a guest post. Since that blog is no longer active, I’ve reproduced it here for completeness.
When Peter Davison took over the role of Doctor Who in 1981, he was following the tenure (reign might be a better word) of Tom Baker, who had starred in the series longer than anyone else before or since. By contrast, Davison stayed for just under three seasons (at a time when a season was half the length it was under William Hartnell or Patrick Troughton) and became one of the shortest tenants of the famous police box.
Davison made his decision to leave at the end of his second season, disenchanted with the quality of the scripts and increasingly at odds with the producer John Nathan-Turner (JNT to one and all.) But it’s often reported that Davison took one look at the script and production of his final story, “The Caves of Androzani”, and declared that if he’d had more stories of this calibre then he would have had no hesitation in signing up for a third season. That’s understandable: “Androzani” was indeed one of the finest classic Doctor Who stories, not just of Davison’s era but of all time. But in the Davison retrospective documentary “Come In Number Five” provided as an extra to the special edition DVD of Resurrection of the Daleks in the Revisitations 2 boxset, Davison goes further than this and suggests that as a whole, his second season was a muddled disappointment and his third season saw the show back in top form – and it was this overall trend that made him eventually disappointed to have opted to leave when he did.
This … surprised me. Or to put it another way, I fundamentally disagree with his assessments of the relative strengths of his three seasons.
Let’s start on reasonably safe ground: the 1982 season that started with “Castrovalva”, Davison’s first full story in the title role, was a very strong season, carrying on from what had proved to be an even stronger final season for Tom Baker the previous year. The show seemed to have a renewed sense of purpose and confidence, and was making efforts to take itself seriously again after several years of lampooning around (“Horns of Nimon”) and dealing with sets so shoddily constructed that they collapsed underfoot (“Nightmare of Eden”). There were strong scripts with real science fiction (and science) ideas – where else could you find a show with an entire story constructed around the concept of entropy and the second law of thermodynamics and actually have it work?
Davison’s first series started with a visit to the Big Bang and a cheeky appropriation of MC Escher’s work for “Castrovalva”, while at the same time Davison wowed us with his takes on all the Doctor’s former personalities; then there was the somewhat average but solidly turned-out and enjoyable “Four to Doomsday” before one of the season’s highlights in “Kinda” – not well understood or received at the time but now regarded as one of the finest serials the show ever did. This was followed by a crowd-pleasing historical adventure with “The Visitation” taking the crew back to 1666 Pudding Lane and some brilliantly constructed new alien monsters called Terileptils. The show’s confidence showed through in the next story, a two-parter for the first time in nearly a decade and one that landed the Tardis crew back in 1925, doing away with any science fiction or alien monsters whatsoever. It proved to be the calm before the storm, before one of the show’s most stylish and effective serials – “Earthshock”. The shock return of the Cybermen and the death of a companion: anyone who was a fan of the show back then will have the final, music-less credit roll over a background picture of a crushed and broken gold star for mathematical excellence seared into their memories. It had been a fantastic run of episodes, and if the season finale “Time Flight” was a huge disappointment then it was a shame – but a one-off exception to the rule.
So was Davison’s second season (more accurately, season 20 of the show) such a decline and disappointment, so bad that it resulted in Davison deciding to quit? It certainly had one major problem in hindsight – the fact that it was the twentieth anniversary of the show’s launch in 1963, which led JNT to decide that every single story must have some sort of callback to the show’s past.
It started with “Arc of Infinity” – not perhaps the greatest of stories, but far better than “Time Flight”. Fans got excited about seeing renegade Time Lord Omega back again (he’d last been seen in the tenth anniversary special, “The Three Doctors”); the overseas location shooting in Amsterdam was a first and looked rather good, making even routine runaround chase scenes something special; and Peter Davison himself put in a fantastically haunting performance as a dying “fake” version of himself. Then there was “Snakedance”, a sequel to “Kinda” and the source of all those clips of a young Martin Clunes in funny costumes that they like to embarrass him with on clip shows. It’s not as strikingly original as “Kinda” but in many ways is a better fit for the Doctor Who universe, and better written. This was followed by “Mawdryn Undead”, which certainly suffered from a director who didn’t seem to know how to dim the studio floodlighting to create atmosphere, but on the other hand did feature the return of the wonderful Nicholas Courtney in his signature role of Brigadier Alistair Lethbridge-Stewart, and also the delicious Valentine Dyall as the most evil being in the universe (the Black Guardian, returning in a trilogy of connected stories.) It had a clever time-stream jumping script, and while it rather lost its way and fell into mediocrity it certainly had its moments. “Terminus” showed ambition both in story and in set design (finally, a dark and dirty set with an atmosphere); and, erm, the lovely Sarah Sutton suddenly wearing a very short skirt and low cut top, but that’s not important right now. Next up there was “Enlightenment”, a show of such strikingly original ideas (eternals and ephemerals) and visuals (classic cutters using the solar system planets as marker buoys in a grand sailing race!) and superb cast (Keith Barron, Tony Caunter, Lynda Baron – just don’t mention Leee John) that the spirit of this serial seems to be making a comeback in the 2011 Matt Smith season with the third story “Curse of the Black Spot”. The script may sometimes have exceeded the reach of achievable FX at the time but this was still a magical story of the type only Doctor Who could ever do.
The season once again stumbled at the end with “The King’s Demons”, and sadly lost the story that was meant to be the big finish (featuring the Daleks – more of which in a minute) due to a BBC strike, but then there was the official 20th anniversary celebration “The Five Doctors” which went ahead despite having to recast the first Doctor (Richard Hurndall surprisingly good standing in for the late Hartnell) and having to work around a sulky Tom Baker who refused to return and had to be replaced with archive footage from the abandoned season 17 story “Shada”. (“Tom Baker, you should be ashamed of yourself!” says current series runner Steven Moffat in a recent interview about Baker’s refusal to appear. “”Every day of your life, you should regret the decision you took that day!” Of course, Moffat has his own reasons for looking back – he’s already planning the 50th anniversary special for 2013.)
Despite those compromises, and trying to fit in a galaxy of former Doctors and companions (most not able to be confirmed until the last minute) into a coherent plot was a small miracle of television production, and it’s hard not to look back at that second Davison season as overall being a success, if admittedly not of the same order as the first year. Why Davison should look back upon this group of stories and conclude despairingly that it was time to move on is difficult to fathom.
Now, let’s look at the third season, the one that Davison liked so much that it would have changed his mind about departing if it had come first.
It starts with “Warriors of the Deep”. It’s another show that badly needs some dark, moody, atmospheric direction to succeed – but instead gets some of the flattest floodlighting we’ve seen in the show. As a result, the show’s ‘monster moment’ features the series’ most derided creature, the Myrka. It looks like a two-man pantomime horse painted green and with some frills sown on: it’s utterly derisible. The story angered dedicated fans by riding roughshod over established series mythologies pertaining to the Silurians and the Sea Devils, and to the casual viewer is just dull and boring. Then there’s “The Awakening”, which isn’t bad and certainly looks good, allowing the BBC to play to its traditional strength of historical drama serials: but the story is rather confused, seemingly wanting to be some mishmash of Quatermass and Sapphire and Steel. It’s not bad, but it’s not particularly good either. After this the season moves on to “Frontios”, which has some very striking ideas and visuals – the shattered Tardis remnants littered around the place are truly unsettling. It’s let down somewhat by being very artificially studio-bound, and the story of the human colonists doesn’t really gell, but this week’s monsters – gravity slugs the Tractators – are remarkably effective and creepy. It’s not a story that will appeal to everyone, but on the whole this is one of the season’s hits, albeit flawed and “difficult”.
The next story should be a slam-dunk success – it’s the “Resurrection of the Daleks” delayed from the previous season, with added Davros. How could you screw this one up? Very easily it turns out. The direction and production design are all top-notch, but the writing for this story is appalling. The violence and body count is so high that at the end, when companion Tegan declares “It isn’t fun anymore, Doctor” and leaves, you’re with her every step of the way and feel like walking out with her. (A more detailed review of this story is available on the author’s own blog.) Then there’s “Planet of Fire”, which benefits from being this year’s “let’s take the production crew on holiday” story – set in the other-worldly volcanic landscape of Lanzarote in the days before it became an overly familiar top tourist destination. It looks great, but someone forgot to pack a story in their luggage: the script has to write out two companions (Turlough and the best-forgotten Kamelion), introduce another (Peri) and have the Master return. It’s overloaded by all this and implodes into indifference under the sun.
Then finally Peter Davison’s time is over, and we’re finishing up with “The Caves of Androzani” – a truly brilliant serial, one of the very best, no question. If Davison was still saying ‘I’d have stayed if they were all like “Androzani”‘ then we’d have no absolutely argument. But ‘if it had been like the third season’ – really? The dreadful “Warriors”, the confused “Awakening”, the difficult “Frontios”, the awful writing of “Resurrection”, the damp squib of “Planet of Fire” make this for me the start of another major slump in Doctor Who’s long history. Here the exception to the rule is “Androzani”, the jewel in the season’s crown, where before the exceptions have been the duds. The next season would see script writer Eric Saward get a Doctor more to his liking – the abrasive Sixth Doctor as played by Colin Baker – and we all know how disastrous that turned out to be.
I’ll take the second Davison season over the third any day: it might not have been as good as the first, it might have been self-indulgent with all those love notes to the series’ past, and it might have faltered and clung on by its fingertips at times, but it just about pulled it off and maintained the quality. By contrast, the third Davison season dropped the ball on multiple occasions (and Baker’s first season couldn’t even find the ball to start playing the game in the first place.)
It’s to Davison’s immense credit that despite being one of the shorter-serving actors in the title role – and at a time when the series was, to put it diplomatically, “struggling creatively” – both he and his portrayal of the Doctor are still very fondly regarded and seen as one of the best periods of the show. Indeed, in the DVD extra “Come In Number Five”, when documentary presenter David Tennant (who knows a thing or two about being a popular Time Lord) reiterates that for him, Peter Davison “was my Doctor” – not only is it heartfelt, he speaks for many of us when he does.
And as accolades and tributes go, it doesn’t get much better than that.