BOOK OF LISTS: TOP FIVE CYBERMEN STORIES - NUMBER TWO

For Number Two, we go back to the 60s....

The Invasion, I'm sure, makes it onto most peoples' list of Top Five Cybermen Stories. I almost feel like a cliche for including it in mine. But it really deserves to be here. And, impressively enough, it made it up to the Number Two ranking. 

Two things about this story really stand out for me: 

1) This is an eight part long Monster! When a story has that many episodes, it should drag somewhere. Even the Great Inferno - which runs at 7 parts - has a bit of a sag in a later episode. There's a solid handful of minutes that could be completely taken out and it wouldn't affect the story in the slightest. Naturally, because they are still there, it drags things down for a bit. Really obvious filler has a tendency of doing that. 

Inferno is one of my all-time favorite stories. It almost, but doesn't quite, make it into my Top Ten Favorite Stories Ever. But I get why it has the problems it has. Seven episodes is a lot of content to create! 

The Invasion is one episode longer. That should mean more blatant filler that bores the Hell out of us, right? And yet, somehow, this doesn't happen. Every minute of this story is completely engaging. Even Part One - where a whole lot of nothing happens - still keeps me captivated. 

2) The Invasion was made in 1969. The older Who gets, the more it has to be "viewed contextually". We have to understand that TV, back then, was made in an entirely different way. It was meant to entertain a very different kind of audience. These factors can make a story from this period legitimately difficult to stay with. A modern day audience will just find the pace of things too different from the way TV now flows. 

I do sincerely feel that Invasion, for the most part, transcends its years. That, no matter what generation looks at it, they will be hooked. Again, it's just so damned engaging! 

The long running time and outdated nature of this tale should be huge obstacles that cause the story to fail. And yet, somehow, the story overcomes this. It is an absolutely wonderful adventure full of all sorts of great moments. 

On top of that, though, the Cybermen are really awesome in it!  

A WHOLE HALF OF THE STORY WITHOUT THEM

Probably the biggest thing that works to the detriment of this being a good Cybermen story is their lack of presence in the first half of the adventure. The production team was trying to create that same effect that I discussed in the reviews of so many stories involving the Master. They wanted to insert the monsters into the plot at a very succinct moment and create a huge Reveal. 

While this does give us a marvellous Cliffhanger at the end of Part Four, it also creates a problem. It means we get an entire four episodes of a Cybermen Story without any actual Cybermen! Sure, there's all kinds of great stuff with Tobias Vaughn and UNIT and even some fun with Zoe and Isobel (so much pantie flashing!).  But it's still a hard sell to call this a great Cybermen Story when they are absent from the plot for so much time. 

Fans are quick to point this sort of thing out, of course. "How can we truly call this a Cybermen Story?!" some will claim, "When the Cybermen take so long to finally join the story?!" 

Admittedly, they have a bit of a point. But, as if often the case with Fan Opinion, things get a little exaggerated. There is a big 'ole Cyber Planner who gets scenes regularly with Kevin Stoney. He is, essentially, a Cyber Controller who can't get around. The production team was smart enough to make sure he didn't resemble the Cyber Planner from Wheel in Space too much so that the audience wouldn't guess that the Cybermen were behind the whole plot. But the Cyber Planner is a Cyberman. He's  more logical and strategic and doesn't actually have a real body to speak of. But a Cyberman, nonetheless. 

It should also be noted that there are all kinds of dormant Cybermen lying around all over International Electromatics' property. Jamie has a bit of a close encounter with one of them at the end of Part Two. And it would seem that some of the employees of the company are partially converted Cybermen since they seem capable of incredible feats of strength. 

Finally, on a more abstract note: Packer and Vaughn really start talking about "their allies" just a short while before we get their Reveal at the end of Part Four. This helps to establish more and more that this isn't just some great plot by International Electormatics. There is a deeper, more sinister force lurking behind the company.Which establishes a foothold in the story for the Cybermen so that, when they start emerging from cocoons, this doesn't seem to come from nowhere.

Which means that - to me, at least - the Cybermen have a presence in those first four parts. It's a very stealthy one so that we can still have that big Reveal at the end of Part Four (a Reveal worthy of any of the awesome ones I described during my Top Five Master Story Countdown) but they are still there. Skulking about in the shadows (or, more appropriately, in the sewers). This is still, very much, a Cybermen Story through all of those first four episodes. We just don't realize it on the first watch. 

THE OTHER HALF

Of course, once the Cybermen do come into the story, some great awesomeness ensues! 

Vaughn's counterplot with the Cerebron Mentor creates an extremely cool concept that we hadn't really seen up until that point in the show: We get an insane Cybermen. It's actually quite terrifying. He gives us a great Cliffhanger when he re-appears later in the story 

Those sewer scenes are some more really great action sequences. I tend to sing high praises for Cybermen fight scenes. They are, quite frequently, very well-executed. For some reason, they are best the monsters for this sort of thing. When violence is inflicted against them, it's not too disturbing for family viewing. We detach from it enough because they're so mechanistic. But they can still writhe in pain in all kinds of gratuitous ways that a Dalek can't because they're just not as flexible! 

Even a modern day audience can look at that battle in the sewers and be quite enthralled by it. Overall, it still looks really good. It's equally impressive when the Doctor and Tobias Vaughn are running around taking out Cybermen with the Cerebron Mentor in the final episode. Things really heat up as UNIT arrives with bazookas blazing, The fights all look amazing. 

And then, of course, there's the truly iconic moments. People becoming zombified as Cybermen emerge from the sewers at the end of Part Six looks incredible. It's a moment that I had thought for sure was being overhyped by the fans. But as I watched the full sequence for the first time, I could see why it gets talked about so much. It really does contain some great imagery. 

Even if we want to say that the Cybermen weren't truly present during the first half of the story, I find that those latter four parts have so many great moments involving them that it compensates for their absence. What truly amazes me, though, is how awesome all of it looks. Even if it was all shot way back in the 60s, suspending one's disbelief really isn't all that difficult most of the time. 

THE MAIN SOURCE OF GREATNESS 

There are several factors that really help to make this story shine. Kevin Stoney is probably a big one. He is an absolutely wonderful villain to watch (here's how much I love him: https://robtymec.blogspot.com/2018/04/book-of-lists-top-5-one-time-only_23.html). Everyone else is putting in a great performance, too. Nicholas Courtney is definitely earning his way into the recurring character status that he will get for the rest of Classic Series. The TARDIS crew are all doing a stellar job, too. I do think Jamie and Zoe were the best companions for Two. 

It is a very well-written story, too. It really does manage to fill those eight episodes with drama that remains gripping the whole time. Even very deliberate attempts to mark time are still enjoyable. Jamie and the Doctor trying to escape through the elevator shaft is a great example of this. It's done clearly as a digression from the main plot to pad things out a bit. One might even call it a capture-and-escape. But it's still quite the exciting sequence to watch. 

I would even go so far to say that the actual design of this model of Cybermen has a bearing on the story's success. These are some of the best costumes ever made for them. It's the first time we see an "earmuff version" and they look really good.

But the strongest accolades must go to the director. Many who worked with Douglas Camfield on Doctor Who speak of how amazing he was. They say, with great fondness, how he was incredible with the way he handled any project that came his way. How, because of his background as a soldier, he treated any production he was assigned to as if it were a military operation. This seemed to get him great results. 

Classic Who was often shot on a very rigorously short schedule. Which meant many stories were made with a bit of a "just get it in the can" attitude. Even in its last few seasons, we see instances where a scene really needed an extra take to get it to look better. But there was just no time to do it.  

We don't really see this sort of thing from Camfield. His military efficiency seems to have really paid off. Many of the shots in Invasion are extremely well-composed. Some of his location work looks like something you might find in a feature film rather than a low-budget sci fi TV series. 

There are all kinds of talented people involved in this story but it's Camfield that brings it all together and really gets it to fire on all cylinders. He was perfectly-suited to take on such a massive story. After all, he'd handled a tale that was four episodes longer only a few seasons previously (and used Kevin Stoney in that one too!). 

But I do really believe that Invasion remains as engaging as it is because of the way Camfield cosntructs it and makes it all so watchable. I'm particularly impressed with how well he handles things in the later episodes. A good chunk of Parts Seven and Eight are just shots of actors pretending to be officers shouting excitedly from various bases as stock footage of missiles and rockets are interspersed between their scenes. This all could have finished up very static and boring. But Camfield gets it to work. In fact, it's just as gripping as the fight sequences that are going on at the same time at the Guiness factory. 

LONG-LASTING IMPACT

Perhaps one of the strongest testaments to the success of The Invasion is how often it gets referenced in future stories. The image of Cybermen stomping around in the sewers of London made such a strong impression that the effect is re-created during Part One of Attack of the Cybermen. International Electromatics gets mentioned a handful of times during Rise of the Cybermen/Age of Steel. And, of course, the Cybermen are seen marching out in front of St. Paul's Cathedral once again during Dark Water/Death in Heaven. 

While Easter Eggs were, at one point, starting to happen a little too frequently during the New Series - I can understand why they're hard to resist.  Particularly when they involve a truly great story like The Invasion.

I have mentioned before how some like to refer to me as The Great Contrarion. I do love to contradict Popular Fan Opinion on many issues. But you'll get no argument from me when you discuss the merits of The Invasion. It is an absolute masterpiece that deserves all the respect and fondness that it receives.

And, as 2021 reaches its conclusion, we arrive at the Number One Cybermen Story. Hopefully, I'll get that last entry in before the year is over. 

 

  

BOOK OF LISTS: TOP FIVE CYBERMEN STORIES - NUMBER THREE

The Countdown continues! This one is another New Who Tale....

During my Top Five Master Stories Countdown, I mentioned how New Who has not been particularly kind to most returning villains/monsters that originated from the Classic Series. For the first few times that we see them, they're usually poorly-written. It takes a while before they start getting some fairly decent stories. 

The Cybermen are probably one of the best examples of this. I'm guessing RTD felt that their history was too convoluted to introduce to a new audience (was it, though? They came from Mondas. They moved to Telos. They have a fleet - doesn't seem that complicated to me!). So he came up with this whole "Parallel Universe Cybermen" concept. He was certain that this would make these monsters more accessible to 21st Century fandom. But it really just turned into a bad origin story with a poor season finale follow-up. Then we got The Next Doctor a few seasons later. Which I still consider one of the worst stories ever made in the Modern Series (those dreadful Cyber Shades!). 

We do see some improvement as Moff takes over. Closing Time, Nightmare in Silver and Dark Water/Death In Heaven are all fairly passable. Some do better than others - if I'm to be totally honest! But, at least, we are no longer dealing with Cybermen from another Universe who are trying to develop their own exterminate-style catchphrase. They're more like the Cybermen I remember from the good 'ole days. 

It isn't really til Series 10 that an adventure featuring the Cybermen comes along that really gets our jaw to drop. That's a long time to wait for a strong representation of a much-loved monster. Better late than never, though! 

Fortunately, the trend continues with the next time the Cybermen make a return. And we get the most excellent  The Haunting of Villa Diodati/Ascension of the Cybermen/The Timeless Children. 

Which is, of course, our Third Place Winner. 

VILLA DIODATI 

Before we can even get into this three-part masterpiece (I consider it three parts, at least - some may break it down differently - you can  read about the Great Three Parter Debate here: https://robtymec.blogspot.com/2019/09/points-of-debate-what-constitutes-three.html), we need to examine something that Chibnall did earlier in the season to help get us more excited for this story. One of the many twists and turns that he threw into Fugitive of the Judoon was a surprise appearance by Captain Jack Harkness. But just bringing the character back wasn't enough. Jack's also responsible for a major piece of foreshadowing: 

"Beware the Lone Cyberman." he warns, "Do not give him what he wants." 

"Who is this Lone Cybermen?!" we all ask back, "Why is he alone? What is it that he wants?! Why can't we give it to him?! What actually is the airspeed velocity of an unladen swallow? Monty Python never did tell us!" 

And so on... 

That little bit of a tease gets us all so much more interested in this approaching storyline. It was a great move on Chibnall's behalf to get a decent arc going midway through the season. It truly is a riveting moment as the Lone Cybermen does finally arrive in The Haunting of Villa Diodati. 

The Lone Cybermen is a huge contributor to my love of this three-parter. He is an excellent concept. A man who actually liked the idea of being a Cyberman. But, through some great twist of irony, the cybernisation process didn't work for him. It's utterly brilliant. He believes in the whole mentality of the race, but can't truly practise it because he still has emotions. 

His design is also awesome. Not just the whole half-man/half-robot aesthetic. But also the fact that he seems to look like about three different models mashed together. The look alone begs for a backstory. How exactly did he end up appearing that way?   

My enjoyment of the Lone Cybermen is so strong that I must actually admit that I like him as much as the Cyberleader in Earthshock. I never thought there would ever be another character from the Cyber-Race that I would enjoy as much as the Cyberleader in that story (other Cyberleaders that we have met were okay - but none were as great as him. Even though it was often the same actor in the suit!). But the Lone Cybermen is just as fun to watch onscreen. The actor plays the role to perfection. And he's excellently-written. Which are the same two components that made the Cyberleader in Earthshock so engaging.  

The fact that the Doctor does, ultimately, give the Lone Cybermen what he wants makes us dying to see what will come next.

ASCENSION 

One of the things I love most about Ascension of the Cybermen is that it finally offers a legitimate glimpse into one of the Great Cyber Wars. They get mentioned so much in other Cybermen stories but we never actually see any of the fighting. Although the whole conflict is drawing to a close, it's still great to witness some events on the battlefield. 

It is near the beginning of this particular episode that one of my few issues with this whole story is on display. The concept of Cyber-drones is a great idea. Visually, however, I found they didn't work too well. For a moment, it seemed more like we were watching a Doctor Who video game rather than an actual TV show! 

The perfect uniformity in which the drones move is a big contributor to why the sequence looks so bad. Which does lead me to a big gripe I've been meaning to go on about for some time. Why is the New Series so obsessed with Cybermen acting in unison all the time?! It was never a big priority for them in Classic Who. I even quite liked the fact that they moved independently of each other so much. It helped indicate that they weren't merely robots. Whereas now they must stomp around all the time with their timing and stance in perfect synchronicity. It's not a visual I'm enjoying that much. Please, Production Team, bring back Free-Flowing Cybermen! 

Okay, that's out of my system. Back to the good stuff. Another great trait about this episode is how "stripped down" it feels. It's not a particularly complex plot. The few remaining Cybermen from the war are trying to hunt down the few remaining humans. At the core of it all, that's all the story is really about. A few other developments are occurring that will only get fleshed out in the final part. 

Keeping things so simple in this middle section makes the whole tale massively compelling. To just suddenly let the story turn into an intense chase for an hour was a great change of pace. And, though some love to pick apart Chibnall's writing, he does an amazing job at structuring the whole ongoing pursuit. It's a white knuckle ride the whole way through. The Cybermen come across as so ruthless and determined. Easily, the most menacing they've been since the show returned. 

Again, there might not be much to the plot of Ascension of the Cybermen - but what is there is some of the most gripping television I've seen. The continuous element of danger that the Cybermen provide really does keep you on the edge of your seat the whole time. 

TIMELESS CHILDREN

We have another Elephant in the Room that needs to be addressed: The Timeless Children is a highly divisive episode. Many fans were outraged by the fact that it messes a bit with the main lore of the show (it doesn't really, though. I address the whole idea quite thoroughly here: https://robtymec.blogspot.com/2020/05/unadulterated-boorish-opinion-silliness.html). There are probably any number of fans who would look at this entry and say something to the nature of: "How can you give a favorable review to anything involving The Timeless Children?! It is sacrilege!!!"  

First off, I could easily write a good review for this episode because I actually love the concept of the Timeless Child. It's just the sort of thing the show needed to take it in an interesting new direction. In my eyes, it's a great story arc that I have been enjoying enormously. Those of you who think a showrunner should not mess with the established lore of the show and are extra mad at Chibnall because you believe him to be the first one to ever do it really haven't been watching Doctor Who! The truth is: Important Established Continuity gets altered on a fairly regular basis.** 

I could take the time to argue more thoroughly about the merits of the Timeless Child arc (and I, sort of, do in some footnotes at the end of the entry!). But the whole point is, essentially, moot. We are examining this as a Cybermen story. And, in that respect, the third part of this tale continues to do a great job of representing them. 

I complained ever-so-slightly in my last entry about how the Cybermen do feel just a little sidelined during The Doctor Falls. The Timeless Children is in a similar predicament. The Master is involved in this story, too. And there's a huge info-dump that goes on about Ancient Gallifrey. But those nasty cyborgs don't get pushed aside, this time. Two very strong plot threads involving them that first started in Ascension continue. And now a third one develops as the Master makes contact with the Lone Cyberman. Definitely no Cyber-neglect going on, this time! 

The Lone Cyberman continues to shine, here. I feel I must give him just a little bit more praise and adoration. I love how his own personal flaws end up saving the lives of a few important human characters. The Cyber-carrier's defense system detects a disturbance on one of the troop storage levels. A technician even offers to just activate some dormant Cybermen in the chamber to investigate. But the Lone Cybermen, creature of impulse that he is, decides he must go look for himself. There is a gorgeous moment of tension as he starts peering into the cryo-units that the humans are hiding in. And then, the half-converted tyrant is distracted by an important development and returns to the Bridge. Had it not been for the fact that the Lone Cyberman still has the potential to act illogically, Yaz, Graham and the others would have been done for. I love how Chibnall genuinely makes use of the nature of this character to propel certain plot points. In a less skilled pair of hands, the Lone Cyberman would have just been a cheap gimmick. Here, he is used brilliantly all the way through the three parts.  

I do actually almost tear up a bit when the Master finally takes the Lone Cyberman down. I loved him so much and wanted to see more of him. As far as I'm concerned, he could have returned to the show on a regular basis. Like Davros does during Dalek stories. That would have been an absolute delight. Sadly, though, he's been disposed of. But, again, Chibnall uses this turn of events in a useful manner that will serve the conclusion of the story well. He doesn't just pluck him out of the story because he's a baddie and it's always nice to kill off villains towards the end of a story!

Still, I wish that Lone Cyberman hadn't died. I loved him!   

The battle Ryan is forced into during this episode is one of the best action sequences involving Cybermen that's ever been done. Ace fighting with a slingshot and gold coins during Silver Nemesis might be the only one that beats this out (complain all you want about the 25th Anniversary Tale, this is still an awesome moment!). I like that the humans do have some weaponry that is effective against their foe. But, ultimately, the might and sheer number of the Cybermen is defeating them. In the end, it's only luck that seems to save them. 

There is a problem that can occur with stories involving returning monsters. It's always fun to watch them get destroyed. Because of this, they can be a bit too easy to defeat, sometimes. Which can really ruin their sense of menace. This doesn't happen, here. The Cybermen do truly seem deadly.  

Finally, we have the Cyber-Masters. How fannish these creatures could have been had they not been handled properly! Instead, they are brilliant. It would have been nice if they had figured more prominently in the plot. But it also made sense to make them so short-lived. The threat a hybridised race of Cybermen and Time Lords pose to the Universe was just too great. They needed to be taken down quickly. 

Of course, it is hinted that they might not have been completely wiped out. The Master has, most likely, escaped Gallifrey before the Death Particle went off and may have taken a few with him   His return was just heavily foreshadowed during The Vanquishers. So it's possible that there will be some Cyber-Masters with him. We'll have to wait and see...

CLOSING REMARKS

So, aside from those Cyber-drones that looked like something out of a cheap video game, I'm pretty damned happy with this story. The fact that it beats out an actual origins story that was also well-made speaks volumes of its quality. 

It certainly backs up the Popular Fan Opinion that has been spreading, of late, about Chibnall. A lot of his critics are forced to admit that he handles recurring villains quite well. I would go so far to say that, of all the Head Writers for New Who (thus far, at least), he has done the best job with them. He seems to understand what it is that we enjoyed about these characters in their previous appearances and displays those traits prominently in his own plots. He also does an excellent job of introducing new aspects to the cultures of returning monsters. The Recon Dalek, for instance, was a great concept. But it doesn't have to be something big like that, every time. Sometimes, it's more subtle. I found it fascinating, for instance, to discover that the Sontarans have a Psychic Division during Flux. 

Chibnall's skills with returning foes is why he has gotten a story in both of these countdowns (mind you, Moffat made it into both, also - but it was with the same story!). If I were doing Top Story Countdowns with Sontarans and Weeping Angels, his scripts involving them would probably also make it in. In fact, I'd go so far to say that Village of the Angels might actually be better than Blink. 

How's that for heresy?! 

Anyhow, this is not meant to be a review of Chibnall - this is supposed to be a Top Five Cybermen Story Countdown. So I'll end my digression and get back to my real point: The Haunting of Villa Diodati/Ascension of the Cybermen/The Timeless Children is the best Cybermen story New Who has to offer. Even if you don't like all the actual Timeless Child stuff, the content involving Cybermen is excellent. Moff did, at least, really get the Cybermen right in his last story. But it was nice to see them get improved upon as his successor took over.  

This is the way the Cybermen were always meant to be. It just took a while for us to finally get there. Thank God we made it, though. Alternative Reality Cybermen just weren't really working!  

...And that wraps things up for Number Three! We'll be returning to the Classic Series for Two. And we're going quite a ways back! 

 

** I just want create this footnote to back up the idea that production teams frequently mess with the show's lore. I didn't want to clutter up the main point of that particular section, however. So that's why I'm doing this in a footnote! 

Here are several examples of how previous production teams altered core continuity issues: 

1) The origin story the Second Doctor gives in The War Games heavily contradicts the one he told in An Unearthly Child. The First Doctor claims to be an exile forcibly cut off from his people who is striving to one day return home. Doctor Two says he's a renegade who chose to leave his homeworld and has no desire to go back to it. 

2) After clearly establishing for a number of years that the first incarnation of the Doctor was played by William Hartnell, the production team starts teasing out the idea during Seasons 13 and 14 that there may be incarnations that existed before him. (Not just the faces we see in the mind bending tournament in Brain of Morbius, but the Doctor looks at a costume in the old console room in Masque of Mandragora that doesn't really resemble anything Doctors One to Three ever wore). 

3) For the first six seasons of the show, we are under the impression that the Doctors did not interact with the Time Lords until The War Games. But then The Two Doctors and Five Doctors both make implications that the Second Doctor had quite a few dealings with them. 

4) In the final two seasons of the show, we see the development of The Cartmel Masterplan. An ongoing arc that, had it been allowed to be completed, would have revealed that the Doctor had a whole different life before the Hartnell incarnation that had a strong link to Ancient Gallifrey. His experiences during that life, however, were erased from his memory. Is it just me or does this sound familiar?! 

5) The Doctor clearly states in Time and the Rani that he is 954. But he is, somehow, younger than he was in the Classic Series as Doctor Who revives! 

If you want to object to what Chibnall did to the Doctor's origins - that's fine. Just make sure your objections are well-founded! 

BOOK OF LISTS: TOP FIVE CYBERMEN STORIES - NUMBER FOUR

The Countdown continues....

DOUBLE WINNER

Believe it or not, we have a story that won in both categories. World Enough and Time/The Doctor Falls was not only an excellent Master Story (as you can see, here, in this review: https://robtymec.blogspot.com/2021/11/book-of-lists-top-five-master-stories_19.html), but it also did a damned fine job of representing those Metal Meanies from Mondas. Clearly, I was very impressed with these two episodes! 

Some fans even seem to wish that this was Moffat and Capaldi's final story and that Twice Upon a Time had never been made. After all, the Doctor is in the process of holding back a regeneration throughout the entire second half. He could have, easily, just done his big "Doctor, I let you go..." speech at the end and finally allowed the regeneration to happen. An era would have been brought to an end on a much less divisive note than it was.  

Bringing up the regeneration, however, gets us to ponder a heavy point. These two episodes not only featured a multi-incarnation Master Story and the origins of the Cybermen - they also began the process of writing out the Twelfth Doctor. That's a lot of stuff to handle! Some fans love to point out how Planet of Fire had to feature the Master, write out Turlough, kill off Kamelion and introduce Peri. I would say World Enough/Doctor Falls carried just as heavy of a load. Maybe it didn't have quite as many strands to take care of, but the plot threads it does handle are a bit larger in scale. 

I am always very impressed with a Who Story that has to resolve multiple ongoing continuity issues at once and still tell a good story.  World/Falls does this magnificently. It really is an impressive two episodes. 

For now, though, we will focus in on how it handles the Cybermen. 

AN ORIGINS STORY? 

Probably one of the best things this story does for the Cybermen is give them their own version of a Genesis of the Daleks adventure. Although - and this will sound horrendously blasphemous - I think I like this way better than the Dalek origins tale. There aren't endless captures-and-escapes to mark time or awful cliffhangers where people appear to be falling to their death but aren't, really. Instead, we get a really great sci fi concept involving black holes and how they can affect the flow of time. Which, apparently, was even scientifically accurate! 

Watching the gradual evolution of the Cybermen throughout the first part is probably one of the cooler aspects of the whole story. I love the way they look more like hospital patients at the beginning. But, at the same time, you can still see the "Cyberman-to-be". It had been made pretty clear in promotional material that Series 10 would finish with Peter Capaldi getting his wish fulfilled to fight "Mondasian Cybermen". So there was no need for subtlety. We knew what these strange creatures in hospital gowns and IV drips were going to become. It was great fun to watch the transformation gradually happen over the length of the episode. 

The fact that Bill becomes one of - if not - the first "True Cyberman" is massively cool. At the same time, it's quite devastating. I'd become quite attached to her by this point and didn't want to see this happen to her. The fact that cybernisation seems to be irreversible made her fate all-the-more painful to watch. I've spoken before of the potency of that cliffhanger (https://robtymec.blogspot.com/2020/06/book-of-lists-ten-amazing-cliffhangers.html). It's a gorgeous "double-whammy". Not only must we watch the Doctor's close friend become a Cyberman, but the Doctor also comes to terms with the fact that he's dealing with two incarnations of his greatest rival at once. So it's an excellent moment for both the Master and the Cybermen. But it's an especially important moment since it is the final stage of an evolution that we've been watching. 

The Cybermen are born. It's particularly mortifying that they were born through Poor Bill! 

There is one neat thing that Moff does during the second half of the tale that works as a sort of escape clause if one wants it to be. The Doctor delivers his speech about parallel evolution. He claims that most species, at some point, try to convert themselves to Cybermen. This allows what we're seeing on this colony ship to Mondas to be subjective. I like to think that the ship makes its way to its destination and converts the Mondasian population. That this is the true origins of the Cyber-race. But, if you so desire, you can view this as a completely separate tale that has no bearing on what we will eventually see in The Tenth Planet. That those Cybermen have a completely different backstory. It's another gorgeous example of the ambiguity Steven Moffat has woven into the script. 

THE HORROR! 

One of the other really outstanding elements of this tale that involved Cybermen was something that is commonly referred to as "body horror". I actually find this to be one of the most disturbing forms of the genre. There are all kinds of terrifying things you can do to characters in a plot. But when you start actually changing their physical form and the very nature of who they are, it really gets under my skin. 

I find that Who actually needs to be careful with this style of horror. As it really can become too disturbing for a family audience. In the past, we've had stories like Ark in Space, where Noah transforms into a Wirrn. We're not really all that mortified by the scene, though, because the effect was done with bubble wrap (the performance of the actor, though, as he struggles through the transformation was brilliant)!  But now, the show has a real budget. They could really make some stomachs turn if they wanted to. 

But the whole thing is pitched quite magnificently. We know there's some gruesome surgery going on but it's only vaguely alluded to. We can't help but notice, for instance, that the new head apparatus that the surgeon is showing Bill at the end of the episode has a nasty spike in it that will, very obviously, penetrate the skull of its wearer. We don't actually witness the process going on, though. It's left to our imagination. Which will do a far better job than a graphic visual ever could. 

There's also a far stronger emphasis on the psychological damage that occurs during Body Horror. Which is safer to portray in a PG format but, ironically, can be far more difficult to watch. Bill waking up from her operation and wandering into a room full of Patients begging to be killed is, in many ways, one of the most memorable moments in the whole episode. And it sticks with us so well because it is just so dark and morbid. It's a truly brilliant scene. 

CONVERSION

As we discuss the various virtues of Body Horror, it leads us to another point about this story that I really enjoy. A core element of the terror a Cybermen inspires is the fact that they are the sci fi equivalent of a zombie. Rather than just kill you - they go one step further. They turn you into them. You become the Walking Dead. Every story involving them mentions, at least, in passing that Cybermen convert humans. 

And yet, we rarely get to see the actual process. The first time we see any real hint of it is in Attack of the Cybermen: a story that takes place nearly 20 years after the monsters were first introduced. For nearly two decades we hear things like: "If the Cybermen catch you, they turn you into them!" But we never actually get to see how that's done. 

New Who stories like Rise of the Cybermen/Age of Steel and Closing Time also show a little bit of the process. In some ways, not letting see us see much of it is part of that less is more approach that I described a bit, already, in the last section. But, after so many years of not ever really witnessing much of the procedure, I really wanted a story that focused in on it a bit more. 

In World/Falls, we finally get to see that. It's a very primitive form of conversion. No doubt, future Cybermen come up with much more efficient ways to transform humans into their kind. But it's quite nice to see such low-tech methods.  It makes it more horrifying, of course. But also allows us to really see and understand what goes into the process of making an actual Cyberman.  I found it most interesting to see the whole thing displayed in such great detail. Now we can go back to putting Maurice Colbourne or Jame Corden in partial Cybermen outfits!    

DRAWBACKS...

This story ranks Fourth Place in my Cybermen Story Countdown. While I have a lot of great things to say about it, it must also have some weak points. Otherwise, it would be at the top, right? 

I have to say: my qualms with the tale are negligible. For the most part, I adore it. 

However...

It made sense that we might eventually see the Cybermen evolve into a more efficient model. So I didn't mind the Nightmare In Silver Version suddenly appearing and kinda taking things over. They would look more intimidating for a final conflict. This was also the latest costume that the production team was using so that worked, too. The fresher the look, the better.   

I'm not sure if we needed the Cybus-Style Cybermen in there, too. It seemed a bit unnecessary. Seeing multiple versions of Daleks in Asylum of the Daleks was cool. Any other attempts to cram in as many different past models of an evil cyborg seemed a little too fan-pleasing. In this case, it even seemed a little half-assed. They, more-or-less, re-created the Mondasion style Cybermen and then just dug out the suits they still had lying around. If they really wanted to show an evolution of some sort, we should have gotten a few more re-creations of classic costumes. Maybe one more version from the 60s and then the totally awesome 80s look. 

As I've mentioned, World/Falls is a bit like Planet of Fire. It has a lot to take care of. Because of this, the Cybermen do feel ever-so-slightly sidelined during the second episode. Technically, there is a Cyberman accompanying everyone as we deal with the multi-Master drama and the Doctor trying to halt his regeneration. But, most of the time, she appears as Bill. Only once in a while are we reminded that it's no longer really her. So the Cybermen's presence is a bit weak for a while. Especially with all the build-up we get in Part One. It does feel a bit like they've just been, suddenly, pushed to the side after Nardole rescues everyone from the rooftop. It's not a huge failing. But it would have been nice to see more of what was going on in the Cyber Factory during The Doctor Falls. How cool would it have been, for instance, to have a scene where that creepy surgeon is, at last, betrayed by his creation and forced to become a Cyberman? And then some other scenes where we just watch the Mondasian Cybermen completely take over operations and make improved models of themselves? It just seemed like a plot thread that should have kept getting explored in the second half. Instead, it's a bit of a wasted opportunity. It does work to leave the goings-on in the Engine Level mysterious now that the protagonists have left it. But it also feels a bit "off" that we abandon the setting so suddenly and only return to it to watch Cybermen activate their jet boots!

FINAL VERDICT

My objections, as you can see, are pretty minor. In terms of how this adventure treats both the Master(s) and the Cybermen, it does a pretty damned solid job. It begins Twelve's final journey quite well, too! Overall, it was a great way to finish out the season. Probably one of the best season finales of the New Series.   

It is important to note, however, that there is one sequence towards the end of the whole adventure that gets me to forget about any problem I may have with these two episodes. I'm speaking of that glorious moment where the Doctor is running through the solar farm setting off explosions with his sonic screwdriver and shouting out every victory he's ever had over this particular foe. It's an utterly brilliant scene that, for me, captures the true spirit of the Doctor. He knows his life will be over soon, but he still defiantly celebrates all the times he has won against the monsters that are about to end him. I find the whole thing genuinely inspiring, really. No matter how many times I watch it, it stirs up something in me. I'm always moved by it. 

That scene, alone, gives this story a special place in my heart. It helps, of course, that the rest of tale is very well put-together, too.   

Number Four Cybermen story has been covered. We'll keep moving on.... 

  

BOOK OF LISTS: TOP FIVE CYBERMEN STORIES - NUMBER FIVE

Having wrapped up our Top Five Master Story Countdown, we move on to another of the Great Recurring Enemies. December will be spent counting down the Top Five Cybermen Stories. 

We'll begin with one that is a fan-favorite....

BUT WHERE ARE THE CRYONS?!!   

I have to admit, Tomb of the Cybermen is ever-so-slightly reminiscent of The Space Museum. I say this because The Space Museum has an incredible first episode (such a great episode that I consider it one of my favorites, ever https://robtymec.blogspot.com/2018/11/book-of-lists-top-six-doctor-who.html). But the other three parts go off in some pretty strange directions. Some would even say they're absolutely awful. I wouldn't go that far, though. If I were to be objective about it - I would just say the other episodes are clearly inferior in quality to the first. 

One could say much the same thing for Tomb of the Cybermen. Except that it's the first two parts of Tomb that are awesome. Then we get that serious dip. And, just like Space Museum. I wouldn't say Parts Three and Four are terrible. But, because they're all part of the same story, you have to line them up against each other. And there is a very clear difference in quality between them. 

Here's the thing, though. Even with the problems in the latter episodes, Tomb of the Cybermen really does end up being a great piece of television. Those first two parts are just so gorgeous that we tend to put aside the flaws that occur after them. And, as I said, the second half of the story isn't absolutely horrible, anyway. It's just significantly less good. 

It's for this reason that, even with some other really great Cybermen stories out there, Tomb of the Cybermen still ends up on this list. Because of its problems, it only comes in Fifth. But it still very much merits a position here. There are many things about the story that are brilliant. And they manage to overshadow the problems. 

SO WHAT MAKES THOSE FIRST TWO PARTS SO GREAT?! 

Lots of fans sing pretty heavy praises for Tomb of the Cybermen. They tended to love it more, though, before it was re-discovered in the 90s. Some still adore it in its entirety. When Matt Smith got the role of the Doctor, for instance, he started watching a bunch of the Classic Series to better understand the character. He seemed to be most impressed with Tomb. He doesn't make the same claim that I do, however. He seems to like all four parts. 

Other fans do find that the story definitely re-enforces the late JNT's favorite proverb: "The Memory Cheats!" They were actually around when it came out and went on endlessly about how great the tale was. And then they actually saw it again and found themselves eating a bit of crow. Many tend to agree with my sentiment - those first two parts are great. The second half is where the problems start. 

Rather than dwell on negatives, however, let's focus on what's great about the adventure. What is it about the first half of the story that gets us to love it so much? 

I think the biggest factor would be the actual Second Doctor, himself. We hear a lot of talk from older fans about how dark and manipulative he can be. Comparisons are even made between him and Seven. They say Two was almost a lighter version of him. Clownish but still very ruthless when he needs to be. We don't see much evidence of this in the stories that still exist. Most of the time, he's quite humorous. But Tomb definitely shows us a different side of him. The Second Doctor seems like a real puppet-master in those first two episodes. He coaxes the archaeologists along in a game of his own that he seems to be playing against the Cybermen. Using people as pawns in much the same way his seventh incarnation would. It's really quite engaging to watch. 

Unfortunately, however, there's not a whole lot going on with actual Cybermen in those first two parts. The plot seems more concerned about the politics between the various archaeologists, than anything else. But there is a sort of silent presence that the Cybermen have the whole time that make them quite sinister. Humans are still picking through a place they once dwelt in and are discovering all sorts of interesting things about them. And, of course, they do finally climb out of their hibernation units at the end of Part Two to provide us with a hell of a cliffhanger! 

The other thing that I do enjoy about these first two episodes that involves Cybermen is how much their actual scope is broadened. Up until Tomb, we've only seen the Cybermen making fairly isolated attacks on Earth. This is the first story where we really learn of the galactic presence that they have. They seemed to be feared far and wide by various species across space. The Universe was quite happy when they went into hibernation. This is the first time we see this aspect of their reputation and I quite like it. 

THOSE OTHER TWO PARTS - THE BAD

Okay, let's get the painful stuff out of the way, first. We'll address the aspects of those latter two parts that don't work. 

Right in the first few seconds of Episode Three, there's a bit of a problem. None can deny the effectiveness of the second part's cliffhanger. That Cybercontroller is completely sinister as he emerges from his tomb and proclaims: "You will become like us." It is a bit unfortunate that he does sound slightly similar to the voice-boxes that would be used for people after they get tracheotomy surgery. But, at least, it's in a lower register. 

But then the quick reprise at the beginning of Part Three raises the pitch of the Cybercontroller's voice. Now he really does sound like the tracheotomy voice-box. And will continue to do so throughout the rest of the tale. While this is a pretty minor flaw (did that surgical procedure even exist back then?!), it's still gets the episode off to a bad start.

There are some other cosmetic issues of this nature. I try not to come down too hard on poor visuals in the Classic Series. The show had a shoestring budget and the production teams were doing the best with what they'd been handed. But there are a few sequences that just look soo horrible that I can't get past them. Probably the all-time worst would be those last few minutes of Robot where they are trying to do an homage to King Kong. But it's really just Michael Kilgarriff traipsing around in a bad robot costume crushing doll houses!

Several action sequences in Tomb of the Cybermen have this same sort of impact (Michael Kilgarriff almost seems to be a curse of some sort when trying to produce convincing visuals!). The most notorious are the fights where someone is getting thrown around. Toberman is clearly being suspended  by wires in one scene like this. And the Cybercontroller is obviously a dummy during another battle where this happens. But there are other moments that look equally ridiculous. Cybermen stumbling around in blatantly ineffective smoke bomb explosions while making silly noises is another really big cringe. The whole chase that ensues after the smoke bombs are dropped looks horrifically pantomime. Particularly Jamie running around a single set piece as a Cyberman pursues him. All of these problems damage the credibility of those first two episodes where everything feels so ominous. This great menace of the Cybermen that the archaeologists have been discussing seems preposterous, now, because these supposedly fearsome monsters are quite comical, in places. 

However, it's not just the production value that presents a serious problem in these latter two parts. There are some problems with plotting, too. Once it's been made clear in the first few minutes of Episode Three that the whole thing was just a big trap to find worthy converts for the Cybermen, the whole narrative doesn't really have anywhere to go. It just, sort of, spirals off in some erratic directions. We get some trouble with Kleig and Kaftan and some cybermats. But it all just feels like attempts to stall the inevitable: The Cybercontroller will come up from the tombs and use Toberman to trick the humans. It's where the whole plot needs to go but the writer marks time with largely inconsequential perils. At the risk of sounding harsh, the story might have worked better as a three-parter. 

That is the bulk of the bad stuff of the second half. Although I've spent a few paragraphs dwelling on it, I shouldn't pay too much attention to it. There's still plenty of quality moments in these two episodes that dwarf it.

THOSE OTHER TWO PARTS - THE GOOD

Okay, negatives have been taken care of. Let's look at the good stuff in the latter two parts. 

Probably the most famous moment that gets quite a bit of fan adoration and isn't an example of The Memory Cheats is the scene with the Doctor and Victoria as they are standing guard at night. It really is as touching and beautiful as everyone said it is. Troughton delivers his dialogue in a manner that is both delicate and just a little bit haunting. It's magnificent. 

The attack of the cybermats that ensues shortly thereafter is actually well-executed. Even a bit creepy. The cybermat crawling up the hastily-awakened rocket technician looks especially good. After a bunch of really unconvincing action sequences, it comes in like a breath of fresh hair and really spices up Episode Three. 

Klieg starts becoming a fun villain in the last two parts. We know there is something wrong with him during the first half of the story, but he's trying to conceal it as best he can. But he does a great little descent into madness now that he's letting his inner megalomaniac out. Yes, he gets a little over-the-top by modern-day standards - but he's still a lot of fun to watch. 

The final conclusion of the story is a tad predictable. We know Toberman will, ultimately, resist his conditioning and sacrifice himself to re-seal the Tombs. We even suspect that Kaftan's death will trigger his change of allegiance. But it's still a very nice dramatic moment that resolves the whole conflict quite well. Particularly as Toberman fights against the Cybercontroller to re-seal the main entrance. It's a great scene

You may notice that there is one slight problem with a lot of these strongpoints: They don't actually involve the Cybermen that much! This is the really unfortunate thing about the whole adventure. The first two parts don't really show us a lot of the main monster of the story. And, when they do finally emerge from their tombs, their scenes often don't work very well!   

ULTIMATE CONCLUSION

There is a great irony to Tomb of the Cybermen. It is an excellent story in so many ways. Even with its problems, it's still one of the best 60s Who stories ever made. 

But the story really only does so much for the Cybermen, themselves. They are built up beautifully in those first two parts. And when they finally emerge in the last few minutes of the second episode, it really does look awesome. 

But most of the sequences involving them once they have re-awakened really are the weakest moments in the tale. Particularly when you consider how good they look in Tenth Planet and Moonbase. The Cybermen costumes back then were quite cumbersome and difficult to navigate your way around in. Add to the fact that most sets in 60s Who were quite cramped and it seems justifiable if you get some artistes stumbling around now and again. And yet, that doesn't really happen much in their first two stories. Quite often, they really do inspire a considerable amount of fear. But they just don't have that same impact during a lot of Tomb. There are still some moments where they look awesome - particularly when climbing in and out of the honeycombs. But there are also some really laughable sequences. And it's the first time that we've seen this sort of thing with the Cybermen. This works tremendously to their detriment. 

And yet, I find it hard to care all that much about it. Because Tomb is just a really great story. In many ways, it feels massively ahead of its time. Back in the 60s, Doctor Who was much more of an episode-to-episode kind of show. It was still heavily-influenced by those old adventure serials kids used to go watch at the cinema. Particularly with its reliance on cliffhangers. There was a definite sense with those serials that the writers really weren't planning that far ahead with their storylines. As long as there was a bit of plot development and a main character ended up in a sticky situation by the end of the episode - everything was fine. Black-and-White Who often worked under the same guise. 

Tomb of the Cybermen is one of the first tales in the show's history to really feel cohesive in the way it's constructed. It's more of a story told in four parts than four parts that try to come together to form a story (not sure if that made any kind of sense!). Which makes it an absolute delight to watch. Even if it doesn't do the Cybermen much justice. 

Because it is, in many ways, a well-put-together piece of television, many fans make this one of their favorite Cybermen stories, ever. Or, at the very least, it comes in second or third. But I am gauging these tales on how well they treat the main villain and/or monster. Which causes Tomb to lose a few major points. It still can't be completely brushed aside, though. It deserves to be in the Top Five. But I have to place it fifth. There are just other stories out there that do a better job with how these fearsome cyborgs are handled. And they deserve a better place on this list because of it. 

And thus, the Top Five Cybermen Stories Countdown begins! Four will be up shortly... 

 

BOOK OF LISTS: TOP FIVE MASTER STORIES - NUMBER ONE

At last, we've reached our Number One Position in the Top Five Master Story Countdown. What could it be?! 

LAWS OF THERMODYNAMICS 

Logopolis was made to give Tom Baker a proper send-off. For seven long seasons, he was the Doctor. Quite possibly, no one will ever be the Doctor more than he was. Part of the success of his portrayal was based on sheer longevity. He was in the role for so long that younger fans couldn't actually remember there ever being a Doctor before him. 

But it wasn't just the length of time that he played the Doctor that had made him so identifiable as the character. While I have been quite open about how I am not all that big of a fan of Doctor Four, I will never deny the sheer talent of Tom Baker. It's a well known fact that his drinking got really out of control during the later seasons. That there are any number of scenes that he shot after consuming copious amounts of alcohol during lunch and dinner breaks. But I will still admit: a drunk Tom Baker performs better than a lot of sober actors do! The man has amazing instincts. As an actor, myself, I have learnt so much from him just by interviews that he's had where he discusses his philosophy as an artist. He is great at his craft. 

I also won't deny the tremendous charisma he possesses. Tom Baker won the love of the entire British population. He has the most endearing of smiles and a rich deep voice that is intensely pleasant to listen to. The demeanor that he projects when in the public eye and his enormous love of children gets even the most hardened of hearts to fall in love with him. 

Regardless of my own feelings about some of the choices he made with his portrayal, Tom still deserved a story like Logopolis as a swansong. A good chunk of the plot hinged on the concept that the Doctor's fourth incarnation had reached his end. There's that heavy funeral atmosphere so many fans talk about that was conveyed through the music and the, overall, directorial tone. There's also that super-cool concept of the Watcher. I love how he just keeps following the Doctor along, waiting for the moment that's been prepared for him. 

It's all quite awesome. 

Now, if you're playing close attention, you'll notice I started my last entry in a similar manner. I talked about how great of a story Castrovalva was even without the involvement of the Doctor's greatest enemy. And then, of course, I finished my first section of the entry by explaining that - on top of all those qualities - it was an amazing story for the Master. 

I'm going to follow that formula but go even a little further with it. I'm not just going to close off this section by saying Logopolis is a great Master Story. I am, in fact, going to top that by stating quite clearly: Logopolis is the best Master Story ever.   

CONTINUING THE FORMULA OF THE CASTROVALVA ENTRY

I will keep imitating the style of my previous essay a little bit longer. Just as I did in the last entry, I will spend my next section discussing the Master's presence in this story. I do apologise for my lack of originality, but this format just really works well for analysing both of these tales. 

If you'll recall, I talked a lot about how much I loved the way the Master was used in Part One of Castrovalva. We didn't really actually see much of him. It was more a case of feeling his presence throughout the episode. Knowing he was up to something but only witnessing shreds of his plan as he lurked about largely unseen. It was an absolutely gorgeous effect that really made the character sinister and dangerous. 

Logopolis does an even better job with this. Episode One, in particular. Especially if you have no knowledge of the whole Regeneration Trilogy storyline.  You get only snippets of an unseen figure laughing evilly. This mysterious being also seems to be in possession of a TARDIS. The episode is skewed so that we're left wondering if it really is the Master at work. Only in the final moments of that cliffhanger do we get a full confirmation. The whole thing is gorgeously executed. The Doctor is definitely having another clash with his arch nemesis. 

Part Two keeps this whole effect moving along beautifully. We're still not going to actually see the evil Time Lord. Just a few more menacing chuckles and some more shenanigans with his TARDIS. I love the way he takes time to creep out Tegan while she's in the Cloister Room. And it's quite fun to watch him using his chameleon circuit as he keeps displacing himself. We get our first look at the famous ionic column that will be his default setting for the next little while. It's a fun imitation of  the way the Corpse Master loved the grandfather clock shape. 

Even though he still hasn't made a proper appearance, his presence in the second episode is just a little stronger. We get this sense that things are moving along to a grand entrance of some sort. I love the build-up that is happening in the first half of the story. The Master has never been brought into the plot in such a gorgeous manner. Nor will he ever be, again.   

At last, in Part Three, the Ainley Master starts making himself visible to us. Technically, we caught a brief glimpse of him at the end of Keeper of Traken, But it does nothing to take away from the brilliant shot of him tucked into an alcove as a miniaturised TARDIS is rushed past him. 

"At long last, Doctor. I've cut you down to size!" - The moment is executed to sheer perfection. 

Which is another important point about how the villain is presented. While we are dealing with the overlit cheapness of an 80s video broadcast, there's still some beautiful cinematography going on whenever they're shooting Ainley. There's a really outstanding sequence where the Master takes out the two Logopolitans that are returning the equipment they used to stabilise the Doctor's TARDIS. It's still looks painfully low-budget (particularly the Barbie dolls!), but the moment genuinely transcends its limitations. It's really quite chilling. 

As the Master creates the cancelling wave through the Pharos Project, he is well-and-truly in the story, now. In fact, there aren't a whole lot of scenes from this point onward where we don't see him. Ainley is fantastic in every shot he's in. While he would chew up the scenery a little too much in future stories (really, the only one that I feel he got a little too hammy in was Time Flight), he plays the part to perfection, here. He bears that gentlemanly disposition that we got in Delgado, but there is also a maniacal gleam to his eyes. It's a great combination of conflicting traits that gets me to instantly fall in love with his interpretation. 

But the gradual flow in which the Master is brought into the true conflict of the adventure (I love how all the real danger is caused by his bumbling) is a magnificent work of art. Again, it has to contend with some poor effects here and there, but it all still looks so great that we don't care. 

Never has the Master been inserted into a plot as well as he was in Logopolis. This element, alone, makes it the best story featuring this villain. But there is still so much more to enjoy...

OTHER GREAT THINGS ABOUT LOGOPOLIS 

If we're going to rip off my own format, we might as well pursue it to the bitter end!    

There is a beautiful moment in Part Four that really stands out for me. The Master and the Doctor have successfully re-opened a CVE but the evil renegade has made it clear that he's going hold the Universe at ransom (the beautifully crisp speech that he pre-records is so memorable that the Simm Master will bastardise it in a much later story). Once he is certain that he's achieved victory, the Master has a sort of meltdown. "It's mine!" he cackles insanely, "The CVE is all mine!". 

This, to me, is a defining moment for this incarnation of the Master. For most of the adventure, he bears a striking resemblance to Delgado. Both in appearance and mannerism (with the exception of those maniacal eyes I just mentioned a few paragraphs back). We do find ourselves wondering if Ainley will just be doing an imitation of what has gone on before with the character. With, perhaps, just a slight spin of his own. 

But then the Master just loses it, here. The hints his eyes have been making about a sense of insanity that is only so well-buried come true. The madmen from within bursts out. He's truly gone round the bend. It's a pattern of behavior we would never see from Delgado. And I love that. The fact that this new incarnation will just lose control of himself from time-to-time adds a great new dimension to the villain's personality. We see that whole idea explored much better in Castrovalva, But it's first displayed in this scene. I love what this moment represents. Particularly since, from this point onward, the Master will always have episodes of this nature. All of Ainley's successors, at some point, would act the way he is as he seizes control of the CVE. 

Pretty much anytime I talk about Logopolis, I have to make mention of the incidental music. It's some of the best I've heard in a Doctor Who story. Most of the time, I'm going on about the funeral atmosphere that it creates as the fourth Doctor approaches his demise. But I should also bring up the various haunting melodies that play out for the Master. Lots of unpleasant discordant notes that really play up how disturbing the character is. His themes are particularly effective in the first two parts where we are not seeing him, yet. It helps enormously to cement the subtle presence he has during this part of the story. 

And then there's the incredibly obscure visual references made to previous Master/Doctor conflicts. References so obscure that they may not even have been intentional! But you have to admit, the Doctor and the Master's TARDISes being inside one another does remind us of Time Monster. And the two Time Lords struggling along on radio telescope gantries in the final moments of Part Four of Logopolis look similar to some scenes we saw in Terror of the Autons. Whether the production team was imitating these visuals on purpose or not doesn't really matter. It's still a great touch. 

There's a few superficial things that I quite like, too. We don't get a very good look at it in Keeper of Traken, but we definitely soak in the Master's new outfit, here. The high collar gives it a very alien feel. As does the way the outfit fits around his torso in a tunic-like manner. But then the lower half looks more like Victorian wear with the trousers and coat tails. It's a beautiful blend of styles. 

I also love how trigger-happy this Master has gotten with the tissue compressor. It really becomes the weapon of choice for this particular incarnation. He relies on it quite heavily in most of his stories. But it's in Logopolis where the tissue compressor's reign of terror begins. We see its effects several times over throughout the course of the tale. It's great fun every time a doll is left behind in the Master's wake. 

Anthony Ainley also has a really awesome evil laugh. Which we hear for the first time and get to enjoy quite a few times over in Logopolis. I love it. 

THE RETURN OF THE MASTER

And now, at last, we break the Castrovalva Review Formula to discuss a very important subject. 

While my opinion of the Roger Delgado era doesn't necessarily line up with that of General Fan Consensus, I still acknowledge that this was a Golden Age for the villain. His appearances on the show back then were treated with great reverence. Everyone cheered when he showed up in a story. He was great fun and we all appreciated the character enormously. 

When Roger Delgado died tragically in a car accident, we could have just gotten a new incarnation and not bothered to show the regeneration sequence. But it seemed highly inappropriate to try keep the Master going. For a while, at least, he needed to rest. 

His first return in Deadly Assassin was quite fun. I really enjoyed how radically different he was from Delgado. He would be intensely unique from any incarnation that would follow him, too. The ending of the story was left beautifully open-ended so that he could brought back, if desired. But, for some reason, he wasn't. 

The Regeneration Trilogy isn't just about the Doctor moving into a new incarnation. It's just as much about the Master's rebirth, too. But, this time, his return to the series was going to be a legitimate attempt to re-create those glorious Delgado Days. The character would have a solid presence in the show, again. For a few years, Ainley was actually contracted to make two appearances a season. Whether they actually produced two Master Stories or not, he still got paid for them. That's how serious the production team was about the foothold they wanted the villain to have in the show. 

Enormous attention was given to making this Master's return a big deal. Both Keeper of Traken and Castrovalva do a fair amount of heavy lifting to make the whole event so grand. But Logopolis, in my opinion, is the cornerstone. This was the new Master's first real impression on the audience. It had to be perfect. And, quite honestly, it was.   

A truly marvellous spectacle. It will probably always be my favorite Master Story.    

As I said at the top of the entry, Logopolis is as much about bringing in a new Master as it is about saying farewell to Four. The attention that is given to the evil Time Lord as the tale unfolds is as abundant as all the dark brooding scenes that Baker works his way through. This is about both Renegades moving through major changes. 

Just look at how the whole story begins. If it was more about the Doctor, than it would have opened with him looking sullen in the Cloister Room. But, instead, that's the second sequence. The first scene is the Master attacking the policeman who is trying to use a real police box. Starting the story in such a manner sets a real tone. Doctor Four is leaving. And that's going to be sad. But, also, the Master is back. And that's awesome. 

And it was. The Ainley Master rocked. 

Even in Time Flight!    

Okay then, that wraps up the Mater Countdown. Hope you enjoyed what I had to say about the stories I love even if they aren't the same ones you'd pick . 

Up next.... the Cybermen!!  

The Full Countdown: 

Number Five: 

https://robtymec.blogspot.com/2021/11/book-of-lists-top-five-master-stories.html 

Number Four: 

https://robtymec.blogspot.com/2021/11/book-of-lists-top-five-master-stories_7.html 

Number Three: 

https://robtymec.blogspot.com/2021/11/book-of-lists-top-five-master-stories_19.html

Number Two: 

https://robtymec.blogspot.com/2021/11/book-of-lists-top-five-master-stories_22.html

 

 

BOOK OF LISTS: TOP FIVE MASTER STORIES - NUMBER TWO

As the Countdown continues, we find ourselves back in the Classic Series...

THE BEAUTY OF RECURSIVE OCCLUSIONS

There is so much good that can be said about Castrovalva. If you bother to look over my Ranking the Regenerations entry (https://robtymec.blogspot.com/2015/03/the-book-of-lists-ranking-regenarations.html), you'll see that I give it some very high praise with even the short paragraph or two that I write about it. Peter Davison does a such a great job with being so vulnerable. It foreshadows beautifully how his Doctor will be portrayed in forthcoming stories. It's great fun, too, as he impersonates previous incarnations in Part One. 

There's also that beautiful sense of poetry and renaissance that the whole story conveys. The costumes, sets and music all give it this very lyrical quality. The writing and performances further enhance the idea. I love how delicate the Castrovalvans seem. It's an absolute masterpiece of atmosphere. And there's a great little story being told. Even if Part Two feels a little padded as Tegan and Nyssa trek across that forest for quite some time! 

And then, finally, there's the Elephant in the Room that needs to be addressed. I know this will cause many fans to froth at the mouth, but Tom Baker did stay in the role for too long. The show was really starting to stagnate with him at the helm. We desperately needed new blood. Some will even partially agree with me and say that he seemed completely miserable in Season 18. But I actually think restraining him so much in his last season was the best thing to do. It was Season 17 that really killed things for me. Baker was out of control. I am so glad he was watered down and made more dignified as he took his exit. 

But he did finally go. And Castrovalva comes in like a breath of fresh air and lets us know that everything is changing. Everything is becoming beautiful again. And I love how it stirs those feelings. 

While it has all this going for it, there is still one more thing Castrovalva needs to receive love for: 

It is also an excellent Master Story. 

PRESENCE 

I will admit, I have been harping on this in just-about every entry I write on this subject. And, unfortunately, I must say it once more: one of the most enjoyable traits of a good Master Story is how he is used in the actual plot. What kind of choices are made on where the character shows up and starts becoming involved with the narration can be crucial to how much we appreciate the whole tale. 

The Master is as entertaining as he is in Castrovalva because he has, perhaps, the most unusual presence in a story that we have ever seen. Things follow on directly from Logopolis, so no attempt is made in Part One to conceal him from us. But he does seem to be sidelined a bit. More concentration is placed on the Doctor trying to recover from his regeneration. The Master just seems to be hovering in the background, causing trouble. We see more of his TARDIS than we do of him. We hear him talking in a sinister manner from off-camera as he watches Adric on a screen. He only makes a very poignant appearance on the TARDIS monitor as the episode wraps up and his latest evil plan is revealed. It's a really cool way to use the character. There is a constant reminder that he is up to something, but the full extent of his influence isn't realized until it seems like it's too late to do anything about it. I really like how he moves through that first episode. 

Part Two is the only time we really see all that much of him. There is something beautifully iconic about those scenes with the Master and Adric. For some reason, I love the image of the poor Alzarian being trapped in the Math Web as the evil Time Lord taunts him. I particularly adore how he raises the platform he's on when the conversation between them becomes more intense. 

And then, suddenly, as the story totally changes gears and Nyssa and Tegan walk through the woods for a while to mark time, the Master seems to disappear. He's not really gone, of course. He gives us a quick tease about a second trap he had in store for the Doctor and then puts on his Portreeve outfit. We don't think he's the Portreeve because we're too busy suspecting Shardovan. But it's not just the nice red herring in the plot that distracts us. Anthony Ainley is as brilliant in this disguise as John Simm was in World Enough and Time. 

Throwing the Master into a disguise after showing his presence throughout the first two episodes was a really awesome way of playing with the tropes of a good Master Story. I really love that twist. This time, we don't get the Big Reveal at the end of an episode. Instead it comes at the end of the whole story. And it's magnificent. I really love those last few minutes in the Recursive Occlusion. The budget restrictions do nothing to hamper the intensity of it all. It's all still very dramatic and exciting. 

And, of course, it's awesome when Shardovan proclaims: "You created us, man of evil. But we are free!"   

SOME OTHER GREAT, UNUSUAL STUFF

There are several other unique traits that set Castrovalva apart and even elevate it a bit so that it deserves its second place ranking. The biggest one being its actual premise. 

I have griped before about how most of the Master Stories during the Delgado Era were pretty much the same. The evil Time Lord plans his conquests by meddling with forces that will, eventually, betray him. It gets pretty tiresome pretty quickly. Particularly when it happened five times in a row during Season Eight!  We finally get some variety with the Corpse Master as he focuses, instead, on artificially extending his lifespan. It's only done for two stories that were spaced pretty far apart. So that works much better. Logopolis does go back to what we were getting in the Pertwee Days. The Master tampers with the secrets of the Planet of Mathematicians and it comes back to bite him on the ass!   

But then Castrovalva gives us something really different. The Master is just trying to catch the Doctor in a terrible trap and kill him once and for all. That's it. There's no great plan to overthrow the Universe. He just wants to get rid of his old enemy. 

This is yet another tremendous breath of fresh air. An actual original plot involving the Master! I love it. It heralds the beginning of several more interesting ways in which the Ainley Master will be used throughout his era. We'll get other stories like Planet of Fire or Survival where the Master is just in a big old mess and trying to get out of it. Or stories like Mark of the Rani or Ultimate Foe where the Master is the secondary villain making trouble in the background. The variety is quite wonderful. 

And then, of course, there's the atmosphere. I've gone on about it a bit, already, in the opening paragraphs but it deserves more compliments. There really is no other story that feels quite the way this one does. Part of it is due to the way Ainley plays the role. Particularly while he's disguised as the Portreeve. He really adds to the overall aesthetic. 

This is also the first story to leave the Master's fate under very questionable circumstances. As the Recursive Occlusion is closing once and for all, the evil renegade seems to be getting torn apart by the citizens of Castrovalva. Things appear inescapable for the Master. Surely he is doomed. We are dying to find out how he will get out of this. It's a very fun way for us to see him in his final scene. 

Finally, there's a new way in which the whole character is being interpreted. We see a bit of it in Logopolis but it really starts to flourish, here. The Master is truly beginning his descent into madness. This will continue to occur with all forthcoming incarnations. The very fact that the whole story is just one big plan to finally destroy the Doctor shows how he is consumed by hatred to the point where he will abandon grandiose plans just to pursue more petty vendettas. It's a fascinating new way for the character to move in. 

Nowadays, it might be nice to see the Master become more restrained, again. To see him act suavely as he did when Delgado was in the part. But to see a more maniacal version emerging as he was in Castrovalva was great. 

As I said at the beginning, there is a tonne of praise we can heap on this story. It may just be an Unsung Classic. It's certainly the best tale featuring a freshly-regenerated Doctor. But it does an equally-good job of featuring the protagonist's arch-rival. So much so, that it's my second-favorite Master Story, ever. I really do adore how he is represented, here. Even if the way he enters his TARDIS when it's disguised as a fireplace does seem a bit odd! 

And so, the Best Master Story is upon us. What will it be? 

Find out soon...

 

BOOK OF LISTS: TOP FIVE MASTER STORIES - NUMBER THREE

 We're staying in the New Series just a little longer as the Countdown carries on....

THE TWO MASTERS! 

I think it would be near-impossible not to put World Enough and Time/The Doctor Falls somewhere on this list. Some might even rank it at Number One. It's a story that almost seems to celebrate the Master. Not just because it features two different incarnations. It also completes the redemption arc we've been seeing Missy going through since she was first introduced in Series Eight. And it sorts out some major continuity issues regarding how the Simm Master escaped his fate during Part Two of The End of Time. 

Itemising those salient points does hammer home the fact that one of the strongest appeals of this story is that it is quite fannish. Like the fight that happens between the Daleks and the Cybermen at the end of Series Two, this is the sort of thing that long-time lovers of the show such as myself have been dying to see for ages. The Master actually becoming good and two different versions of the character encountering each other sounds as much like fan fiction as the two most notorious cyborg races in the history of the show insulting each other at Canary Wharf!

Here's the thing, though: I really thought the season finale of Series Two was not particularly good. That long-awaited confrontation between the Daleks and Cybermen felt very poorly-executed to me. After wanting to see something like this for so long, it was definitely a major letdown. So, just because the show is doing something very fannish doesn't mean we're, necessarily, going to get content that we actually enjoy. 

So, the big question is: Does World Enough and Time/The Doctor Falls do the same thing? Does it take yet more fan pipedreams and flush them down the toilet with bad writing? Or does it end up giving us something somewhat magical? Perhaps, even, a bit awe-inspiring? 

The answer should be obvious. Would it be Number Three on this List if it had failed?!   

MORE THAN JUST A FANWANK 

So if I am saying there's more to this story than just its fannish appeal, where else do its strengths lie? Well, if we start with the first part, then we really have to discuss the Redemption of Missy. 

The Missy incarnation has been most unusual right from the start. Not just because we're finally seeing a female version of the villain. But Moff really does some unique things with the character. The huge tease that he gives throughout all of Series Eight is great fun. It leads to a magnificent Reveal in the penultimate episode of the season. It was a great (and also very different) way to bring the Master back into the series after being absent for a while. 

But that final episode of her first season is where we get the first Major Twist in the portrayal. After assembling what appears to be an unstoppable Cyber-Army, Missy does not act the way the Master normally does. She doesn't try to unleash her Latest Sinister Plan upon the Universe. Instead, she hands her forces over to the Doctor. I really love that moment. It telegraphs quite clearly that this villain we've known for so long is going to definitely move in some very different directions.

The concept progresses further at the beginning of Series Nine. Missy is now trying to rescue the Doctor as we watch the opening story with the Daleks. Admittedly, we've seen things like this before. The Master is helping the Doctor at the end of Trial of a Time Lord, for instance. But it's clearly to advance an agenda of his own. Whereas, this time, it seems more like a genuine gesture of friendship. 

And then, of course, we get to Series Ten. Once more, Missy is a major part of the season arc (which is also another unusual thing in itself - the Master usually just appears for one story and then moves on). The mystery of "What's in the box?" and then watching her try to "become good" was immensely engaging. I particularly like how she finally starts crying over all the murders she's committed throughout the years. 

World Enough and Time represents a final emergence of "Good Missy". The Doctor is starting to believe she may have legitimately turned over a new leaf and is putting her to one final test. As his old rival emerges from the TARDIS after it materialises on the colony ship, she does seem like a totally different character. While she is still very saucy and even a bit cruel-sounding, she just might be the heroine the Doctor believes her to be. And it really is quite amazing to see the character moving in such an unusual direction. 

Even as things start to go wrong and Bill is taken down to the engines, Missy seems to still be on the right side. Quite honestly, we don't really hear much from her for a good chunk of the episode. But she does still appear to be present in the story and fighting for good. It's all quite fascinating to watch. 

Of course, while all this is going on with Missy, something else equally intriguing is happening with the Master. 

ANOTHER BIG REVEAL

As I've already mentioned in previous entries, one of the great appeals of a good Master story is how he is inserted into the plot. Oftentimes, he is lurking about in the shadows without us even knowing it. Only to appear at a poignant moment that gets us to gasp in surprise. 

The Roger Delgado days could be a bit weird. Oftentimes, we would just discover he was in the adventure in the middle of an episode.Which did almost seem like a bit of a wasted opportunity. Reveals were so much more effective during the Anthony Ainley Days when they would, mainly, happen at the cliffhanger. 

Moff brings that tradition back at the end of Dark Water and keeps it going, here. But what a wild Reveal it is! Essentially, the Master reveals to herself that he has been pulling the strings all this time. I still think the Reveal in Spyfall - Part One is probably the best one we've ever had. But this one does score well for just being so exceptionally bizarre and fun. 

I know some fans complained about how we see the John Simm Master at the end of the Series Ten Trailer but I actually thought it was clever to do things that way. Yes, the surprise of him being in the season is spoiled. But my curiosity was piqued like crazy by him appearing in the trailer. I was dying to find out how he would figure into the whole storyline. And I certainly did not suspect that he was Razor the whole time. That twist was absolutely brilliant. Mad props to John Simm for playing the role so well that we didn't guess that it was all just a clever disguise. Would it have been better to just have our mind blown at the end of World Enough and Time by not seeing him in the trailer? Maybe. But I think this way worked just as well. Possibly better...

KIND OF ALMOST EXTRANEOUS 

As we move into The Doctor Falls, I have to admit that a very strange thing starts going on with our two incarnations of the evil Renegade Time Lord. When you really think about it, Missy and the Simm Master are not relevant to the main plot, whatsoever. 

The story could have really been just about the origins of the Cybermen. The Doctor and Nardole could easily have just decided to start heading back up the ship to the TARDIS and stopped at the solar farm. Missy and her previous self didn't need to really be involved with getting them to make that move. Once on the solar farm, the only thing the two different incarnations do to help propel the plot is find where the lifts are. Again, something the Doctor could've easily accomplished, himself. The whole inclusion of this story thread does almost seem irrelevant. It doesn't really contribute to the central plot. 

And yet, it's still so good that Moff creates this subplot. The Redemption of Missy, by this point, is so engaging that it can be a storyline onto itself and we're okay with it. It is great seeing her put to the ultimate test. He own past comes back to haunt her and dilute her new-found principles. But, in the end, she makes the right choice. She elects to stand with the Doctor. Only to be shot down before she can truly display her loyalty to him. 

Of course, those final moments between the two incarnations are absolutely awesome. Watching them kill each other off was wickedly cool. It's an excellent ending to the whole redemption arc that also does a great job of sorting out some continuity. Not only do we know how the Simm Master escaped Gallifrey at the conclusion of The End of Time, but we also know how he will transform into Missy. It's some great work on Moff's behalf to bridge the gap between his era and RTD's. But, even if there had been no continuity fix, I still adore this scene. Watching the Master killing him/herself is quite the spectacle. I love it all-the-more for the extra work it did to get the show to make better sense.    

AMBIGUITY 

One of the other aspects of this story that I really relish is the number of "grey areas" Moff leaves us with as it concludes. These are not plot holes or inconsistencies of any sort. They're just little mysteries that he seems to have intentionally created within the structure of the tale. 

The biggest point of ambiguity would be whether or not Missy was actually lying when she claimed she couldn't remember anything that happened between her and her previous incarnation because the timelines were too tangled. There seem to be some strong hints that indicate that she recalls everything. Yet Missy swears her memory is blank on the matter. All this leads us into a furious argument regarding whether or not Missy knew that she would be fired upon by the lazer screwdriver or if the whole thing was a genuine surprise. Which, of course, dovetails into the Great "Where Does the Sacha Dhawan Master Fit in the Timeline?" Debate. 

This is not the only mystery left unanswered, though. Fans have pointed out that moment where Missy shakes the Doctor's hand for the final time. Does she actually let him feel the blade she is concealing up her sleeve? If so, does this effectively convey to him what she plans to do to her previous self? Or is the Doctor just wondering: "Why did Missy let me feel the knife she's hiding?!!" 

To build points of ambiguity into a plot is a great test of an author's ability. You can't leave too much unanswered or it does come across as sloppy writing. You have to create just the right level of exposition so that the important details are covered but there's still room left for speculation. To me, Moff does this magnificently. And it really adds a great extra dimension to the whole tale. You can watch these two episodes over and over and try to find clues that support the various arguments that revolve around them. It's great fun 

Which, in the end, is what has caused this story to rank so highly on this list. There's just so much fun to be had, here. Not just the fannish stuff, either. The whole subplot involving the Master and Missy is really well-constructed. Particularly when you consider that it didn't actually really need to be there at all! 

Number Three complete. Stay tuned for Number Two....

 

BOOK OF LISTS: TOP FIVE MASTER STORIES - NUMBER FOUR

The Countdown continues....

AN ENTRY FROM THE NEW SERIES 

Aside from the Daleks, New Who hasn't always been entirely kind to villains and monsters from its rich past. More times than others, some huge errors of judgement were made on how to bring them into the 21st Century. 

I do feel Moff did a better job with them than RTD. The Sontarans are a great example of this. Sontaran Stratagem/Poison Sky, to me, went really South. Stratagem showed promise but Sky just crapped the bed! I especially hated watching Sontarans fall from mere bullets. To me, they should be immune to such weapons. Unless, of course, you can put a bullet in the probic vent! 

Moff's desire to take a single Sontaran and make him into comic relief did ruffle some feathers with fandom. But, overall, it was an improvement over what we got when they were in RTD's hands. This is the pattern I tend to see. RTD doesn't do well with Classic Who baddies. Moff slowly cleans things up.  

Again, I will defend quite a bit of the treatment Davis gave to the Daleks. But with most other recurring enemies, I didn't really start liking them much til the Head Writer changed hands. Even then, it still took time for some of them to improve. 

While many fans can't seem to stop spewing vitriol over how bad a writer they think Chibnall is, he does seem to get one compliment from many. He handles the return of an old foe better than any other Head Writer, so far. I tend to agree with that. Which is why the incredible Spyfall - Part 1 and 2 makes it onto this list. 

REVELATION OF THE MASTER

Some of the biggest points Spyfall scores is that super-awesome ending to Part One. Planting the Master secretly into the plot and not revealing his presence til a crucial moment is a much-loved trademark of any great Master story. It's been done with varying levels of success, of course. Even just a few seasons previously, finally letting us know who Missy is at the end of Dark Water was a ridiculously awesome sequence. The way Michelle Gomez leans in conspiratorially and whispers: "Couldn't very well keep calling myself the Master, now, could I?" (or words to that effect) was utterly brilliant.

And yet, somehow, Sacha Dhawan manages to top that. You'd think no one could do better than finally revealing that Time Lords can gender-swap but I really did find my jaw hitting the floor that little bit harder as Dhawan repeats "Spy ... Master" with better emphasis. There is just something about the execution of this revelation that makes me believe there will never be a better one. 

I think it has a lot to do with how well we believe in the Master's false identity throughout the rest of the episode. We do like "O". He's a nice little recluse who seems to be really helping the Doctor along in this latest adventure. We're absolutely positive he's one of the Good Guys. So when the rug gets pulled out from under us, we hit that floor all-the-harder. The Master does an amazing job of hiding in plain sight throughout this episode. As he finally gives himself away, it's almost like a punch in the face!    

The fact that his house is floating through the air beside the airplane makes the whole moment even cooler!    

MORE THAN JUST REVELATION

Of course, an awesome Reveal is not enough to truly give us a great Master Story.  There needs to be more. 

Spyfall gives us an excellent lead-up episode to that climactic cliffhanger. This is not always an easy thing to accomplish. There have been any number of episodes in both New and Classic Who where the plot really wasn't delivering anything great until the Big Reveal happened. If the surprise is well-executed, we forget the unwieldy episode we just sat through. But this isn't always the case. Sometimes, it's just a bad episode with a nice twist at the end. 

Not so with Part One of Spyfall, though. The sinister plot of the Kasaavin is quite compelling. They're  a very interesting race with an ominous presence throughout the first part. I love how visually simple they are, too. I've always been impressed by how Doctor Who can create so much with so little. The modern-day version doesn't engage in this quite as much, of course, because it has a better budget. It can go a bit flashier if it wants to. But a creature like the Kassavin almost feels like a callback to the show's roots. Where they could create things cheaply but still made them effective. The Raston Warrior Robot illustrates this sort of idea quite well. He was, essentially, a man in a silly helmet and a unitard shifting around through cheesy film editing. But damn was it cool when he took out all those Cybermen! The Kasaavin embody that same principle. They look like men in bowler hats with an over-exposed lighting effect. But they're also really menacing. The overall effect that they have in the plot really keeps you engaged. This is a great story even before we find out the Master is behind it all. 

All the actual spy stuff in Part One also contributes greatly to its success. There's just a lot of fun being had with gadgets and secret infiltration and all the other tropes that make stories of this genre so enjoyable. The comedy that's created out of the fact that most of the characters trying to be spies are not at all qualified to do so is a nice touch. I love it when Ryan and Graham spaz out over all the cool spy gear in the MI6 office. 

With the spooky Kasaavin and the cool spy theme, Part One carries itself very well towards that amazing climax. 

BUT WHAT ABOUT AFTER REVEAL? 

Of course, what happens after the Big Reveal can be just as tricky. Utopia, for instance, created a totally awesome return for the Master into the New Series. Sound of Drums and Last of the Time Lords didn't really maintain the standard. Last, in particular, actually seemed to upset quite a few fans with its deus ex machina ending. Something similar happens in the Classic Series with Time Flight (although, truth be told, the whole story seems to be in a lot of trouble!). There are times when the Reveal makes writing the story very challenging. Your audience is saying: "All right! The Master is in this! This is going to kick ass!" So now, of course, you really have to make sure your story kicks ass. If it doesn't, the viewers notice this all the more because they had such high expectations. 

This is not a problem for Part 2 of Spyfall. We get all the stuff that makes a fight between the Doctor and the Master great. The rivals do all sorts of things to put obstacles in each others' paths. This creates a variety of fun twists and turns in the plot. For good stretches, the Master even seems to have the Upper Hand. The Doctor must then come up with something truly clever to defeat him. 

This is done especially well since the Doctor is deprived of her TARDIS for most of the episode. There have been any number of occasions where the two Time Lords have used their time machines against each other as weapons (Time Monster, Logopolis, Time Flight just to name a few). It's always kinda cool when this happens. But it can also feel like a bit of a cop-out, sometimes. Rather than relying on the Doctor's resourcefulness, the writer just has him jump in his TARDIS and do some piece of technobabble with it to save the day. I love that, in Spyfall, the Doctor is stranded in the past without her handy time vessel. So she has to figure out something clever with what she has on hand to take him down. 

And she accomplishes just that. Getting Noor to send the false message and then purposely confronting the Master to remove his perception filter was just the sort of intelligent solution that I was looking for. Up until that moment, the Doctor really seemed to have her back against the wall. Once more, however, she's able to work with what she has to defeat her enemy. This, to me, is what a good Doctor/Master fight should be all about. The two try to outmaneuver each other in a battle of wits. Eventually, the Doctor proves that she's that little bit smarter. It's a great plot structure that really makes Part Two shine. 

It's also really cool the way the Master then has to hide in history til he can reach that specific moment where he can re-join the story! 

SOME OTHER STUFF THAT I REALLY LIKE

So we've talked about all the important things that the story does in and around the Big Reveal - is there anything else about the tale that I like? 

Of course there is! 

The dynamic between the Master and the Doctor in the New Series was quite peculiar for a while. I'm not even really complaining about it - it was cool. But it is nice to see a very succinct shift in the way the two rival Time Lords deal with each other now that Dhawan is at the helm. 

What exactly am I talking about? I'll explain better... 

When Simm was playing the Master, he seemed more intent upon humiliating the Doctor. Or, at the very least, tormenting him. Last of the Time Lords demonstrates this best. For most of the episode, the Master has the Doctor completely defeated. In the Classic Series, when the Master has this kind of advantage, he tries to kill the Doctor. But this was not the case in Last. He kept the Doctor alive for an entire year - forcing him to watch as he and the Toclofane set about enslaving humanity. 

As Missy takes over, the dynamic becomes even weirder. The Doctor's greatest enemy actually becomes his friend. In a few stories, she even sets out to rescue him. In the end, she chooses to become "good" and wants to join the Doctor at his side as he takes on the Cybermen that are trying to invade a solar farm on the Mondasian colony ship. It's something we never expected to see happen between these two bitter rivals. And, quite honestly, it was amazing. 

Again, I've actually really enjoyed seeing these new sorts of relationships going on with these last few incarnations. But, having said that, I do love seeing the Master back to just trying to kill the Doctor. It is great to see that level of hatred and rage burning again in the character. He is emulating Simm's Master a bit. They both have that high level of manic energy that makes them just a bit comical in places. But Dhawan seems that little bit more menacing. Most of the time, he is quite ready to kill the Doctor. Which takes us back to the Classic Series Days - where the Master was always out to end the life of his greatest foe. It's good to see that "edge" back to the character. 

Another element to the story that I am quite happy to see are the various confrontation scenes that take place. The first one during the actual Big Reveal is, of course, quite stupendous. But the one that takes place at the inventors' convention is equally intense (what a different connotation there is when the Master gets the Doctor to kneel before him!). Even the brief psychic link that they form after the four taps on the telegraph is really well-performed. 

But then, of course, we get to the Eiffel Tower. The reference to Logopolis is a nice touch. A great way to start things off. But then the whole moment just seems to get better and better with every line of  dialogue. This is how a confrontation between two bitter rivals should flow. Particularly as we get to that awesome revelation that the whole meeting was just a trick. The Doctor takes advantage of her enemy's need to gloat over his victories in person to take him down. It's great stuff, really. I loved Ainley so much because he always did his confrontation scenes so well with whatever Doctor he was playing off of. We're seeing a lot of that same vibe going on, here, too. 

On a more superficial level, I adore that the Tissue Compressor is back! I always loved that thing and have missed it greatly. A laser screwdriver just wasn't the same! 

CONCLUSION 

In the end, Spyfall's greatest strength lies in those climactic final minutes of Part One. That really is what propels the story into making it onto this list. But it is also so much more than that. It is a genuinely solidly-written tale that brings us back to those wonderful Anthony Ainley days that I loved so much.  The Master is completely unbalanced and highly intent upon murdering his greatest enemy. He's also using one of the coolest weapons ever as he does so! 

It's these various factors that make me love Dhawan again as he returns at the end of the season. While his second story is considerably more controversial among fandom, I still love it. It doesn't quite make it into my Top Five (or maybe it does - we've still got three more stories to go!) but it's also another great Master Adventure penned by the much-maligned Chris Chibnall. 

As far I can see, Chibnall "gets" the Master better than any other Head Writer for the New Series has. While I hate to sound "Trumpian", he's made the Master great again! 

The Countdown will continue shortly. See you all again soon...