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“DELTA AND THE BANNERMEN: ROCK 'N' ROLL AND RAY GUNS”

With Delta and the Bannermen, Doctor Who throws itself headfirst into an energetic blend of pulpy sci-fi action, 1950s rock 'n' roll nostalgia, and campy humour. Right from the opening moments, we’re treated to a classic quarry battle, complete with janky visual effects, even jankier acting, and a certain low-budget charm that defines much of 1980s Who.

The story follows Delta, the last surviving member of the Chimeron race, as she flees from the ruthless warlord Gavrok and his Bannermen. Having stolen a vital genetic secret—the last hope for her species—she crashes into an otherwise light-hearted adventure as the Doctor and Mel win a holiday to 1959 America. Or rather, a Welsh holiday camp masquerading as 1959 America, complete with rock 'n' roll tunes, leather jackets, and an over-excited tour guide. Of course, Delta and the Doctor's paths cross, and soon enough, the peaceful trip turns into a deadly game of cat and mouse.

It’s an ambitious mix of tones, with high-stakes sci-fi action running parallel to a lighthearted, nostalgia-filled romp. While the two don’t always gel seamlessly, there’s something undeniably fun about seeing space battles and motorcycle chases set against the backdrop of an old-fashioned holiday camp.

A SLOW START, BUT A STRONG FINISH

The first episode leans heavily into its 1950s aesthetic, taking time to establish the setting, the quirky supporting cast, and the love triangle between Billy, Ray, and Delta. There’s little tension, as Gavrok and his Bannermen are largely absent until the cliffhanger, making this section feel more like a culture-loving tribute to the 50s than the opening of an action-packed adventure.

But once Gavrok makes his move in Part 2, the story finally starts to pick up. The pace quickens as the Doctor and Ray zip around on a motorcycle, trying to keep Delta safe, while the Bannermen begin their attack in full force—taking hostages and shooting up the place. The stakes feel much higher in this section, and Sylvester McCoy’s Doctor gets some great moments to shine as he outwits the villains and works to protect Delta and her newly hatched daughter.

Part 3 brings all the elements together for an action-packed finale, full of motorcycle chases, gunfights, and clever Doctorish problem-solving. Delta and her daughter prove they can take care of themselves, while the Doctor uses his wits to turn the tables on Gavrok. Though the final defeat of the Bannermen—using the Chimeron princess’s powerful scream—might feel a little reminiscent of Fury from the Deep, it at least makes sense within the story, given the genetic history of Delta’s people.

A CAMPY BUT CHARMING PRODUCTION

The budgetary constraints of late 80s Doctor Who are on full display here. The special effects are laughably bad at times, with cheap laser blasts, dodgy make-up, and sound effects that often seem more suited to a children’s cartoon than a sci-fi action story. But that’s all part of the charm.

The soundtrack is an odd mix of rock 'n' roll influences and 80s synthesised music. It would have been nice if the music had leaned more heavily into an authentic 50s style, but even as it stands, it adds to the episode’s quirky and offbeat tone.

That being said, while the costumes and hairstyles sell the time period, the atmosphere of 1959 isn’t always well maintained. The story starts with a Grease-like aesthetic, full of jukeboxes, milkshakes, and classic cars, but as the action ramps up, the nostalgic vibe fades into the background, making way for the more traditional Doctor Who plot about an intergalactic chase.

SEVEN SETTLES INTO THE ROLE

This is an important story for McCoy’s Doctor, as it marks the moment he begins to settle into the role. Gone is much of the bumbling clown persona that defined his early episodes; instead, we see the emergence of the quick-thinking, quietly manipulative strategist who would later become his defining trait. He still has moments of humour and eccentricity, but there’s also a stronger sense of confidence and command in how he handles the situation. This is also the story that introduces his now-iconic question mark umbrella, a fitting addition to his growing visual identity.

Bonnie Langford does well with what little she’s given, but unfortunately, Mel remains underutilised. She spends much of the story separated from the Doctor, hanging out with Delta and largely reacting to events rather than driving them forward. This continues the frustrating pattern of Mel being sidelined in favour of other characters.

THE COMPANION WHO NEVER WAS

One of the biggest standouts of the guest cast is Ray, played by Sara Griffiths. She’s instantly likeable—warm, courageous, and quick-witted—and it’s easy to see why many fans consider her a prototype for Ace. She even has a signature catchphrase (“He’s been ionised!”), though it never quite caught on. Had circumstances been different, she could have made for a fantastic full-time companion, bringing a fresh energy to the TARDIS team.

Sadly, she gets the short end of the stick in the story’s love triangle. Billy, the bland and uninteresting mechanic, drops her the moment he sets eyes on Delta, leaving Ray heartbroken. And frankly, Billy doesn’t deserve Delta either. His decision to genetically alter himself to become a Chimeron just so he can be with her is an interesting plot point, but it’s also a bit ridiculous given how little chemistry they have. It’s a shame, because Ray’s unrequited love arc could have been handled with a bit more depth rather than being brushed aside.

COLOURFUL CHARACTERS AND A MEMORABLE VILLAIN

The supporting cast is full of over-the-top, eccentric characters, which adds to the story’s whimsical tone. From Ken Dodd’s flamboyant Tollmaster to the ever-cheerful Captain Murray and the amusingly oblivious holiday camp manager Burton, there’s no shortage of larger-than-life personalities.

Then there’s Goronwy, the mysterious beekeeper, played with quiet wisdom by Hugh Lloyd. He exudes a strange sense of knowing more than he lets on—so much so that some fans have speculated he might be a Time Lord in disguise. While that’s likely just a fun theory, his presence adds a layer of intrigue to the story.

On the villainous side, Don Henderson plays Gavrok with the right mix of menace and camp. He chews the scenery just enough to make him entertaining but still maintains a degree of genuine threat. His best moment comes at the end of Part 2, where he faces down the Doctor while nonchalantly snacking on raw meat. It’s a wonderfully bizarre moment that makes him feel all the more unhinged.

📝VERDICT: 6.5/10

Delta and the Bannermen is a wildly uneven but charmingly offbeat adventure. It’s packed with fun ideas—intergalactic tourists, a 50s holiday camp, a doomed alien princess on the run—but struggles to fully capitalise on them. The first episode leans too heavily on nostalgic fluff, the middle section finally kicks into gear with action and intrigue, and the finale delivers an entertaining (if slightly ridiculous) conclusion.

The performances are a mixed bag, with Sylvester McCoy starting to find his feet as the Doctor, while Sara Griffiths' Ray steals the show as the best companion we never got. Meanwhile, the villains and supporting characters add plenty of colour, even if some of them feel more like caricatures than real people.

Yes, the production values are wobbly, the editing is clunky, and the sci-fi elements never quite mesh with the 50s aesthetic as well as they should. But despite its flaws, Delta and the Bannermen has a unique charm that makes it an enjoyable—if slightly bonkers—entry in the Seventh Doctor’s era.