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“The Daleks’ Master Plan: Doctor Who Goes Space Opera”

The Daleks' Master Plan stands as a monumental achievement in the history of Doctor Who. Spanning twelve episodes, it is the longest serial in the show’s history and represents an era when storytelling was not afraid to take risks, embrace ambition, and delve into darker, more mature territory. Co-written by Terry Nation and Dennis Spooner, this serial encapsulates the sprawling scope of a space opera, complete with shifting locations, political intrigue, and high-stakes drama that ultimately earns its reputation as one of the show’s most significant achievements.

At its core, The Daleks' Master Plan is a tale of survival and resistance in the face of overwhelming odds. The Doctor, Steven, and their allies are pitted against the Daleks at their most calculated and ruthless. The stakes couldn’t be higher: universal domination is the Daleks' goal, and their alliance with the conniving Mavic Chen, Guardian of the Solar System, only adds to the tension. This is not a simple battle of wits or escape story; it’s a sustained struggle to prevent the annihilation of freedom and life across the cosmos. With the introduction of the devastating Time Destructor as the Daleks’ ultimate weapon, the serial achieves a level of gravity rarely seen in early Doctor Who.

The first episode establishes a tone of foreboding and urgency. The Doctor is forced to land on the jungle planet of Kembel to save Steven, who was injured during the events of the previous story, The Myth Makers. Kembel, a foreboding forest world, is a masterpiece of atmosphere, its oppressive design reflecting the looming danger of the Daleks’ master plan. We are introduced to Bret Vyon, a hotheaded but determined agent of the Space Security Service (SSS), whose presence adds a sharp dynamic to the group. He is played by Nicholas Courtney in his Doctor Who debut, and seeing him here as a determined and no-nonsense character is somewhat odd when one is used to seeing him as the Brigadier.

As the story unfolds, the TARDIS crew uncovers the Daleks’ alliance with a coalition of alien delegates, each representing a different corner of the universe. The design of these delegates may lean toward the absurd, but they underline the story’s galactic scale, presenting a universe teetering on the brink of catastrophe.

The Doctor’s moral authority and resourcefulness are showcased repeatedly throughout the story, cementing William Hartnell’s interpretation of the character as a determined and defiant protector of life. In one of his finest performances, Hartnell portrays a Doctor who is unwavering in his commitment to stopping the Daleks, yet deeply affected by the losses and sacrifices along the way. His ingenuity shines, whether he’s creating a fake taranium core to deceive the Daleks or infiltrating their council chamber disguised as one of the delegates. The weight of the conflict is evident in Hartnell’s performance, particularly in moments of introspection after Katarina’s death and during the devastating finale. Even as his health was reportedly beginning to fail, Hartnell brought a commanding presence to this serial, delivering one of his most memorable performances.

The supporting cast is a highlight, with each character contributing to the emotional depth of the story. Katarina, the young Trojan woman who joined the Doctor at the end of The Myth Makers, serves as an early example of how Doctor Who could explore the alienation and confusion of someone plucked from their own time. Tragically, her lack of understanding of the technology and conflicts around her also make her a liability. This becomes painfully evident in Episode 4 when she sacrifices herself to save the others. Her death, the first for a companion in the show’s history, is shocking in its abruptness and sets the tone for the story’s willingness to embrace darker, more serious consequences. Adrienne Hill portrays Katarina with sincerity, but the character is written as so out of her depth that she struggles to make a lasting impact before her exit.

Jean Marsh’s Sara Kingdom, who joins the story later, provides a stark contrast. A capable and independent agent of the SSS, Sara is a complex character torn between her loyalty to her superiors and the moral awakening she experiences after realizing the depth of Mavic Chen’s betrayal. Marsh brings intensity and gravitas to the role, making Sara a standout companion despite her brief tenure. Her tragic death in the final episode, as she succumbs to the effects of the Time Destructor, is one of the most harrowing moments in Doctor Who history and underscores the immense cost of the Doctor’s battle against the Daleks.

The villains are equally compelling. The Daleks are portrayed as cold, calculating, and utterly ruthless, a significant improvement from their more whimsical depiction in earlier stories like The Chase. Their alliance with Mavic Chen is a fascinating exploration of how human ambition and greed can align with alien malevolence. Kevin Stoney’s performance as Mavic Chen is mesmerizing, capturing both the megalomania and fragility of a man who believes he can control the Daleks. Chen’s descent into paranoia and eventual betrayal by his supposed allies is a satisfying narrative arc that highlights the futility of hubris when faced with the Daleks’ relentless pursuit of domination.

The scale of The Daleks' Master Plan is one of its defining features. The story spans multiple planets, introduces new technologies like the taranium core and the Time Destructor, and even features a return appearance by the Meddling Monk, played with delightful mischief by Peter Butterworth. The inclusion of the Monk adds a lighter touch to the latter half of the story, particularly during the episodes set in Ancient Egypt, but his schemes never detract from the overarching tension.

Despite its many strengths, the serial is not without flaws. At twelve episodes, it often feels bloated, with some episodes dragging as the characters engage in lengthy discussions or repetitive action sequences. The infamous The Feast of Steven, a comedic interlude originally broadcast on Christmas Day 1965, is a tonal misstep that disrupts the flow of the narrative. While the episode’s metatextual humour and Hartnell’s fourth-wall-breaking Christmas greeting are charming in isolation, they feel out of place within the larger context of the serial. Similarly, some of the alien delegates are so absurdly designed that they verge on parody, undermining the otherwise serious tone.

The production’s limitations are also evident in the reliance on reconstructed material for the many missing episodes. While the Loose Cannon reconstructions do an admirable job of piecing together the story through telesnaps and audio, the loss of visual material robs certain scenes—such as the devastating effects of the Time Destructor—of their full impact.

Nevertheless, the final episodes bring the story to a breathtaking conclusion. The Time Destructor, a device capable of accelerating time to devastating effect, becomes the focal point of the climactic battle. As the Doctor and Sara race to stop the Daleks, the device’s horrifying power is unleashed, ageing Sara to death and leaving the Doctor physically and emotionally exhausted. The bleakness of the finale, with its emphasis on sacrifice and the cost of victory, is a testament to the serial’s willingness to push the boundaries of what Doctor Who could achieve.

Final Thoughts:

In the end, The Daleks' Master Plan is a flawed but extraordinary achievement. Its ambition, scale, and willingness to explore darker themes set it apart as a landmark in Doctor Who history. While the pacing issues and missing material may deter some viewers, those who persevere are rewarded with a story that exemplifies the show’s capacity for creativity, drama, and emotional resonance.