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“THE SMUGGLERS: HISTORICAL ACCURACY, PIRATE TREASURE, AND A SLOWLY SINKING STORY”

The Smugglers kicks off Doctor Who’s fourth season with a return to the historical format—one that had defined much of the First Doctor’s era but was quickly falling out of favour. Written by Brian Hayles, this adventure marks the last pure historical story of the Hartnell era, as well as the penultimate story for William Hartnell himself. While Hayles proves he can craft a convincing historical setting filled with equally believable characters, the story itself suffers from a sluggish pace, repetitive plotting, and a lack of narrative drive.

There is, however, a nice sense of symmetry in how this serial opens. Ben and Polly’s reaction to the TARDIS interior mirrors Ian and Barbara’s shock in An Unearthly Child, with the Doctor once again annoyed at having unwanted passengers aboard his ship. Unlike their 1963 predecessors, though, Ben and Polly adapt fairly quickly to their predicament, allowing the story to waste little time establishing them as proper companions.

BEN AND POLLY TAKE THE SPOTLIGHT

With The Smugglers, the focus shifts onto the new companions, Ben and Polly, as they adjust to time travel and take a more active role in the adventure. Their dynamic is well-established here, with their friendship and teamwork becoming one of the story’s highlights. Ben, in particular, proves his worth early on, stepping up when they’re thrown into jail and handling himself well under pressure. Polly, while not as central to the action, still gets her moments to shine, and it’s refreshing to see both of them quickly become capable travellers rather than simply being dragged along by the Doctor.

As for the Doctor himself, Hartnell once again does a fantastic job with what little material he’s given. He brings his usual excitement to the historical setting, clearly relishing the opportunity to play the part of an 17th-century rogue. He works well alongside the guest cast, though his role in the narrative feels somewhat reduced compared to his earlier historical adventures.

PIRATES, SMUGGLERS, AND A DASH OF DANGER

One thing The Smugglers does well is its setting. The BBC excels once again in production design, successfully transporting the viewer to 17th-century Cornwall. The extensive use of location filming outside of London lends an air of authenticity, making the serial feel more grounded. The rugged coastal backdrop, combined with the use of an old church, underground tunnels, and a pirate ship, provides a strong visual foundation for the adventure—even if it’s tragically lost to time.

The guest characters generally feel authentic to the period, with plenty of rough, grizzled smugglers and pirates. Michael Godfrey makes for a solid villain as Captain Pike, exuding menace in both voice and manner. Cherub, his violent and ruthless right-hand man, also stands out. Elroy Josephs’ role may be small, but as the first Black actor with a prominent speaking part in Doctor Who, it’s a noteworthy moment in the show’s history, even if his character is ultimately forgettable.

A RETURN TO DARKER STORYTELLING

One of the more interesting aspects of The Smugglers is its return to a darker tone, something the later Hartnell era was increasingly known for. There’s a fair amount of violence in this serial, with multiple deaths spread throughout the four episodes. The treasure hunt sequence in Part Three is a particularly strong section of the story, featuring riddles, hidden passages, and an escalating sense of urgency that evokes the best pirate films. Part Four ramps up the tension even further, with Pike and Cherub’s final confrontation and the frantic race for Avery’s treasure providing a much-needed jolt of excitement.

Unfortunately, while these moments work well, they arrive too late to salvage the overall pacing of the serial. The climactic battle sounds thrilling, but being entirely missing, it’s difficult to fully appreciate its impact.

A STORY ADRIFT AT SEA

While The Smugglers succeeds in crafting a believable historical setting, it struggles when it comes to storytelling. Hayles’ script spends far too much time meandering, filled with conversations that don’t necessarily push the narrative forward. The plot itself feels like it’s running in circles for much of the runtime, only really gaining momentum in the final episode.

The biggest issue is that the serial seems more interested in immersing us in the time period than in telling a compelling story. While historical accuracy is great, it doesn’t mean much if the narrative itself isn’t engaging. The lack of real twists, turns, or surprises makes much of the serial feel monotonous, and in a reconstructed format, it becomes even harder to maintain interest.

Adding to the issue is the guest cast. While they certainly sound the part, many of them lack distinct personalities, making it difficult to tell some of them apart—especially when combined with heavy pirate accents. Aside from Pike and Cherub, most of the characters are fairly forgettable, which makes the long stretches of dialogue-heavy scenes even more of a chore to sit through.

📝VERDICT: 5/10

While The Smugglers offers strong world-building and a promising setting, it fails to deliver an engaging or dynamic story. Ben and Polly’s strong introduction and the atmospheric locations help, and there are moments of tension and adventure that work well, particularly in the latter half. However, the sluggish pacing, repetitive dialogue, and lack of narrative drive make the serial feel like it’s treading water rather than sailing towards an exciting conclusion.

As a result, The Smugglers ends up as a largely forgettable adventure—one that lacks the intrigue and dramatic weight of earlier historicals like The Aztecs or The Massacre. It’s a shame that Hartnell’s last historical doesn’t make a stronger impression, but as a transition into the new era of Doctor Who, it at least serves as an important stepping stone for Ben and Polly’s development.