Oh boi this will be a long one. For me this places second for the Hartnell Years, only beaten slightly by the Massacre, and it’s easily one of my favorite Stories when it comes to Who in general.

It’s a great shame so much of it is missing, especially true with Episode 12, that being said while it does arguably have some flaws, I cannot stop loving it.

Having only really got myself into the Classic Series almost two Years ago, this one was, the one I heard many mixed Things about and while I usually do split up longer Stories (at least at that time), I found myself bored with nothing better to do, so I decided to give the Recon a watch. And while yes, since the Material to be used was lacking and at times the Recon can be a bit tough to watch, I still have to say this one surprised me.

As many correctly pointed out this was an ambitious Epic, one which the 60s wouldn’t beat, maybe a point could be made about the War Games, but that’s a topic for another Time. Does it really need all those Episodes? I’d argue not, especially Feast of Steven feels like a black sheep and should at this point just be counted as a weird Oddity without much else. That being said the first half is paced incredibly well, at no point did I feel like I watched 5–6 Episodes, they all went by quickly and felt very organic, while yes it is at times slow, it builds tension so very well leading to some breathtakingly good moments such as Katarina's Death.

Katarina, while I would have liked to seeing more of her, since I think Hill does give a pretty great performance, having her die here worked really well and the build up to this death feels quite intense. What the Doctor says about her afterward is just beautiful and only one of the many great Moments presented here.

Many compared this one to The Chase, rightfully so since the second half is pretty much in the same vein and while I don’t argue against it, it feels here more earned compared to the Chase. And also gives a great opportunity to have some more Stories with Sara!

And I haven’t mentioned her yet, have I? Jean Marsh is superb as Sara, even through she has only one Story under her Bell (televised at least), she does it all with the Material given to her. Makes it even more a shame that she wouldn’t survive this Story, her death feels also affective, and I am quite sad to see that we don’t have that scene in the archives anymore.

One Thing which hasn’t been mentioned here are the Daleks itself and going by their previous appearances, I’d argue they are at some of their best. They have some hilarious lines thrown here, but you always have this feeling of them being treated as a Threat not to be joked with, which the Chase utterly failed. Mavic Chen is a great Villain as well (if we look past the horrendous yellow face), the Actor gives a superb Performance and while not his best Who Performance, it’s easily one of the most memorable for a Villain in the 60s easily.

While the Monk’s Return feels maybe out of the pocket. I’d argue having Butterworth back was not only lovely, but he gets some great moments in here, while yes he gets overshadowed greatly by all the other Stuff happening, I still think he was used pretty well all things considered.

The whole World Building done here is easily my favorite of all of Who, if Nation was good at something, it was with his Ideas of different Worlds, shown pretty well here. The Council or even the Planet of Kembel itself are just superb.

Oh, there is a lot to talk about, surprisingly Hartnell and Purves himself weren’t mentioned here too much. I do say they both give some of their best in this Story. Hartnell especially has so many little wonderful moments or acting choices, makes it even more saddening knowing that his physical performance might be for the most part lost to time. Purves I feel like gets to show off how great Steven can be, while he was superb in the Time Meddler, I feel like his last two Stories used the Character pretty underwhelming (although I liked a few bits with him in Myth Makers), this one does not. I love especially his confrontational nature around the End, pointing out to the Doctor that they haven’t really won after all the Deaths.

Bret is great, I like him! What is more to say, everybody likes Bret, that’s all 

The Story overall ranks very highly for me. While it’s huge, it does know how it paces itself and I’d argue even through I really didn’t care for Feast, at no Episodes did I feel bored about this Story. It builds up a lot of tension and uses it quite well in my opinion, the first half as I said is paced superb. The second half, while not as superb, still offers some fun to be had and basically does the travelling to place to place much better. The bleak Tone and the bleak ending is wonderful, and there are a lot of little Parts I adore.

I do think this Story deserves the Animation Treatment and I really hope we can that, while the likelihood of it happening is low due the scale of it all, perhaps some day they decide to do two different releases for that Story, similarly as how they have done it with the Target Novel. But who knows, only Time will tell.

Personally? Big fan if you didn’t notice it already, lots of great Stuff to love here!

The Daleks' Master Plan is almost a rarity in Long Classic Who Serials, as in, it's one that deserves the runtime. A 12-part story would be intimidating under any circumstances, especially one where 3/4s of it is lost, but by god does this serial pretty much make it. We've got strong acting from the main cast, a solid storyline, and some delightfully silly looking aliens. We do also have yellowface, unfortunately, because this is 60s Doctor Who

📝9/10

Thworping through time and space, one adventure at a time! 

“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.

“What a waste. What a terrible waste.”

La série n’a jamais été aussi éprouvante. 

Il y a en effet plein de gens qui meurent aussitôt qu’on les rencontre. Et surtout ce Docteur n'a jamais été aussi seul, et pourtant forcé de courir partout. 

Mais c’est donc tout son univers qui s’effondre dans une bataille absolument atroce, et si la série est carrément vidée de sa joie, elle est surtout vidée de toute son humanité.

En fait, c'est un rare moment de doute pour Doctor Who.  Son monde est terrifiant, et frappé par des guerres atroces et des monstres sanguinaires. Mais il n’est plus capable de faire rêver. 

Et alors que tout un monde est en train de mourir, qu’est-ce qui pourra donc vraiment naître de ses cendres ?  

"I'm afraid, my friends, the Daleks have won."

Taken me a few days to get through this twelve part epic, most of which sadly no longer exists. It certainly feels like the largest scale story up to this point. It can get a little bit like The Chase, with a couple of the middle episodes totally meandering and meaningless to the rest of the plot. But overall it's a big epic, with a lot of great moments.

William Hartnell and Peter Purves are both great throughout, especially Hartnell. Some of the later episodes giving this Doctor some of his best moments, standing up against the Daleks. Were also treated to new companions who come and go. A highlight being Nicholas Courtney for the first few episodes, it's pretty obvious why they bring back his charisma in later years as a main stay. Both Adrienne Hill and Jean Marsh are nice additions but sadly we don't spend long enough with them. Their time with the Doctor too fleeting.

The Daleks themselves are well utilised, feeling more threatening and less comedic than their last appearance. Theres a real sense of danger and threat to them, whenever they are on screen. Mavic Chen is also a great villain. He's menacing and formidable, and a brilliant performance from Kevin Stoney, it's a shame that more of this performance isn't captured on the existing episodes.

A fun, if a little long and meandering, epic. I wish more of the story was available to watch properly, but as it stands it's entertaining and grand in scale. It could have easily worked as Hartnell's swangsong.