If recent information from the Daily Mirror is to be believed, there will be Cybermen in Series 12 of Doctor Who. This doesn’t necessarily come as a surprise, after all, the Cybermen are among the show’s most popular villains, and fans are always happy to see them back – but given that rumours and ‘leaked’ information about upcoming series has often been misleading or downright incorrect in the past, many fans are wisely taking this news with a pinch of salt.
Similarly, there is another issue that has some fans worried – according to the same story that declared the Cybermen’s return, Mary Shelley will also be featured in this story, with her encounter with the Cybermen allegedly becoming the basis for her novel Frankenstein. If that sounds familiar to you, then chances are you’ve listened to (or at the very least heard of) the Big Finish Audio The Silver Turk, as this story has almost the exact same storyline.
So what does this mean for Big Finish? Hopefully, if these rumours are true, the writers will acknowledge the discrepency, as the worlds of New Who and Big Finish have been gradually drawing closer of late, coming to a head with the huge crossover The Legacy of Time that was released to celebrate Big Finish’s 20th anniversary of producing Doctor Who audios. However, many fans have already accepted that this will not be the case.
Where Doctor Who is concerned, it is always better to live in hope – even if it means accepting certain compromises. On the bright side, the premise to this story sounds delightfully spooky and borderling horror-inspired, so Chris Chibnall and the other writers of Series 12 might attempt to steer the Cybermen closer towards their original status as horrifying nightmare-fuel rather than heavily-armoured soldiers. The fact that The Silver Turk featured the Mondasian Cybermen made it a particularly effective horror story, but if the same idea was attempted with the modern Cybus or Cyberiad Cybermen then the end result would be far weaker.
However, what if the rumours of Mary Shelley are false, but the rumours about the Cybermen are true? What other ways could Chibnall and the writers use to bring the Cybermen into this new era of the show? Given how they took a back-to-basics approach with the Dalek in Resolution, could this same logic apply to a potential Cyberman story? Will the Mondasian Cybermen return, or will it be the modern incarnation? Perhaps, like World Enough and Time, we will get an alternate origin for a new sub-race of Cybermen. Or maybe Chibnall will throw in an unexpected curveball, and bring back the 1980s Cybermen that have been tragically neglected in New Who?
Endless speculation is fun, but ultimately unproductive. One thing that is clear, however, is that the Cybermen may be seen in a new light during Whittaker’s era. After all, the Cybermen were responsible for the Twelfth Doctor’s regeneration, and although the Doctor isn’t known to hold grudges, it would make for an interesting dynamic that could elevate the Cybermen to a new threat level, perhaps even surpassing the Daleks. One of the things we have been promised from this new series is a darker storyline for the Doctor, Graham, Yaz and Ryan – could the Cybermen end up responsible for the death – or worse – conversion of one of the Thirteenth Doctor’s beloved companions? Time will tell…
The Moffat era was somewhat sparse when it came to quality Dalek stories – which is surprising, considering Steven Moffat himself was such a fan of them. Throughout this era, particularly Matt Smith’s era, Moffat almost took the Daleks for granted, as when they did appear, the episodes were rarely about them specifically in the way that an episode like 2005’s Dalek was. As such, Into the Dalek, the second episode of the divisive Series 8, comes as somewhat of a refreshing change compared to earlier Moffat-era Dalek stories, as this episode is all about one very specific Dalek, and gives us a closer look at the inner workings of a Dalek than we have ever seen before. But how does this episode stand up, nearly five years later?
It makes sense to start at the start, and one of the most eye-catching things about Into the Dalek is the opening scene, which immediately grabs your attention in a manner similar to that of Star Wars: A New Hope, as we are shown the tiny human ship desperately trying to outrun a massive Dalek Saucer in an asteroid field. The low angled shots of the Dalek ship effortlessly ploughing through the asteroids as the human ship dodges and weaves around them depict the near-unstoppable power of the Dalek Empire, and how ill-equipped the humans are to deal with the threat. The rapid cuts to the cockpit of the ship, showing pilot Journey Blue trying to radio her command ship, attend to her dying brother and fly the ship all at once furthers the idea that the Humans are vastly outgunned when compared to the cuts to the clean, efficient Dalek bridge.
We see a Dalek move towards a control panel, it shrieks its familiar cry, and Journey’s ship is finally destroyed. But the flash of her exploding ship morphs into the familiar spinning lights of the TARDIS, as she wakes up on the floor with the Twelfth Doctor stood at the controls, holding coffee. This image is one of the enduring impressions that this episode leaves, as it is a truly memorable opening sequence that is sadly underappreciated. Peter Capaldi gives a stern rebuke to Journey’s attempts to order him around at gunpoint, which serves as the introduction to the theme of this episode, the idea of the folly of the military and soldiers in general, and as if to ram this point home, following the title sequence, we immediately cut to Danny Pink in the playground of Coal Hill School, ordering children about like a drill sergeant.
Opinions on Danny Pink and his relationship with Clara seem to vary among fans. On the one hand, he was an honest attempt at developing a character that was unaware of the space-and-time antics and had to be kept in the dark as a series arc, something that had not really been done since Series 4 as Moffat seemed to sway away from the Earth-based parental angle of the Russel T. Davies era and instead kept the majority of his domestics in the TARDIS. But on the other hand, although it is a refreshing change to introduce this kind of character, many have argued that his characterisation was painfully flimsy and that he was underdeveloped – which is hard to argue with. It has to be noted that the Earth-based scenes in this episode were written by Steven Moffat, and these few short minutes focusing on Danny are packed with Moffat tropes from conversational faux-pas to the classic cutting ahead and flashing back routine, so these scenes can be skipped if this sort of thing isn’t for you.
Clara and the Doctor
Another controversial thing about this era is Clara, as opinions on her are widely divided. The best way to think of Clara is as New Who’s Peri – her character is who she is, and is unapologetic about it, whether you like it or not. Ironically, she was first introduced as the most basic, generic, cardboard-cutout companion you could imagine, but during the Capaldi era she is given a chance to actually establish her own character, and Moffat takes the opportunity that any of us would as showrunner, and wrote a companion with serious personality flaws to play out how they clash with the Doctor. He did this knowing that kind of Doctor-Companion relationship doesn’t appeal to all fans, but took the chance, which is commendable. The result is a strange mix of genuinely heartfelt acts of kindness displayed by the Doctor and Clara to each other, to them arguing or falling out or manipulating each other.
As such, they are perhaps the closest thing that we will get to a Sixth Doctor and Peri homage in the New Series, and Into the Dalek shows this down to a tee – the Doctor is melancholy and brooding in the TARDIS, and the companion is attempting emotional support with little success. For those who have seen it, this scene mirrors a similar one in Vengeance on Varos, arguably the best Sixth Doctor TV story, although the topic in question is markedly different. In Varos, the Doctor is facing the idea that the TARDIS has died mid-flight and stranded them in the Vortex, whilst in Into the Dalek, the Doctor is confounded at the possibility of a ‘Good’ Dalek that has made him begin to doubt his own morality. In a way, it is a good problem to throw at a new Doctor, particularly a more grumpy incarnation who is unsure of himself. After all, if a more mean and standoffish version of the Doctor met a ‘Good’ Dalek, who would be the better person of the two? Speaking of the ‘Good’ Dalek:
Rusty the Dalek
Rusty is a rare example of a depiction of an ‘individual’ Dalek, arguably the best way a Dalek can be depicted in the series, as it is by far the most interesting way to portray them. All the best Dalek introspectives have focused on the morality or decisions of a single Dalek, be it the Dalek from Jubilee, the Metaltron, Dalek Sec, and in this case, Rusty. The title Into the Dalek is fitting for more reasons than just the obvious.
The Dalek philosophy is fundamentally challenged in this episode, and it is hard to decide whether Rusty’s sudden change of heart is madness or morality. There have been a few instances of the ‘single captured Dalek’ plot in past Dalek stories, such as Jubilee, The Dalek Transaction and Dalek. But Into the Dalek puts a unique spin on the idea, making Rusty a memorable Dalek in his own right. The effort that went into painstakingly constructing the Dalek prop for this story is impressive, and can be read about in detail in Dalek 63 88’s excellent segment on how Rusty was built using materials to hand.
Another aspect to this story that makes it important in the chronology of Dalek episodes in Moffat’s era is the fact that it features the extermination effect, a staple of successful Dalek stories in early NuWho but sadly neglected during the tenure of the Eleventh Doctor. In fact, the extermination effect had not been used since Series 5. Rusty’s rampage through the Human ship, followed by the climactic battle between the Daleks and the Human soldiers, marks the first time the Daleks are seen doing what they are supposed to do on-screen in a long time.
Not only that, but the exceptional use of model shots during these action scenes is inspirational. The team used 12-inch RC Daleks for the bridge scene and again in the boarding corridor scene, and the results are really good. Practical effects are used for when Rusty turns on the Daleks and destroys them all, and the special effects team made excellent use of a stunt Dalek blown up in several different ways to depict the Dalek Assault Squad being destroyed one by one.
The result of this hard work is something truly special – a Dalek action sequence made in the spirit of Classic Who, but one that is exciting enough to be engaging for modern audiences. And overall, this same praise can be extended to Into the Dalek as a whole, as the episode does a great job of bridging the familiar with the unusual and its creative ideas are executed brilliantly thanks to the inspired work of Doctor Who’s behind-the-scenes team.
This Seventh Doctor story serves as a fitting thematic sequel to the TV story Silver Nemesis, as not only is it a three-part story featuring the Cybermen, but it also mirrors that stories’ focus on war and peace. Kingdom of Silver is an interesting story that plays on several recurring motifs in Big Finish Cyberman stories, and is unapologetic in its presentation of the Cybermen as ruthless and manipulative. The Seventh Doctor, companionless in this story, meets a mercenary on a primitive planet, both of them having detected a strange signal emanating from the planet’s capital. During a peace conference between the planet’s main ruling parties, the Cybermen make a resurgence. This is a great audio that is a rare example of Terry Molloy playing a role that isn’t Davros, and he gets a chance to play a very different role in this story. Sylvester McCoy is enigmatic and devious as always, and there are some great twists and turns in this story that keep you guessing.
The Wrong Doctors
A Sixth Doctor audio steeped in lore, The Wrong Doctors is a rare example of a multi-Doctor story featuring two versions of the same incarnation of the Doctor from completely different points in their timeline. This story features a version of the Sixth Doctor from fairly early in his timeline, and another that is far more mature and level-headed, meaning it is essentially a clash of the TV and Audio depictions of the Sixth Doctor. Colin Baker does a fantastic job in this story, and Mel actually works really well as a companion, as this story serves as the first chronological story for Mel after the somewhat odd way in which she was inserted into the TV series during Trial of a Time Lord. At least, that’s the idea, although as the story progresses we see that things are more complicated than they first appear – hence the two versions of the Doctor. To sum up this story, it is a treat for Colin Baker fans.
Terror of the Sontarans
A unique and interesting Seventh Doctor audio, Terror of the Sontarans delves into the psychology of the Sontaran race, something that is not often done on Doctor Who. Whilst Sontarans are known for their discipline and reluctance to show fear, this audio shows what happens when Sontarans are confronted with something that makes them go truly insane. What is fascinating to consider with this audio is that Sontarans are all clones, so when one Sontaran berates another it is essentially just shouting at another version of itself. The idea of a group of Sontarans breaking the norm for their race and deciding to show creativity or fear has some interesting consequences, both for them and all others who get caught in the crossfire
Time in Office
This audio is one of a kind. Each part is an individual story that feeds into the overarching plotline that the Fifth Doctor has finally been recruited by the Time Lords to serve his time in office as Lord President of Gallifrey, hence the title. As one might imagine, the meek and affable Fifth Doctor goes on to cause chaos on Gallifrey, not least due to Tegan’s antics as Human-Time Lord ‘Ambassador’. Speaking of which, there is a fair amount of comedy in this story, and it isn’t supposed to be taken all too seriously. The audio plays heavily on the blustering and stagnant representation of Time Lord society that we got in the Fourth Doctor episode The Deadly Assassin, and it is clear why the Doctor was so eager to leave the planet. This audio also pays excellent homage to stories such as The Invasion of Time and The Five Doctors from the Classic Series that were set on or heavily related to Gallifrey, so its a real treat for fans of Time Lord lore.
The mutual love of the Classic Series that both Steven Moffat and Peter Capaldi shared meant that the Twelfth Doctor’s era was packed with Classic Who references. Arguably the most overt were the appearance of several classic monsters, such as the Mondasian Cybermen, and spiritual sequels to several classic episodes, such as Genesis of the Daleks being continued in The Magician’s Apprentice and The Witch’s Familiar. The latter two-part story features the appearance of several iconic Dalek designs, seemingly with little explanation as to why they appear. Variants such as the Special Weapons Dalek, a Renegade Dalek, 1960s Dead Planet Daleks and even Dalek Sec. But why are so many different types of Daleks featured in this episode?
The Asylum Problem
The real-world answer for the diverse variety of Daleks in this story is that the production team, particularly Moffat himself, decided to use more Classic Daleks in response to the poor reception of Asylum of the Daleks. The dark lighting and dulling-down of the paint jobs on the props in the Asylum meant that they were difficult to recognise in the episode, and their limited screentime coupled with the fact that the Special Weapons Dalek was completely idle was seen as somewhat of a missed opportunity by fans. So, when the next chance to introduce more kinds of Daleks to New Who came along, Moffat took it.
The fact that the Series 9 opener featured the Dalek central control on Skaro meant that there was now a chance to populate the set with Classic Daleks in a well-lit atrium, rather than a dank dusty chamber. The Dalek props were sourced from a variety of collectors and prop manufacturers, and a few were even hired from novelty businesses. Some were accurate representations of Classic Daleks, such as the Renegade Dalek and Special Weapons Dalek props, but others were modified varieties, such as the bright blue 1960s Daleks. But what was the lore reason behind these Classic Daleks showing up again after all these years?
The New Dalek Paradigm
As of Victory of the Daleks, it can be assumed that the Daleks featured in the New Series are all members of the New Dalek Paradigm. It has been shown that the Progenitor Daleks and the Bronze Daleks are part of the same faction in the Dalek Parliament, and depending on when The Magician’s Apprentice and The Witch’s Familiar is set in the Dalek timeline, it could be that Skaro had been rebuilt for hundreds, even thousands of years before the Twelfth Doctor arrived to meet Davros. It is even possible that the Classic Daleks seen in the episode are survivors from previous wars that are kept safe at the heart of the Empire, as a form of experienced Elder Council. Or, the Daleks have been snatched from their own timeline to add their DNA to the pure Dalek race. Either way, it would seem that Bronze and Classic casings have replaced the Paradigm designs in the new Dalek regime.
However, it is clear from behind the scenes images that the Paradigm Daleks were on set, suggesting that they were originally to be included in the episode but were pulled at the last minute. As a previous Sacred Icon theory post suggested, the Paradigm could now be an elite time-travelling Dalek caste similar to the Time Controllers and Time Strategists of the Big Finish Audios. In that sense, the mainline Dalek Empire is composed of Bronze Daleks, with Classic Daleks appearing in the safe depths of Dalek space. Meanwhile, the Paradigm Daleks travel up and down the timeline, interfering when they see fit.
Another interesting addition to the Daleks seen in Series 9, however, are a particular set of Russell-era Daleks. The same kind of Dalek Supreme seen in The Stolen Earth and Journey’s End also appears here, although it is clearly a different individual as it displays a distinctly different personality from its 2009 predecessor. Whilst the previous Supreme shunned Davros and locked him away, the Series 9 Supreme shows Davros more respect and even praises him. The return of the red Supreme Dalek in this episode is a welcome addition, and is a clear deviation from the consistent use of the White Paradigm Supreme in the Matt Smith era.
The other significant Russell-era Dalek is the distinctive Dalek Sec, and as another theory post suggested, the fact that the Black Dalek featured here is definitely Sec going by the identification tag means that this Dalek is in fact Sec at a point in his timeline either before the events of Doomsday or, more likely, between Doomsday and Daleks in Manhattan. This is interesting as it suggests that the Cult of Skaro could have had more exploits between the ones we see on-screen that could potentially be developed in a Big Finish audio series.
So now that the appearances of the forms of Dalek seen in Series 9 have been explained, hopefully the reasoning behind Steven Moffat’s decision to include them seems more clear. Many fans would agree that the appearance of Daleks from different eras of the show in the New Series is definitely welcome, but perhaps it should be used more sparingly. Hopefully if the Daleks return to battle the Thirteenth Doctor again, they adopt a standardised design whilst still retaining varieties like the Supreme Dalek and the Special Weapons Dalek, but fans can only hope.
When browsing the online catalogue of Big Finish audios, either via their site or through some other means like the Wiki, eventually the eyes of the curious will be drawn to the wide variety of Eighth Doctor Box Sets, starring Paul McGann among various other stars. Recent releases like Ravenous and the Eighth Doctor: Time War series are heavily promoted by Big Finish, and with good reason – the Eighth Doctor Box Sets were the pioneers of their kind, and the first four Dark Eyes box sets comprised Big Finish’s first complete four-set story line. So in many ways the Dark Eyes series, the set that started it all, is considered the progenitor for all other box sets. So how does this first box set hold up? Is Dark Eyes worth a listen?
Time and Space
Being the first box set of what would become the first series in what would become a huge range of Eighth Doctor box sets, Dark Eyes has a lot on its shoulders. Interestingly, the premise of the opening story is somewhat humble. Brooding and depressed due to a series of recent Dalek victories, the Doctor decides to take the TARDIS to the end of the universe, to see how things play out. Either the Daleks are stopped, in which case life can prevail, or they are not, in which case the universe would be overrun with nothing but Daleks. During this trip, however, the Doctor’s TARDIS is intercepted by another Time Lord, Straxus, who warns the Doctor not to go to the end of the universe and instead offers him what he wants most – a source of hope, in the form of Molly O’ Sullivan, a Voluntary Aid Detachment nursing assistant from World War One who has the eponymous ‘Dark Eyes’, and also seems to be the key to a Dalek plot to eradicate the universe.
In many ways, Molly’s introduction mirrors that of previous Eighth Doctor companion Lucie Miller, except rather than the Eighth Doctor reluctantly taking Lucie as his companion, in this case the companion is reluctantly recruited by the Doctor. Molly does take some getting used to as a companion – she calls the TARDIS a ‘Tardy-Box’ and is hesitant to believe anything the Doctor says, but throughout their first adventure they get to know each other and inevitably as the scale and stakes of the conflict they are sucked up into get higher, their friendship begins to blossom. Speaking of stakes, the Daleks have teamed up with a rogue Time Lord known as ‘X’, whom the Daleks call Kotris, and are attempting to use retro-genitor particles to wipe out the Time Lords completely. Kotris, having grown tired of the Time Lord’s hypocrisy and meddling in affairs, had made a deal with the nefarious Dalek Time Controller, a truly wonderful character played brilliantly by Nicholas Briggs. The best way to describe his Time Controller voice is as a sane and composed version of his insane Dalek Caan voice.
World War One and the Daleks
The World War One setting of the first story is a brilliant choice for a Dalek story, and the Daleks spend a lot of time creeping around and being uncharacteristically patient, not revealing themselves until very late in the story. The Doctor lands in France and is caught in a gas attack, which incapacitates him while his Gallifreyan physiology heals him. In the meantime, he is picked up by soldiers and taken for medical assistance, meeting Molly in the process. The first story in the box set is a great introduction to Molly as a character, as it first shows her in her time period dealing with the war before catapulting her into the much more threatening Dalek incursion that follows.
Overall, the Daleks are effective not just in the first story but across the entire box set. the Dalek Time Controller, as previously mentioned, is excellent, and the second audio in the set in particular depicts the Daleks at their most ruthless. Unfortunately, the series doesn’t dwell on the idea of Daleks in World War One, as the pacing begins to increase as soon as they appear. It is perhaps telling at this point that Dark Eyes may have originally been set to be eight episodes long instead of four, perhaps even as another series of the Eighth Doctor Adventures, and several ideas had to be crammed together into one story in order to condense the series into a four-part box set. Whilst this does allow for some fast-paced action and varied set pieces in the second audio, it also means that none of these ideas are particularly fleshed out.
The Arc and the Eyes
The best way to describe the story arc for the first Dark Eyes box set is as a tentative first step in what would become a long journey. And as first steps go, it makes some great progress. Throughout these first four audios the groundwork for the majority of the Dark Eyes series is laid, although the fact that the series was almost planned as it was being made means that not all of the vital elements of the Dark Eyes series are present here. One of the most iconic things about the Dark Eyes series, Alex MacQueen’s incarnation of the Master, does not appear until midway through Dark Eyes 2, although Kotris is a great antagonist and Toby Jones plays a great villain.
Molly O’ Sullivan gets a great introduction in this box set that not only sets up her character arc perfectly but also gives us a great idea of the kind of person she is, and how she reacts to situations bearing in mind the fact that she is from a time period that is now over one hundred years ago. Like the first series of the Eighth Doctor Adventures did for Lucie Miller, the first Dark Eyes box set presents Molly with a diverse array of challenges and testing situations to overcome, and as such the listeners glean a lot about her character early on. Although her demeanour takes some getting used to, Molly is an empathetic and charismatic character who pairs well with the Eighth Doctor.
So, is Dark Eyes worth a listen?
Absolutely, there is no doubt about that. The first Dark Eyes box set not only serves as an excellent introduction to the incredible Dark Eyes series, but each story is exciting and interesting in their own right, and not one of the four hour-long episodes in this box set feel like they are not pulling their weight. Big Finish does an excellent job of translating the Eighth Doctor into different release formats, from his debut in the Main Range to the New Who style EDAs and now the Eighth Doctor Box Sets. Paul McGann does a fantastic job with every story he is given, and he always gives it his all. Molly O’ Sullivan is a fantastic companion who has an excellent introduction here and the Daleks are as great as ever.
Since filming for Series 12 of Doctor Who began in Gloucester, fans have been secretly hoping for a glimpse at what is going on behind the scenes of Jodie Whittaker’s second series as the Doctor. Fans are particularly anxious to learn what enemies the Doctor will face this series, as the Thirteenth Doctor’s debut series was noticeably lacking in threat factor aside from Tzim-Sha and a Dalek. It is good news then that the BBC seem to be more forthcoming about what this new series will feature, however, as they have revealed that the Judoon will be making a return through photos released of the filming in Gloucester.
The most interesting image depicts the Doctor in a standoff with a distinctive Judoon Captain, who sports a mohawk, flanked by Judoon soldiers who appear to be holding a brand new type of blaster. Since their introduction, the Judoon have been depicted as an intergalactic ‘police-for-hire’, stormtroopers with a strict legal code who are employed as hired thugs to execute criminals or carry out other security duties. As such, they often clash with the Doctor on the subject of ethics, as they are known to be brutish and single-minded in their task, and have even been known to execute people on the spot for any perceived crime.
However, the Judoon are not always a foe to the Doctor, and several instances have portrayed them in a positive light. The famous cameo in The Stolen Earth shows that the Judoon guard the Shadow Proclamation, the Galactic Lawmakers, and a Judoon aids Sarah Jane and her friends in the Sarah Jane Adventures episode Prisoner of the Judoon. They have also made the jump to audio, as Big Finish’s Classic Doctors:New Monsters audio Judoon in Chains depicts the Sixth Doctor defending a Judoon on trial for his life. As such, it is not yet completely clear whether or not the Judoon in Series 12 will act as an ally or an adversary to the Doctor, although judging by the released picture, it would seem they are butting heads over something.
Needless to say fans are excited about the return of this popular Dalek, but why is this particular Supreme Dalek so special?
Although the Daleks feature prominently in many of Big Finish’s Doctor Who Spinoff Audios, such as the Time War audios, it is a relatively rare occurence for the Daleks to feature in the monthly range. As the range approaches its 20th Birthday this year, it is interesting to look back on how the range has used the Daleks sparingly in the past compared to the current incarnation of the TV series. However, since it has been over a year since the last Monthly Range Dalek story, fans were teased with the title of August’s monthly release earlier this year, a Sixth Doctor story with the title: ‘Emissary of the Daleks’.
Fans are always quick to begin theorising over what the latest ‘of the Daleks’ buzzword actually means, with varying degrees of success. So far, all we really know about the story itself is that it stars the Sixth Doctor and Peri, and has something to do with someone acting as a go-between for the Daleks and another race, although even that is somewhat of a vague premise. All that changed with the reveal of the cover art, the first example of a Monthly Range Dalek story using the new Series 11 branding and logo, but the thing that really has fans talking is the inclusion of a specific and infamous Dalek on the cover – the Dalek Council Representative from Planet of the Daleks.
For those not in the know, this specific Supreme Dalek appeared in the 1973 Jon Pertwee story after Dalek activity on the planet Spiridon was disrupted by the Doctor, Jo and several Thals. Arriving on the planet in dramatic fashion in one of the most impressive uses of spaceship model shots in the era, the Supreme Dalek certainly made its mark on viewers with its unique appearance. The prop used for this Supreme was one of Terry Nation’s Movie Daleks painted black and gold, meaning that it is one of the most unique Daleks to appear in Classic Who and, in typical Classic Supreme style, he never appeared again after his first appearance.
Needless to say fans are excited about the return of this popular Dalek, but a logical question to ask would be: Why is this particular Supreme Dalek so special? After all, there were many Supreme Daleks in the Classic series, and there have been even more since the revival. The answer is in this Supreme Dalek’s attitude – thoughout Planet of the Daleks this Supreme is particularly ruthless – even by Dalek standards. He brutally murders his immediate subordinate for failing to capture the Doctor, and very nearly wipes out the entire population of the planet. After being thwarted and having his ship stolen by Thals, the Supreme Dalek is last seen plotting revenge of swearing the supremacy of the Dalek race, setting up a rematch with the Doctor that, sadly, never occured on-screen.
However, this distinctive Dalek Commander will hopefully be getting his chance at payback in Big Finish’s Emissary of the Daleks, as since we have never seen another Supreme Dalek quite like this one, there is a good chance that it is actually the same character. If so, this will be a rare example of a specific Dalek recurring in multiple stories. As the Dalek occupation of Spiridon was thwarted in another Big Finish story, it will be interesting to see what this Supreme has been up to, and given the sign warning of dangerous ‘Vitanium’ mining on the cover, it would seem this Supreme hasn’t lost his perhant for exploiting the natural resources of innocent planets. Hopefully Nick Briggs will also give his best shot at imitating the Pertwee-era Daleks’ distinctive voices as the pièce de résistance of this exciting-looking Dalek story.