I wouldn’t be doing my job as a blogger if I didn’t note what an unpleasantly noisy story this is. The reptile-people – we’re still not on a species-name basis with them – gave Dr. Quinn a communications device last time. It’s the sound I’m going to hear when the world ends. It’s not only that it’s mixed so blasted loud that people on the moor can hear the thing from miles away, it’s so loud and aggravating that you can safely turn the sound down to about 1 and not miss a thing.
You certainly won’t miss the music. It’s the first of three serials scored by a musician named Carey Blyton. They’re all soundtracks of the damned, but this cacaphony is played with archaic instruments like crumhorns and ophicleides that all sound like womp-womp music from an old Fleischer cartoon.
Interestingly, Dr. Quinn is shaping up to be an interesting character, a sympathetic character who’s in way over his head, and then he goes and turns into a villain. He decides to hold the reptile-person that he’s rescued from the UNIT searchers as hostage until he shares some ancient technology. For this, the reptile-person kills him. The Doctor finds Quinn’s body at the cliffhanger, and, in a great moment that had our son hiding in terror, turns just as the reptile-person comes into the room behind him.
These three episodes were Fulton Mackay’s only involvement in Doctor Who, but the actor stayed incredibly busy and popular for many years. He starred in the very successful sitcom Porridge, and took the “Doc” part in the British version of Fraggle Rock. (The series had different human-interaction segments in different countries. In the UK, Gobo went to Mackay’s character’s lighthouse to collect postcards from his uncle Matt.) But Mackay leaving this story’s narrative leaves room for another big sitcom star of the seventies to take his place in the story…