In 1966, over the course of a legendary twelve-part serial, two of Doctor Who‘s companions were killed. They were both created to die; Katarina and Sara were only around for five weeks and eight weeks respectively. Adric’s death was quite different. And the fallout, in the next episode, is one of just a couple of things about that story I enjoy. Is that enough foreshadowing for you readers?
As kids, we were glad to see Adric go. As a character and as a performance, Matthew Waterhouse’s look and costume, and his often petulant portrayal, all seem almost specifically designed to annoy male teenagers. There are probably essays about why viewers of that age disliked Adric so intensely. I’ve written in the past about how I watched Who in a vacuum in the seventh grade. By the time the Peter Davison years started showing on our PBS station, I was in the eighth grade, with a different set of classmates. Not only was my older pal Blake watching, but so were four or five of us in Pod 8A in late 1984. We were all about thirteen and we all detested Adric. The feeling, I learned, was widespread. Eighteen months later, Peter Davison was at a convention in Atlanta and explained by way of an explosion noise into a microphone what he thought Adric’s best moment was and the whole room applauded.
But as for the viewers in the seven year-old age bracket, the one in our house was incredibly surprised and taken aback. His older brother and sister were also in elementary school when they saw this story and were also stunned. Smaller kids like Adric. He’s not the awkward, oily-haired kid in the school A/V club to them but a young hero to look up to.
As a grownup – assuming I can be called a grownup – of course I’ve come to like Adric more and more, especially seeing him through my kids’ eyes. It’s true that Matthew Waterhouse’s performance and line delivery often take me out of the fiction, to say it mildly, and I do like the way that Adric doesn’t even get to die heroically. He’s at least granted a stoic finale, and the music is subtle and perfectly in tone with the moment. For the only time in the show’s history, the credits of part four roll silently. The camera lingers over Adric’s broken gold star badge while the program gives one of its main characters a moment of silence, and I think it’s done extremely well.
It’s certainly the best in-the-show death any companion’s probably ever going to get. I’m never pleased when they undermine the drama of a death with a get-out clause a week or two later, as Steven Moffat did as often as possible. This was done right, and I really enjoyed it. Adric may or may not have been a great character, but he got a terrific ending.