Sunday, June 28, 2026
If this is Tuesday, we must have a new Prime Minister
Monday, June 22, 2026
Infrequently Asked Questions 2026
As I did this time last year, I am offering my more devoted followers the chance to decide what I write about for the month of July this year. Hop across to Patreon and find out how you too can join the fun.
Friday, June 19, 2026
The Horns of Nimon
Horns of Nimon has been cited as the worst Who story of all time. It was the end of Tom Baker's sixth season and he's obviously bored to death. He sleepwalks through his scenes and clowns around shamelessly. So no-one else can take the story seriously. When K-9 breaks down, the Doctor tries to give him mouth-to-mouth. When the TARDIS malfunctions, it emits a series of comedy "boings". Graham Crowden (the evil Soldeed) seems to think that he's competing for the Brian Blessed Award For Overacting. And keep your Spotters Guide to Doctor Who Clichés handy: people really do say things like "You meddling fools!" "It's too late for me - I'm done for!" and "All these corridors look the same!"
That concludes my retrospective look at the Seventeenth Season of classic Doctor Who. I am sure I will have a look at this final season in due course. If you want to support me, read outtakes and specials and get early access to my nonsense, then please, please, please, pretty please, I'm not going to get down and beg, but, consider joining my Patreon.
Thursday, June 18, 2026
The Horns of Nimon
In the totally canonical Curse of Fatal Death it is established that nature abhors the absence of the Doctor. If his existence is threatened then the Universe itself will intervene to save him.
At the end of the Key to Time saga, the Doctor seems to have become consciously aware that he is a fictional character. He has entirely ceased to take the Universe seriously. But the Universe only exists for the Doctor’s benefit. If he has stopped believing in it, then mere anarchy will be loosed upon the world.
So the Universe herself intervenes. She divides the Doctor into two beings: a Serious Doctor and a Silly Doctor. It may be pure coincidence that the Serious Doctor happens to be female and the Silly Doctor happens to be Male: or it may be that the Universe is making a sly feminist joke.
The Fourth Doctor was always a multi-faceted character: that was what made him so fascinating. He could pivot from the serious to the silly in a moment; he would treat the gravest subjects lightly and the most frivolous ones with gravity. But after the Universe’s intervention, we are left with a female Doctor who has no sense of levity; and a male Doctor who is incapable of being serious. Neither of them could carry a TV show or save the planet alone; together, they add up to a hero.
When did the split occur? Perhaps, as soon as the Guardian decided to gather the segments of the Key, the Meta-Doctor became an inevitability. The origins of Romana are somewhat occluded: she arrived in the TARDIS claiming to have been sent on a mission by the Time Lord President; but later learns that the person who instructed her was the White Guardian.
How if the Guardian had borrowed one or more of the Doctor’s lives and formed a woman out of them? This kind of thing is possible: in future stories we are going to see it giving rise to beings like “the Watcher” and “the Valeyard”. Before Romana, the Doctor was always represented as a brilliant scientist and a pioneer, after her arival, he was revealed to have been an academic failure. And this makes perfect sense. His Feminine self contained the Doctor's learning and expertise; while the Male persona retained his experience and intuition.
But by the time of her anomalous regeneration in Destiny of the Daleks Romana is clearly fully aware of her role: she presents herself in an exact replica of the Doctor’s clothes; and then in a “feminine” version of them. But it is only now, in The Horns of Nimon, that her function becomes explicit.
She even has her own sonic screwdriver.
It’s the Doctor who dismantles the TARDIS on a whim, and Romana who tries to persuade him not to. It’s Romana who verbally chastises Soldeed before his death. “The Nimon told you what you wanted to hear, promised you what you wanted to have. They are parasitic nomads who’ve been feeding off your selfishness and gullibility.” She delivers the lines dead-pan: it is no longer possible to imagine the Doctor doing so.
Look at the Episode Two cliffhanger, and its resolution. Romana is doing a perfectly workpersonlike job shepherding the young people (who have been sent from Aneth as a sacrifice) through the labyrinth, and doing her best to keep their spirits up. They discover the Nimon’s larder, which looks something like the frozen humans on the wirrn-infested Ark and something like the tombs of the Cybermen on Telos. “ I'd guess that the Nimon feeds by ingesting the binding energy of organic compounds such as flesh” she techno-babbles. The nasty Co-Pilot appears and summonses the Nimon; he grovels about, zaps it with an ineffectual ray-gun, and is shot himself with its luminous horns.
This may not be the greatest piece of TV ever, and you might think they could have reshot the scene when the co-pilot’s pants very obviously split, but we are clearly watching a bog-standard episode of Doctor Who. You are a liar and a coward. You will die. Mercy Lord Nimon. The episode ends with the Nimon advancing on the captives, and Romana thrusting her arms out, as if that would help.
And then, at the beginning of Episode Three, the Doctor arrives.
He is holding a large red cloth, or a very small cape. His opening gambit is “Is this a private party or can anyone join in?” He treats the monster as if it were a naughty child or a yappy puppy-dog “Tell me are you really terribly fierce”? He holds the red rag as if he were a bull fighter; the Nimon lowers its horns as if to charge, but instead zaps the rag. One of the cryogenically frozen extras falls to the floor. It isn’t entirely clear what happens next: I think Romana shoots the controls with the Co-Pilot’s zap gun to create some smoke to cover the sacrifices' escape. The Doctor puts the red cape over the face of the boy who fell out of the larder.
It's not, truthfully, all that funny. And it begs all sorts of questions. Does the Doctor seriously imagine that the Nimon is likely to react to a red rag in the same way as the earth creatures that they happen to resemble? Or is he intending to mock it by pretending that he thinks it is an actual bull? (But why does he suppose that the Nimon will get the joke?) Or did a race-memory of the Nimon's literal attraction to red things give rise to the human blood sport of bull fighting?
Actual bulls are, as everyone knows, colour blind.
These are of course, silly questions. We can all see what has happened. When the Doctor arrives, the episode changes from melodrama to farce.
And that might have been an interesting direction for some future iteration of Doctor Who to have travelled in. The Sensible Doctor is the problem-solving scientist; the Silly Doctor is the trickster who enters into the narrative and changes the rules. She may think she is in a story about the Minoan Bull, but he will treat it as a skit on Spanish toreadors.
But the Silly Doctor does understand that he is in a Doctor Who story. He knows the rules of the game and keeps complaining about them. He points out that whenever he uses the phrase “what could possibly go wrong”, something does go wrong. He observes that whenever he arrives on a planet “there are always people pointing guns or phasers or blasters at him”. He responds to the phaser-wielding guards with the biggest cliche of all: “Take me to your leader.”
And we know the rules too. We are not surprised that, when the Doctor tries to fix the TARDIS console, it blows up in his face. We are not even surprised that he responds calmly "Well, thats odd". ("Don't you think that's odd, K9?" About two thirds of his humour now depends on irritating repetition.) But we were perhaps not quite expecting the explosion to be accompanied by Monty Python level comedy sound effects: an explosion, a siren, an electronic whizz, a boing, a twang.
“But Andrew: the TARDIS is an alien craft, and for all we know removing the gravitic anonomyser would produce a sound like a schoolboy vibrating a wooden ruler on his desk.”
Yes: indeed. But the fact remains: the universe is now such that when the TARDIS is in proximity to the Doctor it produces funny noises.
And then there is K9.
At the beginning of Episode One, when K9 appears damaged, the Doctor literally tries to give him mouth-to-mouth resuscitation. ("But Andrew, how do you know that K9 is not the kind of computer that can be rebooted by air from a Time Lord's lungs?") When the robot is about to say something inappropriate, the Doctor covers its mouth. And when it appears that the TARDIS is going to be crushed by a black hole, the Doctor literally puts his arms around the machine for comfort. Indeed, he produces, from nowhere, a red rosette marked First Prize and attaches it to K9's ear, adding that he is “the best dog I ever had”.
K9 is, so far as we know, the only dog he has ever had. And in any case, he is not actually a dog.
There has been more than one science-fiction reworking of the Pinocchio story: the robot that wants to be, or believes itself to be, human. But K9 does not seem to perceive himself as a dog. It isn't quite clear if he has any self-awareness at all. Nearly all his humour comes from an inability to understand human language and idioms. (When the Doctor uses an unfunny mixed metaphor, up a gumtree without a paddle, K9 takes him literally.) But the Doctor treats him as a living creature, referring to him as "my dog" and calling him "good dog" and "good boy". (If he is sentient, this is actually rather degrading.) One almost feels that the Doctor is treating K9 as a toy: an inanimate object that it pleases him to pretend is a domesticated animal.
Do Time Lords even keep pets? Is there a Gallifreyan equivalent to the Terran dog? Or is this another example of the Doctor hyper-correcting: pretending to have a dog like the mortals on his favourite planet, but not quite grokking how it works?
The Doctor saves the TARDIS by putting it into a spin so it skims off the surface of the high gravity asteroid. And then he muses out loud “Sometimes I think I'm wasted just rushing around the universe saving planets from destruction. With a talent like mine, I might have been a great slow bowler.”
He is joking, obviously: although later stories will flirt more seriously with the idea that the Doctor might eventually retire. But to whom is the joke directed? K9 doesn’t understand humour. Is the Doctor breaking the fourth wall? Talking nonsense for the benefit of "all of you at home"? “Rushing around the universe saving planets from destruction” is very much how a casual viewer might perceive the character of the Doctor. It's not quite how the in-universe Doctor would see himself.
My sense is that at the moment he says the words, he means them. He genuinely does think he would rather have been a cricketer than a time-traveller. He speaks whatever thought happens to have flitted across his mind. Perhaps when he was split into two beings, one of the things he lost was his "filter".
The Doctor doesn’t only say goodbye to K9: he also says goodbye to the TARDIS. Sailors, of course, do refer to their ships as "she": but the Doctor literally speaks of his time-machine as if it were a human friend."Well, it's been a great, great partnership, old girl”. And at the end of the story, he says that the "old girl" still has a lot of life left in her. Romana takes him to be talking about her, although he is actually talking about his ship. At first she scowls, and then smiles at the Doctor's little joke. It seems to convey a genuine partnership; a rapport. The two sides of the Doctor are complimentary, not antagonistic. (Lalla Ward is very good at acting.)
Perhaps, in fact when he says "you've got a few millennia left in you" he is talking about the Doctors Who, both of her, and the series which bears their name.
Despite hitting rock-bottom, it is going to survive. For a few seasons more. The Universe can't bear to be without Doctor Who and this is the nearest thing to Doctor Who she has been able to salvage. If you agreed with this essay, then please consider supporting Andrew's patreon. If you did not agree with this essay, then please consider supporting Andrew's patreon.
Wednesday, June 17, 2026
The Horns of Nimon
History has been wilfully unfair to The Horns of Nimon.
Dig up your John-Marc L’Officier programme guide, or just google the Radio Times Archive.
The Horns of Nimon, Episode One: 22nd December 1979
The Horns of Nimon, Episode Two: 29th December 1979
The Horns of Nimon, Episode Three: 5th January 1980
The Horns of Nimon, Episode Four: 12th January 1980
A few days before Christmas Eve; a few days before Hogmanay; Twelfth Night; the first week of Spring Term.
Panto season.
Did you really expect to see a story about minotaurs in space treated with high seriousness during the Christmas Holidays? And do you suppose that the extreme silliness of the story was an unfortunate mistake?
Look at any one of Soldeed’s scenes, if you can bear it. Look at his big entrance in Episode One. The Nimon have promised a new fleet of ships for the failing Skonnon empire; and one of his minions asks “are we on the brink of having the promise fulfilled."
“I believe we are” says Soldeed. “I dooo believe we ARE!” And then he raises his arm, stares manically into camera and says “The second Skonnon empire WILL be borrrrn!”
Or look at his excruciating death-scene in Episode Four. His dialogue is somewhere between a chant and a howl; the sort of fake weeping that Stan Laurel used to indulge in. “My drer-heams of CON.......Quest” he yodels, sticking his fingers in his cheeks. Zapped by his own rod-of-power, he collapses against a wall, whimpering “You are all doomed!” before expiring in a fit of maniacal giggles.
This cannot be failed seriousness: this must be deliberate spoof. The actor must be taking direction: “This is a daft skit about monsters in fright masks. You aren’t just playing a Doctor Who bad guy: you are playing every Doctor Who bad guy. There is going to be a scene where you, the good guys, and the monsters are hiding behind consoles in the baddies control centre and if you do it right, kids up and down the country will be shouting ‘he’s behind you’ into their TVs. Just have fun. Be as broad as you like. It’s panto season. Basically pretend we cast you as the Sheriff of Nottingham in Babes in the Wood.”
Or take a look at the actual script. Soldeed says things like “You meddling fool” and “After him, you fools, you dolts.” The Starship Pilot calls his co-pilot “You blundering fool” and “You blundering idiot”. The Co-Pilot calls the cargo of slaves “weakling scum” no less than five times. Soldeed’s counterpart on the the planet Crionth gets barely five minutes of screen time, during which he gets to say “It’s too late for me” “I’m done for” and “I’ll hold them off for as long as I possibly can.”
This must be deliberate.
Or take a look at the costumes. The Skonnos soldiers' helmets are moulded in strange, non-euclidian shapes with guffaw-inducing plumes. One wishes that Tom Baker could have snipped them off with a pair of over-sized scissors, like Harpo did to the Freedonian soldiers in Duck Soup.
The story is a half-hearted checklist of Doctor Who tropes. Alien invaders. Endless corridors (that all look the same). Priests who know very well that their god isn’t really a god, with silly robes and a Skeletor style sceptre of power. Six aliens representing an invasion force. A corpus of ineffectual rebels with floppy blond hair.
I think that Williams, Adams and even Baker realised that, after Nightmare of Eden, the game was up. Doctor Who was done for: The Horns of Nimon was the Last Chance Saloon. Why not go out in a blaze of dreadfulness? Since whatever we do, you will accuse us of cardboard sets and overacting bad-guys, we will damn well build the set out of cardboard and tell the bad-guy to overact.
I admit that this defence has been overused. If a movie is derivative, someone will always claim it as a loving homage; if a movie is dreadful, some apologist will say it is an affectionate parody. Even Plan Nine From Outer Space has its advocates.
But after all, it was December. No-one complains that the village hall production of Jack and the Beanstalk failed to treat the Brothers Grimm with due reverence. No-one treats the Star Wars Holiday Special as a peculiarly inept attempt to make the Empire Strikes Back.
The Horns of Nimon is a perfectly dreadful Doctor Who story and an all but unwatchable piece of television.
But you can’t blame it for that. It was clearly supposed to be.
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Tuesday, June 16, 2026
The Horns of Nimon
Doctor Who is littered with hypotheticals. What if Geoffrey Bayldon had succeeded Willian Hartnell? What if Mr Pastry had succeeded Patrick Troughton? What if Verity Lambert’s pitch for the 1996 TV special had succeeded? What if Christopher Eccleston had participated in the fiftieth anniversary?
Paths we didn’t take: doors we never opened.
And “Doctor Who does Greek Mythology” was a perfectly decent premise for a story. A perfectly decent premise that had been done twice before; but the show has never particularly cared about repeating itself. We all know that there are three Atlantises and two Loch Ness monsters.
The best thing would have been to focus firmly on the myth of Theseus. To have the randomiser whisk the Doctor back to the Bronze Age where he could have discovered that the legendary man-bull was a mutant or a genetically engineered bovine. Or an alien or a robot. Or a malicious rumour. Or perhaps the story would have begun further back; with the Doctor persuaded to design a prison to house the terrible creature, and then, to construct a primitive flying machine for the young prince…
It is more likely that the story would have revisited Underworld and proposed a Whoniverse driven by eternal recurrence, events in the distant future sending echoes back to the remote past. And that would have been fine too. We would have accepted, indeed, welcomed, a world of ray-guns and space-ships lightly dusted with Greek architecture and Greek costumes. There must have been a fair few togas lying around gathering dust since Up Pompeii! finished.
One hopes, at any rate, it would have given us a break from the Doctor-Who-by-numbers format that the series was spiralling into. A mythology themed story could have avoided the chases through endless corridors (which all look exactly the same). And there would have been no need for the kind of BBC model spacecrafts that had become an even bigger embarrassment since Star Wars hit the big screen. And perhaps they could even have found actors prepared to deliver science fictional lines with a reasonably straight face?
Perhaps the script would have given Romana a chance to shine; perhaps it would have allowed K9 to be K9. The previous stories had reduced the tin dog to a piece of hardware: a get-out-of-jail-free card and an exposition upload device. If K9 was going to justify his continued existence, it would have to have been as a character: as part of a double act with the Doctor. (It is not clear who would have been the straight man and who would have been the comic turn.) Tom Baker never had quite the rapport with David Brierly that he did with John Leeson, but we would still have enjoyed seeing them in extended two-hand sequences.
Wishful thinking: all wishful thinking. Plenty of promising Doctor Who stories have foundered in the production. Graham Crowden, who would have played Soldeed, the major bad guy, had very nearly been cast as the Fourth Doctor. (He was literally offered the part in 1976 but couldn’t commit to it for the required three years: the role went instead to an out of work actor someone discovered on a building site.) Perhaps Crowden would have demonstrated that he could have been as Shakespearean and brooding and charismatic as Tom Baker ever was. But I fear there would have been an overwhelming temptation to simply out Baker Baker in the overacting department.
It seems so silly to us now. But tea-breaks and even toilet-breaks had been hard-won by the Trades Unions. They rightly believed that to concede a tiny point was to risk undoing the major strides that had been achieved in the first half of the twentieth century. A management / workers agreement stated that only the Standing Union of Domestic Staff could serve refreshments to performers. In a break during the first day of filming, Tom Baker absent-mindedly reached for a teapot. Lalla Ward gently put her hand on his wrist.
But it was too late.
The ensuing row between Equity and SUDS closed down the Doctor Who studio for the rest of the season. The Horns of Nimon was destined to sit forever alongside Song of the Space Whale and the Masters of Luxor as one of the great un-made stories in the Whovian canon.
We will never know how good it might have been. If you enjoy my writing about Doctor Who, please consider joining my Patreon.
Monday, June 15, 2026
The Horns of Nimon
Certainly, the John Nathan-Turner era ended up in the mire. But when the story broke onto our screens, with minimal fanfare, towards the end of 1980, it felt like a phoenix had emerged from the ashes. There was a new title sequence, and a rejigged theme tune. The Doctor had a new, stylish costume. Tom Baker’s excesses were reined in: he was again the brooding Shakespearean figure I had fallen in love with in Miss Beale’s class.
And the actual pictures on the TV looked different. Deeper; darker; more professional, more somehow present. People often called them “glossy”. Possibly they were using more cine film and less video tape. Possibly they had got better at cleaning up footage in post production. Perhaps they were doing clever things with the lighting. John Nathan-Turner had been a Production Unit manager throughout Season 17, and probably had a head for matters technical. The budget had not significantly increased, but he may have been more canny than his predecessors about how he spent what little money he had.
It would not be quite fair to describe Season 17 as the “don’t care” era. Graham Williams and Douglas Adams clearly cared, a great deal, about setting up funny jokes and surprising scenes and generally keeping seven million people entertained on a Saturday night. But John Nathan-Turner, I think, was more conscious of carrying two decades of TV history on his shoulders. With becoming producer of Doctor Who there must also come great responsibility. From Season 18 onwards, Doctor Who seemed to know that it was Doctor Who.
Whether this was a good thing or a bad thing in the long term is a matter of opinion: but back then, fandom breathed a collective sigh of relief.
Yes, the change from “clothes” to “costume” or even “uniform” was a mistake, and the question mark motifs were a vulgar meta-joke.
Yes, the over-staffing of the TARDIS with not-very experienced actors harmed the series in the long run.
Yes, Matthew Waterhouse.
Yes, in retrospect, Ian Levine.
A decade — a third of the show’s original run! — was certainly too long for one man to stay in charge.
The DWAS President, who had not been entirely wrong about Deadly Assassin, was not entirely wrong about Season 18: the gloss was arguably superficial.
But in September 1980, none of this mattered.
What mattered was that Doctor Who was no longer something we had to feel embarrassed about watching.
“My god!” we all thought “It looks just like a real TV show.”
The only thing which mattered in 1980 was that the Leisure Hive was not The Horns of Nimon. If you enjoy my writing about Doctor Who please consider supporting my Patreon.
Sunday, June 07, 2026
Horns of Nimon
The last part of my retrospective on the 17th and worst season of classic Who is currently available to my Patreons and will be appearing here shortly.
https://www.patreon.com/posts/horns-of-nimon-160327054






