Doctor Who: The Master through the Decades – The Classic Series Compression Eliminated

The Master 1970s 1980s 1990s

For the past two years, Jokerside has tracked the Doctor’s arch-nemesis through time… Well, through the past five decades. From his suave arrival in the 1970s to her tussles with the Twelfth Doctor, Jokerside presents the summary… The Master throughout the Classic Series!

IT’S THE DOCTOR’S 53RD BIRTHDAY, BUT IT’S STILL A GOOD FEW YEARS OFF THE GOLDEN ANNIVERSARY WHEN WE FIRST SAW HIM CATCH UP WITH AN OLD SCHOOL FRIEND. ARRIVING IN 1971, EIGHT YEARS AFTER THE DOCTOR, THE MASTER QUICKLY ESTABLISHED HIMSELF AT THE HIGH TABLE OF WHO VILLAINS. With some Doctors, particularly his fifth and third incarnations, the Master was a pervasive, era-defining foe. During his fourth incarnation, the first of the villain’s rare appearances proved to be a classic against the adversary. While almost the entirety of his eighth incarnation would have the Master in opposition. He’s the foe who has caused the death of at least two, possibly three, of the Doctor’s 13 lives so far. And that puts him far ahead of the other great contenders for the throne of evil.

Series 9 of the New Series kicked off with a spat between Davros and the Master, the latter now in her Mistress form, one-sided as it was. The creator of the Daleks emerged three years after the Master, but which one could be said to be the Doctor’s nemesis? Each character is a scientific genius, has put up with huge physical discomfort and revealed layers of intricate hate over the years, but there’s an important difference. Davros is the background to the Doctor’s great opposition, the one we’ve followed from its very beginning. But the Master, purely malevolent, emerged fully formed with so much of his back-story with the Doctor and the universe in general, hidden in time.

Where from Whovember?

For the anniversary Whovember retrospectives, Jokerside took each of the Classic Series Doctors, and followed a specific journey through each incarnation. Having completed the Eleventh Doctor retrospective, where else could Jokerside go but the Moriarty to the Time Lord hero’s Holmes? Taking a similar tack with the Doctor’s nemesis, what started as the spring-based MarchSter series grew to span six decades. From suave opportunist to desperate survivalist in one era, from android to Time Lady in another. When it comes to the classic years, it all began in a circus…

  1. Doctor Who: The Master in the 1970s – Arrival of the “Unimaginative Plodder”

Terror of the Autons, Season 8 (1971)

The Original Master - Doctor Who Marchester takeoverWe should have known when it started so surreally… At the beginning of Doctor Who’s Eighth Season an eccentric Time Lord, popping up in a Monty Python-going-on-Douglas Adams way, warns the Doctor that his old school colleague had arrived on Earth with the marvellous parting shot, “oh, good luck!” We’d already seen the Master arrive by that point, setting an immediate dapper impression in the crucially off-kilter setting of a circus. As Jokerside observed, “In just a few lines, in his first scene (appearing before the Doctor), Robert Holmes and Roger Delgado define a cool, impeccable, menacing and powerful nemesis.”

Indeed, Robert Holmes made yet another crucial contribution to the fabric of the series by shaping a brilliant Moriarty to the Doctor’s academic, occasionally Venusian Aikido-flaunting, Holmes:

“The Doctor has never worn facial hair, except when in disguise or imprisoned for years in a dwarf star alloy cube, apart from the odd sweeping sideburn that the 1970s couldn’t control. The Master… Had a beard, a goatee that may as well have had a “twiddle this ‘tache menacingly” label hanging from it. The Master had a fine taste in suits, the Doctor had a frilly shirt, multiple coloured velvet jackets and a cape! The Master was a force for evil, with hypnotic control cowardice. The Doctor was noble, occasionally grumpy but compassionate. The Master had a working chameleon circuit in a TARDIS with an occasionally black interior, occasionally reversed. They both dished out the same faint praise to each other, but then again they are both Time Lords.”

But Holmes’ doesn’t just deal in symmetry in shaping a character that would remain as antagonist in every story that season:

“The Master arrives with supreme superiority, no bad feat when facing off against the Third Doctor. It’s in Terror of the Autons that the sparring starts, but where the pretty compelling evidence that the Master is an all-round more skilled scientist than the Doctor is set. Why else would the Doctor feel the need to ridicule him so much?” Read more…

Doctor Who: The Master in the 1990s – “I’m glad one of us is amused”

TV Movie The Master Eric Roberts

 

One MaRCHster long-read to unite them all…

As the Doctor Who: The Movie reaches 20 years old, this is it – a special bonus MArchSTER looking at 1996’s peculiar and divisive incarnation of the Master. An irresistible glance, as oddly, the cycle of the Doctor’s Time Lord rival almost came full circle…

“Humans, always seeing patterns in things that aren’t there”

OVER A DECADE AFTER DOCTOR WHO’S SUCCESSFUL RETURN TO BRITISH TELEVISION, THE WEIGHT OF HINDSIGHT HANGING OVER THE DOCTOR’S SHORT FORAY ACROSS THE ATLANTIC COULDN’T BE GREATER. Perhaps it’s no surprise that a film that struggled to accommodate the wealth of the show’s history, while refusing to fully reboot from the roots of its original run, ended up dipping into the past so much. And through the trials and tribulations that marked its emergence, despite its resolutely fin de siècle setting, how fitting that the American TV Movie paid tribute to the Master in the decade of his first appearance…

The Television Movie (1996)

A history of villainy

“You want me to kill you?”

The path Doctor Who took to America was long and tortuous. Even when it reached production, the sheer number of stakeholders on both sides of the Atlantic made tough going. There’s no doubt that between the stand-offish/love the property found at the BBC of the time and evangelistic/waning interest among American production companies, casting demands, excessive script notes and strengthening Canadian dollars that impacted its Vancouver production, what reached the screen wasn’t quite what anyone expected.

Philip Segal was the producer who saw the opportunity and pushed to bring the property, left fallow by the BBC. Having fond memories of watching the show while growing up in the UK, before he emigrated to the US and ultimately joined Steven Spielberg’s Amblin, His single-minded passion lies behind its very existence.

When pre-production finally swung into gear after years of protracted placing of jigsaw pieces, creating the Bible for the potential American series fell to writer John Leekley. A writer who grew an obsession with Pertwee era-Who during development, but was set to become one of the franchise’s lost figures. His outline was canon-defying, pitching previous Doctor Who mentor, ally and enemy Cardinal Borusa as the Doctor’s grandfather, aiding his grandson on a quest to find the Doctor’s his missing father Ulysses. The plot of what would become the series’ back-door pilot, drafted in 1994, fell to the Doctor’s escape from Gallifrey, a trip to London and a meeting with Churchill during World War II. Segal blamed this on his Third Doctor and UNIT obsession and a “bad case of Dad’s Army”. Leekley’s ensuing Indiana Jones-styled script pushed Steven Spielberg out of the frame, coincided with the arrival of Trevor Walton, Fox’s head of TV movies, and ultimately forced the writer’s removal. Robert de Laurentiis entered, steering the script away from Borusa, introduced a comic companion but retaining Leekley’s concept of the Master as the scripts main antagonist.

When the script fell to writer Matthew Jacobs in 1995, a wonderfully unruffled interviewee on the subject, whose father incidentally had a guest appearance in the 1966 serial The Gunfighters, he was aided by the BBC’s Jo Wright in an executive producing (and key holding) role during the sharp run-up to production. As Jacobs has said, ““My script was basically Doctor Who am I?” World War II was out, Gallifrey too, and continuity returned with the inclusion of Sylvester McCoy’s Seventh Doctor. With minimal dialogue, he was set to regenerate into Paul McGann who had seen off a number of rivals including his brother Mark to land the main role. With the canon reinstated, the Master was confirmed, continuing the antagonism that led back to his first appearance in 1971’s Terror of the Autons.

But in a production that aside from its great BBC investment, enjoyed a British director, star, two executive producers and writer, at least, the villain was what Segal called a “line in the sand”. Fox and Universal insisted on a named American actor from a prescribed list, which Segal circumspectly added was a triumph of “commercialisation over creative rationale”. And so the Master took an unexpected new form… Read more…

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