Two months into this marathon rewatch of Doctor Who, I’m struck by how the series constantly reinvents itself. With each new adventure, I’ve been rediscovering the show’s ability to surprise, challenge, and entertain. This journey is an exploration of over six decades of television history, from the early black-and-white days to the vibrant colour era. Terror of the Autons, first broadcast in January 1971, is a prime example of Doctor Who’s knack for reinvention, and it introduces elements that would leave a lasting mark on the series.
The story, a four-part serial, is the first of Season 8 and sees the return of the Autons, those unsettling plastic figures from Spearhead from Space. This time, they’re joined by the Nestene Consciousness in a new attempt to take over Earth, using plastic objects as deadly weapons. From killer daffodils to a chair that suffocates its victim, Terror of the Autons takes ordinary household items and transforms them into instruments of terror. It’s a brilliant conceit, playing on the audience’s fears of the mundane turned malevolent.
Jon Pertwee’s Doctor is in fine form, his charisma and energy driving the narrative forward. Pertwee’s performance here exudes authority and a sense of urgency, but also a playful wit that lightens the darker moments. He’s fully settled into the role by now, and his interactions with both allies and adversaries are a joy to watch. The Doctor’s disdain for bureaucracy and his clash with the authoritarian figures he encounters add layers of tension and humour to the story.
This serial is also notable for introducing two major characters: Katy Manning’s Jo Grant and Roger Delgado’s Master. Jo, a young and eager assistant assigned to the Doctor by UNIT, initially comes across as inexperienced and slightly overwhelmed. However, her enthusiasm and bravery quickly endear her to both the Doctor and the audience. Katy Manning brings a charm and warmth to the role that balances nicely with Pertwee’s more serious, commanding presence. Watching their dynamic develop is one of the story’s highlights.
Roger Delgado’s Master, on the other hand, makes a stunning debut as the Doctor’s new nemesis. Delgado’s suave, menacing portrayal sets the template for all future incarnations of the character. His Master is a genius, a manipulator, and a showman, delighting in his schemes even as they threaten destruction. The cat-and-mouse game between the Doctor and the Master is electric, their intellectual rivalry and philosophical differences adding depth to the story. Delgado’s chemistry with Pertwee is immediate and undeniable, and it’s clear from the outset that the Master’s presence will be a defining feature of this era.
The story itself is briskly paced, packed with action, and filled with memorable set pieces. The Autons remain a chilling threat, their blank faces and mechanical movements creating an eerie atmosphere. The use of plastic as a weapon—from a menacing doll to deadly telephone cords—is both inventive and unsettling. These moments are heightened by the production’s clever use of practical effects and direction that leans into the surreal horror of the premise.
One of the story’s strengths is its balance between humour and horror. There’s a lightness to some of the interactions, particularly between the Doctor and Jo, but the story never loses its edge. The scenes of the Autons wreaking havoc are genuinely creepy, and the escalating danger keeps the tension high. The Doctor’s determination to stop the Master and the Nestene Consciousness provides a strong emotional throughline, grounding the more fantastical elements in a sense of urgency and purpose.
From a 2025 perspective, Terror of the Autons feels both timeless and of its time. Its commentary on consumer culture and the dangers of mass production resonates in an age of environmental concerns and technological anxieties. The story’s ability to turn everyday objects into sources of fear speaks to the show’s enduring talent for tapping into universal themes and making them uniquely Doctor Who.
The introduction of Jo and the Master also marks a shift in the series’ dynamic. Jo’s youthful enthusiasm and the Master’s malevolent charm add new dimensions to the storytelling, creating opportunities for both character development and narrative complexity. Delgado’s performance is particularly noteworthy, his Master exuding a charisma that makes him as compelling as he is dangerous. His schemes are grandiose, but his motivations are deeply personal, driven by his obsession with the Doctor and his desire for power.
Watching Terror of the Autons again, I was struck by how assured and confident it feels. The Pertwee era has fully found its footing, embracing its Earth-based setting, action-oriented style, and emphasis on character-driven drama. The serial is a showcase for the strengths of this era, from its inventive plotting to its memorable performances.
In the context of this 365-day marathon, Terror of the Autons stands out as a pivotal moment in the series’ history. It introduces elements that will shape the Doctor’s adventures for years to come while delivering a tightly crafted, thoroughly entertaining story. As I reflect on two months of Doctor Who, this adventure feels like a perfect encapsulation of the show’s ability to evolve while staying true to its core identity. It’s a reminder of why this marathon is such a rewarding journey.
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