Carnival of Monsters captures Doctor Who’s playful inventiveness like few others do. First broadcast in January and February 1973, this 66th story marks the beginning of the newly mobile Third Doctor, freed from his Earthly exile. Written by Robert Holmes, it is a clever, layered tale that blends social satire, science fiction concepts, and gripping suspense, delivering a story as thought-provoking as it is entertaining.
The narrative begins with the Doctor and Jo Grant landing on what appears to be a mundane cargo ship in the 1920s Indian Ocean. However, it quickly becomes apparent that all is not as it seems. The ship’s crew is caught in a time loop, and the Doctor soon discovers that they are inside a Miniscope, a device that miniaturizes living creatures for the entertainment of others. The real-world setting is an illusion, and the Doctor and Jo must navigate a labyrinthine environment, encountering alien creatures and avoiding deadly traps as they work to escape.
Jon Pertwee’s Third Doctor is at his charismatic best here, exuding both charm and authority as he unravels the mystery of the Miniscope. Pertwee balances humour with intensity, particularly in scenes where the Doctor confronts the unethical nature of the Miniscope’s use. His disdain for the exploitation of living beings resonates strongly, and his interactions with both Jo and the various characters they meet showcase his sharp intellect and unyielding moral compass. Pertwee’s ability to switch seamlessly between levity and gravitas is a testament to his command of the role.
Katy Manning’s Jo Grant is an equal highlight, bringing warmth, courage, and a touch of mischief to the story. Her chemistry with Pertwee is as strong as ever, and her ability to navigate the dangers of the Miniscope with ingenuity and resolve underscores her growth as a companion. Manning’s portrayal adds an emotional depth to the story, particularly in moments where Jo empathizes with those trapped alongside her, emphasizing her humanity and compassion.
The supporting cast, led by Leslie Dwyer as the hapless showman Vorg and Cheryl Hall as his assistant Shirna, provides a mix of comic relief and commentary on exploitation and entertainment. Their bickering dynamic adds a layer of levity to the story, while their eventual redemption provides a satisfying arc. The bureaucratic Grells, who oversee the Miniscope, offer a satirical take on authoritarianism and red tape, reflecting Holmes’ penchant for skewering institutional absurdities.
The production design is a standout feature, with the Miniscope itself serving as a visually striking and conceptually rich environment. The various compartments, from the claustrophobic cargo ship to the terrifying realm of the Drashigs, are distinct and memorable. The Drashigs, towering and ravenous creatures that pursue the Doctor and Jo through the Miniscope, are a masterstroke of design, their menacing presence adding tension and excitement to the narrative.
What makes Carnival of Monsters particularly compelling is its meta-textual commentary. The story’s critique of voyeurism and exploitation—both within the fictional world of the Miniscope and in broader societal contexts—remains strikingly relevant. Holmes’ script challenges the audience to consider the ethics of entertainment and the responsibility that comes with power, delivering a narrative that is as thought-provoking as it is enjoyable.
Rewatching Carnival of Monsters in 2025, I found myself appreciating its layers of meaning even more deeply. The story’s exploration of exploitation, agency, and resistance feels timeless, while its lighthearted moments and imaginative settings ensure it remains accessible and entertaining. The interplay between Pertwee’s Doctor and Manning’s Jo provides a strong emotional core, anchoring the narrative amidst its high-concept flourishes.
The pacing of the story is another strength, with each episode introducing new twists and complications that keep the viewer engaged. From the Doctor and Jo’s initial discovery of the Miniscope’s true nature to their daring escape and ultimate confrontation with the Grells, the narrative maintains a sense of momentum and intrigue. The resolution, which sees the Doctor dismantling the Miniscope and freeing its inhabitants, is both satisfying and thematically resonant.
Carnival of Monsters exemplifies the best of Doctor Who, blending humour, adventure, and social commentary into a cohesive and memorable whole. Its imaginative premise, strong performances, and thought-provoking themes ensure it remains a standout entry in the series’ history. As I reflect on this rewatch, I am reminded of the show’s enduring ability to surprise, challenge, and delight its audience.
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