First broadcast in November 1987, Delta and the Bannermen marks the 146th adventure in Doctor Who and the third outing for Sylvester McCoy’s Seventh Doctor. Written by Malcolm Kohll and directed by Chris Clough, this three-part serial is an unusual blend of science fiction, 1950s nostalgia, and whimsical adventure. While its lighter tone and quirky setting set it apart from other stories in the era, its execution is uneven, resulting in a serial that is both charming and flawed in equal measure.
The story begins with the Doctor and Mel winning a trip to 1959 Earth as part of an intergalactic holiday package. However, their vacation takes a dangerous turn when they cross paths with Delta, the last surviving Chimeron, who is being hunted by the brutal Bannermen led by the ruthless Gavrok. As Delta seeks refuge in a remote Welsh holiday camp, the Doctor and Mel must protect her from her pursuers while navigating the eccentric cast of characters who populate the camp.
Sylvester McCoy continues to refine his portrayal of the Doctor, blending a playful curiosity with moments of deeper contemplation. His interactions with the various characters—particularly Delta and the camp's mechanic, Billy—demonstrate his growing sense of responsibility and compassion. However, the Doctor’s usual strategic brilliance is somewhat underutilized here, as much of the plot revolves around situational chaos rather than intricate problem-solving.
Bonnie Langford’s Mel is more at home in this lighthearted setting, and her upbeat personality meshes well with the nostalgic 1950s backdrop. However, she still lacks a strong narrative arc of her own, often serving as a secondary participant in the Doctor’s efforts rather than actively driving the plot forward.
The supporting cast is a mixed bag. Belinda Mayne’s Delta is intriguing as the last of her kind, and her relationship with Billy, a human who chooses to undergo transformation to be with her, adds an interesting romantic subplot. However, their chemistry is not particularly compelling, and the speed at which Billy makes his decision feels rushed. Don Henderson’s Gavrok, the Bannermen leader, is a menacing presence, but his character is ultimately one-dimensional, reduced to sneering villainy without much depth.
Visually, Delta and the Bannermen benefits from its unique location filming at a real holiday camp, giving it an authenticity that sets it apart from more traditional studio-bound stories. The bright colors, vintage vehicles, and rock-and-roll soundtrack add to the charm of the setting. However, the Bannermen’s design and special effects are less successful, with their costumes and weaponry lacking the threat level needed to make them truly formidable antagonists.
Thematically, the serial explores themes of refuge, transformation, and cultural collision. The contrast between the whimsical 1950s setting and the sci-fi conflict of the Chimerons and Bannermen is ambitious, but the blending of these elements does not always feel seamless. The story often leans too far into farce, undercutting the dramatic stakes that should come with Delta’s desperate plight.
Rewatching Delta and the Bannermen in 2025, it remains an enjoyable but uneven experience. Its lighthearted tone and nostalgic setting make it a unique entry in the Doctor Who canon, but its lack of narrative weight and underdeveloped villains prevent it from being truly great. While it is a fun diversion, it does not fully capitalize on its intriguing premise.
The resolution, in which the Bannermen are easily defeated and Delta safely escapes, feels somewhat anticlimactic, lacking the tension necessary to make the victory feel earned. However, the serial’s charm, energy, and offbeat nature ensure that it remains a memorable, if flawed, part of the Seventh Doctor’s tenure.
As the McCoy era progresses, Doctor Who will begin to embrace a darker, more sophisticated storytelling style. Delta and the Bannermen serves as a reminder of the show’s willingness to experiment with tone and genre, even if the results are not always consistent.
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