First broadcast in October 1987, Paradise Towers marks the 145th adventure in Doctor Who and the second outing for Sylvester McCoy’s Seventh Doctor. Written by Stephen Wyatt and directed by Nicholas Mallett, this four-part serial presents an intriguing dystopian setting that combines elements of Orwellian oppression, societal decay, and black comedy. While ambitious in its themes and conceptual world-building, its execution is uneven, often veering into pantomime rather than the biting social satire it aims to be.
The story begins with the Doctor and Mel arriving at Paradise Towers, a once-luxurious high-rise complex now in a state of dilapidation and anarchy. The building's inhabitants include warring gangs of teenage girls known as the Kangs, cowardly caretakers enforcing outdated laws, reclusive elderly residents known as the Rezzies, and a sinister presence lurking in the basement. The complex is ruled by the oppressive Chief Caretaker (played by Richard Briers), who enforces draconian rules while secretly serving an even greater evil—the malevolent, machine-bound entity known as Kroagnon, the original architect of the Towers, who seeks to purge the building of its residents.
Sylvester McCoy’s performance in Paradise Towers offers further hints at the direction his Doctor will take. He maintains the eccentric energy seen in Time and the Rani, but there are glimpses of the manipulative and strategic Doctor he will later become. His interactions with the Kangs demonstrate his ability to navigate different social dynamics, while his encounters with the Chief Caretaker reveal his growing distaste for oppressive systems. While McCoy’s performance is not yet fully refined, he is clearly finding his footing in the role, with moments of quiet intelligence shining through the lighter, comedic elements.
Bonnie Langford’s Mel continues to be an enthusiastic presence, though the script once again limits her agency. She spends much of the story captured, threatened, or running from danger, which does little to develop her character. However, her interactions with the Rezzies—who at first seem to be harmless elderly ladies but are later revealed to be cannibals—provide some of the serial’s most unsettling moments.
Richard Briers’ portrayal of the Chief Caretaker is one of Paradise Towers’ most divisive elements. His early performance, playing the role as a petty bureaucrat clinging to outdated rules, is effective, but when he becomes possessed by Kroagnon in the latter half of the serial, his exaggerated mannerisms and over-the-top delivery push the character into unintentional comedy. While Doctor Who has always embraced a degree of theatricality, this performance borders on parody, reducing the impact of what should have been a terrifying antagonist.
Visually, Paradise Towers is both effective and flawed. The set design successfully conveys the sense of a once-utopian complex now falling into disrepair, with graffiti-covered walls, flickering neon lights, and crumbling architecture adding to the atmosphere. However, the limited budget is apparent in certain effects, and the costume design—particularly for the Kangs—feels more stage-play than dystopian realism. The concept of color-coded factions is interesting, but their execution, combined with somewhat stilted dialogue, makes them feel less like believable survivors of societal collapse and more like exaggerated caricatures.
Thematically, Paradise Towers is one of the most ambitious stories of the McCoy era. It explores authoritarianism, social decay, generational conflict, and the illusion of utopia. The idea of an architect obsessed with control, willing to wipe out the population to maintain the purity of his creation, is a compelling concept that resonates with dystopian literature. However, the script often struggles to balance these weighty themes with the humor and eccentricity that define the Seventh Doctor’s early era. Moments that should be genuinely unsettling—such as the Rezzies’ cannibalistic tendencies or the Chief Caretaker’s descent into madness—are often undercut by their exaggerated execution.
Rewatching Paradise Towers in 2025, it remains an intriguing but flawed attempt at dark satire. The story has moments of brilliance, particularly in its world-building and thematic underpinnings, but its inconsistent tone prevents it from reaching its full potential. The central mystery of the Towers, the internal faction conflicts, and the Doctor’s growing awareness of his influence all point toward the stronger stories that will define McCoy’s later tenure. However, the blend of horror and humor does not always gel, leaving the serial feeling disjointed.
The resolution, in which the Doctor unites the warring factions against Kroagnon, is satisfying in theory but feels rushed in execution. The Chief Caretaker’s transformation into a mindless villain and the final confrontation lack the dramatic weight needed to fully land the serial’s themes. Nonetheless, Paradise Towers remains a fascinating experiment—one that falls short of greatness but contains enough ambition and creativity to be worth revisiting.
As the Seventh Doctor’s era continues, Doctor Who will begin to embrace a darker, more mysterious tone. Paradise Towers serves as a stepping stone toward that evolution, offering glimpses of what is to come while remaining firmly rooted in the experimental storytelling of late-1980s Doctor Who.
No comments:
Post a Comment