Who Write It?
What’s It About?
In their continuing search for the Key to Time, the Doctor and Romana arrive on Earth and investigate a Bronze Age stone circle that holds the fascination of a local archaeologist and a neo-Druidic cult that worships an ancient Celtic goddess.
Erase memory banks concerning tennis.
With The Stones of Blood we have a return to the gothic horror that has been a defining feature of the Tom Baker era. Graham Williams has touched upon this genre a couple times before with Horror of Fang Rock and Image of The Fendahl. Horror isn’t a defining feature of Williams’s era, but it is interesting to see how he approaches it when it does come up. In fact, I would say that the gothic horror of Graham Williams is more in line with the supernatural horror genre defined by writers like Poe, Lovecraft, Stoker, Crowley, and so on than Hinchcliffe and Holmes. Sure, H&H did the gothic horror, but they geared more toward gothic-horror-adventure. The horror of the Graham Williams era deals more with tension, fear, suspense, and cosmic dread. The Stones of Blood is occult gothic horror with a twist, namely that it successfully switches genres halfway through. Parts one and two are excellent suspense pieces, while parts three and four are fascinating, and hilarious, sci-fi pieces.
The Doctor and Romana arrive at Boscombe Moor in Cornwall. They trace the third segment of the Key to Time to a stone circle called the Nine Travelers. They meet Professor Amelia Rumford, an archaeologist, and her assistant Vivien Fay. In conversation with the two women, The Doctor and Romana learn about a local cult that imitates Druidic rituals. Naturally the Doctor must investigate. Of course, it seems the Doctor’s coming had been foretold by the Cailleach, the Druidic goddess of war and magic. Plans are made to sacrifice the Doctor at the Nine Travelers. And as the story progresses, we learn that blood awakens the stones, which are really stone creatures called Ogri, Vivien Fay is an alien criminal, and just out-of-phase in hyperspace is a prison ship that has been shipwrecked for a few thousand years. The way in which David Fisher handles these elements is magnificent. He plays fairly with the gothic horror tropes and completely subverts them as we move to the prison ship. This story keeps the viewer guessing and that is a wonderful thing. The ominous tone soon gives way to humor as the Doctor is put on trial by the Megara, justice machines which operate a judge, jury, and executioner, for a rather trivial offense.
The Key to Time season has been a wonderful journey so far. We have had three very different stories, each blending a variety of genres (Ribos—historical fiction/sci-fi/caper; Pirate Planet—sci-fi/pirate adventure; Stones of Blood—supernatural, occult horror/sci-fi legal drama/comedy). This season has been a genre blender which has deftly handled everything it has set out to do. The overarching plot is somewhat inconsequential (the Doctor doesn’t really need a reason to travel), but neither does it get in the way of the storytelling. The only complaint I have about this particular installment is the resolution, which is much too quick. The resolution isn’t allowed to breathe, which is too bad. But the journey was excellent and the script is excellent, so I can live with a rushed ending.