What’s It About
Pilots from the Skonnan Empire experience technical difficulties as they transport captives from Aneth. These captives are to be sacrificed to the Nimon, a creature who promises scientific knowledge which will restore the Skonnan Empire to its former glory. Unfortunately, Romana is condemned to join the Aneth captives as tribute to the Nimon.
Come on, old girl. There’s quite a few millennia left in you yet.
In many ways, a television is a TARDIS—it is a small box, but it has the potential to transport the viewer to new worlds; it can help the viewer to experience new ideas and perspectives. Doctor Who, therefore, is a metaphor for television. Not only has the show existed long enough to trace the development of television production, it plays in numerous genres: science fiction, action/adventures, mystery, horror, romance, and historical drama. Sometimes the show is aware of its meta-fictional potential: The Savages gives us a race that has watched The Doctor’s adventures and been inspired by them, Vengeance on Varos and Bad Wolf comment on reality shows. And so, this line from the final exchange between the Doctor and Romana becomes a meta-commentary when one follows the metaphor: Come on, old girl. There’s quite a few millennia left in you yet. Don’t lose hope; this show still has a lot of life in it.
And what a line to close out The Horns of Nimon, one of the lesser-regarded stories in the Doctor Who canon. The production quality is not good. The acting is extremely hammy, Tom Baker and Graham Crowden seeming to see who can go further over the top. The Horns of Nimon is the Graham Williams era’s second attempt at retelling a Greek myth, and it is the better attempt, in my opinion, because this story is hilarious. That was probably not Anthony Read’s intention, but if you watch Nimon as you would one of those horrible Syfy channel movies, it provides good entertainment.
But I also think that Nimon hint at some interesting ideas—unfortunately, it only hints. At the end of the story, The Doctor implies that the events of this story, which are based on the story of Theseus and the Minotaur, had happened before, specifically, that history has repeated itself. Given that this is the second Greek myth to be reinterpreted by the Williams era, a theme of the cyclical nature of history is developing. This episode marks the final statement on that, however, as this is the final episode of Graham Williams tenure. A strike halted the filming of Shada, the intended finale to the era, leaving Nimon as the premature finale. In a way, this is a fitting ending to Williams’ era—circumstances beyond his control trumped his plans and what aired is thrown together as competently as possible. But with the exception of Lalla Ward, none of the leads seem to be taking the story seriously. The era fades away, maligned and ridiculed; the saving grace is a few moments of humor.
I like The Horns of Nimon. Unlike Underworld, this story is watchable. It is entertaining, even if it isn’t entertaining for the reasons Anthony Read intended. But the story also makes me sad. It epitomizes the Williams era—the best of intentions, but ultimate failure because those who cared about the show were not supported.