What’s It About
The Doctor and Romana go on vacation to The Leisure Hive, a recreation facility on the dying planet Argolis. The Argolans, after being nearly wiped out during a twenty-minute war with the Foamasi, have dedicated themselves to a study of tachyonics and recreation. The Hive, however, is on the verge of bankruptcy and the only monetary backers willing to purchase the planet are the Foamasi. The situation grows worse when a tourist is killed during one of the tachyonic demonstrations. The Doctor and Romana must figure out what went wrong during the experiment while Mena, leader of the Argolins, must determine the path for her people.
Don’t cross your bridges before their hatched
The Graham Williams’s era was a struggle; it was an attempt to keep life in a show that looked to be dying. And while there were some jewels in Williams’s run, the era ended on a rather depressing note: a shoddy production followed by a strike. JNT didn’t need to do much to breathe new life into the show. And when “The Leisure Hive” begins, it is clear that Doctor Who’s aesthetics have changed. The camera work is different. The music is different. The Doctor’s costume is different. The humor has, by and large, been toned down. I recommend reading Philip Sandifer’s analysis of “The Leisure Hive” because he discusses how, with JNT, understanding of Doctor Who became paratextual—Doctor Who was influenced by the critical analysis of fans. The show became the focus. Doctor Who was less about adventures in time and space, it was about Doctor Who itself. This is a trait which never left the show.
One of my new-Who friends wants to watch more of the classic show. (Hooray!) She enjoys talking about Doctor Who with one of her co-workers, but since he is a fan of both eras, she occasionally feels lost in his references. She wants to borrow DVDs to help her understand some of what he talks about. But herein is a problem: watching “The Horns of Nimon” and then “The Leisure Hive” doesn’t tell the viewer a thing about what happened to the show. It doesn’t tell the viewer why these stories contrast with one another, nor does it tell the viewer this contrast was a big deal. And so, the commentary of Doctor Who, by which I mean the paratext, becomes important to the understanding of the show. There are layers upon layers upon layers of fan understanding of Doctor Who, which can seem virtually impenetrable to the fan of new-Who. In many ways, it is like debating theology. There isn’t any one right way to interpret Doctor Who. The text (the show) is important, but it isn’t conclusive. Our hero’s name is either the Doctor, or he is Doctor Who. You can use the text to support either view. The UNIT stories took place in the 1970s or the 1980s. Again, the text supports both. And the debate goes on and on through many issues: how many regenerations do Time Lords have; who came up with the name TARDIS, and what does it actually stand for; was Hartnell the First Doctor or just the first Doctor that we have seen; how old is the Doctor; and so on. So, as in theology, the commentary on the text is as influential (often more influential) than the text itself.
Looking at “The Leisure Hive” as a text, it really isn’t anything too different from what we’ve seen before. David Fisher is always a good writer for taking real-world events and translating them to a science fiction setting. In this story, we have nuclear holocaust combined with shady Mafia dealings. It isn’t a space epic on the scale of Star Wars or even on the scale of Underworld, but it attempts to tell an interesting story while taking a few shots at how our political climate is shaping up. Fisher has done this before, but without Douglas Adams to script edit, many of the jokes were removed.
But while the last year of Graham Williams’s involvement on the show was marked by struggle and growth, this first story of JNT’s era took a huge step forward. There is only one problem left, and it is a big one: Tom Baker. This story sees the Doctor ripped apart in the tachyon chamber and later aged a few hundred years. He spends quite a few scenes just sitting off to the side, not taking part in the action. In the final episode, tachyon clones are made of the Doctor, but they quickly vanish. The Doctor is not saving others, he is becoming the victim. He saves the day, not by being Tom Baker, but by being the Doctor. In many ways, the character is being put back into his place. It isn’t about Tom Baker, it is about the Doctor. And who better to rein this in than JNT—who is focused on Doctor Who as paratext, Doctor Who as a show—and executive producer Barry Letts—who directed Patrick Troughton, produced much of Jon Pertwee’s stories, and cast Tom Baker. Both men looked at Doctor Who’s success over the years, not just at what was currently working.