Doctor Who (Classic): “Carnival Of Monsters”

“Carnival Of Monsters” (Season 10, episodes 5-8. Originally broadcast Jan. 27-Feb. 17, 1973.)
“The Doctor and his companion are chased by monsters” is about as basic a description of your typical Doctor Who storyline as you can get. Much like your typical episode of any particular cop show boils down to “a murder is investigated and solved.” Whatever else might happen, however more complex or multi-layered the story winds up being, you can be guaranteed that when you turn on your television, you’re going to see the Doctor and his companion chased by monsters. Which makes the premise of “Carnival Of Monsters” nicely subversive: Here’s a story in which the Third Doctor and his companion Jo are chased by monsters through the inside of a television, and cheekily suggests that only “evil and horrible” people would watch such a thing for entertainment. Heh.
Doctor Who had played around in a major way once before with this metatextual idea, of the Doctor having a televised adventure about being a character who has televised adventures, in the Second Doctor’s “The Mind Robber,” but “Carnival Of Monsters” plays it more lightly and satirically—it’s not the overt focus of the story, but percolates underneath the plot as, for the most part, a subtle and cynical joke targeting both Doctor Who’s audience and its own creators. If nothing else tips you off, that fact alone should make the knowledgeable viewer guess who wrote this one: Robert Holmes, whose best work gave Doctor Who a finely honed edge of dark but tongue-in-cheek humor.
Thanks in part to this, the well-crafted and consistently entertaining “Carnival Of Monsters” is one of the high points of Third Doctor-era Doctor Who. If it’s clearly done on a shoestring budget even by 1970s Doctor Who standards, it manages to do a lot with very little—the dragonlike Drashigs are pretty effective giant carnivorous monsters despite that they’re clearly hand puppets. As I’ve said before, the key for a modern audience to enjoy these older Doctor Whos (not to mention any other British sci-fi of the era like Blake’s 7 or the Quatermass stories), is to think of them sort of as stage plays that happen to have been put on TV. You’re not gonna get the visual effects of Star Wars, so bring your imagination and let it fill in the details.
Another of Holmes’ favorite motifs is at play here too: “Carnival Of Monsters” is largely a story about chaos versus order, of rogues fighting a system of stifling bureaucracy. In this case, the rogues are a pair of itinerant alien carnival workers, the mustachioed Vorg and his assistant and/or girlfriend Shirna, who have come to bedazzle the grey-faced inhabitants of a planet called Inter Minor with their Miniscope, a sort of traveling zoo that allows viewers to watch miniaturized beasts roam around in their native habitat. Though the animals are real, the experience of watching them makes the Miniscope essentially behave like a TV set—you watch Drashigs in their swamp, then you flip a channel and watch Vorg’s tame Cybermen.
Meanwhile, the Doctor and Jo land on the SS Bernice, a ship sailing across the Indian Ocean in 1926, or so they think. This is, incidentally, the Doctor’s first real trip as a free agent since the sixth season—the Earthbound exile he’d been sentenced to during “The War Games” was only lifted at the beginning of the tenth season, in “The Three Doctors.” So this is really the first time we see the Third Doctor getting involved in an adventure the way that all his other incarnations typically do—by showing up, not really knowing where he’s landed, and getting into trouble. In this case, the Doctor is doubly wrong about where the TARDIS has taken him: He wanted to go to Metebelis Three, the legendarily beautiful blue planet. (He’ll get there eventually, later that season in “The Green Death,” but it’s not exactly the paradise he thinks.) But of course it’s not really 1926 Earth either—something fishy is going on, the first clue being the sudden appearance of a plesiosaurus off the starboard bow, and the second clue being that the Bernice’s crew and passengers immediately forget seeing the beast.
Exactly what’s going on has a lot to do with the Doctor’s suspicions that the Bernice is not actually in the Indian Ocean anymore. Unbeknownst to him, it’s actually inside Vorg’s Miniscope, a fact likely to be rather more obvious to the audience than to the Doctor and Jo, since we’ve had the benefit of seeing the Miniscope from the outside. It’s too bad that Holmes’ original idea of setting the first episode exclusively on the Bernice didn’t pan out, because it would have made the cliffhanger of episode one, as a giant hand reaches down from seemingly nowhere and plucks up the TARDIS like a fallen toy, something truly mind-bending. Still, even though the reveal is spoiled a little, it’s one of the series’ more memorably surreal episode-enders.
The poor passengers and crew of the SS Bernice, whatever they might have been like on Earth, are forced by the Miniscope into a hell of pure order, being forced to repeat the same day over and over without any awareness of that fact. Ironically, of course, the Scope’s owner is the story’s most pure representative of chaos, small-time grifter Vorg. In the end, Vorg gets to be the story’s hero by repairing and commandeering the Inter Minoran’s energizer gun to put a stop to Kalik’s plan to cause a Drashig massacre. But he’s hardly a paladin: Vorg himself bears some of the responsibility for the Drashigs getting free in the first place, and there’s never any indication that he truly realizes how monstrous it was to have kidnapped the victims of his Scope in the first place. And his first instinct after unexpectedly becoming the hero of the hour is to take advantage of the situation for his own profit by running the old shell game on Plectrac to scam a few bucks off of him. Still, I think the incorrigible Vorg is probably exactly what the Inter Minorans need right now—something, anything, that will shake up the system.
So where does the Doctor stand in this divide between chaos and order? That’s a little harder to say. Generally speaking, of course, the Doctor is a genial force of chaos—a vagabond of no fixed abode (he does have an abode, but the abode isn’t fixed). He shows up where he’s not supposed to and gets involved where he has no business doing so. And he is, for the most part, more friendly to Vorg than to the Inter Minorans. But this particular Doctor, Jon Pertwee’s Third Doctor, is also more likely than any of the others to cling to the aristocratic authority of his status as a Time Lord. Here, he proudly tells Jo that he led a personal crusade to make Miniscopes banned by Time Lord law—a rare case of the rebellious Doctor solving a problem by working within the system, and really only in character for the Pertwee incarnation. Note also that when Vorg tries to talk to the Doctor in palare, the slang used by carnies to keep outsiders from understanding them, he gets only bafflement in reply: This version of the Doctor literally doesn’t speak the languages of rogues. (Jo has a little less trouble with this, handily lying to give them a cover story on the Bernice, and habitually carrying around a set of skeleton keys in case they get locked up somewhere.)