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After having seen off a deadly assassin on his home planet of Gallifrey (a non-deadly assassin isn't technically an assassin, merely incompetent) and wandering by himself, The Doctor (Tom Baker) finds himself on a jungle planet, where he meets not only two warring tribes of descendants of an Earth technical and scientific survey team, but also a future companion and an evil god-like version of himself...

Tom Baker is a rock - or that's what we THINK Lalla Ward calls him...
The Face of Evil is a curious beast, introducing a new companion in the middle of a season after having The Doctor spend an entire story without someone to share the TARDIS with. The story opens with The Doctor stepping out of the TARDIS and talking to himself, but doing this directly to camera - Baker was never above breaking the fourth wall now and again, but this was done in such a way that felt right and didn't seem showy.

The character of Leela has always been an oddity for us - we were too young to watch Doctor Who when she was in the show (we're in our late thirties, by the way) and when we finally started watching, Louise Jameson had long since departed, so the only we were able to find things out about the Leela was by reading issues of Doctor Who Monthly, which functioned along the same lines as telesnaps of the missing Doctor Who stories - they provided some visuals and the basic story, but only gave a flavour of what we had missed out on. When we finally started to watch stories with Leela, we were quite taken aback at how softly-spoken the character quite often was, not to mention that as well as being a tough, warrior-like woman, she was also quite often vulnerable and had a childlike sense of wonder. These contradictions are the reason why we have become so taken with the character, as they represent a fuller, more complex character than had been attempted before. Elisabeth Sladen's Sarah Jane Smith was always going to be a tough act to follow and though Tom Baker may not have liked the character (or even the actress) initially, audiences took to Leela straight away.

The old stories about suddenly getting an audience of dads, who happened to stick around after the football results to watch Louise Jameson running around in a skimpy outfit are certainly true; this was probably not a conscious effort to get viewers, but it sure as hell worked - not bad considering that Leela was just supposed to be in this story, with the possibility of being kept on for Robots of Death before being replaced by a street-urchin character. At the end of the story, you can certainly tell that they were hedging their bets as to whether or not they were going to keep Louise Jameson on - it really could have gone either way.

Story parallels between The Face of Evil and the first two Planet of the Apes films can be drawn; The Doctor is Charlton Heston (and to a lesser extent, James Franciscus), finding himself in the middle of a hostile environment where he is considered a threat and he realises that the inhabitants of the planet are essentially human descendents from Earth and he comes across pieces of equipment that have become relics and worshiped (think the Doomsday Bomb in Beneath the Planet of the Apes); The Doctor eventually meets a race that has developed mind control (the mutant humans in Beneath...) and he ultimately realises that he is the causes of the present situation (The ending of Planet... "They blew it up! Damn you all to hell" Etc."). Maybe we're reading too much into it, but that was how we perceived it. Whilst we’re talking about influences, the Star Trek episode, The Omega Glory, has two Earth-descended groups with names that are corruptions of descriptive group terms; The Omega Glory had the Kohms and the Yangs (Communists and Yankees), whereas The Face of Evil has the Sevateem and Tesh (Survey Team and Technicians).

The Doctor's long-held views on not using weaponry and not enjoying the concept of killing in a gratuitous manner are brought up again, with The Doctor impressing to his potential new companion to never again employ her rather nasty Janus thorns (which paralyse and eventually kill any poor sod that happens to get jabbed by one of them). Even though the aforementioned Janus thorns were out of the window, Leela was still more than capable of using her very sharp knife whenever a situation needed a pointed solution. The Doctor may not like using weapons, he still gets his own back on someone whapping Leela across the chops by kicking a Horda - one of the very nasty carnivorous beasties seen in episode two - onto the misogynistic individual, who instantly starts freaking out and disappears off into the jungle.

Leslie Schofield puts in a good performance as Calib, the devious, manipulative member of the Sevateem; Schofield also appeared as Chief Bast in Star Wars (which was probably shooting around the same time as this story) and you have to wonder if at some point during their war with the Tesh, he whispers quietly into the ear of the leader of the Sevateem "we've analysed their attack and there IS a danger." Well, Star Wars fans will get that reference, anyway...

The production design is pretty good, with a nice, lush jungle set (filmed at Ealing studios) that is more than a little reminiscent of season thirteen's similarly-titled story, Planet of Evil, and much like that particular story, much of the jungle material was shot on film and lends a certain cinematic quality to the proceedings and the quick cutting that the medium allowed further gives a very movie-like feel. The battered look of the remains of the original survey team has a sense of realism, along with the tribal clothing of the group, all helping to sell the story. Even the use of Colour Separation Overlay isn't too bad in this story, with reasonably-well-done-but-not-too-convincing chroma-key being utilised to convey the large rock-face that has the image of The Doctor sculpted upon it. When the actions switches to the Tesh environments in episode three, the sets are pretty much standard Doctor Who designs of the period, with corridors and control rooms that have a familiar feel to them; gleaming white corridors with plenty of reflective surfaces contrast nicely with the battered and primitive environments of the Sevateem.

The theme of having The Doctor's actions being the cause of the problems facing the inhabitants of the jungle planet is a fascinating one; with The Doctor travelling around the universe doing various things here and there, it should be expected that he would make the odd balls-up now and again, and it would be his responsibility to put it right. One of us wrote a short Doctor Who story for the Short Trips competition from a couple o' years back that also dealt with this concept - the one who wrote it had forgotten that The Face of Evil had been there first, but it was a different Doctor and different causes and effects. Anyhoo, he didn't win - the operative word is "bugger".

Though the cliffhanger at the end of episode two is a fairly weak one (or at least an ineffectively executed one), this is more than made up for by the wonderfully unexpected climax of episode three, which sees The Doctor being interrogated by the schizophrenic computer he accidentally drove mad some time previously, and after the expectedly bombastic interrogation, accompanied by some appropriately bombastic music by the always wonderful Dudley Simpson, there is a little moment where the computer delivers one line in such an understated way that it just hits you like you wouldn't believe. It also functions as a very truthful look at mental illness - for all of the anger, rage and fury that the more intense cases of mental health issues can show, there is ultimately something inside that is frightened and wants to know what it happening.

The Face of Evil is very much a story of two halves, with The Doctor spending the first two stories in the jungle with the Sevateem, before venturing into the domain of the Tesh at the start of the third episode. The unexpected change of environment that happens mid-way works out nicely, turning the story on it's head and leaving the viewer unsure of how things are going to progress; it certainly buoys the spirits of viewers who were expecting the whole story to be another Doctor Who fumble-in-the-jungle. The two cultures seriously begin to clash during the final episode, when the Sevateem and the Tesh battle for supremacy, whilst The Doctor goes head-to-head with the most powerful computer ever built - so powerful, in fact, that it could have been a Prime computer...

"Evacuate? In our moment of triumph? I think you overestimate the Tesh's chances..."


All four episodes of The Face of Evil exist in PAL and as a result, the image quality of the videotaped studio sequences look rather fabulous, offering crisp, clean visuals that are pretty vibrant in colour. The original film elements dematerialised many years ago, but we're pleased to say that what is presented here looks pretty damn good; so much so that we had to contact one of the guys at the Doctor Who Restoration Team to confirm this - thanks, Mr R!


The mono soundtrack all sounds pretty good to use; the dialogue is perfectly discernable and there is a surprising amount of punch to the more percussion-driven aspects of Dudley Simpson's incidental music.


Audio Commentary: Toby Hadoke is the guy in the black and white top as into the ring steps Louise Jameson, Leslie Schofield, David Garfield, John McGlashan (Film Cameraman) and Harry H Fielder.  Writer Chris Boucher was supposed to be there, but couldn’t make it. In his place, Hadoke reads out extracts from an email from Boucher about his experiences during Face of Evil. Speaking of tardy parties, Phillip Hinchcliffe turns up for the final couple of episodes, which is rather odd, as he will usually stay for the whole thing when he is involved. He’s joined by Mike Elles, whom we assume must have car-pooling with the producer that day.

Things start as they mean to go on, with Jameson noting that she makes a mistake when speaking the name of a certain God, but says it the correct way latter on: “I just realised I said Xo-non rather than Xoanon… maybe we hadn’t formalised the exact pronunciation by that stage…” Garfield notes that there was no agreed way of saying it, not before Hadoke points out how Jameson pronounces the name Calib’s name differently between videotaped scenes and those shot on film. This slip-up is later attributed to a lack of rehearsal time.

It’s a pity that Doctor Who veteran Fielder only sticks around for the first episode, as he’s a real wise-arse, and ever-ready with wide-boy humour to shake things up, including how he was always given rough treatment when wanting to go into bat during cricket matches, all due to his name. When told he’s not back for the second episode, he flatly describes his character as: “brown-bread”. There really needs to be more of the refreshingly earthy touch among thespians.

Garfield makes interesting mention of the way the show’s reputation among actors grew over the years, culminating the newfound success with the Hinchcliffe/Baker era: "I think by the time this episode - or even by [The] War Games, the earlier one I was in, by that time, actors wanted to be in Doctor Who. Now before then, you were offered a Doctor Who and you though ‘maybe, maybe not,’ but it built so much, that… one was delighted to be asked… it was going to be fun… it was going to be seriously done”. Try getting that kind of credibility from The Underwater Menace.

Who hasn’t watched Face of Evil and wondered just how the Sevateem manages to propagate itself with only one woman in its midst? Not to mention if Leela gets passed around like a porn-mag in a boarding school. Well, ponder no longer, as Hinchcliffe spills the beans no these mysteries: “It doesn’t mean she’s the only one in the tribe; she’s the only one we see, and that’s probably down to budget.” Jameson intellectualises it, attributing the lack of chicks around because women weren’t allowed in the courtroom. Leave it to Hadoke to finish the matter with: “They’re all washing up, Louise”.

There is much praise for Pennant Roberts, particularly from Jameson, whom developed as lasting friendship. Schofield is just as appreciative of the late director. “I worked with him… a lot on all the series going on at that time, and he was predominant at the BBC, and he was patient [with the actors].”  This sentiment is promptly backed up by Garfield, quick to point out just how good he was at his job.

The frostiness between Baker and Jameson seems to have been kept out of plain sight, as Elles confesses to being unaware of any ill-feeling on the set. “Everybody - as far as I remember - quite apart from what’s going on onscreen, got on.” Funnily, there is no clarification from Jameson about this blanketing statement, though.

This is eminently entertaining stuff, with a bunch of people whom clearly continue to enjoy each other‘s company. We have to give the prize for the funniest line to Mr Hadoke himself, whom opens the final part of the story thusly: “…The Face of Evil, a story which involves Tom Baker’s ego resulting in a God-complex - so what could have possibly been the story behind that?”  Brilliant!

Into the Wild - The Making of The Face of Evil: We have to say from the outset that this is a supremely stylish production, set around newly-shot footage of Baker’s rock-hewn face, and it has to be said that quite a lot of it centres on the addition of Louise Jameson to the cast, and the neutron-bomb-like effect it would have on the show, particularly the skimpy costumes.  

Not only were the Dads sitting at home hit by a funny tingling sensation in their trousers, producer Phillip Hinchcliffe confirms that it had the same effect to those closer to the action: “I think the production crew and the cameramen…thought their day had perked up when they saw Louise walk on the set for the first time.  And suddenly it was a better gig to be working on Doctor Who than it was before!”  A crew obsessed with the female form? Never!!

Jameson gives a different explanation for the addition of the flap on the aforementioned costume as said in the later Doctor Who Stories, this time saying that she wasn’t because she wasn’t proud of her “huge arse”. Whilst brutally self-honest, you can almost hear her carefully walking on eggshells as she recounts the disastrous attempt by the original makeup woman to get Leela’s “look“ right, with her final assessment being that it was almost as though “someone had thrown a mud-pack” at her. The infamous photos of this screw-up are duly shown, and are pretty damned shocking.

How could we POSSIBLY resist using this image for a screengrab?
Production Designer Austin Ruddy is on hand with amusing little titbits about his first time working on Doctor Who, and how being in Science-Fiction gave him the privilege of having a free hand on the sets, provided it was “fireproof”. His hiring certainly seemed to have impressed Hinchcliffe, whom was impressed at both the jungle set and the way he solved the “age old problem” of corridors through having an angular, reflective design to thrown off audiences. As a matter of fact, Hinchcliffe opines that The Face of Evil contains some of the best sets during his time as producer.

Visual effects designer Mat Irvine gets our vote for most amusing participant, armed with a load of funny stories, down-to-earth opinions and just being a stand-up guy. Noting that the face of Xoanon was based on Mount Rushmore, Irvine is almost gleeful at the prospect of taking that notion to its logical conclusion, and including the faces of the three previous Doctors alongside the visage of Baker. His encapsulation of the explosion of publicity surrounding Jameson’s role is show is pretty damned astute: “…When you’ve got a new companion who’s female, is alien, and… wears very skimpy costumes, of course, it’s ready-made for the media”.

It’s no big secret that Baker and Jameson had a bit of a rough start, mainly due to his not wanting to have another companion, and the uneasy relationship is certainly examined, with both the day herself and Hinchcliffe weighing in on the matter. It seems that Baker didn’t realise how he was acting around Jameson, and it seems he really was against the violence which such a primitive character. In recent years, she and the temperamental actor have had “the talk” and are now on pretty good terms.

One of the most delightful things to be found in this here documentary is that of just who the voice of Xoanon was. One comes the youthful Anthony Frieze to explain that Pennant Roberts’ wife was a teacher at his school, and happened to need the unbroken tones of a boy, and guess who fit the bill? You name a kid that wouldn’t want to work with Tom Baker in a recording studio - or better yet, have to be brought onto the set and re-record the lines due to a problem!

Pennant Roberts is represented by some previously-recorded interview footage, where he has a number of interesting things to say, and come the end of the documentary, Hinchcliffe and Jameson have nothing but praise for him both personally and professionally, with the producer recounting the attendance of his eulogy and Jameson revealing just how close she and his family had become.

The inclusion of some damned cool footage of Jameson and Baker on Nationwide hammers home that this is yet another in the ever-diverting productions gracing a 2|Entertain release, with the perfect balance of information, humour and genuine poignancy. You certainly won’t regret giving it a spin.

Doctor Who Stories: Louise Jameson: The Dad’s favourite sits down long enough to talk everything Doctor Who, from the first memories of the show where her family all sat around the TV eating dinner whilst the shoe was on, to the rest which is inevitably history.

We all know that the costume was crucial to snaring the initial interest of the “dads” in the audience, and it’s heartening to know that Jameson harbours no form of feminist grudge regarding this, instead praising the “beautiful” design of it, in spite it having to take the whole thing off to be able to have a slash. Duly, a panel/flap was added at the back to allow her to water the flowers without resorting to nudity. Damn.

She has much praise for Bob Holmes, whom she considers to have been the finest writer on the show, characterised by the witty dialogue and exploration of characters. She makes no attempt to hide that her favourite stories were ones written by Holmes, and just happen to be those which give Leela a bit more to do that just to be the lead-in to expository dialogue from The Doctor. She also mentions the plans she and Tom Baker had to capitalise on the success of Talons of Weng Chiang by touring with a production of My Fair Lady, but, by George, she didn’t get it.

Naturally, her professional relationship with Baker is brought up, and she has no problem is describing him as being “volatile to work with”. She relates how he would come up “barking” loads of ideas during rehearsal, and that most of them had to be filtered out before filming, such was their indulgence, but one which wasn’t was the: “Get off my scarf, please…” and Jameson recounts how it came about.

There are some pretty amusing tales about John Leeson, and working with the K9 prop, and we get her amusing anecdote about just how long it took her to realise that the name of the dog was actually a pun. She is rather blunt about the a few of the monsters on the show, when the only reason she hesitates calling some of them “crap” is because she isn’t sure that she is allowed to use that particular word on the DVD. It speaks volumes that one of her favourites is “the invisible one” in Face of Evil.

With so much to enjoy, it’s quarter of an hour which zips along so fast your head will spin. What happened to the Janis Thorns? It’s there. Leela’s natty knife? You’ll find out. There is a little overlap of material, including about throwing the aforementioned knife towards a nervous cameraman, but it’s all presented with such zeal that’s it easy to forgive.

This is one the most polished of featurettes to grace a 2|Entertain release, and you can see the quality from the outset when the titles look like animation run up by Tim Burton. Jameson closes out the proceedings by confessing that her association with the show has been “…a complete and utter lifeline to the business in those slightly duller months, when I haven’t had the work pouring in.” Her gratitude and respect for the fans really is heartening, and a perfect way to end an thoroughly entertaining look at every Dad’s favourite bird in a loincloth.

Tomorrow’s Times - The Fourth Doctor: There is always a combination of hope, warmth and mild disappointment when watching a new instalment of Tomorrow’s Times and the voice of authoritative voice of Nick Courtney leads you into the show, but it’s still great to hear that great man with the stick-on moustache won’t be forgotten so quickly.

It's the teeth that truly terrify!
Taking us through the Baker years is Wendy Padbury, who takes a firm grasp of the old What the Papers Say format and plays it perfectly, providing perfect links between yobbish opinions from the proletariat-aimed tabloids and snobbish distain from the more “highbrow” papers. With that in mind, the obvious place to start is with the first of Baker’s stories, and sure enough The New Statesman sticks the boot into Robot, with the usual criticisms of acting and scripting. Another good example of how the more things change, the more they stay the same.

The oft-debated point about Doctor Who’s unsuitability for children is awoken again, this time by the irritating Jean Rook (“First Lady of Fleet Street”) whom said that it made Hammer movies look tame in comparison. Her whinging is addressed by none other than Bob Holmes, whom issued a deeply cool response to Ms Rook, and it should put a smile on the faces of those so annoyed by the constant cry that the show is just for young kids. The biggest arseholes always try to get the last word, so leave it to Rook to launch a personal attack on Holmes for giving an intelligent answer: she slates his physical appearance, his dress-sense, his reading habits and other aspects of this very smart man. Still, we did some checking, and the bitch has been dead for over twenty years, so that’s OK.

Speaking of horrible, over-opinionated women whom throw their oar into to self-serve their own interest, leave it to Baker to give an hilarious sound-bite regarding his old nemesis, Mary Whitehouse.  The rise in violence in the show had been a red rag to the old biddy and her cronies, and whilst switching on the Blackpool Illuminations, he told a local journalist: “…The violence is always very fictional, so as not to influence children. I invited Mrs Whitehouse out to lunch to explain all this, but she never came. Anyway, I was a compulsive bed-wetter until I was eleven, and that wasn’t caused by Doctor Who!”

It’s rather cool to see some time devoted to the Doctor Who Appreciation Society, covering one of their annual bean-feasts, as well as coverage of the shock news about the death of William Hartnell at the end of Baker’s first series, with a nice quote from Terry Nation on the matter. The “secret” releationship with Lalla Ward also receives a bit of coverage, too. Proceedings end with the introduction of John Nathan-Turner, whom set out to generate better relations with the press, and the succinct statement that although there was much written about the increasing violence and more adult tone during the seventies, hardly anything had been printed regarding the dramatic rise in viewing figures on Baker’s watch.

Another fascinating winner, Tomorrow’s Times: The Fourth Doctor is everything you have come to expect from the team, particularly former Darkside writer Marcus Hearn. Do we mean him? We surely do!

Denys Fisher Toys Advert: Yes! Yes! Yes!! It’s the one all fans remember, and some of them actually had both the Doctor and the TARDIS, but it’s funny how so few actually bothered picking up the Leela figure. You can pit The Doctor and Barb… oops, Leela against a Dalek, a Cyberman or even the K1 Robot, or make them disappear in the TARDIS, as long as you press the right button on the top. From personal experience, the advert should have said how comparatively easily the light at the top could break, but it might have harmed sales if they had done. It’s a truck-load of fun, and one you’ll end up playing for just anybody you know, such is the kitsch-value.

Information Subtitles: Step right up for another unimpeachable look at the entire production phase of a classic Doctor Who story, with the total information compiled researched so thoroughly it hold more information than most physically involved with the show at the time. If you think the whole thing is going to be about Louise Jameson, then we advise you to think again - there is no way a Doctor Who information track would ever take the easy road like that!

Differences between the drafts, changes in script, gestures and even lighting design. This really has the lot, from every single line to each large block of dialogue, minor trims to entire deleted scenes, you will find every single chance made during the production.  Abandoned concepts, inspirations, you name it, it’s in here. We were very keen to have read that originally The Doctor offered some of the chocolate he had on him as “field rations” to Calib!

Kudos is certainly due for the spotting of (and confirming our suspicions of) the thematic similarities between Face of Evil and the Star Trek episode The Omega Glory, with two opposing tribes pitted against each other bearing titles derived from mangled English. We heap on further praise for pointing out the “borrowing” of plot themes from Harry Harrison’s novel Captive Universe, only with more direct lifting here than the aforementioned “inspiration”. Oh, and a gold star for informing us all that Chris Boucher got the name for Xoanon from a short story by Bob Shaw!

We all know and chuckle at the “deadly jelly-baby” gag used by Baker when the Doctor is threatened the Sevateem, but the only reason why this made it into the show at all was because Phillip Hinchcliffe was unable to attend the filming on that particular day, and Baker used the opportunity to slip in more humour than he could have usually gotten away with. Hinchcliffe was not happy with it when he saw the rushes, but by that time, it was too late to pay for a re-shoot on film.

Looks almost angelic, doesn't he?
One of our favourite little pieces comes when breaking down the character of the Timelord’s fourth incarnation, and how he was rather different to start with. “In his earlier years, Tom Baker’s Doctor was often given to half-casual acts of righteous violence”, and to us, this crystallises just what has been missing from the show of late. If the Tennant version of the character did some of the things Baker did, he would profusely apologise and spent the rest of the story trying to put it all right again. Speaking of the curly-haired one, Baker’s obsession with “visual acting” is noted along the way, including how he took great pains to find the most visually interesting way to walk through a door!

Once again, there is the very welcome dose of wry humour to stop everything sounding like a pissing contest at a Doctor Who convention, and it’s as wonderfully sharp as usual. Once inside the carving of Xoanon, The Doctor and Leela encounter a Psy-Tri Projection, giving the illusion of a solid wall. We are told that the script explains it further, stating that it is: “a psionic field which acts directly on the nervous system”. The text track then illuminates things even more with: “Or, if you prefer, a background inlaid using Colour Separation Overlay”. Score!

What with biblical and literary references, this is one of the real trump-cards when it comes to any Doctor Who release, and one we always take great pleasure experiencing. It’s the kind of achingly thorough research that wrecks social lives, and gives birth to a slew of lost weekends. Luckily, another excellent text track does all that pesky collating of essential information so that your relationship won’t go down the toilet. It’ll be a sad day when the final Doctor Who release comes out from 2|Entertain, as a regular treat will be lost forever. The Sevateem’s words might have had their history mixed up and corrupted over time, but this track ensures that the same thing won’t happen to The Face of Evil.

From The Cutting-Room Floor: Shooting on film allowed not only for a more realistic look in the jungle, but also the luxury of trims, of which nine minutes worth are presented here. Multiple takes, unused footage, masters, clapperboard shots and other such snippets are here to be enjoyed, and all of pretty good quality.  There are a few bits with Louise Jameson getting rather annoyed with herself when she can’t quite get a shot right, and another where Jameson and Baker crack up at the end of a scene. It’s all pretty cool with a number of laughs to be had, as well as the chance to see Baker treading on one of Jameson’s lines. As an approximation as to when some of the material here was compiled, on some of the mistakes, it plays the classic “wak-wak, oops” sound effect so common on radio and TV during a certain era. It’s a great inclusion, and one you should get a kick out of.

Multi-coloured Swap Shop: Louise Jameson was getting over glandular fever to make it onto Noel Edmond’s signature show to talk about her role on Doctor Who. The tone of the piece is pretty straight and factual, covering Jameson’s early years and inspirations, along with a letter from a young kid being read out, asking her to put on more clothes. She tells the author of it that in a few weeks, she goes to Victorian London, and wears so many clothes she can’t move in them. There is none of the cringe-making moments you expect from kids’ TV, and if it wasn’t for the stuffed, fluffy dinosaurs dotted around the set, you’d forget that this was a programme for the young. It’s a fascinating time-capsule, and proof that Edmond’s ego wasn’t always as big as the inside of the TARDIS.

Photo Gallery: Another flip through the family album of Doctor Who, with many shots bringing back fond memories from the early years of the Doctor Who Monthly. Naturally, nearly half of the extensive gallery are taken up by studio-shots of Louise Jameson, with and without contact lenses, including the dreaded “early makeup” ones! There are on-set stills, and they are proof that it’s a damned shame the whole of the show couldn’t have been shot on film, as they really bring the sets to life. Speaking of sets, we also get reference photos of them, and give a better look than is afforded as seen in the finished product. It’s another winner, all set to the work of Dick Mills, and we suspect that there will be many screen-grabs made of certain images contained herein,

PDF Materials: Not only do we get the wonderfully nostalgic Radio Times listings for each episode, including a really nice illustration to accompany the first episode, but we are treated to another thing entirely, that of…

The 1976 Typhoo Tea Doctor Who Promotion!!! Now, how can we say this without going over the top? Hell, we can’t! This is ABSOLUTELY mind-blowing stuff! Contained herein are scans of the entire promotion from Tetley, including the packaging, the wall chart, the stickers, the adverts, and even the compete Amazing World of Doctor Who book! It just has to be seen to be believed, and is maybe even worth the price of the disc alone. Top ‘effing marks, 2|Entertain!

Coming Soon Trailer: Good grief - The Doctor takes on the big daddy with the horns as The Master raises Hell in trying to defeat his arch nemesis. Yes, you’ve guessed it! The Daemons is coming to DVD, and what kind of trailer would it be without the classic “five rounds rapid” line? An iconic Doctor Who story makes for a damn good trailer, and you’ll be rushing to Devil’s End to try and magic up a copy of it before it hits the shelves.

Leela is thinking of taking up a subscription to a specialist magazine - Just Sevateem...


The Face of Evil can be considered another story from the golden era of Doctor Who, with a great script from Chris Boucher, Tom Baker firing on all cylinders and newcomer Louise Jameson contrasting nicely with him (even if Baker didn't like her all that much initially), and the steady hand of producer Philip Hinchcliffe guiding the whole thing along nicely. Oh, you're also a cold-hearted so-and-so if you don't have a big, silly grin on your face at the end of the final scene.

The image and audio on this disc are very nice and there are a generous amount of supplemental features that give you even more reason to put you hand in your pocket. We hadn't seen this story in many years and we were most pleasantly surprised at how well it stands up after all this time - be sure to judge for yourself!