6,506
edits
(added a little more info) |
Gingerfool (talk | contribs) mNo edit summary |
||
(4 intermediate revisions by 3 users not shown) | |||
Line 2: | Line 2: | ||
{{real world}} | {{real world}} | ||
{{ImageLinkTV}} | {{ImageLinkTV}} | ||
{{Infobox Story | {{Infobox Story SMW | ||
|image= Mandragora title.jpg | |image= Mandragora title.jpg | ||
|series=[[Doctor Who television stories|''Doctor Who'' television stories]] | |series=[[Doctor Who television stories|''Doctor Who'' television stories]] | ||
|season number= Season 14 | |season number= Season 14 (Doctor Who 1963) | ||
|season serial number = 1 | |season serial number = 1 | ||
|story number= 86 | |story number= 86 | ||
Line 12: | Line 12: | ||
|enemy= The [[Mandragora Helix]] | |enemy= The [[Mandragora Helix]] | ||
|setting= [[San Martino]], [[1492]]; [[Mandragora Helix]] | |setting= [[San Martino]], [[1492]]; [[Mandragora Helix]] | ||
|writer= | |writer= Louis Marks | ||
|director= [[Rodney Bennett]] | |director= [[Rodney Bennett]] | ||
|producer= [[Philip Hinchcliffe]] | |producer= [[Philip Hinchcliffe]] | ||
|novelisation= Doctor Who and the Masque of Mandragora (novelisation) | |novelisation= Doctor Who and the Masque of Mandragora (novelisation) | ||
|epcount = 4 | |epcount = 4 | ||
|broadcast date= | |broadcast date= 4 - 25 September 1976 | ||
|network = | |network = BBC1 | ||
|format= 4x25-minute episodes | |format= 4x25-minute episodes | ||
|serial production code= [[List of production codes|4M]] | |serial production code= [[List of production codes|4M]] | ||
Line 27: | Line 27: | ||
|thwr = 87 | |thwr = 87 | ||
}} | }} | ||
'''''The Masque of Mandragora''''' was the first serial of [[season 14]] of ''[[Doctor Who]]''. It was notable for being the first historical or pseudo-historical story since ''[[The Gunfighters (TV story)|The Gunfighters]]'' not to be principally set in [[Great Britain]] (although ''[[The Abominable Snowmen (TV story)|The Abominable Snowmen]]'', retroactively established as having a historical setting, took place in [[Tibet]]). | '''''The Masque of Mandragora''''' was the first serial of [[Season 14 (Doctor Who 1963)|season 14]] of ''[[Doctor Who]]''. It was notable for being the first historical or pseudo-historical story since ''[[The Gunfighters (TV story)|The Gunfighters]]'' not to be principally set in [[Great Britain]] (although ''[[The Abominable Snowmen (TV story)|The Abominable Snowmen]]'', retroactively established as having a historical setting, took place in [[Tibet]]). | ||
It also introduced the first radical redesign of [[the Doctor's TARDIS|the TARDIS]] control room and offered the first explanation of how both [[the Doctor]] and his [[companion]]s were able to understand and communicate in languages other than [[English language|English]]. | It also introduced the first radical redesign of [[the Doctor's TARDIS|the TARDIS]] control room and offered the first explanation of how both [[the Doctor]] and his [[companion]]s were able to understand and communicate in languages other than [[English language|English]]. | ||
Line 51: | Line 51: | ||
The guards bring the Doctor and Sarah, not to Federico, but to Giuliano, who shows him the dead guard's body and tells the Doctor of fears that if Federico rules San Martino, all knowledge and learning will be suppressed. Elsewhere, Federico discovers that Giuliano has invited several nobles to San Martino to celebrate his succession to the Dukedom. Angered, Federico demands Hieronymous make up a new horoscope and poison Giuliano before the next evening. | The guards bring the Doctor and Sarah, not to Federico, but to Giuliano, who shows him the dead guard's body and tells the Doctor of fears that if Federico rules San Martino, all knowledge and learning will be suppressed. Elsewhere, Federico discovers that Giuliano has invited several nobles to San Martino to celebrate his succession to the Dukedom. Angered, Federico demands Hieronymous make up a new horoscope and poison Giuliano before the next evening. | ||
The Doctor [[deduce]]s that the Helix chose San Martino because the Brethren provided a ready-made power base. The 15th century was the transition between the [[Dark Ages]] and the dawn of the [[Renaissance]] — the Helix could gain control of the Earth now through a new religion. The Doctor tells Giuliano the temple must be destroyed. They go to the temple, and the Doctor enters the | The Doctor [[deduce]]s that the Helix chose San Martino because the Brethren provided a ready-made power base. The 15th century was the transition between the [[Dark Ages]] and the dawn of the [[Renaissance]] — the Helix could gain control of the Earth now through a new religion. The Doctor tells Giuliano the temple must be destroyed. They go to the temple, and the Doctor enters the [[catacomb]]s alone, but as he enters the main chamber the Helix attacks him psychically. Rossini informs Federico of Giuliano's trip to the temple, and the Count decides to take his guards to the temple to kill his "pagan" nephew. The guards corner Giuliano with their swords. Sarah runs into the catacombs calling for the Doctor, but she is caught by the Brethren. | ||
=== Part three === | === Part three === | ||
Line 165: | Line 165: | ||
* With the start of the new season, [[Peter Brachacki]]'s police box as introduced in 1963 was finally retired — having made its last on-screen appearance in ''[[The Seeds of Doom (TV story)|The Seeds of Doom]]'' part six. Accounts vary as to whether this was a stylistic choice or because the roof of the prop collapsed while [[Tom Baker]] and [[Elisabeth Sladen]] were inside. The new police box was designed by [[Barry Newbery]]. | * With the start of the new season, [[Peter Brachacki]]'s police box as introduced in 1963 was finally retired — having made its last on-screen appearance in ''[[The Seeds of Doom (TV story)|The Seeds of Doom]]'' part six. Accounts vary as to whether this was a stylistic choice or because the roof of the prop collapsed while [[Tom Baker]] and [[Elisabeth Sladen]] were inside. The new police box was designed by [[Barry Newbery]]. | ||
* This serial also marks the first appearance of the TARDIS's secondary console room, designed by [[Barry Newbery]], which continued to be used until the end of this season, making its final appearance in ''[[The Robots of Death (TV story)|The Robots of Death]]''. New producer [[Graham Williams]] was not very fond of the wooden set; therefore the original, futuristic interior was restored. Several elements from the secondary console room were reused, namely the columns and the monitor screen. The walls also appear painted white on some future serials on the door leading to the rest of the TARDIS (''[[The Invisible Enemy (TV story)|The Invisible Enemy]]'', ''[[Full Circle (TV story)|Full Circle]]'', ''[[Logopolis (TV story)|Logopolis]]'' et al.). | * This serial also marks the first appearance of the TARDIS's secondary console room, designed by [[Barry Newbery]], which continued to be used until the end of this season, making its final appearance in ''[[The Robots of Death (TV story)|The Robots of Death]]''. New producer [[Graham Williams]] was not very fond of the wooden set; therefore the original, futuristic interior was restored. Several elements from the secondary console room were reused, namely the columns and the monitor screen. The walls also appear painted white on some future serials on the door leading to the rest of the TARDIS (''[[The Invisible Enemy (TV story)|The Invisible Enemy]]'', ''[[Full Circle (TV story)|Full Circle]]'', ''[[Logopolis (TV story)|Logopolis]]'' et al.). | ||
* [[Elisabeth Sladen]] stayed contracted to ''[[Doctor Who]]'' for an additional seven months just because she had heard about this upcoming serial and wanted to make it. Without this serial, she would have left in [[season 13]]. ([[INFO]]: ''[[The Seeds of Doom (TV story)|The Seeds of Doom]]'') | * [[Elisabeth Sladen]] stayed contracted to ''[[Doctor Who]]'' for an additional seven months just because she had heard about this upcoming serial and wanted to make it. Without this serial, she would have left in [[Season 13 (Doctor Who 1963)|season 13]]. ([[INFO]]: ''[[The Seeds of Doom (TV story)|The Seeds of Doom]]'') | ||
* The bold font on the opening titles and ending titles changes to a more serif like style on this story. This would last until ''[[The Horns of Nimon (TV story)|The Horns of Nimon]]'' where the whole title sequence is phased out. | * The bold font on the opening titles and ending titles changes to a more serif like style on this story. This would last until ''[[The Horns of Nimon (TV story)|The Horns of Nimon]]'' where the whole title sequence is phased out. | ||
* [[Louis Marks]] had specialised in Renaissance Italy while completing his doctorate at university. | * [[Louis Marks]] had specialised in Renaissance Italy while completing his doctorate at university. |
edits