021 – The Daleks' Master Plan
Doctor Who serial
A photograph[a] ofthe Doctor'saddress to the audience in the seventh episode, a self-contained comedic story broadcast onChristmas Day, which drew criticism from the production crew, viewers, and critics[2][3]
Cast
Doctor William Hartnell –First Doctor
Companions Peter Purves –Steven Taylor Adrienne Hill – Katarina Jean Marsh –Sara Kingdom
Others Kevin Stoney – Mavic Chen Peter Butterworth – The Monk Nicholas Courtney – Bret Vyon Brian Cant – Kert Gantry Pamela Greer – Lizan Philip Anthony – Roald Michael Guest – Interviewer Julian Sherrier – Zephon Roy Evans – Trantis Douglas Sheldon – Kirksen Dallas Cavell – Bors Geoffrey Cheshire – Garge Maurice Browning – Karlton Roger Avon – Daxtar James Hall – Borkar Bill Meilen – Froyn John Herrington – Rhynmal Clifford Earl,Norman Mitchell, Malcolm Rogers, Kenneth Thornett – Policemen Reg Pritchard – Man in Mackintosh Sheila Dunn – Blossom Lefevre Leonard Grahame – Darcy Tranton Royston Tickner – Steinberger P. Green Mark Ross – Ingmar Knopf Conrad Monk – Assistant Director David James – Arab Sheik Paula Topham – Vamp Robert G. Jewell – Clown[b] Albert Barrington – Professor Webster Buddy Windrush – Prop Man Steve Machin – Cameraman Terence Woodfield – Celation Roger Brierley – Trevor Bruce Wightman – Scott Jeffrey Isaac – Khepren Derek Ware – Tuthmos Walter Randall – Hyksos Peter Hawkins,David Graham – Dalek Voices Kevin Manser,Robert Jewell, Gerald Taylor,John Scott Martin –Daleks May Warden – Old Sara (uncredited)[5]
Production
Directed by	Douglas Camfield
Written by	Terry Nation (1–5, 7) Dennis Spooner (6, 8–12)
Script editor	Donald Tosh
Produced by	John Wiles
Music by	Tristram Cary
Production code	V
Series	Season 3
Running time	12 episodes, 25 minutes each
Episode(s) missing	9 episodes(1, 3–4, 6–9, 11–12)
First broadcast	13 November 1965 (1965-11-13)
Last broadcast	29 January 1966 (1966-01-29)
Chronology
← Preceded by The Myth Makers Followed by → The Massacre
List of episodes (1963–1989)

The Daleks' Master Plan is the fourthserial ofthe third season of the Britishscience fiction television seriesDoctor Who. Written byTerry Nation andDennis Spooner and directed byDouglas Camfield, the serial was broadcast onBBC1 in twelve weekly parts from 13 November 1965 to 29 January 1966. It was the show's longest serial until 1986 and remains the longest with a single director.^[c] In the serial, theFirst Doctor (William Hartnell) and his travellingcompanionsSteven Taylor (Peter Purves) and Katarina (Adrienne Hill) become embroiled in theDaleks' scheme to design the ultimate weapon. They are joined by Bret Vyon (Nicholas Courtney) andSara Kingdom (Jean Marsh).

The serial was commissioned due to the Daleks' popularity, and was preceded by an additional episode, "Mission to the Unknown". Nation shared the workload by writing six episodes while formerscript editor Spooner wrote the other six. The seventh episode'sChristmas Day broadcast prompted the production team to write a self-contained comedic story, which ends with the Doctoraddressing the audience.The Daleks' Master Plan is the first story to feature companion deaths: Katarina, proving difficult to write, was killed and replaced by Sara, who was also later killed. It marks Courtney's first appearance inDoctor Who ; he returned in 1968 to portray recurring characterBrigadier Lethbridge-Stewart.

The Daleks' Master Plan received an average of 9.35 million viewers across the twelve episodes, an increase fromthe preceding serial but lower than the previous year. Contemporary reviews were mixed, with interest in the Daleks waning as the serial progressed and some viewers critical of its violence. Retrospective reviews praised the direction, writing, and production design, but criticised the serial's length, incongruous seventh episode, and violent deaths of female companions. The serial's videotapes werewiped by the BBC in the late 1960s; three episodes were subsequently discovered and released on DVD, but the rest remainmissing. Audio recordings exist for all episodes; they were later released as an audiobook, and the story was novelised in two volumes byJohn Peel.

On the planet Kembel,the Doctor (William Hartnell) searches for medical aid for the woundedSteven Taylor (Peter Purves), whom he leaves with theTrojan servant girl Katarina (Adrienne Hill). The Doctor encounters Bret Vyon (Nicholas Courtney), a Space Agent. They discover theDaleks have established an alliance with galactic powers to conquer humanity by using a Time Destructor, a weapon that can destroy life on a planet by accelerating time. The Guardian of the Solar System, Mavic Chen (Kevin Stoney), has provided the weapon's power core, which the Doctor steals before escaping in Chen's ship with his companions and Bret.

The ship temporarily lands on a prison planet. After it takes off, astowaway takes Katarina hostage. Katarina activates the airlock door and ejects them both into space, where they die. The ship returns to Earth, where Bret contacts his old friend Daxtar (Roger Avon), who unwittingly reveals he is working with Chen. Bret kills Daxtar, before being killed by his own sister, Space AgentSara Kingdom (Jean Marsh), on Chen's orders. The Doctor, Steven, and Sara are transported to the distant planet Mira. Sara agrees to work with them, and they steal a Dalek ship. The Daleks force the ship to return to Kembel. The Doctor and Steven create a fake core, which they dupe the Daleks into accepting before fleeing in theTARDIS with Sara. They briefly land in a police station and asilent-era film set, and celebrateChristmas.

The TARDIS travels tothe Oval,Trafalgar Square, a volcanic planet—where the Monk (Peter Butterworth) seeks revenge after the Doctor left him stranded^[d]—and Ancient Egypt, followed by Chen, Daleks, and the Monk who, forced to help the Daleks, takes Steven and Sara captive until the Doctor relinquishes the real core. The Doctor steals the directional control from the Monk's TARDIS. On Kembel, Chen captures Steven and Sara and takes them to the Dalek base. When he tries to give the Daleks orders, they turn on and kill him. The Doctor steals the Time Destructor, which activates. Sara ages to death, while Steven and the Doctor survive and reach the TARDIS. The Daleks try to destroy the Time Destructor but it kills them, wiping out all life on the planet. The Doctor and Steven remark on the senseless deaths of Bret, Katarina, and Sara.

In early 1965,Doctor Who script editorDennis Spooner askedTerry Nation to write a six-part serial featuring theDaleks, wanting to recreate the success ofThe Dalek Invasion of Earth (1964).^[7] The Daleks' return was expected to boost related toy sales in theChristmas period.^[8] Nation was granted an additional episode in February to act as a "trailer" for the serial, which became "Mission to the Unknown" (1965). Spooner departedDoctor Who in April to work with Nation onThe Baron (1966–1967); his successor,Donald Tosh, commissioned Nation's six-part serial under the provisional titleDr Who and the Daleks in May. TheBBC's director of television,Kenneth Adam, suggested the serial be expanded to thirteen episodes; head of dramaSydney Newman formally requested an expansion to twelve, to which producerVerity Lambert agreed if Nation and Spooner could share writing duties due to their work onThe Baron.^[7] The twelve-part serial was confirmed by mid June. Lambert's successor,John Wiles, was unhappy with the extension and threatened to resign; Tosh, who was also unhappy, persuaded him to stay.^[9]

Following the extension, in July, Tosh commissioned Nation to write the first six episodes, and Spooner to write the remaining six; they soon swapped the sixth and seventh episodes, allowing each to write acliffhanger for the other to resolve.^[10] Tosh advised Spooner to write standalone sequences to link to Nation's cliffhangers later.^[11] Nation and Spooner met to discuss the storyline but mostly worked independently;^[9] their outline varied in length, with two pages for the first episode, a paragraph for the tenth, and a brief sentence for the twelfth.^[12]: 22 Nation's six draft scripts ran to 150 pages;^[12]: 49 however, Tosh recalled that Nation's drafts were short—running to around 15 minutes each, with the seventh episode at 21 pages (far shorter than the average 45)—and required expansion.^[10][13] Spooner had more time to work on his scripts,^[13] and Tosh felt they required less work as Spooner was a former script editor.^[11] Nation's scripts were delivered in August, and Spooner's in September.^[14] The prison planet—Desperus, dubbed "Devil's Planet"—is a reference to the Frenchpenal colonyDevil's Island.^[15]

The seventh episode's broadcast onChristmas Day prompted the production team to write a self-contained comedic story, believing viewers would be uninterested in a complex narrative. Tosh was inspired to make the episode a parody of thepolice procedural seriesZ-Cars after one of its writers,Keith Dewhurst, turned down his request to write forDoctor Who.^[9] Camfield enquired about using fourZ-Cars cast members (James Ellis,Brian Blessed,Joseph Brady, andColin Welland) and production designerRaymond Cusick asked to use its set;Z-Cars producerDavid Rose declined as the production schedules overlapped and he felt a festive story did not matchZ-Cars's tone.^[5] The Doctor'saddress to the audience at the end of the seventh episode—in which he says "Incidentally, a happy Christmas to all of you at home"—was written in the camera script, though Tosh and Wiles claimed it was improvised by Hartnell.^[16] Tosh criticised the address and felt it broke the audience'ssuspension of disbelief.^[17] 40 years later,Doctor Who introduced annualChristmas specials with "The Christmas Invasion" (2005).^[18]

By June 1965,Douglas Camfield was assigned to directThe Daleks' Master Plan. Tosh persuaded Wiles to maintain Camfield as the sole director after the serial was extended to twelve episodes.^[19] Camfield often rewrote elements of the scripts during rehearsals;^[20] Tosh felt Camfield's work on the scripts made the serial a success.^[21] Camfield askedTristram Cary to compose music for the serial in July; Cary had worked onThe Daleks (1963–1964) and the two had collaborated onMarco Polo (1965).^[14] Music was recorded atIBC Studios for the first six episodes on 13 October,^[20] and for the final six on 23 October.^[22]Brian Hodgson of theBBC Radiophonic Workshop created 48 sound effects for the serial in September 1965.^[21] Production assistant Viktors Ritelis was credited for the final episode at Camfield's request, as he felt he had helped immensely.^[23] Exhausted from production, Camfield decided he would not return to directDoctor Who for some time.^[24] Production designers Cusick and Barry Newbery collaborated on the serial due to its length; it was Cusick's final story forDoctor Who, as he wanted to return to drama.^[25]

Wiles and Tosh decided the serial should kill newcompanion Katarina forshock value, as writers of subsequent stories faced difficulty fitting her in, and they felt viewers may be unable to identify with her. They decided she would be replaced by another woman, Sara Kingdom, who would be killed in the serial's climax.^[28] Katarina and Sara were the first companions to be killed inDoctor Who, and the only ones to do so on-screen untilEarthshock (1982).^[29] Nation had intended for Sara to feature in an American spin-off series with the Daleks, but added her toThe Daleks' Master Plan instead when the series did not emerge.^[30] Inspired by the characterCathy Gale ofThe Avengers, the scripts described her as "about twenty-five, very beautiful".^[28] She was originally written as Bret's lover, but was rewritten as his sister.^[28] Nation envisioned Bret Vyon as "the007 of space".^[9] The frequent cast changes left Purves worried for his role; he felt he might be replaced by Nicholas Courtney.^[31]: 18

Courtney, who had earlier been considered to playKing Richard inThe Crusade (1965), was cast as Bret in September.^[21] Courtney returned in the 1968 serialThe Web of Fear to playBrigadier Lethbridge Stewart, who later became a prominent recurring character inDoctor Who.^[26][27] The week after Courtney's casting, Jean Marsh—who had playedJoanna inThe Crusade, for which Adrienne Hill had been considered—was cast as Sara.^[21] Hill and Marsh's casting was announced in November 1965.^[32] Some character names were altered to reflect the story's futuristic setting; Bret Vyon was originally Brett Walton, and the prisoner Bors was originally Breton.^[21] The Egyptian characters Khepren, Hyksos, and Tuthmos were named afterChephren,Hyksos, andThutmose, respectively.^[33] Make-up artist Joan Barrett shaved the heads of six actors portraying Chen's workers, the Technix, for which they were paid double.^[34][35]

Tosh expanded Mavic Chen's role when adding to Nation's draft scripts.^[10] Spooner requested the reintroduction of the Monk fromThe Time Meddler (1965), which he had written;^[19] he felt the character could provide humour and Butterworth's performance could alleviate Hartnell's work. Butterworth was keen to reprise his role.^[11] James Hall (cast as Borkar) had previously appeared inThe Reign of Terror (1964),^[36] while Malcolm Rogers (who portrayed a policeman) was inThe Chase (1965),^[37] and Roger Avon, Reg Pritchard, andBruce Wightman (who played Daxtar, Man in Mackintosh, and Scott, respectively) had appeared inThe Crusade.^[38]Sheila Dunn, who portrayed Blossom Lefavre, was Camfield's wife; they had married the preceding August.^[e] The cowboy was portrayed by William Hall, theEvening News's film critic who had been Camfield'sbest man at his wedding; the role was uncredited. Hall later married Jean Pestell, who portrayed a saloon bar girl in the episode.^[37]

Early35 mm filming began on Stage 3A/B of theBBC Television Film Studios on 27 September 1965, including Katarina's death in the evening—Hill's first work on the series.^[40][41] Much of the model filming was delayed due to unavailability of props and sets.^[42] In filming Sara's death scene on 6 October, Camfield was inspired by Ayesha's death inH. Rider Haggard's novelShe (1887).^[5] Rehearsals for the serial started on 18 October,^[20] and weekly recording began on 22 October in theBBC Television Centre's Studio 3.^[43] The first episode's recording ran under schedule, which Wiles attributed to difficulty in timing special effects.^[44]

Filmmakers atMGM Borehamwood, who were working onStanley Kubrick's2001: A Space Odyssey (1968), contacted the production team after the fifth episode's broadcast to enquire about Camfield's special effects shots, including floating corpses in space.^[45]Sam Rolfe, the American screenwriter known for creatingThe Man from U.N.C.L.E. (1964–1968), attended camera rehearsals for the ninth episode, and noted Daleks would likely be popular in the United States.^[46] Marsh became known for laughing during rehearsals; she was once banished from the studio until she gathered herself.^[47]

Hartnell's worsening health and sadness from Lambert's departure led to difficulties in his relationship with Wiles, prompting the latter to remove him from filming where possible;^[21] the Doctor was removed from most of the eleventh episode and his dialogue inherited by Steven.^[48] Hartnell became irritable during production, partly due to the removal of his usual chair during rehearsals; the crew temporarilywalked out after he upset hisdresser.^[36] Hartnell was upset by a last-minute script change in which the Doctor unlocks the TARDIS using his ring, a usage which he felt had not been established in prior stories.^[45] On 13 December, Hartnell announced he would retire from the role at the end of the season;^[49] he backtracked the following day, stating he would be willing to stay for another two-and-a-half years, at which point he hoped the programme would be broadcast in colour.^[46][50]

Rehearsals and recording were skipped in the week of 20 December due to the Christmas break.^[51] The final episode was recorded on 14 January 1966.^[52] Recording underran, which Wiles attributed to "policy reasons" requiring the removal of two shots of Sara's death.^[24] Both Tosh and Wiles had submitted their resignations fromDoctor Who by the end of production in January 1966,^[23] Wiles partly due to his strained relationship with Hartnell and desire to return to writing and directing, and Tosh partly out of loyalty to Wiles and desire to do other work.^[53] The serial was granted an additional sum of£4,310, which was allocated to the first two episodes in addition to the standard£2,500 budget.^[54] Recording for the twelve episodes cost a total of£31,596^[f] (equivalent to £773,000 in 2023).^[55]

^†Episode is missing

The Daleks' Master Plan was broadcast onBBC1 in twelve weekly parts from 13 November 1965 to 29 January 1966.^[56] It was the longest serial in the show's history until 1986'sThe Trial of a Time Lord and remains the longest with a single director andproduction code.^[c] "The Feast of Steven" aired in a later timeslot than usual on Christmas Day,^[58] and "Escape Switch" was the 100th episode ofDoctor Who broadcast on BBC1.^[52] Averaging an audience of 9.35 million,^[59] viewership saw an increase over the previous serial,The Myth Makers, but did not match the previous year's figures;^[60] the third episode received the most with 10.3 million viewers, while the seventh was lowest with 7.9 million.^[56] TheAppreciation Index for the serial was considered "reasonable" overall, with the twelfth episode ranked the highest at 57; the seventh was ranked 39, the lowest for the series to date.^[56][60]

Until January 1973,BBC Enterprises offered an eleven-part version of the serial for overseas sale, omitting "The Feast of Steven", though no markets purchased it.^[18][61] Australia'sABC showed interest in purchasing the serial in September 1966 and considered editing out material deemed too violent or frightening, but by November cancelled the purchase as it considered censorship too laborious;^[61] the ABC's copies—originally stored in itsGore Hill studio, which was sold in 2003—may remain in Australia.^[62] The405-line videotapes of the first, second, fourth, fifth, seventh, eighth, and ninth episodes were among the firstDoctor Who episodes ordered to bewiped, on 17 August 1967. The third and sixth episodes were wiped on 31 January 1969, followed by the final three on 17 July.^[63]

Extracts from the third episode were aired onBlue Peter in October 1971. A16 mm film of the fourth episode was loaned from the BBC Film Library toBlue Peter in November 1973 but never returned. The BBC retained 35 mm film sequences from the second episode; it was found to have gone missing by December 1991, but later returned under anamnesty in October 1993. 16 mm film prints of the fifth and tenth episodes were discovered in the basement ofthe Church of Jesus Christ of Latter-Day Saints inWandsworth in July 1983;^[56][64] they were screened at theNational Film Theatre: the tenth in October 1983 and the fifth in August 1989. Former BBC engineer Francis Watson returned the complete second episode to the BBC in January 2004.^[56] The only extant visuals from "The Feast of Steven" are from home photographs ofRobert Jewell, who portrayedBing Crosby in the episode.^[1]

As the serial aired, some viewers shared their concerns over the depiction of violence,^[65] such as the Daleks in the opening episodes^[66] and the violent deaths of Katarina and Bret in the fourth episode,^[67] andJunior Points of View viewers criticised Sara's death in the twelfth.^[68]The Stage and Television Today's Bill Edmunds criticised the seventh episode, particularly the Hollywood sequence, noting it "would have been much better with more chases, a few custard pies ... and less chat".^[58] After the eleventh episode, Edmunds wrote he was "losing [his] respect and awe of the Daleks" due to their consistent but unfulfilled threats.^[60] Following the twelfth episode,Daily Worker's Stewart Lane felt the programme was "definitely showing signs of age".^[68] Audience Research Reports demonstrated that audiences enjoyed the Daleks' return in early episodes,^[60] though interest began waning by the eighth.^[61] Hartnell's performance was criticised in the third episode,^[60] but his chemistry with Butterworth was praised in the tenth.^[61] Some enjoyed the festivities of the seventh episode but one viewer called it "one of the worst programmes I have ever seen".^[68] The twelfth was generally praised as a satisfying conclusion.^[61] Public obsession with the Daleks, dubbed "Dalekmania", saw a decline followingThe Daleks' Master Plan.^[69][70]

Retrospectively,The Independent's Kim Newman consideredThe Daleks' Master Plan "the most ambitious serial ever attempted byDoctor Who‍",^[71] andDoctor Who Bulletin'sIan Levine called it "an all-round masterpiece", praising the combination of Camfield's direction with Nation and Spooner's writing.^[72][73]Paul Cornell,Martin Day, andKeith Topping ofThe Discontinuity Guide appreciated its "epic" ambition but felt its plot "was worthy of six episodes at most".^[74]David J. Howe and Stephen James Walker lauded the direction, writing, and set designs, though felt the story occasionally meandered due to its length.^[75]John Kenneth Muir considered the serial notable for its dark qualities and proving the Daleks' viciousness,^[29] andAndrew Cartmel lauded Marsh's performance but found the story padded and Egyptian set unconvincing.^[76]Radio Times's Mark Braxton appreciated the direction and set design and called Hartnell's performance "one of his best", but criticised the seventh episode's audience address and the eighth's cricket scenes.^[3] Deborah Stanish found the serial "clunky, tedious and nonsensical" but lauded its scope and ambition.^[77]The Daleks' Master Plan was voted the third-best First Doctor story byDoctor Who Magazine readers in 2014 and 2023;^[78][79] it ranked fifth in 1998 and second in 2009.^[80][81]

Daily Express readers voted Mavic Chen the "TV Villain of the Year" in 1965.^[82][85] Mark Campbell thought Stoney portrayed the character "to perfection",^[59] and Courtney and Purves lauded his performances in their respective autobiographies.^[86][87]Comic Book Resources's Sean Bassett found Mavic Chen a problematic depiction ofyellowface,^[83] andTat Wood considered his name reflective of Chinese and Mongol names.^[84]Radio Times's Braxton called his make-up "strange" but wrote his "indeterminate nationality counters any cry of racism"; he otherwise praised the character as "one of the great villains" ofDoctor Who and lauded Stoney's subtle performance.^[3] Alwyn W. Turner felt, like the Daleks being modelled on theNazi Party, Mavic Chen was based onJoseph Stalin, with thenon-aggression pact inspired by theMolotov–Ribbentrop Pact.^[88]

The violent deaths of the two female companions in the serial received critical commentary.^[89][90][91] R. Alan Siler thought Katarina's sacrifice was inspired by the Doctor's helping nature.^[92] Rosanne Welch recognised Katarina's helplessness but felt her sacrifice gave her agency.^[93] Conversely, Valerie Estelle Frankel found Katarina's death the result of incomprehension rather than intention, describing her as "an exaggerated version of helpless companion".^[90] Frankel similarly appreciated Sara Kingdom's individual strength but wrote "her top quality is that she accepts orders unquestioningly", which ultimately overshadows her abilities and results in her death.^[91] Tom Powers found the deaths of companions like Katarina and Sara contributed to a disproportionate number of female deaths in science fiction, though recognised it was less noticeable inDoctor Who considering most companions are women.^[89]

The Mutation of Time

Author	John Peel
Cover artist	Alister Pearson
Series	Doctor Who book: Target novelisations
Release number	142
Publisher	Target Books
Publication date	19 October 1989
ISBN	0-426-20344-5

The Daleks' Master Plan was novelised in two volumes—Mission to the Unknown andThe Mutation of Time—byJohn Peel with covers fromAlister Pearson, published in paperback byTarget Books andW. H. Allen on 21 September and 19 October 1989; the first volume also novelised "Mission to the Unknown". An unabridged reading of the book was published byBBC Audiobooks in two five-disc sets on 6 May and 3 June 2010, read by Purves and Marsh with Dalek voices byNicholas Briggs;^[94][95] it was re-released as part of theDalek Menace! set on 4 October 2012 andThe Dalek Collection on 18 June 2020.^[95]

The fifth and tenth episodes ofThe Daleks' Master Plan were included onDaleks – The Early Years, released onVHS in July 1992, with an introduction byFifth Doctor actorPeter Davison. The second, fifth, and tenth episodes were included on the DVD setLost in Time, released on 1 November 2004, featuring an audio commentary by Purves, Stoney, and Cusick.^[94][96]

Using off-air recordings, an audio version of the story was released as a five-disc set in October 2001, with narration by Purves. It was included, alongside digital copies of the original scripts,^[g] inThe Lost TV Episodes: Collection 2 by BBC Audiobooks in February 2011,^[98] and was released as avinyl record byDemon Records in February 2019.^[99]BBC Music released the score as part ofDoctor Who: Devils' Planet – The Music of Tristram Cary in September 2003, and sound effects as part ofDoctor Who at the BBC Radiophonic Workshop Volume 1: The Early Years 1963–1969 in May 2005. Some music tracks were included onDoctor Who: The 50th Anniversary Collection (2013) by Silva Screen.^[97]

The Daleks' Master Plan was adapted into a stage version by Nick Scovell, which was staged by Internalia Theatre at theNew Theatre Royal in October 2007. Scovell portrayed the Doctor, while Briggs voiced the Daleks.^{[56][100]: 57}

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