| THE SILURIANS |
| A long-form earthbound Doctor Who story that uses science in an unusually meaningful way, Doctor Who and the Silurians (1970) poses important ethical and political questions which it treats with respect, epidemiologist and Doctor Who critic Robert Smith? argues. |
| THE AMBASSADORS OF DEATH |
| In one of Doctor Who’s finest seasons, The Ambassadors of Death (1970) showcases the programme at its most adult, exposing the best and worst of human nature. LM Myles offers an appreciation of a story with no true villains, produced at a crucial, transitional time. |
| THE DÆMONS |
| Matt Barber explains how The Dæmons (1971) draws on diverse influences in the immediate zeitgeist – New Age witchcraft, British ‘folk horror’ cinema, the theories of Erich von Däniken, the ‘cosy catastrophes’ of John Wyndham – before embarking on a psychogeographical location tour. |
| CARNIVAL OF MONSTERS |
| Carnival of Monsters (1973) is a TV serial about tiny people kept inside a machine to entertain the masses. Ian Potter looks at what this most self-aware of Doctor Who stories tells us about class, race and the social order, about how language mediates them, and about the Doctor’s moral authority. |
| THE TIME WARRIOR |
| Originally conceived as a satire on the Vietnam War, The Time Warrior (1973-74) became a story which anticipated the Gothic mode of later Doctor Who. Matthew Kilburn considers its presentation of feminism, its relaxed approach to history, and its paradoxically unique villain. |
| INVASION OF THE DINOSAURS |
| The final story from one of Doctor Who’s most politically committed writers, Invasion of the Dinosaurs is, Jon Arnold discovers, a story whose empty city streets, establishment conspiracies, and rhetoric of an imaginary ‘golden age’, make it as relevant today as it was in 1974. |