Production Code WW

First Transmitted:
1-28/12/1968 17:15
2-04/01/1969 17:15
3-11/01/1969 17:15
4-18/01/1969 17:15

Cast
Terence Brown : Abu
James Cairncross : Beta
James Copeland : Selris
Frazer Hines : Jamie
Richard Ireson : Axus
Robert La'Bassiere : Kroton
Philip Madoc : Eelek
Madeleine Mills : Vana
Miles Northover : Kroton
Wendy Padbury : Zoe
Maurice Selwyn : Custodian
Bronson Shaw : Student
Roy Skelton : Kroton Voice
Patrick Troughton : The Doctor
Patrick Tull : Kroton Voice
Gilbert Wynne : Thara

Crew
Bobi Bartlett : Costumes
Peter Bryant : Producer
Martyn Day : Film Editor
Terrance Dicks : Script Editor
Ron Grainer : Title Music
and the BBC Radiophonic Workshop, arranged by Delia Derbyshire
Brian Hodgson : Special Sounds
Robert Holmes : Writer
John Holmes : Studio Sound
Sylvia James : Make-Up
Alan Jonas : Film Cameraman
Bill King : Visual Effects
/Trading Post
Howard King : Studio Lighting
Raymond London : Designer
David Maloney : Director
David Tilley : Assistant Floor Manager
Edwina Verner : Production Assistant


Plot Outline from Wikipedia

On an unnamed planet, a race called the Gonds are subject to the mysterious Krotons, unseen beings to whom they provide their brightest intelligences as “companions”. Thara, son of the Gond leader Selris, is the only one of his race to object to this practice. The Second Doctor, Jamie and Zoe arrive in time to witness the death of one of the chosen companions and intervene to save Vana, the other selected for this fate, using her survival as a means to convince Selris and the Gonds of the malign influence of the Krotons on their society. The Doctor calls it "self-perpetuating slavery” by which the brightest in Gond society have been removed. Similarly, there are large gaps in their knowledge, especially relating to chemistry. This situation has been in existence for many years since the Krotons arrived in their spaceship, polluting the lands beyond the Gond city and killing much of the Gond population.

Thara uses the disquiet of the situation to lead a rebellion and attack the Teaching Machines of the Krotons in the Hall of Learning. This prompts a crystalline probe to appear and defend the Machines, and warned the Gonds to cease their rebellion. Zoe now tries the Teaching Machines and is selected to be a “companion” of the Krotons. The Doctor elects the same fate and both are summoned into the Dynotrope where they are subjected to a mental attack. . Zoe deduces that the Krotons have found a way to transfer mental power into pure energy, while the Doctor busies himself with taking chemical samples of the Kroton environment. Circumstances now trigger the creation of two Krotons from chemical vats with the Dynatrope (the Kroton spaceship). The newly created Krotons capture Jamie but are really seeking the Doctor and Zoe, the “High Brains”, who have now left the Dynatrope. It takes Jamie quite some time before he is able to make an effective escape.

Eelek and Axus, two councillors previously loyal to the Krotons, who begin to rally for all-out war with the Krotons, have now seized the initiative in Gond society. The more level headed Selris is deposed, but warns that an all-out attack will not benefit his people. Instead he has decided to attack the machine from underneath by destabilising its very foundation in the underhall. Eelek has Selris arrested and also reasserts control by negotiating with the Krotons that they will leave the planet if provided with the two “High Brains” who can help them power and pilot their ship. Zoe and the Doctor are forced into the Dynatrope and Selris dies providing them with a phial of acid which the Doctor adds to the Kroton vats. Outside, Jamie and the scientist Beta launch an attack on the structure of the ship using sulphuric acid. This two pronged assault destroys the tellurium-based Krotons and their craft. The Dynatrope dissolves away and the Gonds are free at last - choosing Thara rather than the cowardly and ambitious Eelek to lead them.


Analysis by Cuisle

The critics of the time were dismissive of this story, particularly because of the unconvincing sets, apparently. This seems to be the start of the wobbly sets complaint about Doctor Who. There was also some concern about the facelessness of some of the characters - not just the unseen Krotons, but the 'victims' that The Doctor was helping. They all seemed a bit too bland and ordinary.

This was the first script by one of the well known names of the 1970s, Robert Holmes, who continued as a writer through to the 4th Doctor era. So somebody must have been impressed by him, at least.

At the very basic level this is a story about control of a people. It is about facism, it is about thought control. Education was controlled by the Krotons and the most intelligent Gonds were culled, their mental forces drained before they were killed. This served an intersting double purpose - giving the Krotons the mental energy to revive themselves and also ensuring that nobody becomes smart enough to guess what is going on. Science fiction has many examples of people being controlled through selective education. George Orwell's 1984, Ray Bradbury's Fathrenheit 451, to name more literary examples. The people of Abydos, banned from writing by their masters in Stargate for a more popular example. This fits into the same sub-genre. The critics of the Krotons argued that this story was too thin to make a political point the way the first two examples in that list do. But perhaps they are being too particular. Political analogies can be found in even the lamest plot. Look at the 2005 episodes, Aliens of London and World War Three.


Beneath the silly fart jokes there was a sharp criticism of the government's handling of the Iraq conflict. Given the ham-fisted government attempts to stifle BBC journalism on the subject it seemed a science fiction TV programme aimed at children was the best way to get the point across. In 1968, at a time when the education system of Britain was being reformed, maybe The Krotons wasn't so far off the mark, either.