THE SAGA CONTINUES. THE MAKING OF 'BATTLESTAR GALACTICA' - PART TWO

The Cylon menace continues its space advance, in the weekly 1978/79 series adventures of BATTLESTAR GALACTICA. All images: UNIVERSAL STUDIOS.

Back in 2011, KOOL TV presented its first look at the classic seventies sci-fi series BATTLESTAR GALACTICA, created by American television producer legend Glen A. Larson. That article primarily focused on the evolution of the epic three-hour pilot launcher: Saga of a Star World (link: http://kooltvblog.blogspot.co.uk/2011/02/saga-of-star-world-launch-of-original.html?q=battlestar+galactica). Now, as the series celebrates its milestone 35^thAnniversary, the second and final part of our retrospective charts the birth and development of the weekly series.

Despite the numerous problems of constant script re-writes, special effects changes and other important creative additions, plus the loss of its original director towards the end of shooting (replaced by UNIVERSAL series veteran Alan J. Levi, who completed the project and was involved in further extensive re-shoots of past material), the final three-hour version of Saga of a Star World, the immense and ambitious pilot to Glen A. Larson’s spectacular seventies space opera BATTLESTAR GALACTICA, was on course for its September 18^th 1978 premiere for the ABC network, and its month earlier release as a condensed movie theatrical event airing in Canada and Europe (helping UNIVERSAL STUDIOS recoup some of it expensive production costs back). Now, with time ever shorter, work would begin on the next four hours of the originally planned seven-hour mini-series event, which had been swiftly transmogrified into a full weekly TV series order by ABC.

The movie poster for the condensed pilot episode of BATTLESTAR GALACTICA.

Pilot episode trailer: BG ABC Promo - YouTube
Dirk Benedict Videos - Battlestar Galactica - Zimbio
Weekly series titles: Battlestar Galactica Opening Theme from 1978 - YouTube

Flanked by Starbuck (Dirk Benedict) and Apollo (Richard Hatch), Commander Adama (Lorne Greene) welcomes us to sci-fi adventure.

In that period where looming airdates from September 24^th onwards were gaining ground, the direction and story material for the second two-hour adventure (which, along with hours six and seven, would quickly become two-parters for the weekly series) would prove difficult to pin down, with ideas/contributions from many well known writers (apparently including STAR TREK legend D.C. Fontana) not coming to any successful fruition (with story titles as diverse as The Beta Pirates). Finally, a storyline would take shape from the mind of John Ireland Jr., given further shaping by emerging eighties TV talent Michael Sloan, later creator of THE EQUALIZER, soon titled Gun on Ice Planet Zero, with additional input from Larson and soon departing producer Leslie Stevens. Rising star writer/producer Donald Bellisario, later handling hits like TALES OF THE GOLD MONKEY and NCIS, joins the series at this point as a supervising producer, contributing to the final, intriguing pot-pourri, and bringing in behind the scenes newcomer writers/script editors Jim Carlson and Terrence McDonnell, a creative duo used to the demands of weekly action/adventure, and an intense filming schedule, with their work on UNIVERSAL’s THE SIX MILLION DOLLAR MAN.

Trouble on Arcta for Apollo and Starbuck in Gun on Ice Planet Zero.

GUN ON ICE PLANET ZERO

Originally set in deep space, Gun sees the mighty warship Galactica and its surviving rag-tag fleet of humanity, carefully herded by their Cylon pursuers, having to destroy a moving gun platform of immense power, but this idea was soon expanded and the gun of the title-becoming a pulsar cannon emitting an energy lens system-would be relocated to an ice planet, Arcta, atop a huge mountain, where our Colonial Warriors would have to join forces with a band of knowledgeable criminals and a group of planetary clones in order to destroy it and its protecting Cylon garrison, literally a sci-fi version of the popular Alistair MacLean World War II adventure novel THE GUNS OF NAVARONE.

Croft (Roy Thinnes) proves his worth.

The Clones "Father Creator"- Doctor Ravashol (Daniel O'Herlihy).

Starbuck gets interested in Clone female, Tenna (Britt Ekland).

Playing the gang of arctic experienced criminals plucked from the prison barge vessel located within the Colonial Fleet would be a motley group perfect for playing by an outstanding guest cast- including THE INVADERS series lead Roy Thinnes as their leader Croft, once a brave warrior now at a criminal dreg point in his life, the always scary presence of Richard Lynch as the quiet but deadly Wolf, THE ANDROMEDA STRAIN’s James Olsen as the creepily weird weapons and explosive expert, Thane, and Christine Belford as Croft’s at first seemingly sympathetic wife, and med-tech experienced, Leda, all of whom tensely accompany young series leads Apollo (Richard Hatch), Starbuck (Dirk Benedict) and Boomer (Herb Jefferson, Jr.), to their perilous task on the ice planet. Once there, and only just surviving its hostile wilderness, the clone help comes in the form of TARZAN legend Denny Miller and the lovely Swedish film and TV veteran Britt Ekland-whom Starbuck, as so well personified by Benedict, would have an instant liking for. The original human scientist responsible for the creation of both the laser and the clones, Dr. Ravashol, would be played by veteran star Dan O’Herlihy.

Boxey (Noah Hathaway) stows away and is discovered by Apollo.

Story-wise, there’s no direct continuity from the events of the pilot bar the now established format, whilst the series main female lead in the form of newcaster/lover to Apollo, Serina (played by Jane Seymour) has since passed away off-screen (during build-up scenes cut from the end of the pilot): actress Jane Seymour having fulfilled her pilot commitments. Meanwhile, Apollo (played with humanity and conviction by Hatch) now takes charge of her lone son, Boxey (Noah Hathaway), and his robot dog/daggit, Muffey (played by the talented Evie the chimp). The strong bonding between new father and new son begins, though Apollo’s friendship with fellow Blue Squadron viper pilot Starbuck hasn’t yet been cemented-the pair are mostly separated from each other here, as one leads the attack on the gun, the other on the Cylon garrison, though Starbuck and Boomer’s friendly banter and humour from the pilot remains intact. Additionally, the story starts with the duo out with a group of trainee Viper pilots who are mostly wiped out when they discover the planet and its weapon, with one headstrong pilot, cadet Cree (played by Alan Stock), being captured and interrogated by the Cylons, resulting in Starbuck feeling guilt at this happening to a newcomer under his command, and who, waveringly believing the boy to still be alive and a Cylon captive, goes on to rescue him from their cold cell interrogations.

The Cylon acquired pulsar weapon fires.

The weapon, manned by Cylon gunners and engineers.

Though their relationship with the show’s creator/producer had been strained, special effects maestro John Dykstra, still a main credited producer on the series, and his dedicated team at APOGEE would push on in their groundbreaking model/optical work for television with a series of equally ambitious duties on Gun, whilst also setting up a series of stock shots of various flybys and battle scenes of the numerous friend and foe craft, and mighty spaceships, that could be used and re-used where necessary throughout the series. New models/props built by Lorne Peterson and his AIRFIX kit-bashing squad for Gun would include the huge pulsar laser cannon prop that would light up and gather energy for its discharge (the blasts done via opticals), then the Mount Hekla mountain itself which housed a smaller gun prop within it’s top peak, later spectacularly blown up by the team’s top pyrotechnics experts. There was also the snowy landscapes for the planet, achieved with baking soda and salt crystals, of which several major crash- landing sequences involving a lone Viper, and later on a Galactica shuttle heading into a snowy hillside, would be filmed.

Behind the scenes at APOGEE: Behind the Scenes of Battlestar Galactica 1978 - YouTube

CineMagic: VFX Maestro Richard Edlund Talks Original ‘Galactica’ | CINEMASPY.COM

An equal challenge would be to film the Vipers and Cylon Raiders fighting or travelling through the ice planets atmosphere, with steam and smoke being used against the models for close-up filming, whilst the optical departments putting together of blue screen model filming passes had to be careful in not showing travelling matte outlines against white surfaces and exterior stock footage- always a huge problem in the effects industry at the time, and one that departing members of the APOGEE team would re-encounter when they began work for STAR WARS creator George Lucas on this ice planet Hoth scenes for its more ambitious sequel, THE EMPIRE STRIKES BACK.

Too close for comfort! The Galactica fleets nears the energy weapons blasts.

For sequences set in space, additional shots of the Galactica and the rag-tag fleet were required for the finale as they approached their possible destruction from the rapidly approaching energy weapon’s blast ranging. All in all, this two-parter would be a healthy adrenaline charge for everybody concerned.

The Galactica party inspect their damaged Landram vehicle.

All shot on studio, the series leads and guest actors would find the snowy conditions created on the UNIVERSAL studios occasionally trying, what with the bitty jabolite-like substance swirling through large fans around the exterior scenes, whilst the Cylon suited stunt doubles found their visibility often further impaired during the increased snowstorm filming. Stock footage of white wastelands from previous UNIVERSAL movies would be carefully integrated where needed to enhance the effects of the beautiful but deadly surroundings, working well for the most part.

A deadly Cylon Centurion.

The Cylon enemy, as seen in the original pilot, having lost their reptile-based origins, would be toned down considerably in the threatening ways they fought humans. Being geared towards the family audience, gone was their use of decapitating swords and any real scenes of humans being shot close-up. They would now rely only on their laser weapons and act as bullying thugs throughout the story, rather than the totally murderous killers they were. On an interesting note, Gun also sees in the first appearance of a gold Cylon-one of the leader ranks: in this instance the villainous Vulpa (in the days when the baddies still had names), who was intended as the main villain throughout the two-parter, in charge of the snow garrison and terrorizing the Clones and Dr. Ravashol into doing his/it’s bidding.

The gold Cylon leader, Vulpa, has cadet Cree (Alan Stock) captured.

As with the pilot, and continuing request/demands from ABC, the story would undergo further rewrites and reshooting on certain scenes, with Starbuck adding his name on to the Colonial mission team, despite no arctic experience, in a more crafty, could be seen as reckless disregard for his friends way, than what was previously written- his mission to rescue Cree, alongside the Thetans, greatly expanded going into the second episode. The reshoots linked to Starbuck are easily noticeable, by the time they were done Dirk Benedict’s hair is noticeably longer-shot as the series had now entered weekly filming.

Returning to the Galactica bridge for the series would be Sarah Rush as Rigel, helping viper pilots to “launch when ready”, and David Greenan as bridge officer and right hand man to Adama and Colonel Tigh, Omega.

The Clones and Colonials get ready for the next part of the mission.

Director Alan J. Levi handles the story with flair, though sadly this would be his last work on the show. Having helped shape the pilot episode, the hard at work director was unhappy at not receiving what he felt was a deserved co-credit on the three-hour launcher, and vowed not to return to this particular Larson series.

Overall, Gun on Ice Planet Zero would prove a hugely successful story, generally well received by fans, despite the critics continued slamming of the series by the time it had become a full weekly series. Later adapted by Larson and friend/writing partner Robert Thurston into an exciting book, The Cylon Death Machine, with a memorable cover provided by respected sci-fi genre artist Boris Vallejo, the adaptation built further on the story and expanded the shows characters, especially the once Colonial Warrior turned criminal Croft, who has redeemed himself by story’s end.

The attack on the pulsar is a success.

Due to the immense problems of the pilot, and the fast need to get new episodes ready quickly for filming, the series would never really recover from its early problems, and only managed to catch up with itself and lock down a true identity for itself by the half way point. Egged on by ABC suits, Gun would also prove to be the first of many ideas taking popular, audience friendly, recognizable film and TV series motifs and transferring them to the space genre. Later on, the disaster movies realm of The Towering Inferno would be revisited as GALACTICA’s exciting Fire in Space, whilst the earlier The Magnificent Warriors was an enjoyable comedic retread of western The Magnificent Seven, and The Lost Warrior has echoes of the Alan Ladd classic Shane. Some fans and critics slated the show again for being unoriginal and cannibalizing earlier popular ideas from elsewhere, but they ultimately worked with generic audiences, who responded well to elements that they recognised from the past- the intellectualism and hard sci-fi concepts of STAR TREK would probably have left that huge fraction of the audience a little cold at that point in the series formation.

Starbuck and Apollo confer, in a deleted scene moment from part two.

Going into the series proper, Bellisario, with Carson and McDonnell, would handle most of the script writing work and become the main guardians of the series direction, tone and characters, with Larson contributing key episodes (at least half the run) where necessary, plus using some storylines that came in from Michael Sloan on an on and off basis.

Boxey and Muffey the daggit meet the clone children.

Another plus, the production team would be able to make full use of UNIVERSAL’s huge resources and studio facilities, with many of the behind the scenes team having worked on action/adventure before, what with the aforementioned THE SIX MILLION DOLLAR MAN and its sister series, THE BIONIC WOMAN. Key directors for the series from that stable would include Rod Holcombe, Winrich Kolbe and Christian I. Nyby II. Bellisario would make some impressive directing work too. Continuing to bring majesty, wonder and emotion to the series through his music, Stu Phillips fine talents on the series main title theme and incidental scores would be another highlight throughout the series run.

LOST PLANET OF THE GODS

With work now beginning on the next two-parter, Glen A. Larson was determined to carve out a story that would firmly dovetail into the regular series. Producer David J. O’Connell now joins the series, with Donald Bellisario going up the ranks as a full producer, too, his writing giving the show’s characterization further strength. John Dykstra’s name is no longer on the credits but APOGEE are continuing to provide effects material for this adventure as well as contributing to two other upcoming episodes, The Lost Warrior and The Long Patrol.

Dr. Salik (George Murdock) discusses the condition of the stricken warriors to Adama, in Lost Planet of the Gods.

Lost Planet of the Gods mixes two main plots into a satisfying whole. On patrol, Boomer and Jolly (Tony Schwartz) unwittingly catch a deadly virus which they then inadvertently spread to the entire viper pilot compliment of the Galactica, necessitating the use of rookie trainee female shuttle pilots as replacement warriors, including Apollo’s wife-to-be Serina and Athena (plus sexy rising star actresses including model/actress Leann Hunley, Janet Louise Johnston (both of whom would appear a couple of times into the series) and Sheila DeWindt). Soon, the new version of Blue Squadron-Commander Adama’s top flight-wing, headed by Apollo and Starbuck (the only unaffected pilots)- are engaged in their first shaky but successful battle against the Cylons, as a medical team led by Doctor Salik (semi-regular George Murdock, making his first series appearance here) returns to the asteroid place of infection, also home to a Cylon listening outpost.

Meanwhile, Apollo and Starbuck’s previous patrol foray sees them encounter a dangerous magnetic void- a sea of darkness in space-which Adama believes houses the legendary lost world of Kobol, from which all human life in the Twelve Colonies began. His early hunches are soon proved right as his search for clues to the location of the lost Thirteenth Tribe on Earth begins. Unfortunately, the traitorous human collaborator to the Cylons, Balter, now a fully-fledged servant of that race, is not far behind the Galacticans and is ready to spring his trap using the now captured Starbuck as one of his unwitting pawns…

Sexy Jane Seymour returns as Serina, now a Colonial Warrior.

Unhappy with the way that pilot guest star Jane Seymour had departed the series-her death scenes ultimately excised from the final cut, and the audience not knowing what had happened to her, Larson was determined to get the actress back to play Serina for the story that was now shaping into being. But Seymour proved reluctant to return, unhappy that her portrayal of a dying woman had been removed from the film and TV movie, with only the promise of better scripts and a lot of money eventually wooing her back to the set and away from a determined film career. Cast and crew were happy to see her return, especially Richard Hatch, who apparently had a crush on the lovely British actress during the old and new filming. They certainly have a fine onscreen chemistry together, in a storyline that really went the distance in cementing their relationship as warriors and into marriage, if only for the two-parter. Seymour had been promised a far superior and memorable death scene at the end, which indeed she got- a real tear-jerker.

Killed in the theatrical movie...

...saved from death in the weekly series.

Knowing that the series needed another villain beyond the Cylons, someone that our heroes could have proper dialogue/conversations about/with, to add drama and conflict as well as provide the necessary kind of twirled mustached villainy/confidence and histrionics, Larson and the production team decided not to kill John Colicos- as Judas to humanity, Baltar- after all. Although the theatrical release of the pilot had showed him having his head sliced off during a fast camera move, the pilot would see some quick re-editing and additional dialogue from Patrick Macnee’s villainous Imperious Leader that saw Baltar taken away for public execution, rather than be killed in front of the viewers.

Baltar's new aide, the IL series Cylon called Lucifer (operated by Felix Silla).

Later on, with the death of the original Imperious Leader at the end of Saga of a Star World, his clone (?) successor would order Baltar’s release, giving him a Cylon Basestar and crew, plus a new IL series humanoid robot liaison, Lucifer (voiced by LOST IN SPACE’s quirky Jonathan Harris and, briefly in Lost Planet by another actor (Murray Matheson, who later voices another IL series Cylon, Spectre, in The Young Lords)), in order to help him find the Galactican fleet and offer the hand of truce- a plot element that would ultimately and conveniently be forgotten about a very short time later (after Baltar engineers his own fake peace plan on Adama to little success). From Lost Planet, the metallic/reptile foes would remain humanity’s main antagonists.

Lovingly sealed, Adama marries Serina and Apollo.

With the inclusion of Jane Seymour and other series changes with Lost Planet, it was decided to move that show ahead of Gun on Ice Planet Zeroin the US transmission order, though this also meant an even quicker need to turn things around in post-production for Lost Planet in order to meet the required airdates. With Baltar now a formidable presence in Lost Planet, it was decided to insert him into the now rescheduled Gun, with additional material, carrying on from his eventual rescue on Kobal in Lost Planet, showing his limping and angry form ready to sacrifice his own Cylon forces in order to push the Galactica ever forward into the path of the pulsar cannon.

Laurette Spang returns to the series as Cassiopeia, now a Med-tech on the weekly series.

Lovely Athena (Maren Jensen) in her Colonial Warrior uniform.

Saved from death from the cannibalistic alien Ovions in the catacombs (thanks to script re-writes and likely filmed re-shoots), that other lovely actress, Laurette Spang would be asked to return as a series regular, though her previous job as a “socialator” (high class hooker/spiritualist with religious ceremonial overtones) was now out of the question upon request of the network and its family show values. With the series proper, Cassiopeia would instead become a top medical technician working with Doctor Salik in the new Life Centreset built for the series. She’d still be the main love interest for Starbuck, too, but that charming rogue would also flit in-between other glamorous female guest stars and Maren Jensen’s Athena- a comedy love triad that would be mined in the shows early episodes.

On the supporting cast side there are a few more additions to the series on the Colonial front, with later ST. ELSEWHERE star Ed Begley, Jr. playing Viper pilot Greenbean (returning after his appearance in the pilot episode), MAGNUM PI regular Larry Manetti as Lt. Giles, and Bruce Wright in a variety of roles from playing a Colonial Warrior to being a Council Security guard. Manetti would have scenes inserted into Gun on Ice Planet Zero, alongside Dirk Benedict.

A bevy of beauties join the Colonial Warriors.

Starbuck helps train the new recruits.

A very enjoyable and suitably epic two-parter, co-written by Donald Bellisario, Lost Planet’s continuance of events from the opening pilot proves a satisfying creative choice, with lots of references to the near fatal threat from Carillon. The idea of the virus and the female warriors is fun, though the latter idea will no doubt draw cries of sexism from todays less innocent and more sophisticated viewers towards the gorgeous women first seen in their formed Lycra flight suits, but at least the series, like other seventies genre shows, was pushing ahead and having women in strong, positive positions of command and authority-no better and heroic a job can be seen for a woman than being a Viper pilot helping to protect the last remnants of humanity from destruction!

Filmed in Egypt, our heroes explore the lost cities of Kobol.

The location filming in Egypt for part two (a brief trip by a second unit to film pyramid exteriors, using Egyptian extras playing Apollo, Adama and Serina), representing the destroyed and ancient civilisation of Kobol, is well handled, along with some excellent interior and exterior sets recreated at UNIVERSAL by production designer Richard D. James. Effects–wise, new model shots include the Viper attack against the Cylon listening outpost in part one, and a massive enemy attack on the surface of Kobol and the Colonial Warrior encampment during episode two.

Serina’s return to the series is well handled and she has lots to do - the relationship between her and Apollo is nicely developed and their wedding is quite touching. Her later death rivals the loss of Bionic Woman Jaime Sommers to Steve Austin’s SIX MILLION DOLLAR MAN. Truly a sad sequence, Serina’s passing is made even more tearful and heart wrenching by a genuinely affecting performance from young Noah Hathaway as Boxey. You’d have to be made of stone if you’re not shedding a few tears by the final scenes of this episode. BSG Classic alternate scene - YouTube

THE CHALLENGES OF A NEW SERIES...

With the completion of Lost Planet, the series was now into full weekly series production mode, with the episodes being filmed normally in a week to ten days, and the actors later recalling in documentaries how the scripts were always in a state of flux, sometimes changing on the day they were filming them.

Fun bloopers: Battlestar Galactica (1978): bloopers and outtakes - YouTube

The Cylon pursuit of our heroes would continue for pretty much the entire first half of the series, but change was soon in the air, as other types of nemesis were needed to be found to give the series more variety. Those oldie fusspots within the Council of the Twelve would return to hinder Adama and his decision-making for several key episodes, whilst later in the series, we saw a two-episode appearance from another mighty Battlestar, the Pegasus, commanded by war-daggit Commander Cain (Lloyd Bridges) coming to help our friends. Adding darker shades would be the emerging supernatural threat of the Devil himself: Count Iblis, brought to life with menacing perfection by British THE AVENGERS star Patrick Macnee. By this point, the Cylons had disappeared from the radar -the writers seemingly running out of ideas on how to use them, deciding that the Galacticaand her fleet would finally shake their old foe off whilst entering spacial sectors not previously explored by Humanity- the clues to the location of the lost Thirteenth Tribe on Earth intensifying, leading to their encountering a new Human enemy in the form of outer space Nazis, The Eastern Alliance- one of two warring civilisations originating from the reasonably technologically advanced planet Terra. At first hoping them to be from the lost Thirteenth Tribe, Apollo and co. soon discovers that they aren’t, averting a nuclear holocaust between the two sides along the way, as the fleet’s journey continues anew. 

A Cylon Raider narrowly avoids destruction.

Ultimately, despite the always enjoyable Lloyd Bochner as nasty Alliance Commander Leiter in two episodes, these new baddies made little impact with viewers, and as the series neared the end of its first season, it was decided that the popular Cylon enemies would make a well-deserved comeback for the final episode, handled by Donald Bellisario, who’d also direct the tale. The Hand of God proves a fine and worthy end to the series, mixing strong character drama with action and effects stock footage as the Galactica re-encounters the menace they once thought lost forever, summoning up the bravery and derring-do to take on the singular Cylon Basestar blocking their journey and destroy it, with a little subterfuge help from Apollo and Starbuck, making a raid on the enemy ship in order to neutralize its scanners. 

The series ended on a successful note and with a hint of mystery as to what might lie ahead with the Thirteenth Tribe, as the first video images from their society make a memorable imprint on the minds of Apollo and co.- footage showing Earthman’s landing on the Moon from 1969 -“The Eagle has landed!”

Sadly, despite strong ratings-the show always being in the top twenty of the week, due to its huge production costs early on, mostly on the big sets like the Galactica bridge, as well as other contentious political factors, ABC were no longer interested in the series- in their minds they could be making other cheaper, successful Earthbound fare instead, and not even the shows advertising success was enough to justify its renewal for a planned cheaper season (of which early work had been initiated by Larson, even going so far as to consult on story ideas with legendary sci-fi novelist Isaac Asimov). Unable to convince another network to take the show, UNIVERSAL had no choice but to send the original series of cast and characters into cancellation oblivion by the middle of 1979 and the last aired episode of April 29th.

A lovely cast shot of the Galactica "family".

Here’s KOOL TV’s look at the entire season of BATTLESTAR GALACTICA past the opening seven hours.

Episode teaser trailers for the series: Battlestar Galactica 1978 teaser

The brutal "Red-Eye" Cylon terrorises the neighbours in The Lost Warrior. 

THE LOST WARRIOR

Shaking off Cylon pursuers intent on finding the fleet, Apollo is stranded on the lone planet Equellus in the Hatari sector, where he discovers its townspeople under the control of a greedy despot, thriving on fear and “tribute” thanks to his lethal, trigger-finger ready bodyguard- “Red Eye”, a battle damaged Cylon now acting as his chief enforcer. Apollo is befriended by Vella (Kathy Cannon) and her son Puppis (Johnny Timko), but soon has no choice but to take on “Red Eye” in a lethal gun-slinging competition.

Well remembered by viewers on its original transmission, The Lost Warrior endures thanks to a fine script from Donald Bellisario (story by Herman Groves) that nicely references the classic western Shane, whilst the use of the Cylon in the story is inventively handled. The whole western period/fused sci-fi setting in general works to its overall credit, and Richard Hatch and the supporting players deliver engaging performances.

Starbuck enjoys a new Viper in The Long Patrol.

THE LONG PATROL

Testing a new fast-speed recon viper and its next evolutionary stage computer, CORA, Starbuck lands himself in trouble again when he’s captured by outlander human prison forces and declared an ambrosia bootlegger, jailed on a penal world whose current inmates are the descendants of the long-ago original criminals.

Guest starring future 24 director James Whitmore Jr. as a crafty Arian smuggler, STAR WARS: THE CLONE WARS voice talent Ian Abercrombie and STAR TREK’s Arlene Martel as old-time prisoners, The Long Patrolis no classic but its certainly a lively and enjoyable episode, backed up with some solid action and effects. The idea of the talking female computer CORA is pleasing, and there are some nice comedy moments early on for Starbuck and Dirk Benedict to make the most of, as he attempts to woo both Cassie and Athena on the Rising Star space liner. A few intriguing new spacecraft models, including an early viper design very similar to early Ralph McQuarrie’s conceptual drawings, also make their presence known.

One of the greedy Borays in The Magnificent Warriors.

THE MAGNIFICENT WARRIORS

Making the most of spaceship footage from the UNIVERSAL sci-fi movie Silent Running, the Cylons make a devastating attack on the Galacticafleet’s Agro ships, resulting in Adama and a small party having to barter with a distant human colony for new seed stock. Unfortunately, the colony is under attack from a race of violent and greedy, pig-like Boray creatures, where the life expectancy of the town Sherriff against them proves constantly short. Enter Starbuck as their unlikely new lawman!

Hard times for Adama and Apollo, when they team-up with Siress Belloby (Brett Sommers).

Another episode, this time from Glen A. Larson, with lots of comedy, notably showing Adama forced to enter into a relationship with a demanding Siress (Brett Somers) who has technology needed in order to barter with the colony world. It works well for the first half of the story, whilst the remainder of the plot sees another western-style romp taking shape, as Sheriff Starbuck and the team fight, and then barter, with the Borays in order to save the day.

Kudos to the make-up team in the challenging and likely costly creation of the many Boray creatures seen in this episode. After this adventure, however, very few aliens are to be seen in the series…

Into a fantasy land with the young warrior Kyle (Charles Bloom) in The Young Lords.

THE YOUNG LORDS

Engaged in battle with a sneak attack Cylon patrol, Starbuck’s battle damaged viper crash-lands on the remote world of Attila in the far-out Omega Sector. Saved from capture by the Cylons, he is befriended by a group of youngsters desperate to get their father and planter inheritance back, soon preparing to use him for their own purposes as part of a prisoner exchange…

Donald Bellisario co-writes and directs this different kind of story from what we’ve been previously used to seeing, evoking some intriguing fairytale elements and atmospheric imagery - the scenes of the crashed viper and Starbuck’s pursuit by the Cylons through a swamp, followed by a rain soaked castle full of silver clad Cylons (supervised by a cunning and ambitious IL series leader, and rival to Baltar’s Lucifer, Spectre) prove eerie and memorable, as does the sight of horned horses, one of whom is ridden by a Thor helmeted young leader, Kyle (Charles Bloom, now a composer/lyricist).

Once again, the story make the most of the UNIVERSAL Backlot and its surrounding areas, staging some memorable and explosive action for its finale.

NOTE: To save practical filming time, Baltar’s Basestar Throne Room set is gone with this episode, replaced by a largish command area, where the human leader has a center podium area to give orders to his Centurions and Lucifer.

Commander Cain makes his fiery debut in The Living Legend.

THE LIVING LEGEND

Almost at the end of the line, its fuel resources near gone and the Cylons likely massing for a final battle, hope for humanity’s survival finally arrives for our heroes with the return of the legendary Commander Cain and his Battlestar Pegasus, previously believed dead years before at the Battle of Molecay. But despite the early joys, Commander Adama soon comes to mental blows with his old friend over their next course of action: the former wanting help to escape the quadrant whilst Cain believes a two-pronged assault by the Battlestars could deal a well-deserved death blow to the Cylons, especially those located at the nearby city of Gamoray. As hostilities between the two crews gather momentum, Baltar launches a sneak attack with three Basestars worth of Cylon Raiders…

Made in mind with a possible theatrical release, so as to continue making money back from the series high production costs, The Living Legend is a true corner stone for the series and one of its best stories. A highly ambitious two-parter coming at just the right time to bolster the series.

Cain and Apollo lock horns on military strategy.

Another gorgeous addition to the series: Anne Lockhart as the fiery Sheba.

Replacing Richard Crenna, the originally considered actor for the role, Lloyd Bridges, before becoming known and pigeonholed as a comedian in the likes of Airplane and Hot Shots, gives a terrific and highly memorable performance of gung-ho steel and charisma as Commander Cain, the living legend of the title- the General Patton of the Colonial Fleet, bringing along his mighty Battlestar Pegasus and his loyal crew and viper pilots, headed up by his daughter Sheba (Anne Lockhart-in a role specially created and written for her by Larson) and Bojay (Jack Stauffer) of the highly combat experienced Silver Spar squadron. Their tense friction with Adama and his more friendly, less battle hardened people is well realized and acted early on, eventually becoming a fine force against the Cylons by the end of part two.

Boomer (Herb Jefferson, Jr.) and Starbuck infiltrate the Cylon city.

Lots of exciting and memorable moments line this bold adventure, where its great to see two Battlestars side-by-side again, including Baltar, wearing a ceremonial Cylon helmet, leading waves of Cylon Raiders into an almost devastating attack on the Galactica and the fleet, but then being given a kick up the backside by, and soon making a hasty retreat from, the surprise appearance of the Pegasus. Then there’s Apollo and co.’s parachute landing into the heart of the Cylon Empire and destoying the control installations and anti-assault capabilities of Gamoray (of which the actors (in their cool black special mission outfits) enjoyed their night-time location filming, and the vital taking of its fuel depot. Finally, Apollo and Starbuck going into battle in their vipers against two Cylon Basestars, soon joined in devastating conflict by the Pegasus and its powerful missile blasts rounds out the epic story. Cain may not have made any further appearances in the series, but Larson had planned for the Pegasus and her die-hard commander to have survived its lethal space battle and return in the sadly not to be Season Two.

The sturdy Battlestar Pegasus.

Reused APOGEE created stock footage of the Cylon Tankers from the pilot episode is also nicely incorporated, as Apollo and Cain try to capture some for the Colonial Fleet, with the determined Cain deliberately destroying them in order to force Adama to go with his plans against Gamoray.

Baltar leads his warriors into battle.

In general, the Cylons also go out on a major high here, with plans underway behind the scenes to phase them out for the second half of the season. The Imperious Leader even makes a guest appearance, literally seen walking about Gamoray and giving a speech to the varied Cylons around him.

NOTES: By this time, another sci-fi series launched by Glen A. Larson was in production at UNIVERSAL: BUCK ROGERS IN THE 25^TH CENTURY, starring Gil Gerard, which would often heavily borrow props, models and costumes from the already-in-production Galactica. Many of the sets used for the Cylon City of Gamoray- a notable first for the series- would appear in Buck.

Cain is consoled by Sheba and Bojay (Jack Stauffer).

Pegasus viper pilot/warrior Bojay (Jack Stauffer), having been injured and ferried to the Galactica at the end of this story, goes on to make an appearance in the two-part episode War of the Gods, but sadly disappears from the series after that, though he is mentioned in the penultimate episode. It is also established at the end of this story that the Galacticanow has a full compliment of Viper ships thanks to the inclusion of the Pegasus’s squadrons.

An early poster design for the second Galactica movie compilation.

MISSION GALACTICA – THE CYLON ATTACK theatrical movie

With the series not yet being shown in most of Europe, The Living Legend became a second theatrical release and proved a reasonable success. It would undergo some re-editing in places, and made pacier- it’s original ending instead replaced with the explosive action and drama of the episode Fire In Space(as well as scenes of Cylons borrowed from the series finale The Hand of God), a move which proved a good fitting, so as to make it more spectacular for cinema audiences.

Additionally, the film would have extra or music and effects sequences provided by the UNIVERSAL HARTLAND facility (which took over effects filming of the series from APOGEE), plus re-used footage of the Carillon minefield sequence from the series pilot episode, Saga of a Star World.

The final action-packed poster for MISSION GALACTICA: THE CYLON ATTACK.

NOTE: When the UK’s ITV channel aired GALACTICA in 1980, Mission Galactica: The Cylon Attack was shown as a two-parter at the end of the series run, but The Living Legend was not shown. Neither was the original version shown in the BBC 2 networked run of the late eighties. It wouldn’t be until the early nineties that The Living Legend would finally be aired in its original form on the UK satellite channel SKY ONE, when it bought the rights to screen the series on Sunday afternoons.

Mission Galactica opening titles: Mission Galactia Opening Credits in Stereo - YouTube

Explosive carnage on the Galactica bridge in Fire in Space.

FIRE IN SPACE

In a fun variation of The Towering Inferno/Irwin Allen disaster movies of the seventies, written by Jim Carson and McDonnell, from a story by Michael Sloan, two Cylon kamikaze pilots, their ships packed with explosives, spectacularly crash into the Galactica’s bridge (one of the most expensive and complex sets then built at UNIVERSAL STUDIOS) and Alpha Landing Bay, causing a resultant fire that spreads havoc across the ship and threatens Adama and his families lives, especially Athena and Boxey, who, alongside Boomer, are isolated and trapped in the smoke fuelled Rejuvenation Centre...

In an episode of heroism, Muffey the daggit gets to be the real life-saver, sniffing out sweet musheys to reach the damaged Galactica bridge and bring vital breathing equipment needed to save Boxey, Athena and Boomer. Meanwhile, Adama is critically injured, requiring open-heart surgery from Doctor Salik, at a time when the ship’s power supplies are on the brink of non-existence, in another tense sequence well handled by director Chris Nyby, Jr.

The fire control teams try to put out the many blazes.

A heavy effects episode, the UNIVERSAL HEARTLAND facility gets the chance to show their worth as successors to John Dykstra, notably with the Galactica’s damaged surface and landing bay, now a seemingly unstoppable inferno as Apollo, Starbuck and new series regular Sheba attempt strafing runs with extinguisher payloads. On the practical effects side, the fire scenes are also well staged (alongside effective stock footage), whilst Richard Hatch and Dirk Benedict get attached to kirby wires for the scenes where they lay explosive charge on the Galactica’s hull (a combination of studio set and blow-up photo background work) in order to let the vacuum of space flood the ship and put out the fire.

NOTE: The episodes sees the last major use of space battle footage in the series until the final episode.

Adama meets the dangerous Count Iblis (Patrick Macnee) in War of the Gods.

WAR OF THE GODS (Two-parter)

When four viper pilots disappear in mysterious circumstances near a distant world, Apollo, Starbuck and Sheba encounter the mysterious and powerful Count Iblis, bringing promises to humanity that he can deliver them safely away from their Cylon enemies and deliver them to Earth.

With the weary rag-tag fleet soon beguiled by the newcomer, shunning Adama in favour of his leadership, Apollo must discover the incredible truth about Iblis’s identity, and the mysterious lights engaging the fleet linked to his presence, before they all sell their soul to a very real presence of evil…

Mysterious alien lights plague the Viper squadrons.

Generally regarded as the series, and Larson’s, most successful story, this two-parter sees in a major format change, of which GALACTICA was now starting to find its own identity. The Cylons are written out of the show, whilst Baltar surrenders himself to the Galacticans, fearing a new and more powerful alien presence is on the rise. The remnants of the human rag-tag fleet also start to try and build an internal life of sorts for itself, with sports, communications and entertainment helping to soothe the constant threat of destruction.

The show now starts to explore bigger concepts beyond space battles- a more spiritual awareness of sorts with the conflict between good and evil taking on an altogether more far reaching form with the emergence of the mysterious Count Iblis, the series version of Lucifer himself, banished from the heavens, and his opponents against darkness with the super futuristic beings- the white light “angels”- who help the Galacticans in their quest to find Earth.

Our heroes meet Count Iblis on an unknown planet.

Already the voice of the Imperious Leader in the series, and providing the series opening narration, Patrick Macnee is superb in quite easily one of his best guest roles outside of John Steed of THE AVENGERS. In many ways Iblis is like a corrupted and malevolent version of Steed, oozing charm but also menace once he has the colonial fleet spellbound, almost like a Vampire hypnotising his prey, what with his abilities and promises to deliver them to Earth. Iblis’ effects are particularly shown towards fleet and series newcomer Sheba, now a firm part of the Galactica family, of which Apollo “dies” saving her life.

Giving the series some heightened class, newcomer director Daniel Haller brings his distinctive talents to the series, and this story also has some very nice moody lighting work. The red/pink tinted photography of the alien world in which Iblis is first discovered is another series highlight (achieved through infrared filming techniques), though, on the scares front, it’s a shame that the filmed but cut “cloven hoof" moment linked to his deceased followers couldn’t be found and included on the DVD or put back into the story- at the time it was edited out for being too much for the TV censors to take, in fear of upsetting American religious groups. Such a scene would ultimately be left to our imagination, though the negative shots from Apollo and Starbuck’s blasters towards Iblis, where the creatures true visage is shown, are effectively done, part of several other chilling moments that certainly lingered in my then ten-year old mind.

Starbuck meets the Angels of Light.

NOTE: In a similar style of narrative, to keep viewers informed of what’s going on, as Captain Kirk did with his log entries in STAR TREK, Adama begin his own personal log for the series.

Doctors Wilker (seen in the pilot episode, played by John Dullaghan) and Salik continue to make appearances through the series. With the introduction of Sheba, Boomer duties are expanded beyond being a Viper pilot. He becomes an occasional helper to Doctor Wilker in the field of electronics and communications.

Dirk Benedict has fun with Fred Astaire, filming The Man with Nine Lives.

THE MAN WITH NINE LIVES

On the run from a blood hunt initiated by a trio of powerful Borellian Nomen humanoids, wily but lovable old confidence man Chameleon, desperate to escape his life-threatening scenario, pretends to be Starbuck’s father in order to outmaneuver them. Thinking Galactica will be a safe haven, it isn’t long before the Nomen find their way to the vessel for a final confrontation-with the orphaned Starbuck, convinced he has restored a part of his family-caught in the middle of it all!

A charming script with some fine character moments from Bellisario, this is easily another one of the series best episodes, well-made and featuring a terrific and much promoted special guest star appearance from the legendary dancer/actor Fred Astaire (apparently urged on to appear in the show by his family) in the role of Chameleon (his character, and playing of the part, in many ways similar to the role he had in The Towering Inferno). His scenes with Dirk Benedict clearly sparkle-the young actor puts his real life awe of Astaire into his performance. On or off screen, they’d make a great father and son team.

Lance LeGault as one of the dreaded Borellian Noman, Maga.

The big-haired, big eye-browed Borellian Nomen, led by the always-sinister smooth voice of Lance LeGault, are an excellent addition to the series.

NOTE: Character-wise, we find out a lot more about Starbuck in this episode-that he was an orphan child during a Cylon attack on Caprica.

On and off supporting actors include Leann Hunley and Alex Hyde-White, playing viper pilots, and TALES OF THE GOLD MONKEY’s Jeff MacKay playing computer officer Komma (his first appearance being in extra material shot for Gun on Ice Planet Zero).

Colonial Warrior Ortega (Frank Ashmore) is slain, in Murder on the Rising Star.

MURDER ON THE RISING STAR

Written very quickly to meet production, Donald Bellisario, Jim Carlson and Terrence McDonnell (from another story by Michael Sloan) deliver a solid variation on the familiar whodunit/detective genre, as Starbuck is framed for the murder of a long-time rival viper pilot after an intense game of Triad (a colonial sport- part squash, part basketball-that made its first appearance in War of the Gods). It’s up to Apollo as Starbuck’s Court protector to put his life on the line and unravel the mystery, discovering the real killer - who has prior links to the destruction of the colonies by the Cylons- before his friend is condemned to a hellish life of confinement aboard the Prison Barge.

Boomer plays for time as the court determines Starbuck's fate.

With strong character moments mined by Benedict from Starbucks imprisonment and the accusations of murder against him, plus from Richard Hatch as Apollo, racing against time to protect and save him, Murder is nicely directed by Rod Holcomb, who also provides some effective, atmospheric moments once the true killer is revealed. It’s pretty much filmed back-to-back with The Man With Nine Lives, in order to make the most of existing sets and costumes.

Watch out for a memorable, if brief, appearance from V’s Frank Ashmore as the soon deceased and rather unpleasant Flight Sergeant Ortega.

Adama and Salik inspect the alien family in Greetings from Earth.

GREETINGS FROM EARTH

Originally aired in the US as a two-hour episode, this Glen A. Larson yarn is a reasonably successful attempt to send the series off into further new story areas, and win higher ratings capitalizing on the possibility that the Galactica may finally have discovered the lost Thirteenth Tribe and Earth. (ABC had incredulously wanted the fleet finding Earth three or four episodes into the run-an idea thankfully rejected by Larson.)

On deep space probe, Apollo and Starbuck discover a space shuttle whose crew-a family of five- is in suspended animation. Believing then to be from or related to the Thirteenth Tribe, the ship is mistakenly brought on to the Galactica, of which chaos and antagonism deciding the fate of its occupants, and their next steps in finding Earth, breaks out between the Colonial Warriors and the members of the Council of Twelve (and their own internal security). Going against the council’s order, Apollo stages a munity of sorts and puts the newly awakened humans back on their original special trajectory-to the isolated world of Paradeen, where they discover a section of the galaxy in civil war, and the looming threat of the Eastern Alliance, Nazi-esque villains who have now discovered the presence of the human fugitives and their viper escort, and soon on their way to investigate them…

 

STAR WARS fans think they had it rough with Jar Jar Binks, but GALACTICA had Hector (Bobby Van) and Vector (Ray Bolger)!

The first hour of the story with the Galacticans clashing and debating over what to do with the suspended animation humans is very well written and acted, but once the newcomers are put back on their journey and arrive on the planet Paradeen, things began to lose interest. Despite the nice feel of the outdoor location filming (most of it quickly filmed in Montreal, Canada, at the site of the once EXPO 67, of which some filmed footage is reused in the BUCK ROGERS series), the arrival of the family viewing robots Hector and Vector (played by Bobby Van and Ray Bolger) quickly brings things down a bit in tone, quality-wise.

NOTES: Maren Jensen and Noah Hathaway sadly make their last appearances as Athena and Boxey in the series (Anyone out there known where Miss Jensen is these days?). Muffey the daggit is also phased out so as to stop the expensive delays in filming that Evie the Chimp often brought with her when inside her restrictive costume.

If the story had been more successful there may have been a spin-off series linked to the family of humans, but fortunately this didn’t happen.

Baltar confers with Commandant Leiter (Lloyd Bochner) and Maga in Baltar's Escape.

BALTAR’S ESCAPE

With Adama and the Council of the Twelve in a state of friction over the recent arrival and treatment of the captured, highly dangerous Eastern Alliance soldiers, Baltar, not one to be caged up, uses the new prisoners and the previously captured Borellian Nomen to stage a daring break from the Prison Barge, then sneak attacking the Galactica and taking the incompetent council hostage in the process.

An effective episode written by Donald Bellisario, directed by Winrich Kolbe. Colicos, as ever, is excellent-funny and grudge-filled, whilst guest star Ina Balin gives strong support as Adama’s latest antagonist from the council, hindering the Colonial Warriors at the exact moment that Baltar and his cronies make their escape. In this triple villainous threat, its nice to have the Nomen back one last time, as we discover more about their abilities- one intriguing scene shows them momentarily “dying” in order to begin their attack on their inept Council Security jailers.

Note: Sarah Rush makes her last appearance in the series as Rigel, literally as a walk-on on the bridge.

The Eastern Alliance plan destruction in Experiment in Terra.

EXPERIMENT IN TERRA

Glen Larson’s version of Heaven Can Wait sees Apollo, gaining a new identity and face when seen by non-Galacticans (an idea later used by Donald Bellisario for QUANTUM LEAP), being friendly coerced by the mysterious Lords of Light into working for them on a perilous mission, accompanied by their mysterious aide, John (Knight Rider’s stiff upper-lip Edward Mulhare), in order to stop the humans of Terra and its People’s Nationalist Force from being destroyed by a sneak attack from the Eastern Alliance forces (during a sue for peace cover similar to the way the Colonial Worlds were destroyed).

With a little help along the way from Starbuck and the Galactica’s supreme force field technology, they succeed but the search for the real “Terra” and the Thirteenth Tribe continues anew…

Co-starring blonde VICTORIA’S SECRET model/actress Melody Anderson before her work playing Dale Arden in the FLASH GORDON movie of 1981, as well as old TV favourites Ken Swofford, Nehemiah Persoff and Peter D. MacLean, Experiment is a nice idea but hardly a classic episode, ending the Terra/Eastern Alliance plot on a solid if unsubstantial note.

Ana Alicia guest stars in Take the Celestra.

TAKE THE CELESTRA

Starbuck discovers that his former love Aurora, whom he through had perished at the destruction of Caprica, is very much alive and well, working on the electronic ship, the Celestra, located at the edge of the rag-tag fleet. On his way to her and try and soothe old wounds, he and Apollo are soon caught in a mutiny by Aurora and some of the lesser treated members of the Celestra’s crew, struggling to survive against the tyranny of the ships commander, the formerly retired Commander Kronus (Paul Fix), and his Second Officer, Charka (Nick Holt).

Guest star Paul Fix (seated) is Commander Kronus.

A watchable episode by Jim Carlson and Terrence McDonnell, with a strong guest star turn from popular eighties US TV veteran Ana Alicia as Aurora, with some nice character material for Laurette Spang as Cassiopeia, whose relationship with Starbuck becomes fragile here.

The Galactica strikes back against a Cylon Basestar in The Hand of God.

THE HAND OF GOD (Series Finale)

Intercepting mysterious communications that may have come from Earth, the Galacticans, investigating a nearby system, unintentionally discover a lone Cylon Basestar, and decide to take it on in a do-or-die battle…

The incorporation of the famous Apollo Moon Landings footage of 1969 into the season, and series, finale, feels very right, providing eerie promise of things to come. Also making a welcome return to the series are the much-missed Cylon nemesis, with their surprise reappearance. We also get to see more of their technology, too, inside the Cylon Basestar, courtesy of new effects and model work, and interior filming showing the central core of the vessel as Apollo and Starbuck bravely enter the immense ship in order to knock out its sensors and guarantee the Galactica’s first unsuspecting strike against it.

Inside one of the Cylon Basestar's visually impressive launch bays.

Interestingly, the episode has a surprisingly somber tone to it, and presents a feeling of closure in many ways beyond being a season finale. Donald Bellisario does a splendid job as writer and director, and once again adds some nice visual flourishes here and there. Its also great to see our main heroes acting rather than reacting- a classic moment shows Adama and Tigh deciding that they’re tired of running, wanting to make a battle stand against their old enemies-the first and possibly only time that they’ll have the advantage.

Our heroes ready for battle.

There’s further interesting character developments, nicely written and played, as, not knowing if he’ll come back, Sheba declares her love for Apollo- the pair now on the road to becoming lovers, whilst Cassiopeia chastises Starbuck for going on such a dangerous mission, which brings out some nice interplay with Dirk Benedict’s playful but serious Starbuck.

Baltar agrees to help Adama.

Baltar also gets a strong farewell, with lots of possibilities for his character opened up had there have been a second season renewal.

Galactica's final battle: Battlestar Galactica Original (1978) Hand Of God - YouTube

BEYOND THE SERIES

Later in 1979, creator Glen A. Larson, realising how popular the show still was, would try to get his planned second season of GALACTICA onto the air, but to now avail, though a new incarnation of the original format would be green-ulighted for a much younger children/family audience, whether Larson wanted to be involved in it or not. This would be GALACTICA: 1980, debuting January 27^th 1980, showing a future time thirty years on from the original series, where the Galactica and the rag-tag fleet, still led by a now bearded Commander Adama (reprised by Lorne Greene), finally discovers Earth but realizes that its human populace in the timescale of 1980 are technologically not ready to join forces with them in order to fight the still pursuant Cylons. Instead, a small group of Colonial Warriors, led by Troy (known as Boxey whilst a child, played by Kent McCord) and Dillon (Barry Van Dyke) must try to help push the people of Earth forward covertly, from behind the scenes, one step at a time, into becoming a force ready for what’s to come, and also stop their fragile civilization from destroying itself.

Lorne Greene would return in GALACTICA: 1980, with newcomers Barry Van Dyke, Robyn Douglass and Kent McCord.

Garnering strong ratings for its pilot launch, any future potential for the series soon died a quick death du to network interference. With a very limited budget, few of the original cast available or wanting to return for a possible lower quality series (alongside the regular presence of Greene, only Herb Jefferson would additionally return for a couple of episodes), lots more reuse of stock footage and sets, alongside clichéd scripts that were often quite juvenile, this over the years much maligned, one-season running show was almost the final nail in the coffin for the original series legacy. Fortunately, its final episode, The Return of Starbuck,bringing Dirk Benedict back for a charming and slightly sad tale, in which he and a lone Cylon have to fend for themselves on a far-off planet, ends the show, and GALACTICA as a whole, on a small peak of success. Thankfully, over time and following its passing, the original series popularity beyond its cheap successor would grow further, much like the original STAR TREK…

Starbuck consoles his dying Cylon "friend" in GALACTICA: 1980's The Return of Starbuck.

The original one season of BATTLESTAR GALACTICA would briefly enter into US syndication, its episodes then edited into a series of twelve feature-length TV movies (again for States-side syndication). 1979 also saw the release of The Living Legend and Fire in Space as a theatrical event in Europe- Mission Galactica: The Cylon Attack, with sound transferred once more into the seat rocking SENSURROUND process, where it proved a modest success.

The popular UK's children's magazine LOOK-IN celebrates the arrival of BATTLESTAR GALACTICA. 

The series debuted on the UK’s ITV channel in 1980, shown in two chunks with a gap of several months between them, where it was a huge success on London’s THAMES TV in a Thursday mid-evening slot. Sadly, ITV did not show it in a fully networked time and date across the country, so the full force of its ratings for the channel would never be known – a situation that occurred frequently with popular US series on that network, especially in the eighties.

The rival UK BBC 2 channel later showed the series bar The Living Legend, and went on to air the subsequent Galactica 1980 (the latter having also aired a short period earlier on early mornings in Children’s summer holidays on ITV). Both GALACTICA series, sold in one package by UNIVERSAL, were later a firm fixture of the UK’s SKY ONE satellite channel in the early nineties and would be a huge success in later re-runs for the SCI-FI Channel and BRAVO networks. Later on, the series thrived in VHS tapes and DVD sales, then in reruns across the world and in the UK.

Loyal buddies: Starbuck and Apollo.

The series was released on VHS tape in all markets, though the first commercial run in the UK (two episodes to a tape) was never completed. A later box set comprising episode compilations and the two-parters was a limited edition success. Finally, a complete series DVD box set of the original show, within a lovely Cylon Helmet box packaging, would be released on DVD in 2004, with lots of special behind the scenes extras, from UNIVERSAL.

Some of the reasonably successful toy range figures from the series.

Merchandise-wise, the UK late seventies period had two annuals, a bubble gum card series, and a small wave of imported figures and accessories, though sales never reached thee stratospheric heights of the exploding STAR WARS franchise. There was also a series of fourteen books and a MARVEL COMICS series that run for several years. Into the nineties and beyond, the series returned in comic book form numerous times and led to a wave of specialized merchandise including models, more trading cards, and the like. Conventions celebrating the old series (later mixing it and the newly re-imagined 2003 onwards series) were soon starting up, as well as numerous talk of the cast reuniting for movies over the years. (Larson’s own pitch for a new movie on the Battlestar Pegasus is still ongoing). Richard Hatch even tried to get a direct sequel to the original series off the ground in the early 2000’s- an exciting event which very nearly came to fruition after he financed his own spectacular trailer for the project, then a later book series which won acclaim, and healthy sales, from fans.

Lorne Greene brings great weight and charisma as Commander Adama.

BATTLESTAR GALACTICA, 35 years on, remains as enjoyable as ever-its core being a family show full of action and adventure, and possessing a lot of heart with its close-knit family atmosphere. Its well-chosen cast, some nice humour and characterizations, still great model effects work and a satisfying mix of drama and adventure endure. The mythical story of the rag tag fleet and its search for Earth resonates intriguingly, as does the welcome lead presence of Lorne Greene as the matriarchal commander- an actor of warmth and commanding presence that was a genuine bonus to the series.

Critics are quick to always knock GALACTICA as a second-rate STAR WARS imitation, but such quips haven’t altered the fact that the show wasn’t a blip on the radar or a one-hit wonder- it has survived and enjoyed its incredible 35 years of life as a television series pop culture icon, despite only running that single season- a very impressive status to have.

Exceptionally well-made, it remains one of the best seventies series to come out of Hollywood, and quite probably Glen A. Larson’s finest hour.

For more on the original BATTLESTAR GALACTICA series, check out: BATTLESTAR GALACTICA - SAGA OF A STAR WORLD

The original theatrical movie of BATTLESTAR GALACTICA is now available on US Blu-ray (from BEST BUY). More info here: Battlestar Galactica Blu-ray

BATTLESTAR GALACTICA Blu-ray campaign: (1) Classic BATTLESTAR GALACTICA BluRay Campaign

Get hold of the complete series of BATTLESTAR GALACTICA on DVD here: Battlestar Galactica - The Complete Series 1978 DVD: Amazon.co.uk: Richard Hatch, Dirk Benedict, Lorne Greene, Herbert Jefferson Jr., Maren Jensen, Tony Swartz, Noah Hathaway, Terry Carter, Lew Ayres, Wilfrid Hyde-White, John Colicos, Laurette Spang, Alan J. Levi, Richard A. Colla, Glen A. Larson, John Dykstra, Leslie Stevens, Michael Sloan, Winrich Kolbe: Film & TV

'KOOL TV' HITS THE MILLION!

The cast of the original STAR TREK movies raise their glasses to celebrate KOOL TV's fabulous landmark.

A big, epic THANK YOU to all our worldwide readers for their support in helping the KOOL TV website reach this epic one million hit milestone.

There's lots more features, showcasing old and new TV series, on the horizon, not to mention more of our always popular KOOL TV "Babe of the Week"...

To quote our TREK-ian friends: "The Human Adventure is just beginning..."

KOOL TV REVIEW: 'DOCTOR WHO - REGENERATION' DVD SET

Periods of renewal for our Time Lord icon are explored and celebrated in the new BBC DVD set: REGENERATION. All images: BBC.

DOCTOR WHO: REGENERATION (DVD BOXSET)

Starring William Hartnell, Patrick Troughton, Jon Pertwee, Tom Baker, Peter Davison, Colin Baker, Sylvester McCoy, Paul McGann, Christopher Eccleston, David Tennant and Matt Smith as the Doctor

Now available from BBC DVD

Reviewed by Scott Weller

With current TARDIS incumbent Matt Smith getting ready to hand in his fez and pass on his sonic screwdriver as DOCTOR WHO to an all-new actor, for an all-new generation of families to enjoy, BBC DVD, celebrating the show’s fiftieth anniversary, and reminding us that the show has successfully had ten previous actors in the title role in the lead-up to the Eleventh’s surely spectacular finale, presents a lovely and timely new DVD box set (with lavish info-packed accompanying book)- REGENERATION- reminding us all why the show is so unique and just how revolutionary, and handy, the idea of bodily regeneration would be for the series and its iconography- an inspired, if at first seemingly desperate, behind the scenes measure turned culturally significant event, that started way back in 1966…

Regenerations box set: Coming Soon - Doctor Who - YouTube

Come with us as we explore and review these always sad but magical times in the shows past…

 

Emerging from the snow, the Cybermen make their first appearance in The Tenth Planet.

THE TENTH PLANET (William Hartnell - 1966)

The emergence of Earth’s long-lost twin planet Mondas and the arrival of strange inhuman beings at an isolated arctic base become part of the catalyst for the first iconic regeneration of the original incarnation of the heroic wanderer in time and space, the Doctor (an overall kindly, yet authoritative, often crotchety, performance from the iconic William Hartnell), in the enjoyable conclusion to his three-year reign: THE TENTH PLANET.

Soon becoming second in rank to those gliding metal abominations, the Daleks, as the Doctor’s most enduring and dangerous enemies, these early Cybermen may not be as visually pleasing in this introduction tale as they would be in later incarnations, but their chilling potential, devised by series script editor Gerry Davis and writing partner, scientist Kit Pedler, soon becomes apparent. With creepy human hands, their faces and bodies wrapped tight in medical stockings, alongside cruelly inhuman eyes sticking out, and unusual and unfeeling computer controlled tone voices, their first appearance, planning to absorb the Earth and their cousins of humanity in order to stop their planet’s impending disaster, is a memorable one.

 

The Doctor (William Hartnell) and Polly (Anneke Wills) confront the Cybermen.

Sadly, despite one major, verbal confrontation with the creatures, William Hartnell’s Doctor is not the head of the party in their ultimate, overall satisfying defeat. Unwell throughout this and the other stories of his final seasons, and in constant conflict with his era’s then producers, the lead star’s forced departure from the series is truly the end of an era, but feels tacked on to the overall alien invasion/base under siege story that would become so commonplace in later WHO stories, with no real reason given for his “rejuvenation” other than his telling companions, sea-faring Navy boy Ben (Michael Craze) and genuine sixties dollybird Polly (Anneke Wills), that his old body is now “wearing a bit thin.”

 

The incredible first regeneration of William Hartnell into Patrick Troughton.

Still, that classic scene, a first for the series, and the key to its overall longevity for the next fifty years, proves a simple but effective handover to the younger, but just as experienced, character actor Patrick Troughton, the soon “Cosmic Hobo” of the series, and its next custodian, for the following monster-packed three years.

Note: Presented on the disc are the original surviving three episodes of the story. The fourth and final one, sadly missing from the BBC Archives bar a few surviving film clips (including the all-important regeneration, survived through the good fortune of having appeared on a seventies episode of the children’s magazine programme BLUE PETER!), is represented in impressive, full animation form from the BBC, in conjunction with the Planet 55 studio, alongside the surviving off-air soundtrack recording. It’s a triumphant restoration. 

 

The First Doctor collapses, ready to regenerate in the story's closing moments, brought back to life in animated form for the new release.

Animated clips:

http://www.youtube.com/watch?v=gB788m2iAnE&feature=player_embedded

http://www.youtube.com/watch?v=wASEpjDsLGo&feature=player_embedded

Time chaos for the Second Doctor in The War Games.

THE WAR GAMES (Patrick Troughton - 1969)

Believing they’ve arrived in the sodden, battle intense trenches of Earth’s Great War, the Second Doctor, with his companions heroic highlander Jamie McCrimmon (Frazer Hines) and super-intelligent Zoe Heriot (perky Wendy Padbury), instead find themselves caught in an alien war games experiment, with peoples and eras from the planet’s most savage periods of history deliberately put in continuous combat scenarios, assembled for a planned attack on the galaxy by the alien War Lord and his legions.

Recently joined series writer Terrance Dicks and buddy Malcolm Hulke deliver an epic story concluding the shows atmospheric black and white era (and handily filling a huge behind the scenes hole on two adventures that had fallen through due to production problems), combining history and action runaround science fiction in an exciting package, plus an intriguing new alien menace in the shape of the War Lord, a coolly evil presence from Philip Madoc, with his ambitious scientist cohort, the War Chief (Edward Brayshaw), who is also discovered to be an exile from the Doctor’s own race…

 

In the trenches, the Second Doctor (Patrick Troughton), with Jamie (Frazer Hines) and Zoe (Wendy Padbury).

Director David Maloney keeps things zipping along and the only hint of story padding to the ten-parter is felt around episodes five and six, though the introduction of the shows principal alien villains a short time after quickly propels the adventure to an exciting and memorable conclusion, and a fitting end for Troughton, giving us a glimpse of the characters past history, and the huge powers and responsibilities of the series early incarnation of the Time Lords (of the later Jon Pertwee era named Gallifrey).

 

His regeneration exile begins...

Having limited resources to contain the situation, the Doctor eventually has no choice but to call in help from his people to imprison these very dangerous adversaries, but the price will be his fugitive freedom to travel in space and time, punished into exile to his favourite planet, with vital knowledge of the TARDIS removed, along with a new regenerated persona…

 

Behind you! The Third Doctor (Jon Pertwee) confronts a controlled Sarah (Elisabeth Sladen) and one of the Planet of the Spiders.

PLANET OF THE SPIDERS (Jon Pertwee - 1974)

The evolutionary enhanced spiders of the Metebelis Three planet, led by the fearsome Great One, are desperate to recover the power of their “stolen” Great Crystal, now residing in the Third Doctor’s borrowed hands on Earth. Soon arriving on our planet, they use a corrupted, bitter human, Lupton (John Dearth) to capture it, in a conflict that takes the Time Lord and his loyal companion, Sarah Jane Smith (Elisabeth Sladen) to their alien stronghold for a final confrontation…

Confronting the Great One on Metebelis Three.

"Tears, Sarah Jane?" The Third Doctor begins his transformation.

Facing his fears against the terrifying powers of the hysterically evil alien spider, The Great One (some nice practical effects work for their time from Ian Scoones and Matt Irvine), action hero WHO incarnation Jon Pertwee bows out in true JAMES BOND-esque style in the shows early episodes (his use of gadgets and technology, mirrored by the actors love for them in real life, effectively used for one last big chase episode), but its his serious character acting side that shines the brightest in the story’s final episode, saving the universe in style as the Doctor shows his personal, inner courage- actions that will soon send his radiation poisoned body into a new, more Bohemian, regeneration.

 

Our iconic hero is once more forced into an alliance with the psychotic Master (Anthony Ainley) in Logopolis.

LOGOPOLIS (Tom Baker - 1981)

Big scarfed, bigger- than-life Tom Baker’s incarnation of the Time Lord, the most popular incarnation of the role during its classic years, is at his doom-laden best here. All he wants to do is repair the TARDIS and its shape changing chameleon circuit, with the help of friendly mathematical aliens the Logopolitans, but his vengeance fuelled rival, the evil Master (now in a newly regenerated form, played in a sneerily insane, not yet camp way by Anthony Ainley) will stop at nothing to destroy him, whilst also using Logopolis’s mathematics over matter abilities to control the universe.

Abandoning the previous seasons often over reliance on humour, scientific journalist and then current script editor Christopher H. Bidmead provides an intriguing, sometimes chilling, sci-fi concept linked to the entropy factor, whilst also brilliantly building towards the story’s last-rites atmosphere/flavour (helped by Peter Grimwade’s efficient direction) for Baker’s anticipated, but fan dreaded, end of seven year dominance regeneration into the series new promising lead star Peter Davison (who soon takes the series firmly into the eighties like a breath of fresh air, alongside three equally young companions in the TARDIS). The introduction of the eerie and unusual third party to this finale- the mysterious “Watcher” - proves an intriguing series development leading in to that all-important changeover.

 

Time has run out for the Fourth Doctor.

A new Doctor for a new era.

“It’s the end, but the moment has been prepared for…”

 

A hero to the end. The Fifth Doctor (Peter Davison) rescues Peri (Nicola Bryant) in The Caves of Androzani.

THE CAVES OF ANDROZANI (Peter Davison - 1984)

On the far distant, future world of Androzani Major, the Spectrox chemical is the most desirable and expensive substance in the universe- an ultra-efficient OIL OF ULAY that can increase humanity’s lifespan. Worth its weight in gold, men (and women) will kill to capitalize on and control its use.

But in its unrefined state its also a killer, as the heroic and vulnerable Fifth Doctor and his spirited American sidekick Peri (Nicola Bryant, in her finest performance in the series) soon discover to their peril in THE CAVES OF ANDROZANI, a story that years later still lives up to its distinguished and acclaimed moniker from fans as the original series all-time classic.

 

The Doctor and Peri meet Sharaz Jek.

A true and tragic victim of fate and circumstances, Peter Davison’s energetic, kindly cricket-loving, celery stick lapel wearing Fifth Doctor is caught in a war between the Androzani system’s politically controlled army, ruthless gun runners and a revenge fuelled madman and his robot duplicates, hiding and fighting in the Spectrox thriving caves of Androzani Minor.

Playing the role for an all-too brief three years, the Fifth Doctor bows out with the noblest and bravest death of all the Time Lord’s incarnations, ultimately sacrificing his life not to save the universe, but his friend and companion, retrieving the last vestiges of antidote against overwhelming odds and an on-the-brink-of-collapse state of health. The story is not only Davison’s accomplished swansong, its also his strongest series performance, working from a brilliant script delivered by returning and remarkable series talent Robert Holmes, efficiently directed with zest and vigour by then newcomer Graeme Harper, who grabs hold of the material with both hands and doesn’t let go of it, breaking the bounds of what could be accomplished at the time in the BBC studios, bringing enthusiasm and dedication to the series whilst amping up a stellar cast (including John Normington as the duplicitous conglomerate boss Trau Morgus, and dancer/actor Christopher Gable in a towering, award-worthy performance as the brilliant but deranged, facially damaged scientist Sharaz Jek).

 

The dangerous but tragic figure of Sharaz Jek (Christopher Gable).

CAVES OF ANDROZANI is a triumph in every aspect- a passionate story of action, horror and tragedy that totally transcends its limited budgetary resources, and whose sterling reputation-the jewel in producer John Nathan-Turner’s crown- remains undiminished, soon proving hard to match or equal in the shows subsequent classic years of story telling.

 

"Feels different this time." The Doctor begins to regenerate.

"Change, my dear..." A zestful Colin Baker arrives on the series.

With the series finest visually realized regeneration blazing onto the screen, Colin Baker’s curly haired, at first seemingly unstable and fiery, yet dedicated, portrayal of the Sixth Doctor is soon leaping into action, though his presence, in a tasteless conceived multi-patchwork outfit, soon proves controversial with fans, audiences and incoming, snobby BBC management…

 

Strange matters for the new Seventh Doctor (Sylvester McCoy) in Time and the Rani.

TIME AND THE RANI (Sylvester McCoy’s entrance and the Sixth Doctors exit - 1987)

Unfairly axed from the series by a threat to the Doctor’s existence far greater than anything he had previously faced in his then twenty-three year TV reign- the determined to exterminate the series veneer of the smug and unimaginatively plodding BBC chief Michael Grade (at the time seen as a savior of the corporation, but with an axe to grind against the long-running series and its star), Colin Baker’s big-brained, big-egoed Sixth persona never had the chance to truly emerge from the starting gate with audiences, his seven-year plan to slowly show us more facets to the role abandoned to the vagaries of the land called What if?

 

A wigged Sylvester McCoy gets ready to film the Sixth Doctor's hasty regeneration.

Angry and emotionally bruised by his sacking after only two years on screen, Baker quite rightly refused the BBC’s offer to come back for a final four-part tale the following season, that would see him blown up by its conclusion and regenerating into the soon chosen visage of comedian/actor/stage talent Sylvester McCoy, bringing his own unique Scottish brogue to bear, along with a touch of Troughton flavoured comedy and some later darkness, to his Seventh incarnation.Instead, the story would be hastily re-shaped and McCoy, courtesy of a blonde curly wig, would play both the Sixth and newly regenerated Seventh Doctor in the opening moments of TIME AND THE RANI, launching the series twenty-fourth season in colourful calamity in 1987, the series-changing incident caused by a head injury sustained inside the TARDIS, after the time/space vehicle is ripped out from the vortex by the machinations of his old nemesis, the unscrupulous and immoral The Rani (played by the striking and sexy Kate O’Mara, fresh from American success in the series DYNASTY).

In a story with some strong ideas at their core (including a mysterious asteroid made from Strange Matter (a very real scientific phenomenon being studied today), plus the introduction of an excellent race of bat-like creatures, the Tetraps), the overall visual style of the story and solid direction from series newcomer Andrew Morgan shines the greatest- the shows then reduced episode count, from twenty-six to fourteen, giving the show more necessary funds to utilize.

 

Stuck in the middle. The new Seventh Doctor with the Rani (Kate O'Mara) and Mel (Bonnie Langford).

Newcomer McCoy shows promise in early and later scenes within fan-controversial Pip and Jane Baker’s story, though the idea of the Rani impersonating his at-large and in danger companion Melanie (Bonnie Langford- the genuine Scream Queen of the series), in order to get the at-first amnesiac Doctor to work for her on her universe dominating bio-technology, strains credibility, not quite stretching to the opening two episodes.

Very much a child of 1987 (right down to the overloaded synthesizer incidental score by Keff McCulloch), and much derided at the time of transmission, TIME AND THE RANI has often been seen by a great many as the true beginning of the end for the classic series, but ultimately it isn’t as bad a beginning to the three-year McCoy era as many would have you believe, proving perfectly watchable stuff for the most part…

 

A lively Eighth Doctor (Paul McGann) and Dr. Grace Holloway (Daphne Ashbrook).

DOCTOR WHO: THE MOVIE (Paul McGann – 1996)

Colin Baker may have been treated badly as the Doctor off-screen by Auntie Beeb and its WHO hating elite cadre located at the Top Floors of Shepherd’s Bush TV Centre, but their treatment of the on-screen Seventh persona of Sylvester McCoy would prove far worse and totally cruel with his guest appearance in the shows popular, though then sadly one-off return in 1996- emerging from the TARDIS on the eve of Earth’s Millennium, forced into landing in San Francisco by the gooey form of a body destroyed The Master (at first well played by Eric Roberts , but later straying too far into camp mode), our no longer paisley tied hero is brutally gunned down by a group of Chinese gangsters, then accidently killed off through mistakes made by human doctors trying to save his life on the operating table. Thus the scene is set for McCoy’s by now happy-go-lucky character to regenerate in to the mercurial but no less heroic Paul McGann, a great Doctor whose later potential would thankfully be shown in the vast range of official BIG FINISH audio dramas, wearing an acquired fancy dress party outfit homage to America’s Buffalo Bill, as he and new companion, Dr. Grace Holloway (a spunky performance from Daphne Ashbrook, who would have made a great regular series companion had it continued), rush to save the now humanoid Master from destroying Earth and stealing the TARDIS.

This co-production between the BBC and FOX/UNIVERSAL could have been a disaster, but the film works for its first two acts (introducing elements that later 2005 onwards series writers and producers would expand on) until a messy ending that, at the time, was the best that could be thought up to satisfy all interested parties/backers. A big hit in the UK, it’s distinctiveness British-ness, on a bigger budget than ever before and made throughout on film, failed to capture a mass US audience, which was then more interested in crappy video-taped comedy like ROSEANNE!

A fresh start to the series, like the one later given by Russell T. Davies to the rebooted WHO series starring Christopher Eccleston, would likely have been the best thing to start the series afresh in 1996 to overall worldwide viewers, but veteran Hollywood producer and die-hard series fan Philip Segal was determined that McCoy would have some closure to his era, of which WHOvians enjoyed the kind of passing of the torch scene setting that had been so sadly lacking with Colin Baker’s exit.

 

A splendid Christopher Eccleston departs the TARDIS in Parting of the Ways...

BAD WOLF/PARTING OF THE WAYS (Christopher Eccleston – 2005)

Returning like a phoenix from the flames, DOCTOR WHO’s 2005 “re-birth” couldn’t have gotten off to a better start with the general public than having acclaimed and respected character actor Christopher Eccleston in the title role-playing a more serious, battle hardened, battle weary loner who finds himself and his purpose in the universe thanks to the help of his companion, Rose Tyler (Billie Piper, easily one of the new series brightest young stars). So it’s a shame that his reign of the new organic-looking TARDIS control room was all so brief-just one season. We’ll never know for sure if this short term was truly to have been the case-some media reports say that Eccleston was always only going to do one year on the show, to get it going again –a stipulation of his appearing made to its creative controller, Russell T. Davies, and that his departure would be planned as a big surprise to viewers. But others say not, and that he ultimately left through unhappiness with the attitudes, ill-manners and overall culture of the series behind the scenes making.

 

The Daleks are back!

Still, despite the various rumours, bargains and lies, he couldn’t have had a better story to exit the series with than this two-parter, which deftly shows Russell T. Davies’s skills as a story teller and the way he’s able to shift an at first seemingly lightweight story (the Doctor and co. trapped on a timeline-altered future space station that deals in entertainment programming gone very bad-Big Brother and The Weakest Link- where there’s no prize, or life, for coming in second place!)- into a big and epic, often gloomy, action-packed base under siege epic. And then, of course, there’s the Daleks, effectively used in part two once their presence behind the station is teasingly revealed, their race previously thought wiped out forever off-screen by Eccleston’s Doctor (during the now often mentioned Time War) but now a living, terrifying, Exterminating reality in their thousands (we all deep down knew that we’d finally see a Dalek army- after a singular appearance by one of the pepperpot terrors earlier in the season, trapped on Earth in Robert Shearman’s justly well received story, Dalek).

 

Rose Tyler (Billie Piper) - prisoner of the Daleks!

His faithful companion Rose now captured by them, our heroic Doctor delivers one of his finest, most captivating, inspiring and can’t wait to see what happens next speeches against his sworn enemies, promising his friend that he’ll rescue her and wipe out every last stinking Dalek off the face of the galaxy! Go got ‘em, Doc!

Ultimately playing all his trump cards, his invention and last minute resourcefulness, the overwhelmed Doctor succeeds thanks to the intervention of an equally determined Rose Tyler, her body dangerously touched by the powers of time travel and the TARDIS. But in the end, it takes his personal sacrifice, and a loving kiss, to secure her from annihilation, resulting in a new and explosively spectacular regeneration for our Northern speaking Time Lord.

The modern series first spectacular regeneration, as David Tennant makes his debut.

His “goodbye message” to Rose earlier in part two had been eye-watering enough for viewers, but this final scene-his “Fantastic” final scene- was a wonderful sign-off to a brash, colourful, exciting, nostalgic, funny and sometimes scary season, which brought heart and soul back into the series and set the template for things to come. Thanks, Christopher!

 

One last battle at The End of Time, against the Master (John Simm), for the Doctor and Wilf (Bernard Cribbins).

THE END OF TIME (David Tennant – 2009/2010)

So, how do you follow up the departure of Christopher Eccleston? Well, you get David Tennant! Easily, the modern series most popular incarnation (and the longest running so far), his legions of adoring fans would help further cement the popularity of the show for the next three years, as his personal charisma steers it a bigger, more ambitious phase, though perhaps a little bit too camp and comedic at times (especially with the arrival of Catherine Tate as ballsy but out of her depth companion Donna Noble), but nonetheless garnering high impact publicity and audience appreciation close to that of original series icon Tom Baker and his era.

 

"I don't want to go!" David Tennant bids adieu.

"I'm a girl?" Matt Smith brings some fun to his regenerated form.

But all things must come to an end, and an actor can’t be confined to one role for too long. Tennant’s swansong is the end of an era in many ways, not just with his departure, but also with the behind the scenes team that had worked on bringing the show back to TV airwaves since 2004. This final heavily Christmas themed two-part story from Russell T. Davies is very self-indulgent- concerning the re-born Master’s (a waayy over the top John Simm) attempts to repopulate the Earth is his own image, whilst the Doctor not only has to fight him/them but also the emerging time and space ripping presence of the restored, for one night only, Time Lords of Gallifrey. But fans loved it in their millions, especially the Doctor’s once more humanity and self-sacrifice for a companion-this time out Bernard Cribbins’ amiable old dodder, Wilf Mott. Beyond his sad death from radiation poisoning, the shows final twenty minutes for the Tenth Doctor gives us a tear-jerking goodbye from the dying hero to all his friends and loved ones (the farewell to Elisabeth Sladen’s character of Sarah Jane Smith now even more poignant with her sad passing in 2011), whilst his infamous “I don’t want to go” moment is truly affecting. Matt Smith’s lively, out of the shell appearance by story’s end promises an even more youthful and eccentric fresh start ahead...

Get hold of DOCTOR WHO: REGENERATION here: Doctor Who: Regeneration [DVD]: Amazon.co.uk: William Hartnell, Patrick Troughton, Jon Pertwee, Tom Baker, Peter Davison, Colin Baker, Sylvester McCoy, Paul McGann, Christopher Ecclestone, David Tennant, Matt Smith: Film & TV