The original concept behind the BBC’s Doctor Who was remarkably ambitious: to educate children about significant historical events through the captivating lens of science fiction, time travel, and gothic horror. This ingenious blend is particularly noteworthy considering the irony that its initial broadcast was delayed due to the somber occasion of the Kennedy assassination. Many recall fondly stories where the Doctor’s adventures intertwined with real history, such as the rumored (and delightful) notion of him accidentally igniting the Great Fire of London. The Marco Polo storyline is often cited as a prime example of this historical integration, although personal recollections may vary depending on when viewers first encountered the series.
It’s easy to get lost down a rabbit hole of nostalgia when discussing classic science fiction, and resisting that urge in favor of more pressing tasks is a familiar adult struggle. However, the influence of productions like Quatermass should be acknowledged as a touchstone for the genre. While personal tastes may evolve, with some gravitating away from horror towards space opera, the legacy of figures like Terry Nation, the creator of the Daleks, remains significant. Nation’s subsequent work on Blake’s 7 for the BBC took science fiction in a different direction. Blake’s 7 offered a high-concept premise: Shakespearean-trained actors delivering a low-budget, yet engaging, tale of rebels against an evil empire. The series, despite its budgetary constraints, often managed to achieve moments of genuine dramatic weight, all while maintaining a certain level of self-aware camp. Furthermore, characters like the villainous Servilan in Blake’s 7, with their ambiguous presentation, could even spark unexpected reflections on developing sexuality in young viewers, a sentiment echoed by many who grew up watching the show.
