The Argolins themselves are now sterile. Pangol, the youngest, was created by the Tachyon Recreation Generator. He plans to use it to duplicate himself and form an army to fight the lizard-like race...

DVD EXTRAS

COMMENT  Spoliers ahead

“Where’s the Postman? Come on! The letterbox flap! It’s arrived”

Another sad DOCTOR WHO fan Kodak™ moment, when excitement overcomes logic, common sense and adult maturity. The pending arrival of THE LEISURE HIVE on DVD was like waiting for a New Series to start. Really. It was.

Ah! A sleeve spelling error. Brighton breach. R! That doesn’t bode well for the DVD.

Ah! A ‘hair in the gate’ during the opening panning shot not electronically removed by the Restoration team. That doesn’t bode well for the DVD.

Thankfully, that was it.

THE LEISURE HIVE is a controversial production. Not for the plotline (though after viewing this again I am sure appreciation will re-develop in coming months) but for the wholesale changes to the programme’s approach (style versus substance) distilled by a new team. Both the opening titles and theme music were as much a shock (a positive one) as the end of EARTHSHOCK episode 1. Here, the electronic cleaning of the opening titles is superbly executed by the Restoration Team (Designer, Sid Sutton discusses the creation of the show’s new titles in an extra, SYNTHESIZING STARFIELDS).

Naturally, releasing this production on DVD so close the launch of the New Series is prophetic. How to make the series different but familiar, recognising the need to move forward whilst having two feet in the past, satisfying existing (loyal) fans whilst attracting an extra 5 million viewers?

With this release, BBC WORLDWIDE have assembled a range of DVD extras that are perfect, focusing on all aspects of the production (no frivolous ‘spoofs’ included) - direction, costume, design, writing, music and contribution from its Producer. As for the commentary: the ingredients of Director, (Script Editor) Writer and Actor enlighten the viewer theough intelligible discussion and frank exchanges of mutually respective views.

Lalla Ward edges the commentary soundtrack would a 15 BBFC DVD rating, as she observes, “The helmet (of Thereon) looks so phallic stuck up there with Velcro”. Lovett Bickford gives a master class in direction, explaining the benefits of working with long lens creating a depth of field. He describes the planning and execution of the meeting room scenes (“Woody Allen does a lot of actor walking out of frame and then back in. It’s effective.”), and his original design for the Foamasi. The new Script Editor, Christopher H(amiliton) Bidmead confirmed that David Fisher “brought some very good ideas to the script. Ahead of his time.”

FROM AVALON TO ARGOLIS (produced and directed by Steve Broster - a breath of fresh air to the extras production team) interviews writer David Fisher and Bidmead. (I got so wrapped up in this presentation I forgot to take notes for this review). Absorbing.

Sid Sutton is proud of his work (the 1980s DOCTOR WHO theme titles) and if he was only for it he would be happy. In SYNTHESIZING STARFIELDS, Sutton chronicles the development and realisation of the titles (including the innovative used of a cardboard tube). No doubt the 2005 New Series’ titles will be CGI and I hope that their impact and suitability will be impact as much as Sutton's. BBC Radiophonic Workshop’s Peter Howell calmly examines his new version of the iconic theme tune and the shift from ensemble musicians (used by Dudley Simpson) to electronic techniques. There are several minutes of archive footage with Howell which reveals why he sings on the theme tune. Absorbing.

John Nathan-Turner is forever John Nathan-Turner and his contribution to A NEW BEGINNING is stunning. Always candid, he explains why he wanted a new title sequence (stingingly cruel). In this archive interview from 1994, he was interviewed in a seaside ‘greasy spoon’ café? He deserved better.

If you thought that DOCTOR WHO costumes were perpetually re-cycled then watch LEISURE WEAR. Costume Designer, June Hudson talks affectionately about her work, including the creation of the Fourth Doctor’s new costume (by the way, it’s known as ‘plum’, not ‘burgundy’), the adoption of the ‘?’ and the Foamasi aliens.

The programme itself has had its colour restored to its 1980 richness, and sound ‘surrounded’ audibly. However, the programme’s special effects (such as the Foamasi forced entry into the Hive) could have been enhanced (as they did with EARTHSHOCK) - but that is a minor grip.