If you think vegetarianism is a more humane path to sustenance, you haven't asked how plants feel about that--and in "The Seeds of Doom," they're poised to enact their revenge on the animals including, and especially, those at the top of the food chain: humans.
This six-part serial that ended the 13th season of "Doctor Who" remains one of the best of the classic period, sporting near-cinematic grandeur on both sides of the camera. In fact, Season 13 itself is one of the best in the long run of this science-fiction series as five of its six serials are top-tier adventures spotlighting the Fourth Doctor, a Time Lord from the planet Gallifrey, and his Earthling companion Sarah Jane Smith. Moreover, the peerless creative team of producer Philip Hinchcliffe and script editor Robert Holmes, together functioning as what today we call "showrunners," were truly at the top of their game, combining crackling stories, Gothic horror, and an adult focus that marked the pinnacle of the original "Doctor Who."
Scripting the crackling story here is Robert Banks Stewart, who draws from a number of literary and cinematic sources including John Wyndham's 1951 novel "The Day of the Triffids" although "The Seeds of Doom" is a not-too-distant cousin to "The Avengers" 1965 episode "Man-Eater of Surrey Green," which featured a carnivorous plant intent on world domination. (Stewart himself penned a pair of "Avengers" episodes that appeared in the same fourth series; however, this wasn't one of them.)
Digging out a large plant pod from Antarctic permafrost, geologist Charles Winlett (John Gleeson) and zoologist Derek Moberley (Michael McStay) show it to botanist John Stevenson (Hubert Rees), who, unable to recognize it, nevertheless believes that, despite being about 20,000 years old, it is alive. Back in London, World Ecology Bureau functionary Richard Dunbar (Kenneth Gilbert) shows a photograph of the pod to the Doctor, who, in his capacity as UNIT's (United Nations Intelligence Taskforce) scientific advisor, immediately arranges a visit to the team's base camp with Sarah Jane.
Meanwhile, Dunbar pays a visit to millionaire plant fanatic Harrison Chase (Tony Beckley), who is so intrigued by the pod, particularly after Dunbar relays the Doctor's speculation that it might be extraterrestrial, that he dispatches his own team to Antarctica to investigate, and you know that they are probably not looking to cooperate with anyone, even after the pod splits open and infects a napping Winlett, who turns green from the effects before he turns nasty.
Jeremy Bear's superb production design of the Antarctic base interiors recalls "The Thing from Another World," and contributing to that cinematic realism is excellent model work depicting the base's exterior while the pod bursting open to disgorge a malevolent entity anticipates the upcoming "Alien." Speaking of aliens, Tom Baker continues to imbue the Doctor with otherworldly character as, after two seasons as the Time Lord, he is fully invested in the character--and not yet grown jaded, flippant, and sometime irritable as he would near the end of his lengthy tenure. Meanwhile, Elisabeth Sladen regains a measure of moxie that had begun to slip after her assured introduction to begin Season 11.
Bringing the first part of "The Seeds of Doom" into sharp, efficient focus is veteran "Who" director Douglas Camfield, renowned for whipping the narrative into shape while drilling his actors to military efficiency. Camfield's firm grip on the helm nurtures thrills and adventure as "The Seeds of Doom" begins to blossom.
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