| THE ROBOTS OF DEATH by Chris Boucher |
| Story 90 Synopsis: The TARDIS arrives in the Scoop of a Sandminer, travelling across a planet looking for minerals. The Sandminer is run by a small group of upper-class people, who have robots to do most of the work. When the crew start being murdered, suspicion turns to the Doctor and Leela. But they are present during another crime, and the Doctor helps when the Sandminer runs into trouble. The Doctor deduces that someone is using the robots. With the body count rising, and the list of suspects falling, the Doctor finds that notorious roboticist Taren Capel is at large, trying to free the robots from their status as menials. The Doctor releases helium, which alters Capel's voice. A robot, not recognising Capel's voice, kills him. The Doctor and Leela scoot off in the TARDIS. |
| Review:- Following his debut script, Chris Boucher immediately follows up with a dramatic murder mystery set somewhere other than Earth. It tackles issues of privilege, slavery and even racism. The Doctor works well as a sleuth, rapidly realising what is wrong, and who must be the guilty parties. He seems a little distant, which arguably doesn't help. Leela is well-written, faced by a formidable threat beyond her ken. Uvanov is a gruff piece of work, but clearly a steely character who thrives on getting his own way. His hatred of the 'founding families' provides an insight into the society they come from. His subplot with the worthless Zilda is well-written, though, from the initial view that he simply doesn't like her because of her background, then through her belief that he killed her brother, to the revelation that her brother died of robophobia, and it nearly ruined Uvanov. Toos is a bit bland, as are a lot of the murdered crew. Poul has a backstory, motivation and depth, and is therefore well remembered. It also helps that he is played by a good actor. Capel is a bit bland when in disguise, and doesn't much improve after revelation. The robots are smoothly designed, and convince in a way that an awful lot of monsters don't. The Sandminer backdrop suffices to draw a believable canvas on which to play off the story. In this way, as an enclosed environment, it references Agatha Christie's style, and keeps its audience entertained. A very good story, and a piece of entertainment. Followed up by the PDA, Corpse Marker. |
| Disclaimer: I've seen the video. |