K-9 and Company

Sarah Jane arrives at her Aunt Lavinia's cottage, but she isn't there, the locals are all highly suspicious, she receives K9 in the post and young Brendan comes to stay with her.

The plot is a little on the thin side, and has been mentioned before the boundaries of the show's format at that time would have prevented a series going very far. For this episode the Pagan villagers work really well.

That said I find K-9 and Company hugely watchable, I suppose for reasons of nostalgia, it has become my official Christmas wrapping show, it goes on, out comes the Baileys, it does have a very festive feel to it.

The acting is a little on the patchy side, most of the performances dare I say it are a little on the theatrical side, but still enjoyable and in keeping with the script, that said I love Juno Baker, played by Linda Polan, she was great fun.

I still love those opening credits and music too!

Not to be taken too seriously, but lots of fun, 7/10

I think K-9 and Company was a good idea,and Elisabeth Sladen always gives a great performance although Sarah-Jane seems a bit more grumpy than her normal self in this spin-off. John Lesson's voice gives K-9 a life of his own and he makes K-9 very endearing,the opening credits are very bizarre and I am sure not meant to be as funny as they come across. Thngs do seem to take a long time to start,there is a lot of running around until Sarah-Jane opens the box containing K-9. Having recently saw the pilot of The Sarah-Jane adventures,at least K-9 and company wasn't full of annoying kids! and people overacting. It was a good idea,it wasn't a failure,it got respectful viewing figures and K-9 remains a very popular character of DR.Who even today.

I rather enjoyed this pilot episode of this proposed "Doctor Who" spinoff series. Too bad the BBC didn't pick it up as a series because I think it showed promise.

After wading through several ideas for Doctor Who's one `official' spin-off (including a UNIT series I believe), John Nathan-Turner decided to base a series on K9. After all, there were times when the metal dog had received more fan mail than Tom Baker.

In short, the pilot episode has an older and wiser Sarah Jane Smith returning to her home village. She finds a box that the Doctor sent her years ago containing K9 Mark 3. Being the nosy investigative journalist she is, Sarah Jane soon become involved in stopping the activities of a coven of witches. Thank goodness she has K9 and her geeky cousin Brendan helping her.

It doesn't look promising from the first second of the theme song (something I'm sure Nathan-Turner wrote during lunch one day), and the plot is not all that engaging. In fact, there are times it seems you're watching bits of some of the Earthbound Doctor Who episodes cobbled together. Perhaps because of these factors, K9 & Company didn't make it to Episode 2.

For completists only.

John Nathan-Turner's time as producer of Dr Who (1980-9) was a frightful mess. Clearly out of his depth, his period at the helm was characterised largely by thrashing around with gimmicks to compensate for small budgets, miscasting, poor scripting and uncertainties of tone, whose accumulation had begun during Graham William's tenure, but which accelerated dramatically from Nathan-Turner's first season (season 18) onwards.

One problem that Nathan-Turner faced was that the audience was ageing, and sci-fi nerds were beginning to define the show to the detriment of its universal qualities. It was therefore potentially a shrewd move to develop the one-off TV movie K9 and Company, coupling Dr Who's favourite companion, Sarah Jane, who still lingered in the memory, with his most asinine, for younger viewers. If this reached fruition as a series, maybe a new younger audience could be cultivated?

Of course, he muffed it. The filming does not appear to have been a happy experience, at least for Elisabeth Sladen, according to her memoirs. But the appalling script, the embarrassing public school nephew Brendan, the weedy attacker Peter, a goodly set of well-known character actors reduced to oo-arrr dialogue, and a set of unintentionally comic pagans all combine to kill it anyway. The wonderful support actress Mary Wimbush is particularly wasted. The execrable title sequence is a microcosm of the failure of the whole enterprise.

Lots of people watched it; I was one of them. I wanted to love it, especially as it came shortly after the very disappointing season 18. I hated it. I assumed I was just growing too big for Dr Who, but, now we can watch these shows again on DVD, it is clear that Dr Who was leaving its audience, not the other way round.