Meanwhile a representative of an Earth dominion arrives to take Jo into custody with a full criminal record for her and the Doctor, this officer of the law is actually the Master who is the one behind the Ogron attacks with a device that amplifies the fear centers of the mind.
Brought before the President of Earth, who is not disposed to the idea of an all out war, they, along with one General Williams (who is responsible for a previous conflict), regrettably decide to mount an expedition to the Ogron planet.
Resisting the control of the Master through hypnosis and the fear device, Jo sends a distress signal that the Doctor and the expedition follow to the Ogron planet.
The titles for Frontier in Space were prepared, alongside the previous serial, Carnival of Monsters, with a new arrangement of the theme music performed by Paddy Kingsland on a synthesiser.
[1] The final sequence in the Master's headquarters was intended to contain the giant Ogron-eating monster, but director Paul Bernard did not like the costume and omitted it, leaving the scene with just frightened Ogrons running away from something unseen.
Producer Barry Letts and script editor Terrance Dicks felt the sequence lacked impact and a new ending was filmed in the TARDIS as part of the first production block of the following story, Planet of the Daleks.
Jon Pertwee considered the Draconians to be his favourite monster as the rubber and latex masks used allowed the actors playing them to employ a full range of facial expressions.
[2] Recalling the production of this story he noted that filming near the Hayward Gallery at the South Bank was made difficult due to a number of "homeless people and drunks" lying around the area.
[4] This would be the last appearance of Roger Delgado as the Master, his final scene being the confusion outside the TARDIS with his shooting the Doctor, perhaps accidentally, then disappearing with the panicking Ogrons.
[8] Paul Cornell, Martin Day, and Keith Topping wrote of the serial in The Discontinuity Guide (1995), "Worthy, very well directed and designed to the hilt with a solid costuming policy for both empires.
"[9] In The Television Companion (1998), David J. Howe and Stephen James Walker stated that the story worked "brilliantly", with the production design "[putting] the whole thing on a suitably grand scale".
[8] In 2010, Patrick Mulkern of Radio Times awarded it four stars out of five and recalled that it was "surprising and exciting" on first viewing, though in retrospect it seemed to be "a lumbering wannabe-epic with screeds of padding, duff cliffhangers and endless scenes of the Doctor and Jo banged up".