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“As TARDIS comes to rest, the only sound, its insistent hum, seems to fill the space entirely, and then this too is lost as the viewer is thrown outside, no longer a
participant, but forced into the detached role of observer: the police box now sitting at a tilt in a dark and barren alien landscape accompanied by the chilling audionaturalism of wind noise [...] In the silence of electronic sound, the audience ejection is experienced as sudden sensory deprivation, making the impression of das unheimliche
the dominant one. Again the fourth wall is breached, this time a figure cuts between us and the ship, carrying a spear rather than a torch, his shadow lengthening impossibly across the landscape towards TARDIS. When the end titles and signature start up, the eerie recognition threatens to become full blown horror as if the music,
having transported us here, is now leaving us to face an awakening of our repressed pasts. Next week, the titles inform us, THE CAVE OF SKULLS.”
― Dene October, Mad Dogs and Englishness: Popular Music and English Identities