"Terror of the Vervoids" - both original edition and the new one with deleted scenes added and trial bits excised. The restoration quality is pretty great; the picture upscales fairly well considering detail is not being added as such, it lacks that nasty "cheap videotape" look seasons 23-26 were known for having, even with the bright reds that never fare very well on video tape, rendered worse with color bleed via excessive compression on the DVD release. Seriously, the palette is as robust as the restoration quality.
The non-trial standalone edition is a really nice edit, though the revised opening sequence (with malfunctioning TARDIS noise, nice touch) still relies on the bland old vortex motif and is actually impressive in its ability to cause dizziness if you're sitting too close to the set. For more information on how to self-induce nausea, check out the following chart at the address shown after whippin' out the tape measure: https://www.rtings.com/tv/reviews/by-size/size-to-distance-relationship
The non-trial edition, or even the original, both show entirely new monsters and locations with no references to the show's metatextual past - which is a nice change from "Mindwarp", and even aspects of "The Mysterious Planet".
It's great that classic WHO (prior to McCoy's trendsetting era) doesn't drown people with loud elevator music, which probably made some of the editing easier but to my understanding they have all the original separate audio and video recordings, which is half the battle. I doubt new music was composed, but it all feels seamless and flows nicely. Granted, how vegetable and animal matter could be made into a hybrid by "an unfortunate accident" -- the scene is either quietly hinting at something far uglier than what we know of these scientists (of which the three are fleshed out with their own motivations, enough to even feel sympathy for the compassionate Lasky and newly-psychotic Bruchner despite it all!), or it's a gloss-over line. I'm going to say it's the former because the episode does strive to get viewers to actually think, it only spoon-feeds so much. Thankfully there is one unresolved issue; how did Hallet know of the Doctor to begin with and knew the TARDIS was in the area? Or was he beaming a message to the one ship that the radar located and wasn't the universe lucky any ship was there at the time? (Plot contrivance, it's inevitable for any episode of any story of any series.) When the guard tells Mel he doesn't want her killed "until--", it's not hard of a guess given the accusation of stowaways, piracy and murder being on the guard's mind, the latter of which the end result of death penalty would be considered.
And, of course, when Doland booby-trapped the entrance to the Vervoid pod section of the hold, wouldn't there be a better way that would prevent wide spectrum lighting to be emitted in a large enough quantity to wake up their creations, or was it merely a calculated risk? The Vervoid design may have been overly done and not quite like the Venus Flytrap as envisioned (quite the inverse, which leads to an equally unintended visual double entendre -- or two!), but they're a great monster added to Doctor Who's pantheon of evil critters. Except in this case they're not evil, it's merely instinct at work. (And given all the clever aspects of the story, it's way too easy to forgive the ship's goofy room lock structure as to how the key to cabin 6 and 9 are interchangeable in more than identifying numeral since, if I recall, Professor Lasky stated her belongings weren't in her room...?)
I also rewatched "Smile", of NuWHO fame. It's an incredibly underrated and fantastic story, which has something akin to the feel of Classic WHO albeit updated for modern audiences while exploring modern themes. People who gave up on Moffat did so a little too soon, series 10 was a genuine return to form... but this topic is about Classic WHO so I don't want to overstep... too much.
The non-trial standalone edition is a really nice edit, though the revised opening sequence (with malfunctioning TARDIS noise, nice touch) still relies on the bland old vortex motif and is actually impressive in its ability to cause dizziness if you're sitting too close to the set. For more information on how to self-induce nausea, check out the following chart at the address shown after whippin' out the tape measure: https://www.rtings.com/tv/reviews/by-size/size-to-distance-relationship
The non-trial edition, or even the original, both show entirely new monsters and locations with no references to the show's metatextual past - which is a nice change from "Mindwarp", and even aspects of "The Mysterious Planet".
It's great that classic WHO (prior to McCoy's trendsetting era) doesn't drown people with loud elevator music, which probably made some of the editing easier but to my understanding they have all the original separate audio and video recordings, which is half the battle. I doubt new music was composed, but it all feels seamless and flows nicely. Granted, how vegetable and animal matter could be made into a hybrid by "an unfortunate accident" -- the scene is either quietly hinting at something far uglier than what we know of these scientists (of which the three are fleshed out with their own motivations, enough to even feel sympathy for the compassionate Lasky and newly-psychotic Bruchner despite it all!), or it's a gloss-over line. I'm going to say it's the former because the episode does strive to get viewers to actually think, it only spoon-feeds so much. Thankfully there is one unresolved issue; how did Hallet know of the Doctor to begin with and knew the TARDIS was in the area? Or was he beaming a message to the one ship that the radar located and wasn't the universe lucky any ship was there at the time? (Plot contrivance, it's inevitable for any episode of any story of any series.) When the guard tells Mel he doesn't want her killed "until--", it's not hard of a guess given the accusation of stowaways, piracy and murder being on the guard's mind, the latter of which the end result of death penalty would be considered.
And, of course, when Doland booby-trapped the entrance to the Vervoid pod section of the hold, wouldn't there be a better way that would prevent wide spectrum lighting to be emitted in a large enough quantity to wake up their creations, or was it merely a calculated risk? The Vervoid design may have been overly done and not quite like the Venus Flytrap as envisioned (quite the inverse, which leads to an equally unintended visual double entendre -- or two!), but they're a great monster added to Doctor Who's pantheon of evil critters. Except in this case they're not evil, it's merely instinct at work. (And given all the clever aspects of the story, it's way too easy to forgive the ship's goofy room lock structure as to how the key to cabin 6 and 9 are interchangeable in more than identifying numeral since, if I recall, Professor Lasky stated her belongings weren't in her room...?)
I also rewatched "Smile", of NuWHO fame. It's an incredibly underrated and fantastic story, which has something akin to the feel of Classic WHO albeit updated for modern audiences while exploring modern themes. People who gave up on Moffat did so a little too soon, series 10 was a genuine return to form... but this topic is about Classic WHO so I don't want to overstep... too much.
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Off the top of my head "The Enemy of the World", "The Sontaran Experiment", "The City of Death", "Mawdryn Undead" (and to a lesser degree the entire Black Guardian trilogy), "The Three Doctors", "The Deadly Assassin", "The Greatest Show in the Galaxy" and "The Ultimate Foe".
