The Feathered Serpent

Studio-bound Children's drama series set in the Aztec period starring former Doctor Who Patrick Troughton; formerly the hero of millions – but here the villain of the piece.

The Feathered Serpent was unlike almost anything else aimed at children in the mid-1970s. Bold, ambitious, and surprisingly dark, this two-series drama merged historical fiction with elements of mysticism and political intrigue, all played out against the backdrop of an imagined Aztec civilisation. While its studio-bound nature gave it a somewhat theatrical feel, it also lent the production a focused intensity, heightened by the striking use of colour and ceremonial costuming.

At the centre of the story is Emperor Kukulkhan (Tony Steedman), a reformist ruler who seeks to abolish blood sacrifices and usher in a more enlightened era. His efforts, however, are bitterly opposed by his High Priest, Nasca – portrayed with sinister relish by Patrick Troughton. It’s a masterful bit of casting: Troughton, beloved as the Second Doctor, turns in a chilling performance that drips with menace, showing the breadth of his acting range. Nasca, driven by a fear of losing his grip on power, launches a campaign of deception and manipulation, ensnaring not just the emperor but his daughter Chimalma (Diane Keene), the brave young Prince Heumac (Brian Deacon), and Tozo (Richard Willis), a loyal servant boy.

The first series builds to a harrowing climax, with Heumac nearly meeting his end atop the Pyramid of the Sun – a moment whose implied brutality pushed the boundaries of what was acceptable in children's television at the time. The second series, arriving two years later, sees Nasca undeterred and more cunning than ever. Now aided by the sorceress Keelag (Sheila Burrell), who brings a thread of supernatural malevolence to the proceedings, Nasca’s schemes grow ever darker. Meanwhile, Heumac must not only navigate these dangers but also prove himself worthy to marry Chimalma, facing trials imposed by the ambitious Governor Xipec (Granville Saxton).

Despite being a children's series, The Feathered Serpent did not condescend to its audience. Themes of religious fanaticism, political machination, and personal sacrifice were explored with a seriousness and depth uncommon in the genre. The production design deserves particular praise: although limited by studio sets, the series created a compelling world, and the costumes – vibrant, ornate, and culturally evocative – brought a real sense of place to the drama. Chimalma’s wedding dress, notably, was designed by a reader of Look-In magazine, adding a charming and participatory element to the show’s legacy.

Overall, The Feathered Serpent remains a fascinating oddity in British television history: a children’s series unafraid to tackle mature themes with style and intelligence. While it may not have enjoyed the enduring fame of contemporaneous shows, its boldness, and particularly Troughton’s magnetic villainy, remain vividly memorable.