Interesting thoughts my friend. You're right, there is less of a structure to the overall arc of season 3. It is one of my least favourites in the classic era, mainly because of the jarring nature when you binge watch it, but is still great. Well done again my friend ☺️🚂🚃
TL;DR - Series 3 feels aimless because its goal was to high demand for "more Thomas" after reaching the USA and Japan. Along with limited story options due to the amount of new characters, Christopher Awdry's lackluster writing, and still a heavy lack of Thomas focused stories. The magazine stories being used so much was likely due to the season being on a tight schedule. HERE'S THE MUCH LONGER EXPLANATION FOR THOSE WHO CARE: The reason why Series 3 feels so loose and aimless is simple; its goal being "Make more Thomas". We have some first draft scripts for some Series 3 episodes, with one for "Gordon and the Famous Visitor" being written on February 1st 1991. It's likely Series 3 was rushed into production once Clearwater Features shut down, and Britt able to get Mitton for S3. By 1991, Thomas was already doing well in Japan and the USA, so there was also a matter of meeting a demand while Thomas was very popular. We also have scripts for many Shining Time Station episodes. The first draft script for the first episode of Season 2 of STS, "Scare Dares", was written on June 12th 1991. Which tells me that Series 3 was planned and scripted quickly over the course of 5 months, and afterward quickly went into production. There's also the lack of stories they had for adaption use. The remaining Wilbert Awdry stories were either mainly Narrow Gauge focused, or required a bunch of new props to be made, like Series 2 and 4 would. Christoper Awdry's meanwhile were seemingly not liked by Britt and Mitton. Considering they would only ever adapt a small handful for Series 2 and 4, and the wide consensus of most of his stories not being very good. Some of the stories also had the "need bigger budget for props" issue. Considering Clearwater having gone under, they likely didn't have its big tank of money is why they were so limited on new characters this season. Considering how TUGS got 30 million pounds poured into its production, and I don't think it's out of the question to say that Series 2 had a bigger finical backing for its production compared to Series 1 and 3. Thomas was another issue. Both authors didn't write many Thomas focused stories, and since he was the title character of the TV series and the new demand, they NEEDED to have Thomas episodes. And with only 5 months to think and plan everything for the upcoming 16 episodes, likely not a lot of time, they likely went to magazine stories for what to adapt for Series 3. The need to meet new demand is likely why Series 3 was split into two production blocks. Series 3A, episodes 1-16, finishing sometime around September or October 1991. This was likely planned from the start, since a script draft for the Season 2 finale of Shining Time, "All's Fair", dated July 25th 1991, states for filming to wrap up sometime in September 1991, and have the final edit done in October 1991. Dates also coincides with the release of the first 16 episodes in the UK, exclusively released on home video. Likely as apart of a deal with The Video Collection, who likely helped with funding for Series 3A, alongside a likely PBS. Likely that Micheal Angelis was quickly brought in to do the UK dub of Series 3. Series 3A released on UK VHS on November 11th, 1991 and Shining Time's 2nd season starts on November 18th, 1991. Series 3B was seemingly given a bit more money to spare compared to Series 3A, most noticeable in its visuals and more action-based scenes. Films "Thomas and the UK Tip", in ex-change for getting funding for Series 3B. These being done for in different production block is why they were later used in Shining Time Season 3 instead of Season 2. Series 3B finishes filming sometime in January 1992, Micheal Angelis re-records Series 3A and Series 3B in two different recording sessions around this time. The series finally comes in the UK with the final narration on February 25th, 1991. Thanks to reading this ramble to those who read the whole thing.
Truthfully, I think Season 3's main flaw is that there are a lot of adaptations that were filmed out of order. It almost feels like, and I mean it in the nicest way here, the 'dregs' of the Standard Gauge stories. 'Ghost Train' and 'Wooley Bear' being adapted out of Tramway Engines in Season 2 meant that Mavis and Toby's Tightrope, along with 'the Trouble with Mud' and Buzz Buzz are just holdovers from the Railway Series and it weakens the season. The strongest stories are the Little Western's, with Donald's Duck, Escape, Oliver Owns Up, and Bulgy so the Season feels more structured to the end, but it does feel like it's struggling to find its feet earlier on.
I’ve never thought much of this point before. While season 3 is sometimes my favourite season, I do agree that the lack of a general focus is a bit of an issue that while it doesn’t affect the season’s quality, it does feel a bit strange compared to the other Awdry seasons.
