Daleks: The Ultimate Guide

Out today, this massive and comprehensive 224-page bookazine from the makers of Doctor Who Magazine is full of everything you could possibly want to know about Daleks.

With Dalek expert Gav Rymill, I’ve written 28 entries on different models of Dalek, charting their evolution from the very first Dalek story in 1963-64 to their more recent full episode, 2022’s Eve of the Daleks. There are some new facts and insights included, such as my outlandish theory about when and why writer Terry Nation decided to make them look the way they do.

Each entry is illustrated with a CG rendering of the particular model by Chris Thompson.

The Intelligent Woman’s Guide to Atomic Radiation, by Margot Bennett

“Informed public opinion is infectious, even to governments.” (p. 149)

Thursday, 30 July 1964 saw publication of two paperback “Penguin Specials” from Penguin Books both looking at the same subject. At four shillings, Nuclear Disaster by Tom Stonier,

“was based on his 1961 report to the New York Academy of Sciences which dealt with the biological and environmental effects of dropping a 20-megaton bomb on Manhattan”. Geoffrey Goodman, “Obituary — Tom Stonier”, Guardian, 28 June 1999.

Alongside this, at a slightly cheaper three shillings and sixpence, Margot Bennett’s The Intelligent Woman’s Guide to Atomic Radiation is, according to the back-cover blurb, a “first reader in the most uncomfortable subject in the world”. 

The title is surely a riff on The Intelligent Woman’s Guide to Socialism and Capitalism by George Bernard Shaw, first published by Constable & Co in 1928 and republished in 1937 as an inexpensive two-volume paperback — the first Pelican Book — under the revised title The Intelligent Woman's Guide to Socialism, Capitalism, Sovietism & Fascism. 

Of course, that was timely given the ongoing civil war between Republicans and Fascists in Spain, and the growing power of the Nazis in Germany. I’d be surprised if Margot Bennett wasn’t aware of the book, given that in 1937 she was in Spain. It was the year that Margot Mitchell (sometimes known as Margot Miller) married English journalist Richard Bennett while both were working for the Government — that is, Republican — radio station. Bennett, who also worked as a nurse, had been machine-gunned in the legs the previous year and at the time of her engagement had recently broken her arm when the ambulance she was in crashed under shellfire.

There’s nothing very militant in her book on atomic radiation, written 27 years later. “Politics is not the concern of this book,” she tells us in her introduction (p. 10). The focus is instead on the cause and effects fallout,

“addressed more to women than to men [because] the mother is far more intimately concerned with the health of the family than the father. It is the mother who sees that the children have green vegetables and milk, and who nurses then when they have measles.” (p. 11)

This still holds, she says, even if the mother has a career; a woman with no family, “still has a tenderness to children that is different in quality from the feelings of a man.”

It’s not exactly the most feminist stance but this is a politically active woman writing in the mid-1960s for a small-C conservative readership, the emphasis on presenting just the facts rather than on what we should think. The book concludes on a broad political note:

“Science affects us all; so far, overwhelmingly to our advantage. If there are times when we feel this is not so, as members of a democracy we have some kind of duty to find out what is happening.” (p. 154)

But there’s no sense of a particular party or ideology being favoured. We’re left to make up our own minds.

The domestic perspective — the way radiation affects milk and green vegetables, and our children — might imply this is rather lightweight or condescending to the ordinary housewife. Nothing could be further from the truth. Indeed one contemporary review thought it was, 

“little more than another text book, and heavy going at that.” (Robin Turner, “Nuclear penguins and others”, Birmingham Post, 8 August 1964, p. 5.)

A more generous review found it,

“Thought provoking … easily read but thorough” (John Berrie, “Woman’s angle”, Nottingham Evening Post and News, 7 August 1964, p. 10.)

It’s certainly thorough, covering the ground in detail in just 154 pages (not including appendices, glossary and index). After the introduction, the first three chapters give us a grounding in the physics involved in atomic radiation — “Inside the Atom”, “Neutrons and Nuclear Energy" and “Fission, Fusion, and Fallout”. We then switch to biology for “The Message in Our Cells”.

Chapter 5, “The Subtle Enemy”, then applies the physics to the biology to explain the damage atomic radiation can do to us and to future generations. The next chapter, “The Influential Friend”, puts a counter case, outlining all the beneficial ways atomic radiation can be applied. “Pollution and Protection” addresses what can be done to mitigate potential fallout. Bennett then provides a conclusion, making the case that even statistically “negligible” numbers of people wounded or killed would still be tragic for those concerned.

A lot of this is very technical. Promotion for the book at the time said that Bennett wrote in “plain English” (for example, “For Your Bookshelf”, Halifax Daily Courier and Guardian, 31 July 1964, p. 4). Even so, I found it quite hard going and made slow progress. 

Two things really bring it alive. First, Bennett peppers her book with vivid real-world examples of the way radiation can affect people’s lives. Hauntingly, she details the stages of radiation sickness suffered by early pioneers, from skin rashes and hair loss through anaemia, sterility and useless, deformed fingers to the fatal cancers (pp. 96-97). Or there’s the awful story of the Radium Girls (pp. 100-101). 

I’d be interested to know more about the Russian scientist who claimed to be able to cure the effects of radiation on DNA via a simple pill (p. 114), or about the Scottish boy discovered playing in a “pile of radioactive dust” and the factory making luminous dials that proved so radioactive that the Radiological Protection Service had the whole site buried (both stories p. 146). Frustratingly, there are no notes or bibliography to guide us to more information.

Secondly, throughout the book Bennett uses relatable, often domestic analogies to explain the complex ideas. She likens electrical charges — the way positive and negative attract one another but two positives or two negatives repel — to attraction between people, where a talker will fall for a listener (p. 17). She describes atoms of different elements as being like different breeds of dog (p. 22). Compounds and molecules are likened to marriages (p. 24).

Sometimes those analogies show how far we have come. On page 83, she refers to the cumulative effect of exposure to radiation over “the long days of our lives — 20,000 days if we live to be about sixty”, which doesn’t seem very long at all. (Bennett lived to 68).

But on the whole the effect is to make a complex, technical subject more tangible. The central, political idea here is the responsibility to be better informed: nuclear weapons are devastatingly powerful, but knowledge is also power — one to hold the arms race at bay.

*

Obligatory Doctor Who bit

Since the book was published at the end of July 1964, Bennett must have delivered the manuscript no later than, I’d guess, the end of May. Given the technical detail, it can’t have been a quick book to write. As well as the time taken to research it, a note just ahead of the introduction tells us that, 

“Everything factual has been checked by scientists whose knowledge is far more than equal to the task” (p. 7).

We’re not told who these scientists were or what the editorial process involved, but writing and editing surely took some months, which means work on the book overlapped with Bennett’s conversation(s) with BBC story editor David Whitaker about potentially writing for Doctor Who. As detailed in my post on Bennett’s novel The Furious Masters, that seems to have happened in late February 1964. She was being considered to write a story comprising four 25-minute episodes as a potential replacement for what became Planet of Giants — but nothing further is known about what her story might have entailed, or whether she even submitted an idea.

I partly read this book in the faint hope of finding some clue as to what she might have discussed with or submitted to Whitaker. The short biography of Bennett on the opening page is suggestive:

“She likes variety in writing and is now doing something in Science Fiction,” (p. 1) 

That “something” may have been The Furious Masters, published four years later. Or Bennett may have completed work on her study of atomic radiation and then turned to Doctor Who, only to discover that she was now too late and Planet of Giants was going ahead after all…

Then there’s one of the allusions she uses. At the end of her introduction, Bennett says that there’s no point wishing that the atom had never been cracked open.

“Man can’t afford to retreat; it is by discovery and invention, from fire and flint axe onwards, that he has survived. The axe is dangerously sharp, and the fire has grown as hot as the sun.” (p. 13)

Unlike most of the analogies she uses, this isn’t contemporary or domestic — it’s making a link between modern technology and the ancient past. 

The first ever Doctor Who story, broadcast 23 November to 14 December 1963, involves a tribe of cave people where authority is dependent on the ability to make fire (I think this owes a debt to The Inheritors by William Golding). “Fire will kill us all in the end,” opines the Old Mother of the tribe.

In the next story, we see something of this prophecy come to pass when the TARDIS materialises in a petrified forest that Barbara initially thinks is the result of a “forest fire”. It turns out that the devastation is the result of a neutron bomb, leaving the ground and atmosphere “polluted with a very high level of fallout”. Beings called Daleks are among the survivors.

I’m not the first to suggest that the Doctor Who production team deliberately juxtaposed the role of fire in the prehistoric tribe and the role of nuclear weapons on this futuristic world as part of a wider ambition to have the time travellers witness key moments of societal change. And it’s exactly the same connection made by Margot Bennett.

Did she and David Whitaker discuss it? And who exactly informed whom?

Doctor Who and the Time-Travelling Almanac, by me

It seems like only a week since my last book was out. But today sees publication of Doctor Who - The Time-Travelling Almanac, billed as the official guide to the Doctor's year. It is written by me and illustrated by brilliant Emma Price.

What is an almanac anyway? Why do we have August? How do the histories of the Beatles and the Doctor overlap?

Where exactly did the Doctor mean to take Romana instead of that beach at the start of The Leisure Hive? What are the tides on Kastarion 3 like?

All this and Dalek horoscopes, banana penguins, the best time of day for Sea Devils to invade and much more... 

HARDBACK

ISBN: 9781785949173

Length: 256 pages

Dimensions: 224mm x 23mm x 143mm

Weight: 355g

Price: £16.99

PAPERBACK

ISBN: 9781473533943

Length: 256 pages

Price: £8.99

Vworp Vworp! #6

The latest issue of ginormous Doctor Who fanzine Vworp Vworp! is now available, with 180 glossy pages devoted to the very first episode, An Unearthly Child, plus a DVD with added wonders.

My piece, "David the Goliath" (pp. 23-25) is on the thesis that without David Whitaker as story editor, Doctor Who would never have survived its first year. I endeavoured to be objective in my biography; here, I was asked to let rip.

The DVD includes an animated version of "A Meeting on the Common", the first chapter of David's 1964 novelisation Doctor Who in an Exciting Adventure with the Daleks, itself adapted from the TV serial that comprises Doctor Who episodes 5-11. The animation, effectively a new opening for all of Doctor Who, is directed and animated by Mel Meanley, adapted by Ian Winterton and stars Stephen Noonan as the Doctor, Adam Grayson as Ian, Helen Stirling-Lane as Barbara and Kerry Ely as Susan. Here's the trailer:

In my book, I discuss why this meeting takes place on Barnes Common and the elements of David Whitaker's real life that fed into it. In fact, the new animation is not the first dramatised version of this material, as I learned from The John Nathan-Turner Production Diary 1979-1990 by Richard Molesworth (Telos, 2022). Richard was then kind enough to let me have sight of the original paperwork.

In the summer of 1981, Philip Lewis - a BBC employee based in Room 4, 16 LS at Broadcasting House in London - wrote to Doctor Who producer John Nathan Turner about a script he (Lewis) had written for 'Episode 1' of Doctor Who and the Daleks, adapting the early chapters of David Whitaker's novelisation as an audio play. Lewis wanted the producer's permission to allow the Studio Amateur Dramatic Group (SADG) of the BBC Club to record this, on the proviso that it would be made by and played for club members only, and was not intended for broadcast. The idea was to use it as an exercise in adapting a novel for radio. Lewis assured the producer that the Daleks didn't feature - i.e. the episode concluded before they made their first appearance.

Replying on 4 June, Nathan Turner agreed in principle that this project could go ahead but wanted to check with Martin Hussey, merchandising assistant at BBC Enterprises, whether the project needed the blessing of Roger Hancock, agent of Dalek creator Terry Nation. The producer forwarded Hussey the script the following day; a copy of his covering memo survives. There's no record of a reply and the script doesn't seem to have been returned, so is not included in the Nathan Turner archive.

Staff at the BBC's Written Archive Centre were unable to locate a copy of the script or any further details about this production. No recording, cast list or other paperwork is known to survive. I've also drawn a blank in trying to trace Philip Lewis; he's surely not the man of the same name who was a long-serving TV producer for BBC Midlands and created Pot Black.

But if SADG recorded a version of the script by Lewis, it may well have been technically accomplished. SADG helped BBC staff learn key skills in production. For example, Bob Wood was a senior clerk working in the current recordings retention unit at Broadcasting House in the 1960s, but joined this (and other) groups:

"At SADG, I learnt to be a radio studio manager and producer, eventually becoming their technical training officer and winning a technical trophy ... In 1970, after successfully completing the POA/SM training course, I left London and moved to Glasgow as a radio studio manager at BBC Scotland." (Bob Wood, "BBC hostels & the summer of love", Prospero issue 6 (December 2018), p. 8.

UPDATE!

I’ve been in touch with Philip Lewis, who now works as a voice artist with credits including a radio announcer on Emmerdale. You can find out more (and employ him!) via his website. 

So, what about his adaptation of Doctor Who and the Daleks?

“As far as I know, it never got recorded,” Philip tells me. “At least not with my involvement. And I don’t have a copy of the script. In the intervening years I’ve moved house a number of times.”

But why adapt this particular Doctor Who novelisation, which was then 17 years-old? “The answer to that lies in the letter I wrote to the then producer – basically it was an exercise in adapting a book for radio. I seem to remember around that time I did several partial adaptations of other books and Doctor Who was just one of them.

“And no, I’m not the Philip Lewis who produced Pot Black, although I did meet him once.”

Thanks to Philip, and also to Richard Bignell.

The Daleks in Colour and Kennedy's "Survivors"

Watching the glorious The Daleks in Colour last night, I was especially struck by the bleakness of the story and world, a tale of nuclear holocaust made in an age when that was a stark possibility. As my chum Toby Hadoke pointed out to me a while ago, the second episode of the original serial, “The Survivors” (in which we first see the Daleks), was recorded on the evening of 22 November 1963, just hours after the cast and crew learned of the assassination of President John F Kennedy and the whole world seemed poised on a knife-edge.

This week, a post by Letters of Note started off a chain of thoughts. Following Kennedy's death, his widow Jacqueline wrote to Nikita Khrushchev, Premier of the Soviet Union:

“I know how much my husband cared about peace, and how the relation between you and him was central to this care in his mind. He used to quote your words in some of his speeches - 'In the next war the survivors will envy the dead.'”

Khrushchev seems to have been credited for this evocative phrase in the 20 July 1963 issue of Pravda (I've not been able to check this but it says so here). Whatever the case, President Kennedy quickly picked up on the phrase, quoting it on 26 July in his radio and television address to the US people on the nuclear test ban treaty - a transcript and recording can be found on the website of the John F Kennedy Presidential Library and Museum. 

“A war today or tomorrow, if it led to nuclear war, would not be like any war in history. A full-scale nuclear exchange, lasting less than 60 minutes, with the weapons now in existence, could wipe out more than 300 million Americans, Europeans and Russians, as well as untold numbers elsewhere. And the survivors, as Chairman Khrushchev warned the Communist Chinese, 'the survivors would envy the dead.' For they would inherit a world so devastated by explosions and poison and fire that today we cannot even conceive of its horrors.”

These words were very widely reported, such as in the Daily Telegraph the following day (it's a front-page story, but the line about survivors is on p. 16 where the news story continues). That was on Saturday, 27 July 1963 and, despite what Kennedy said, I think people could very well imagine the horrors. Surely it can't be a coincidence that this was probably also the weekend over which Terry Nation wrote his 26-page storyline for a Doctor Who serial at that point entitled "The Survivors".

The storyline does not include a date but we can deduce when Nation wrote it from two surviving documents in the BBC's Written Archives Centre. On 30 July, BBC Head of Serials Donald Wilson produced notes for a preliminary meeting about the promotion of Doctor Who and listed the first three serials then currently planned: the caveman adventure The Tribe of Gum aka An Unearthly Child, the ultimately unmade The Robots and the story that became Marco Polo. 

The following day, story editor David Whitaker produced one-paragraph synopses of these three stories - plus a newly commissioned fourth one: Nation's serial was now under the title “The Mutants.” So: Nation wrote the storyline over the weekend, surely influenced by the leading news story and Kennedy's evocative phrase, then met with Whitaker on the Monday or Tuesday and was commissioned for the story.

One more thing, which I mentioned yesterday in my interview with BBC News (and tweeted back in July). Nation’s thrilling, 26-page storyline, on the basis on which scripts were commissioned, used the words “execution”, “elimination” and “extinction”. Whitaker summarised the plot in one paragraph for his colleagues, and used a word Nation had not: “exterminated”. 

Source: Asa Briggs, Competition, p. 418. My book David Whitaker in an Exciting Adventure with Television is out now.

Three Counties Radio and Doctor Who @60

The first episode of Doctor Who was broadcast 60 years ago today and there's a whole load of stuff on TV, radio and online to mark the occasion.

This morning, I joined Andy Collins on BBC Three Counties radio to talk about David Whitaker, first story editor of Doctor Who, and how his childhood in places such as Knebworth, Cheshunt and Nasty (as well as living in London) fed into those early adventures - and explains why the Daleks invaded Bedford of all places. You can listen here:

• Andy Collins: Doctor Who is 60! (my bit starts at 1.54.00)

ETA: Danny Fullbrook also interviewed me for the BBC News website about David Whitaker's connection to the area - see Doctor Who: Bedford writer's childhood influenced the Daleks.

The second part of my contribution to the Something Who podcast is also now live. Having tackled 1965 story The Rescue (written by David Whitaker) in part one, me, Richard, Giles and Paul get to grips with 2010's The Eleventh Hour.

More of me rabbiting on about Doctor Who here:

• Architects of Doctor Who - David Whitaker by his biographer Simon Guerrier
• Who's Views: Merchandise Paradise - Simon Guerrier
• Corner to Corner: Peter Anghelides and Simon Guerrier

Doctor Who Magazine #591

I've a couple of things in the new issue of Doctor Who Magazine out today.

In "Location, Location, Location", assistant location manager Alex Moore tells me all about his job on the new series - which isn't all bins and car parks.

(I've been chatting to Alex anyway as his excellent article on the late director Frank Cox, published in the new issue of TARDIS (vol 7 no 5), has been very useful for my forthcoming book on The Edge of Destruction.)

I've also written the "Sufficient Data" infographic illustrated by Ben Morris looking at the winners of the readers' poll into best Fifth and Sixth Doctor stories.

And the back cover is a big ad for Daleks! Genesis of Terror which is out today. Rob Ritchie has produced the most amazing video trailer.

Daleks! Genesis of Terror

The terrific trailer for Daleks! Genesis of Terror is out now.

• Listen to the trailer for Daleks! Genesis of Terror
• Download the trailer for Daleks! Genesis of Terror

The new CD and download release is something very special - though I suppose I would say that, as producer. It features Tom Baker and a full cast performing Terry Nation's original draft of the first episode of Genesis of the Daleks, once voted the best Doctor Who story of all time by readers of Doctor Who Magazine.

I've found it fascinating to work on and hope you'll enjoy it when it's out later this month.

• Buy Daleks! Genesis of Terror from Big Finish

Blurb as follows...

In a paved garden outside time, the Doctor is presented with an awful prophecy: the conquest of all time by the Daleks. To prevent this terrible fate, the Time Lords have decided on a radical course — to weaponise time themselves, and destroy the Daleks before they were ever created. And they want the Doctor to carry out this extraordinary task!

Soon, he and his companions Sarah and Harry are on the battle-ravaged planet Skaro, where a war has been raging for centuries. The war is now waged by teenagers using the last surviving weapons. Everything is desperate. But the Kaled’s chief scientist has a new weapon that he thinks might just change everything…

Disc 1:

Full cast version of Terry Nation's first draft of episode one of Genesis of the Daleks, with Nicholas Briggs providing the stage directions, plus readings by individual cast members of the storylines for the other episodes.

Disc 2:

BBC broadcaster and journalist Samira Ahmed interviews Philip Hinchcliffe.

Cast:

• Tom Baker (The Doctor)
• Sadie Miller (Sarah Jane Smith)
• Christopher Naylor (Harry Sullivan)
• Peter Bankolé (Time Lord / General Grainer)
• Samuel Clemens (Nyder)
• Alasdair Hankinson (Ravon / Kaled Leader)
• Terry Molloy (Davros)
• James Phoon (Kaled Boy / Operator)

Crew:

• Narrated by Nicholas Briggs
• Featured Guests: Philip Hinchcliffe and Samira Ahmed
• Senior Producer: John Ainsworth
• Additional dialogue by Simon Guerrier
• Theme arranged by David Darlington
• Cover Art by Ryan Aplin
• Director: Samuel Clemens
• Executive Producers Jason Haigh-Ellery and Nicholas Briggs
• Music by Nicholas Briggs
• Producer: Simon Guerrier
• Sound Design by Jaspreet Singh
• Written by Terry Nation

Radio Free Skaro #893

On Saturday, I spoke to Steven and Chris from Radio Free Skaro about my research into the life of David Whitaker. I'd just given my talk on Whitaker at the Gallifrey convention, and you might be able to detect the buzz of adrenaline.

NB that Radio Free Skaro recorded lots at the convention, including an insightful interview with Chris Chibnall that they'll share next week!

Doctor Who Magazine #586

The new issue of the official Doctor Who Magazine boasts an interview with Millie Gibson, who'll be joining the series as companion Ruby Sunday later this year, and the production team behind the new series. So it's a bit of a surprise to see my own gurning head in the midst of the editorial on page 3, where some nice things are said about Looking for David, the documentary about David Whitaker made by Chris Chapman and Toby Hadoke with some consulting and talking by me.

"Remarkable ... meticulously researched and ultimately poignant."

There's more praise for the documentary in Richard Unwin's review of the Doctor Who: The Collection - Season 2 (the Blu-ray box-set it's part of).

"... nothing short of extraordinary [with] jaw-dropping revelations provided by biographer Simon Guerrier".

So that's nice.

Elsewhere in the magazine, I lavish praise on the new edition of Doctor Who and the Daleks (the first ever Doctor Who novelisation, first published in 1964) which boasts 58 illustrations by Robert Hack and is a delight. I also slip in a couple of new facts about author David Whitaker, too. 

Plus, in "No Time to Die", Rhys Williams and I dig into the sets and production of missing 1965 episode The Traitors, with the sets recreated in CGI by Rhys with Gavin Rymill and Anthony Lamb. By chance, yesterday I realised that two elements of The Traitors may originate in something also written by Whitaker - but more on that in due course...

Doctor Who Magazine #584

The new issue of Doctor Who Magazine is, of course, devoted to the return of David Tennant as the Doctor, with plenty of exclusive chatter with the new cast and crew. How lovely to see Scott Handock is script editor on the new series - an age ago, I gave Scott his first writing gig.

Also in the mag is "Factory Records", in which me and Rhys Williams look at the set used in filming the Dalek production line sequence from the end of Episode 4 of The Power of the Daleks (1966), written by David Whitaker. So often in Doctor Who, limited time and money mean what the writer intended must be cut down to something less thrilling, but this is an example of the opposite happening. The CG recreations are by Rhys, Gav Rymill and Anthony Lamb.

There's also a Sufficient Data infographic by me and Ben Morris, this time looking at the Doctor's regenerations. I'd not seen The Power of the Doctor when I wrote the brief, or I'd have squeezed in the regeneration/deregeneration into the Master and back.

Penelope Fitzgerald - A Life, by Hermione Lee

Last year, when I asked what books by Penelope Fitzgerald I should read, a few people suggested this very good biography by Hermione Lee. Lee knew Fitzgerald personally; in the final pages of the book, she scrupulously lists exactly how. With access to Fitzgerald's papers - those held by the family and those at the University of Texas - plus interviews with huge numbers of those who knew and worked with her, the result is a richly detailed portrait of the good, bad and peculiar.

"Dillwyn had his fiftieth birthday party at the Spread Eagle Inn at Thame, a chaotic event at which the notoriously grandiose and eccentric landlord locked up all the lavatories, so that the guests had to pee in the gardens, pursued by ferocious bees, and the only food provided was a dish of boiled potatoes. (This story may have grown in Penelope's telling of it over the years.)" (p. 40)

This Dillwyn, Fitzgerald's uncle, is the Dilys Knox whose work on codebreaking at Bletchley during the war I also ready knew about. His brother Ronald is the Ronald Knox whose writings on Sherlock Holmes I've noted in the Lancet. Their brother Evoe Know, editor of Punch, was also a name I'd seen before, but I'd never made the connection between these Knox brothers, or that Fitzgerald was Evoe's daughter. The book is full of such connections - Fitzgerald's children friends with the young Ralph and Joseph Fiennes, Fitzgerald's family close to that of EH Shepard, illustrator of Winnie the Pooh. 

By chance, I went to see Daleks: Invasion Earth 2150 AD at the cinema about the same time as reading the section about Grace, the canal boat on which Fitzgerald lived in the early 1960s, and on which she based her novel Offshore. Lee tells us (p. 144) that Grace was moored opposite St Mary's Church, Battersea - which is where Peter Cushing is standing when he sees a Dalek emerge from the Thames. So the background of those shots is what inspired a Booker prize-winning novel. I initially hoped that perhaps Grace was one of the bleak-looking boats visible in the film, but Fitzgerald's modest home sadly sank in 1963, taking with it many of her prize possessions just when she had so little left to lose.

(There's another Doctor Who connection: in about 1969, Fitzgerald owned an "old 1950s car" called Bessie (p. 219), just as Jon Pertwee's Third Doctor was first motoring about in his vintage-looking kit car of the same name.)

Lee tells us when she doesn't know something, or at least can't be sure. And she's brilliant at using Fitzgerald's fiction to tease out details of the author's real life - not that anything in a novel must be based on real experience, but that the narrative is revealing of a state of mind. At one point, Lee cites the owner of the shop on which The Bookshop was based, writing to Fitzgerald in praise of the novel but underlining differences between fact and fiction (real life was, apparently, more benign). Elsewhere, we close in on a man who may be the older, married colleague we know broke Fitzgerald's heart. Lee names her suspect, and presents a good case for him being the one, then admits there's not really enough here but tantalising fragments.

There is still plenty that's unknowable - and, as Lee admits at the end, plenty that Fitzgerald kept to herself to the end. But there's a vivid portrait here, a sense of Fitzgerald as a real, complex and contradictory person. I feel I know Penelope Fitzgerald now: the person, the work, the extraordinary, often difficult life. This is more than portraiture: it is vivid history; it is animation.

I'm keen to read Fitzgerald's own work of biography, The Knox Brothers, about her father and his brothers. And I'm keen to read Human Voices, a novel based on her own experience working at the BBC during the war. And Hermione Lee's Body Parts: Essays on Life Writing looks very good, too.

Doctor Who Magazine #580

The new issue of Doctor Who Magazine boasts a cover by Anthony Lamb showing the Daleks as they blaze into action. There's lots of coverage of the two Dalek movies from the 1960s - and of the never-made third movie, too. In "Mine Craft", me, Rhys Williams and Gavin Rymill detail - and reconstruct - the sets from the second Dalek movie.

(An odd thing to study the movie in such depth, and then go and see it on the big screen at Home in Manchester. I saw all sorts of details I'd never seen before, such as the glistening lava on the exploded Dalek castle at the end...)

There's also another "Sufficient Data" by me and Ben Morris, this time on distances Doctor Who has fallen.

On the Sixth Doctor Who

I've been enjoying the new Blu-ray release of the 1985 series of Doctor Who, adventures that made such an impression on me as kid. And that's prompted me to look out the introduction I wrote for The Court Jester, the now out-of-print book version of the blog in which Sue and Neil Perryman watched all the Sixth Doctor's episodes...

Foreword by Simon Guerrier

Thursday, 15 March 1984

My first thought is “good.” Janet Ellis on Blue Peter has just introduced Colin Baker as the new Doctor Who. My family don't buy newspapers and no one's said anything at school, so I'm pretty sure this is the first time I learn that Peter Davison is leaving. I've still not forgiven him for replacing Tom Baker.

Friday, 16 March 1984

The poisonous bat poo the Doctor touched three weeks ago finally kills him. My elder brother and sister join me and my younger brother to watch part four of The Caves of Androzani. I think it's the first time they – now serious, grown-up teenagers – have watched since The Five Doctors. They tell us, as always, that Doctor Who used to be much scarier than this sorry nonsense. I'm certain they're right and can't wait for this story to finish so we can get on to the new Doctor as he's sure to make everything better. I mean, a boy at school insists Colin is Tom Baker's brother.

Thursday. 22 March 1984

The Sixth Doctor era proper begins with part one of The Twin Dilemma. It's a very intelligent story – it must be, as I'm not always sure what's happening or what the Doctor is talking about. It's not exactly a scary story, but the Doctor attacking poor Peri and then later hiding behind her for safety means we're not sure what to make of him. “Look how clever they're being,” I'd tell my siblings if they asked my opinion. But they don't.

Saturday, 5 January 1985

A boring shopping trip to Southampton turns out to be a brilliant trick by my parents, and me and my younger brother are really off to see the stars of Doctor Who in the pantomime Cinderella. Colin Baker runs on to the stage pushing a shopping trolley with a Doctor Who number plate on it, to the most deafening cheer from the audience. People really love his Doctor! My parents' ingenious plan is to see the matinee performance so that we can be home in time for the first episode of the new series of Doctor Who on TV. But we get caught in traffic because of a football match, so I miss Part One of Attack of the Cybermen. There is much weeping.

Saturday, 12 January 1985

I sit entirely baffled by what's happening in Part Two of Attack of the Cybermen, certain it would all make sense if only I'd seen part one. (I don't get to see part one until 1993, and am still not entirely sure what's happening.)

Saturday, 26 January 1985

Part Two of Vengeance on Varos gives me nightmares. I'm really creeped out by the monstrous Sil and the story is full of horrid details, but what really gets me is when the Doctor rescues Peri from being turned into a bird. She looks human but the Doctor has to keep repeating her name to re-imprint her identity. The thought I can't shake is that she might be permanently changed, a monster on the inside...

Saturday, 16 February 1985

ITV shows The A-Team at the same time as Doctor Who. After some discussion with my brother and a friend who doesn't have a telly so is often round to watch ours, we agree to video part one of The Two Doctors and watch The A-Team live. I distinctly remember the logic involved: Doctor Who is the one we'll want to watch more than once. It's not as slick, the fights aren't as good, and it's not so loved by our schoolmates but there's more to each episode. Good thinking, eight year-old me.

Saturday, 9 March 1985

I completely love Part One of Timelash. At school the next week, I insist to a friend that of course bumbling Herbert will be the new companion.

Saturday, 23 March 1985

The scariest moment ever seen in Doctor Who – at least, I think so now. Natasha finds her father, who's being turned into a Dalek and begs her to shoot him. The writing, performance, effects and music are all perfectly horrible. These days, I show a clip of this in talks I give on Doctor Who – just to see the audience squirm. After one talk, the parents of a keen young fan make a point of apologising to me for having told their daughter that Doctor Who wasn't very good in the 1980s.

Saturday, 30 March 1985

We're still watching The A-Team live and videoing Doctor Who, each week recording over the previous episode on the one tape we're allowed to use. Part Two of Revelation of the Daleks is the final episode of this year's series so doesn't get taped over the following week. My younger brother's interest in Doctor Who is waning but my three year-old brother Tom watches that tape again and again for weeks. A moment in that episode haunts me each time I see it, even now. As the Doctor runs down a corridor on his way to battle the Daleks, he thinks he hears Peri being exterminated. There's a moment of horror, of pain, on his face, and then he rallies himself and runs on. No words, just how Colin Baker plays it, so perfectly the Doctor.

Sometime in April 1985

It's all my pocket money, but I spend the vast sum of £1 on the 100th issue of The Doctor Who Magazine. It's a massive disappointment, lacking the weird wonder and excitement the TV series kindles in me. Instead, the magazine is full of lengthy, dense articles about the minutiae of the programme's past. I cannot fathom why anyone would find this of interest. I don't buy DWM again for five years.

Summer 1985, Winter 1985, Spring 1986

Then there's a gap. It came as a complete surprise to me, many years later, to learn that Doctor Who had been on hiatus for 18 months, that there'd been criticism of the violence in the programme, that it was even discussed on the news. At the time, I don't spare the absence a thought – of course Doctor Who will be on again at some point. I don't know there's been a new Doctor Who story, Slipback, on the radio until its released on cassette years later. But I've begun producing my own Doctor Who stories in which my brothers are horribly killed by various monsters.

Tuesday, 24 June 1986

I'm pretty sure I get the novelisation of Timelash for my 10th birthday. The TV version is my favourite of the Sixth Doctor's stories to date, and I read the book over and over. One big appeal is the references to the Third Doctor who, thanks to the Target books I've been picking up second hand and from the library, is my all-time favourite Doctor. But the story also really grabs me, and I spend the summer leaping over the garden sprinkler to be banished back in time.

Saturday, 6 September 1986

Doctor Who returns in a story called The Trial of a Time Lord. I'm especially pleased because we had a school trip to the “ancient” farm at Butser Hill used as a location. But otherwise the first four episodes seem to leave little impression. My memories of the Doctor Who I watched in the 1980s are usually vivid, but when I watch Part One of Trial again on video years later, I'm amazed to discover I can't recall any of what happens next. Perhaps Doctor Who wasn't affecting me as deeply as it once did – no longer the terrifying experience I couldn't bear to miss. Or perhaps these first episodes of the story were completely blotted out of my memory by the ones that followed.

Saturday, 4 October 1986

I am properly terrified by the return of Sil from last year's Vengeance on Varos. This section of the Doctor's trial is the last time Doctor Who ever really scares me. Part of the reason I've stuck with the series all these years on is the morbid hope it will scare me like that again.

Saturday, 1 November 1986

Bonnie Langford makes her début as Mel. My wife says this is when she made the decision to stop watching Doctor Who, which means she still doesn't know the outcome of the Doctor's trial. (Don't tell her.)

Saturday, 6 December 1986

The final episode of The Trial of a Time Lord – and of the year's Doctor Who. 

Saturday, 13 December 1986

I sit through hours of programmes on BBC One before the dismal truth sets in that one 14-episode story is all we're getting.

Thursday, 18 December 1986

Colin Baker, in his Doctor Who costume but not quite in character, appears as a team captain on the Tomorrow's World Christmas special. I take this as irrefutable evidence that he's busy filming the new series which must surely start on TV early in the new year. I can't wait!

Monday, 2 March 1987

Janet Ellis on Blue Peter has news about the next series of Doctor Who – and chats to her mate Sylvester McCoy who is going to be the new Doctor. I am flabbergasted. Sylvester McCoy is from children's programmes! 

Monday, 7 September 1987

The unceremonious end of the Sixth Doctor, who dies by falling over in the TARDIS before the opening titles of Time and the Rani Part One. I sharply recall my embarrassment at how silly the rest of the episode is, sure Doctor Who has lost its way. I've also just started secondary school, and realise that Doctor Who is no longer a programme to be fiercely discussed in the playground over the next week. I mention this to a friend who's gone to a different secondary school and he's astonished. “Are you still watching Doctor Who?”

But I am. It becomes a guilty pleasure. I know – because people keep telling me – that Doctor Who is not as good as it used to be. It was once something everybody watched but now I know hardly anyone who'll admit to having seen the latest episodes. 

Today, I know there were problems behind the scenes of the programme: disagreements between those making it, a lack of interest high up at the BBC, a dozen other things. I avidly read – and contribute to – articles in DWM poring over exactly what was to blame. But I also know it was as much to do with the age me and my friends were at the time, and the other pressures and interests affecting us. They simply outgrew this children's programme while I couldn't let it go.

The upshot is that the Sixth Doctor's era marks a fundamental change in my relationship to Doctor Who. Whatever anyone else thinks of this period of the show – and Neil and Sue are about to share their own strong opinions on it – it holds a special place in my heart.

Because at the start of Colin Baker's time as the Doctor, the programme was something I shared with pretty much everyone I knew. By the end, it was mine.

Simon Guerrier

24 April 2017

Doctor Who Magazine #578

There's a lot by me in the new issue of Doctor Who Magazine. I've written the main cover feature, "Who is Ncuti Gatwa", a profile of the actor announced earlier this month as the new Doctor.

Had it not been for this exciting announcement, the cover would probably have gone to Peter Cushing, star of the 1960s Dalek movies that are being re-released this summer. There is lots about the films this issue, including two things by me. 

In "Sets and the City", Rhys Williams and Gav Rymill recreate the sets from the 1965 film Dr Who and the Daleks, with commentary by me and Rhys. This month's "Sufficient Data" infographic by me and Ben Morris charts actors from the first Dalek movie who were also in TV Doctor Who.

(By nice coincidence, almost exactly 20 years ago, my first ever work for DWM was a feature on that first Dalek movie and big-screen Doctor Who generally. That was a cover feature, too.)

Plus, in "Hebe Monsters", I speak to Ruth Madeley about playing Hebe Harrison, new companion to the Sixth Doctor in his latest audio adventures.

Given all this, they've also put a photo of niceish me on page 3, taken by the Dr.

Doctor Who Magazine #577

There's another "Sufficient Data" infographic at the back of the new Doctor Who Magazine, written by me and illustrated by Ben Morris. This one is based on episodes of Doctor Who first broadcast at Easter.

A lot of attention has been given to Doctor Who Christmas specials, but to date 14 episodes have first been broadcast on Christmas Day, while 20 have premiered on Holy Saturday (the day between Good Friday and Easter Sunday):

1. 28 March 1964 - Mighty Kublai Khan
2. 17 April 1965 - The Warlords
3. 9 April 1966 - The Hall of Dolls
4. 25 March 1967 - The Macra Terror Episode 3
5. 13 April 1968 - Fury from the Deep Episode 5
6. 5 April 1969 - "The Space Pirates" Episode 5
7. 28 March 1970 - Doctor Who and the Silurians Episode 2
8. 10 April 1971 - Colony in Space Episode One
9. 1 April 1972 - The Sea Devils Episode Six
10. 21 April 1973 - Planet of the Daleks Episode Three
11. 13 April 1974 - The Monster of Peladon Part Four
12. 29 March 1975 - Genesis of the Daleks Part Four
13. 26 March 2005 - Rose*
14. 15 April 2006 - New Earth*
15. 7 April 2007 - The Shakespeare Code
16. 11 April 2009 - Planet of the Dead
17. 3 April 2010 - The Eleventh Hour*
18. 23 April 2011 - The Impossible Astronaut*
19. 30 March 2013 - The Bells of Saint John*
20. 15 April 2017 - The Pilot*

Six of those (marked with an asterisk) were the first of a new series, using Easter as part of the launch. Planet of the Dead (2009) and this year's Legend of the Sea Devils were special, one-off episodes for the Easter weekend. 

Legend of the Sea Devils is the first episode of Doctor Who to debut on Easter Sunday itself. And the 1993 repeat on BBC Two of Revelation of the Daleks Part Four is the only episode of Doctor Who broadcast on terrestrial TV on Good Friday.

Mary Whitehouse v Doctor Who

Disgusted, Mary Whitehouse will be broadcast on Radio 4 on Saturday 5 March. Produced by me and brother Thomas, it’s presented by Samira Ahmed who has spent months researching Whitehouse’s diaries, now in the collections of the Bodleian Library in Oxford; Samira has written a blog post about it all. For our programme, we spoke to Whitehouse’s granddaughter Fiona, to critics Michael Billington and Nicholas de Jongh, and to actor / director Samuel West. Oh, and Lisa Bowerman is amazing as Mary Whitehouse.

I’ve spent weeks going through the BBC archives for suitable clips to use. The earliest surviving example is from 5 May 1964, a news report about the Clean-Up TV event held at Birmingham Town Hall, where Whitehouse was one of the speakers. The clip of Whitehouse is brief but quite well known:

“Last Thursday evening we sat as a family and we saw a programme that started at six thirty-five and it was the dirtiest programme that I have seen for a very long time.”

The consensus seems to be that this dirty programme was a Scottish sketch show, Between the Lines, starring Tom Conti and Fulton Mackay. On the edition of 30 April, Conti met an attractive woman at a dance and we then heard his internal monologue. Sadly, the episode seems to be missing from the archive, so we can’t tell how “dirty” it was. We can’t judge the language used, the tone of it, the general effect. 

Surely, one would think, a programme shown at 6.35 in the evening couldn’t be too rude. And yet there’s lots in old telly that was thought innocuous at the time but seems remarkable now. The Wheel of Fortune is an episode of Doctor Who written by David Whitaker and first broadcast at 5.40 pm on 10 April 1965. It includes a scene in which a man called Haroun helps companion Barbara Wright to hide from some soldiers. Haroun leaves Barbara with his young daughter, Safiya, while he goes to look for a safe route out of town. He gives Barbara his knife: if she thinks the soldiers will find them, she is to kill Safiya and then herself. Barbara protests, but Haroun persuades her:

You would not let them [the soldiers] take Safiya?
No, of course I wouldn’t!
Then I'll leave the knife. 

It’s an extraordinary thing to include in a family drama aimed at kids aged 8 to 14, and just one of several examples from early Doctor Who where Barbara is under threat of sexual violence.

Right from the beginning of Doctor Who, there had been questions about how suitable it was for children. Opinion on this was “strongly divided” at the executive meeting of the BBC’s Television Programme Planning Committee on 4 December 1963 - after just two episodes of the series had been broadcast. The following week it looked like the programme might be moved to a later time in the schedule, though this was over-ruled by Head of Drama (and co-creator of Doctor Who) Sydney Newman. 

Then, on 12 February 1964, at the same committee Donald Baverstock (Chief of Programmes, BBC-1, listed in minutes as “C.P.Tel”) thought one scene in The Edge of Destruction - in which the Doctor’s granddaughter Susan attacks a chair with a pair of scissors while in the grip of some kind of madness - might have breached the BBC’s own code on depictions of inimitable violence. Baverstock’s then boss, Stuart Hood, later wrote that the BBC’s code of practice on violence in television, drawn up in 1960, was.

“a remarkably sane and enlightened document, which acknowledged the fact, for instance, that subjects with unpleasant associations for adults will often be taken for granted by children and vice versa. ‘Guns … and fisticuffs may have sinister implications for adults; seldom for children. Family insecurity and marital infidelity may be commonplace to adults; to children they can be deeply disturbing.’” (Stuart Hood, A Survey of Television (1967), p. 90.)

That reference to guns is interesting in the light of Mary Whitehouse’s first-known objections to Doctor Who. Whitehouse believed that depictions of sex and violence on TV had a corrupting effect on the viewer, and led to an increase in sexual and violent crime more broadly. She gave some examples of this in an interview with the Daily Mirror on 29 November 1965:

“‘I know a 14-year-old girl who was so physically affected by a sexy play that she went out and offered herself to a 14-year-old boy. … And I know a boy who listened to a doctor expounding the virtues of of premarital sex and went out and got VD… I mean, where is it going to end? We've even got the Daleks in Dr. Who—a children's show, mind you—chanting 'Kill, kill, kill.' One day a youngster is going to go out and do just that…’ AT this point MRS. FOX said something that sounded like ‘twaddle.’”

That’s Avril Fox, “mother and Harlow councillor”, contesting Whitehouse’s claims. I found several examples of this in the archive, too: Whitehouse claiming to represent the views of ordinary people, and then ordinary people quickly saying she didn’t speak for them. (We use one example in our documentary, from an episode of Talkback on 7 November 1967 in which Whitehouse and other members of the public responded to Stuart Hood and the claims made in his book, not least that most people who write into TV companies are “cranks”.)

I also found several examples of Whitehouse conflating what are surely different issues, such as in this case undercutting her point about protecting children from sexualised content by equating it with the supposed effects of fantasy violence. Yes, children mimic Daleks - that’s part of the Daleks’ appeal - but they don’t then go on to kill people. Suggesting they do undercuts the whole argument; the serious point about sexualised content is also dismissed as twaddle.

There’s a third characteristic: that Whitehouse may have been complaining about something she’d not actually seen. The Daily Mirror interview was published two days after the broadcast of Devil’s Planet, an especially notable episode of Doctor Who in that it killed off a companion. But Katarina is not killed by Daleks; she is ejected from a spaceship airlock. The Daleks do appear, and execute a wicked alien called Zephon, but there is no chanting of “Kill”.

Famously, the Daleks don’t chant “Kill”, but prefer the term “Exterminate”. One Dalek does repeat, “Kill, kill, kill, kill, kill,” in the episode Flashpoint (broadcast 26 December 1964), so either Whitehouse was remembering that untypical sequence from a year before, or she invented the thing she criticised - perhaps repeating what other people said about the Daleks, rather than what she’d observed herself. (As we detail in our documentary, she consciously chose not to see The Romans in Britain at the National Theatre, but led a private prosecution against its director for a scene in it that she considered to be grossly indecent.)

In her later criticism of Doctor Who, Whitehouse was more specific - and effective. Since m’colleague Jonathan Morris wrote about this in more depth in his 2003 feature for Doctor Who Magazine, “Sex and Violence”, a wealth of press clippings have been posted on the Doctor Who Cuttings Archive relating to Mary Whitehouse. Planet of the Spiders (1974) had, she claimed, led to an “epidemic” of “spider phobia” in children. In Genesis of the Daleks (1975),

“Cruelty, corpses, poison gas, Nazi-type stormtroopers and revolting experiments in human genetics are served up as teatime brutality for the tots.” (The Mirror, 27 March 1975)

She was concerned about specific scenes in The Brain of Morbius and The Deadly Assassin (both 1976), and could vividly recall them almost 20 years later when interviewed, on 22 November 1993, for the documentary Thirty Years in the TARDIS. Director Kevin Davies kindly provided me with a longer version of that interview, though we couldn’t make it fit in our programme:

“Now, there’s one particular programme - and I can see it still in my mind’s eye - where Doctor Who, the final shot of the episode, was Doctor Who drowning. And these sort of images, the final shots of the programme, with the image that was left in the mind of the child for a whole week, not knowing whether his beloved Doctor Who or whatever would have drowned or not have drowned. And another programme finished with a girl who was with him, and she had a pincer put around her neck. And the holding of that pincer round her, again, was the last shot. And to me, I think it’s extraordinary that people with the brilliance, in many ways, in making a programme of that kind couldn’t have extended their awareness not only to their cameras or all the rest of it, but to the effect of what they were doing upon the children who were receiving it. That was almost as thought they were a bit dumb in that area.”

Back in 1976, and following her criticism, the last shot of the drowning scene was cut from the master tape of the episode by the programme’s then producer.  On the 30 Years documentary, a subsequent producer says he secretly hoped Mary Whitehouse would complain about his Doctor Who because it was always good for viewing figures; yet her complaints about violence in the series in his time overseeing the series were used as justification when the programme was then taken off the air. Today, Doctor Who isn’t shown so early in the evening and - I’d argue - is marketed much less as a show for children. I find myself wondering how much that sort of thing is in the shadow of Mary Whitehouse.

Going through her diaries, I found a number of other things. There’s the entry in the 1985 diary where she has two concerns about recent television: her discussions with Michael Grade, then Controller of BBC-1, about violence in the recent season of Doctor Who and the legal judgment on yet another private prosecution she’d brought, this time about the broadcast on Channel 4 of a controversial film set in a borstal. So the page is headed “Dr. Who - SCUM”

And another one I noted. On 18 March 1982, the legal case against The Romans in Britain was withdrawn. Mary Whitehouse was on that evening’s Newsnight to discuss the case, and spent most of her time correcting what she felt were errors in the reporting. Then, interview done, the cameras wheeled away to the other side of the studio for further discussion of the case, with Joan Bakewell speaking to Sir Peter Hall from the National Theatre and Sir Lois Blom-Cooper.

Again, Whitehouse thought what they said was wrong. In her diary, she says she asked the presenter who’d just interviewed her if she could intercede. The presenter checked with the producer who said no. So Mary Whitehouse heckled anyway.

“Whereupon the cameras came chasing across the studio, like a lot of Daleks, leaving Joan Bakewell and her guests in darkness! … I came fully onto the screen as I was saying my bit.” (Mary Whitehouse, diary entry for events of 18 March 1982, written on the page for 10 March 1982)

I was really struck by that moment - and that telling word. Alas, as the Daleks close in on Mary Whitehouse for this hero moment, she’s not clutching her lapels.

Doctor Who Magazine #574

After some time off to make room for the Christmas quiz (and answers), the new issue of Doctor Who Magazine features another Sufficient Data infographic, written by me and illustrated by Ben Morris. 

This one marks 50 years of Day of the Daleks and owes a little to the blog post I wrote a while ago on the economics of the Daleks.

The Dalek Factor

Out on Blu-ray and DVD this week is the new animation recreating The Evil of the Daleks, a seven-episode Doctor Who story from 1967 of which only episode 2 still survives. The wealth of extras include making-of documentary The Dalek Factor produced by Steve Broster. It includes me rabbiting on a bit wild-eyed and excited to be talking to anyone outside my immediate family.

As the caption says, I wrote a book about The Evil of the Daleks for the Black Archive series, which is still available and rather good.

Producing Doctor Who

I'm the new producer of the Doctor Who: Lost Stories range - and Tom Baker's boss, which has been a delight. My masters at Big Finish have announced the two productions I'm currently working on - Doctor Who and the Ark and Daleks! - Genesis of Terror, both for release in March 2023. 

As I say in the official announcement:

This is something very special: Doctor Who archaeology brought thrillingly to life. The Ark in Space and Genesis of the Daleks are among the best-loved TV stories ever. We’ve uncovered first draft scripts by John Lucarotti and Terry Nation that are exciting, surprising and very different.” 

“Genesis is a very visual script packed with striking, stark images – Nation even makes the stage directions exciting. In Doctor Who and the Ark, the directions were more functional so Jonathan Morris has carefully adapted the script for audio. Though we’ve kept the original episode titles, such as “Puffball” and “Camelias” – I think Tom Baker enjoyed recording those! Oh, and wait till you hear that cliffhanger… 

More details to follow in due course, but you can pre-order Doctor Who and the Ark and Daleks! Genesis of Terror right this minute.