Showing posts with label droo. Show all posts
Showing posts with label droo. Show all posts

Saturday, January 18, 2025

A Doctor Who pitch: Perfect Worlds

Yesterday, while searching for something else I came across five one-paragraph ideas for Doctor Who audiobooks that I submitted on Sunday, 15 November 2009, a few hours before settling down to watch The Waters of Mars

One of the five ideas is striking. I had no idea at the time that Amy’s Choice had been commissioned for the 2010 TV series and this was all a long time before the Dream Crabs featured in Last Christmas (2014). But, by total coincidence, I came up with something a bit similar:

Perfect Worlds


A sort of ghost story. Amy and the Doctor rescue each other from their dreams. After finally leaving the Doctor behind, Amy is back home with her friends – human ones and those she’s met on her adventures with the Doctor. It’s a nice day and there’s a big party. But some of the friends she knows are really dead. And then the Doctor comes to see her. He explains she’s asleep, she’s been bitten by something that’s feeding off her dreams – and is slowly killing her. He’s using a machine to speak to her: and by willing to wake up she can. The Doctor shows her the small, scaly creature feeding on their desires. And it bites him. Amy now has to go rescue him… He dreams of his own home and the thousands of people who he couldn’t save, all living happily together. Amy talks him out of staying.

This happens quite a lot: more than once I’ve been told I can’t do X or Y in a Doctor Who story because someone else is already doing it or something like it in another story I didn’t know about. As an editor and producer, I’ve sometimes had to tell people the same thing. There is a lot of Doctor Who being dreamt up all the time, so it’s not really surprising.

But on this particular occasion I don’t think I was made aware that I’d chanced upon the wheeze of a forthcoming TV episode. And by the time Amy’s Choice was broadcast on 15 May 2010, I’d forgotten having a similar idea. 

That’s probably because I was a bit caught up in other things at the time. But it’s also how pitching works: if the people you’re pitching aren’t enthused by what you send in, you send in something else. Ideas are the easy bit. If there’s interest in an idea you then move on to the trickier thing of developing it into a storyline.

I sent in some more ideas and one of those eventually became The Empty House, released in September 2012. 

But I realise (having had it pointed out) that I then worked some of this Perfect Worlds idea into The Anachronauts, released in January 2012. In fact, another of the pitches sent in with Perfect Worlds was called The Deluge and reworked an outline for a Doctor Who novel I’d submitted in the early 2000s. That idea eventually ended up as The Flood, an episode of my science-fiction series Graceless, released in December 2011. 

The three other ideas — Snip! Snip!, 77 Aliens and The Brain Drain — might still find homes somewhere… Never throw anything away, Harry.

This morning, out for a walk, I puzzled over where the wheeze for Perfect Worlds came from in the first place. At the time, one trick I used for sparking ideas was to scan over my shelves of books and DVDs. It wasn’t always to come up with, “A Doctor Who version of X…” Often just being reminded of a scene, a character, a line of dialogue would ignite something.

With that in mind, I think Perfect Worlds was probably inspired by the 1986 movie Labyrinth, especially the “As The World Falls Down” sequence at the ball — hence Amy being at a party — and the bit when Sarah thinks she is back in her room but it’s yet another trick. She has to puzzle out, for herself, the difference between the comforting and the real… 

Maybe I’d been told, or picked up somewhere, that the 2010 series of Doctor Who would have something of a fairy-tale feel. If so, I was trying to get myself in the right kind of head space to match that — and that’s why this idea came so close to what they were already doing. 

Thursday, January 02, 2025

Doctor Who Magazine #612

The new issue of the official Doctor Who Magazine is officially out today (though, via SIDRAT capsule, some subscriber copies arrived last week / last year). 

The cover shows the Second Doctor playing his recorder which also doubled in several stories as a telescope. I mentioned this recently to a mate who thought I must have gone mad but you can see a good example at 13:57 into The War Games in Colour - watch carefully, and you see the Doctor replace the top after use.


This has also prompted me to post my 2019 interview with Frazer Hines about the costumes he wore as Jamie McCrimmon, companion to the Second Doctor.

On pages 36-39 of the new DWM, there's my latest "Script to Screen" feature, this time on Babystation Beta - the space station seen in 2024 episode Space Babies. It's a companion piece to the coverage of that episode I wrote for issue #604 in May. In this case, I spoke to art director Jon Horsham and VFX supervisor Jim Parsons, as well as director Julie Anne Robinson.

Also this issue, my former script editor Jacqueline Rayner says some nice things about my 2011 audio Doctor Who story The Cold Equations. If that's of interest, in 2021, I was a guest on the Gallifrey's Most Wanted podcast talking about this story and the trilogy it was part of.

Saturday, December 28, 2024

Adventures in Type and Space

My clever colleagues Graham and Jack Kibble-White and Stuart Manning have produced a lovely supplement to last year's Adventures in Type and Space. The new addition is The Sid Sutton Collection, devoted to the late graphic designer perhaps best known for the Doctor Who opening titles used between 1980 and 1986.

In February, I posted on Twitter/X some thoughts about Adventures in Type and Space, slightly revised here for clarity:

I’ve been utterly spellbound by this beautiful, brilliant book. It goes in big on a very small subject — the 30 seconds or so of opening titles at the start of each episode of old Doctor Who. But it’s just as thrilling and rich as those sequences, and so much more than simply a history of who made them and how. It’s funny and profound about the process of creating art and what’s going on in the artist’s head. Along the way, we learn the role of God and Fra Angelico in the whizzy opening titles for Sylvester McCoy’s Doctor, and what a CGI artist “sees” in their head as they tap out the code. There are connections to Alien, Bladerunner and Points of View, and everything you could want to know about the typeface Futura. Like the titles themselves, this is an extraordinary visual treat, all the more wondrous the closer you look.

My contribution to that original book was to supply a photograph of Sid Sutton from when I interviewed him at home on 2 May 2017 for Doctor Who Magazine's special The Essential Doctor Who: Adventures in Space. Another of my photographs and some previously unpublished bits of the interview feature in this new supplement.

There is also a long interview with Sid culled from multiple sources, plus an interview with his two sons - who both work in design - and with Sid's collaborator Terry Handley. Again, there's a wealth of detail here: how exactly things were done, using what bespoke equipment and in what premises, and what to look for in the familiar titles that reveal this painstaking process. (Clue: keep you eye on the question marks.)

There's also a revealing interview with Colin Baker as he's shown the myriad different elements Sid employed to create his Doctor Who opening titles. A video of this conversation is also available:


There's some revealing stuff here and not just about the way the titles were made. Baker compares his Doctor, and his plan for revealing this incarnation's true persona, to Mr Darcy in Pride and Prejudice.

"[We] don't want him anywhere near our heroine. But it turns out he's the only truly decent person in the story. Everything he's done, which others have found objectionable, has been for the benefit of third parties, not himself." (p. 37)

There's a sense that these opening titles are invested with great meaning by interviewer Graham Kibble-White, who was 11 when Colin Baker became the Doctor. The conversation is an attempt to explore what meaning they hold for Baker - very different as an actor on the other side of the screen and yet no less significant.

The separate versions of Aventures in Type and Space and The Sid Sutton Collection are now sold out but compendium edition Adventures in Type and Space: The Complete Collection is available to buy from the Ten Acre Films site.

Thursday, December 12, 2024

Doctor Who Magazine Yearbook 2025

The 2025 yearbook from Doctor Who Magazine is now out, featuring a couple of things typed by me.

Pages 28 and 29 relive the experience, in May, of watching season opener Space Babies for the first time, my son the then 12 year-old Lord of Chaos keen to see it at midnight - especially if we had crisps. Then, on page 68 and 69, we mark the 40th anniversary of The Who Shop on 2 December, with an interview with owners Alex and Kevan.

Sunday, December 08, 2024

The Power of 3 podcast #316: The Time-Travelling Almanac

I spoke to Kenny Smith for his Power of 3 podcast about my new book, Doctor Who: The Time-Travelling Almanac, which would of course make the ideal Christmas gift for the Doctor Who fans in your life...

I spoke to Kenny last year about another of my books, David Whitaker in an Exciting Adventure with Television; that podcast is available here and you can still buy the book.

(The photograph above right shows two copies of the Time-Travelling Almanac plus my copy of Kate Orman's 1994 Doctor Who novel The Left-Handed Hummingbird.)

Friday, December 06, 2024

Doctor Who Magazine #611

The new issue of the official Doctor Who Magazine is out now, boasting a preview of the forthcoming Christmas special and the colour version of classic 1969 story The War Games. Exciting!

It includes a one-page Stasis Cube by me, this time based on a photograph of David Tennant and Catherine Tate on the roof of the old International Press Centre in Shoe Lane, London, on Thursday 6 July 2006 for recording of that year's Christmas special, The Runaway Bride.

I also get a mention in the editorial because of something I've written for the Doctor Who Yearbook 2025, which is out next week...

Thursday, November 21, 2024

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.

Thursday, October 31, 2024

Something Who podcast #102 and #103

The latest episodes of Doctor Who podcast Something Who compare 1975 story The Ark in Space with 2010 episode The Beast Below. I thought I knew both adventures pretty well, but the juxtaposition really helps to open up both. You can probably hear the tired old cogs of my brain clacking away... 

Joining host Richard Smith are astronomy writer Giles Sparrow, Rick aka @brickpandorica and me.

Giles was an advisor on my recently published book Doctor Who: The Time-Travelling Almanac. Also pertinent to the discussion is the audio version of the first-draft scripts for The Ark in Space, which I produced last year.

Friday, October 25, 2024

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?

Thursday, October 10, 2024

Doctor Who Magazine #609

The latest issue of the official Doctor Who Magazine is out now, and very excitingly comes with an exclusive Target novelisation of the 1967 story The Evil of the Daleks, written by Frazer Hine with Mike Tucker and Steve Cole as his companions. In fact, it's a novelisation of the 1968 repeat of that story. Another quite good book about The Evil of the Daleks is also available. 

My contribution this issue is the latest Script to Screen feature, this time focused on the Villengard ambulance seen in Boom. I spoke to production designer Phil Sims, art director Rhys Ifan, prop maker Stuart Heath from BGI Supplies and the ambulance herself, actress Susan Twist.

The new issue also includes Richard Unwin's review of my book, Doctor Who - The Time-Travelling Almanac, which he calls, 
"a perfect gift for curious minds, young and old alike."
So he can live - for now. 

Thursday, October 03, 2024

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

Thursday, September 26, 2024

The Story of the Solar System, by Dr Maggie Aderin-Pocock

Out today, The Story of the Solar System - A Visual Journey, is a sumptuous big book of space infographics written by Dr Maggie Aderin-Pocock off of The Sky at Night with some help by me and design/illustration by Emma Price. Exactly what you and everyone you know wants for Christmas, if you even dare wait that long.

(Emma and I have another book out next week, too...)

In case of interest, Solar System is the latest of the infographics books I've worked on, following Whographica (2016) written with Steve O'Brien and illustrated by Ben Morris, and Slayer Stats (2018) also written with Steve O'Brien and illustrated by Ilaria Vescovo. I also wrote the regular "Sufficient Data" infographics for Doctor Who Magazine, illustrated by Ben Morris and Roger Langridge.

I've written before about some of what' involved in producing an infographic. They are fiddly. And, if you're writing about space stuff, no sooner have you finished a complicated graphic showing all the moons of Saturns than those bothersome space scientists go and discover a whole load more.


Monday, September 23, 2024

The Masquerades of Spring, by Ben Aaronovitch

This is great fun - a Rivers of London novella set in New York in the Jazz Age, narrated by the woosterish Augustus Berrycloth-Young. Gussie has fled London and the stern wizards of the Folly because he's been using magic for daft pranks. Then Thomas Nightingale turns up on his doorstep, seeking help to track down a magic saxophone...

It's a fast-moving, quick-witted caper, full of pithy one-liners but grounded in the real history of the jazz and drag scene, prohibition, racism and homophobia. That makes it sort of Dashiell Hammett as written by PG Wodehouse, with some magic mixed in - and not nearly as easy to pull off as Ben makes it look. 

Of course, he has form here. That use of a specific time and place to add some heft to the adventure is the same trick as in Ben's Remembrance of the Daleks (which I adore). Just as that story hinted at hitherto unknown secrets in the Doctor's past, this novella provides some tantalising clues about the early life of Thomas Nightingale.

There's another link to Ben's TV Doctor Who in that Peter Walmsly is, here on p. 29, a reverend who led prayers at Casterbrook school of wizardry, decades before his stint as an archaeologist for the Carbury Trust.

I found it compelling and read it in a day. It closes with the prospect of many more such adventures for some of the principal figures here. Yes, please.

Rivers of London novels I've also blogged about:

Rivers of London novellas:

Saturday, September 21, 2024

Doctor Who and the Left-Handed Hummingbird, by Kate Orman

Someone is meddling with time. That means that when an Aztec warrior ventures into a long abandoned Exxilon spaceship, he isn't instantly killed by the radiation bleeding from its systems. Instead, Huitzilin - his name meaning "southern warrior" and also "left-handed hummingbird" - becomes something like a god. Some 500 years later, the Doctor and his friends arrive in Mexico City in 1994 to find they're late for an adventure and must head back to multiple points in time to catch up...

I've not read The Left-Handed Hummingbird since it was first published in November 1993 - the official publication date was December, but there's a moment in this that I suddenly, madly remembered first reading the night before my driving test so it must have been out the month before. Yet this odd, extraordinary book scored its way into my brain. Reading it again after more than 30 years, it was immediately, vividly familiar, like catching up with an old friend.

Two things surprised me. First, for what I remember as Kate Orman's radical debut, the plot is quite straightforward, even slight. The Doctor and his pals Ace and Bernice are on the trail of "the Blue", ie Huitzilin, which has the power to take people over and make them violent. That includes the Doctor and his friends - all providing Huitzilin with fuel so that he can become corporeal once more. But the more the Doctor is taken over, the more he can see what Huitzilin thinks and feels. And the more Huitzilin becomes corporeal, the more he can be tackled head on...

What makes this so different is the way that it's told, beginning in 1994 - the future, when the book was published - and then dancing back to multiple points in time to piece together the story. Telling a story out of order was a big innovation, perhaps oddly for a long-running series about gadding back and forth in time. And then the novel makes us realise that the pieces don't quite fit because time is in flux and changing. I'm conscious now, as I wasn't at the time, how big an influence this was on my debut novel.

The way it's told includes things we'd never do today. The violence is horrific and vivid, rather than PG or 12A. The Doctor takes magic mushrooms and LSD to communicate with his enemy. One of his companions is a gun-totting solder who kills people with little qualm and reneges on her agreement with the Doctor not to use violence; the other companion kills a man by bashing him with a cooking implement. This book is all set on Earth and yet reading it is a journey to another world.

Secondly, the book is chock-full of references to other Doctor Who, on TV and in print. That's not a criticism - these were books squarely aimed at fans, and I ate up this continuity with greed at the time but was grateful to the entry on this novel in the Cloister Library when trying to remember other books I've not read in more than 30 years. For the most part, you don't need to be able to place these references to enjoy or be caught up in the story. But then there are the exceptions. 

I think the assumed/required knowledge of the reader is 1964 story The Aztecs, which was  readily available to fans at the time of publication having been released on BBC Video on 2 November 1992, and 1974 story Death to the Daleks, released on video July 1987. These  TV stories also inspired two of the best novelisations, too. This kind of thing occupies my head a lot in what I write day to day - how much we can assume fixed points of Doctor Who, the nodes by which we all navigate, as opposed to the obscure stuff that is manna for the dork hardcore (my people). See, for example, what I said about authority as it relates to The Unfolding Text.

But also, amazingly, there are several references to other Doctor Who stories here that the Cloister Library doesn't cover. Perhaps fittingly for a story that plays with chronology and the unfixedness of time, there are the references in this novel to multiple Doctor Who stories from after it was published. When the Doctor is gravely wounded, his friends are asked why they don't rush him to hospital.

"'Because he's from outer crukking space,' spat Bernice. 'A crukking twentieth-century hospital would probably do a crukking brilliant job of killing him.'" (p. 177)

Which, of course, is exactly what happens to kill off this incarnation of the Doctor in the TV movie Doctor Who (1996). Later in the novel, Ace pulls out her gun only to find that the Doctor has swapped it for a potato, years ahead of him pulling the same trick (with a banana) on Captain Jack in The Doctor Dances (2005). Then the TARDIS lands on Abbey Road (p. 201), as it does in The Devil's Chord (2024).

A few other small things occur. Bernice Summerfield, a 26th-century archaeologist of the 20th century, doesn't know what pizza is (p. 71) or how to open tins (p. 73), and doesn't have much to do. When she reveals, at the end, that she doesn't get to do much archaeology while travelling in time and is thinking of leaving the TARDIS, I could well understand why. I doubt I was conscious of all this when I first read the novel; now I'm all too aware of the note from my editors to ensure the regular characters are always well served.

Something very of its time is the frequency with which the author refers to the Doctor as "the Time Lord". Yes, she also refers to Bernice as "the archaeologist" (p. 238) and Cristian as "the Mexican" (p. 259), but there are far more second mentions of the Doctor as Time Lord, which I don't think a Doctor Who novelist would do now. If nothing else, this incarnation of the Doctor, in the crumpled linen suit of the novels, is one of the least assuming Doctors visually, a man we'd fail to notice in a crowd who is yet a near god-like alien in our midst. Referring to him, a lot, as "the Time Lord" is a convention, a fashion, of the time when this novel was written but I think it'a also the wrong cue for what we "see" - as if this unassuming fellow were wearing a big robe and collar.

And then there's the other strong visual elicited by this reread: of me, aged 17, utterly absorbed by this book, this series, this gang of authors I so much wanted to be part of. There's a bit towards the end of the novel where the Doctor handles a powerful book that glows with light. It's been fun to return to this book that shone so brightly in my formative years and has stayed with me so long after. Thank you, Kate.

See also:

Friday, September 13, 2024

Conan Doyle: Mystery and Adventure, by Mark Jones

In 1967, BBC Two broadcast a 13-episode anthology of adaptations of short stories by Sir Arthur Conan-Doyle. The series was variously known as Sir Arthur Conan Doyle and The Short Stories of Conan Doyle, and generally well reviewed. What's more, it was the first TV series overseen by John Hawkesworth, who went on to even greater acclaim with The Gold Robbers (1969), Upstairs Downstairs (1971-75) and The Duchess of Duke Street (1976-77), before developing for television The Adventures of Sherlock Holmes (1984-85), starring Jeremy Brett.

Just one episode of Sir Arthur Conan Doyle survives - the very odd The Mystery of Cader Ifan, which I saw for the first time last week at Kaleidoscope's "The Play's the Thing" event in Birmingham. But Mark Jones' comprehensive study details production of the series, based on Hawkesworth's extensive archive at the BFI, paperwork in the BBC's Written Archives Centre, press reports from the time and interviews with cast and crew. It offers a wealth of detail and insight, with plenty of photographs, clippings and illustrations from the original stories helping to conjure a vivid sense of what has been lost.

As Jones explains, for rights reasons the series had only a limited release overseas, which means there is perilously little chance of copies of the missing episodes ever being found. Doctor Who fans can torture ourselves with the promise that some of the missing 97 episodes might yet be out there, somewhere. There's endless discussion of the various possible leads and of which episodes we'd most want returned - the Missing Episodes podcast is very good on this - which makes me fidgety with stress. It's almost refreshing to start from the basis that stuff has gone for good.

Among the fascinating things here is the influence of other anthologies of old stories, notably Granada's Saki (1962), Maupassant (1963) and The Liars (1966), in which the original sources were reworked so that characters would recur through the run. The BBC's head of serials, Gerald Savory, who'd worked on some of these series, advised Hawkesworth to do the same (pp. 17-19). We then seen the problems this caused for production, with clashing schedules for filming and rehearsals. 

Some practicalities are surprising: on The Lift, it turned out to be easier to film in Paris than in Blackpool. And how extraordinary to see the viewing figures for a "successful" series on BBC Two of the time: an audience of 450,000 watched The Willow House School on 26 February 1967 (p. 154); just 250,000 watched The Mystery of Cader Ifan on 12 March (p. 194). Eleven of the 13 episodes were repeated on BBC One between August 1967 and June 1968, in a mixed up order that played havoc with the continuity of the recurring characters. It would be interesting to know the viewing figures, those these don't appear to survive.

Other things struck me because of overlaps with my own bits of research. In romantic episode The Chemistry of Love, one of the recurring characters, Tom Crabbe (Keith Buckley) goes to a posh reception disguised as the vice-principal of the Imperial Academy of Sciences, one Anton Mikhailovich Asimov. This character is not in Doyle's original story, "A Physiologist's Wife", so is an invention of Hawkesworth and the name of the invented scientist is striking. At the time that the title of the TV episode was changed (2 November 1966, p. 90), production was under way on a Doctor Who story that directly referenced the work of science-fiction writer Isaac Asimov: in Episodes 2 and 3 of The Power of the Daleks, the scientist Lesterson speaks of the Daleks having "positronic" brains. (In Episode 5 of The Evil of the Daleks (1967), positronic brains containing the "human factor" are added to three Daleks.)

Isaac Asimov was a well known figure, with several of his works adapted for British television: "Little Lost Robot" shown as part of Out of this World (1962), The Caves of Steel adapted for Story Parade (1964) and six stories adapted for Out of the Unknown (1965-69, four of them prior to the broadcast of The Chemistry of Love. Why would both Doctor Who and Sir Arthur Conan Doyle connect themselves to Asimov at roughly the same time? My guess is that both were in response to his epic Foundation novels winning the Hugo Award for Best All-Time Series at the Tricon world science-fiction convention in the first week of September 1966. Foundation was originally a series of short stories that the author then reworked, which may have appealed to Hawkesworth doing something with Doyle.  

There's another connection to The Evil of the Daleks, in that Sir Arthur Conan Doyle filmed at Grims Dyke house on 20 January 1967 (p. 171), three months before the Daleks were there; I've added the details to my list of filming at Grims Dyke. There are further connections between Doctor Who and this Doyle series simply because several cast and crew worked on both. Richard Martin, interviewed by Jones on 12 July 2022, recalls using vaseline on "special fronts to the camera" (p. 57) to achieve a ghostly effect on the mummy seen in Lot 249, having pioneered this technique - to resistance from the crew, he says - on Doctor Who (for the strange atmosphere of planet Vortis in The Web Planet). Martin also recalls his working methods:

"I was always fairly well pressed to do the camera script in time. ... I used to go in my study at home and would consume most of a bottle of whisky. I'd be up to four o'clock in the morning, and maybe just have a little bit of rest before having to go in and deliver this script. The real problem was trying to get enough rehearsal time. I'm a rehearsal addict. I love seeing what the actors do with the script and capturing what they do correctly." (p. 57)

In assessing these lost episodes, Jones asks how closely they kept to Doyle's original stories, how effective they were as drama and in conjuring an atmosphere, and how sharply we should feel their loss. My sense is that he'd most like to see the spooky episodes returned. But if we're playing the game of which of thee lost stories I'd most like to see, I'm haunted by The Croxley Master

Medical student (and recurring character) Philip Hardacre is a medical student, forced to work for the pompous, lazy Dr Lichfield as the only means to pay his own university fees. Then Philip learns of a boxer pulling out of a forthcoming fight. Encouraged by surgery maid Mary, Philip agrees to take the man's place and go 20 rounds against the "Croxley Master" for a prize of £100. 

This "master" is the tough and dishonest Silver Craggs. Against all odds, and by fighting fairly, Philip knocks out his opponent. Whereupon Craggs' mistress, Anastasia, played by brilliant Alethea Charlton, 

"storms into the ring and lands Philip a tremendous blow on the jaw which fells him to the boards. As Mary and Anastasia start fighting, the two heroes of the fight are forgotten, lying side by side, unconscious on the canvas." (p. 69)

See also:

Thursday, September 12, 2024

Doctor Who Magazine #608

Cover of Doctor Who Magazine #608, showing a montage of monsters
The new issue of the official Doctor Who Magazine is out today. My regular Script to Screen feature (pp. 26-30) this time covers the slug-like Mantraps seen in Dot and Bubble, for which I interviewed executive producer Joel Collins and production designer Phil Sims.

There's also a review of Deathworld, the story I script edited for Big Finish, which Jamie Lenman finds "surprising, and really quite touching". In Galaxy Forum, reader Bill Silver says nice things about the work Gav Rymill, Rhys Williams and I did on recreating the sets of missing episodes in the recent special issue.

And I think Eddie Robson's fun "This month in..." column (p. 49) uses an image of Doctor Who creators Sydney Newman and Donald Wilson that I spotted in an old issue of BBC in-house magazine Ariel, snapped on my phone and then cropped - those are Judi Dench's hands (and wine glass) in the bottom left.

Aerial, December 1967

Saturday, August 24, 2024

The DNA of Doctor Who - The Philip Hinchcliffe Years

I've just received my copy of this handsome new book, to which I contributed an essay on the 1975 Doctor Who story Planet of Evil and what it draws from classic works of science-fiction.

The obvious influence, of course, is the 1956 movie Forbidden Planet, which the BBC broadcast at 6.35 pm on Wednesday 6 November 1974 - just right to inspire the development of the Doctor Who stories that became Planet of Evil and The Brain of Morbius. I dig into that and also how the same film influenced early Doctor Who as well as other sci-fi such as Star Trek (citing the excellent ‘Gene Roddenberrys Cinematic Influences’ by Michael Kmet from 2013) and Star Wars (see the 2012 Wired interview, ‘Ben Burtt on Star Wars, Forbidden Planet and the Sound of Sci-Fi’ y Geeta Dayal).

Hinchcliffe says on the documentary made for the DVD release of Planet of Evil (by my friend Ed Stradling) that he suggested the ‘flying eye’ drone seen in the story, having read of something similar in a science-fiction story at the time. The Dictionary of Surveillance Terms in Science Fiction at the Technovelgy site helped me suggest some candidates for that story.

I also mention Isaac Asimov’s own timeline-of-the-future for his various short stories and novels, which I drew from ‘A page from Isaac Asimov’s notebook’, Thrilling Wonder Stories, vol. 44 #3 (Winter 1955), p. 63.

Edited by Gary Russell and published by Gareth Kavanagh at Roundel Books, you can buy The DNA of Doctor Who - The Philip Hinchcliffe Years from the Cutaway Comics site.

Thursday, August 22, 2024

Garry Halliday episode guide

I've posted the first two entries in what I hope will be an exhaustive guide to Garry Halliday, a BBC serial about the adventures of an airline pilot created by Justin Blake (i.e. John Bowen and Jeremy Bullmore), that ran between 1959 and 1962.

The BBC made 50 episodes, only one of which survives. But Doctor Who was devised to fill the same Saturday teatime slot and I think owes a significant amount to Halliday, which I'll tease out as I go through the history.

As with Doctor Who, there were novelisations of Garry Halliday's TV adventures. I now have copies of all five Garry Halliday books, and have already posted reviews here of the first three of them:

Friday, August 09, 2024

David Whitaker postscript / Terry Nation party

You can now download for free the four-page postscript to my biography of David Whitaker, detailing some of the things I've learned since the book was published last November.

The postscript is included in The Who Shop's exclusive paperback editions of the book, and will be added to future versions of the standard paperback at some point.

To accompany the release of the postscript yesterday, I posted a thread to both X (formerly Twitter) and BluSky, and here it is in full:

Writer Terry Nation and four Daleks at Lynsted Park c. 1970
Terry Nation and pals at Lynsted Park, source

Writer and Dalek creator Terry Nation was born on 8 August 1930. OTD in 1964, he hosted a big birthday party at his newly acquired home, Lynsted Park — an Elizabethan mansion in Kent.

You can watch footage of Nation interviewed at home by Alan Whicker in 1967 on the BBC website. But my interest is in that party.

This party haunts my imagination, symbolic of Nation becoming a big showbiz success story after years of toil in light entertainment.

But, like most of these things, the more I’ve looked into it, the richer and stranger the story gets.

I wonder about the logistics. Did Nation provide everyone’s drinks? Was good laid on as well? Given Lynsted Park was quite remote, was there a lot of drink-driving back to London?

But also, who was at this party? While in the Doctor Who production office, Nation sent an invite to actress Carole Ann Ford. (The office kept a copy: Nation to Ford, 31 July 1963, WAC T5/648/2 General)

Nation was at the time hard at work writing The Dalek Invasion of Earth, the serial that would see Ford leave Doctor Who after a year playing the Doctor’s granddaughter Susan.

On the DVD / Blu-ray commentary for The End of Tomorrow (the fourth episode of The Dalek Invasion of Earth), Ford and her colleagues recall Nation’s lavish birthday bash.

In fact, Ford remembered that Nation’s grand new house was in a bit of a state. In particular, she recalled that the swimming pool couldn’t be used; it was full of rubbish. 

Co-star William Russell said Nation told him that he hadn’t bought the house because he was suddenly rich from inventing the Daleks (whose debut story had concluded earlier that year).

Instead, Nation said he’d taken out an ‘enormous mortgage’ as a spur to keep busy writing. It was a means to success, rather than a marker of success having been accomplished.

Who else was at the party? Given that Ford and Russell were there, Nation probably invited Doctor Who’s other stars — William Hartnell and Jacqueline Hill.

Hill’s husband Alvin Rakoff told me he remembered going to Lynsted Park but wasn’t sure if it was for this particular party.

Producer Verity Lambert also remembered being at the party, according to the DVD/Blu-ray commentary. 

Nation’s invitation to Ford said story editor David Whitaker could help her find the house, implying Whitaker was there, too.

At the time, Whitaker was working with Nation on the new Dalek TV story. They were also co-writing The Dalek Book for publication in September. (And Whitaker was novelising the first Dalek TV story.)

Given all these Doctor Who luminaries at the party, they surely tuned in to watch that evening’s episode — the first instalment of The Reign of Terror by Dennis Spooner.

(To this, my esteemed publisher Stuart Manning added: "Hazel Peiser, the partner of would-be Doctor Who Meets Scratchman director James Hill, recalls attending a party at Nation's mansion where the guests watched Doctor Who go out on TV. James was working on The Saint around that time, so it probably checks out.")

Spooner shared an agent with Nation, who’d recommended him to Whitaker. Two days before the party, it was confirmed that Spooner would join the BBC staff to shadow then succeed Whitaker.

The chances are that Spooner was at the party, too. In his biography of Nation, Alwyn Turner says Roger Moore also attended *one of* Nation’s parties at Lynsted Park, wearing a blue jumpsuit.

I like to imagine them all there together: the current Doctor Who, the future James Bond plus Jackie Hill — who was responsible for Sean Connery’s first big break. For more on the latter, see my post on I’m Just the Guy Who Says Action, by Alvin Rakoff

At the time of the party, Moore was the star of The Saint, for which Nation wrote (for higher fees than Doctor Who). A week after the party, Whitaker met Saint script supervisor Harry Junkin. 

A week later, Whitaker met with Leslie Charteris, creator of The Saint, to discuss a potential musical. Nothing came of these meetings but they were surely instigated by or through Nation. 

(Whitaker refers to both meetings in letter to his new agent, Beryl Vertue, at Associated London Scripts, on 14 August 1964, a copy held in Doctor Who production file WAC T5/648/2 General)

In throwing the party and in putting Whitaker and Spooner up for potential jobs, Nation was sharing his largesse. He could afford to be generous — couldn’t he?

As I imagine that party, I wonder what was going through Nation’s mind and how much he felt able to enjoy it himself. He’d certainly had a good few months since the debut of the Daleks.

‘The Daleks have transformed Mr Nation’s life,’ reported Andrew Duncan in Women’s Mirror just over a year later on 30 October 1965, ‘and he could eventually make £1 million from them.’ (NB, he hadn’t yet.)

Then Duncan quoted Nation’s own insecurities about this success. ‘I’ve got this enormous fear that one day a man is going to come and take back all the money.’

Thursday, August 01, 2024

DWM - The Missing Doctor Who

Out today, a new special edition of the official Doctor Who Magazine looks in detail at what's lost - from fans' most wanted missing episodes to the written but never made Tenth Doctor story by Mark Gatiss set in the British Museum.

I've also written or co-written three pieces:

Cut to the Chase, pp. 20-23

To accompany CG recreations by Gav Rymil, me and Rhys Williams detail the Dalek Pursuit Ship, mentioned in episodes 3-5 of The Daleks's Master Plan and then seen in episode 6, "Coronas of the Sun". 

The Hole Story, pp. 32-35

There are 97 missing episodes of Doctor Who and, to date, 786 episodes existing in the BBC archives. But there are still bits missing from the latter - stuff broadcast but since lost, and stuff recorded but never shown...

The Final Countdown, pp. 44-49

Gav, Rhys and me again, this time on the sets for the last of the missing episodes, The Space Pirates Episode 6.

We've previously recreated sets from a bunch of missing episodes, so here's the list so far:

  1. Galaxy 4 episode 2: Trap of Steel - DWM #583
  2. The Daleks' Master Plan episode 4: The Traitors - DWM #586
  3. The Daleks' Master Plan episode 6: Coronas of the Sun - DWM SE Missing Doctor Who
  4. The Daleks' Master Plan episode 7: The Feast of Steven - DWM #559
  5. The Tenth Planet Episode 4 - DWM #565
  6. The Power of the Daleks Episode 1 - DWM #584
  7. The Moonbase Episode 3 - DWM #562
  8. The Macra Terror Episode 1 - DWM #569
  9. The Evil of the Daleks Episode 1 - DWM SE Production Design
  10. The Abominable Snowmen Episode 1 - DWM #581
  11. The Wheel in Space Episode 1 - DWM #575
  12. The Space Pirates Episode 6 - DWM SE Missing Doctor Who
What's more, here's Andrew Orton's recreation of the sets from Marco Polo episode 1: The Roof of the World:


See also: