As I say, a key issue is the ability to identify credible sources. Ironically - as if I've tempted fate by speaking out - I've recently learned that something I state as fact in my 2023 biography David Whitaker in an Exciting Adventure with Television, and which I based on what seemed to be sound evidence, isn't true. More on that, and a full correction, soon.
I've written a couple of things:
pp. 18-22 Script to Screen: The Time Hotel
Digging into the design work on the most recent TV episode, I spoke to executive producer Joel Collins, visual effects supervisor Seb Barker, production design Phil Sims, graphic designer Stephen Fielding and assistant graphic designer Sophie Cowdrey.
pp. 48-50 Get Ready to Play
I spoke to the team behind mobile Doctor Who game Lost in Time: Elin Jonsson (Chief Business Officer at East Side Games); Joao Batista (CEO of Bigfoot); Mario A Mentasti (narrative designer at Bigfoot); and Shannon Maclaughlan (BBC Studios).
Then, on p. 32, there's an interview with me (a whole paragraph) about the documentary I've made with Jon Clarke and others for the new Season 7 Blu-ray, with a photo I took on p. 33. More about Terror of the Suburbs another time...
The episode includes an interview with me, struggling to remember whatever it was I was thinking at the time - other than "Eeeeeeeee I'm writing a book!"
Last year, I spoke to the same podcast about my 2007 Doctor Who novel The Pirate Loop and, separately, my new book Doctor Who - The Time Travelling Alamanac. And the year before, I spoke to them about David Whitaker in an Exciting Adventure with Television.
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.
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.)
The Borthwick Institute for Archives, in York, boasts thousands of precious old documents — including the archives of Frankie Howerd and Sir Alan Ayckbourn — and closely monitors air quality to hold back the ravages of time. I spoke to Gary Brannan, Keeper of Archives and Research Collections.
Reducing falls in care homes with Earzz acoustic monitoring
Dr. Pradyumna Thiruvenkatanathan, Founder and CEO of Earzz, explained to me how intelligent acoustic monitoring can transform the provision of care, with benefits for residents and staff.
Air quality for monsters at Millennium FX
Award-winning prosthetics in TV and film are made using hazardous chemicals. I spoke to Neill Gorton at Millennium FX about the tech employed to keep his staff safe from the creatures they’re building.
Shirah Bamber, Preston’s new Innovation Ambassador
Preston City Council has announced the appointment of Shirah Bamber as its new Innovation Ambassador, tasked with raising the profile of the city as a place for all things tech.
Mapping safe cycle routes across Oxfordshire
Easy-to-use Cyclox mapping software provides safe routes for cyclists across the city of Oxford and the whole of Oxfordshire. The result is more people than ever getting on their bikes. I spoke to Cllr Emily Kerr from Oxford City Council and Robin Tucker, Co-chair of the Coalition for Health Streets and Active Travel (CoHSAT), to learn what was involved.
Beth Smithson is a former occupational therapist in the NHS who now helps to tackle school avoidance and refusal by better understanding our senses.
Flying cars were once a dream of science-fiction but eVTOL air taxis now offer a real prospect of greener, cleaner transport. I spoke to Jeremy Howitt (Future Flight Campaign Lead at the Snowdonia Aerospace Centre), Shazan Siddiqi, (Senior Technology Analyst at IDTechEx) and John Goudie (Founder and CEO of SLiNK-TECH).
Dr Niall Boyce produces a free weekly newsletter that aims to keep us up-to-date on the latest advances in mental health science.
Each year, pupils aged 12-15 from Beech Hall School in Tytherington swim the English Channel. Yes, really! I interviewed headteacher James Allen about the ambitious programme.
Sparta Global kickstarts careers in tech
David Rai, Co-Founder and CEO of Sparta Global, told me how his company has gone about training thousands of people from diverse backgrounds in tech-based skills, and found them new careers.
Joining host Richard Smith are astronomy writer Giles Sparrow, Rick aka @brickpandorica and me.
My interview last month with Sefi Atta, author of A Bit of Difference, is now available in full on YouTube.
The interview was part of Macfest; last year, for the same festival, I interviewed Fatima Manji about her book Hidden Heritage.
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| Issue 43 |
Nancy says:
The Evolving Landscape of AI in the Arts
My guest this week is Simon Guerrier, a writer and producer who has written numerous books related to Doctor Who, produced five documentaries for BBC radio, and more than 70 audio plays for Big Finish Productions, as well as comics and short stories. He also chairs the Books Committee for the Writers' Guild of Great Britain. Simon talks with me about how he got his start in writing and producing—including just what a producer does—the value of negotiating arrangements that work in everyone’s best interest, the impact of new tools like ChatGPT on creative careers and the creative process, his new book about television pioneer David Whitaker, and more.
That's followed by "Baby Love", in which I talk to the team about realising the episode's diminutive guest stars. There will be more from me about Space Babies later in the year...
And then, in "Music's Gonna Flood Back In!" - a line cut from towards the end of the final version of The Devil's Chord, fact fans - I interview Sam Dinley, music assistant to Doctor Who composer Murray Gold.
The guard turns out to have strong opinions on the matter and the Doctor is soon out of his depth:
GUARD
You've no idea what a relief it is for me to have such a stimulating philosophical discussion — there are so few intellectuals about these days. Tell me, what do you think of the assertion that the semiotic thickness of a performed text varies according to the redundancy of auxiliary performance codes?
DOCTOR WHOYes.
Doctor Who and the Dragonfire by Ian Briggs (1987)
The question is drawn directly from an academic book on Doctor Who, in a section applying some ideas originated by Keir Elam — now professor of English literature at the University of Bologna.
“What Elam calls the semiotic ‘thickness’ (multiple codes) of a performed text varies according to the ‘redundancy’ (high predictability) of ‘auxiliary’ performance codes.”
While this might at first seem impenetrable, authors John Tulloch and Manuel Alvarado immediately unpick its meaning.
“Thus, for instance, if the sets, music and so on were simply to reinforce the actors’ performance without adding to it or inflecting it in the direction of new associations, but simply overlaid the acted ‘pace’ and ‘drama’ with their own, they would be relatively redundant, serving only to bind together the text’s temporal unfolding. On the other hand, in the Williams/Adams story, City of Death, the use of music and sets in the scenes featuring the Count and Countess was more entropic, drawing on motifs which some audience members recognised as ‘very forties’, and therefore potentially relocating the stolen art theme in terms of, say, The Maltese Falcon.” (The Unfolding Text, p. 249)
In fact, the production of Dragonfire might have learned something from this and benefited from the same kind of added richness.
I’ve been busy over the past fortnight researching and writing a bunch of things and The Unfolding Text has been useful on more than one. First published in 1983 to coincide with Doctor Who’s 20th anniversary (so covering what’s now one-third of Doctor Who’s history), it was part of a “communications and culture” range published by Macmillan and executive edited by Stuart Hall and Paul Walton. Alongside The Unfolding Text were an academic study of James Bond and titles such as The Politics of Information, Culture and Control and Reproduction Ideologies.
My memory of the book, having read it while doing English Literary Studies at UCLAN in the last millennium, was that it’s heavy going, that sentence spoofed in Dragonfire representative of the whole. There’s certainly a lot of technical language but this time I found it all enjoyably gossipy.
The authors spoke to cast and crew from the past and then-present of Doctor Who, and attended rehearsals and recording of the 1982 story Kinda. Their media studies approach is quite different from the interviews published in fanzines, Doctor Who Magazine and other sources from the time, which tended to focus on what happened when, building up a timeline of production. Here, we get deeper insights into the thinking behind creative choices and a sense of what these mean. That’s especially revealing when people involved in making Doctor Who talk about stories they didn’t work on.
How fascinating, for example, to hear Douglas Adams — script editor on Doctor Who 1978-79 before becoming the best-selling author of The Hitch-Hiker’s Guide to the Galaxy — explain why he didn’t like Logopolis (1981), written by his successor.
“In comparison to what we were doing, the new ones [episodes] are terribly, terribly slow. We seem to have endless, endless wanderings round and round the same point. I think that, in the time we were there, there was this sheer weight of ideas we managed to pack in — the sheer number of events and things going on … In contrast, in Logopolis we … did seem to spend ages and ages wandering around and around and around the interior of the TARDIS.” (pp. 219-220)
Then there’s where all this wandering led. Adams says he'd expended considerable energy in clarifying the “final threat” of any given story and “what the villain actually wants” (p. 170). He could see that reintroducing the Master — in the story preceding Logopolis — made plotting much simpler because he’s effectively the “guy in the black hat” and we can take for granted that he’s up to something bad.
“But to my mind that in the end means ‘boring’ because why does a guy want to take over the universe? … At the end of Logopolis suddenly you had the Master broadcasting a message to the entire universe, which to me just doesn’t mean anything. There’s nothing you can visualise there, and there’s nothing that actually has any meaning in any real world.” (p. 171)
Logopolis still haunts my imagination but it’s fascinating to hear Adams explain what he saw as fundamental shortcomings, the issue of tangibility illuminating his time on the series and the stories that followed. The sense is that, had he stayed in post, he wouldn’t have commissioned Logopolis. And he could critique the story because, even after leaving Doctor Who, he kept on watching and puzzling over how to make it work.
So, these interviews offer us authoritative insight into Doctor Who. Yet there’s something odd about the authority of this book. I’m especially conscious of this as the author of books and magazine articles about Doctor Who, and rereading The Unfolding Text has sparked a whole load of thoughts about my approach to authority.
For example, in citing Adams, the authors of The Unfolding Text repeatedly refer to him as “Doug”. How we refer to people has an impact on the way we perceive what they say. “Doug” is not Adams’s name professionally — he was always credited as “Douglas” — and I’d never heard him referred to “Doug” elsewhere. That suggested that the authors were on particularly close terms with Adams, which might then explain why he’d been so candid. My sense of the authors’ authority was coloured by the way they used his name.
But I checked with Kevin Davies, editor of last year’s best-selling 42: The Wildly Improbably Ideas of Douglas Adams, who’d known Adams very well. And he told me that, no, Douglas wasn’t “Doug":
“I think it’s safe to assume the Unfolding Text guys didn’t really know him.”
And that recolours my sense of authority here: if the authors got that wrong, what else might not be right?
While the authors clearly had access to production and many members of the cast and crew, they lacked access to archive materials more readily available now. That leads to some errors of fact.
“Though Donald Wilson, head of series/serials, also hated the [first] Dalek story, Lambert went ahead on the grounds that the next planned story, Marco Polo, was not ready.” (p. 42)
For one thing, Wilson was head of serials — there was a separate head of series at the time. For another, Lambert wouldn’t have considered replacing Marco Polo with the Dalek story. When it began, Doctor Who alternated historical stories with sci-fi, so you couldn’t swap one for the other. In fact, the first Dalek story was brought forward to replace a serial then called The Robots.
Besides, I think the above is cribbing from a mistaken belief among fans that two-part The Edge of Destruction was commissioned at late notice to fit between the Dalek story and Marco Polo because of delays on the latter. We now know from contemporary paperwork held in the BBC Written Archives Centre that that isn’t what happened at all — which I go into at inordinate length in my recent book for the Black Archive.
The most striking issue of access in The Unfolding Text is how little the authors have been able to see of old episodes on which to base their judgements. Chapter 1 devotes a lot of time to the very first 25-minute episode, An Unearthly Child (1963), and a similar level of depth is given in Chapter 6 to the Fifth Doctor story Kinda (1982). Coverage of the Fourth and Fifth Doctor’s eras is pretty wide-ranging, I suspect because it’s a recent memory for the authors and those they spoke to rather than that they went back and watched episodes anew. Discussion of the Second and Third Doctors’ eras is predominately focused on one story each, neither of them particularly representative of that period of Doctor Who. From the index:
‘Krotons, The’ 61, 69, 74-81, 91-7
‘Monster of Peladon, The’ 9, 52-4, 86-91, 106, 114, 182-3, 188, 224, 280
How different things are today, with almost all of Doctor Who up on iPlayer for researchers to research and for readers to check. It's also easier to check the correct titles of stories — The Unfolding Text refers to Masque of Mandragola and Castravalva on occasion, but also spells them correctly on others. And it attributes a line of dialogue to the wrong production team:
“With the exception of the Troughton era, Doctor Who has fundamentally adhered to the original brief of Verity Lambert and David Whittaker (sic) that the Doctor should appear as a ‘citizen of the universe and a gentleman to boot’.” (p. 100)
I don’t mean to nit-pick: it’s more that these things all illuminate something I’m very aware of at the moment — how access to old episodes is changing the ways that fans can and do engage with Doctor Who’s rich history. In what I write now, I can direct readers to watch episodes for themselves rather than spelling out what happens, and I can leave them to judge for themselves rather than offering an opinion. It’s a surrender or sharing of authority. But that also makes me realise how seldom The Unfolding Text provides synopses of the stories it mentions, given readers at the time were generally unable to see them again. We must take these authors on trust.
Some of the people interviewed hold pretty sexist views, not least on the role of the Doctor’s companions. This can be very revealing about what made it to the screen. Sometimes the authors also challenge the people interviewed but I think there’s a danger that things said by cast and crew then inform or even dictate the analysis.
For example, producer John Nathan Turner explains how the regular characters in the 1982 series were designed to appeal to a broad audience:
“We’ve got the young heroic Doctor who hopefully appeals to everyone, especially the ladies. We have a female companion called Tegan, who is 24, nice figure, nice legs who appeals to the men. And we have two young companions, Adric and Nyssa, who are both 18-19 and are there for audience identification — the younger audience.” (p. 207)
This is very different to what he inherited a year before from Douglas Adams and producer Graham Williams. Indeed, Nathan Turner thought that the mature, knowledgeable line-up of the Fourth Doctor, Romana and K-9 was “ludicrous”.
“There was no reason for the Doctor ever to have to explain anything to Romana. So that all conversation between them either became very bitchy to impart the plot, or else it was an unreasonable scene where the Doctor has to say, ‘Well, there’s part of your education that you don’t know about, and here it is…’” (p. 217)
When, exactly, is Romana “bitchy”? With episodes now readily available, we can go look for ourselves. Without them, we can only go on Nathan Turner’s say-so.
To be fair, the authors dig into these claims a bit, citing his “nice figure, nice legs” comment twice on the same page before asking him if there had been only tokenistic development of female companions.
“I don’t think it’s tokenism. Certainly the feminists would like Tegan. It just makes for greater drama between your regulars if you’ve got an aggressive girl who tends to think she knows best. It’s not tokenism in any way. It just makes for a better line-up if there is friction.” (p. 218)
But that doesn’t really square with what he said before, which the authors don't really address. Worse, I think, is that The Unfolding Text pursues a line of analysis directed by what they’ve been told and the terminology used.
“In … his second season, Nathan-Turner also reintroduced the 1963 element of Doctor and companions who don’t always ‘get on with one another’ but — very consciously — for ‘character’ rather than ‘bitchy’ reasons. … As with Barbara and Ian [in the 1960s], Tegan’s ‘bitching’ relationship with the Doctor was generated by his inability to return her [home].” (p. 217)
Even in quotations, it’s deploying “bitchy” as objective rather than objectionable. Do Barbara and Ian have a “bitching” relationship with the Doctor? How does the “friction” generated by “aggressive” Tegan differ from the “bitchy” Romana? Is that really the word to use? Go watch those episodes again and I think the answers are no, no and no.
There are new interviews including Richard Unwin's chat with Louise Jameson and Matthew Waterhouse, Robbie Dunlop's chat with Janet Ellis and Graham Kibble-White's chat with Dave Gibbons. Robbie also met with June Hudson, the costume designer of the burgundy version of the Fourth Doctor's costume seen in his final year in the programme, and with Mark Barton Hill who now owns that coat. How lovely to see a photo of the label, with Tom Baker's name written in under the address of Morris Angel & Son Ltd, the costume house Hudson employed to cut the coat.
It's prompted me to post on the Koquillion site the article I wrote about the Fourth Doctor's Season 18 costume and my chat with Ron Davies who cut the coat.
I've also got two pieces in the new special edition:
pp. 22-25 The Doctor Who Wasn't
A very different version of the Fourth Doctor can be glimpsed in surviving draft scripts and other evidence.
p. 82 Many Happy Returns
He left our screens after 1981's Logopolis - or did he? The Fourth Doctor was never far away.
I've written the preview of Episode 1, Space Babies (pp. 14-15), and spoke to writer and executive producer Russell T Davies about this completely nuts story (to quote the preview), ahead of a post-broadcast set report next issue.
I've also written Who Crew: Second Brain (pp. 36-37), in which I spoke to Sharon King and Jess Gardner, co-producers on next year's series of Doctor Who.
Then there's Script to Screen: Jimbo (pp. 38-41), featuring some of the team behind the chonky robot seen in last year's Wild Blue Yonder: production designer Phil Sims, concept artist Nandor Moldovan, prop modeller head of department Barry Jones, and puppeteers Brian Fisher and Eliot Gibbins.
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| The Pirate Loop |
The Doctor's been everywhere and everywhen in the whole of the universe and seems to know all the answers. But ask him what happened to the Starship Brilliant and he hasn't the first idea. Did it fall into a sun or black hole? Was it shot down in the first moments of the galactic war? And what's this about a secret experimental drive?The Doctor is skittish. But if Martha is so keen to find out he'll land the TARDIS on the Brilliant, a few days before it vanishes. Then they can see for themselves...Soon the Doctor learns the awful truth. And Martha learns that you need to be careful what you wish for. She certainly wasn't hoping for mayhem, death, and badger-faced space pirates.
With an imminent election, the potential impact of AI-generated content, and the continuous evolution of digital, how do reporters select their stories? And what role do technology providers play in that?They also discussed the ways journalism is evolving in response to advancements in big data analytics and visualisation tools.Looking at public sector tech, Simon explains how the growing importance of privacy and cybersecurity issues could impact the focus and approach of tech journalism in the near future.As sustainability becomes a more prominent concern, particularly in the tech industry, the pair discuss how journalists can raise awareness and foster dialogue around environmentally friendly practices and innovations.They also covered a few other topics, like the way technology can connect us all, how news should add light not noise, and… the science of teddy bears…
pp. 26-27 Who crew: A head of schedule
An interview with executive assistant Sophie-May Twose.
pp. 28-34 Script to screen: Stooky Bill and family
An in-depth feature on the development of the puppets seen in last year's special episode The Giggle, in which I speak to executive producer Joel Collins, production designer Phil Sims, head of department modeller and fabrication manager Barry Jones, director of Automatik VFX Seb Barker, puppeteers Olivia Racionzer and Eliot Gibbins, and actress Leigh Lothian who played the voice of Stooky Sue.
pp. 36-37 Gallifrey Rises
My report on last month's Gallifrey One convention in Los Angeles, including interviews with programme director Shaun Lyon, Star Trek writer David Gerrold, and fans Erika and Katarina.
pp. 14-20 Script to Screen: The Goblin Crew
In a deep-dive feature on the creation of the goblins and their king for Christmas episode The Church on Ruby Road, I spoke to executive producer Joel Collins, production designer Phil Sims, Neill Gorton from Millennium FX and Will Cohen from Milk VFX.
pp. 36-37 Can You Fix It?
An interview with director's assistant Abdoul Ceesay.
p. 82 Insufficient Data: Sunday Supplemental
A new infographic by me and Roger Langridge exploring the issue of Sundays in Doctor Who - and Doctor Who on Sundays.
The new issue features some bits by me:
pp. 32-27 Tower of Strength
I spoke to production designer Phil Sims about UNIT Tower (aka The Penguin), as featured in The Giggle last year and due to be seen again later this year.
pp. 46-47 The Lonely Nights of the Long-Distance Runner
An interview with production runner Thani Subkhi.
p. 82 Sufficient Data - Take Cover!
An infographic of DWM cover stars over the past 600 issues. Sadly, this will be the last Sufficient Data illustrated by brilliant Ben Morris, who I've worked with since our days together on Doctor Who Adventures a thousand years ago. We've collaborated all sorts of fun stuff, including our book Whographica with Steve O'Brien, and Ben even laid out my family tree as a gift for my parents. Thanks Ben, for everything.
