Editing Template:Transmat:Doctor Who

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| 1 = {{feature|title=Doctor Who|image=|ext=Doctor Who in five languages - BBC Worldwide Showcase|lead='''''Doctor Who''''' is both a  television show and a global multimedia franchise created and controlled by the [[British Broadcasting Corporation]]. It centres on a time traveller called "[[the Doctor]]", who comes from a race of beings known as [[Time Lord]]s. He travels through space and time in a [[time machine]] he calls [[The Doctor's TARDIS|the TARDIS]] with [[companion|his friends]]. Another vital element of the show is the concept of [[regeneration]] — a process by which the Doctor can change his form when he's near death.  This convenient trick thus allows the programme to change lead actors in a narratively sensible way.<br><br>Though it began on the day after the [[Kennedy assassination]] in [[1963 (releases)|1963]], it has had three distinct production eras.  The first version — sometimes called "classic ''Doctor Who''" by fans — ran from 1963 to [[1989 (releases)|1989]], and contained the adventures of the first seven Doctors.  In [[1996 (releases)|1996]] an American co-production was attempted involving the [[Eighth Doctor]].   The current iteration of the show began broadcast in [[2005]], and is by far the most popular and critically successful version, beginning with the adventures of [[Christopher Eccleston]]'s [[Ninth Doctor]]. <br><br>In addition to the televised programme, the show has spawned a rich heritage of [[:Category:Doctor Who comic stories|comics]], [[Big Finish Doctor Who audio stories|audio stories]], [[:category:Doctor Who novel series|novels]], [[:Category:Doctor Who short stories|short stories]] and even [[:category:Doctor Who stage plays|stage plays]].}} 
| 2 = {{feature|title=The Mind of Evil (TV story)|image=Mind of Evil - Doctor Who DVD|ext=|lead='''''The Mind of Evil''''' was a [[Third Doctor]] story that  brought a radical change in the way [[United Nations Intelligence Taskforce]] was portrayed.  Instead of being a primarily investigative body interested in alien or unexplained phenomena, here UNIT was mostly seen as a simple security force, guaranteeing the safety of international diplomats.  In other words, the "United Nations" portion of their acronym was stressed over the "Intelligence Taskforce" bit — as would later happen in such stories as ''[[Day of the Daleks]]'' and ''[[The Time Warrior]]''. Meanwhile, the main plot about the mind-control device was something [[writer]] [[Don Houghton]] intentionally included as an homage to ''[[wikipedia:A Clockwork Orange|A Clockwork Orange]]''. ''Evil'' went badly over budget, thanks in no small part to one of ''Doctor Who''{{'}}s rare usages of a real [[helicopter]] in the concluding episode.  An unimpressed [[Barry Letts]] therefore withdrew [[director]] [[Timothy Combe]] from his informal "director's [[wiktionary:rota#Noun|rota]]", and Combe never worked on the programme again.}} 
| 3 = {{feature|title=Russell T Davies|image=David Tennant interviews Russel T Davies - Doctor Who Confidential - BBC|ext=|lead='''Russell T Davies''' was responsible for the revival of ''[[Doctor Who]]'', as well as the creation of several spin-off series, like the fictional ''[[Torchwood (TV series)|Torchwood]]'' and ''[[The Sarah Jane Adventures]]'', and the factual ''[[Doctor Who Confidential]]'' and ''[[Totally Doctor Who]]''. He is the single most prolific producer of televised entertainment in [[DWU]] history. His position is virtually unassailable, due to the fact that he was producing six different programmes in the franchise simultaneously. His decision to base ''Doctor Who'' production in his native [[Wales]] turned [[Cardiff]] into a major hub of British television production, and radically improved the local economy.}}
| 4 = {{feature|title=Rose (TV story)|image="I'm the Doctor by the way" - Doctor Who - BBC|ext=|lead='''''Rose''''' was the first episode of the [[BBC Wales]] version of ''[[Doctor Who]]''.  As the first televised story of the [[21st century]], it had to introduce the concept of the programme, as well as new regulars, [[Christopher Eccleston]] and [[Billie Piper]].  Its success on [[BBC One]] was immediate. As of 2013, it remained the second highest-rated season opener in ''Doctor Who'' history, behind only ''[[Destiny of the Daleks (TV story)|Destiny of the Daleks]]'', a story that aired without any competition from other broadcasters.  Aired in [[March (releases)|March]], [[2005 (releases)|2005]] — several years before the BBC offered full scale digital content streaming — it picked up nearly 11 million terrestrial and cable [[BBC One]] viewers.  The episode boasted a number of behind-the-scenes firsts, aside from merely being the first episode to feature [[Russell T Davies]]' vision of the show — such as being the first episode shot in a widescreen aspect ratio.  It was also the first British-made episode to utilise an modern production style, and was thus the first time that credited [[cinematographer]]s, [[production designer]]s, [[colourist]]s, digital artists, and any number of skilled professions had been credited on British-made ''Doctor Who''.}} 
| 5 = {{feature|title=The War Games (TV story)|image=The Doctor Summons the Time Lords - The War Games - Doctor Who - BBC
|ext=|lead='''''The War Games''''' was a [[1969 (releases)|1969]] [[serial]] which significantly changed ''[[Doctor Who]]''. It was the first story which named the Doctor's people as "[[Time Lord]]s", and the first to ever depict his [[Gallifrey|home planet]].  It was also the first to show that the Doctor was genuinely a [[renegade Time Lord|renegade]], liable to the criminal courts on his home world.  But it was also full of "lasts".  It was the final serial in black and white, and the swan song for the [[Second Doctor]], [[Jamie McCrimmon]] and [[Zoe Heriot]].  In fact, it was the only story prior to [[The End of Time (TV story)|David Tennant's finalé]] which involved the departure of the entire cast of regulars.  It was the last serial for several years in which [[the TARDIS]] was fully functional and under the Doctor's control, as one of the consequences of the story was that the Doctor be [[exile on Earth|exiled on Earth]] thereafter.  However, because the serial did not end with a clear [[regeneration]], or actually seeing the Doctor be forced to go to [[Earth]], a narrative gap was created between it and [[Spearhead from Space|the next televised story]].  There are therefore many [[Second Doctor]] stories which take place after the Doctor's sentencing in this story, but before its execution.  One of the biggest contributions to ''Doctor Who'' lore caused by ''The War Games'' is thus the so-called "[[Season 6b]]". }}
| 6 = {{feature|title=Planet of Giants (TV story)|image=Exclusive First Look - Making Planet of Giants - Doctor Who - BBC|ext=|lead='''''Planet of Giants''''' was a [[First Doctor]] [[serial]] which had a long and interesting gestation. Its basic conceit — that of miniaturising [[the Doctor]] and his [[companion]]s — was to have been the very first story in ''[[Doctor Who]]'' history, but the technical challenge was too great for that earliest of production crews. It was therefore rejected by [[producer]] [[Verity Lambert]], but [[script editor]] [[David Whitaker]] continued to push the topic.  By its third writer, the "miniaturisation idea" had become intertwined with an important, pro-evironment message.  The script that emerged was based on the non-fiction book, ''Silent Spring'', and therefore contained an obvious warning against the environmental dangers of pesticide.}}  
| 7 = {{feature|title=Doctor Who theme|image=Doctor Who Theme - Doctor Who Prom - BBC Proms 2013 - Radio 3|ext=|lead=The '''''Doctor Who'' theme''' was composed by [[Ron Grainer]] and made its debut with the first episode of the ''[[Doctor Who]]'' series in 1963. Although it has undergone many rearrangements, this piece of music has remained the sole theme for the series throughout its history, making it one of the most recognisable themes in television. It is also one of the longest continually-used pieces of theme music in British entertainment history, surpassed only by the theme from ''[[Coronation Street]]'' (in use since 1960), and the "[[James Bond]] Theme" (in use since 1962).}}
| 8 = {{feature|title=Planet of the Dead (TV story)|image=The Doctor calls UNIT for help - Doctor Who - BBC|ext=|lead='''''Planet of the Dead''''' was the first of the  [[2009 Specials (Doctor Who)|2009 specials]] that ended [[David Tennant]]'s tenure as [[the Doctor]]. It teamed the [[Tenth Doctor]] up with an aristocratic thief named Lady [[Christina De Souza]] for a one-off adventure that also heavily involved [[UNIT]]. Behind the scenes, it was important for a number of innovations, as it was the first episode to be filmed in HD, and the first to involve [[location filming]] in the [[Middle East]]. As of 2013, it was the ''only'' ''[[Doctor Who]]'' [[Easter]] special.}}
| 9 = {{feature|title=Playback (terminology)|image=PlaybackExampleTheArk|lead='''Playback''' was a television production technique in which pre-recorded material was literally played into a scene, rather than being added as a post-production effect. It was universally used in the [[1960s]] as the method by which actors were seen on view screens. As seen in the picture at the left, [[William Hartnell]] was pre-recorded separately, then projected live into the scene with the actors in the foreground. Though antiquated, the technique was used even into the [[1980s]], most notably for the [[title sequence]]. The quality of the opening titles for the 1963 version of ''Doctor Who'' was never high, because it was never a first-generation copy of the titles. Instead, they were played live into the recording of the first scene of many episodes, causing actors to have to time their first lines to the final notes of the studio-audible [[Doctor Who theme|''Doctor Who'' theme]].}} 
| 10 = {{feature|title=Kinda (TV story)|image=Open the box - Doctor Who Kinda - BBC|ext=|lead='''''Kinda''''' was a [[1982 (releases)|1982]] [[Fifth Doctor]] story that was important to the development of the character of [[companion]] [[Tegan Jovanka]]. It established her as susceptible to the psychological horror of the [[Mara]], a recurring villain that plagued her in several other stories.  Behind the scenes, ''Kinda'' was interesting for its shifting fate amongst audience members.  ''Doctor Who'' fans initially rejected the effort, ranking it low in the [[DWM 69]] poll of viewer opinion of [[season 19]]. However, its appreciation by fans steadily rose over the years, and in [[2009]]'s ''DWM'' poll to rank the then-200 stories of ''Doctor Who'', it ranked a respectable 69.  Meanwhile, [[21st century]] writers [[Steven Moffat]] and [[Rob Shearman]] have both sung its praises in various documentaries, and the British National Film Archive bought a copy in order to preserve it as example of ''Doctor Who'' at its finest.}} 
| 11 = {{feature|title=The Ark in Space (TV story)|image=Sarah stuck in the conduit - Doctor Who - BBC sci-fi|ext=|lead='''''The Ark in Space''''' was the second story of [[Season 12]] of ''[[Doctor Who]]''. It was the [[Fourth Doctor]]'s first full, post-[[regeneration|regenerative]] story.  It proceeded from a mild-[[cliffhanger]] at the end of ''[[Robot (TV story)|Robot]]'', showing what happened after [[Harry Sullivan]] climbed into [[the TARDIS|the police box]] in [[UNIT]]'s laboratory.  It importantly established the location of [[Nerva Beacon]], which would be the narrative lynchpin of the season.<br><br>''Ark'' had a somewhat tortuous scripting process, having slipped past two [[writer]]s before its scripts were finally accepted. Both Christopher Langley and [[John Lucarotti]] tried and failed to write a script about a space station for [[season 12]]. Of the two, Lucarotti came closest.  However, because he then lived on a boat anchored in the [[Mediterranean Sea|Mediterranean]] — and there was a postal strike afflicting Corsica — Lucarotti was essentially incommunicado to [[script editor]] [[Robert Holmes]].  It was impossible for Holmes to conduct timely consultation with the ''Doctor Who'' veteran. Lucarotti was paid fully for his work, and Holmes undertook a page one rewrite, retaining only the central conceit of Lucarotti's tale.<br><br>Despite its difficult birth, the story won kudos from the [[BBC Wales]] production staff.  [[Russell T Davies]] once called ''Ark'' his favourite storyline of the [[1963]] version of ''Doctor Who''. [[Steven Moffat]] considered it the best Fourth Doctor story, while [[Barnaby Edwards (actor)|Barnaby Edwards]] confessed to being "petrified of the [[Wirrn]]"  as a child. [[Tom Baker]] himself has also stated that, of all the stories he'd filmed, ''The Ark in Space'' was his favourite. }}
| 12 = {{feature|title=The Caves of Androzani (TV story)|image=Crash landing - Doctor Who - The Caves of Androzani - BBC|ext=|lead='''The Caves of Androzani''' was the final televised story to feature [[Peter Davison]] as the [[Fifth Doctor]], who had decided to end his tenure on ''Doctor Who'' at a three-year milestone after taking advice from former lead [[Patrick Troughton]]. As such, it depicted the [[regeneration]] of the Fifth Doctor into the [[Sixth Doctor]], played by incoming actor [[Colin Baker]]. The story is often cited with high regard for its dramatic elements, unusually action-heavy plot, and the dynamic style of its scenes, which were directed by [[Graeme Harper]] in his first credited instance as episode [[director]], which broke free from the less engaged atmosphere of other classic stories. ''The Caves of Androzani'' is famous for topping a ''[[Doctor Who Magazine]]'' poll in [[2009]] that asked readers to vote for, the single best televised story at the time. Dubiously enough, the story that came directly after this one, [[TV]]: ''[[The Twin Dilemma]]'', crashed to the bottom of the list as the lowest-regarded of all stories ever televised at the time.}}
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