Template:Transmat:Doctor Who: Difference between revisions
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| 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]].}} | | 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.}} | | 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=|image=|lead=}} | | 11 = {{feature|title=The Ark in Space (TV story)|image=Indomitable - Doctor Who - The Ark in Space - BBC|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. | ||
''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. ([[INFO]]: ''The Ark in Space'') | |||
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'', ([[DOC]]: ''[[Inside the World of Doctor Who]]'') and [[Steven Moffat]] considered it the best Fourth Doctor story, ([[REF]]: ''[[DWM 457]]'') while [[Barnaby Edwards (actor)|Barnaby Edwards]] confessed to being "petrified of the [[Wirrn]]" as a child. ([[CON]]: ''[[Do You Remember the First Time?]]'') [[Tom Baker]] himself has also stated that, of all the stories he'd filmed, ''The Ark in Space'' was his favourite. | |||
It was a particularly popular serial with contemporary audiences, as well. Part 2, in fact, was the fifth-most-watched programme of its week, making it the highest-charting episode of the original version of the programme. In fact, it retained its crown until the transmission of ''[[Voyage of the Damned]]'', which was the second-most-watched programme of its week.}} | |||
| 12 = {{feature|title=|image=|lead=}} | | 12 = {{feature|title=|image=|lead=}} | ||
| 13 = {{feature|title=|image=|lead=}} | | 13 = {{feature|title=|image=|lead=}} | ||
Revision as of 09:59, 8 October 2013
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 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 rota", and Combe never worked on the programme again.
