Template:Transmat:Doctor Who: Difference between revisions
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| 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. }} | | 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.}} | | 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.}} | ||
| 13 = {{feature|title=|image={{uc:doctor who}} "The Name of the Doctor" **{{uc:spoiler alert}}** Clara Enters the Timestream - {{uc:BBC America}}|ext=|lead='''''The Name of the Doctor''''' was the finale of the [[series 7 (Doctor Who)|seventh series]] of ''[[Doctor Who]]'' produced by [[BBC Wales]]. It revealed both the mystery of [[Clara Oswald]]'s multiple lives and what [[the Doctor]]'s greatest secret is. The episode also marks the most Doctors ever seen in a single episode — eleven, plus the shocking reveal of a [[The Doctor (The Name of the Doctor)|previously unseen incarnation]]. More about how the TARDIS works is explained in the episode, also revealing what becomes of the Doctor. The fate of the [[Great Intelligence]] is shown.}} | | 13 = {{feature|title=The Name of the Doctor (TV story)|image={{uc:doctor who}} "The Name of the Doctor" **{{uc:spoiler alert}}** Clara Enters the Timestream - {{uc:BBC America}}|ext=|lead='''''The Name of the Doctor''''' was the finale of the [[series 7 (Doctor Who)|seventh series]] of ''[[Doctor Who]]'' produced by [[BBC Wales]]. It revealed both the mystery of [[Clara Oswald]]'s multiple lives and what [[the Doctor]]'s greatest secret is. The episode also marks the most Doctors ever seen in a single episode — eleven, plus the shocking reveal of a [[The Doctor (The Name of the Doctor)|previously unseen incarnation]]. More about how the TARDIS works is explained in the episode, also revealing what becomes of the Doctor. The fate of the [[Great Intelligence]] is shown.}} | ||
| 14 = {{feature|title=|image=|lead=}} | | 14 = {{feature|title=|image=|lead=}} | ||
| 15 = {{feature|title=|image=|lead=}} | | 15 = {{feature|title=|image=|lead=}} | ||
Revision as of 06:35, 23 October 2013
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 companions — 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.
