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| 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.}} | | 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|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|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 (Doctor Who 1963)|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 - 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.<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 - The Ark in Space - BBC|ext=|lead='''''The Ark in Space''''' was the second story of [[Season 12 (Doctor Who 1963)|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 (Doctor Who 1963)|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 (TV story)|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 (TV story)|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=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 beginning of ''[[Doctor Who]]{{'}}''s fiftieth anniversary storyline, and the conclusion of the [[series 7 (Doctor Who)|seventh series]] produced by [[BBC Wales]]. It resolved the central mystery of the series by conclusively explaining how [[Clara Oswald]] had appeared and died at several points in the Doctor's life.<br><br> The episode contained the most Doctors ever seen in a single episode — though this was mostly achieved through the integration of old footage into new background plates. Nevertheless, the appearances were incidental; former Doctors were merely seen, not heard. A notable exception was the [[First Doctor]], whose initial departure from [[Gallifrey]] was shown for the very first time on-screen — albeit in a way that essentially validated the depiction of the event seen in the 30th anniversary comic story, ''[[Time & Time Again (comic story)|Time & Time Again]]''.<br><br>While the main focus of the story was to explain Clara's splintered existence, it also had other reveals: the apparent conclusion of the Doctor's relationship with [[River Song]], the definitive end of the [[Great Intelligence]] story arc and the shocking reveal of a [[The Doctor (The Name of the Doctor)|previously unseen incarnation]].<br>That reveal covemprised the episode's [[cliffhanger]], which was not continued until the 50th anniversary episode itself.}} | | 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 beginning of ''[[Doctor Who]]{{'}}''s fiftieth anniversary storyline, and the conclusion of the [[series 7 (Doctor Who 2005)|seventh series]] produced by [[BBC Wales]]. It resolved the central mystery of the series by conclusively explaining how [[Clara Oswald]] had appeared and died at several points in the Doctor's life.<br><br> The episode contained the most Doctors ever seen in a single episode — though this was mostly achieved through the integration of old footage into new background plates. Nevertheless, the appearances were incidental; former Doctors were merely seen, not heard. A notable exception was the [[First Doctor]], whose initial departure from [[Gallifrey]] was shown for the very first time on-screen — albeit in a way that essentially validated the depiction of the event seen in the 30th anniversary comic story, ''[[Time & Time Again (comic story)|Time & Time Again]]''.<br><br>While the main focus of the story was to explain Clara's splintered existence, it also had other reveals: the apparent conclusion of the Doctor's relationship with [[River Song]], the definitive end of the [[Great Intelligence]] story arc and the shocking reveal of a [[The Doctor (The Name of the Doctor)|previously unseen incarnation]].<br>That reveal covemprised the episode's [[cliffhanger]], which was not continued until the 50th anniversary episode itself.}} | ||
| 14 = {{feature|title=Verity Lambert|image=The Cast and Verity|lead='''Verity Lambert''', the first [[producer]] of ''[[Doctor Who]]'', was born in [[London]] on [[27 November (people)|27 November]] [[1935 (people)|1935]]. She served as producer from ''[[An Unearthly Child]]'' to ''[[Mission to the Unknown]]''. Her work on ''Doctor Who'' was the first time she had been a full producer and was one of the first times a woman had such a role in television. Lambert died on [[22 November (people)|22 November]] [[2007 (people)|2007]], the very day before the forty-fourth anniversary of the show's debut.}} | | 14 = {{feature|title=Verity Lambert|image=The Cast and Verity|lead='''Verity Lambert''', the first [[producer]] of ''[[Doctor Who]]'', was born in [[London]] on [[27 November (people)|27 November]] [[1935 (people)|1935]]. She served as producer from ''[[An Unearthly Child]]'' to ''[[Mission to the Unknown]]''. Her work on ''Doctor Who'' was the first time she had been a full producer and was one of the first times a woman had such a role in television. Lambert died on [[22 November (people)|22 November]] [[2007 (people)|2007]], the very day before the forty-fourth anniversary of the show's debut.}} | ||
| 15 = {{feature|title=|image=|lead=}} | | 15 = {{feature|title=|image=|lead=}} | ||
Latest revision as of 10:31, 4 September 2024
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.
