Template:Transmat:Doctor Who: Difference between revisions
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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]].}} | | 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]].}} | ||
| 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.}} | | 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.}} | ||
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| 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=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. }} | | 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. }} | ||
| 12 = {{feature|title=The Caves | | 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=|lead=}} | | 13 = {{feature|title=|image=|lead=}} | ||
| 14 = {{feature|title=|image=|lead=}} | | 14 = {{feature|title=|image=|lead=}} | ||
Revision as of 18:16, 8 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.
