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]] 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 comics 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.}} | | 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.}} | | 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.}} | ||
Revision as of 04:44, 10 October 2013
The Ark in Space was the second story of Season 12 of Doctor Who. It was the Fourth Doctor's first full, post-regenerative story. It proceeded from a mild-cliffhanger at the end of Robot, showing what happened after Harry Sullivan climbed into 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 writers 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 — 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 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.
