Template:Transmat:Doctor Who: Difference between revisions
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(better video that centres on the theme itself; previous vid was more really about the title sequence) |
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|ext=|lead='''''The War Games''''' was a [[1969 (releases)|1969]] [[serial]] which significantly changed ''[[Doctor Who]]''. It was the first story which named the Doctor's people as "[[Time Lord]]s", and the first to ever depict his [[Gallifrey|home planet]]. It was also the first to show that the Doctor was genuinely a [[renegade Time Lord|renegade]], liable to the criminal courts on his home world. But it was also full of "lasts". It was the final serial in black and white, and the swan song for the [[Second Doctor]], [[Jamie McCrimmon]] and [[Zoe Heriot]]. In fact, it was the only story prior to [[The End of Time (TV story)|David Tennant's finalé]] which involved the departure of the entire cast of regulars. It was the last serial for several years in which [[the TARDIS]] was fully functional and under the Doctor's control, as one of the consequences of the story was that the Doctor be [[exile on Earth|exiled on Earth]] thereafter. However, because the serial did not end with a clear [[regeneration]], or actually seeing the Doctor be forced to go to [[Earth]], a narrative gap was created between it and [[Spearhead from Space|the next televised story]]. There are therefore many [[Second Doctor]] stories which take place after the Doctor's sentencing in this story, but before its execution. One of the biggest contributions to ''Doctor Who'' lore caused by ''The War Games'' is thus the so-called "[[Season 6b]]". }} | |ext=|lead='''''The War Games''''' was a [[1969 (releases)|1969]] [[serial]] which significantly changed ''[[Doctor Who]]''. It was the first story which named the Doctor's people as "[[Time Lord]]s", and the first to ever depict his [[Gallifrey|home planet]]. It was also the first to show that the Doctor was genuinely a [[renegade Time Lord|renegade]], liable to the criminal courts on his home world. But it was also full of "lasts". It was the final serial in black and white, and the swan song for the [[Second Doctor]], [[Jamie McCrimmon]] and [[Zoe Heriot]]. In fact, it was the only story prior to [[The End of Time (TV story)|David Tennant's finalé]] which involved the departure of the entire cast of regulars. It was the last serial for several years in which [[the TARDIS]] was fully functional and under the Doctor's control, as one of the consequences of the story was that the Doctor be [[exile on Earth|exiled on Earth]] thereafter. However, because the serial did not end with a clear [[regeneration]], or actually seeing the Doctor be forced to go to [[Earth]], a narrative gap was created between it and [[Spearhead from Space|the next televised story]]. There are therefore many [[Second Doctor]] stories which take place after the Doctor's sentencing in this story, but before its execution. One of the biggest contributions to ''Doctor Who'' lore caused by ''The War Games'' is thus the so-called "[[Season 6b]]". }} | ||
| 6 = {{feature|title=Planet of Giants (TV story)|image=Exclusive First Look - Making Planet of Giants - Doctor Who - BBC|ext=|lead='''''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 [[companion]]s — 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.}} | | 6 = {{feature|title=Planet of Giants (TV story)|image=Exclusive First Look - Making Planet of Giants - Doctor Who - BBC|ext=|lead='''''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 [[companion]]s — 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.}} | ||
| 7 = {{feature|title=Doctor Who theme|image= | | 7 = {{feature|title=Doctor Who theme|image=Doctor Who Theme - Doctor Who Prom - BBC Proms 2013 - Radio 3|ext=|lead=The '''''Doctor Who'' theme''' was composed by [[Ron Grainer]] and made its debut with the first episode of the ''[[Doctor Who]]'' series in 1963. Although it has undergone many rearrangements, this piece of music has remained the sole theme for the series throughout its history, making it one of the most recognisable themes in television. It is also one of the longest continually-used pieces of theme music in British entertainment history, surpassed only by the theme from ''[[Coronation Street]]'' (in use since 1960), and the "[[James Bond]] Theme" (in use since 1962).}} | ||
|ext=|lead=The '''''Doctor Who'' theme''' was composed by [[Ron Grainer]] and made its debut with the first episode of the ''[[Doctor Who]]'' series in 1963. Although it has undergone many rearrangements, this piece of music has remained the sole theme for the series throughout its history, making it one of the most recognisable themes in television. It is also one of the longest continually-used pieces of theme music in British entertainment history, surpassed only by the theme from ''[[Coronation Street]]'' (in use since 1960), and the "[[James Bond]] Theme" (in use since 1962).}} | |||
| 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 (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]].}} | ||
Revision as of 05:23, 17 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.
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 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.
