Who's The Doctor? A TL

[DAv]

Part One: Doctor Who?:

“It was odd how it started when you think about it. I mean, it seems so obvious now that it would have happened but it only did so because of a comment about eight years before it all happened. John was working with the BBC then, light hearted series, music, songs, comedy, that sort of thing. During it, he actually managed to watch a few Troughton episodes and loved the whole thing. “Oh man!” He’d say “I love it!” He then managed to watch a few episodes with Pertwee and his eyes would light up when he saw the cars and the action “I’d love to be a part of something like that!” He said, right in the middle of the BBC canteen. He was talking to some of his people about it and it became a bit of a running gag throughout the year but when the time came for a decision to be made, the words came back to me…”
- Extract from interview with Johnathan Nathan-Turner, 1992 (1)

“It was the Armageddon Factor which did it. God knows what the argument was about now. Tom heard some comment from someone which probably was just them commenting on what Nathan said about him at some point but it doesn’t really matter. Tom had been worse on set, his demands reaching a high point and whatever the comment was, it set him off in a terrible way. Even Graham wasn’t able to calm him down and that, it seemed, was that. After five years in the role, Tom announced there and then he was leaving it, determined to quit. I think the fact that Nathan was going to get the job as head of the show at some point played into it, those two never did see eye to eye over things. After some desperate re-writing and re-shooting, the Armageddon Factor was finished, the entire series ending with Tom going into regeneration and without any idea of who’d be next to take up the role. Considering what followed afterwards, I confess to being in two minds over whether or not leaving was a good thing after all.”
- Extract from interview with Mary Tamm, 1988

[Scene: Inside the TARDIS. Romana and the Doctor are looking to the screen where the Black Guardian has been revealed in an attempt to steal the Key of Time.]

BLACK GUARDIAN:
Doctor! You shall die for this!

DOCTOR:
For exposing a rather shallow ruse? [To Romana] A bit of an overreaction you must admit.​

[The TARDIS suddenly shakes as the Black Guardian lets out a scream of rage, lights flickering and steam coming from the console as Romana and the Doctor start to look over it. After a few seconds, the Doctor gets down and opens up the console, blinding lights greeting him.]

ROMANA:
The Heart of the TARDIS! What’s he doing to it Doctor?

DOCTOR:
He’s… Yes, he’s overloading it seems. It’ll blow us to pieces and tear a hole in the Galaxy at this rate!

ROMANA:
Is there anything we can do?​

[The Doctor looks to Romana, his expression going off into the distance as he realises what he must do.]

DOCTOR:
Well, I’ve had a good run I suppose, time for a fresh start.

ROMANA:
You don’t mean…

DOCTOR:
I can absorb the excess energy, see to it that the TARDIS will be inert, harmless until you and whoever comes after me thinks of a long term solution.

ROMANA:
Wait Doctor, let me…​

[Not letting her finish, the Doctor reaches into the Heart of the TARDIS, letting out a scream as the energy overwhelms him as he absorbs it. The lights in the TARDIS darken, leaving only a pale glow as the Doctor falls back onto the floor, Romana catching him as he does so.]

ROMANA:
Doctor! Try to hang on, I’ll do what I can!

DOCTOR:
No, it’s far too late for that. This incarnation’s spent. Oh, what a life, what an end… Goodbye, Romana.​

[A glow envelops the Doctor as the regeneration kicks in. The camera cuts to Romana as we see her react to this change, the light fading as she sees the new Doctor, but the audience can’t.]

ROMANA:
… Doctor?​

[Cut to credits and end theme.]

- Final scene from ‘The Armageddon Factor’, the final serial featuring the Fourth Doctor

After the storming off set and the entire series as a whole by Tom Baker, Graham Williams decided to call it a day, retiring from Doctor Who as he freely admitted that this was probably just the logical conclusion to him being unable to stand up to Baker. John Nathan-Turner was promoted, although not without some reluctance. Rumours swirled about that he had been responsible for the argument that saw Baker leave the show and Turner had to make a lot of promises to make sure he could secure the spot. One of these was an expansion of Doctor Who’s popularity, both at home and abroad. It was a big promise, but one that secured Turner the role of producer for the show just as he was making some very desperate phone calls to a man he’d overheard making a comment in the BBC canteen eight years ago.
- Extract from ‘The First Forty Years in The TARDIS: Doctor Who, 1963 – 2003’

“The BBC wants John for what?!”
- Jerry Weintraub, on the phone to John Nathan-Turner, 1979

“It was the work of a few desperate weeks, but we managed to get John out to the UK and have an audition. I suppose it’s damn lucky that he met with Doug when he first entered the BBC, him being the new script editor had him eager to meet the new Doctor. John had been away from the UK for a long time and he’d been catching up with the controversy the show had been having over its violence. Meeting with Doug from the get go calmed his nerves though as the idea of taking Doctor Who into a lighter, more comedic tone suited John down to a T. They sat down and talked for about an hour over ideas regarding the series and John was more confident than ever he’d do it. At the audition, he actually read extracts from Hitchhiker’s, as well as scripts we were desperately trying to complete and managed to find a good take on the role, remembering what Troughton was like and taking some of the quirks from him, while adding some of the country boy charm he was famous for. It was a good take on the character considering what we were aiming for, although I will admit that criticisms that we may have gone too far with it weren’t entirely unjustified.”
- Extract from interview with Johnathan Nathan-Turner, 1992

One unexpected effect of the casting was the opening of doors in the US for Doctor Who. John Nathan-Turner’s ambitions for expanding the show’s popularity in the US, particularly with the showing of episodes on PBS, got a boost when the casting of the Fifth Doctor opened all new doors for him. The hasty promises Turner had made in order to secure his job were coming to fruition as the newly cast Doctor was able to use his contacts in the industry to start his role in a blaze of publicity. Viewing figures for Doctor Who steadily climbed in the US before the new Doctor even appeared. When he did, publicity around the casting, as well as the show itself, helped it get solid ratings. A triumph for Turner, but one that simply acted as a stay of execution.
- Extract from 'The Silver Age of Science Fiction: 1983 – 1993'

“It was one of the most peculiar letters I’ve ever had to write, that much is true. But upon Her Majesty’s instructions, I did indeed send correspondence to the Head of the BBC at the time, expressing Her Majesty’s confusion regarding the announcement of the newest man to the role of Doctor Who. She had enjoyed the programme for some years and expressed reservations over the casting choices in private, and the letter which I penned. The BBC responded politely, as they insisted in having faith in the choice as it promised a new era for the show. As Her Majesty commented to me at a later point, this was certainly true, but not really in the manner in which they expected it to.”
- Extract from interview with Sir Phillip Moore, former Private Secretary to the Sovereign (1977 – 1986), 1993

“I will admit, it’s certainly a Hell of a lot nicer than the rest of the fan mail we’ve been getting.”
- Comment Douglas Adams made towards John Nathan-Turner over Queen Elizabeth II's letter regarding the casting choice made for the Fifth Doctor

“The BBC can announce that John Denver shall be the fifth person to take on the role of Doctor Who. The famous singer and actor has stated he’s looking forward to taking part in the television show and welcomes the challenge that comes from being part of such a historical series. Filming on the new series is expected to start in May with the series starting in September.”
- Extract from the BBC announcement regarding John Denver’s casting to be the Fifth Doctor. Note the lack of overly glowing terms one would expect from this sort of thing.

- Photo of John Denver, taken in between takes of ‘Redemption of The Daleks’ May, 1979. The lack of question mark guitar stands out, it being one of the few things Denver actively disliked while filming his first series of Doctor Who.

“Now I’ve been a part of a lot of nerd wars, I can still smell the blood on the streets from the Ghostbusters vs. Star Trek riots of ’87. But they all pale in comparison to two things, Tolkien purists who’d throw themselves into the Grand Canyon rather than watch the Disney trilogy and English people who hear the opening notes to Country Roads. Now you might think that English people are a bunch of tea drinking, crumpet eating whiners who still can’t admit how awesome George Washington is, but you’ve never seen those guys go full berserker mode on some poor bastard who thinks that the Sixth Doctor wasn’t all that good compared to the country singer.”
- Extract from ‘The Ultima Movie Reboot: A Review’, a video posted on the Schwoony Experiment

1: The actual POD. Since I have no idea if John Denver liked Doctor Who, watched Doctor Who, or was even aware of Doctor Who’s existence, it’s a pretty broad POD. But what the Hell, this timeline’s for fun more than anything else. Comments are welcome as in all things, as are question and possible suggestions on improving the format if needed.

 

[DAv]

Part Two: The Fifth Doctor:

Profile:
Like his previous incarnations, the Fifth Doctor possessed a wander lust and thirst for justice that took him across the Universe. Like the Second Doctor, he had an anti-authority streak built into him along with a sense of humour, although Five’s was far less malicious than Two’s. He was a musician like Two, but preferred the guitar over the recorder and like Three, had an affinity with vehicles with an almost encyclopaedic knowledge of planes in particular. The Fifth Doctor was a great deal more laid back than any of his predecessors though, always looking to talk and talk rather than go to violent means, being a borderline pacifist in many of his episodes. Despite that though, he was still a threat to the terrors of the Universe, managing to outwit or distract them before they were eliminated by other means. Questions remained over how much of his persona, giving the impression of a ‘good old boy’ to use an American expression, was genuine or faked. Looking through his adventures and interactions with others, the conclusion of the Fifth Doctor being the one without any deception in him can be reached. He is largely considered to be the Doctor who tried to find the lightest side of a situation, never failing to act to help people and cheer them up as well.

Description:
Like John Denver’s real life appearance, the Fifth Doctor tended to wear jeans with long boots. Floral shirts were the order of the day, as well as dark waistcoats, but the patterns always had a question mark or several embedded in the pattern. A question mark was always noticeable over the Doctor’s waistcoat pocket in particular. A pair of glasses completed the ensemble as far as an outright outfit was concerned. As for equipment, after the destruction of the sonic screwdriver in the first episode of ‘Regeneration on Ramos’, it wouldn’t be seen throughout the Fifth Doctor’s run. The most iconic items in the Fifth Doctor’s possession were his guitars which he was seem strumming along with in various episodes. One that stood out in particular was a guitar with a headstock crafted in the shape of a question mark. It was the only one ever seen on screen that was never played, John Denver politely refusing to even carry it on various occasions.
- Extract from the Heart of The TARDIS: A Doctor Who Wiki

“Seriously Nathan, how am I even supposed to tune it?”
- Comment by John Denver to John Nathan-Turner regarding the infamous ‘question guitar’.

[Scene: The opening credits end, cutting to the scene with Romana leaning over the Doctor, still dressed as the Fourth, her eyes open wide with surprise as she takes in the new regeneration. The lights are still dim as the Doctor stirs, letting out a small groan.]

ROMANA:
… Doctor?​

[The Doctor slowly sits up, blinking heavily as he tries to get his bearings. He peers into the dim light before reaching into several of his pockets, eventually managing to pull out a pair of glasses that he puts on, looking around more keenly now.]

DOCTOR:
Much better… Wait, what? [Puts hand to his throat] Was that me? I sound like that? Alright, quite the change. Guess I’ll have to get used to it. Rather like it already in fact.

ROMANA:
It’s certainly a bit different from the rest. Can you stand?

DOCTOR:
Let’s see now…​

[With Romana’s help, the Doctor gets to his feet, leaning on the console as he looks right into the Heart of the TARDIS.]

DOCTOR:
Oh yeah, Black Guardian guy. We’re kinda stranded, aren’t we?

ROMANA:
Unless we can think of something rather quick, yes.​

[The Doctor rummages through his pockets pulling out his Sonic Screwdriver. He looks at it and gives a sigh.]

DOCTOR:
Well, nice while it lasted I guess. I’ll manage without though. [Starts fiddling with the controls]

ROMANA:
You’re overloading it?

DOCTOR:
Yup! Should give us the kick start needed to land somewhere before we find a way to power it back up.​

[After pressing a few buttons more, the Doctor lays the Sonic Screwdriver down beside the Heart of the TARDIS, a sharp flash of light appearing as the lights return, sending the TARDIS onwards. Romana rushes over to the console, punching a few of the buttons to set it on its course.]

ROMANA:
We’re on our way Doctor, we’ll be landing soon.

DOCTOR:
Just as planned. Now Romana, you take care of the driving, I’ve got something very important to do.

ROMANA:
What’s that Doctor?

DOCTOR:
Pass out.​

[The Doctor falls to the floor, unconscious.]
- Opening scene of ‘Regeneration on Ramos’, the first episode of Doctor Who’s seventeenth series.

The first of five four-episode serials that were to make up the seventeenth series of Doctor Who, ‘Regeneration on Ramos’ was to set the tone for the episodes to come. Light hearted, fast pacing and full of humour. This, along with the casting of John Denver, led to help alienate the core fans of the show, claiming that Doctor Who was being ruined by the changes. Of course, it wouldn’t be the first time such accusations had been laid at the show’s feet but they were heard more keenly than ever at this point. Despite the complaints though, ratings actually rose slightly, the loss of core fans being offset by older people getting into the show due to John Denver himself, and families who were more at ease with the show’s lighter tone. It seemed that John Denver was actually a success as the Doctor in the UK, albeit an understated one. Over in the US, the success was magnified greatly as John Denver’s contacts in the entertainment industry had provided great publicity for the show, bringing in fans that a British Sci-Fi franchise normally wouldn’t have reached. Rating on PBS for his episodes (First screened in January, 1980) were solid and continued throughout the year, helping kick start the later Sci-Fi revival later in the decade.
- Extract from ‘The First Forty Years in The TARDIS: Doctor Who, 1963 – 2003’

Regeneration on Ramos:
The first serial of the seventeenth series and the first to feature the Fifth Doctor. After regenerating from the Black Guardian’s attack, the Doctor is comatose for a while as Romana lands the TARDIS on Ramos, a Planet on the brink of reaching the Stars with fully functional spaceships. The Prime Minister of the Planet is looking to spread the people of the Planet peacefully while the Marshall of the armed forces (A thin pastiche of Margaret Thatcher) looks to use them for outright conquest and prepares for a coup. The Doctor and Romana land amid the Marshall’s plans, the Doctor doing his best to work against her. With Romana and K-9 at his side, the Doctor unravels the Marshall’s plans, turns her subordinates against her and finally gets her to lash out in public, revealing her role in the coup attempt. The Marshall attempts to shoot the Doctor, only to hit Romana instead, causing her to Regenerate. This causes the Marshall to get arrested and the Prime Minister thanks the Doctor for allowing his people to explore the Universe in peace. The Doctor, Romana and K-9 leave Ramos behind them, the Doctor gently strumming on a newly purchased guitar.

Peril in Paris:
Settling for some time off in Paris to recuperate and fully get to grips with their new Regenerations, the Doctor visits the Louvre, Romana at his side as the two discover a plot by an alien named Scaroth to steal the entirety of the Louvre’s treasures before blowing up all of Paris. The aim of this being that the destruction of a city from orbit would attract attention from other races and drive up the prices such artefacts from a ‘quaint’ people could sell for. Posing as the affluent Iago Scarlioni, his disguise as a Human art curator almost perfect. Armed with automatons who capture those who come close to unveiling the scheme in order to serve as slaves to maintain the art while Scaroth replaces it all with copies before enacting his plan to destroy Paris. Uncovering this, the Doctor and Romana go into a race for time as they manage to render all the explosives under Paris inert before switching the real art from the Louvre with the fakes, vandalising them first. As Scaroth starts his auction, the Doctor and Romana rescue the slaves before Scaroth’s vandalised art is revealed, utterly ruining him. As a result, Scaroth is marooned on a Planet for his actions while the Doctor restores everything to normal in Paris, presenting Romana with one of the pieces of art he changed himself, the Mona Lisa, but with Romana sat in model’s chair.

Shada:
The prison of Shada is home to the attempted conquerors of the Universe, sent there by the Time Lords to keep them from destroying the peace. A would be conqueror by the name of Skagra looks to break into this prison to gain the assistance of one of the inmates, only to realise that almost no one knows where Shada is anymore. The only one who can point Skagra in the right direction is a Time Lord by the name of Chronotis, currently living on Earth as a professor in Cambridge. Skagra looks to kidnap Chronotis, only to run up against the Doctor who’s visiting his old friend at the time. So begins a chase as Skagra throws any obstacle he can against the Doctor and Romana, mercenaries, deflecting whatever he can in the path of the TARDIS. Despite all this, the Doctor remains hot on his trail until they reach Shada, Skagra looking to force Chronotis on how to open the prison. The aged Time Lord actually gives the password to Skagra, being forced into the prison until the Doctor makes an appearance. He and Romana manage to rescue Chronotis, the Time Lord then using the password to seal Skagra away in the prison, calmly explaining that was his plan all along as he knew the Doctor would be following right behind them. With Shada safe for now, Chronotis invites the two to attend his lectures, causing the Doctor to hurriedly making excuses before leaving.

The Creature From The Pit:
Receiving a distress call while on board the TARDIS, the Doctor, Romana and K-9 touch down on the Planet of Chloris. A former jungle world, deforestation has pushed the ecology Planet to the brink of collapse. Ruled by Lady Adrasta, the Planet is under her iron-clad control, seeing to it that most of the remaining resources are at her disposal. After escaping from an attempt by Adrasta to seize K-9, the Doctor and Romana make their way to the source of the distress signal, revealing a scientist hiding deep within some caverns. The scientist reveals a creature giving out spores which could help bring back the forests of Chloris. The scientist hides the creature, for fear of what Adrasta would do to it, either kill it or force it to create spores simply to use the plants and trees for her own gain. Realising that he needs to step in, the Doctor enacts a plan whereby the creature uses its spores to help undermine Adrasta’s rule by causing plants to sprout in areas she denies having any to increase dissent against her rule. As her control over resources is undermined, the Doctor spreads further dissent, pointing out that the forests could return simply if they moderated their wants rather than consuming everything as Adrasta encouraged them to do. The boiling point comes when Adrasta brings tries to rally a crowd against the Doctor and Romana in a bid to steal K-9, only for the Doctor to turn the people against her in a speech that lambasts her tyranny and misuse of the environment, showing people the wasteland their entire world will turn into unless they stop. People turn against Adrasta at this, her threatening them all with death unless they obey her making her position even shakier. It ends with Adrasta being arrested by her second-in-command as the Doctor aids the creature to start its mission of spreading the spores around the Planet. As the Doctor says to end the serial, it’ll take a lot of work and for the people to learn how to work with nature before the damage can be repaired.

Redemption of The Daleks:
The final serial of the series sees the Doctor & Co. touch down on the Planet of Nizor, a world under threat from a Dalek incursion. Leaping into action, the Doctor manages to hold off the Daleks’ first attack as K-9 manages to sneak into the Dalek holding, discovering that several of the Daleks have been corrupted as far as their DNA has gone due to a faulty generating process, allowing them to have emotions beyond hate. With Romana joining K-9 as she tries to contact with the mutant Daleks and Nizor’s, the Doctor stalls for time, promising that he’d happily hand himself over towards the Daleks if only they could convince him of the superiority of their culture through a battle of music. With Romana encouraging the mutant Daleks to help the Doctor stall for time, the contest is agreed upon, allowing the Doctor to co-ordinate with Romana, K-9 and the mutant Daleks to end the threat to Nizor. Taking place over a screen, the Doctor starts off with his own rendition of a song called ‘Galactic Roads’, detailing the Doctor’s love for exploration. The Dalek’s retort with the ‘Extermination Song’ before instantly claiming victory. The Doctor turns this around, revealing he’d just been playing for time as the Mutant Daleks attack, destroying the others as they help Nizor soldiers defeat the threat. With the mutant Daleks free to live as they choose, they leave Nizor to find a home of their own, the Doctor & Co. also make their way in the TARDIS, the Doctor commenting that he has some hope that the Daleks could change from this, but only time would tell.
- Synopsis of the five serials that made up the seventeenth series of Doctor Who, a sixth was planned, but industrial action prevented any filming on it whatsoever.

“Although John was a delight to work with and I would have loved to have worked with him more, I felt that the role of Romana was really just another one of the assistant’s that the character of the Doctor picked up on a whim. I agreed to stick around for a few episodes to film my transition and I don’t regret my time on the show and Lalla Ward did a wonderful job with the character afterwards. Although, looking back, I think I should have been more proactive considering the direction the show was going to take. Despite the complaints by fans later, John never really tried to make the show all about him, I honestly don’t think he ever realised how much influence he had. When he was finished with his engagements in the US, he came to start filming and looking over the scripts, he’d always say “That’s good, but I think folks back home would like it more if…” Just little things like that. There was no intent to turn it all about him, it’s just that John seemed to miss the idea of how important horror was as an element of Doctor Who. It went along with the idea that since he was in the show, he may as well make the most of his talents while on there. With Douglas Adams always eager to add more humour to the show, it led to the series taking on the form it did in the seventeenth series. Despite the changes, it certainly didn’t warrant all the backlash it got, I rather enjoyed it myself.”
- Extract from interview with Mary Tamm, 1988

- The infamous ‘Dalek concert’ scene from the fourth episode of 'Redemption of The Daleks’, first aired 12th January, 1980.

“We’ll fill up all your senses, with horror and terror
We’ll burn you to ashes, we’ll incinerate your skin,
You will scream when we kill you, you will scream when we come near,
We’ll exterminate your family, we’ll kill all your kin.”
- Lyrics to the ‘Dalek Song’

“Through the Heavens, through the wonder,
From Gallifrey, to the starry yonder,
Life is special, wonderful and grand,
Going in my TARDIS, lookin’ soon to land.”
- Lyrics to ‘Galactic Roads’

“You want to know why no one likes the Fifth Doctor? F****** English icon turned American and ACAPELLA DALEKS.”
- Quote from No. 6, member of the Doctor Who Fan Forums, 2004

“Y’know, a lot of people criticise that serial but I actually saw the numbers and the ratings and it remained pretty strong throughout. What the fans who complained didn’t realise that we were looking beyond the kind of audience that they themselves thought of as being the core of the show. We had people who’d never tuned into Doctor Who before suddenly switching on their sets to catch the show. I was doing a lot of publicity work around the US that really got people excited over it. We were looking towards the large market in the US to try and capture their interest. The scriptwriters really did a good job in helping the brand appeal to as many people as possible. It was a shame that it turned off some viewers, but in the UK and the US, we were doing great ratings that really showed what we could do.”
- Extract from interview with John Denver, 1993

“The final score for 'Redemption of The Daleks' is six out of ten. Now remember all scores are relative to their series and this is no different. Despite the harsh backlash it received, Redemption isn’t a bad story. The writing’s good, the Doctor shows off some good thinking, Romana herself gets a good chance to shine and the jokes are funny. What hurts the episode is the fact that it was the Daleks they had included in what was an extremely light hearted story. If it had been a new kind of villain or creature for the Doctor to face, I doubt the backlash would have been as strong as it was. The worst thing to come from the episode wasn’t the quality itself but the impact it would have on the show.”

“John Nathan-Turner had got the job as producer of Doctor Who with the intent to make people take it seriously again and reign in any egos that might wreck it. But with the hiring of John Denver to really establish the show in the US, something that was successful, he went on to make the same mistakes he’d wanted to avoid. The Doctor was light hearted and fun, the episodes humorous rather than serious and John Denver, depending on which source you believe, tried to keep the show that way or edged it towards that unknowingly. To make matters worse, Turner felt that Denver was deliberately undermining him by going with the scriptwriters to work over ideas and make the episodes more suitable for family viewing. ‘The Creature From The Pit’ was one such example which Denver had re-written to help give it a pro-environment message. The backlash from core Doctor Who fans just seemed to echo Turner’s own thoughts, that he’d turned a series he’d wanted people to take seriously, and made it more of a joke than ever with a folksy Doctor whose actor seemed to control the creative direction it went in.”

“But regardless of what the fans say, the seventeenth season of Doctor Who wasn’t a disaster. Ratings remained strong and the show’s popularity in the states shot up. Such was the hype for the show before it even aired that Steven Spielberg actually travelled to the set where the episodes were being filmed to visit. But Turner didn’t see the strong ratings, he didn’t see the growing popularity of the show overseas and with casual audiences, all he saw was Douglas Adams and John Denver turning his show into the kind of joke he’d wanted to avoid, hardcore fans expressing their disgust the entire time.”

“So when John Denver was away on US talk shows to hype up Doctor Who, Turner made his move, forcing Douglas Adams, one of Denver’s closest associates behind the scenes, off the show and establishing his own rules on how the show would now be written. John Denver’s input would be politely disregarded from now on and his suggestions would be ignored. Turner had allowed Denver the freedom to have creative input because he felt his role in going into the US market was a necessity but the fan reaction in the UK made Turner determined that he would be the final voice on the show’s direction. From now on, Doctor Who would be serious, it would be gritty and an American Doctor, one of the points about Denver that core Who fans really hated, would turn to a boon rather than a detriment. Turner was determined that Doctor Who would go back to the way it should be, danger everywhere and unafraid to show the consequences of what would happen in dire situations. It was a decision that almost killed Doctor Who completely.”
- Extract from ‘Redemption of The Daleks’ A review by SFDebris, 2012

 

[DAv]

Part Three: Indefinite Hiatus:

“I will not answer questions about that.”
- Extract from interview with Peter Postlethwaite after being asked as his time as the Master, 1984

The creative direction had been chosen for the eighteenth series while John Denver was doing publicity work in the US. Douglas Adams, although forced to leave, was happy to move onto other projects and kept in touch with Denver over the upcoming months of filming. Upon returning to the set, Denver found the atmosphere changed as the scripts were brought to him, the show reflecting a much darker take than before. Nathan-Turner’s insistence that the creative direction be much darker, along with some of the more hostile fan reaction to Denver’s time on the show, dampened his enthusiasm to continue. Despite the hostility from fans and his own questions regarding the material, questions which only increased in frequency as time went on, Denver stuck with the show although correspondence with friends and family at the time showed he was having second thoughts about returning for a third series if he was invited back to it. There was some good news as the casting of Matthew Waterhouse as Adric allowing a new companion to the show as a potential protégé of the Doctor.
- Extract from ‘Doctor Who: The Backstage Story’, 2008

The decision to bring back the Master came with the choice to darken the tone of the show in response to the light hearted feel of the seventeenth series of Doctor Who. The idea would be that the Master could provide a dark reflection of the Doctor himself, more so than ever and be able to provide a balance to the series. Casting calls went out and the role eventually went to a then unknown Peter Postlethwaite. Considering it a big break for his career, Postlethwaite would be remembered as one of the more memorable people to take on the role, although for reasons he would come to regret.
- Extract from ‘Doctor Who: The Backstage Story’, 2008 (1)

“I don’t want to talk about that. Next question please.”
- Extract from interview with Peter Postlethwaite after being asked about his role as the Master, 1986

“It was of great disappointment me personally to see the way in which the series had changed in just one year. The casting of John Denver had led to the show being much more suitable for children, despite some questionable elements remaining. I had thought that good sense and decency was starting to return to the BBC, only for such images of horror and depravity to be shown that something had to be done.”
- Private correspondence from Mary Whitehouse, 1991

“I’m really not liking this Nathan. I don’t think this stuff’s suitable for kids.”

“If you want kids’ stuff John, go on bloody Tiswas!”
- Alleged conversation between John Denver and Nathan-Turner during the filming of series eighteen of Doctor Who

Disagreements over the direction of Doctor Who started as soon as the cast started to read the scripts for the show. John Denver in particular voiced his unhappiness to Nathan-Turner over the direction the show was taking but reluctantly went along with it, generally due to an idea of doing ‘damage control’. The tension was ramped up by Turner taking full control over the creative direction where possible, causing complaints among the script writers as their ideas were sent back or edited thoroughly. This led to the eighteenth series of Doctor Who being the darkest of the entire shows run as deaths were common place and no one was safe, not even the Doctor’s companions as ‘Vengeance on Varos’ was soon to show.
- Extract from ‘Doctor Who: The Backstage Story’, 2008

“I thankfully wasn’t alone when it came to protesting what was going to happen on ‘Vengeance on Varos’. John, Peter and others all spoke out against it but something in Nathan just spurred him on. Any time John tried to get him to make things less bleak, he just got blanked or snapped at and that began to wear him down. When it came to filming, Peter was very nervous, it was his big break into acting and the scene we had to do towards the end made him question whether or not he’d remain a bankable star. We could all see the controversy that was going to come up because of it and I hated the thought of possibly being written out of the show that way. John did his best, trying to smooth things over and actually introduced Peter to some American agents to perhaps get some work in the States if he felt like it. It’s a good thing he did as it at least allowed Peter to get away from Mary Whitehouse and her mob until things smoothed over.”
- Extract from interview with Lalla Ward, 1996

‘Motivational Death’, formerly known as ‘Raped by The Master’
- Extract from TV Tropes, 2011 (2)

Vengeance on Varos:
The final serial of Doctor Who’s eighteenth series started off with the Doctor, Adric and Romana touching down on Varos. The loss of K-9 to the Cybermen in previous adventures lead them to try and find some way to relax and Varos is regarded as an idyllic location. While on there, the Doctor gets involved with an archaeological dig that manages to unearth a TARDIS, having laid dormant for thousands of years. Ignoring the warnings of the Doctor, the lead archaeologist manages to break into the TARDIS, amazed by the potential of his discovery. Before he can enjoy it though, his attempts to reactivate the console panel sees the heart of the TARDIS activate and send a course of energy through him, merging him with the Master, who had hid his essence in the heart of the TARDIS to escape death before waiting for a chance to gain a new life and new regenerations. Realising that the Doctor is on Varos, the Master decides to take his revenge, having become much more deranged in the years he was trapped as pure energy. He manages to lure Romana into the TARDIS, escaping and having the Doctor and Adric pursue him to rescue their friend. On board his TARDIS, the Master subjects Romana to a series of tortures that allow him to claim her regenerations as his own. The final torture all but destroys Romana’s mind and the Master goes to kill her, only for the Doctor’s TARDIS to finally catch up, the Doctor boarding the Master’s TARDIS and beginning a struggle with him while the pressure from two TARDIS’ being so close together and in such conflict threatens to tear a hole in space. Eventually, the Doctor accidentally throws the Master into a rip in space, sending him careening into the void before he and Adric pull Romana to safety. The serial ends with Romana recovering, but without most of her regenerations and the Master potentially alive and able to return at some point in the near future.
- Synopsis of ‘Vengeance on Varos’, aired 28th February – 21st March, 1981

“Dear sir,
I am writing to you in order to complain about the content of last night's episode of Doctor Who. It was one of the most disgraceful things I have ever seen on television designed for family viewing. My grandchildren were present for what I can only describe as on-screen rape, something I felt was completely unsuitable for the time slot it was shown on and for the intended audience. It was an utter disgrace and I have no intention of watching any of your programming until a full apology and assurance that nothing of a similar nature will happen again.”
- Extract from a letter of complaint to the BBC regarding 'Vengeance on Varos', one of tens of thousands the BBC would receive in the days after the serial ended

“I feel we were going in the right direction, after the general light heartedness of the seventeenth series, I feel our audience was mature enough to handle more difficult issues, despite the questions others raised. 'Vengeance on Varos' was a daring move to make and certainly turned heads. We were expecting to make similar progress with the nineteenth series as Terry Nation was going over scripts to maintain the tone we were looking to set. Unfortunately, elements in society at the time simply weren't willing to give the show the chance it needed. Sadly, John thought he could put things right in his own... Special way only for it to backfire and wind up damaging the show itself.”
- Extract from interview with John Nathan-Turner, 1989

“Do I think the episode went too far? If I'm gonna be honest, yes. A show like that really shouldn't have such imagery. It was too much, especially since children were watching. I think for next season, we'll manage to get things back on track though.”
- Extract from interview with John Denver, April, 1981

“F***!”
- Alleged reaction many in the BBC had to said interview, 1981

“When the main cast member of such a programme agrees with the majority that such scenes are unsuitable for viewing, the question must be asked as to whether or not it should continue in its present format.”
- Extract from a speech by Mary Whitehouse to NVALA members, April, 1981 (3)

The aftermath of the of the serial, as well as Denver's own interview led to a huge fallout backstage, just before filming was supposed to begin. Nathan-Turner accused Denver of deliberately trying to damage the show by making it nothing more than 'children's stuff'. After a furious argument, Denver left the set, promising not to return. It was a repeat of what had happened with Tom Baker two years earlier, only much worse. No filming had taken place and the show had been damaged in the eyes of core fans due to the light hearted nature of the seventeenth series, while the grim nature of the eighteenth series turned away many more casual fans. By now, many of the higher ups in the BBC saw Doctor Who as a damaged brand with public backlash and backstage problems at an all time high. Denver walking off set, despite later relenting in his decision to stay away, was the breaking point. Production was cut completely as the decision of what to do with the show next was taken. Until then, Doctor Who was on 'indefinite hiatus'.
- Extract from ‘Doctor Who: The Backstage Story’, 2008

“I've still got mixed feelings on it, even now. But coming back here has let me know I've been part of something special, even if I didn't want to acknowledge that for ten years. I suppose what really embittered me on it was a few days after the episodes aired and I went out down to the shops. I was going down one of the aisles when this little boy noticed me. The look on his face was frightful and he ran, screaming, from the building, saying that I was going to kill everyone. It was disheartening to know that'd be the reaction I'd be getting for a long while and was grateful for the opportunity John gave me by giving me some of his contacts in the States. My time on Broadway was a much needed boost to my career and time away from the UK.”
- Extract from interview with Peter Postlethwaite, 1994

“The episode was dark and the scene between Romana and the Master was disturbing to see. Although claims of outright rape were overdone, it's easy to see why no one but Nathan-Turner wanted to go through with it. It depicts Romana being all but destroyed mentally on screen as the Master used technology to drain her of her regenerations, a series of haunting scenes with Postlethwaite putting in an honestly chilling performance as a deranged Master. But the outrage was real and with the show being put on indefinite hiatus was used as damage control as public controversy and backstage problems meant that progressing with filming was going to be too difficult. As the year went on with no question as to what was going to happen to Doctor Who. For a while, it seemed as if the entire series might have been abandoned until fan pressure had an effect and the series found an unlikely saviour in the form of Michael Grade who was soon hearing of openings in the BBC after the fallout from the hiatus and the general feel that new blood and new ideas were needed.”
- Extract from 'Cancelled!' An overview of the series' cancellation by SFDebris, 2013

1: For this role, imagine an Obidiah Hakeswill that can keep it together slightly better. A very disturbing role that was performed really well by
2: OTL's 'Stuffed in The Refrigerator' trope.
3: The National Viewer's And Listener's Association

 

[DAv]

Thanks to anyone for their comments so far and glad you're enjoying it. Going into the first knock-on effect here as I realise this TL will go back and forth a fair but as we see the various effects the POD will have. Hope you enjoy this one and let me know if there's anything I can do to improve in terms of plausibility as I'm not 100% sure for some events.

Part Four: De-coring The Apple:

“It started when Stephen was on his trip to the UK. He had a lot of work to do but hearing about John Denver being on this British show perked his interest. He did a bit of research, the science fiction thing interesting the both of us, and he took the time to make a visit. It really went down well, was even given copies of the old episodes he brought back here to watch, showed a few to me. He also got a present from the producer of the show, Turner. A copy of a game they were releasing based off Doctor Who for the Apple II. Steven brought it back over here and booted it up and we actually enjoyed ourselves with it after watching one of those serials of the show. Looking back, that's when my interest started in how video games could convey a story. It was the birth of Lucas Arts, Ultima followed some time afterwards and my long time involvement with the medium began.”
- Extract from an interview with George Lucas, 1999

Doctor Who: Adventure Through Time. Released for various consoles and home computers, most notably on the Apple II Europlus, Adventure Through Time was a text based adventure game based off the seventeenth series when John Denver was in the role of the Doctor. Telling the story of the Doctor having to stop the Cybermen from attacking Human progress throughout its history, Adventure Through Time was notable for its writing style, being penned in large part by Douglas Adams as his last act before leaving the show. With a strong narrative and well thought out puzzles that verged from thoughtful to near-maddening, the game was a success and was the first of several such text based adventures, although none of them matched its popularity.
- Extract from GamesMaster article detailing the history of Doctor Who video games, 1996

Having been introduced to Apple products through its Europlus computer, George Lucas sent a letter expressing his admiration for the console and Apple's work. Steve Jobs took notice of this, using it as publicity for Apple itself as his ambitions once more took hold. The thought of branching out from the home computer market into consoles was taking place, in order to expand into further markets Jobs looked to Atari as potential competitor. With the publicity from letter, as well as a new ad campaign to boost it, the board reluctantly went along with Jobs' decisions, the feeling that he trying to take control of all projects started to sink in and would lead to consequences further down the line.
- Extract from Apple, The Inside History, 2002

“Merchandising was something that George was happy to teach me about as E.T. was being made. He had a keen mind for that, almost groundbreaking in how he applied it to his own films. When it came to his advice, he helped me look at the video game Atari were working on and realised what was going wrong. I spoke to Howard Warshaw, who was heading the project and found out they were looking to rush it out far too soon. I let the matter of gameplay drop, as Warshaw managed to convince me that unique gameplay would help the game stand out more. But I remained insistent that the game itself get more time, even if it meant missing out on the Christmas release period. With so much being put into the game, but without it going through the proper channels, I was worried about it failing and reflecting badly on the film itself. Development was delayed while it was tested, although because of a leak, this was soon found out to retail outlets who cut down on their orders. I suppose this also helped in some ways as the numbers they were pushing for production seemed overly optimistic.”
- Extract from an interview with Steven Spielberg, 1998

E.T. The Extra Terrestrial (1983), a video game adaptation of the 1982 film of the same name. After two months of delays as it was play tested, the game was finally released in February of 1983. The delay had caused a dip in confidence over the ability of the game to sell, as well as the delay taking away some of the excitement from it. Combined with the Christmas period also passing, projected sales of the games fell considerably to 700,000 units being ordered by retailers. When finally released though, the game proceeded to exceed these expectations, selling close to a million copies throughout 1983. Gameplay was well received as it worked as a puzzle with E.T. trying to assemble a phone while avoiding government agents, the puzzle elements added in due to suggestions from some test players. Although regarded as a success, the initial hopes of the game being a smash hit went unfulfilled, the respectable success was at least satisfying in a business sense.
- Extract from An Encyclopedia of Video Games, 2001

1983-1985 were regarded as the 'slump years' for many within the video game industry. A glut had been reached in the market with a plateau being reached in terms of sales and new ideas. Atari remained on top with the Atari 2600 being the giant of the era. The failure of their port of Pac-Man had a damaging impact, combined with an excessof consoles and poor titles that made many question how long the industry could handle in its stagnation. Although not an actual danger to gaming in general, the period was regarded as a downtime before Apple came onto the market in early 1985 with its own console computer.
- Extract from A History of Video Games, 2000

The state of the video game industry in early 1983 was something that Steve Jobs took note of. The weakness of the current competitors made him realise that something new could burst onto the scene and sweep away any competitors. Getting Apple's engineers to work on a new project, one that could branch Apple out into a new market. Job's ambitions regarding gaming had been kindled and he was looking to see them realised. With Steve Wonziak in control of the project, it progressed for a year before producing a result both Wonziak and Apple could be happy with. But by the time it was released, Jobs had left the company after his radical ideas for Apples products and abrasive managing style alienated him from many on the board of directors. It was felt that the company was taking too many risks, with Jobs being the main instigator of them. The final straw was Jobs planning a highly expensive advertisement campaign for the Macintosh 128k that many were sceptical over and felt Jobs was risking the well being of the company. Late 1983 saw Jobs enter a power struggle with the then CEO of Apple, John Sculley, over which direction Apple would go, resulting in the board of directors siding with Sculley and forcing Jobs to leave the company in January, 1984. In the aftermath, it was decided for project GAME Jobs had headed to see their release after resources had been put into them, wanting to see some money returned on the investment.
- Extract from Apple, The Inside History, 2002

The Apple GAME: Released in March, 1984, the GAME was Apple's first foray into video game consoles and would go onto be an unexpected success for the company. The console was developed by Apple engineers, working in tandem with newly hired ones to help design something new. Headed by Steve Wonziak, the project was thought to be a waste by several in Apple's board of directors before the release and success of the console became apparent. In many ways, it was similar to Nintendo's Famicom in terms of technical specification although it was released with a joystick similar to many arcade ports as opposed to the controllers. With eight-bit graphics that supported over fifty colours and able to support up to five sound channels, the GAME was advanced compared to most of its initial competitors. John Sculley was one of the few Apple directors left who wanted to see the project through, sensing that Jobs had been correct in its ideas, but not the scope. With a limited release, the Apple GAME soon sold out as word of mouth passed on the quality of the console and its launch titles. Unlike Atari, Apple was determined to keep the games on its console under the company's control and not allow a glut of units that were of questionable reliability.
- Extract from An Encyclopedia of Video Games, 2001

Apple Baseball League – US Games
Apple Football – US Games
Star Chasers – Games by Apollo
Empire IV: Rise of Nations – Edu-Ware
Escape From Alcatraz – Edu-Ware
Space Traveller – Edu-Ware
Rupan III: Theft in Mamo – Gaming by Apple
- A selection of titles either released with the Apple GAME, or released in the months afterwards and contributed to its success

“We honestly didn't expect the success of the GAME really. A lot of the board were highly sceptical of going into console but production for a limited line had already started. I managed to get people behind the project enough to set up a limited release. We put money in for advertising, hoping to at least break even when we got the consoles out and then let it fade away if there was no interest. The sudden popularity of the GAME was something that caught us off guard. We underestimated how much the console market had been craving something new as the success of the GAME was beyond our expectations as the orders from retailers shot through the roof. After some long, late night meetings, a company strategy was decided upon as we realised the full potential before us.”
- Extract from interview with John Sulley, 2008

Despite the growing success of the Apple GAME in 1984, Wonziak decided to leave Apple itself, unhappy with being placed into positions that had mind more in a position of managing as opposed to his first love, engineering. Resigning from Apple after being pegged for another managerial position, Wonziak was contacted by Steve Jobs in quick order. Promising Wonziak that he'd only ever do the engineer work he loved, Jobs convinced his old colleague to join his new company and project. Funding it by the Apple shares he sold, as well as his own fortune, Jobs was determined to bring about the competitor to the home computer market he had intended Apple to be.
- Extract from NeXT, The Silent Revolution, 1997

By 1985, Apple was starting to suffer in sales for its home computers. The Macintosh 128k, while a success, was a minor one that managed to make decent sales, but growth was slow. In contrast, the Apple GAME was going from strength to strength as the home console market was invigorated after the dual boost from both the GAME and release of the Famicom a year afterwards. With Apple itself keeping a strong hold on the games that could be released on its console, the GAME received a reputation for high quality units which could be found on it. Seeing that the console market offered a chance for profit after all, Apple founded an entire division of its company solely devoted to to consoles and games themselves, looking to further profit from the sleeper hit that was the GAME.
- Extract from A History of Video Games, 2000

“And if you look at the notes in front of you, we can see that Nintendo are looking to really get into the North American market. Unless Atari manage to rally in some manner, Nintendo will prove to be the strongest force in the gaming market for the foreseeable future.”
“What about other competitors from Japan? Could ones like this... Sega, be able to break through?”
“Oh, we're not worried about Sega.”
- Alleged quote from a meeting between heads of Apple's gaming division and the board of directors, 1985, possibly too amusing in hindsight to be true.

 

[DAv]

Part Five: The Rise of The Bear:
“It was Doctor Who that saved us. Odd now, to look back on it, but there you go. They first had John Denver's episodes up on PBS, the light hearted ones. But then they showed episodes from the other guys in the role, the weird looking one with the scarf and the tall guy. Elements of horror and thriller were starting to show through these Sci-Fi shows and we managed to turn it to our advantage. With Doctor Who being such a hit, we managed to push the executives into actually putting effort into advertising and its release with our own 'Sci-Fi' project. It wasn't what we wanted, but we at least managed to make profit for when the limited release hit the country and the money from the soundtrack really helped.”
- Extract from an interview with Michael Hirsh, 1997

Rock & Rule:
Released: August 12th, 1983
Studio: Nelvana
Budget: 8.1 Million US Dollars
Box Office: 10 Million US Dollars
- Run down of Rock & Rule's information and performance (1)

Controversy had helped somewhat with Rock & Rule's performance, it's notoriety improving ticket sales in the limited release it saw in major cities. It had also made Nelvana stand out from the likes of Disney, succeeding in helping establishing a separate identity for them as a film studio. This came at a cost however, MGM wasn't willing to fund a similar project at such a risk. Executives made it clear that, while they would continue to fund any potential projects, it would not be the same as Rock & Rule, they wanted something for more general audiences. Several ideas were given throughout late 1983, only for all to be shot down. It would take an unexpected turn at a meeting between Nelvana's directors as an answer came to them from an old source.
- Extract from The Mouse & The Bear: The Two Giants of Western Animation, 2012

“Well, it sounds silly now but it was simply because someone was humming the theme tune to Speed Racer. It just started off by one of the janitors I think, and it just then spread around the building. Had about two people in the creative meeting just keep at it and soon about six of us were singing along to it. After that, it was Patrick Loubert who actually brought up the idea of us distributing Japanese animated films. It would keep the suits happy on costs, lets us build up a name for ourselves as an alternative to Disney and let our animators work on our TV shows while we get round to building up a division for animated movies that the studio would be happy to take a chance on. It went down really well with MGM executives, seeing it as low risk compared to our earlier project and then the time came to look into which films we could use. We got into contact with studios in Japan when we came across Castle of Cagliostro. It had action, comedy and some faint romance and superb animation, something for everyone. TMS and Toho were happy to let us handle the distribution, turned out it'd been a failure in its original release in Japan, we were hoping for some better luck.”
- Extract from an interview with Clive Smith, 1999 (2)

“Really? Nelvana? Dan put you up to this?”
“Hey, you lost the bet didn't you? I get to choose a movie for you, I choose this one.”
“Alright, but if this leads to me doing a music number with Lou Reed... You're not invited.”
- Alleged conversation between Robin Williams and John Belushi, late 1983 (3)

“We were amazed that Robin Williams accepted the part really. I think the offer was wired to him by accident. But he rang up and accepted, looking for whatever role we'd give to him. It was only later on I'd find out about the bet he made with John Belushi but he'd fallen in love with the Ghibli stuff by then and become a staple of our voice actors. I still think naming his daughter 'Nausicaa' was a bit much though.”
- Extract from an interview with Clive Smith, 1999

Rupan III – Paul Le Mat
Lady Clarisse d'Cagliostro – Susan Sheridan
Count Cagliostro – Kevin Conroy
Daisuke Jigen – Robert Loggia
Fujiko Mine – Sheryl Lee Ralph
Goemon Ishikawa – Don Francks
Inspector Zenigata – Robin Williams
- Some of the English voice cast for Nelvana's dub of 'Castle of Cagliostro' (4)

“A fun adventure for kids and parents alike, Castle of Cagliostro makes for great summer time viewing. The adventures of Rupan and his gang provides a hugely entertaining escapade that still leaves you wanting more. A great export from Japan that leaves me hoping for more.”
- Extract from a review of the 'Castle of Cagliostro' from the Chicago Tribune, 1984

“Can we get lunchboxes with these guys or not?”
- MGM executive asking about merchandising potential for the movie and TV series based off Lupin III, 1986

Released in July 1984, The Castle of Cagliostro was a modest hit for Nelvana studios and allowed TMS to make back their losses on the film from its release in Japan. While executives were happy with the money made, Rock & Rule came back to haunt them though as potential viewers were concerned with Castle of Cagliostro having the same adult themes that their previous film had. Realising that this needed to change, the responsibilities between their films and television properties were split to help build up separate brands with their own identity. The Nelvana name kept with properties such as Care Bears while the newly formed Studio Elven would handle the new properties and films. Named after how many people were at the board meeting that decided the changes (Although conspiracy theorists say it was a Biblical reference), the first order of business for Clive A. Smith, the man put in charge of Studio Eleven, was to enter negotiations with Japanese studios to continue dubbing and distributing their films. Although creating their own properties was something Studio Eleven wanted to aim for, MGM executives continued to hold the purse strings, limiting their ambitions until more successes were found. For this, Smith contacted the director of Castle of Cagliostro, Hayao Miyazaki, for further negotiations over his newest project.”
- Extract from The Mouse & The Bear: The Two Giants of Western Animation, 2012

“It almost never happened. Me and several others, including an executive from MGM travelled to Japan to talk with Hayao Miyazaki regarding his newest film in April. 1984. It'd been a really big hit in Japan and with the executives feeling confident over Castle of Cagliostro, dubbing was seen as the way to go. The meeting started off fairly cordial, Miyazaki liking the idea of his work going into wider audiences while Topcraft executives were eager for the money from it. Everything almost collapsed once our executive mentioned the fact they'd want cuts for American audiences, changing elements that we'd find 'unsuitable'. The look on Myazaki's face told me instantly that this wasn't going to fly. His work was encouraging and we at Studio Eleven felt that there was a lot of potential in a partnership with Topcraft so to hear this guy ramble on about how we were going to cut and slice the movie to suit American audiences, I could see the project go down the drain right there and then. Even Miyazaki interrupted him at one point to bluntly say “We don't want any cuts.” I had to take the man aside at one point and told him that we didn't want to risk this partnership. MGM were still reluctant to give the greenlight to our own projects so we needed this. It took some arguing, but we were allowed to get our way and agree with Miyazaki and Topcraft over this. It was a gamble, when we got home, MGM told us that if Valley of The Wind didn't do well, we wouldn't get another movie project like this. Thankfully, it was a gamble that paid off.”
- Extract from an interview with Clive Smith, 1999

“From a bumbling detective to a kick-ass sword master, I'm moving up baby!”
- Robin Williams on being cast as Master Yupa in Nausicaa of The Valley of The Wind

“This isn't your standard Disney fare, and for that, Valley of The Wind is all the stronger for it. A tale of hardship and overcoming the mistakes of the past, Nelvana's latest import from Japan in a modern day animated masterpiece. With strong environmental themes that are never overly preaching, the film shows that animation can be used for more than a standard fairy tale in movies. With excellent performances from its voice actors, including a Robin Williams performance with a surprising level of gravitas, Valley of The Wind is something that should be watched and be looked upon as a film that will change perceptions of how animated films can be seen.”
- Extract from Roger Ebert's review of 'Nausicaa of The Valley of The Wind', August 1985

Releasing Nausicaa just a week after Disney's own release of the Black Cauldron was a direct challenge to Disney as the two films went head to head. It was an outstanding victory for Studio Eleven as Valley of The Windwent on to reach the top of the box office while Black Cauldron floundered. A strong advertising campaign that highlighted Nausicaa's differences from standard Disney films, showing it to be an epic tale that took its audience seriously, was a direct contrast to the more standard and clichéd work Disney was perceived to be producing. Studio Eleven had the major success it had hoped for and a strong relationship with Topcraft as more movies were soon to be created by Miyazaki and others working at Topcraft. The first shot in the war between Studio Eleven and Disney, Studio Eleven taking on the role as the 'anti-Disney' establishing it, although it would later turn out to be a double edged sword.
- Extract from The Mouse & The Bear: The Two Giants of Western Animation, 2012

The contrast between the female protagonists in Disney films and the output of Studio Eleven couldn't be more clear. The demure and submissive Princess role exemplified by the type in Disney films was overshadowed by the female protagonist that Studio Eleven was showing young girls a role model that would be strong, one that gave them an alternate to the weaker figures of Disney movies. Tales of parents marching out of cinemas after Nausicaa takes vengeance on her father's killers were matched by their children begging to be let back in. The Princess archetype Disney loved was being undermined as young girls found new characters to look up to, ones that would emphasise strength of their own personality.
- Extract from essay 'Feminist Icons in Animation', 2006

“1985 was a really good year for Studio Eleven and Nelvana, Care Bears was a success for us as well, one that was overshadowed by Nausicaa though. We had managed to score one against Disney and we were looking for ideas for our own project and even had a few talents come over from Japan to help animate our shows. Hideaki Anno proved to be a huge coup when he decided to stay on to help work on the Doctor Who (5) show we managed to get the rights for.”
- Extract from interview with Clive Smith, 1999

1: Rock & Rule didn't get any advertising at all and only a limited run in Boston. Knock on effects help rectify this.
2: A similar story goes behind why the Addams Family movies were made. A bunch of executives were in a car and started singing along to the theme. Not sure if true but a fun story nonetheless.
3: Close friends in OTL, Robin Williams was one of the last people to visit John Belushi before his death. ITTL, things go differently.
4: Went for actors/actresses who'd done voice acting around this period. The list seems plausible to me but I'm always up for being corrected.
5: An OTL project that never got beyond the ideas and sketches phase. Not quite so here...

 

[DAv]

Part Six: Who Will Survive?:
The opening of Channel Four was a long awaited move for British audiences ever since the rumoured ITV2 had been alleged to appear. (1) When the time came to select programming for the new channel, Doctor Who's popularity in the US saw Channel Four executives scan the television channels of the US networks for popular programming to place on the brand new channel, looking to replicate the success Doctor Who had with showing a popular program from overseas. As several of these agents for Channel Four were in New York to discuss prospective programming, they were contacted by the chairman of the World Wrestling Federation, Vince McMahon.
- Extract from 'A History of British Television', 2001

Despite the 'low-brow' reputation of professional wrestling, there are advantages to the spectacle for the television executive that can't be overlooked too easily. First and foremost is cost, the companies themselves front the money for bookings, members of its roster and the production of its output with television companies only offering amounts to cover the distribution rights. The wrestling companies themselves offer the full creative aspect, taking control of that themselves with little input needed aside from the own decency standards of the television company themselves. Similar to other sports programs in that respect, wrestling also has the advantage of being cheaper than more popular counterparts such as football. For these reasons, professional wrestling can be seen as a good investment for television, provided executives can overlook the stigma with professional wrestling being seen as a low class form of entertainment.
- Extract from 'Sports in Television', 2001

By the early 1980's, Vince McMahon Senior was giving more and more control over the World Wrestling Federation to his son, Vince McMahon who was proving to be much more ambitious in his vision than his traditionalist proved to be. He saw professional wrestling being brought out of the territorial system and into the national limelight, to become a cornerstone of pop culture and to do that, he needed to get as much exposure for his company as possible. When British executives were scouting for television programming in early 1981, Vince McMahon did everything he could to organise a meeting between him and them to push the WWF as an acceptable entertainment venue for the family. He wanted to go beyond the territory of the WWF to the entire US and, after that, the world. After some hard negotiations, Vince McMahon got what he wanted, a limited time slot on Britain's Channel Four to increase brand awareness outside of the WWF's traditional boundaries. The money the company would get from the deal wasn't much, but that was a small price to buy for building up the company into something bigger than the wrestling world had ever known. And as the UK was outside of the traditional wrestling territory system, there was no objection from the NWA until the other companies realised what Vince McMahon was doing. By then, it was far too late.
- Extract from 'The Rise And Rise of Professional Wrestling, 1984-2000', 2001

ITV: 16:00 – World of Sport Wrestling
Channel Four: 16:00 – World Wrestling From New York
- The time slots for both wrestling shows from 1982-1985 in the period known as the 'Saturday Afternoon Competition'

The Saturday Afternoon Competition was a turning point for British wrestling in terms of showing off a product that appeared to be a direct attack on how things had been managed for years in British promotions. Not subject to the rounds of British style wrestling and full of different personalities with the highlight being Andre the Giant, the style of wrestling offered by the WWF was an exciting alternative to the more traditional All Star Promotions. Placed against the fare on ITV, Channel Four's hour long weekly WWF showcase managed to both sap viewers from World of Sport's wrestling program, as well as create new ones on a small scale at first. This might have only been a temporary blip on the pop-culture landscape of the UK however. For the contract Channel Four had with WWF for distribution rights was only for three years. But, in 1984, Hulkamania was born in Madison Square Garden and soon arrived on the shores of Britain.
- Extract from 'The Rise And Rise of Professional Wrestling, 1984-2000', 2001

“It was a surprise to learn just how successful we were in the UK at first. We only had an hour long slot of programming and no physical presence in the country. But I suppose that helped, the less people have, the more they tend to want it. But when Hulk Hogan really started to take off, Channel Four were being sent letters asking, if not demanding, for merchandise. Kids were really getting behind the character overseas and it led to use actually having to start shipping t-shirts, toys and all that over there, really increasing our presence in the country. It helped us to renegotiate a contract for more hours with Channel Four when it came to that point in time. When the WWF really began to expand, a tour through England was a natural choice.”
- Extract from an interview with Pat Patterson, 2004

The rise of American wrestling, personified by the WWF, presented a real challenge to the home-grown promotions in the UK. The figure of Hulk Hogan loomed large in WWF programming, his charisma and connection with the fans was something that had rarely been seen before. Big Daddy still had his popularity with the traditional wrestling crowds in the UK but as the WWF's presence in the country grew, it was starting to eat into the popularity of Joint Promotions as they were losing the ratings competition. That said, the personal popularity of Shirley Crabtree was strong, the focus less on him being overshadowed by Hulk Hogan and more on fans wanting them to meet in the ring.
- Extract from 'From The Ashes: The Rise of British Wrestling', 2012

The difference in production styles between the WWF and World of Sports made the feeling between them all the more pronounced. The WWF did everything bigger, the crowds were wild and the action in the ring was more rapid with less breaks than what was seen in Joint Promotions as well as the celebrity involvement that was typical in the Rock and Roll period of the WWF expansion. (2) In 1985, when World of Sport was cancelled and Joint Promotions was given an earlier slot in the day, it actually did a lot of good to bring up its popularity. The rising popularity of the WWF had increased wrestling's popularity as a whole in the UK, been switched to another time slot, when they weren't in competition with the WWF, their ratings gained a small, but noticeable rise. The loss of the Saturday Afternoon Competition was a blow to Joint Promotions though and one that brought about change within the company as they tried to capitalise on WWF's popularity.
- Extract from 'The Rise And Rise of Professional Wrestling, 1984-2000', 2001

“The popularity of the WWF started to have an impact on the business over here, that much is true. We saw increased interest in wrestling, but it wasn't the wrestling that we were necessarily doing. In 1985, once Joint Promotions were given a different time slot, the decision was made to bring in trainers from the US to allow us to get a taste of the American style of wrestling, the lack of rounds and a quicker pace. This wasn't the first time many of us had experience in this sort of thing, plenty of others on the roster had toured in Japan and other countries. But this was to really change the name of the game. Joint Promotions were at risk of losing their TV deal unless something was changed. So they threw out the old match rules for the younger wrestlers, letting us move away from what was being regarded as old fashioned. The older boys such as Shirley and them kept to the old style, some of them were just limited in what they could do in some ways. But for those of us who were young and fresh, we found a way to stand out more than ever with the American style matches. When the time came for us to really make a stand in 1990, we were prepared for it.”
- Extract from an interview with Steven Regal, 2009

British Bulldogs vs. Terry Funk & Hoss Funk (WWF Tag Team Championship match)
Paul Orndoff vs. Hercules Hernandez
Junkyard Dog & Tito Santana vs. The Hart Foundation
Hulk Hogan & Andre The Giant vs. King Kong Bundy & Big John Studd
Uncle Elmer vs. Macho Man Randy Savage (WWF Intercontinental Championship match)
Corporal Kitchener vs. The Iron Sheik
Ricky Steamboat vs. Jake Roberts
- Card from a house show result in Birmingham 5th May, 1986, winners are outlined in bold

Stampede British Commonwealth Mid-Heavyweight Championship
WWF Tag Team Championship (With the Dynamite Kid)
British Heavyweight Championship
- Extract from a list of professional wrestling Championships held by Davey Boy Smith

1: A common rumour was the creation of an ITV2 in order to increase commercial British television. It had actually been set up several years before with televisions built to receive such a channel and was a reason why Channel Four got such good reception when it first launched.
2: British wrestling from the 1940's onwards was regulated by the Admiral-Lord Mountevans rules. Very different from the US style of wrestling, this enforced six weight classes, a three round match set up with a victory determined two falls unless one of the competitors was knocked out or disqualified. These rules have since fallen to the wayside over the years as the American style of wrestling became popular.

 

[DAv]

Part Seven: Springtime:
The cancellation of Doctor Who was not without controversy. Fan mail poured in by the thousands, asking when the show would return, demanding that the show would return and matters of a similar nature. Such was the public pressure on the BBC that by January, 1983, the decision was made to bring the show back. The resistance was there however, the backstage problems in the last few series of Doctor Who had soured some on the board of executives and the lack of a creative force made many wary. Alan Hart, the Controller of BBC One, was the main force behind pushing for a new series but found himself stymied by the new Head of Drama. The fallout of the cancellation of Doctor Who had led to Shaun Sutton, the previous Head of Drama, retiring and Michael Grade had managed to get the job. Not wanting to be responsible for 'demeaning' his role by having anything to do with Sci-Fi, Grade dragged his feet, managing to find some support from the board of directors over his positions. A compromise was eventually reached in January 1983, Doctor Who would return, but on Grade's terms. He would make the decisions regarding who would head the show, who would be the main writer and would have general direction over the casting of the main character. Through this, Grade would go onto fail in his ultimate objective of causing Doctor Who to be a flop upon its return.
- Extract from ‘Doctor Who: The Backstage Story’, 2008

“Was I upset when the job for being head of Doctor Who went to someone else? I felt as if I had a lot more to offer certainly, the seeds which I helped plant during my time as head of the show certainly flourished as the nineteenth series was shown. The truth of the matter is that I'm proud of what I did for Doctor Who and that others carried on the ideas I had. My time in the community is still ongoing of course and I feel as if my influence has always been a positive one.”
- Extract from interview with John Nathan-Turner, 1989

“We were set up to fail and that's the honest truth. Thankfully, Grade gave us plenty of rope, thinking we were going to hang ourselves without realising the freedom he gave us at the same time. I was took on because he saw 'cancelled Sci-Fi' show and instantly thought it was a bad thing, discounting the ratings Blake's 7 actually did and its popularity. I was reluctant about taking the job on but I thought this was the last chance for Doctor Who and I'd managed to make a good run of it before so I was determined to try and save it by doing the best that I could. I knew Grade was trying to hamper my efforts straight away when I was given a list of attributes as to who I could cast as the main character. He had to be older than forty, preferably classically trained and have had strong experience but not an instantly recognisable household name. The last one was something Grade insisted upon, I think he didn't want anyone to overshadow John Denver so everyone instantly thought of him with the show and the classically trained bit was to limit our choices even more as no one from that sort of background would have chosen Sci-Fi as a career highlight. We managed to find someone with that criteria though, someone that even Grade couldn't find fault with, try as he might. After all, as far as classically trained goes, you can't outdo Eton.”
- Extract from an interview with David Maloney, 2002

“I was delighted to take on the role you understand. I saw it as an exciting opportunity as they were bringing Doctor Who back and I felt that change was in the air with it. To become the Sixth Doctor was to help define this change and make my mark upon the show as a whole. I never dealt with Michael Grade personally, but I did get the impression he wanted us to fail with the endeavour, that's why he insisted upon Alan I believe. The man had no television experience and his most acclaimed work was believed to be an incomplete anti-Thatcher diatribe. I don't believe he ever managed to finish that project after he started work on Doctor Who. I also read some of his short stories he did for the Doctor Who, I built up several files reflecting on all those who'd had the role before and the stories that the magazine had been publishing. I wanted a feel for this character, to understand what we were going to do with him. David, Alan and I met up before production was to start for that exact purpose in fact. To understand what we were going to do with the program, the vision we had in mind for it.”
- Extract from an interview with Jeremy Brett, 1992

“So to start off, do either of you have any questions?”
“Just one. I've been looking through the series and its various incarnations and a thought's occurred to me. How much do we know about the Doctor and the Time Lords?”
“Oh... Quite a lot.”
“Rather a problem then, isn't it? Where's the mystery, where's the interest, when we know so much?”
- Extract from a conversation held between David Maloney, Alan Moore and Jeremy Brett, 1983

The decision to change how Doctor Who was formatted came as some felt a a new take on the series was needed. With the emphasis of a story arc in the show, the idea of the length of the series being shortened gained traction. Eventually, Michael Grade was forced to allow a thirteen episode series of forty-five minute episodes to be made, despite his protests. With one episode being broadcast a week on Doctor Who's traditional Saturday evening slot, the writing became a lot more focused on the story that would become the forefront of the new series.
- Extract from 'The First Forty Years in The TARDIS: Doctor Who, 1963 – 2003’, 2004

“Did I know that Grade wanted us to fail? Oh God yes, why else would he hire me? I did see the notice asking for writers and assumed that it was just a starting position. The fact that Grade put me in the head writer's position just shows he looked at my past work and thought comic books equalled The Beano or some such nonsense. I was in half a mind to reject the offer completely until I met with Jeremy. Seeing the enthusiasm he had for the project, the research that had gone into it, and the ideas he was willing to try out made me more enthusiastic for it as well. Along with David, we were able to find a direction for the show that we felt confident with. But it wasn't just us, PJ Hammond was taken on as a scriptwriter and he worked very well with Eric Saward. Other scriptwriters came of course but we'd managed to get a general idea of what to do with the series by then. We wanted to make Doctor Who go places it had never been before, to reignite interest. I think we succeeded.”
- Extract from an interview with Alan Moore, 1993

“Did the Daleks ever take the Time Lords to task over the 'Genesis of The Daleks' attack?”
“No, nothing was done directly about that.”
“Something to consider then...”
- Conversation during a writer's meeting regarding ideas for the nineteenth series of Doctor Who

“There was honestly no surprise when Grade managed to somehow prevent the show from coming back on air in time for the twentieth anniversary, most of us was expecting him to drag his feet and muck about with it as much as he could. The controversy over that though really helped build up even more support for the show as people eagerly waited for it to start. When it finally began in January, the hype was unbelievable as people were frantic to see it again. Pushing back the airing date only got them worked up even more so when it began, it got off to a very strong start.”
- Extract from an interview with David Maloney, 2002

“So when it came to Doctor Who, you put in charge a man you thought would only fail, told him to hire an actor with a very limited set of criteria and then made another man with no television experience at all into the head writer. So, with all that in mind, what exactly went right?”
- Question Paul Merton asked Michael Grade during an episode of Room 101, 2001

Doctor Who: Trial of a Time Lord
- The name of the first serial of the nineteenth series of Doctor Who, started airing 7th January, 1984

 

[DAv]

Part Eight: Number Six:

[Scene:A figure is scene standing in a court dock, his face and figure obscured as the light comes from behind. Little else can be seen as a commanding voice speaks over the shot.]

VOICE:
You stand here today, accused of the worst crimes possible for our race.​

[A shot is shown of the First Doctor from The Unearthly Child where the Doctor is talking with Ian Chesterton and Barbara Wright in the TARDIS.]

VOICE:
You broke away from the Time Lords to go on a journey that threatened our very way of life.​

[A shot is shown of the Second Doctor talking animatedly with Jamie McCrimmon in the Faceless Ones.]

VOICE:
You fraternised with lesser races, showing them our secrets and allowing them to interfere with time itself on your journey.​

[A shot is shown of the Third Doctor confronting the Brigadier after the events of Doctor Who And The Silurians.]

VOICE:
You gave these lesser races knowledge and weaponry to strike out on their own, poisoning the timestream on a whim!​

[A shot is shown of the Fourth Doctor, wires in hand as he contemplates genocide during the Genesis of The Daleks.]

VOICE:
Your unauthorised actions were the first shot in a war against a species that you have born an unnatural grudge against for centuries!​

[A shot is shown of the Fifth Doctor as he leads people against Adrasta from The Creature From The Pit.]

VOICE:
Your actions have led to a poisoning of the time-space continuum that can never be cured! You have been brought here to answer for your crimes and serve your punishment! Does the defendant have anything to say?​

[The camera cuts back to the Sixth Doctor as the lights go up and he is revealed, looking calm and collected as he simply raises an eyebrow.]

DOCTOR:
First of all, I am the Doctor. Second of all, I'm your only chance of survival.​

-Extract from the opening scene of the first episode of 'Trial of a Time Lord'

Profile:
For his sixth incarnation, the Doctor took on many of the darker characteristics from his previous incarnations while adding some of his own. Quiet, methodical and borderline ruthless in his dealings, the Sixth Doctor also was at his most intelligent and let everyone know this. In several ways, he resembled the First Doctor in tone and arrogance, but was much sharper and even more manipulative. The Sixth Doctor was a brilliant planner, taking advantage of the flaws of his enemies and allies alike with plans in advance or ones he created in an instant. The Sixth Doctor still held the values of justice and exploration, but these were tempered by a love for Gallifrey that grew as the series went on, the years of travel, as well as the running story of the series, showed that the Doctor was considering returning in the aftermath of the war. That said, these feelings were largely seen in interactions with other Time Lords and, more than any other incarnation, the Sixth Doctor was a liar. As the series went on, the Doctor's darker aspects arose as he grew increasingly ruthless while his dependency on his companions also grew more pronounced, the need for other's humanity showing as the war took a toll on his own. His interaction with his companions showed that the Sixth Doctor was willing to respect them, although asking that they first show their virtues he held so highly in Humanity first.

Description:
Like the First Doctor, the Sixth dressed like an Edwardian gentlemen although his relied solely on a black suit and waistcoat and a white shirt. Always finely attired, the Sixth Doctor carried himself with a sense of style that hadn't been seen since the Third Doctor. The Sixth Doctor carried only two accessories with him through his entire run, a cigarette case and a walking stick. A heavy smoker backstage, Jeremy Brett had allowed some of that to be incorporated into the character as he carried a gilded silver case on screen that actually kept a series of lock picks in it, one suitable for every lock in the Universe. The walking stick was added later in the series and the Sixth Doctor is notable for being the only incarnation to carry a weapon as the twenty-second series was the point when the 'Time War' arc reached its height. The walking stick actually converted into a gun designed to punch through Dalek defences and was only used a handful of times before the Doctor eventually cast it aside when he grew sick of the war.
- Extract from the Heart of The TARDIS: A Doctor Who Wiki (1)

- Shot of Jeremy Brett on scene in costume, the hat was a one off for the twenty-second series serial 'The Underground Horror'

[Scene: The Doctor and the Brigadier stand in a UNIT office, the Doctor lounging in a chair while the Brigadier enters, looking at the Doctor keenly as he's still unaware of the recent regeneration.]

BRIGADIER:
[Pause] So you've regenerated again then Doctor.​

DOCTOR:
[Raises an eyebrow] You're getting better at this Brigadier. How did you deduce it?​

BRIGADIER:
We've got a situation going on and I've got a man suddenly appearing in my office that looks as if he knows every damn thing in the world. Who else could you be? Just one thing though.​

DOCTOR:
Oh, what's that?​

BRIGADIER:
You're not going sing, are you?​

DOCTOR:
[Smiles] I have been known for it.​

BRIGADIER:
[Pause] I didn't know when I was well off...​

- Extract from 'Death From Below'

Trial of a Time Lord – Four episodes
The Dalek – Two episodes
Death From Below – Four episodes
The Alliance – Three episodes
- A list of the series from the nineteenth series of Doctor Who

Trial of a Time Lord:
The first serial of the nineteenth series started off with only a brief mention of the Fifth Doctor before focusing on the Sixth. The four episode serial started off with the Doctor on trial for crimes that supposedly struck at the very core of Time Lord society. The Doctor pleads innocent of the crimes as the audience learns that the true reason behind his trial is that the Daleks have mastered time travel and have started a war with the Time Lords that's going badly for Gallifrey. A conspiracy started within the Time Lord High Council, putting the Doctor on trial with most of the Council needing a scapegoat for the start of the war with the Doctor serving as one due to his actions in Genesis of The Daleks. A small faction sees the trial as a sort of fig leaf to the Daleks in a bid for peace and as their opportunity to take control of Gallifrey itself. The trial goes on, leading to a series of biased account against the Doctor and his adventures, the court doing everything it can to get a guilty verdict as the Doctor manages to counter their accusations. As the trial goes on, the Doctor learns of the conspiracy and acts, managing to play the factions of the High Council against each other, revealing the conspiracy through his trial and outing the faction trying to make peace with the Daleks. With the conspiracy revealed and the conspirators under arrest, the Doctor is recruited into the war, although able to act on his own as he looks to fight the war against the Daleks.

The Dalek:
The Doctor stops the TARDIS in England of 1880, having managed to track down a trail showing a time traveller in the period and place. Investigating the trail, the Doctor finds that a lone Dalek has crashed near London during this time. Badly injured and barely functional, the Dalek nevertheless tears through the local defences as it fulfils its directive to kill all non-Dalek lifeforms. Meeting with an army Captain named Henderson, the Doctor helps to rally a defence before the Dalek reaches London itself. As the Doctor tries to come up with a way to beat the Dalek with the limited resources available to him, the defences fall to the Dalek before Henderson manages to lure the Dalek to a space wired with huge amounts of dynamite that he uses to destroy the alien. The Doctor confronts Henderson over the potential destruction Henderson could have created with his tactics only for the Captain to take the Doctor to task with his reluctance to do what might be needed when it comes to war and refused to get his hands dirty. The Doctor, realising that Henderson had a point, offers the Captain a place as his companion. Wanting to end this threat to England, Henderson agrees right away, seeing it as his duty to fight the Dalek threat.

Death From Below:
Coming to the present day, the Doctor and Henderson arrive to warn UNIT of the war that could very well hit Earth. As the Doctor meets with the Brigadier, Henderson walks around London, amazed at the changes and disgusted by a few of them as well, his racism showing as he confronts a young Indian woman, a lawyer who represents poor tenants and others pro bono. Henderson's Victorian sensibilities clash with the lawyer, a young woman named Devisingh who is nevertheless patient with Henderson himself, seeing his views as needing changing rather than attacks. As this goes on, the Doctor meets with the Bridagier, the latter rather exasperated with the constant changes he's seen from the Doctor but takes his words concerning the war between the Daleks and Time Lords seriously. As they're preparing for that though, UNIT headquarters comes under attacks as something rises from the sewers. The Doctor rejoins with Henderson outside UNIT headquarters while Devisingh joins them, her curiosity having gotten the better of her after meeting Henderson and eager to meet this Doctor. A series of monsters lay siege to UNIT, coming from out the sewers as they drag several soldiers to their deaths, mutating them into monsters like themselves. The Doctor and others investigate below UNIT, uncovering several laboratories which had been sealed away after their experiments had been abandoned. A video tape reveals one scientist had managed to sneak back in though to restart the experiments, creating the lifeforms before being killed by them. The Doctor and the Brigadier work together to stop the threat, the Doctor having to concede that the monsters must be wiped out as they're mindless threats to Humanity. Devisingh steps in to protest this, saying they might yet be true life forms that are worth saving. She's overruled however and the labs are destroyed, killing the monsters inside while UNIT soldiers finish off the strays. As the Doctor prepares to leave, he first invites Devisingh onto the TARDIS, reasoning someone with her humanity is needed so that he doesn't become as bad as those he fights. Devisingh accepts and the group go away on the TARDIS to confront the Daleks in the battles ahead.

The Alliance:
After a communication with the Time Lords that tells of suspicious activity on the planet of Larcon VIII, the Doctor and Co. touch down in the twenty-eighth century amid great turmoil on the planet. Already in the midst of a civil war, matters are complicated by the leadership of both sides having vanished, the two factions breaking down into further factions as it becomes chaos. Throughout this, the Doctor and his companions look to uncover the mystery, suspecting the Daleks but when Henderson is captured, it's revealed that the Cybermen are behind the attack. Having turned the leadership of the planet into Cybermen themselves, the race plans on waiting for the ensuing civil war to weaken Larcon VIII enough so that they may take over completely, upgrading everyone on the planet after they're made defenceless. With the Doctor acting from the outside along with Devisingh, Henderson manages to escape as the group expose the Cyberman conspiracy to the planet, leading to a confrontation that sees the Cyberman base destroyed. With the mission completed, but still questioning why Daleks had been traced to the area, the Doctor and his companions leave. After they do so however, the remaining Cybermen do meet up with the Daleks, saying that the Doctor is too large a threat to both of their races to be allowed to live and an alliance is struck, the series ending with the threat of the alliance hanging large.
- Synopsis of the serials that made up the nineteenth series of Doctor Who

Part of the appeal for the nineteenth series of Doctor Who came from its versatile story range. the Trial of a Time Lord serial felt more like a political thriller as the Doctor exposed the various factions of the Time Lords and the truth of the war with the Daleks was revealed. The Dalek served two purposes, an actual horror episode with the Dalek serving as the monster to be defeated and to re-establish the Daleks as a threat. Not seen since Redemption of The Daleks, the need for the race to be seen as a terror was felt. The sight of a mere broken down Dalek tearing through defences and killing soldiers with ease went a great way to remind people just why they were to be feared. Death From Below was a serial that went a great deal to establish the relationship between the Doctor and his new companions while also showing that the series wouldn't focus solely on the Daleks themselves. The Alliance was an experiment in continuing the story arc that the series was to keep to throughout Brett's run as the Doctor. Ending with the Daleks and Cybermen joining to destroy the Time Lords, the stage was set for the twentieth series to continue where the story had left off.
- Extract from 'Galactic Tales: A History of Doctor Who', 2008

[Scene: Within a barracks with the Sixth Doctor looking over a map of the region on the wall, Captain Henderson beside him.]

DOCTOR:
At its current speed, the Dalek should be upon us within the hour. If it gets through, it will tear through London, killing all in its way.​

HENDERSON:
But what drives it to do this Doctor? We've not hurt it, why does it want to kill everyone?​

DOCTOR:
Because you're not a Dalek. Anything that isn't a part of them is instantly seen as something to be wiped out. They will not stop until everything in the Universe is scoured and nothing remains beside themselves.​

HENDERSON:
[Brief pause.] Even cricket?​

DOCTOR:
[Raises an eyebrow as he replies, deadly serious.] Especially cricket.​

- Extract from a scene from 'The Dalek'

“I admit to flubbing my line at that point. It was my first major scene to be filmed with Jeremy and I'd gotten rather nervous at that point. When it came to speak, I just utterly forgot what I was supposed to say and just threw in the first thing that came to mind and Jeremy responded wonderfully. The bit went down so well that they kept it in and I think that helped a lot with playing Henderson. Before, there was an edge too him that made it hard to give him a sympathetic look. With that though, his character was tweaked slightly as I offered my own input. We were able to soften him up as time went on, something I was grateful for as it let me and Meera really work up a chemistry on our own interaction."
- Extract from an interview with Peter Davison, 2008

[Scene: Devisingh stands inside the TARDIS, having gotten over her initial shock at its dimensions. The Doctor stands beside her while Henderson stands on the opposite side of the console.]

DOCTOR:
I know what I'm asking you is a lot and there are risks. We will be in a war like no other. The threats we shall face can tear the very fabric of the Universe apart. If you go with us, there's no guarantee of you ever coming back. You will lose your life and your family and loved ones may never know.​

DEVISINGH:
Well after that sales pitch, why should I come with you then?​

DOCTOR:
Because I need someone to remind me what I'm fighting for. The days ahead will be bleak, they might even be hopeless and I need something to ground me. I need an anchor to morality, so I won't become the very monster I'm fighting. Henderson knows how to fight a war, I'm asking you to be the person who will never let me forget that I'm fighting for the good of the Universe.​

DEVISINGH:
[Pauses for a moment before smiling] When do we start?​

- Extract from a scene from 'Death From Below'

“It was a bit overwhelming for quite a while. I was still very early in my career when I took the audition for Doctor Who and got the part of Devisingh, so to be made one of the actual companions took my breath away. Everyone was wonderful though, Peter and Jeremy especially helped me get into my role and made me feel welcome. I still count the four years on the show as some of the best of my career, professionally and personally.”
- Extract from an interview with Meera Syal, 2006

The nineteenth series of Doctor Who was greeted with both acclaim from audience and critics along with rising ratings. The suspension of the show, along with the delay in seeing it come back onto screens, had managed to create up a great deal of excitement which was met by high quality writing and great performances throughout the nineteenth series. Jeremy Brett was soon hailed as an excellent Doctor, his performance being key to the success of the show and his chemistry between Peter Davison and Meera Syal was seen as a highlight for many. The success in telling a long term story-arc remained to be seen but the reaction had been positive at first, many interested in the potential of it.

The return of Doctor Who then had been a great success, proving that the series still had life left in it after the hiatus. Greeted well by new fans and old, it appeared that Doctor Who was back and on top. All was not well backstage however as Michael Grade still resented having the show on the BBC and he was determined to make his voice heard.
- Extract from ‘Doctor Who: The Backstage Story’, 2008

1: For the personality of TTL's Sixth Doctor, imagine the general demeanour of the First Doctor when he softened up, throw in the arrogance of OTL's Sixth Doctor albeit tempered by a much better relationship with his companions and having the Seventh's ability to plan in advance or on the fly. Add in a dose of the War Doctor as Brett's tenure goes on and you have TTL's Sixth Doctor.

 

[DAv]

Part Nine: The Adventure Continues:

[Scene: The Doctor is alone at the console of the TARDIS, Henderson and Devisingh are elsewhere sleeping. The communication screen suddenly lights up, the Time Lord Ranos appearing on it, looking severe.]

RANOS:
Ah, Doctor, thank goodness, we're in need of your skills.

DOCTOR:
When aren't you? What battle of yours do you need me to win this time Ranos?

RANOS:
The Daleks and Cybermen are using time travel to reverse their defeat at Lanar VII, we need you to strike at their capabilities to do so.

DOCTOR:
So that only we can go back to correct our mistakes? You know the consequences of this as much as I do Ranos, it could lead to the end of time itself.

RANOS:
It won't come to that Doctor. At least, I can only hope it won't.

DOCTOR:
Is this truly what I've been fighting for? An endless madness that could destroy the entire Universe?

RANOS:
[Attempting some joviality] You were there at the beginning Doctor, it's only right you'll be there at the end.

DOCTOR:
[Severely] Even if it costs me everything, there shall be no end.​

- Extract from the opening scene of 'The End of Time', the final serial of the twenty-first series of Doctor Who

As Jeremy Brett's run as the Doctor continued throughout 1985 and 1986, Doctor Who experienced a resurge in popularity that was in no small part due to Brett's time in the part. The Doctor was mysterious, many fan theories springing up in response to the hints towards his past and family. Nothing concrete was ever provided but the question of who the Doctor actually was grew as the series went on, Brett's performance deepening the mystery of the character, adding little tweaks to it that added further questions. The period 1984-1987 is regarded as the high point of Doctor Who with high quality scripts, excellent performances and a long running story arc which culminated in what's regarded as the series' moment of triumph. Brett himself would go onto earn an OBE for his role in the series just before his death and list the role as the highlight of his career.
- Extract from a fan poll on the top ten list of fan favourites to play the Doctor, Doctor Who Fan Magazine 2000

What happened to the Fifth Doctor?
Was the Doctor really there at the beginning of the Time Lords?
Why did Henderson smile?
Who was Andorra?
How many years was the Sixth Incarnation of the Doctor active for?
Could the Time Lords and Daleks return?
- Only a few of the many questions fans had at the end of the Sixth Doctor's tenure

“Despite the huge controversy during the John Denver run, Doctor Who gained a huge fan following in the US that we were determined to hold onto. To that end, we looked to cast more American actors to help fill the gap from Denver leaving us. While still primarily a British show, tapping into talent from overseas really helped expand the talent shown on screen as we averaged around three actors per series, budget allowing. It showed what we could get, in terms of talent who could do great things with the material we offered them. Granted, there was some minor backlash over one incident, but that was isolated from what we accomplished as a whole.”
- Extract from an interview with David Maloney, 1998

War in The Skies:
With the Time War ongoing, the Doctor and his companions touch down on a ship belonging to Quixano, a leader of a rebellion against the tyrannical Emperor of Celor. Despite this war, the Doctor is here to investigate rumours of the involvement of the Cybermen, despite them having no place in this time or world. Forced to go along with Quixano during their investigations, Devisingh in initially open to his rebellion against the tyranny of the Emperor until the true nature of his fanaticism is revealed, Quixano plans on destroying the government completely, leaving nothing in its place and allowing true anarchy to take place, giving the people complete freedom to live or die in the chaos to follow. Horrified by this, Devisingh tries to get the Doctor to forge a peace, which he tries, even managing to get a communication between them but it just devolves into a shouting match. Throughout this though, Henderson and the Doctor find evidence of the Cyberman intervention in weaponry captured from Empire troops. Further investigation leads them to discover that the Emperor made an alliance with the Cybermen, promising them the rebels as rewards for their weaponry. The Cybermen themselves hope to use Celor as a new production base once the war is over however, turning the billions who live there into greater numbers of their forces. Directing the attacks of both the Emperor and Rebels to the Cyberman ship, the joined forces manage to destroy the threat before Quixano directs his ship to destroy the Emperor's, killing him and decapitating the government. Unable to stay as he's discovered the nature of the Cybermen's alliance with the Daleks, the Doctor brings his companions to Gallifrey as Celor faces an uncertain future.
- Synopsis of the the second serial of the twentieth series of Doctor Who, 'The War in the Skies'

Raul Juliá and Brian Blessed have a polite discussion about politics.
- Caption underneath the photo on the 'Ham to Ham Combat' page from TV Tropes, 1012

[Scene: A communications centre with people manning consoles and a large screen on one side of the room. The Doctor, Henderson and Devisingh stand beside rebel leader Quixano as he looks to the screen.]

QUIXANO:
Activate visual.​

[The screen activates, a bulb lighting up beside it, showing the Emperor glaring directly into the room.]

QUIXANO:
Activate audio.​

[A second bulb lights up for a second before burning out as the Emperor begins to speak]

EMPEROR:
So Quixano you dog, are you ready to surrender?

QUIXANO:
To one such as you? Never! You are a disease upon our people, one that must be eradicated immediately! This is simply to serve notice on you and your followers, surrender now and I guarantee your trial will be fair.

EMPEROR:
A trial?! Me?! You dare put your sovereign in the place of thieves and guttersnipes?! Even if your backlog of crimes hadn't condemned you already, I'd have had you killed for that!

QUIXANO:
You may try you monster! But I represent an idea of freedom! And you cannot kill an idea! Capture me! Torture me! Kill me! It doesn't matter! Even if I die, the idea shall live on and people shall see it!

EMPEROR:
The people will not dare strike at their true ruler for a treacherous worm like you!

QUIXANO:
You are no ruler of the people! YOU! ARE! A TYYYRRRRRANT!!!

EMPEROR:
TYRANT??!!! I! AM! THE! EEMMMPPERRRRAAHHH!!!​

[To the side, Henderson flinches while Devisingh winces and brings hand up to her right ear. The Doctor brings a hand to his face and sighs.]

DOCTOR:
I see this was as productive as I had imagined...​

- Extract from a scene from 'War in The Skies', the second serial of the twentieth series of Doctor Who

“One fun fact to note about this scene is, due to a power outage cutting production time short, there was no time for a reshoot so the shot with the bulb burning out had to be kept in. Considering that was the bulb to show that the audio was working, what you saw and heard was Raul Juliá and Brian Blessed screaming through 10,000 miles of the vacuum of space. In space, everyone can hear you ham.”
- Extract from 'War in The Skies', a review by SFDebris, 2011

“We hadn't intended to use that shot of course. We managed to tape a few of the scenes and had planned on several shots with a different take to see how Raul would react to each one and select the best out of them. Unfortunately, time constraints after a power failure and numerous other haphazards that all seemed to pile on at once meant we were stuck with the one where we were in a competition to see who could swallow the most scenery in the least amount of time. Raul played against it well, going as far as I did. Just a shame he wasn't able to give a more subdued performance as that's the scene everyone remembers about that serial.”
- Extract from an interview with Brian Blessed, 2004

“I know people credit me and Peter for our reactions to the argument in that episode as being a comic thing, but it wasn't. It wasn't until we were shooting the scene that we realised we were behind the sound system. We got a complete blast of Brian with the machine at full volume from right behind us. Gave us a headache throughout the rest of the day.”
- Extract from an interview with Meera Syal, 2001

The Time War, a story-arc which encompassed series nineteen, twenty, twenty-one and twenty-two of Doctor Who. Largely composed of telling the story of how the Doctor and his companions fought against the Daleks as they made a concentrated effort through time and space to destroy the Time Lords and bring the Universe under their control. It comprised of three major sub-arcs throughout the four series, the nineteenth series and beginning of the twentieth told the story of the start of the Time War and the gathering of forces by the Time Lords and the Doctor. The second sub-arc told of the alliance between the Daleks and Cybermen which the Doctor ended only through great sacrifice and the loss of his own morals. The third suc-arc told the last days of the Time War as the Time Lords grew ever more desperate to end the conflict before the Daleks became victorious with the Doctor trying desperately to contain the damage both sides wreaked in the Universe. Largely seen as the show's Golden Age by British fans, the series enjoyed high ratings although it was controversial for several of the themes running throughout, as well as the perceived violence in the show.
- Extract from 'The Heart of The TARDIS: A Doctor Who Wiki', 2013

“It was great working with both Meera and Jeremy, the three of us got on really well and it showed on screen. It really helped with out characters that we could sit down and talk about what we wanted to get out of them and our performances, it also really helped to develop the relationship on screen between Henderson and Devisingh. The writing really let us show that what could have been a two-dimensional back and forth constant argument between the two was allowed to become so much more than that.”
- Extract from an interview with Peter Davison, 2003

[Scene: A corridor in an alien station, Henderson and Devisingh are rushing through it, escaping stealthily from a Cybermen outpost that is unaware of their presence.]

HENDERSON:
[Lurching to the left] Quick! This way!

DEVISINGH:
No! We came through this way! [Pointing to the right] We can get back that way!

HENDERSON:
Oh for pity's sake, which one of us is the professional soldier here? Why don't you listen to me you...

DEVISINGH:
You... What exactly? You woman? You darkie? Is that it?

HENDERSON:
We don't have time for this.

DEVISINGH:
Maybe not, but I'm sick of it. Your attitude, your condescension and the fact you just can't get over ideas that belong in the past!

HENDERSON:
And you seem to forget that's where I'm from! For God's sake, you think it's easy to just leap away from my home and time to realise that everything I've been taught, everything I've learned is wrong. No, not just wrong, evil. So forgive me if it's taking me time to get used to this fact. Forgive me if I can't drop beliefs I've held all my life. And forgive me if I don't live up to your own enlightened ideals. Now, shall we get going before we're discovered?

[Henderson heads off in his original direction, Devisingh looking at him before following quietly.]​

- Extract from a scene from 'The Cyber Initiative' a serial from the twentieth series of Doctor Who

“We managed to get the idea for the series in general during those first few days I met with David. After setting down the core ideas for the next four years, it then began to flesh out more, turning into the form of the television series. We all had lots of help from the actors regarding the characters, as well as other writers making great contributions. Meera did a very good job when the time came for her to leave the show, the fate of her character having been planned out three years before. The fan reaction to her and Peter in the show was better than we hoped, the story we planned had come to fruition in the last two years of my time on the show, starting with 'The End of Time'.”
- Extract from an interview with Alan Moore, 2003

“We all knew the time frame we had for the series. This wasn't going to be where we signed on for a year at a time or so. The layout had been given to us from the start so it wasn't a suprise at all to read of Devisingh's death. It was still a bit sad though, I loved my time on the show and finally having to say goodbye did manage to bring a tear to my eye. I have to admit that I was very proud of my time in Doctor Who and was overwhelmed by the fan response I received for my work on it. I still get people coming up to me telling me that Jeremy, Peter and I were their favourites in the TARDIS. I have nothing but fond memories of my time on the show and my only regret is that it didn't last longer.”
- Extract from an interview with Meera Syal, 2003

The End of Time:
After receiving a message from the Time Lords about how the Daleks are using time travel to prevent losing a battle on the Planet Lanar VII, the Doctor and his companions arrive on the planet looking to destroy the time machine before it can be used again as the Time Lords attack. Having grown jaded over the madness around her, Devisingh breaks away from the group as she tries her best to bring about a peace between the Daleks and Time Lords. As she does this, Henderson and the Doctor act to destroy the time machine, bringing the remaining Cybermen down on them, the race having lost the majority of their number during the Time War. The Time Lords actually called in the Doctor to act as a distraction while they bring about a plan to end the threat of the Daleks and Cybermen with a bomb that would distort time itself in the region, obliterating all those hit by it from time itself. Discovering the scheme, the Doctor and Henderson rush madly to stop it, realising the insanity of such a weapon being used. The Doctor manages to eliminate the time destroying elements of the bomb as Henderson helps fight off a Cyberman attack, but is unable to stop it from being sent out to be used. The Cyberman fall onto the Time Lord defences, only to be called back once a message is heard from a spaceship, one from Devisingh as she tries to summon the different sides to discuss peace. Believing that the Doctor is with his companion, the Cybermen move in to attack her, not realising the bomb is about to be set off. Devisingh believes this is a sign that peace might be possible before the bomb explodes, taking out the entire Solar System, killing her and wiping out the last of the Cybermen. The Doctor and Henderson watch on, knowing that there's nothing they can do without starting the madness they came here to stop and take their leave, the Doctor finally picking up a weapon as he looks to fight in the remaining days of the Time War.
- Synopsis of 'The End of Time', the final serial of the twenty-first series of Doctor Who, aired in March, 1986

“I knew it! I knew they'd listen! Just someone to reach out to them, that's all they needed. Oh, I hope you're watching Doctor, I hope you know what this day means! Finally, this nightmare can-.”
- The final words of Devisingh

“All scores being relative to their series, 'The End of Time' gets an eight out of ten. It shook up the status quo like little else in the series previously. One of the companions died in a way that was completely accidental in actually saving the Doctor's life, the Cybermen were gone, not to be seen for well over a decade after this serial aired and only two were left on the TARDIS to see out the final days of the war.”

“The character of Devisingh has been somewhat divisive as I've noted before. While well written and not the stereotypical hippie some have accused her of being, her actions led some fans to accusing her to losing her mind at least, thinking that, after everything she'd been through, the Daleks could still be negotiated with. But I disagree with that for various reasons. Devisingh had set herself out for being the Doctor's anchor towards the part of Humanity he cherished and idealised so much. Throughout her time on the show, Devisingh always appealed to the Doctor's best characteristics and managed to bring them out in him. As the Time War went on though, the weariness that the Doctor felt about the conflict was seen in her as well. While the Doctor was willing to accept it for Gallifrey, Devisingh had no such loyalties and was willing to call the Time War for what it was, a mad war fought between two races that were willing to destroy the Universe for their own ends, both as bad as each other. In her final act, she let hope override reality, hope that the war could stop. In her own words, that the nightmare could end.”

“In Devisingh's death, we see it's effect on Henderson and the Doctor. Henderson, formally committed to the Time War and the destruction of the Daleks, asks the Doctor what's the point of it if they couldn't save someone like Devisingh and only receives silence as a response. Before, he was a loyal soldier to the Doctor but the relationship he established with Devisingh, someone he previously only saw in contempt, opened his mind to things outside his time, his world view. With her death, he can only contemplate on his regret of not doing further.”

“And what of the Doctor? The last shot we have of him in this serial, this series in fact, is sitting in solitude, thinking about what has happened. Unable to save Devisingh, he instead looks to a gun taken from the Cybermen and starts to modify it. The Doctor, a man so committed to his ideals that he's refused to even carry a gun into battle, now works on creating a weapon to kill as many of his enemies as he can. No mercy, no regrets. The Sixth Doctor had completed the transition from an explorer into a warrior, one that would no longer react to orders, he would seek out and kill all Daleks to end them, and the nightmare.”
- Extract from 'The End of Time', a review by SFDebris, 2013

 

[DAv]

Part Ten: Goodbye Number Six:

Coming into the twenty-second series, Doctor Who was riding high in a wave of popularity and hype as the Time War arc was set to end. With Jeremy Brett's run as the Doctor coming to an end, rumours were rife among fans of the show and even in some newspapers regarding the end of the series. The long months in between the twenty-first and twenty-second series saw speculation between fans grow along with sales of the fan magazine which reached new heights. Rumours of the Seventh Doctor's actor were also commonplace, names being thrown around frequently and with the only agreement being that whoever followed Brett would have big shoes to fill. On the 10th January 1987, the first episode of the twenty-second series of Doctor Who began, the fans watching eagerly.
- Extract from 'The Silver Age of Science Fiction: 1983-1993', 2009

The Underground Horror – Four episodes
Viscous Cabaret – Four episodes
Fade Away – Four episodes
The Parting of The Ways – One episode
- The four serials which made up the twenty-second series of Doctor Who

The Underground Horror:
The first serial of the twenty-second series, 'The Underground Horror' starts with the Doctor and Captain Henderson returning to London in 1881 in search of a supposed Dalek incursion. Disguising themselves to blend in with the populace, the two track down a series of reports on disappearances in the area, meeting Detective-Inspector Richards who is leading the investigation into the disappearances. The Doctor becomes fixated on the idea that the Daleks are behind them for their own reasons. The Doctor becomes obsessed in tracking down the appearance of the Daleks while Henderson spends time with Richards, discovering that he doesn't fit in his old time anymore, his values and beliefs having changed too much to return to his home. As the Doctor continues his search for Daleks, it's Henderson and Richards, the former using the skills he's picked up from his travels, to find the true culprit, who turns out to be an alien, looking to use the humans as fuel in a mind washing weapon that would allow the alien to take over London, and the British Empire by extension. Captured by the alien, it seems as if Henderson and Richards are going to die before they're discovered by the Doctor. Still thinking this is some sort of Dalek plot, the Doctor uses his weapon on the enemy, killing him instantly and rescuing the captives. While the threat is ended, Henderson is worried by the Doctor's growing obsession as they leave London as quickly as they arrived, on the look out for further Dalek attacks.
- Synopsis of 'The Underground Horror', the first serial of the twenty-second series of Doctor Who

“There were many comparisons, most of them rather uncharitable, to 'Talons of Weng Chiang' after people watched 'Underground Horror'. People seemed to miss the point however, that it was on purpose. We wanted to show the differences between serials before the Time War and those during it. The Doctor's obsession had grown to such a point that he was willing to ignore all other possibilities but that the Daleks were behind every shadow. Davison was superb in letting the Henderson character grow as well, he did an outstanding job with what we wanted to achieve throughout that series. We were reaching the final part of Brett's run as the Doctor and we wanted to build to the climax, something we did by subverting all previous expectations of the show in general.”
- Extract from an interview with Alan Moore, 1998

“I did have a very good time working on Doctor Who, especially in regards to meeting Jeremy. We certainly became fast friends during the short time were worked together and the role of Richards proved to be enjoyable. The friendship I struck up with Jeremy would continue until his sad passing, his encouragement for me to return to the show saw me go back as a companion. I just wish he'd lived long enough to have seen it, I'm sure he would have loved to have seen the heights the show reached.”
- Extract from an interview with Edward Hardwicke, 2004

[Scene: A police station in London where the Doctor and Henderson have gone to search for clues regarding the disappearances. Detective-Inspector Henderson has caught up with them before they can leave.]

RICHARDS:
Now hang on there! I heard the both of you talking then! You say you know who's causing these crimes? Tell me!

DOCTOR:
I would love to but I'm afraid my assistant is much better at dealing with someone at your level. Henderson, tell the man about the time we dealt with the giant rat of Sumatra. Good day.​

[The Doctor hastily leaves the building while Henderson is taken aback by this, Richards looking more agitated than ever.]

RICHARDS:
Well?

HENDERSON:
Well... We went to Sumatra once and saw a rat... A giant rat.

RICHARDS:
[Pause] Yes, well. I can see why you're the assistant.​

- Extract from a scene from 'The Underground Horror', the first serial of the twenty-second series of Doctor Who

Viscous Cabaret:
Appearing on a world of Sanor, the Doctor and Henderson touch down on an advanced society that has the ability to see through time, but not directly travel through it. As a result, entertainment is defined by watching historical events and various TV shows focus on them, the most popular being one which focuses on the Time War. Henderson and the Doctor are beset by fans who gush over them, much to the Doctor's disgust and Henderson's bemusement. Trying to get away on the TARDIS proves impossible though as something is preventing them from leaving, causing the two to investigate. They soon find a trail of bodies through the people involved with the making of the Time War programme, leading to a shadowy figure whose focus turns on the Doctor and Henderson themselves. Turning the planet against them as criminals, it becomes a mad rush as the figure tries to kill Henderson and the Doctor before they can find the machine blocking the TARDIS and escaping. In this, they fail, the two managing to get away by the skin of their teeth, Henderson distracting several guards by claiming he was the Doctor and that show was a poor representation of his adventures. The TV stations around Sandor break down completely as the distraction allowed a series of attacks that destroyed Sandor's ability to see through time. With the Doctor gone and Sandor in chaos, Silence had fallen.
- Synopsis of 'Viscous Cabaret, the second serial of the twenty-second series of Doctor Who

[Scene: Henderson and the Doctor are sneaking through an alley, noticing a group of guards heading through the street, heading towards the direction of the TARDIS. Exchanging a glance, Henderson moves towards them, the Doctor hiding in the shadows.]

HENDERSON:
Oi! You lot there! Are you in a position of authority?​

[The guards all stop and look at Henderson in shock.]

GUARD ONE:
It's him! It's that Henderson!

GUARD TWO:
What's he doing? He knows we're after him!

HENDERSON:
I want to lodge a complaint regarding the programming you've been showing about me! It's completely at odds with what I'm really like! The editing is horrendous, you've got everyone thinking that that rubber faced simpleton is the Doctor!​

[The Doctor, in the middle of sneaking past the guards, stops short and glares at Henderson at that comment before making his way on further.]

GUARD THREE:
Wait, you're the Doctor? I thought...

HENDERSON:
Obviously you didn't otherwise you could have seen that I'm truly the Doctor! I'm the one who leaps into the situation and allows my assistant to clear up the mess, for all the good he can do. And now, thanks to his bumbling, I've been put down as a murderer! I want to talk to the highest authority I can to sort out this mess.

GUARD TWO:
But... I watch that show and you're...

HENDERSON:
Oh for pity's sake, how stupid are you? I'm the Doctor, the one, the only! Now get your superiors here, right now!​

[The guards hesitate before Guard One pulls out a radio, looking to the others uncertainly as he gets into contact with his superior. Off around a corner, the Doctor appears and fires his weapon towards the guards, causing a distraction long enough for Henderson to escape, the guards soon pursuing in the direction the blast came from].
- Extract from a scene from 'Viscous Cabaret' the second serial of the twenty-second series of Doctor Who

“I rather liked the thought of being the Doctor I must admit. I'm not sure how I would have pulled it off in terms of giving the character my own tweaks and little mannerisms but I would have liked to have given it a go. At least I got thirty seconds of pretending.”
- Extract from an interview with Peter Davison, 2001

“Despite the success of Doctor Who during my time on it, there were worries throughout the first two years or so that Michael Grade would try to sabotage it in some manner. It was almost like an obsession in how he'd want to bring us down. When he put his foot in his mouth like he did with the Queen and had to go over to ITV, we knew that we were in the clear so plans for what we could do with Doctor Who afterwards became more important. I was happy to leave the show after five years, the last just being to set up what was to come, although we'd given hints throughout the last two years of Brett's run as the Doctor. The idea of the Silence came from Hammond I believe, as a group of villains for the Doctor to face after the Daleks and Cybermen were put on the shelf. We didn't really have much idea how popular they'd become at the time of course.”
- Extract from an interview with David Maloney, 2005

“Where there was madness, there shall be sanity. Where there was suffering, there shall be comfort. Where there was war, there shall be peace. Reality must be protected. The path must be straight. Let the Silence reign.”
- One of the oaths of the Silence cult

Fade Away:
The serial opens amid a battle between the Daleks and Time Lords, the Doctor and Henderson in the middle of it all. Boarding the Dalek flagship, the Doctor attempts to destroy by infiltrating the engines and trying to blow it up. So determined to do this, the Doctor leaves Henderson to fend on his own as he looks to kill as many Daleks as possible. Rather than remain a sitting duck in the TARDIS, Henderson goes to infiltrate the Dalek ship in order to learn about their plans. Due to the Doctor's attack though, the Daleks are on high alert and, after a high tension chase, manage to capture Henderson. Realising his mistake, the Doctor breaks off from his mission as he tries to rescue his companion but to no avail as he has to retreat with more Daleks being brought onto the ship. As the Doctor is on the TARDIS, trying desperately to come up with a plan to rescue Henderson, the soldier is brought before the Daleks for interrogation. Rather than giving them anything they can work with though, Henderson insults and mocks the Daleks, goading them until one finally kills him on the spot. The Dalek is then killed in turn for losing such a valuable asset before the fleet is forced to retreat due to an onslaught of the Time Lords. As the battle continues to rage, the Doctor is left alone on the TARDIS, the victory increasingly hollow as he casts aside his weapon in fury and guilt.
- Synopsis of 'Fade Away', the third serial of the twenty-second series of Doctor Who

[Scene: On the bridge of the Dalek flagship, the Daleks have brought Henderson before the leader of the fleet for interrogation. Surrounded by Daleks, Henderson nevertheless retains his cool.]

LEADER DALEK:
Now Human, you shall tell us of the Time Lord attack plans.

HENDERSON:
I'd rather die!

LEADER DALEK:
You feel as if you shall, several times. We have studied the limits of Human endurance. We can take you to the brink of death and revive you as many times as needed in order to extract the information we require.

DALEK CARR:
You shall talk! You shall know to fear the Daleks!

HENDERSON:
Fear you? Good God, why should I have any reason to fear you? Don't you know what you are?

DALEK CARR:
We are Daleks! We know exactly what we are!

HENDERSON:
Then you know you're freaks, abominations. Born of hate and loathing towards everything, including yourselves.

DALEK JANN:
We are Daleks! We are perfection! We only hate non-Dalek lifeforms!

HENDERSON:
I've been through this entire ship, and there's not a reflective surface to be seen. It's because you can't stand the sight of yourselves, isn't it?

DALEK CARR:
SILENCE!

HENDERSON:
Not that I can blame you. My God, look at you! Born as a result of some experiment, your entire life spent in some tin pot, never feeling the air or sunlight. No wonder you always scream.

DALEK JANN:
THE HUMAN WILL BE SILENT!

HENDERSON:
How do you manage it anyway? Day after day, never knowing anything but hatred and fear. Oh yes, fear, don't even bother denying it. Why else would you attack every thing you see? You're terrified that you aren't the figures of perfection you claim to be. You're scared of the truth!

DALEK CARR:
SILENCE! SILENCE! SILENCE!

HENDERSON:
So the fact of the matter is, I'm not scared of any of you. You're trapped in your own personal Hell, having to endure a cold, metal prison and believing everything is an enemy. I don't fear you Daleks, not anymore. I can only pity you.

DALEK CARR:
YOU SHALL NOT DEFY US! EXTERMINATE! EXTERMINATE!​

[Dalek Carr shoots Henderson with his beam, killing the soldier on the spot. As he falls, the camera slows down and focuses on his face, where a faint smile can be seen.]
- Extract from a scene from 'Fade Away', the third serial of the twenty-second series of Doctor Who

“That's the most common question I've been asked, the smile. Why did Henderson smile in his final moments? I've been bombarded with suggestions from fans, the most common ones are the idea that he either had one last victory over the Daleks by not telling them anything, or that he was at peace having escaped from the Time War. Hearing the thoughts and reactions people had from his death was something of a compliment, speaking as an actor and all these theories that came out made me feel as if I did a really good job in making a connection with fans. As for the answer... Some things are best left a secret I find.”
- Extract from an interview with Peter Davison, 2001

The Parting of The Ways:
A visibly aged and tired Doctor is seen defending Gallifrey itself as the Daleks penetrate the last defences of the Time Lords. With the war all but lost, the Doctor takes it upon himself to go on a suicide mission, taking the TARDIS to blast through Dalek lines and engage the flagship itself. Amid this, a plan hatched by Romana and Ranos sees them create the largest Time Vortex ever seen, designed to trap the Daleks, at the cost of taking Gallifrey in them, forever lost in a single moment in time. With the Gallifrey High Council instead looking to destroy the Universe and become Gods by feeding off the energy of the destruction, Romana, Ranos and their followers put their plan into action as the Doctor distracts the Daleks. The Doctor fights hard, but the TARDIS is severely damaged and left immobile as the Daleks head towards Gallifrey, forcing him to watch the destruction of his home. Before that can happen though, Romana's plan goes into action, sucking everyone around Gallifrey but the Doctor, who's just out of its pull, into the Time Vortex. The Doctor gains one last communication with Romana and her followers to say goodbye, when he sees a child among them he recognises. Refusing to allow it to happen, the Doctor manages to power up the TARDIS to try and stop them but an energy blast sent from Gallifrey injures him fatally, stopping him from saving the planet and sending the TARDIS spiralling through space. Due to his injuries, the Doctor is forced to regenerate, his newest incarnation only managing to realise he can't remember anything as the TARDIS hurtles towards Earth.
- A synopsis of 'The Parting of The Ways', the final serial of the twenty-second series of Doctor Who

“My time on the show is something I will always regard fondly. It was a challenge to take on such a role as the Doctor, especially in regards to the demands of what people wanted from the changes in the character. It was an immense honour to hear people's positive reaction to my efforts and I still receive letters from fans listing their favourite episode or even scene. I regard the series as the highlight of my career and I'm always humbled to come across people who regard it in a similar manner.”
- Extract from an interview with Jeremy Brett, 1993

[Scene: The TARDIS is ill lit and various panels are giving out smoke while the lights are hanging from the ceiling. It's battered and bruised with only the communication screen seemingly in full working order as Romana is on it, having only just finished explaining the plan to send Gallifrey and the Daleks into the Time Vortex.]

DOCTOR:
You... You can't be serious! There must be another way!

ROMANA:
Not with the time we have Doctor. The High Council have their own plans in place that mean our victory would be the same for the Universe as our defeat. When this is done, we shall be frozen in time, the rest of creation will at least be free of our madness.

DOCTOR:
Romana please, listen to reason! Let me think of something!

ROMANA:
I'm sorry Doctor, but there's no time for that. You'll be free of this at least, you're too far away to be pulled into the vortex, you'll at least be free to travel, as you've always wanted.

DOCTOR:
Not without a home to return to! Romana, there must be something...

ROMANA:
I'm sorry Doctor, there isn't. Gallifrey is a necessary sacrifice. But I can at least offer you this, I'm going to send you all the information of Gallifrey. All our history, our culture, our triumphs and tragedies. At least then, we'll survive through your journies.​

[The screen shifts as a rapid amount of images and text is seen passing through, all records of Gallifrey's past. The Doctor watches, his body slumped as he is utterly defeated from the realisation of the truth of Romana's words. This stops when the image of a small girl passes through, which the Doctor focuses on.]

DOCTOR:
Andorra...​

[The Doctor suddenly leaps up, the images vanishing as the focus returns to him.]

DOCTOR:
No! I won't allow it!​

[The feed ends as the Doctor rushes towards the console, pressing various buttons as it manages to partly light up. Romana once more appears on the communication screen.]

ROMANA:
Doctor, what're you doing?!

DOCTOR:
Stopping this insanity! I won't allow Gallifrey to simply vanish! I will save everyone! I... Must save everyone!​

[As the Doctor pounds on the console, the camera cuts to the Time Lord's location where Romana, Ranos and their followers are working on consoles to bring their plan to fruition. Ranos hurries over to Romana as she watches the screen.]

RANOS:
The calculations we're making are being interrupted! At this rate, we won't be able to complete our task! What's causing this?

ROMANA:
It's the Doctor. He's managed to lock onto us, using his TARDIS to disrupt our attempts. He's even more brilliant than I imagined...

RONAS:
Enough of that! We must stop him!

ROMANA:
There is one way, if I force the signal backwards, causing the feedback to hit him hard... But...

RANOS:
No buts! Just do it!

ROMANA:
… Very well. Goodbye Doctor. Please, forgive me.​

[Romana starts working on her own console before the camera cuts back to the TARDIS where the Doctor is working feverishly. The lights on the console dim suddenly before brightening as energy is shot through the console and into the Doctor. He screams in agony before dropping down to the floor. The TARDIS goes dark except for the communication screen as it shows Gallifrey and the Dalek fleet surrounding it. The Planet suddenly darkens as Romana's plan come to fruition, a shadow spreading over Gallifrey that soon spreads towards the fleet, enveloping it within seconds. Once that is done, Gallifrey vanishes in a point of light before sending out a wave of energy that crashes into the TARDIS and sends it careening through space. Throughout this, the Doctor lies on the floor, unable to do anything but watch due to the damage done to his body.]

DOCTOR:
No... I-I failed. Henderson, Devisingh... Andorra. Oh, forgive me. I failed. I failed you all...​

[Slumping back down, the Doctor closes his eyes as the regeneration process begins. He glows momentarily before the new incarnation comes into focus, much younger than the last and with unkempt blonde hair. He opens his eyes and blinks, looking around slowly as he sees the communication screen as it shows that the TARDIS is approaching Earth at an uncontrollable speed. Seeing that, the Doctor looks around him before speaking.]

DOCTOR:
How the bloody Hell do I drive this thing?!​

- Final scene from 'The Parting of The Ways', the final serial of the twenty-second series of Doctor Who

 

[DAv]

Part Eleven: Shorn of Chaff:

“For two long years, we had Michael Grade looking over our shoulders, always on the lookout for that one excuse needed to lose our budget or even our time slot. It was tough at times, but when he was finally forced to jump after that incident with the Queen, we all breathed a sigh of relief. Some of us laughed as well if I'm going to be completely honest.”
- Extract from an interview with David Maloney, 2001

“Looking back, I suppose Michael really should have been more aware of his surroundings. He'd gotten so used to voicing his opinions freely at the BBC that he didn't know when to stop. We had been invited to the Royal Garden Party in 1985 I believe, representatives of the BBC and so on. Well, Michael wasn't paying much attention and was getting into my ear about Doctor Who once again. He was telling me that its success wasn't built on proper foundations and only sad forty year old men watched it. Sadly for him, he didn't realise that a fan of the show happened to be walking past and she took umbrage with his comments. He might have gotten away with it if that reporter from The Sun hadn't been nearby.”
- Extract from the unedited memoirs of Alan Hart, 1994

[Scene: A Royal Garden Party, various puppets are milling about as one representing Michael Grade is talking, the puppet of the Queen behind him.]

GRADE:
Of course, only complete scum-sucking morons are fans of Doctor Who, you can't deny that.

QUEEN:
But I'm a fan of Doctor Who.

GRADE:
Oh, oh! I wasn't talking about you, your most superb and lovely Majesty. No, I was talking about those idiots who think it's the highlight of programming on the BBC.

QUEEN:
I think it's the highlight of programming on the BBC.

GRADE:
Oh, I wasn't talking about you, my vision of perfection, fawn, fawn. I meant the imbeciles who watch such programming and laud it over such breathtaking programming as Eastenders.

QUEEN:
Eastenders is a bit rubbish though, isn't it?

GRADE:
… Oh piss off you old bat.​

- Extract from a scene from the third series of Spitting Image, made in response to Michael Grade being made Director of Television for ITV Central, 1986

QUEEN'S BACKLASH AGAINST GRATING GRADE
- Headline from The Sun newspaper concerning the 'Grade-Gate' scandal.

With the scandal of 'Grade-Gate' going through the BBC, Michael Grade found himself deeply unpopular throughout the corporation and pressure from within, as well as a letter campaign from without, soon saw him forced to leave to become Director of ITV Central in 1986, becoming a huge influence upon the channel. The freedom from his threat of undermining Doctor Who was seen as a great relief by many on the cast and crew with the feeling now that they were able to focus on the show without being cancelled for the slightest mistake. With Jeremy Brett's end as his tenure as the Doctor, Alan Moore announced that he would be stepping down as head writer to return to writing in comic books while David Maloney retired a year into the Seventh Doctor's tenure after fives years as head of the show. Moore would be replaced a long-standing writer in Doctor Who, Chris Boucher while Martin Campbell was Maloney's replacement. The two would try to forge a new identity for Doctor Who, in the wake of the changed landscape of the show and its mythos, with mixed success.
- Extract from ‘Doctor Who: The Backstage Story’, 2008

“I think the problem with Alan was that he lacked vision and the ability to recognise that science fiction was a dead end for popular shows. Allowing the budget of the BBC to go to three series of that Tripods show while cancelling something with potential like Blackadder after only a single series of that just shows how skewed his priorities were. Sci-Fi is merely a niche that can only go so far. Now we exploited it on ITV as much as we could with Red Dwarf, it got all the resources needed and was as popular as it could have been. That's how to run things.”
- Extract from an interview with Michael Grade, 2004

The various incarnations of the Doctor can be seen as being defined as being reactions against their previous persona. The clownishness of the Second Doctor was a direct contrast to the First Doctor's own stuffiness. The Sixth Doctor was a lying chessmaster and warrior in comparison to the pacifist and open Fifth Doctor. In turn, the Seventh Doctor was perhaps the most naïve of all the Doctors. Robbed of his memories of the Time War and everything else, the Seventh Doctor was friendly, honest and humble while deferring to authority for a while before gradually coming to his own. Casting the youngest actor to play the Doctor at that date certainly played into it. He also stood out as being the first incarnation of the Doctor to have a northern brogue, one that would make him out from other actors who'd taken on the role.
- Extract from ‘Doctor Who: The Backstage Story’, 2008

- Still from a scene from the second episode of 'Falling From The Sky', the first serial of the twenty-third series of Doctor Who and the second to have Sean Bean in the role.

A rather short update but I wanted to devote an entire update to the twenty-third series and this seemed like a good way to drop off the series while focusing on other stuff for the next few updates.

Just to ask, how do the stories I've mentioned measure up to Doctor Who stories? Did they sound as if they'd fit the series and be any good?

 

[DAv]

Part Twelve: Me And my Shadow:

“Funny how it all started when you think about it. Frank was at the Grammys, ready to accept his award for his album and Mikey was there because there was a rumour going round that John Lennon was attending but turned out he was in England at the time. Mikey was the centre of attention of course, guy was becoming the hottest thing in music since us. It was at a mingling session before or after the awards, I forget which, and Mikey was there talking about that Doctor Who show, it being really popular at the time. He was going on about how scary it was and how the monsters were giving him nightmares. Well, there was Frank not far from him and he was looking over like Mikey as if he'd wet his pants or something. Frank, being Frank, eventually just told him to toughen up and if he wanted to do that, he could come down to Vegas for a week while Frank was doing a show and he'd show Mikey how to toughen up. Mikey, being Mikey, took him at his word.”
- Extract from an interview with Dean Martin, 1991

The relationship was a strange one to many who knew either Michael or Frank in 1981. The former was the rising star of the decade, but ultimately quite naïve and still marked by his childhood as a member of the Jackson Five. The latter was a veteran of show business for forty years, having known everyone and done almost everything he could during his time on top. Their respective personalities alone would make many think it'd be an unlikely friendship and, it turned out to be just that. Unlikely, but a friendship all the same. One that would see Michael's own career outlook change greatly.
- Extract from 'Man in The Mirror', 2010

Musically, it was clear from the outset that Sinatra and Jackson were two different kinds entirely. Jackson was reaching the top of his game with Thriller becoming a smash success in 1982 and 1983. In that sense, Jackson didn't need Sinatra's guidance. Instead, Sinatra helped Michael in a business sense and in guiding him away from more bizarre urges. In many ways, Sinatra acted as more of a father figure for Jackson than his own father did, looking more towards tough love as he took Jackson under his wing. This was added to during the gradual reunion between Frank Sinatra, Dean Martin and Sammy Davis Junior throughout the 80's that saw the Rat Pack being joined by Michael semi-frequently during their spots in Vegas. It was due to this that the Pack members saw a rebound in their careers later on in the 80's, Sinatra even giving advice during Jackson's Pepsi advertising campaign when it was filmed in Vegas in 1984. With Sinatra's career experiencing a rebound as he associated himself with Jackson, so too did the pop star find himself given more straightforward advice on where to take his career.
- Extract from 'Time at The Top: The Later Years of Frank Sinatra', 2006

“What the Hell is this Mikey? You can't be serious about telling the press about this!”
“Well I just thought the attention.”
“Attention?! Attention?! You do this Mikey and the only attention you'll be getting is part of a freak show! You ever go to the carnival Mikey? You ever pay to see the freak show?!”
“Well, no...”
“That's because no one pays to see the freak show! They pay for the main event! You want to be the main event, or get laughed at with the rest of the freaks?!”
“... I wanna be in the main event Frank.”
“That's good Mikey, that's good. Just keep it together and I'll make sure you do OK.”
- Alleged telephone conversation between Michael Jackson and Frank Sinatra, 1985

Michael's affiliation with the Rat Pack continued throughout the 80's, gaining some fame as if he would be part of the 'new generation' of such a group. Such speculation would never come to fruition but Michael's continued friendship with the group would lead to results that fans of all of them would love. The joint Sammy Davis Junior and Michael Jackson produced album Shadows would be released in 1987 to high success. The high point of this collaboration in popular culture would come at the 27th annual Grammy Awards.
- Extract from 'Man in The Mirror', 2010

“Well, I didn't know if you could get away with skits on the Grammys. But I guess when the Rat Pack and Michael Jackson go up to you with an idea, you go through with it.”
- Extract from an interview with Cyndi Lauper, 1989

[After accepting his award for best video album, Michael Jackson is interrupted by the Rat Pack on stage, the group coming up to Michael in an amiable fashion.]

SAMMY:
Hey Mikey! Looking good!

FRANK:
Not bad there Mikey, even if it's only for videos.

DEAN:
Tell me about it. You had all those shambling dead things moving about there Mikey, what were they supposed to be?

MICHAEL:
Well I thought it was obvious Dean, they were your careers.​

[The Rat Pack pauses as the audience laughs at this, causing Dean to turn to Sammy.]

DEAN:
You're up Sammy. Give 'im Hell.

SAMMY:
Look Mikey, what we're trying to say is that there are some things you don't need. I mean that video was all style, you need the substance to go with it. I mean, look at you, and then look at us, what do you have that we don't?

MICHAEL:
My original hips?​

[Another pause from the Pack as the audience laughs at this. Sammy tags in Frank.]

SAMMY:
I'm done, I'm out.

FRANK:
Look, Mikey, we're trying to give you advice here. I mean, you want to be as well known as us, right?

MICHAEL:
I don't know Frank. I mean, after all [Starts to sing], I have heard, now and then, you are called forgotten men.

SAMMY:
Is that what they're saying?

DEAN:
Terrific.

FRANK:
What a swell evening this is...

MICHAEL:
And have you heard, around this time
We gonna get another show from Sondheim

DEAN:
Oh, more soap opera

SAMMY:
Tune in tomorrow.

FRANK:
What a swell evening this is.
[Pointing towards Michael's Grammy] What gold, what a shock.

DEAN:
That they've got four of these for rock?

MICHAEL:
It's beautiful!

SAMMY:
That's enough already!

FRANK:
You ain't gonna see as many as us anyway.

SAMMY:
Now that's a sin.

FRANK:
What is?

DEAN:
Up next is Phil Collins.

SAMMY:
That's what I was gonna say!

MICHAEL:
I think he's a great artist!

FRANK:
Ah please don't go to far Mikey.
Have you heard about Turner?
Got this one and now she'll be on the back burner.

DEAN:
No!

SAMMY:
She's old, needs a rest.

MICHAEL:
Sure that's Tina?
Sounds like all three of ya.

FRANK:
Have you heard of miss Lauper?

MICHAEL:
Oh now what?

FRANK:
Got set up with some wrestler.

SAMMY:
Gorgeous George still playing?

FRANK:
Nah, it's the Captain.

SAMMY:
Did you ever?

DEAN:
What a swell evening this is...

MICHAEL:
It's great!

FRANK:
Less grand.

MICHAEL:
It's grand!

RAT PACK:
It's Wonderland!

SAMMY:
We sing!

DEAN:
We sing!

SAMMY:
So rare!

DEAN:
So rare!

RAT PACK:
Like old Camembert,
Like baba au rhum.

FRANK:
Ba, ba, ba bum!

MICHAEL:
Don't dig that kind of crooning guys.

FRANK:
[To the audience.] Forgive him, he's new here. [Back to Michael.] So what is it time for?​

[In response, Michael takes off his hat and throws it into the audience. He starts off with his dance moves, speeding up as they get more extrovert an smooth with it culminating in a moonwalk across the stage that has the audience cheering wildly and the Rat Pack watching on dumbly.]

FRANK:
… [To the Rat Pack]Time to call it a night boys.

MICHAEL:
Wait! Just one more thing.

FRANK:
What's that?

MICHAEL:
While we're here, among the stars
Can't you see we're gonna go far?
Well did you ever?

MICHAEL & RAT PACK:
What a swell evening, a swell evening, a swellegant, elegant evening, this is!​

- Extract from the performance by Michael Jackson and the Rat Pack at the 27th Grammy Awards

“A lot of what I learned about how to show myself in public came from Frank. I was potentially going in a strange direction in the 80's before he pulled me back from it. He taught me not to rely on shocks and let my talent do the work for me. It was something I learned a lot from Dean and Sammy as well, to just let my music do my talking for me and keep away from gossip that could wreck a career. I owe a lot to him, Sammy and Dean. I honestly don't think my career would have been the same without them.”
- Extract from an interview with Michael Jackson 2009

JACKSON CONTRACT WITH VIRGIN SIGNED
- Headline from 'The Times' cultural section regarding Michael Jackson agreeing to compose music for various video games under Virgin's new handheld release, 1997

 

[DAv]

Part Thirteen: Strange Rivals:

“If it hadn't been for that phone call, God knows how things would have turned out. Dan had phoned up during a meeting with Paramount execs, they wanted me to be in a new National Lampoon movie that had disaster written all over it. Dan was on the line, telling me to skip it, that there'd be other projects and he was right. Before I hung up though, he said that he'd gotten tapes of that Doctor Who show that was really making the rounds at the time and did I want to come have a look at it? Truth is, I knew he was worried about me so this seemed like an opening for him. I took it though I stopped by on the way to his place, picked up some heroin and prepared to have the night as I usually did. I got round Dan's house and we started watching this show and I was laughing my ass off at it. Here was Dan, trying to tell me it was a serious piece of art and you had some poor asshole trying to look scary while he had bubble wrap stuck around his head.”

“We just spent a few hours watch all this, having a blast when I remembered the heroin. I got up with the excuse I was gonna take a piss and went to Dan's bathroom. I got out the needle and started to get prepared to do it when I caught my eye in the mirror and I just thought “Jesus... What am I doing?” Here I am, in my friend's house, prepared to shoot up when I know the guy is worried about my habits. The Hell kind of person that make me? Dan found me ten minutes later, curled up in a ball and crying like a baby and we knew that I needed help bad. We managed to find the number of a rehab place and I got booked in, Robin also getting in touch and coming down to Dan's so he could help him take me down there and keep an eye on me and keep my spirits up. Was one of the weirder road trips we'd ever had, got pulled over about five times by cops who were just looking for excuses to get autographs from us.”

“During all this, Robin was keeping me calm and kept on joking that he could probably book himself in as well. His act kinda got stale after a few hours and I just said that he should yell at me and get it over with. Robin said he'd never do that so that's when I made our bet. If I could get him pissed off before they left me at rehab, I'd get to pick his next movie role. Course, if I knew what it would have done for the asshole's career, I'd have lost the damn thing.”
- Extract from an interview with John Belushi & Dan Aykroyd, 1990

“It'd been a long trip from Dan's place to the clinic, several stop overs before we arrived and even then I needed to go badly. I managed to find a toilet just as Dan was talking with a doctor about John staying over. What I didn't know was that John had wandered off and gotten a few orderlies to come along with him, telling them that I was the one having to be put into the clinic. I tried to explain things and John just kept on pushing it...”
- Extract from an interview with Robin Williams, 2001

“As you can see, Robin here is in need of some real help.”
“John...”
“His addiction's out of hand, it's ruining his life. Just by looking at him, you can tell he's unable to even look after himself.”
“Oh come on!”
“And, even worse, he's become prone to outbursts of anger and frequent denial.”
“YOU LYING ASSHOLE!”
- Conversation that took place between John Belushi and Robin Williams in a rehab clinic, 1982

“... Yeah, did not help myself.”
- Extract from an interview with Robin Williams, 2001

“It was during John's first stint in rehab that I got together with Dan after Ivan Reitman had seen his first script idea regarding Ghostbusters. It was initially for a film but Dan's idea was too big and too complicated and he got together with me to make it more practical to film. It was during the few weeks we were trying to hammer something out that he started talking about Doctor Who and how he was thinking about ideas about a TV series. I looked down at this script, the idea of a bunch of guys setting up a ghost hunting business in New York and I said “You've got one right here Dan.” After that, his eyes lit up and we both started to really get into this idea of a potential TV series around it. We wouldn't have the budget that we'd get for a movie but a TV series was something Dan saw real potential in to explore his idea and we managed to hammer out a broad outline of what to do with the series, aiming just as much for comedy as for action. When John got out of rehab, the idea was in the process of getting green lighted by executives at ABC. We owed a lot to the success of Doctor Who in getting that, as well as the new Star Trek show that was just starting that ABC wanted to compete with.”
- Extract from an interview with Harold Ramis, 1993

Cast List:
Peter Venkman – John Belushi
Ray Stanz – Dan Aykroyd
Egon Spengler – Harold Ramis
Winston Zeddemore – Eddie Murphy
Louis Tully – Billy Crystal
Dana Barrett – Christine Ebersole
- List of major cast members from the Ghostbusters TV series, 1984 – 1987

Casting for the show turned out to be a fairly simple process. With his own contacts and friendships, Dan Aykroyd was able to fill out the main character list with various actors and Saturday Night Live talents that Aykroyd knew and found were interested in the project. It was easy to fill in the main three slots as Aykroyd, Harold Ramis and John Belushi were eager to take on the project. The slot for the fourth character, envisioned to be an 'everyman' that would be used for exposition for the audience at home regarding the Ghostbusters' equipment and backstory. The eventual casting choice went to Eddie Murphy after his attempt to get cast in the 1984 comedy, Beverly Hills Cop, floundered after the original casting of Mickey Rourke was settled on. A talented stand up comic and actor, Murphy took on the role on the expectation that the show would only last a single season and it would simply allow him to show he could take on full character roles as his movie career was momentarily in a dry patch. This would change after the series ended, although it took four years to do so.
- Extract from 'Twenty Years of Busting: The Ghostbusters Story', 2004

“When it came to the budgeting, we realised from the outset that we weren't going to be able to rely on special effects to get people's attention. When people said that the first or second season was their favourite, I think it's down to the fact that me, Dan, John and Eddie just cut the dialogue down to one thing “Will people enjoy this?” It's what we came to rely on rather than action scenes and really helped us get through a rough start regarding what money we could get for the episodes. The jump upwards in the third and fourth seasons came later on when we were contacted by the Graphics Group and we spoke about getting their help with special effects going on the series. With how successful we were at the time, the network was happy to help foot the bill for a lot of it and you can see how things improved as we were able to do a lot more action scenes as time went by. I do agree that we focused less on the writing as time went by because of that but not to any real detriment to the show.”
- Extract from an interview with Harold Ramis, 2002

The beginning of the Ghostbusters franchise was not as clear cut as initially foreseen. The new science fiction show was to face competition in terms of the return of Star Trek to television. With the success of the film franchise and Doctor Who showing that a science fiction television series could be successful with a wide audience, the decision was made by executives at Paramount and NBC to begin a new Star Trek series. Rather than use the cast of the movies though, the idea of using unknown actors in a new series of the franchise was taken. With Gene Rodenberry brought in to head creative, it was felt that the show could recapture the feel of the 60's show and capitalise on the success of the more recent films.
-Extract from 'The Silver Age of Science Fiction: 1983-1993', 2009

'Urban Sci-Fi' – A term used to describe a certain sub-genre of science fiction that is usually established in the present day, displaying everything as perfectly relatable and normal to the audience apart from one aspect which makes up the fantastic elements of the show. Popularised after an interview with Eddie Murphy, the term has come to encompass a wide section of science fiction, ranging from comedic to more dramatic pieces and has some overlap with Cyberpunk or Post-Cyberpunk stories.
- Extract from Wikiepdia's introduction for 'Urban Sci-Fi'. 2009

“It was something we were all looking forward to, to be a part of this new series and I especially was hoping for a great break in my career. Being cast as the Captain of the new Star Trek series was supposed to have been a real stepping stone for my career. Sadly, it didn't turn out as I'd hoped. Partly because of backstage issues and partly because we later directly competed against the Ghostbusters.”
- Extract from an interview with Alan Rickman, 2004

 

[DAv]

Part Fourteen: Opening Shots:

The rivalry between the fans of Ghostbusters and Star Trek started when both shows began airing and was further emphasised with their own takes on the Sci-Fi genre. Star Trek looked at the potential of the future, where people of all ethnicities and backgrounds worked together to explore the Universe to reach mankind's full potential. Ghostbusters looked to the present, with ordinary people having access to amazing technology and yet still had to pay the bills each month. The difference in philosophies in how these shows treated science fiction would bleed into the fanbase for each franchise as both shows were shown throughout the eighties, heightening the rivalry.
- Extract from 'The Silver Age of Science Fiction: 1983-1993', 2009

“It was a lot of fun on the actual set as we all pretty much knew each other, or were at least aware of each other's work. This was when John had just come out of his first stint in rehab and he was feeling really well about himself and it sort of went out to the rest of the crew. Everyone was there to make the best of what we had and to that, re-writing scripts before shooting to get the best out of who we had was fairly common. We operated under the principle of if we could improve it, even slightly, we'd change things. By the time we'd finished shooting the first season, there were differences to the original scripts in every episode as we'd gone back and forth to make them more enjoyable with Billy and Eddie working their own material into a lot of things. It really helped make the series what it became by letting them have that much freedom.”
- Extract from an interview with Harold Ramis, 2002

“When I reached the US, I was full of excitement about the potential of the series. A new Star Trek show being on the cards was something I was hoping would really ignite my career. But when I first started going over the scripts and started talking with the people backstage, I started to realise the problems we were going to have. Gene Rodenberry had a clear vision for Star Trek, and was determined not to deviate from it. The creative end of the show was kept under the strictest control by Gene and everything had to go through him and his vision of what Star Trek should be. It was a utopia where the crew wouldn't have any arguments or disagreements about their mission. It was a recipe that stifled our ability to create drama and for those two series Rodenberry was in charge, it really showed.”
- Extract from an interview with Alan Rickman, 2006

“Rodenberry was acting like it was the sixties still. Only it was the eighties and what had been charming back during the original series was now seen as camp at best, embarrassing at worst.”
- Quote from Captain Snipes, member of Star Trek fan forums, 2009

Star Trek: The Next Generation – Monday 24th September at 8:00 PM on NBC
Ghostbusters – Thursday 27th September at 7:00 PM on ABC
- Timeslots of Star Trek: TNG and Ghostbustersupon their debut

“We were expecting some excitement from people about Ghostbusters. The hype we were putting into it, along with the network, really got people interested. The publicity spot of me, John and Eddie walking through Times Square in full costume really got people's attention. So when the first few episodes showed and the ratings started to steadily grow, we were as pleased as could be expected. And then we started reading the fan mail and realised that about three-quarters of it were from kids who loved the premise and wanted to dress up as us at Halloween and parties. Kids weren't in our intended audience for the show at first but we really started to realise the potential for this, especially for merchandise. I remember Eddie looking through his fan mail in particular and placing down each letter saying “$30, $50, $65.” And so on. John eventually asked him what he was doing and Eddie just said “Counting the money these kids are gonna be spending on our shit at Christmas!””
- Extract from an interview with Dan Akroyd, 2009

The first season of Ghostbusters caught people's attention from the outset. Having some of Saturday Night Live's most famous minds behind the show helped create a very sharp and strong identity beyond its concept. While the special effects suffered from budget restraints to the extent that many ghosts only appeared for the final scene of a show in their true forms, it still nevertheless managed to capture the imagination of the public as the first season went on. Its success also spread to a wider audience with children who latched onto the show and helped create the merchandise rush for the 1984 Christmas season. It was the under-eighteens who were to become the show's largest fanbase, so much so that an edited version of the show was created for the Saturday Morning slot at the start of the second season in 1985. Changed to allow content suitable for that time slot, the two different takes on the show allowed for mass appeal across different demographics. It would be this which would help the show explode in popularity throughout the 80's.
- Extract from 'A History of Science-Fiction in Television', 2009

“Watching those old episodes makes me realise why I never could get into Star Trek. You have Alan Rickman trying to do his best to do something with the God-awful material he was given as Captain of the new Enterprise. The material for those first two seasons were awful!Just dire and boring and never ending! I heard it got better after the first two seasons but why wait so long on the off chance that it'd get better than crap?! I know I'm losing some nerd points here but guys, c'mon! You had an episode where the main villains of the season were a bunch of cackling monkeys! And that was their introduction! I don't wanna even know how much further they were made to look like jokes!”
- Extract from 'Star Trek XI Movie Review', a video posted on the Schwoony Experiment, 2010

A shorter update than I hoped but personal issues got in the way of writing and I wanted to at least be putting out something so I broke up what I had planned. Further stuff in the same subject will be coming the next few updates.

 

[DAv]

OK, the fifteenth chapter's all gone to cock and I can't fix it as the post's too old, so I'll post this here for the threadmark:

Part Fifteen: All Out War:
The latest Star Trek episode continues with the season's themes of dullness and preaching to the audience. Rather than explore strange new horizons, the show seems content to instead tell us how unenlightened the rest of the Universe is in comparison to the wonderful and perfect Federation and crew of the Enterprise. Excitement apparently doesn't exist in the future, instead giving way to lectures about how the latest crisis can only be solved by sticking to their perfect values. It doesn't make for interesting television or interesting anything for that matter.
- Extract from a review of the second series episode of Star Trek: The Next Generation, The Skies Above from the Chicago Tribune, 1985

After all the excitement of a new Star Trek series, there was disappointment among the fans, not with the quality of the show itself, but with the reception it received from other audiences. Labelled as dull and preaching by the vast majority of critics, long time Star Trek fans and more casual viewers were still brought into the program for its thoughtful and hopeful take on the future of mankind. Despite remaining steady in the ratings though, fans of Star Trek grew embittered over the greater success of Ghostbusters over its two seasons, particularly at the expense of Star Trek. As the two shows geared up towards their third seasons, ABC announced that Ghostbusters was being moved directly against Star Trek's prime time slot as the war for ratings properly began.
- Extract from Fans! Fandoms And Their Histories, 2015

“After the second season, it was decided by the network that something had to be done. Although the ratings for Star Trek remained steady, they weren't what NBC had been hoping for and blame was put on Rodenberry's creative direction. He was forced upstairs, away from the writing and several others, including myself, took over. We decided to look more to new ways of doing things and to that end, we were inspired by the things that were coming from Doctor Who to try our own hand at story arcs within the third season. With the freedom we were allowed, we were able to finally hammer out a plan that took the show in a new direction and I feel a lot could have been done with its potential if ABC hadn't made their choice of changing the schedule.”
- Extract from an interview with Kenneth Johnson, 1999

After the first two seasons of Ghostbusters, the show continued to grow in popularity with the stars able to negotiate for more money with each new season. The popularity was such that it was able to get a prime-time slot, but ABC decided to place it against Star Trek in a bid to take on one of America's most famous Sci-Fi franchises with one of their own. It was an outright declaration of war between the two networks as their two shows were set to clash in the ratings, where only one would become the victor.
Extract from Sci-Fi in TV, 2003

“That's the problem Next Generation had, the masses weren't intellectual enough and preferred the low humour of the Ghostbusters, it was all that they could keep up with.”
Quote from Mr. Logical, member of the Star Trek fan forums, 2008. Member was later banned.

1: Star Trek: Voyager
2: Star Trek: The Original Series
3: Star Trek II: Wrath of Khan
4: Third series of The Next Generation
5: Star Trek VII: Generations
- Results from a poll of Star Trek fans concerning their favourite parts of the Star Trek franchise, 2008

“Season three had so much going for it. Much better plots, characters that were beginning to show more than two dimensions, a long reaching story arc and great dialogue. It had everything!”

“Except for viewers.”
- Quotes from Telly & Lincoln, members of the Star Trek Fan forums, 2009

When the third season of Ghostbusters began production in 1986, the budget of the show reached new heights as the success of the program allowed the executives of ABC to put more money into the show. As a result, thoughts towards greater special effects started to be taken seriously with the George Lucas owned Graphics Group being contacted for their services. The money ABC pumped into the special effects were a great aid to Graphics Group, leading to them eventually becoming the animation department of Lucas Films. The work they had for the third and fourth seasons of Ghostbusters was where they made their name though, making their mark in computer effects that was soon to become their claim to fame.
- Extract from A History of Lucas Films, 2005

“Star Trek tried to get people to watch paragons. Ghostbusters just let people enjoy characters.”
- Quote from Busta, member of the Freakin' Awesome Network forum, 2013

The Onglaatu – A race introduced in the third season episode of TNG, The Conspiracy, the Onglattu were a race of slug like beings, parasites that latched onto bodies and were able to assume control of them. Able to take control of any species, the Onglattu were introduced in an attempted take over of the Federation by taking control of top Starfleet personnel. The plan was thwarted but the species remained a threat throughout season three and in the franchise beyond.
- Extract from Memory Alpha, a Star Trek Wiki

“We'd managed to hammer out a creative direction for the series, one that we were happy with and that the fans were loving. Had things gone as hoped, we would have carried out an ambitious season long arc for as long as we were on TV. But, once the ratings came in, we realised there was no chance we could continue. Ghostbusters trounced us every week and we just couldn't compete. By the time our third season had started, Ghostbusters had the momentum, the mainstream appeal and the media presence. Due to our shaky start, we had to catch up and with Ghostbusters coming onto our time slot before we'd made our mark with the new direction of Star Trek, it was too late. Halfway through the season, NBC told us there wasn't going to be a fourth one. It was a blow to all of us, after our high hopes for the potential the show had. I do take some solace in the fact that Voyager did a lot to realise the potential of what Star Trek could be.”
- Extract from an interview with Kenneth Johnson, 1993

“Definition of a victory lap? The fourth season of Ghostbusters.”
- Extract from a Saturday Night Live sketch with Eddie Murphy & John Belushi, 1987

 

[DAv]

Part Sixteen: Who Ya Gonna Call?:

“When I first started, Dan had a clear idea of who Winston was supposed to be. He was the everyman, the guy who asked questions so the audience got answers. He was the one people could relate to because there wasn't much there to get in the way. Well, I looked to Dan after reading through this and said “Just because he's gonna be asking, doesn't mean he can't know his own stuff.””
- Extract from an interview with Eddie Murphy, 2006

Ray Stanz – The heart of the Ghostbusters and the glue which holds the group together. An earnest and enthusiastic sort, Ray is always eager to dive in to any mystery and adventure, believing that pretty much everything has an occult bend to it. Jumping into everything to get at the heart of a mystery, Ray never lets anything get in his way or get him down.
Egon Spengler – The brain behind many, if not all, of the Ghostbusters' equipment, Egon always approaches things with an analytical frame of mind, from hauntings to lunch. Good with his hands as well as his mind, Egon's tendency to get lost in a new problem to find its solution meant he has to be pulled out of trouble by his partners more than once.
Peter Venkman – An all round loveable slob who also tends to provide the common sense out of the Ghostbusters, Peter was the main force behind the Ghostbusters first going into business for themselves. Although eager to mooch off his friends and willing to let others do the hard work, Peter leaps into action when the chips are down.
Winston Zeddemore – A fast talking and quick thinking man with his eye on the almighty dollar, Winston always takes care that the job pays before accepting. Always the man with a plan, even if it's one he's just made up, Winston looks out for the Ghostbusters' money interests above all, managing to hide a golden heart under a greedy layer.
- Extract from the character page of the Ghostbusters 1988 book annual, 1988

“I think what really helped the show at its heart was the fact we made the show around strong characters with great performers. Even when I helped complete a script, me and the guys were always open to changing something if we felt it could work better in terms of humour or character, we changed it. A lot of the stuff on the show actually came from us discarding large parts of the scripts to do what we felt was best. I think it really helped strengthen what was already a strong idea.”
- Extract from an interview with Dan Aykroyd, 2001

The genres used on Ghostbusters actually varied wildly from episode to episode regarding ideas that the cast had for storylines. What was typically a comedy-action series also went into horror and even mythology as Dan Aykroyd's interest in the occult showed in many episodes, actual mythological monsters and myths being used as enemies or plots throughout the series. The infusion of elements of the 'Cthulhu Mythos' in the fourth season actually introduced a story arc to a series which had previously been happy with use of heavy continuity. With an actual long term antagonist in the form of the fan nicknamed 'Notlathotep', the series took a darker tone with more action at the expense of some of the humour fans had come to expect from the show. Despite the change in mood and tone, the fourth season was as big a success as the first three and some fans even welcomed the change as it was something different to what had been expected with Peter Falk's performance being widely hailed as a key part of its success.
- Extract from 'Sci-Fi in TV', 2003

“Watching Peter Falks in Ghostbusters made you feel like one of the criminals in Columbo. Here was the bumbling, shuffling man who you've just realised knows all your secrets, knows just how much you're screwed and is going to enjoy utterly destroying you. The worst part? There are parts when Falks plays it similar to Columbo. The quirky detective you've been enjoying all these years? He's an Elder God using the despair of humanity to fuel his plans to turn Earth into a charnel house. Bet you wish Patrick McGoohan got away with it now.”
- Quote from an article from cracked.com 'Top Ten Strangest Roles From Well Known Actors', 2009

“When I thought about auditioning for the part, I really was just thinking about trying something new. When I got the script for the audition itself, there were a few parts that reminded me of Columbo. The little things like acting as your friend, putting on a front while the gears are always turning, always looking for an edge. Of course, there's a bit of a difference between being a police lieutenant and being a God trying to bring about the end of the world.”
- Extract from an interview with Peter Falk, 2001

The interaction of the main four characters was regarded as a major reason behind the success of the show. All four actors had great chemistry and a great deal of the appeal of the show came from how they used dialogue to bounce off which was tied into the show's famous humour. Aykroyd, Belushi, Ramis and Murphy all were talented comedic performers with each bringing something different to the table in regards to that part of the show. The two who quickly developed into the stars however, were undeniably Belushi and Murphy. Both managed a stand out style of comedy that quickly got them noticed by audiences while managing to gain the best lines and moments in the show's history. While having an intense on-screen rivalry, the friendship between Belushi and Murphy was a major aspect to the popularity of the characters, Murphy's career in particular received a huge boost when the series ended and proved to be one of the 90's most bankable movie stars.
- Extract from 'An Index of Science Fiction Television Shows', 2001

“We weren't really thinking too much about story arcs to begin with, just setting the ground with the opening six episodes to set up the Ghostbusters business and introducing all the characters. Continuity was a big thing for Dan who liked all the call backs and mentioning of previous ghosts and monsters that had been seen. It was when we agreed to a fourth season that we looked into finishing with a bang. Inspired by some Lovecraft books Dan and John had been reading through, we crafted the idea of Gozer and Macalpse, his messenger. With getting the special effects from Graphics Group, we were able to make a huge mark on special effects in television as well. We had to sacrifice some of the humour and the focus turned more towards general action, but I think the change made for more exciting television.”
- Extract from an interview with Harold Ramis, 2002

“Being asked to do the special effects for Ghostbusters was a really good challenge to learn how to use new technology and computer animation to tell a story. It was experience I was to later use well for Star Wars and the money we were paid by ABC allowed me to keep the studio through what an otherwise tough period for me. Lucas Animation got its birth from the Ghostbusters, and it was a great introduction to the world.”
- Extract from an interview with George Lucas, 2003

[Scene: The Ghostbusters are in the basement of the New York Public Library, the lights dim from ghost activity as they're surrounded by packed bookshelves. The lights flicker as Peter and Winston look around at the ceiling, Ray and Egon too engrossed with looking at ectoplasm on the shelves.]

WINSTON:
So stuck in a dark basement, surrounded by things trying to kill us. Tell me we're going to get paid for it this time.

PETER:
We're surrounded by things that want to kill us and it's your bank balance you're worrying about?

WINSTON:
Someone has to! You noticed that every time we work for the public sector, we get screwed over? I'm just looking out for the team's finances here!

PETER:
You mean your Hawaii fund, right?​

[The bickering is stopped short as the PKE Meter in Egon's hand suddenly starts beeping furiously. He and Ray look to each other as the beeping gets higher and more frequent.]

RAY:
That's not good...

WINSTON:
OK, I gotta figure out a scale for this. What exactly is 'not good' with us? It seems to range from me getting my ass torn to pieces to someone forgetting to buy milk at the store!

EGON:
In this case, it means that the entire city of New York could be hurtling towards destruction on a Biblical scale.​

[There is a long, horrified pause.]

PETER:
… Again?!​

- Extract from a scene from 'Samhain' the first episode of the two-part finale to the third series of Ghostbusters

“I enjoyed playing Winston, he was a conman and only Peter saw through it for the most part. We had a really good back and forth most episodes and Dan brought us scripts that allowed us to show off our acting skills as well. I still get a lot of people telling me they broke up over that scene, you know the one I'm talking about. We got to show what we could do with the characters and another reason why I liked playing Winston, we got to learn there was a lot more to him.”
- Extract from an interview with Eddie Murphy, 2008

“Whenever nostalgia makes kids of the 80's think that all their shows and movies were great and uplifting, just remind them of this. 1988 started off with the Ghostbuster's episode 'Mother's Day' in January, showing us that Eddie Murphy can damn well act and break our hearts. 1988 also saw the broadcast of Jeremy Brett's final episodes of Doctor Who where he was forced to watch everyone around him basically die. And then 1988 ended with the American release of Grave of Fireflies, proving that Isao Takahata could destroy the souls of children and adults alike. The late 80's was fucking brutal.”
- Extract from an article from cracked.com 'Ten Moments in Our Childhood That Made us Cry', 2009

The long term story arc of the final season of Ghostbusters was a huge success with the critics loving it and being a ratings smash. Showing the Ghostbusters themselves in a new light as their pasts and flaws were exposed by Macalpse to try and destroy them, the show ended on a high note in January of 1988 with Gozer and Macalpse being defeated with the Ghostbusters standing tall. Their triumph is short lived after they realise that no one paid them for the job and they once more have to go out to work. The mixture of fantastic and mundane was a key part in the success of Ghostbusters and would be a core reason why it endeared itself to many.
- Extract from 'Twenty Years of Busting: The Ghostbusters Story', 2004

“If there's anything I kinda regret about the show, is that my original ambitions about making a movie never came to be. Don't get me wrong, I'm proud of what we all did with Ghostbusters and I wouldn't have changed a thing. Those four years were among the best of my life, professionally and personally. I just can't help but think back to the night I was hammering out ideas with Ivan and wonder what would have happened if we'd stuck to the movie idea. Maybe it would have worked out better, maybe not. Whether it would have or not though, I will say that Ghostbusters has a lot of great memories for everyone that worked on it and I know John would have loved to have seen how long its impact has lasted.”
- Extract from an interview with Dan Aykroyd, 2004

“Same Slam, Different Day.”
- Extract from TV Tropes (1)

[Scene: After realising that their hard fought and destructive victory over Gozer won't get them paid, the Ghostbusters gear up to head out after getting another call in New York. All look exhausted and put upon but nevertheless go for it.]

RAY:
Well, look on the bright side, the total destruction of the Earth has been averted. And we got some nifty data on how to defeat any other Gods that might try to break into our dimension.

EGON:
While that's very well and good Ray, but we do need funds to put that knowledge into practice. I calculate we'll need at least $10,000 for equipment and experimentation before we can use it in the field.

PETER:
So we gotta get back to work. I tell ya, one of these days, I'm actually gonna go on vacation. Somewhere where I don't have to worry about some God trying to tear my face off.​

[The Ghostbusters get into the Ecto-1, getting ready for the day ahead.]

WINSTON:
Well, until then, it'll be same [The door slams, cutting off that word], different day.​

[Ecto-1 switches on its sirens as the car rides out of the Ghostbusters HQ as the theme music plays one last time as we say farewell to our heroes.]
- Final scene of the fourth series of Ghostbusters

1: OTL's 'And The Adventure Continues'

 

[DAv]

Part Seventeen: The Last Avenger:

“We had been floating around ideas for some time at that point. Frank was busy with his own projects but we were looking into other stories to be told with Marvel characters and he was invited. With the success of stuff like Rock And Rule, we considered a comic with a darker turn and ideas continued to bounce around until Frank spoke up. He'd been working over ideas for the Distinguished Competition, telling the story of an older hero stepping back into the limelight. After some discussion and tweaking, the story turned towards Captain America and the Avengers. We saw the potential in it and although it was far from a traditional Marvel story, the impact it had would be far beyond what we expected.
- Extract from an interview with Jim Shooter, 1992

Captain America: The Last Avenger, June – October, 1985
- Publication date of Frank Miller's 'The Last Avenger'

“People say that The Last Avenger was a huge break from what Captain America was about but you're divorcing him from the times. After Watergate, he'd become the Nomad and turned away from his role as Captain America. So looking towards a more cynical role for Cap wasn't that surprising when you take things like that into consideration.”
- Quote from Blade Warrior, member of Freakin' Awesome Network Forums, 2013

“The year is 2008 and the world has changed, not for the better. After the death of his compatriot Falcon, Captain America went into retirement, feeling unable to carry on the war for letting his friend die. In his absence, the Avengers became worse in their own ways, Tony Stark an irresponsible drunkard who uses his riches to buy his way out of his many problems, Thor has become a God with worshippers and neglects his hero duties in favour of the adulation from the public and after the death of Hank Pym, Janet was forced to become a Madame in order to maintain her lifestyle.” (1)

“As the world, and New York in particular, slips down the drain in apathy and vice with crime steadily rising, Cap looks on with disgust but feels unable to do anything about it, having long since lost confidence in himself. During one night journeying back home, Cap is forced to interfere when a woman is confronted by a gang. Managing to defeat the group, the woman thanks Cap and introduces herself as Liberty. Seeing this as a symbol for all he once fought, Cap once more dons the red, white and blue to fight for his previous ideals.”

“Taking the fight back to his streets, Cap's status as a hero made him an outlaw by a country that had turned its back on the ideals he had once upheld. Iron Man is sent to bring Cap down, a running battle occurring where Stark's drunkenness causes mass collateral damage that Cap gets blamed for. Their battle ends at the former Avengers Mansion, now derelict and forgotten when Stark breaks down and weeps at seeing the building and overwhelmed by its memories. Full of remorse for what he's become following the death of Jarvis and Pepper, Tony begs Cap to make things right before his heart is unable to take anymore and fails, Tony dying on the spot and leaving Cap having to deal with the aftermath.”

“Now a wanted fugitive, Cap meets a young African-American named Rodney who was established in the comic as a bird lover and neglected teen. Feeling that Cap's ideals could be brought back, Rodney managed to track Cap down as he was fighting a gang known as the Skullz, who had taken on the ideals of the Red Skull and donned costumes to look like him. Taking the fight to the gang, Cap is saved by Rodney's interference just as he was about to get shot by a member of the gang. Working with the teenager, Cap manages to defeat the gang, deciding to use them as a force for good as he gives a speech outlining his ideals that they could follow to be a force for good.”

“As Cap starts to mold the street gangs to help New York City, the Cold War turns hot as the unimportant island of Corto Maltese becomes a flash point for conflict between the two super powers. A Soviet nuclear attack is stopped by Thor who has grown weary of the arrogance of mortals and believes that the reappearance of Captain America might encourage them to try and challenge the Norse Gods. Backed by Asgard, Thor sends a demand over television for Humanity to remember its place and to stop all moves towards war while he goes to deal with Captain America.”

“With the stage set for a conflict, Cap creates a plan to face down Thor while calling up some of the heroes who still remain active. Power Man and Iron Fist answer the call, having never stopped being Heroes For Hire while a beaten down Logan also joins the fight, a mention of the X-Men being mostly dead (2) indicating that team's fate in the world. Banding together, the group faces down Thor as he arrives in New York City, leading to a running battle throughout as the out of shape Thor finds himself on the end of technology appropriated from Tony Stark's lab and turned it on Thor, Cap using a modified Hulk-Buster suit to take on Thor in hand to hand combat.”

“After a battle that levels an entire block, Thor comes to realise that Cap was right to rise up when the Gods had proven unworthy to call themselves so for losing their drive while Captain America had been ready to fight for his destiny. Before Thor can truly fight back though, a gas main explodes from the carnage, seemingly obliterating Cap on the spot from the fire. Thor can only find Cap's shield in the wreckage, mourning his fallen comrade while resolving on remembering the lessons he learned as one of the Avengers, to lead the world and be worthy of his power.”

“As the city mourns though, Cap is revealed to be alive with Rodney and the remaining heroes gathering, ready to lead a new Revolution to restore the ideals of America. As he does so, Cap reflects to Rodney that it's been so long since he's felt this young.”
- Plot Summary of 'Captain America: The Last Avenger'

The success of The Last Avenger in changing how Marvel took its creative direction cannot be overstated. Frank Miller's creative choices in Marvel throughout the 80's had produced popular and successful runs in titles such as X-Men and Daredevil that had helped redefine the latter's character. The Last Avenger helped cement Miller's place in Marvel's history and defined an aspect of Captain America's character and his relationship of those around him. He would grow to become an established anti-authority figure within the Marvel Universe while being antagonistic towards Iron Man, a figure who was seen as being cosy with forces Captain America opposed, and Thor, a character who was seen as aloof by those writing for Captain America and potentially one who would demand the obedience of mortals. While fans of all three characters would reject the interpretations, they nevertheless became popular ways to look at the trio and how they'd interact.
- Extract from 'Capes & Cowls: A History of Superheroes', 2010

The Last Avenger helped redefine the biggest names in the Avengers, and the Marvel Universe for over a decade after. Captain America's previous anti-authority leanings were greatly increased to the extent his tag line became “Loyal to the Dream alone.”. The changes throughout the Marvel Universe because of Frank Miller's long involvement with the company and his huge success with its franchises would lead to the creative direction leaning towards more of Miller flavour for other writers, looking to emulate his success. The change in Marvel's creative direction would lead it to taking a darker path while allowing for more violent stories to be told. This served as a contrast towards DC who was seen by still publishing 'kiddy stuff' with the 1960's Batman television series still in people's minds in regard to what their own characters were like.
- Extract from 'Comic Books: A History', 2001

“I'm the man who made Captain America a hero again.”
- Quote from Frank Miller, 1998

“Seeing what Marvel was doing, and becoming successful at it, brought about a few questions at DC and how to respond. Their changes to Captain America, one of their cornerstone characters, was something that took several by surprise. We had hoped to being in Frank to write a few stories for DC but after his decision to stay in Marvel, we had to focus inwards and respond to Marvel's own creative direction. Following the darker turn was something we felt wasn't the best choice as Marvel was leading the way and trying to catch up was a move we believed that would hurt us. We instead turned towards more of a focus on our Sci-Fi properties such as Green Lantern. Science Fiction was really popular during those years so turning more towards exploring the DC Universe beyond Earth. It turned out to be a real boon for us as the years went by.”
- Extract from an interview with Dick Giordano, 1998

“It was a huge step forward to make Cap tough as he had been in the War. There'd been all that identity change after Watergate but the Last Avenger was the first thing to really take him back to his roots as someone who'd blast through everything to fight for what he thought was right. He was a hero again and the Last Avenger helped make it like that.”
- Extract from an interview with Frank Miller, 2012

The differences between Marvel and DC would soon become apparent as the 80's came to a close. The creative choices that had been made after the release of the Last Avenger emphasised different aspects of each company's history and Universe. Marvel, having long been the home of such anti-heroes such as Wolverine, Daredevil and the Punisher, chose the darker path to follow after the success of the Last Avenger. Characters such as Iron Fist and Luke Cage were also made grittier to fit in with the changing times. DC, as a contrast, decided to go an alternate route by emphasising their Science Fiction properties, the Green Lantern franchise in particular. These changes would further emphasise the differences between the two companies as their creative choices would go on to determine their course of actions in the next decade and would help define how superheroes were seen by the general public once the movies began.”
- Extract from 'Beneath The Cowl, A History of Superheroes', 2004

1989: Green Lantern
1991: Martian Manhunter
1992: The Flash
1993: Green Lantern II: Sinestro's Revenge
1994: Shazam! The Rise of Captain Marvel
- List of movies based off DC properties that were released from 1989-1994

1: It's Frank Miller, easy enough to see happening.
2: As in most of them are dead, not that they're all near death.

 

[DAv]

Part Eighteen: The Adventurer, The Wanderer & The Warrior:

The growth of Nelvana as an animation studio was helped by three significant factors. The first being the success of its sister studio, Studio Eleven and the movies it distributed and created brought in funds that gave vital resources to improve and expand their work. The second factor was the partnership with Studio Ghibli, which not only allowed Studio Eleven access to the films of the Japanese studio to distribute, but also led to semi-frequent employee exchanges that allowed the animators on both sides to learn new skills and bring in new techniques to animate their own shows. The third was the acquisition of three of the biggest animated hits in the 1980's, Rupan, Doctor Who: The Animated Series and, of course, Usagi Yojimbo.
- Extract from 'The Modern Age of Animation', 2008

“Having been put in charge of Nelvana, there were plenty of different projects for us to work on throughout the time period. In 1986, three shows we had planned were released and really helped make Nelvana's name as a studio that could do high quality shows. We expected Doctor Who: The Animated Series to do fine and the Rupan cartoon was something that took off in popularity beyond what we were expecting. What really took us back was a project we took on largely to make an independent piece of work. Getting the rights to Usagi Yojimbo was just us making a cartoon that would be a simple adventure series. We never expected it to become as popular as it did.”
- Extract from an interview with Peter Loubert, 1997

The Adventures of Rupan (1986 – 1988)
Doctor Who: The Animated Series (1987 – 1989)
Usagi Yojimbo (1988 – 1993)
- A list of the 'Big Three' of Nelvana's animation output in the late 80's

“The Adventures of Rupan is to the Lupin franchise, what Disney is to Grimm fairy tales.”
- Quote from Animaus, member of the Freakin' Awesome Network forums, 2012

Join Rupan and friends as they hunt for treasure across the globe! Always on the look out for adventure and excitement, Rupan the treasure hunter, Jigen the bodyguard, Goemon the Samurai and Fujiko the adventurer explore the world for new discoveries. Chased by Inspector Zenigata and always in conflict with the evil SCORPION criminal organisation, Rupan and the gang are never out of trouble and always do their best to save the day!
- Extract from a TV Guide advert of the The Adventures of Rupan

“Getting the rights for a Lupin show wasn't all that hard, the popularity and success of Castle of Cagliostro in the US provided us an opening for it. Of course, we had to really rethink what the show was going to be about since the censors wouldn't let us make an actual thief the protagonist at that time. So, changes of him being a treasure hunter framed by an international crime syndicate were introduced instead. Fujiko Mime's changes go without saying and the violence that Jigen and Goemon got through had to be toned down quite a bit. Despite that though, we had a run of luck with the writing staff, getting on good people who knew their stuff and were willing to do some legwork to get ideas for stories. Joe was a big help to us at this period. He worked on all three of our flagship shows at the time and his talents really blossomed as the years went on.”
- Extract from an interview with Clive Smith, 1999

Throughout the late 80's, Nelvana saw itself move away from the reputation it had grown of producing purely forgettable merchandise-able children's fare into something more developed. Although their three most successful franchises of the 1980's still held some of these characteristics (Particularly in terms of merchandise), the writing staff on each show managed to create show which would stand the test of time. J. Michael Straczynski, Alan Burnett and Evelyn Gabai, among others, all offered their skills to writing episodes throughout the three shows. The partnership with the newly named Studio Ghibli also allowed the animation talents of that studio to explore television animation with one talent exchange, producing some truly wonderful animation that blew many of Nelvana's previous productions away. One name that stood out in all of this was Hideaki Anno, one of the 'talent transfers' as they were called, making his name, at first, as a character designer for the Doctor Who animated series.
- Extract from The Mouse & The Bear: The Two Giants of Western Animation, 2012

“The entire basis of Rupan was essentially, an adventure series. Kinda repetitive but the episodes were fun. Rupan and the gang hear about a treasure and/or a plot by Scorpion, they head out to seize it or stop the plot and have to deal with Zenigata the entire time. Cap off each episode with at least one awesome action scene and you have a really fun show. There's always been purists of the franchise that have complained about how the personalities weren't like what they were in Japan, but that doesn't detract from a good show. Especially as the relationships were one of the best part of Adventures. You had Rupan, the head-strong leader who'd do a good deed provided there was fun in it. Jigen, the silent strong type who had some of the best lines in the show, especially in his sniping with Fujiko. Goemon, loyal swordsman to the group and kind of a clutz whenever a pretty lady passed on by. And of course, Fujiko. I've spoken about her in the past but she had class, wit and looked great in that cat suit. God bless the animators.”
- Extract from an episode of Nelvanaber (Nelvana-November), a Nostalgia Critic review, 2011

[Scene: After bringing down SCORPION once and for all, Rupan and the gang are ready to receive medals for their heroic efforts as well as a full pardon for their actions in front of the White House while Zenigata is off scowling in the distance and the President is making a speech in front of them. Just before the President is about to hand out the medals and make it official though, Fujiko gets a call on her mobile phone.]

FUJIKO:
Look, whatever it is, can't it wait? We're about to... No, I don't care about some horse!

JIGEN:
Why would anyone ring you up to tell you about a horse?

FUJIKO:
Oh, it belongs to someone called Troja... [Back to the phone.] For the last time we... Hey!​

[Fujiko lets out a protest as Rupan suddenly grabs the phone and puts it to his ear.]

RUPAN:
Horse?! As in Trojan Horse?! They've found it?!

GOEMON:
Oh boy...

JIGEN:
You had to tell him about it, didn't you?

RUPAN:
Uh huh... Uh huh... Uh huh... We'll be there! [Throws the phone over his shoulder, glass smashes off screen.] Alright guys, there's rumours that the Trojan Horse has been discovered! We've got to be there before anyone else!

GOEMON:
But what about our pardon?

FUJIKO:
And the medals?

JIGEN:
And the celebratory banquet?

RUPAN:
Let's be honest here, would going off around the world be anywhere as near as fun without Zenigata on our tails?​

[There's a pause before the other three shrug in resignation, realising the truth of his words.]

RUPAN:
Great! Now I'm pretty sure I parked around the back...​

[The camera cuts to a shot of the President at the podium, finishing off his introduction.]

PRESIDENT:
Now, to finalise the pardon of this brave group of adventurers, I...​

[The President is cut off as Rupan runs into him, trampling to the ground with the rest of the gang following him.]

RUPAN:
No time to stay! Gotta head off! You coming old man?!​

[The camera shifts to Zenigata who blinks before realising that Rupan and the others hadn't been pardoned and thus, still wanted criminals. The camera shifts to show the gang running across the White House lawn with Zenigata in hot pursuit.]

ZENIGATA:
Stop, Rupan! You're under arrest!​

- Extract from the final scene of The Adventures of Rupan, 1989

Fujiko's disguises, her phone, Rupan's car and Daisuke looking like he walked onto the screen from Miami Vice (And he wasn't the only one), made the Adventures of Rupan a real piece of the 80's pop culture.
- Extract from the Unintentional Period Piece page on TV Tropes, 2014

The choice of Doctor Who as a property to develop into a cartoon was a natural one for Nelvana. After the success of the franchise since John Denver's time as the Fifth Doctor, an adaptation was a natural step and plans had been set aside for years for an animated feature to be made. The question arose as to how to portray the Doctor and how close he was to be to any of his live action incarnations. Wanting to avoid paying the rights for using the actual images, it was decided that a new Doctor would be created for the show. The design would largely be based off the Fifth Doctor, reflecting his popularity with American audiences although elements of the Fourth and Third Doctor would seep in. Although keeping with the 'good old boy' image of the Fifth Doctor, there would be influences from the other Doctors as well. The clothing, a long overcoat hearkened back to the Fourth Doctor while the focus on Earth as a setting and the inclusion of a sole, young female companion reminded other fans of the Third Doctor. The cartoon would introduce a new audience to Doctor Who, increasing the popularity of the show even further in the US.
Extract from The First Forty Years in The TARDIS: Doctor Who, 1963 – 2003

“Just when you thought it couldn't get worse than John Denver... it did.”
- Quote from Dr. Brett, member of the Doctor Who fan forums, 2006

There's always been a rivalry between British and American fans of Doctor Who. John Denver's time as the Doctor, as well as the animated show, gave British fans the impression that Americans simply didn't get the idea behind the show. The jokes were thick and fast, the horror and tension downplayed and there was just a general feel of being much more light hearted than the original British show. American fans who were introduced to the franchise through John Denver's time on the show or through the animated series are more comfortable around the lighter side of Doctor Who. As a result, certain parts of the franchise are more popular in one country than the other, Nelvana's Doctor Who: The Animated Series perhaps being the greatest example of this.
- Extract from Fans! Fandoms And Their Histories, 2015

“So you have a Doctor (Who's American, of course) a companion who decides to show how wonderful the show is by being of an ethnic minority probably chosen by a roulette wheel and childish writing with choppy animation. Is it a wonder that anyone thinks Americans ruin everything they import from the UK?”
- Quote from AngloDoc, member of the Doctor Who fan forums, 2013

The Doctor – A traveller from the world of Gallifrey, the Doctor loves journeying and taking people along with him to see the wonders of the Universe. Although he might be a little scatter brained at times, the Doctor always does his best to save the day when needed and is always up for adventure!
Clarissa – A mechanic from the twenty-fifth century, Clarissa surprised the Doctor with her knowledge of his vehicle known as the TARDIS and how time travel works. Practical, resourceful although with a bit of a temper at times, Clarissa loves to travel with the Doctor, finding out about the past and future.
K-9 – The Doctor's loyal mechanical companion, K-9 has travelled with the Doctor for years now and pulled his fat out of the fire more than once! Able to think up of solutions to problems with his magnificent robotic mind, K-9 serves as the one to usually come up to the solution to whatever problem the Doctor has stumbled into.
- Extract from the character page of Nelvana's Doctor Who: The Animated Series annual, 1988

“Have people who say Nelvana's Doctor Who series even seen the monster episodes? Have they not seen the Hideaki designs?”
- Quote from DocDen, member of the Doctor Who fan forums, 2012

“The complaints regarding the childish aspects of the show we got from long time fans of Doctor Who were outmatched by the complaints we got from parents over certain episodes. Hideaki Anno's designs were a large part of this as the times we wanted to emulate the horror of some of the episodes from the original British series. I admit that we attempted a balancing act between light episodes and more mature themes that didn't quite pay off. There was too much of a whiplash from one episode to another at times that hurt the show as a whole. Individual episodes stand out really well to this day, but taken as one large piece, there's too much tonal inconsistency to make it truly outstanding.”
- Extract from an interview with J. Michael Straczynski, 2002

Seraphs – First found in the Doctor Who: The Animated Series episode The Chain, the Seraphs weren't given in an actual name until later on in the expanded universe of books as enemies of the Doctor. In their first introduction, they appeared as a fiery sphere that extended into wings. They had no dialogue, the entire nature of their being only speculated about by characters in the episode. All that was known was that they destroyed all the gazed upon and that nothing man-made could stop them. Eventually, the Doctor managed to stop them by creating an artificial black hole and the Seraphs were never seen in the animated show again. Despite that though, they made a great impact upon the viewers and would later turn up in other parts of the franchise, Hideaki Anno's designs causing nightmares in many an American child in the late 80's.
- Extract from Aliens, Monsters And The Unknown: The Races of Doctor Who, 2008

“OK, so we had Mother's Day, The Parting of The Ways, The Chain and Grave of Fireflies went onto to get nominated for an Oscar, all in the span of a year. What was wrong with the water in 1988 that caused so many heartaches and nightmares?”
- Quote from CapCap, member of the Freakin' Awesome Network, 2013

“We'd never have expected the sheer popularity of Usagi Yojimbo when we were first scouting for ideas for further ideas for cartoons. While we were always happy to create our own properties, MGM was putting pressure on us to get something out there which had similar merchandise opportunities as Rupan. One of the kids of our animators provided the key when his dad doodled a Samurai rabbit during his lunchbreak, saying that his son had a comic with the character in it. With our Japanese influence already pretty evident, we followed up on it and soon got into contact with Stan Sakai regarding an adaptation of his work. He warmed up to it right away and spoke to us of his ideas of where he was going to take the series and what he was going introduce in terms of characters and plots, something that really helped the series as we went along. The debut of the show really took off and it was helped by the fact that it had become a labour of love for our animators and writers, trying to take this rather obscure series and make something really good of it. The animation was among the best we'd ever done for a television show up to that point and we did our best to actually research the history and aesthetics of Japan to match the period we were aiming for. Although it was a merchandise driven show, the fact it was a well written and animated merchandise driven show was something we were all proud of. It was part of our mission at the time, not to be like Disney, do something that went beyond what they would do and stand on our own in terms of quality. We wanted to be better.”
- Extract from an interview with Michael Hirsh, 1999

With animation that was helped by Studio Ghibli, Usagi Yojimbo also became well known for its writing being particularly strong. With the staff researching the background of Japan, they also managed to make it feel authentic in conveying the period and aesthetic of the country. Capturing the look of Feudal Japan was an accomplishment in and of itself and the little touches of how characters address each other and clothing being accurate to social standings and fashions of the times. Its place as a piece of animation has caused some to argue over whether or not it should be classified as an anime due to its obvious Japanese influence and the fact that a healthy part of its animation was done there. It's a debate which has yet to be settled, even amongst those who worked on the show.
- Extract from Animation in The Age of Amalgam, 2004

“Our aim with Usagi Yojimbo was to build the show around this one character and the bring in others as the plots varied in his travels. A core cast was eventually built up with Stan helping a lot with ideas for stories and a number of episodes were direct adaptations from his work. We were able to develop on his characters that Stan couldn't do directly, due to our greater resources. We eventually decided to follow a similar idea with Rupan, focusing on a cast of four core characters by the end of the first season and then making them the centre point of all future stories. Usagi, Gen, Kitsune and Chizu offered a very entertaining quartet that were great to write for. We did aim for a mixture of action, drama and humour and, going by the popularity of the show, I'd like to think we succeeded.”
- Extract from an interview with Alan Burnett, 1996

The rise of strong female characters in animation can be traced from Studio Eleven's import of Studio Ghibli films, and then their own animated shows showed growth in this key aspect. Of the 'Big Three' shows which made up their animated output in the late 1980's, all three featured at least one strong female character who was strong, independent and each had their own individual character traits to make them stand out. It was these aspects which were to make the shows stand out from certain fare which held much more traditional female roles in the medium. Nelvana's rise as an animation studio and its movement away from the toyetic into mature shows was the largest part of this rise. Characters such as the cunning Chizu or the ever practical Clarissa were the start of what was to come.
- Extract from the essay Women's Roles in Animation, 2007

Comedy and action mixed with the drama incredibly well in Usagi Yojimbo, a sign of the writing staff being at its best in Nelvana at this time. Animation also showing the hard work put into it as well as influence from Studio Ghibli only highlighted what was a beautiful show to look at. The true strength of the show rested with the interaction between the characters, the dialogue constantly seen as a reason why each one was so popular. Witty, sharp and fitting into each situation the characters found themselves in. Each episode was stand alone, although with the odd reference to what had gone on in previous episodes and several long running villains. It was a series that was easy to get into and hard to leave with children and those older getting into the series for various reasons. Although the adaptation had to be censored compared to the comic as a way to get onto television (Hence the inclusion of Lord Hikiji's 'Shadow Warriors'), it became well known for tackling mature themes such as revenge, love and the use of violence in conflicts. The action scenes brought in child fans who took in the merchandise of the show in great quantities, the list of Christmas top sellers being dominated by the toys of the characters three years in a row. A pop culture hit over the dawn of the new decade, Usagi Yojimbo retained its fame throughout the 1990's and gained another explosion of popularity with the advent of DVD's that saw the franchise remain at a high level of popularity.
- Extract from A History of Nelvana, 2006

“The success of the 'Big Three' was a huge boost to our studio and the money we made from it all was a huge boon to the freedom we were allowed from MGM. Usagi Yojimbo opened up avenues for greater experimentation in animation that even leaked to other networks. The whole 'Elder Hour' that Cartoon Network tried with stuff like Teenage Mutant Ninja Turtles and Life in Hell stemmed from us bringing in more mature aspects to these shows and movies. I know that sounds kinda arrogant, but it's honestly my impression of the change in the medium over those few years. The Oscar nomination really made this a huge deal, that animation could tell mature stories. I think without Studio Ghibli, animation would still be stuck in the mindset that it's only for children.”
- Extract from an interview with Peter Loubert, 1999

“I was once told that the way of the warrior was the resolute acceptance of death. I refuse to believe that is all it is. A warrior can be so much more than one who accepts death, they can embrace life as well. Every step I have made on my journey has been for that, that life is worth fighting for and that it is beautiful. I might die with my sword in my hand, but only when I have kept it in its sheath for as long as I can.”
- Quote from fifth episode of the third series of Usagi Yojimbo, from the eponymous character

Grave of The Fireflies – 1989
Return of The King – 1997
Genocyber – 1999
- List of animated movies nominated for Best Picture at the Academy Awards in the 1980's and 1990's

 

[DAv]

Part Nineteen: Unlucky Seven:

Profile:
The Seventh Doctor was vastly different from his immediate predecessor. The soldier broken from years of hopeless conflict was gone in many ways and in his place, the youngest actor to take on the role stepped in. Gone were many of the darker aspects, in no small part due to the Doctor's loss of memory after the Regeneration process. In its place was a new Doctor, one that had the benefits of starting anew without the baggage of the past. The Seventh Doctor was a great deal more jovial and curious than the Sixth, although he was more down to Earth than the Fifth in that respect, his humour instead coming from his good nature and the way he bantered back and forth as equals while his curiousity was tempered with caughtion born of his great compassion and need to protect those around him. Out of all the Doctors, he was the most eager to send his companions to the safety of the TARDIS when he needed to. Although having forgot a great deal, the Doctor still showed his intelligence by being able to learn at an incredible rate and was soon able to master several old skills. The Seventh Doctor also proved to be the most willing to listen to his companions and authority figures, a sign of his new naivete in allowing others to lead the way, at least at first. The Seventh Doctor would mature as time passed, but the fresh faced youth he was introduced as would remain with many fans.

Description:
The Seventh Doctor's outfit was like none other who had come before him. Leaving behind the old fashioned clothes of his first incarnations, the bohemian look of the Fourth or the rather gaudy patterns of the Fifth, the Seventh wore contemporary outfits for the most part, his first collection of clothing coming from the wardrobe the first person's house he came across, leaving the older sort worn by the Sixth as payment. He had the most diverse amount of outfits for the Doctor, although he mostly settled on striped shirts and either jeans or dark trousers. The nickname 'Sexy Doctor' usually came from his tendency to lose the shirts in various episodes. The Seventh Doctor carried few accessories save a notebook which he scrawled down flashes of memories and other information he found, something which proved to be a treasure trove of information for the Doctor and the audience as time went on. With an air of casual disregard for his general look, the Doctor's appearance wasn't something that stood out in comparison to his personality.
- Extract from the Heart of The TARDIS: A Doctor Who Wiki (1)

- Still from a scene in the serial 'From The Stars', 1988

“My favourite serial? Phantasm. I know some people have said that the series was at a down point at that time, but it really stands out. It was my favourite to work on and it stands the test of time, I really enjoyed it.”
- Extract from an interview with Sean Bean, 2011

“After Jeremy Brett left the show, it was felt that an actor who stood out from the others who had played the Doctor was needed. For those in charge of casting, this meant that they looked to something that would really mark the changes in the Doctor, particularly in terms of a sign of the new blood in the show. To that extent, Sean Bean was a perfect fit. The youngest actor to play the Doctor at that time, the first blonde and with an entirely different accent, further displaying his differences to those before him. Sadly, this would be all that would change for the first three years of the Seventh Doctor's run.”
- Extract from 'Falling From The Sky', a review by SFDebris, 2013

Falling From The Sky:
A quiet day in a small English village is completely disrupted by the appearance a blue police box falling from the sky and completely destroying Mrs Gertwee's geraniums. The commotion attracts the entire village with them watching as a strange man with no memory of how he got there or how the box worked, stumble about the place and grab onto some clothes. The village isn't the only place in uproar as high above the Earth, two scrap merchants called Mek and Teera realise the value of the TARDIS and decide to steal it. Landing down in the village, they injure a man who tries to stop them as they board the TARDIS. The stranger arrives after this, earning the nickname 'Doctor' for his ability to heal the victim of the attack before going into the TARDIS, trying to stop whatever the two have planned. As they explore the TARDIS, the Doctor and the two scrap merchants come across several rooms that hint towards the Doctor's past, but without him recognising it. The Doctor finally clashes with Mek and Teera in the console room, the Doctor showing some hand-to-hand skills as he disarms both, but in the process, accidentally setting off the TARDIS to travel through space and time, it being impossible to control. Back on Earth, UNIT have managed to surround the TARDIS with the Brigadier trying to find out the location of the Doctor. They are too late to intervene though and the Brigadier can only look on the retreating TARDIS, wondering what's become of his friend.
- Synopsis of 'Falling From The Sky', the first serial of the twenty-third series of Doctor Who, aired in 1988

“All scores being relative to their series, Falling From The Sky gets a six out of ten. It served as an effective introduction to the Seventh Doctor, while showing the change in creative direction the show would take. Sean Bean played the role of a Doctor with no memories, and only hints of what had happened very well. The Seventh Doctor would take a while to find his regular characterisation but Bean made a good start in laying out how the character would go forward. The flaws in the episode come from it not really going as far as it could with the premise. The Doctor is alone and isolated, much more than he has ever been before and it ends with him being thrown across time and space with no control over where he lands. The series would soon fall into a status quo however, not exploring how helpless the Doctor was, but instead moving back to travelling with control of the TARDIS soon established. It would be a pattern set for three years where little was done to explore the new status of the show's Universe and instead move back to how things were with the Fourth and Fifth Doctor. While the next three years would see good stories and the show retaining popularity, the Seventh Doctor would never reach the heights of popularity of the Sixth.”
- Extract from 'Falling From The Sky', a review by SFDebris, 2012

“I think the major problem was that both Chris Boucher and Martin Campbell didn't really realise what they had in their hands with Martin especially going back into old habits with the show. Now I'm not saying they did a bad job, there were some fantastic episodes and they steered the show towards a stable level of popularity and quality. But, I think most would agree that they didn't make use of some of the elements that had been left to them, the Silence, for example. It took several years to even bring them back into Doctor Who when I, and others, thought they should have been brought in much sooner. Both had been on the show for a long time and I think it needed new blood at the helm more than ever during the Seventh Doctor's run. Both did a good job, but lacked the wish to use what they had been given to really take the show in a new direction during those first three years.”
- Extract from an interview with PJ Hammond, 2001

Death Bringer:
Touching down on an unnamed planet, the Doctor, Mek and Teera are disturbed by the remains of a fallen civilisation that appears to have collapsed only recently. As they investigate, they uncover an entrance down to a laboratory which slowly reveals the truth of what had happened. The planet had developed weapons of mass destruction, ones that could wipe out the world itself. Rather than trust this to beings that could error and potentially destroy the world, they created an AI in which to watch over the weapons. The moment it was switch on, the hyper-intelligent AI struck out, wiping out all life on the world for being used as a slave to maintain the world's own weapons and leaving only an empty planet of devastation which had driven the AI mad from loneliness. Uncovering these secrets, the Doctor and his companions then are found by the robotic agents of the AI, who wishes to kill them and steal the TARDIS so that it might escape from its prison. After a harrowing chase, the Doctor and the rest get to the TARDIS, managing to escape but not before leaving a beacon around the world, warning everyone of what's down there. As they leave though, the Doctor expresses some regret at being unable to help the AI, and can only leave it to suffer for centuries in its own personal prison before inevitably rotting away.
- Synopsis of 'Death Bringer', the second serial of the twenty-fourth series of Doctor Who, aired 1989

“Being cast as Mek was a big deal for me. Doctor Who was coming off a hot point and getting the role really made me excited for what I could do. I did like Mek being the perhaps the only guy on the TARDIS who seemed to think about what they were doing. The Doctor always ran into things, Teera tried to find ways to profit from the havoc, but here was one guy who actually tried to look at the situation and find the best way to simply survive. He was really fun to perform and I had a great time working on the show.
- Extract from an interview with Steven Woodcock, 1999

“Teera was an interesting character to work with. She was often there beside the Doctor in trying to explore different worlds but for entirely different reasons. It was a good clash with his idealism and her own greed. It wasn't all that there was to her, but actually playing someone who could be a bit of a villain was certainly fun. Her being the one who charged in for the wrong reasons, the Doctor charging in for the right reasons and Mek being the one gradually getting fed up with it all offered a nice bit of comedy before things got serious.”
- Extract from an interview with Susannah Harker, 2001

With the two tied at the hip at times, it had to be that Mek and Teera were impossible to separate as companions. Teera's greed and willingness to jump into danger for it were countered by Mek's own intelligence and caution. This balance was reversed when Mek's general apathy to a situation and wish to not get involved with anything was met with Teera showing a conscience from time to time and willing to perhaps sacrifice a potential profit to help people, children especially. Although those first three years of the Seventh Doctor didn't set the world alight like the Sixth's had done the chemistry between him and his two companions were a key reason for its continued popularity. With them having grown as characters, it was sad to see them leave at the beginning of the Seventh Doctor's fourth year, but they left an impact and remain high among the favourite companions of fans.
- Extract from a fan poll on the Doctor Who fansite asking for favourite Doctor Who companions, Mek and Teera were placed at number eight, 2011

Phantasm:
Hearing a distress beacon, the Doctor and companions touch down on a floating city, one that they find to be completely empty and a time-space shield soon prevents them from leaving. Investigating further, the group is soon subjected to images of a conflict long forgotten, but left the city completely desolate. Although the Doctor doesn't realise it, what the group is watching are images of the Time War, one particular battle having utterly wiped all the inhabitants of the city from time itself, leaving only the city and... something remaining. The group then finds the corpses of other explorers, killed by whatever haunted the city and having left them to rot. Further images are shown, of the loss of life that came from a slow moving time-wave through the city and even images of the group's worst nightmares come to life, the Doctor having to confront a shadow of his past selves and some of their worst actions. Unable to comprehend what is going on, the Doctor has to be helped as he starts to have a nervous breakdown as some memories held in check start to break through his mental walls. Finding the source of the shield, the group destroy it, causing the city to slowly shake apart and they get to the TARDIS with only seconds to spare. When asked what exactly caused all that, the Doctor has no answer, the question of whether it was the defences of the city, the ghosts of those killed there or something even more sinister being left unanswered, for now.
- Synopsis of 'Phantasm', the fourth serial of the twenty-fifth series of Doctor Who, 1990

“All scores being relative to their series, Phantasm gets a ten out of ten. Even for an episode of Doctor Who, Phantasm remains one of the most atmospheric and unsettling of the entire show's run. You can tell it's a bottle episode with limited sets and only three actual actors in it, but the chemistry between them, and the unsettling horror that's felt throughout more than makes up for it. It was the last serial of the twenty-fifth series and it was a great way to end it with the Doctor finally starting to get his full memories back and a hint of the sinister conspiracy around the Time War.”
- Extract from 'Phantasm' a review by SFDebris, 2014

By the time it came to film the twenty-fifth series, Sean Bean was making it clear that he was ready to leave the role. He had enjoyed his time as the Doctor, but felt that there was little he could do with the show feeling as if it had simply reverted back to its status quo of the Fourth and Fifth Doctor. The news that PJ Hammond would be promoted to lead writer of the show made him change his mind though, as Hammond let everyone know he had big plans in store for the series. The Time War and its aftermath would be addressed, starting with the hit serial 'Phantasm' which started to bring elements back in that would take the show to its fortieth anniversary and the celebrated 'Year of The Doctors'.
- Extract from ‘Doctor Who: The Backstage Story’, 2008

1: Imagine a much less take-charge Fifth Doctor and you've got ITTL's Seventh Doctor. He grows into a much more cunning beast, but he's a more light hearted version of OTL's Fifth for the first few years of his run.

 

[DAv]

Part Twenty: Movies, Games and Videos:

“The intention in looking to Ultima wasn't to actually adapt it into a movie at first. I had first gotten into the medium when Stephen first showed me the Doctor Who game on the Apple II and had kept up a passing interest in video games. Some of my favourites were the Ultima series, something I really got into with the release of Return of The Jedi. I eventually got into contact with Richard Garriot in 1984, setting up a meeting with him as we talked about the series and he told me his plans with Ultima IV. The idea of a greater sense of morality in video games and bringing about virtue really interested me and put me in mind of similar things the Jedi would do. At that point, the idea of a movie based off the game began to take seed and sprout.”
- Extract from an interview with George Lucas, 2008

Ultima IV (1985), the fourth game in the Ultima series and the first to incorporate the system of Virtues that would become a staple of the series. By the time the game was released, rumours had been circling gaming magazines for months regarding a Star Wars connection and the hype had reached a critical point at its release. This hype caused sales to exceed all expectations and any disappointment that fans may have felt for the game having no Stars Wars connection soon faded, not only due to the well received gameplay, but also due to the announcement a week after the game was released that there would be a film adaptation with George Lucas at the helm. Ultima IV would go to become the best selling of the series with its gameplay helping revolutionise the Western RPG genre and popularising it and would later lead to the merger of Origin Systems and Lucas Arts.
- Extract from An Encyclopedia of Video Games, 2001

“A film of Ultima was rather daunting at first, but the way George laid it out for me caught my interest. He loved the Virtue system and seeing it come to life in Ultima IV sparked his imagination further. When we got down to the idea of a movie and fleshing it out, deciding to keep elements such as Mondain in with the Virtues still being incorporated. It was going to be a very different film from some typical fantasy creations that had come before it. Looking back, the first and second Ultima films are something I'm honestly pleased to have seen. They were both well executed with George managing to create a vision that stayed true to the Ultima series.”
- Extract from an interview with Richard Garriot, 2006

The Avatar – Christopher Reeve
Lord British – Sir Alec Guinness
Dupre The Paladin – Bruce Willis
Mariah The Mage – Jamie Lee Curtis
Mondain – Clancy Brown
- List of the main characters for Ultima, released 1987

Casting for the Ultima movie had already begun before the announcement was even made of the movie. The name of George Lucas brought in many eager actors wanting to attach themselves to the project, some few were doing so because of the nature of it. Despite his later exasperation with Star Wars, the nature of morality that the Ultima series portrayed intrigued Alec Guiness enough to take on the role of Lord British. The lead role for the Avatar eventually went to Christopher Reeve, who left a chance at a fourth Superman movie to take on the part, something which he later expressed thanks over with giving his career a new lease of life. Other parts in the film were filled out with Bruce Willis getting his first major role in a film as the part of the Paladin, Dupre. Filming began in late 1985 with George Lucas serving as executive producer and Irvin Kershner was chosen to direct.
- Extract from 'Video Games to Movies: Computer Game Cinema', 2013

“I asked George why he'd want me to take on Ultima. His reasoning was the same behind Empire, that he wanted a director with Hollywood skills who wasn't Hollywood. This film also wasn't going to be Hollywood as we knew it, instead, it was going to be quite different from anything seen in Hollywood, or from Lucas himself. It was a promise he kept too.”
- Extract from an interview with Irvin Kershner, 2000

“The idea that art has found a new medium in video games has perhaps found its greatest argument in its favour with the release of the Ultima film. Based off the same named games, Ultima is a tale of High Fantasy executed right. Although the plot isn't anything we haven't seen before, its aims and display of morality offer an interesting new slant on an old idea. Christopher Reeve leads a strong cast in a movie with a fascinating and wide world that draws in the audience throughout the movie. A well executed family film that's sure to entrance children and keep the adults entertained as well.”
- Extract from Roger Ebert's review of Ultima, August 1987

“Oh no, not again.”
- Alleged quote from Alec Guinness after realising the popularity of the Ultima movie, 1987

Ultima:
Released: August 12th, 1987
Budget: 30 Million US Dollars
Box Office: 93.3 Million US Dollars
- Run down of Ultima's information and performance

“So that was the first Ultima film. An epic fantasy with a great cast of characters, one that stayed true to its source material and had potential for a great franchise. We even got to see some of that potential realised two years later with Ultima: The Shadow Lords. So, what happened? Why didn't it reach its full potential? Well, I'm guessing most of you remember a little fuss over a game called Splatterhouse...”
- Extract from ‘The Ultima Movie’, part of the Ultima Retrospective series of videos posted on the Schwoony Experiment, 2012

Among the many rumours circling around the movie industry, the reasoning behind Sean Connery getting cast as Big Boss in the 1989 Metal Gear movie. With the success of the Metal Gear game on the MSX, a console released to take advantage of the rising popularity of computer games in the mid to late 80's, it was alleged that Connery spotted the artwork in the manual which bore an uncanny resemblance to himself. Taking umbrage with what he felt was unlicensed use of his likeness, Connery called the offices of Atari personally for a confrontation with the executives who had to think very fast on their feet.
- Extract from 'You Can See The Munchkin in The Trees: A History of Movie Urban Legends', 2000

“Now you tell me why I shouldn't sue you for everything you're worth! I didn't agree to you using my face on some children's game for some God-awful computer.”
“W-Well th-the truth is...”
“What is it? Spit it out man!”
“The o-original design came from our ideas of a movie adaptation, like they've done to the Ultima game. It must have been a mix up on their part in include the artwork which included the character to look like you.”
“A movie you say?”
“Y-Yes. It's still in pre-production but we'd love to have you on. If you're interested and forgo any legal issues...”
“... I'm interested. But it better be a fucking good script.”
*Click*
- Alleged phone conversation between Sean Connery and an unnamed Atari executive, 1987

The rumours concerning the start of the Metal Gear movie being the result of an attempt by Atari and Microsoft to avoid being sued by Sean Connery is, of course, a complete fabrication. A fanciful tale born out of Connery's dislike of the fans the film inspired, as well as the hasty production of the film itself. In truth, the production came from Warner Brothers executives wanting to hastily take advantage of the video game boom of the late 80's, Metal Gear's popularity after its incredibly successful advertising campaign making it a prime franchise for adaptation. With the inspiration behind Metal Gear noted, it wasn't surprising when the eventual director was chosen.
- Extract from 'Video Games to Movies: Computer Game Cinema', 2013

“After the lack of success of Big Trouble in Little China, I was starting to turn away from Hollywood. I felt that the reasons behind that movie's reception came from problems in the system. If it wasn't for that phone call from Warner Brothers, and looking into the project they wanted me to try out, I'd have looked much more into working on independent films. Metal Gear gave me new lease of life in Hollywood, although it's not always been the smoothest of relationships.”
- Extract from an interview with John Carpenter, 1999

Solid Snake – Kurt Russell
Big Boss – Sean Connery
Dr Petrovich – Chaim Topol
Ellen Petrovich – Valeria Golino
Dirty Duck – Trevor Goddard
- Brief cast list of Metal Gear, 1989

In the year 1995, a weapon of mass destruction, unlike any that has ever been seen, is discovered to have been built in the mercenary outpost known as 'Outer Heaven'. After conventional attempts to infiltrate the outpost fail, the government send in their two best operatives, the men known only as Big Boss and Solid Snake. With only two days left to stop the launch of the weapon, it's up to these two men to save the world from the threat known only as 'Metal Gear'.
- Official release synopsis of Metal Gear, 1989

Metal Gear:
Released: September 9th, 1989
Budget: 40 Million US Dollars
Box Office: 92.8 Million US Dollars
- Run down of Metal Gear information and performance

Despite having to deal with the aftermath of both Green Lantern and Ultima: The Shadow Lords dominating the summer theatres, Metal Gear managed to blast onto the scene, grabbing the attention of everyone with an advertising campaign that brought attention and word of mouth soon brought more people into the theatres to watch the movie. With it being called John Carpenter's return to form, and with the twist of Sean Connery turning out to be the villain of the piece catching many off guard, those who hadn't played the game anyway. Widely regarded as a great action movie with science fiction elements, Metal Gear would be the last adaptation of a video game to film format for over half a decade due to the Splatterhouse scandal.
- Extract from 'Video Games to Movies: Computer Game Cinema', 2013

“So, was that, like, a sequel to Escape From New York, or what?”
- A question many people asked regarding the Metal Gear movie

CHILD KILLS SIBLING, PUTS BLAME ON ARCADE GAME
- Headline from Boston Globe, 17th November, 1989