A Doctor Who-themed trailer promoting the return of comedy panel quiz show Have I Got News For You has been made available to view online by the BBC.

The trailer, which has been airing on TV, shows the TARDIS arriving in front of the Houses of Parliament - and a visibly aged BBC News political editor Nick Robinson! - in the year 2063 and team captains Ian Hislop and Paul Merton emerging in Fourth Doctor-style garb to glean from a copy of a final print edition of a newspaper what has changed in the world. (Not much, apparently!)


This isn't the first time the show has had such a strong Doctor Who connection - and, indeed, a Fourth Doctor one at that. Tom Baker was the guest presenter on the third edition of the 36th series, which was first broadcast on 31st October 2008. (Staying in the sci-fi world, William Shatner also made a memorable appearance as guest host on the seventh edition of the 43rd series, first broadcast on 25th May 2012.)

Have I Got News For You will start its 46th series on BBC One on Friday 4th October at 9pm, with David Mitchell as the guest presenter and Danny Baker and Cathy Newman as the guest panellists. The series will comprise 11 episodes.

The twenty-second in our series telling the story of the creation of Doctor Who, from conception to broadcast.

By the end of September 1963, Doctor Who finally existed as a television programme. After months of meetings, format documents, script development and occasional arguments, a production team was in place, the four leads had been cast, and the début serial had been decided upon as Anthony Coburn's four-parter mainly set in the Stone Age. On Friday 27th September, director Waris Hussein had shot the opening instalment of Coburn's serial at Lime Grove Studios – the very first episode of Doctor Who to be made.

However, it was an episode that would not be transmitted on British television for another 28 years. 

It had always been part of the plans for the production of the series that the opening episode could, if necessary, be remounted if it was deemed not sufficiently strong for the launch of the new programme. The costs would be met from the BBC Pilot Fund, and the production team would be given the opportunity to have another attempt.

By Monday 30th September 1963 – exactly 50 years ago today – it was clear that this would indeed have to be the case. The BBC’s Head of Drama Sydney Newman, the man who had driven forward the creation of Doctor Who, had viewed the studio recording from Friday evening, and he was not impressed.

Newman’s thoughts on the pilot episode survive in the BBC Written Archives, scribbled down on the back of two pages of script for An Unearthly Child while he viewed the recording. Newman had concerns or observations about many aspects of the production, such as the music, the camera work and the end credits, but his biggest concern – and the aspect that would perhaps show the strongest change between the pilot and the transmitted version of An Unearthly Child – was with William Hartnell’s characterisation of the Doctor.

“Old man – not funny enough,” reads one of Newman’s notes, jotted while the action unfolded in front of him. And again, later – “Old man ain’t cute enough.” Newman decided that the character of the Doctor needed to be softened and made more sympathetic, along with other changes to the episode, and made the decision that producer Verity Lambert, director Hussein, the cast and crew would simply have to try again. As Newman later told Doctor Who Magazine:


More than 40 years after the pilot recording, in the Doctor Who: Origins documentary released on DVD in 2006, Hussein recalled how the news was broken to him and Lambert.


Ian Chesterton actor William Russell remembered the events of the pilot’s rejection somewhat differently, telling Doctor Who Magazine that the cast and crew had all been gathered together to watch a showing of the recording, along with Newman:


Whatever the exact circumstances, what was clear was that work on Doctor Who's first episode would have to start afresh. Incredibly for a series of which 106 transmitted episodes from the 1960s are currently missing, from an era when even broadcast television programmes of high esteem were regarded as ephemeral and disposable, in the late 1970s a 16mm film recording of the complete studio session for the pilot episode was found to exist in the BBC Film Archive. In the early 1990s this session was edited together into a finished episode for the first time, and finally given a television broadcast on BBC2 on Bank Holiday Monday 26th August 1991, as part of a special day of programming called The Lime Grove Story, marking the closure of the studios.

While the first episode would have to be remade and improved, that didn’t mean that work on subsequent episodes had ceased. On the afternoon of Monday 30th September 1963, Lambert held a meeting in her office to discuss the special effects that would be required for the story that had now been promoted to second in the running order for Doctor Who – the post-apocalyptic science-fiction tale written by Terry Nation.

Nation’s serial would ultimately help to cement Doctor Who’s legacy, and ensure the series would still be around and popular 50 years later. However, at this stage there was still no certainty that it would even make the screen. Despite the ambitious plans for a 52-week run, by the end of September the Controller of Programmes for BBC1, Donald Baverstock (as he now was, with BBC2 having its own separate controller in Michael Peacock, despite being some months away from launching), still hadn't guaranteed Doctor Who a run of any more than four episodes.

Doctor Who was at last under way, but its existence was already hanging by a thread.

The twenty-first in our series of features telling the story of the creation of Doctor Who, and the people who made it happen.

After five days of rehearsing, the cast were ready to go before the electronic cameras for the recording of the first episode of Doctor Who, which took place on Friday 27th September 1963 - exactly 50 years ago today.

Later known as the pilot episode, this recording was intended to be shown as the first episode of the new series.

Doctor Who was to be recorded in Studio D at Lime Grove in west London. Opened in 1914 by the Gaumont Film Company, Lime Grove was a film studio converted for television. Bought by the BBC in 1950, it would be home to some of the nation's most-loved programmes for over 40 years.

Studio D was 5,300 sq ft, about 83ft x 64ft. Long-running series broadcast from here included What's My Line?, Sooty, Dixon of Dock Green, Blue Peter, Steptoe and Son, whose theme was composed by Ron Grainer, and Britain's first soap, The Grove Family, which took its title family from the studios, was created and written by Jon Pertwee's father and elder brother, Roland and Michael, and whose cast included Peter Bryant.

Television production in the 1960s followed a strict pattern. Overnight, the sets for Doctor Who were rigged following the plans drawn up by the designer, Peter Brachacki. Over half the studio was taken up with the interior of the Doctor's time and space ship, the TARDIS. Built by freelance contractors Shawcraft Models (Uxbridge) Ltd, the set featured a large hexagonal unit strung from the ceiling. The main console took up a large space, consisting of six instrument panels and a pulsating central column. Other sets included the school classroom and the junkyard, which featured the TARDIS prop.

Once the sets were rigged they needed to be lit. Television lighting is a skilled art which takes years of training and experience. Sam Barclay was assigned to light the episode, having just finished working on the drama Jane Eyre. As well as creating the atmosphere of the show, the lighting director also needs to make sure the characters are correctly lit by careful positioning of key lights and back lights.

Camera rehearsals took place in the afternoon. The show would be recorded as live, with just one camera break at the point the crew entered the TARDIS. This was the first time the studio crew would have a chance to run through the complete show. The senior representatives of the crew would have attended the final rehearsal the previous day and made notes to pass on to their teams. The director, Waris Hussein, supplied a camera script, with all the shots he would require listed by shot number. However, it was not until the crews started rehearsing with the cast that the pieces started to come together. In a small studio such as Lime Grove, everyone needed to be totally aware of what they should be doing, from camera operators and cable bashers, to sound boom operators, to floor managers and assistants who were responsible for making sure everyone on the studio floor was where they should be.

In the studio gallery the vision mixer, Clive Doig, would need to make sure he knew exactly which camera to cut to the recording line at each point, guided by the production assistant who would call out the camera shots. The sound supervisor, Jack Clayton, would make sure the right microphones were faded up and would mix in the special music and effects played in by the grams operator at the back of the sound booth. The technical manager would need to make sure all equipment was running correctly and in the lighting gallery all cameras were constantly adjusted to ensure they produced pictures of the same quality. Co-ordinating everything was the director. Because the show had to be recorded as live, it was essential that everything was rehearsed as much as possible to reduce the possibility of mistakes.

The cast were made up by the make-up department headed by Elizabeth Blattner, and William Hartnell was fitted with his wig. Costumes were supervised by Maureen Heneghan.

After a supper break the recording of that first episode began, with the first person to step in front of a camera being Fred Rawlings playing a policeman who, while on night beat amid mist and as a clock bell is heard to strike three times, shines his torch over the gates of a scrap merchant called I. M. Foreman, at 76 Totter's Lane . . .

It is difficult to imagine the pressures in the studio as the team brought that first episode to life. For such an innovative drama, though, problems were inevitable. The recording for that pilot episode is available to watch in full on The Beginning DVD box set. One of the biggest problems was with the doors on the interior of the TARDIS set. They refused to close and can be seen flapping open behind the main characters. Because of the problem, Hussein made the decision to retake the final half of the show. The section from the break where the crew entered the TARDIS to the end of the episode was performed again, this time to the satisfaction of the director and producer.
It had been a long process but, to the relief of Hussein and Lambert, the first episode was now in the can. It would be shown to the bosses the following week. The cost of the recording session was later estimated to have been £2,143, 3 shillings, and 4 pence (£2,143.17).

The twentieth in our series of features telling the story of the creation of Doctor Who, and the people who made it happen.

With the first scripts now complete and work well under way on the titles and music for the new series, the cast and crew began the start of the long process of turning the thoughts and ideas of the production team into a television play.

It was on Thursday 19th September, exactly 50 years ago today, that the first dramatic filming for an episode of Doctor Who took place.

In the days before video editing, complicated sequences, or items that required a lot of setting up, would always be recorded on to film. Film was a much more flexible medium than video tape, primarily because it could be easily edited.

Film was also used for sequences that needed a large set, one that would not be practical in the confines of a television studio. It was used for sequences that would not be allowed in an electronic studio, such as those involving fire or water.

The downside of film production was the cost. It was more expensive than video recording and took much longer to produce. Camera set-ups and lighting took time and sequences had to be repeated many times to get the required shots. Film then had to be developed and edited before it was transmittable.

Any film sequences needed to be complete before the studio session took place in the electronic studio, as film insets needed to be played through the studio, in real time, to become part of the complete recording. For the first episode of Doctor Who just one film sequence was needed: the shot at the very end of the episode when the TARDIS is seen having landed in prehistoric times, being overlooked by the shadow of a human.

One actor was required for this, and Leslie Bates provided the shadow of the caveman overlooking the TARDIS after it had landed, thus becoming the first actor to have his image recorded for Doctor Who, albeit only as a shadow and uncredited.

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The following day, the four principal cast members met at BBC Television Centre at 3pm to take part in a photocall for Radio Times. A small mock-up of the junkyard set and the classroom had been rigged, and it was hoped by the production team that the series would be awarded the cover of the relevant Radio Times, but this was not confirmed.


It was the first time the four cast members had met, and Carole Ann Ford remembers her feelings on the day:

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The next day, on Saturday 21st September 1963, that first TARDIS team met in a West London hall, where they would begin the very first rehearsals for the very first episode of Doctor Who.

The location was the Drill Hall at 117 Walmer Road, London, W2. The part of Walmer Road where the local Territorial Army base once stood no longer exists. The street was split in half during the late-1960s to allow a new housing project to be built, and the location where those first tentative rehearsals took place - and where Doctor Who was first brought to life - now lies in Kingsdown Close, the site occupied by a block of flats sandwiched between the Hammersmith and City Underground Line and the Westway.

Any drama had to be recorded in as near to real time as possible. Although it was accepted that a drama as complex as Doctor Who would need some recording breaks, these were very limited and had to be agreed with the programme's producer. A thorough rehearsal of each episode was needed to ensure that each recording proceeded as seamlessly as possible.
While the cast were establishing their characters, decisions were being taken on the running order of the series. By mutual consent, David Whitaker and Anthony Coburn agreed that Coburn's story The Robots should swap places in the series running order with the Terry Nation story, originally planned to be fifth in the series run. The main reason was that the scripts for The Robots were still not finished, while Nation's scripts were ready. Design work needed to be started on the story.

Looking much further forward, it was now decided to complete the first year's run with two seven-part stories and one four-part story. Nation was commissioned to write one of the seven-part stories, The Red Fort, which would be set during the Indian Mutiny.

The nineteenth in our series of features telling the story of the creation of Doctor Who, and the people who made it happen.

Production on the new series was progressing. The main cast were under contract, scripts were being finalised, and work was well under way on the title sequence.

An experimental session, testing new electronic effects for the series, had originally been planned for Friday 19th July, and it finally took place on Friday 13th September 1963, exactly 50 years ago today.

The place was Lime Grove Studio D, the studio which would become the main home of Doctor Who for its first few years of production. The main purpose of the day was to try to achieve an effect of the Doctor's spaceship, the TARDIS, dematerialising. The TARDIS prop had been built in the shape of a Metropolitan Police box, as specified in the script by Anthony Coburn. Police boxes were a common sight in 1960s London, with more than 650 in the capital. They played an important role in police work, providing a means of communication in the days long before the two-way radio. Designed by Metropolitan Police Surveyor Gilbert MacKenzie Trench in 1929 specially for the London police, the boxes were made of concrete with a door of teak. The interiors of the boxes normally contained a stool, a table, brushes and dusters, a fire extinguisher, and a small electric heater.

The replica, built by the BBC, was made of wood. On arrival at the studios on the morning of 13th, though, it was found that the prop was too big to fit into the service lift needed to transport it to the studio on the fourth floor.

One of the crew assigned to the studio that day was Dave Mundy, who remembers:
Meanwhile, after the months of behind-the-scenes work that had so far been carried out on Doctor Who, details of the new series were finally beginning to be released to the public for the first time. The BBC had held a launch for its autumn television season with Controller of Programmes Stuart Hood in Blackpool on September 12th 1963, and the following day a report on the event and the new season's shows appeared in The Times newspaper. The article mainly concentrated on the return of the controversial satirical series That Was The Week That Was, but at the end mentioned in passing:
While only a small acknowledgement in a report on a whole season's worth of programming, this is believed to be one of the first mentions - if not the first mention - of Doctor Who in the media.

Progress was being made on the scripts for the new series. The launch date had now been delayed for a further week and the show would now debut on Saturday 23rd November 1963.

On Monday 16th September, script editor David Whitaker updated the production team on the latest running order for the first few months of the show. The first three stories were unchanged. The series would begin with Tribe of Gum, followed by The Robots, and A Journey to Cathay. A story based on miniaturising the crew, favoured by Whitaker, was now slotted in at number four and had been assigned to author Robert Gould.

The fifth slot was now assigned to Terry Nation's story The Mutants. It had been commissioned by Whitaker after Nation submitted a storyline entitled The Survivors about a race of aliens who had survived an apocalyptic war. Nation's agent, Beryl Vertue, the future mother-in-law of showrunner Steven Moffat, had succeeded in negotiating a higher-than-usual fee for the writer and he was paid £262 per episode.

The sixth story had now been allocated to another established writer, Malcolm Hulke, who had proposed two stories for the series. One, The Hidden Planet, featured a world identical to Earth but hidden on the opposite side of the Sun. The other, the one that was accepted, was set in Roman Britain, just before the departure of the occupying forces.

Rex Tucker, who had been due to share directing duties with Waris Hussein, had left for a holiday in Majorca and it was decided he would not return to the project. Tucker had never been happy working on Doctor Who and it was agreed that when he returned from holiday he would move to other projects. In his place the young but experienced staff director Christopher Barry was pencilled in to direct the second and sixth stories of the series. Richard Martin was assigned the fourth.

Whitaker set out his thoughts about the series as follows:
Doctor Who Story Plan

• Tribe of Gum: Written by Anthony Coburn. Directed by Waris Hussein
Four Episodes. The story begins the journey and takes the travellers back to 100,000BC and Palaeolithic man. In this story the 'ship' is slightly damaged and forever afterward is erratic in certain sections of its controls.
• The Robots: Written by Anthony Coburn. Directed by Christopher Barry
Six Episodes. This story takes the travellers to somewhere in the 30th Century, forward to the world when it is inhabited only by robots.
• A Journey to Cathay: Written by John Lucarotti. Directed by Waris Hussein
Seven Episodes. The travellers join the explorer Marco Polo on his Journey to Cathay.
• Miniscules [sic] story. Written by Robert Gould. Directed by Richard Martin
Four Episodes. The TARDS transports Doctor Who back to 1963 but reduced in size to one sixteenth of an inch.
• The Mutants. Written by Terry Nation. Directed by Waris Hussein
Seven Episodes. The TARDIS crew land on a planet inhabited by survivors of an atomic war.
• Story Six: Written by Malcolm Hulke. Directed by Christopher Barry
Six Episodes. The travellers are set down in AD400 where the Romans are just about to leave Britain. The crew are involved in a struggle at a time when the blank pages of history occur, in an adventure full of excitement and action.

With a pilot planned for recording on Friday 27th September, work had been completed on the score for the first story. The incidental music was written by Norman Kay, a well-known television and film composer. The music was performed by a group of seven musicians and recorded at the Camden Theatre on the evening of Wednesday 18th September.

The eighteenth in our series of features telling the story of the creation of Doctor Who, and the people who made it happen.

Production on the new series was progressing. The main cast were under contract and being measured for costumes and make-up.

It was on Tuesday 20th August 1963 - exactly 50 years ago today - that Doctor Who had its first studio session.

The place was Stage 3A of the BBC's television studios in Ealing, and the event was testing for what would become the iconic Doctor Who title sequence. The designer assigned was Bernard Lodge and the inspiration for the design came from a piece of 35mm film obtained by Verity Lambert. The film had been created for the children's production of Tobias and the Angel, made in 1960, and featured a howl-round effect that impressed Lambert.


The use of howl-round as an effect had been pioneered in the late Fifties by Norman Taylor, a BBC technical operations manager on Crew 9 based at Lime Grove in London. He discovered, while experimenting with a camera looking at a monitor showing its own picture, the effect of diminishing images into limbo.
Lambert would later ask permission for Taylor to be given a credit for his work on the series. Although this was rejected by Taylor's Head of Department, R W Bayliff, Taylor was given a Technical Suggestion award of £25 for his idea.


In 2011, Palmer recalled how Taylor had brought the effect to him in his role as an Investigations Engineer, responsible for developing new operational techniques:
It was this film sequence for Tobias and the Angel that had caught the attention of Lambert and which she showed to Lodge as the type of effect she would like for the opening of her new drama series. The sequence impressed Lodge and he suggested feeding the letters from the Doctor Who title into the sequence.

Clive South, who was part of the technical team, recalls that TC3 was used to create the effect which was recorded on to film at Lime Grove. He said:
Hugh Sheppard, who was on camera for the session, recalls Taylor lighting matches to trigger the howl-round.

Geoff Higgs, who was working in videotape in 1963, talked about some of the complications in recording the sequence:
Lodge used just one part of the old Tobias and the Angel footage: the very start, the opening line that comes up and then breaks away. Everything else was new.

Complete with the Ron Grainer music, realised by Delia Derbyshire and Dick Mills, the opening sequence would become one of the most memorable and inspired in the history of British television.

A party celebrating the 50th anniversary of Doctor Who is to be held in London in November.

Organised by Jeremy and Paula Bentham together with Tony Clark, The Doc Lands @ 50 Party will be free to attend and will take place at a venue in Docklands on Saturday 23rd November, starting around 7pm after the BBC's Doctor Who 50th Celebration at ExCeL has ended that day. The party is open to all people aged 18 and over, whether or not they are going to the ExCeL event.

Jeremy told Doctor Who News: If the broadcast of the anniversary episode and any other Doctor Who programming by the BBC coincides with when the party is taking place, it will be shown on the venue's large-screen TV.

Food and drink will be available to buy at the party – although fish fingers and custard will not necessarily be on the menu!

Entry to The Doc Lands @ 50 Party will be by allocated ticket only, and capacity is strictly limited to 1,500 places. To apply for tickets, e-mail Jeremy at jjbentham@aol.com by Monday 9th September, using the subject line Doc Lands ticket applications and stating your name as well as how many people will be in your group. Before applying, though, people are urged to consider their transport options for getting home afterwards, as the party will finish late.

Successful applicants will be contacted in early November, when they will be told the exact location of the party and will be sent their group or individual tickets too.

Since the show's return to TV in 2005, the organisers have held a series of highly popular event parties in London.

Radio Times is trying to find the nation's most-loved drama series, with Doctor Who featuring in the final shortlist.

The magazine is celebrating its ninetieth birthday by creating a fantasy TV schedule made up of the most popular TV shows in history. This week, in a poll to find the best drama series, readers are invited to choose their favourite show, the one they would most love to watch on a Saturday night.

The Time Lord faces competition from some of the greats, from Brideshead Revisited to Our Friends in the North, from Cracker to Tinker Tailor Soldier Spy. Classic adaptations are also included, such as Bleak House, Pride and Prejudice and The Jewel in the Crown, as well as the soap operas EastEnders and Coronation Street. Political thrillers are represented in the form of Edge of Darkness and House of Cards, alongside crime dramas such as Prime Suspect, State of Play, Inspector Morse and Life on Mars. All-time classic Upstairs Downstairs is also nominated, with Broadchurch, Downton Abbey and Sherlock representing the recent past.

Voting is via the Radio Times website.

The seventeenth in our series of features telling the story of the creation of Doctor Who, and the people who made it happen.

Production is now well under way on the new science-fiction series, the main actors had been cast and issued with their contracts.

It was clear to the production team that a vital element of the new drama's success would be the title music and special sounds. On Monday 12th August, exactly 50 years ago today, director Waris Hussein contacted the BBC Radiophonic Workshop to discuss the requirements for the first episode of Doctor Who.

The Radiophonic Workshop had been founded in 1958, with a brief to produce effects and new music for radio and television using new techniques available in the new electronic age. It was based in the BBC's Maida Vale Studios in Delaware Road, north-west London.

Verity Lambert had by now abandoned her original idea of asking the French group Les Structures Sonores to provide the title music. A meeting with the head of the Workshop, Desmond Briscoe, had persuaded Lambert that what she needed was "something electronic with a strong beat", something "familiar, but different" - something the Radiophonic Workshop could provide. Lambert was keen to obtain the services of Ron Grainer to write the music.

Grainer was an Australian composer who had been living in London for the past ten years. After working as a pianist in a nightclub, he had achieved some success as a composer, creating the scores for a number of TV series and a couple of features films. In 1961 he had won an Ivor Novello Award for the theme to Maigret, the series based on the books by Georges Simenon. Grainer had already worked with the Radiophone Workshop when creating his score for Giants of Steam, a documentary about railways.

Assigned to create the music would be one of the Radiophonic Workshop's staff, Delia Derbyshire. She had joined the BBC in 1960 working as a radio studio manager before joining the Workshop in 1962. The music she provided to herald the start of each episode of Doctor Who is now regarded as one of the most significant and innovative piece of electronic music ever produced. That it was created in the early Sixties, in the days before multi-track recorders and commercial synthesizers, is truly amazing. Aided by assistant Dick Mills, Derbyshire created each note separately by cutting, splicing, speeding up, and slowing down recordings of a single plucked string, white noise, and the output of test-tone oscillators. The notes were then edited together on quarter-inch tape. Mixing was done by starting several tape machines simultaneously and mixing the outputs together.

Grainer was highly impressed with the final result, famously asking Derbyshire, "Did I write that?" Her reply became equally famous: "Most of it."

Another important element of the show would be the special sounds. In charge for the first episode would be Brian Hodgson, who had joined the BBC Radiophonic Workshop in 1962. One of the most important effects that would be needed for the new series would be that of the Doctor's time-and-spaceship dematerialising. The ship had by now been named the TARDIS. Hodgson produced the effect by dragging the key to his mother's back door along the strings of an old, gutted piano. The resulting sound was recorded and electronically processed with echo and reverb. Hodgson would provide most of the special sounds for the series until 1972, creating much of the soundscape of Doctor Who.

While the music was being put together, events around the series were moving on. William Hartnell had attended Television Centre in west London for make-up and costume tests in the first week of August, and Carole Ann Ford would attend the following week. Terry Nation had submitted his scripts for the fourth story of the season and the production team had decided to up the episode count to seven to better serve the story. The story was, however, likely to be moved back to fifth in the season as script editor David Whitaker was keen to include a story where the TARDIS crew get reduced in size. This, however, was dependent on getting a better studio allocation with more up-to-date equipment to help achieve the effects needed for such a story.

In celebration of the 50th Anniversary of Doctor Who, StoryBundle is offering a specially curated set of six full length e-books featuring episode guides, producer autobiographies, coming-of-age stories and recipe books themed around Doctor Who.
StoryBundle is a platform for indie authors to get exposure for their works, both for the titles featured in the bundle and for the rest of their catalog.

Buyers pay what they like, subject to a minimum fee of $3.

The initial titles in The (Unofficial) Doctor Who Bundle are:

• Dalek I Loved You: 50th Anniversary Edition by Nick Griffiths
Nick Griffiths' memoir of life as a Doctor Who fan, which has been praised by the UK Guardian and a former Doctor Who himself, David Tennant, and comes in a special 50th Anniversary update.
• Who & Me by Barry Letts
The fascinating behind the scenes autobiography by the late Doctor Who producer Barry Letts - a key creative force on the show in the Jon Pertwee years, and who also worked with iconic Doctor Tom Baker.
• TARDIS Eruditorum Volume 2: Patrick Troughton by Philip Sandifer
The second volume of collected and expanded posts from the popular blog TARDIS Eruditorum offers a critical history of the Patrick Troughton era of Doctor Who.
• Dining With The Doctor: An Unauthorized Whovian Cookbook by Chris-Rachael Oseland
A cookbook to remember, celebrating the return of The Doctor with recipes themed around the first six seasons of the 2005 Doctor Who reboot - including dishes like Open Faced Dalek Ironsides, Sontaran Soldiers, Fish Custard Tacos, and a Cinnamon Pull Apart Crack in the Wall.

If you pay at least $10 you get two bonus books:

• VWORP! by Earl Green
A key primer to the Doctor Who canon from 1963 through to the 2011 Xmas special, for both novices and experts alike.
• The Best of TARDIS Eruditorum, by Philip Sandifer.
The Best of TARDIS Eruditorum collects twenty-one of the best and most popular essays from Philip Sandifer's acclaimed blog TARDIS Eruditorum.

Full details on the StoryBundle website.