BBC Worldwide Australia & New Zealand have announced that the 50th Anniversary feature-length Doctor Who story, The Day of the Doctor, is to be screened in 3D in some 87 cinemas in Australia and 19 in New Zealand.

Sharon Wilson, Head of Marketing, Brands for BBC Worldwide Australia & New Zealand said:

The cinema screenings will be held on Sunday 24th November, the same day as the anniversary is broadcast in those countries, and will also include specially-shot introductions that will be seen by cinema audiences around the world.

.As previously reported, Splendid Chaps is a year-long performance/podcast project to celebrate the 50th anniversary of Doctor Who hosted by comedian Ben McKenzie (Dungeon Crawl, Melbourne Museum Comedy Tour) and writer John Richards (ABC1 sitcom Outland, Boxcutters podcast).

Described by its creators as part intellectual panel discussion, part nerdy Tonight Show, Splendid Chaps is a combination of analysis, enthusiasm and irreverence. The first episode went to number 1 on the iTunes TV & Film Podcast chart in Australia, and to number 4 in the UK. The podcasts to previous episodes are now available at www.splendidchaps.com or at iTunes.

Tickets are now available for their three live November shows: "What I Learned From Doctor Who", "The Other Splendid Chaps: The Companions" and "Eleven/Future". 

In the first of these three shows, the Splendid Chaps are doing a special bonus episode talking about what they’ve learned from Doctor Who!

Born in part as an educational program, with Sydney Newman wanting no “bug-eyed monsters”, Doctor Who has often sought to educate us about our world – and the Universe beyond it. But over the years, as the traditional educational content about history and science faded away, it still brought us concepts and ideas – Buddhism, mythology, ethics, politics, friendship…there’s so much to learn from the Doctor!

Ben, John and Petra Elliott will be joined by comedian, actor and teacher Rob Lloyd (Who, Me.), and writer and editor Liz Barr (Chicks Unravel Time and its impending sequel) for a discussion of what Doctor Who has taught them. Plus prizes, surprises, all the usual Splendid Stuff, and a live poetry performance from the one and only Emile Zoey Baker!

Space: Toorak/South Yarra Library, 340 Toorak Road, South Yarra
Time: Saturday, November 16 2013, 4:00 PM
Accessibility: This venue is wheelchair accessible.
Tickets: All tickets $10 (plus booking fee where applicable)
Bookings: via trybooking.com, or buy tickets at the door (subject to availability)
Podcast: TBA.

In their second show for November, the Splendid Chaps are back with another bonus episode, this time at the Melbourne City Library as part of its Doctor Who Festival, talking about those other splendid chaps – the companions!

Companion, assistant, sidekick…none of these names really do the role of TARDIS occupant and time-space adventurer justice. In fifty years the Doctor has had almost as many fellow travellers aboard the TARDIS – most human, but also a few robots, aliens and fellow Time Lords. Exactly who counts varies depends on who you ask, but they’ve always been understood to be our point-of-view character; a proxy for the audience who will ask the Doctor to explain what on (or off) Earth is going on. Who are these people? What do they teach us about ourselves, the Doctor, and our changing society? Are they really there to get in trouble, pass the Zeus plugs and make the Doctor a better person, or is there more to them than meets the eye? And how different is the new series’ attitude to its supporting characters?

Ben, John and Petra will be joined by writer, director and podcaster Lucas Testro (Neighbours, Winners and Losers, NonCanonical), and broadcaster, documentary maker and podcaster Marian Blythe (3RRR, Boxcutters 2.0) to talk about the rest of the TARDIS crew. Plus prizes, surprises, loveliness and a live musical performance of a lost Doctor Who classic tune from Emma Heeney!

Space: Melbourne City Library, 253 Flinders Lane, Melbourne
Time: Tuesday, November 19 2013, 6:30 PM
Accessibility: This venue is wheelchair accessible.
Tickets: Free! (bookings essential; limited seats available)
Bookings: via webwiredsolutions.com.au or at the door (if seats available)
Podcast: TBA.

Finally, their eleventh and final(ish) major episode brings then to the (still) current Doctor, Matt Smith. Splitting fan opinion on his announcement, in part because of his youth and obscurity, he soon won over audiences with a performance influenced by Patrick Troughton. This was also the biggest time of change in the revived show’s history, with not only a new Doctor, but a new production team, headed by fan favourite writer Steven Moffat, bringing a definite new feel to the show.

As Splendid Chaps draws to a close, the Chaps want to look forward as well as back, and so take as their theme the future. The Doctor in the old series and the new has often looked forward in time, whether a few decades, a few centuries, or even millions or billions of years. How has the show depicted the future? Has it tried to be predictive, or to express our hopes and fears? And what of the future of the show itself? With Matt Smith leaving, what does the future have in store for Doctor Who?

Hosts Ben, John and Petra are joined by comedians Justin Hamilton and Stella Young, plus a new song from Keating! composer Casey Bennetto, backed by their house band The Time Lads. Plus there will of course be prizes, surprises, jokes and more; it’s the end, but the moment has been prepared for! (They have a little something extra up their sleeves…)

Space: ACMI, Federation Square, Melbourne
Time: Thursday, November 21 2013; recording starts 7 PM
Accessibility: This venue is wheelchair accessible.
Tickets: $15 full, $12 concession, $11 ACMI members (plus booking fee where applicable)
Bookings: via ACMI online, or at the ACMI box office (subject to availability)
Podcast: not yet available; released 23 November 2013.

The twenty-fourth 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 pilot had been recorded, and a revised episode one was being worked on. Meanwhile, the production team were anxiously awaiting news on whether they would be allowed to continue beyond the first story.

On Monday 14th October 1963 - exactly 50 years ago today - the TARDIS team reconvened to start a week of rehearsals leading up to the re-recording of the first episode. They had been given a second chance and this time they had to get it right.

The rehearsal venue was another drill hall, this time in Uxbridge Road, just a few hundred yards west of the Lime Grove Studios. Like the drill hall in Walmer Road, the building no longer exists and this site is now occupied by the London College of Professional Training. The cast had just four days to refine their characters and take on board all the changes requested by Head of Drama Sydney Newman before appearing in front of the cameras once more.

If they were successful, this would be the start of a long journey for the four main cast members. If the series were to continue beyond the initial four episodes, the actors' lives would be governed by a strict schedule. Rehearsals would be Monday to Thursday, followed by a long exhausting Friday in the studio, rehearsing with the cameras all day and then recording on the Friday evening. The weekend would be spent learning the scripts for the next week before the process began all over again on the Monday. The only respite would be when the actor was granted a week's holiday, in which case the character would be written out of that particular episode, or the role would be rewritten to a brief cameo, pre-recorded on film.

One person missing from the reassembled cast was Fred Rawlings, who had played the policeman in the opening shot in the pilot. He was unavailable for the remount and the role was taken by Reg Cranfield, who would therefore become the first actor to be seen in Doctor Who.

While the actors were rehearsing, they were largely unaware of the BBC politics surrounding the programme, and the memo sent by Head of Serials Donald Wilson, asking for some commitment for the series from the powers-that-be.

In response to Wilson's memo, on Wednesday 16th October Controller of Programmes Donald Baverstock decided, having now watched the pilot episode, that he would commit to funding 13 episodes of the new series. It was not an unconditional offer though, and Baverstock was worried about the spiralling costs of a series that required so much attention.

In a memo he asked John Mair, who was the Planning Manager, to state what "extra programme allowance will be required to finance the special effects requirements and the operating effort needed to work them in the studio." Baverstock intended to review the programme's budget by Friday 18th October, as he was due to take three weeks' leave and he wanted to decide on whether he could agree to an increase in budget before his break.

One departure that had already occurred was that of designer Peter Brachacki. Although he had come up with some innovative work on the first episode of the series, the designer and his producer, Verity Lambert, had never really seen eye to eye. Brachacki did not want to work on the series and had no great enthusiasm for the show. In addition, some of his more ambitious designs had failed to pay off. Originally, Brachacki wanted the walls to be translucent and to pulse with light when the ship was in flight. The cost, however, was prohibitive, as was his plan that the ship's controls would be isomorphic, moulded to the Doctor's hands.

So when Brachacki fell ill and it was apparent that he would be out of action for a while, the production team asked for him to be replaced on a permanent basis. His work was split between two designers, Barry Newbery and Raymond P Cusick, who would alternate between stories. Newbery took over Brachacki's designs for the first episode. One of the first problems he had to solve, though, was that the junkyard set and classroom set, used in the pilot episode, had been broken up, despite Lambert asking that they should be kept, so both sets would need to be rebuilt. The TARDIS interior, however, did remain.

The twenty-third 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 continuing, but the process was not without problems. A version of episode one had been recorded,  but was deemed unsuitable for broadcast by the senior managers in the drama department. Changes would have to be made, but the team would be given a second chance.

Any science-fiction series relies heavily on the production's ability to create realistic special effects. A series such as that envisaged by the creators of Doctor Who would need to be able to convince the audience that a whole new universe exists. A universe full of petrified forests and starliners, seas of acid and advanced robots, and all traversed by advanced space-and-time machines. The past would need to be re-created, such as the temples of Tenochtitlan and the prisons of La Conciergerie, as well as a world inhabited by miniature characters.

It would be a tricky task to pull off, even with the might of the BBC operation behind the series. But the feeling in the Doctor Who production office was that various departments were not giving the series the attention it demanded and deserved. One problem had been the work on the TARDIS set, built by Shawcraft rather than the internal BBC Scenic Department. The doors were very unreliable, causing major problems in the recording session the previous week.

The series had still not been commissioned beyond the first four episodes. This was making future planning very difficult, as it was entirely possible that the series would not continue beyond the first story, and so no long-term commitments could be made.

On Thursday 10th October - exactly 50 years ago today - the Head of the Serials Department, Donald Wilson, decided enough was enough. His production team needed some support and the BBC needed to show some confidence in its new sci-fi drama. With this in mind, he sent a lengthy memo to some of the most senior members of BBC management. Included were Controller of Programmes Donald Baverstock, Programme Planner Joanna Spicer, Head of Drama Sydney Newman, and Head of Design Richard Levin.

Wilson made a plea for some confirmation that the series would be allowed to continue beyond the initial four episodes, pointing out that if arrangements were not put in order for future stories then the team would be left with four actors on contract and nothing ready for them to perform.

While discussions were going on at the highest levels about the very future of Doctor Who following its first story, production was continuing on that first story, with three days of filming taking place at Ealing. Supervised by production assistant Douglas Camfield, sets had been rigged on the Tuesday, rather later than planned because of transportation difficulties from Television Centre.

Filming took place from Wednesday to Friday to prepare all the insets that would be needed for the final three episodes of The Tribe of Gum. Sequences involving the paoelthic landscape and the fight in episode four were recorded in this session.

BBC America inadvertently revealed a potential time of broadcast for the 50th Anniversary Special, The Day of the Doctor, when they updated their advance schedules for November online. The (provisional) details indicated that after a week-long celebration of the series, it would premiere on 23rd November at 2:45pm Eastern time, meaning a UK broadcast of the 75-minute special would occupy a prime-time slot at 7:45pm (possibly after Strictly Come Dancing in such a scenario).

However, BBC America have confirmed that the schedule for the week leading up to the anniversary has yet to be finalised, and that the broadcast mentioned above is currently only a 'placeholder' until the BBC lock the exact time down - the BBC themselves are unlikely to confirm such a definite time until much closer to the date (which could be a lead time of just ten days before broadcast!)

As well as episodes and documentaries, other programming planned by BBC America over the course of the week includes: the US premiere of An Adventure in Space and Time (provisionally scheduled for Friday 22nd November at 9:00pm, and not expected to be simulcast with BBC2 in the UK!); Explaining Doctor Who, which UK channel Watch have scheduled for 12th October as part of their Doctor Who Revisited launch day; and other 'talking-head' items including Tales from the TARDIS and a special 15-minute Day of the Doctor Pre-Show (the provisional schedule indicated 7:00pm on the Saturday before a prime-time repeat of the episode).

As noted, all schedules are subject to change.

Principal photography for the Christmas Special was completed today, as announced by producer Marcus Wilson:



In just eighty-one days the final adventure for Matt Smith's Eleventh Doctor will be broadcast, and we get our first glimpse of the Twelfth TARDIS dweller, aka Peter Capaldi!

The award-winning Derek Landy has been named today as the author of the tenth and penultimate short story in Puffin Books' e-range celebrating Doctor Who's 50th anniversary.

The Mystery Of The Haunted Cottage, featuring the Tenth Doctor and Martha, will be published globally on Wednesday 23rd October.
An extract can be read via The Guardian's website.

Landy, who has penned the Skulduggery Pleasant series of children's books, commented: Landy's first book, Skulduggery Pleasant, won the Bord Gais Energy Irish Book of the Decade Award as well as the Red House Children's Book Award, while his second, Playing With Fire, won an Irish Book Award for Children's Book of the Year.

The author and title of the series' final instalment, to feature the Eleventh Doctor, will be announced on Tuesday 5th November. It will be published on Thursday 21st November alongside a paperback anthology of all 11 stories - to be called Eleven Doctors, Eleven Stories and which can be pre-ordered here - plus an audio collection.

AudioGo's ongoing celebration of 50 Years of Doctor Who reaches its penultimate adventure in October with the Tenth Doctor and Donna embroiled with Death's Deal. Meanwhile the Sixth Doctor's trial continues in the second part of the Target novelisations of The Trial of a Time Lord, whilst Louise Jameson takes listeners on a trip into the BBC Radio Archive to find Lost Treasures.


All eight of the Doctor Who at the BBC series of CDs are also to be released in a boxed set:

BBC America is to mark the era of the Tenth Doctor by showing the episodes The Stolen Earth and Journey's End on Sunday 27th October as part of its celebratory season Doctor Who: The Doctors Revisited.

They will be preceded at 8pm ET/PT by the special documentary Doctor Who: The Doctors Revisited - The Tenth Doctor, which will feature David Tennant, Freema Agyeman, and current lead writer and executive producer Steven Moffat among those discussing how and why the Tenth Doctor became one of the most popular Doctors of all time.

Written by Russell T Davies and directed by Graeme Harper, the episodes - which were originally broadcast in June and July 2008 - comprised the epic finale of Series 4 and saw the Doctor, companions, and friends unite to take on the might of a new Dalek empire and Davros.

UPDATE: The associated DVD, which will be released on Tuesday 3rd December and is available to pre-order, will comprise three discs and will have the Revisited stories shown for the Ninth, Tenth, and Eleventh Doctors, as well as the accompanying documentaries plus special introductions by Steven Moffat to each two-parter. The product description states that the episodes for the Eleventh Doctor's era will be The Impossible Astronaut and Day of the Moon. Their broadcast date is still to be announced.

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.