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.

.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 on sale for their Tenth Doctor show! Their tenth major episode brings the Splendid Chaps to many people’s first (and favourite) Doctor, David Tennant. Phenomenally popular, and quickly establishing his own fanbase independent of the show, Tennant stayed in the role over five years, all the way to the end of Russell T Davies time as showrunner, cementing the programme's success and becoming "the" Doctor for a whole generation of viewers.

Seemingly a big part of Tennant’s success was his sex appeal – something foreign to many fans of the classic series. The Doctor of the Old Time (and most of his friends) seemed uninterested in sex, save for the occasional bit of flirting, but in the new series he clearly romances Rose, spurns Martha, fends off Amy and perves on Clara; he’s snogged every female companion, and “danced” with or married a slew of historical figures. Then there’s future pansexual Captain Jack; Amy and Rory, who spend their honeymoon in costume and their wedding night in the TARDIS; and the love affair that lasts lifetimes between the Doctor and Professor River Song. Is this weird? Is it awesome? What does modern Doctor Who say about sex, relationships and sexuality, and did the classic series have anything to say about them?

Hosts Ben McKenzie, John Richards and Petra Elliott are joined by writer, broadcaster and critic Richard Watts (artsHub, RRR’s SmartArts) and erotica writer and burlesque performer Aimee Nichols. Plus music from Melbourne geek rock band Blue Turtle Shell, giveaways from their lovely sponsors, and all the usual tomfoolery! (But no hanky panky.)

Space: The Gasometer Hotel, 484 Smith Street, Collingwood (corner of Alexandra Parade)
Time: Sunday 13 October; recording starts 5 PM
Accessibility: Splendid Chaps regret that this venue is not wheelchair accessible.
Tickets: $15 (plus booking fee where applicable)
Bookings: via trybooking.com or at the door (subject to availability)
Podcast: not yet available; released 23 October 2013.

The BBC will be showing "stings" for the forthcoming anniversary episode The Day of the Doctor tonight, the official site announced earlier today.

Revealing the ident and hashtag that will be used for the story, they will be shown on BBC One immediately before and after Atlantis - the BBC's new fantasy drama - which starts at 8.25pm.

Viewers can also look forward at some point to an all-new trailer that has been specially written and shot for the episode and is currently in post-production. In the meantime, an image has been released from behind the scenes of making the trailer.


The Day of the Doctor will air on Saturday 23rd November.

UPDATE: And here are those "stings":

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).

This month's Doctor releases from Big Finish feature the start of the 1963 trilogy, an adventure for the First Doctor, Steven and Vicki, a further "lost" adventure for the First Doctor, and a new set of adventures for the Victorian investigators Jago and Litefoot.

Win a copy of Upstairs

This month's competition thanks to Big Finish is to win one of five copies of Upstairs. To be in with a chance to win, please answer the following question:
Send your answer to comp-upstairs@doctorwhonews.net with the subject line "Yes, I know!", along with your name, address, and where you saw the competition (the news website, twitter, facebook, etc.). Only one entry per postal address will be accepted. The competition is open worldwide, and the closing date is 6th October 2013.