Doctor Who Shada Gareth Roberts - [FREE] [PDF] [EPUB] Doctor Who Shada Gareth Shakespeare Code - Wikipedia Lijst van afleveringen van Doctor Who. doctor who: shada by gareth roberts and douglas adams - fantasy faction fantasy adams in pdf coming, [8a53cf] - shada doctor who the lost. Doctor Who and Shada Print editions: Doctor Who - Shada by Paul Scoones & Jonathan Preddle (first edition) JPS Books, March ; PDF format (kb).

Doctor Who Shada Pdf

Language:English, Japanese, German
Genre:Fiction & Literature
Published (Last):06.10.2015
ePub File Size:27.68 MB
PDF File Size:18.47 MB
Distribution:Free* [*Register to download]
Uploaded by: TAMELA

This week BBC Worldwide announced that Shada – a Fourth Doctor story which had its filming abandoned due Download PDF extract here. much knowledge as you want for downloading free PDF novels, right here internet sites. In case Get Free Doctor Who Shada The Lost Adventures By Douglas. Doctor Who: Shada by Gareth Roberts and Douglas Adams. If you're wondering how a book published less than two years ago qualifies for Classics Corner.

Few would argue, though against the decision to bring in Martin Gergharty and Adrian Salmon to do design work for the animation. Shada Reviewed But has all this effort simply been an ultimate exercise in obsessive, fannish, completeness? In short — is Shada actually any good?

In almost every way, this is the fullest encapsulation of the latter half Tom Baker years. Tom himself exudes the same sort of relaxed charm, peppered with moments of total nonsense that marked City of Death while Lalla Ward has never seemed more possessed of an unearthly beauty.

All of their scenes together are a joy and something as simple as them going boating, or visiting an old friend in his rooms for tea is all stuff I could watch hours of, even without any alien menaces showing up.

And the alien menace that does show up is stupendous — possibly the most unbelievable thing about the whole story is the revelation on the commentary track that the people in the background of Cambridge genuinely ignored Christopher Neame in his outrageous hat and slowing silver cape as if he was an everyday sight.

There are undoubtedly flaws, mostly as we race towards the end with the mounting sense of a script with the ink still wet and no time for afterthought or final drafts.

Chris Parsons is probably the best of the solid young everymen Doctor Who has ever featured, and pitched perfectly by Daniel Hall, yet despite early episodes spending more time of introducing and building on his character, he gets lost in the shuffle of the climax. Meanwhile, the Kraag outfits are really quite poor, even for the era that gave us the Nimon and the Mandrel, and a lot of the location film work in Cambridge feels rather loose and in need of a tighter edit.

Extras This release comes with a full set of extras the complement the story perfectly. A commentary orchestrated by the unsinkable Toby Hadoke on less funding than the bus fare into town sees him interview Neame and Hall about their experiences during filming, and Gergharty and animator Ann Marie Walsh about the pressures and effort involved in creating the project against incredibly tight deadlines.

Taken Out of Time interviews many of the those involved in front of and behind the cameras on the original production to build a picture of exactly how it came to abandoned in the first place. Both of these are proper, half hour documentaries that tell a story of their own almost as compelling as Shada itself. ROM content even includes a full set of scripts, storyboards, and the Doctor Who Annual if, rather bizarrely, packed as 56 separate image files.

The Steelbook release goes even further to try and lay claim to the definitive Shada package — with a third disc containing the reconstruction and the Paul McGann web animation adaptation remastered for viewing on TV screens rather than computer monitors. About the only thing not included is the novelization. Keeping the cast this small for the entire six episodes lends an air of simplicity to the plot.

This is just as well, since some of the concepts in the story are so off-the-wall that they require no additional dressing up in dramatic twists and turns.

The plot consists of a series of revelations - that the professor's room is a TARDIS, that the book is not just a book, and the professor is Salyavin. Incidentally, after a profusion of professors in Doctor Who over the years presumably to avoid dialogue confusion by having aca- demics in the stories who are also doctors SHADA finally introduces one who is where he belongs - occupying his chair at a university!

The attentive viewer will get the pleasure of anticipating these revelations from the clues in the script - others can have it spelled out to them at the time.

It is an unpretentious, straightforward script - Adams never stoops to demonstrating his wit or intelligence at the expense of obscuring the storytelling, a lesson his successors could have learnt from. This is a serious story told by someone with a sense of humour, not a silly story told with po-faced seriousness, as would sadly come to dominate Doctor Who in years to follow. It is stated he is from the planet Drornid, where a Gallifreyan president had temporarily "set up shop".

It is a slight relief that he wasn't another renegade Time Lord, and the at- Season five is remembered as the monster season.

Season seventeen can be thought of as the silly monster season. Just as season five is re- membered by Doctor Who historians as "the monster season", so season seven- teen can easily be thought of as "the silly monster season. What footage was shot of the Krargs indicates they posed little threat to the absurdity of the season's extra-terrestrials.

Whilst they moved less stupidly than the Mandrels, the same ridiculous flared legs remain, and they look neither crystalline nor composed of coal as the script suggests. The ChromaKeyed flame effect is at least ambitious, but fails to suggest anything other than ChromaKey. Adams' script is full of alternatives should visuals be unachievable and his descriptions often have the qualifier "if we can manage it" appended, yet he appears confident that the tank effect would be successful.

After watching what remains of SHADA, one could be forgiven for having the impression that the bulk of the story takes place within Chronotis' study. Whilst it is a TARDIS, this is not well emphasised in the video release by not having the necessary establishing shots of the door to the study having appeared in the wall aboard the Carrier Ship, on Shada, or wherever. The interior of the room clearly is intended to be the interior of the time vessel, since the chameleon circuit does not modify it when it leaves Cambridge - the decor is the professor's own choice.

This neatly spikes the theory that the interior of the room might in fact be the exterior of the ship, and hence the Doctor and Romana's ignorance of its true nature. Whilst the storyline is at all times easy to follow, it appears to exist as little more than a device to get the protagonists from one stage to the next of the increas- ingly cosmic travelogue.

Perplexingly unnecessary is Chronotis' death and sub- sequent reincarnation. Admittedly, it is rather stylish that he re-appears in night-gown and night-cap, reminiscent of one of Dickens's ghosts. Nonetheless, it's as other- wise pointless a piece of padding as the circuitous route that the book takes from Chronotis' study into Skagra's hands. It is a pity, from a dramatic point of view, that none of the sympathetic characters choose to side with Skagra in his belief that a Universal Mind would be a good thing.

On the other hand, the purity of the good axis in SHADA is rather shaken by the discovery of the profes- sor's true identity. It ends up being an "us and them" story - "Skagra is mean and has the nasty Krargs, so we'll dump him in his reprogrammed ship, whereas the pro- fessor is a nice old man who the Doctor used to secretly admire, so we'll let him carry on avoiding justice.

Return- ing back to archaeol- ogy from this brief sojourn in the realm of bar-room philosophy, it's worth pondering how the whole story would have felt had the post-pro- d u c t i o n been car- ried out around Christmas , as originally planned. That revolution in image manipulation, digital signal processing, was still hovering around the corner, not to surface in Doctor Who until the next season, so effects such as Skagra's sphere might have been dependent upon good-old ChromaKey although the use of Quantel was mooted.

Ironically, a scene not to survive is that where, upon being attacked, the sphere reforms as many smaller spheres, in true Sorcerer's Apprentice style. Whilst this would have been a nightmare of multi-pass re-recording in , it is the kind of job that Quantel can now achieve at the touch of a button. It is more than a little frustrating that despite their Douglas Adams' expressed opinion that SHADA was not worthy of six episodes is probably true.

Mention must go to Keff McCulloch's score which whilst not for one moment con- vincing anyone that it could possibly be from the pen of Dudley Simpson, is mostly in keeping with the moods and settings. Douglas Adams' expressed opinion that SHADA was not worthy of six episodes is probably true, if considered purely in terms of the intricacy and internal consistency of the story. However, in keeping with its nature as a quest, the story demonstrates that it is better to travel hopefully than to arrive.

SHADA has a surface texture and gloss, that far exceeds that of its three immediate predecessors. Even in the incomplete form in which it finally reached the public, it is a very charming, watchable piece of television indeed. That forgives a lot of sins.

Perhaps the Doctor's decision with regard to Salyavin was right. At the prompting of Doctor Who enthusiast Ian Levine, John Nathan-Turner had a preservation order placed on all the master tapes, to ensure they would not be purged and re-used. It was first shown publicly at one of the Doc- tor Who Appreciation Soci- ety's conventions in It was here that John Nathan-Turner first mooted the notion of persuading BBC Video to release the next seven years with the cost of mounting the project always the factor against.

Only as video sales of Doctor Who tapes began booming in the early nineties did David Jackson, the producer in charge of Doctor Who videos at BBC Enterprises, express seri- ous interest in the project. I Then the rr. He favoured Colin Baker, the contemporary Doctor. Despite the unique- ness of the video and the inclusion of a duplicated set of scripts, sales were not particularly good. The success of any BBC tape is gauged by how quickly it achieves its base target of 15, units sold.

The inci- dental music was supplied by Keff McCulloch, although spe- cial sound came as always from Doctor Who's longest- standing crew member, Dick Mills. This was his last Doctor Who work be- fore retiring later that year. The loss of a reel of model work was a potential threat to the project. Rather than use the copied footage, John Nathan-Turner hired facilities at Ace Studios to shoot a new reel of model work using existing slides of the miniatures held by the BBC.

The reshot work was mainly the establish- ing shots of Shada and the Think Tank, Skagra's ship docking and undocking with the Think Tank, and Skagra's ship dematerialising. Some footage - like Skagra's ship leaving the meadow and the Think Tank exploding - was available still, and used in the video.

Some sequences - all those in- volving the Krarg Carrier, for instance - were never actually completed and so needed to be produced anyway.

The video was re- leased in July One of the first sequences done was the very first scene in episode one aboard the Think Tank, as Skagra drains the minds of his fellow scientists. Not only would this quickly free up the artists playing the young scientists, it also enabled the scenery crew to start work dirtying down the set in preparation for recording the scenes with the old scientists. Aside from a couple of insert shots against a flat from the future Krarg car- rier set the remainder of the first day was taken up recording the scenes in the professor's study which required only the primary cast.

On Sunday camera rehearsals got underway at Gerald Campion and John Hallett joined the cast for the early sessions, doing all their scenes in the study sets. The remainder of the day concentrated almost solely on complet- ing the study scenes.

Towards the end of the day the action moved to the brig aboard Skagra' s ship. The superimposition of a simple spinning cube, shot in soft focus, provided the effect of the ship's internal matter transference system as characters beamed into and out of the brig. Costume tests with the Krargs were also tried out this day, matching in the ChomaKey inlaid flame effects and the piece of 'lightning bolt' film from the BBC graphics unit that would be used whenever the Krargs attacked their targets.

A Krarg emerging from the small regeneration chamber aboard Skagra' s ship were the first shots planned for the Monday.

In fact these sequences were postponed and were never completed. The remainder of the day's sessions were to be taken up doing a lot of the model work, including the Doctor crawling in the vortex a recoloured version of the title graphics between the two TARDISes again, postponed and never completed , flying shots of Skagra's ship - including matching the model with the film work, establishing shots of the Think Tank, sequences of the shuttle docking and undocking, views of the Krarg ship, space shots for projection onto the Eidophore screens and, lastly, estab- lishing shots of Shada.

By Monday evening the Think Tank set had been redressed and so all the scenes with the old scientists, leading up to the attack by the Krarg and the hurried flight from the space station, were recorded. These scenes were only just finished in time to meet the A problem with the Think Tank set was identified whereby K-9's operator could not see to navigate the dog as it swung around into the shuttle bay. The scene had to be remounted and re-recorded each time K-9 either crashed into a wall or Nigel Brackley was spotted in shot.

Several insert shots for sequences where Skagra looks into the Doctor's mind and plays back his memories were shot in this session. These included the blotted-out images of characters, and an over-shoulder shot of the Doctor's point of view as he reads the Worshipful and Ancient Law ofGallifrey. This shot was also edited into a sequence with "Insolu- ble" overprinted for when Skagra at- tempts to crack the book's code.

All these sequences are retained in the video release, with the Doctor's view of the book being used several times as the Doctor 'stands in' for Skagra. One se- quence shot and stored in the BBC ar- chives but not used in the video release was for the sequence where Skagra finds that Romana is uppermost in the Doc- tor's thoughts. This was a 17 second montage of shots of Romana standing stationary in Chronotis study.

As the sequence progresses the shots are cut quicker and quicker. In the first fortnightly block you might well have nine rehearsal days and two recording days. In the second fort- nightly block you would them per- haps have eight rehearsal days and three days recording in the studio. Given that scenario my preference was always to try and get as many of the "playing" scenes as possible done in the first block, which enabled the actors to get on top of their charac- terisations.

That left all the techni- cal scenes until the second block. That way, although you had less time for acting rehearsals in block two. An additional bonus of this phi- losophy was that it gave visual ef- fects longer to build and prepare their bits - they weren't rushing to complete everything ready for block one.

Similarly if Costumes were asked to supply a monster, you would try and give them extra time by scheduling as much of the monster scenes as you could for block two. In my experience, the Jess you had to throw at them for the first studio, the better the results in the end. Another thing to bear in mind is the inevitable faff factor. Early on in the schedule you are more likely to get actors, or even technicians, say- ing "Hang on Guv, give me more time", or "Can we try that again?

So my aim was always to get the "faffs" out of the way during non-complicated, "talky" scenes so that everyone would be geared up and ready by the time we came to doing the compli- cated stuff.

The only risk was that you might start to get a backlog of complex shots, but that would not happen as long as you properly allocated your time beforehand. On a one-hundred minute Doctor Who, say, by the time you've knocked out the titles and the reprises, you are down to be- tween 90 and 94 minutes of material needing to be recorded.

Eighteen minutes you might reasonably set aside for film, so that left just over 70 minutes to do in the studio. During the first block you would aim to complete around 40 minutes, or even 45, leaving you with just over half an hour to do in block two - hopefully all the technically ori- ented scenes.

So per diem you got more val ue from block one, for which you would have rehearsed more anyway so, again, it always makes sense to slot in as many talking scenes early on. What you then needed to do was keep your own very tight schedule going during each day, just to check you are never getting too far behind. Douglas Camfield, who was another very "together" direc- tor, used to mark up on his running order precisely what scene he ought to be re- cording at any particular time in the day.

So if it was 8: If he was only on shot 52, then he knew he had lost x minutes worth of time which would have to be made up later. It really is that precise an industry, and espe- cially on Doctor Who you never had any margin for error.

I'm flattered that Graham Williams would think of me every time he wanted a technical director, but quite honestly we would differ sometimes because he would always see the problems in things, whereas my attitude is that problems are only there to be overcome. If you allow a writer to write what he sees in his mind and to translate it onto the page, I, as director, must then do my utmost to translate it into screen terms insofar as is possible given the time and budget considerations.

If I subsequently found a problem, then obviously my first recourse would be to go back to the writer and say, 'T don't think we can achieve this". I think it is true to say that Douglas, having presented another idea to Graham, completed SHADA at fairly short notice, so its evolution was very organic and on- going. Quite a lot of work went into it subsequent to acceptance of the scripts before we arrived at the version I was proposing to shoot. Recently I dug out my old camera scripts and was quite staggered by just how much we were aiming to do.

It was an exceptionally techni- cal show and I do wonder if we could have achieved it all given everything we had taken on board. Skagra's mind draining device is a good case in point. We settled on a sphere because it was a good, simple shape to work with.

I knew I could zoom easily in and out using an electronically generated image during the post-production process, without needing to worry about all the problems with 3-D modelling I would have had if we had gone with any other shape. Both Graham and I worried ini- tially that crowd control at Cam- bridge might be a problem, particu- larly in any scenes involving Tom.

I think we got lucky in that it was still early days in the academic year, and so therefore nobody really turned a hair when they saw someone like Skagra, in his silver costume, strid- ing through the streets. They prob- ably thought it was just another pretentious Fresher! Even the film cameras were likely presumed to be merely a crew filming Fresher's Week. Tom's presence was more of a problem. I vividly recall the day we shot all the chase scenes being absolutely amazed that wherever we went, a comet tail of children would follow us.

He really was like the Pied Piper in that respect whenever youngsters were around. People have said Tom is difficult to work with, but really, as long as you match him idea for idea and enabled him to feel secure that his contribution was not being dis- counted, then very soon he would come on to the wavelength of the story we were doing.

He would find a frustration if he believed his ideas were being undervalued, or if he felt he was being put into a machine over which he had no control.

List of Doctor Who DVD special features

He would bite the bullet for a certain amount of time, and then resent the straitjacket. Personally I found I always had a very good working relationship with Tom.

We got on because we each knew what the other was about SHADA was an expensive show but the one thing a director did not have to worry about then, which he does have to worry about now, was most of the pure costs involved. The equation was balanced differently in those days. You would be more concerned about the time and effort available to you - the resource end of the balance rather than the cost.

The production associate and the pro- duction unit manager had far more responsibility for the purely money side of things. The Director would onlyhearaboutitif decisions were taken from above that altered what he was planning. Obviously Doug- las was getting very stretched because of everything that was happening with Hitch Hiker, but neither of them telegraphed any intentions to leave early on in the production of SHADA, and indeed both of them were always highly supportive and there when I needed them.

I think it was quite late in the day when I heard they were both going.

Other books: HOW TO RAP 2 PDF

I had worked on "Erinella" dur- ing Graham's last year. Having found myself with some time on my hands early on, and believing that as I had worked on Doctor Who a lot I had quite an understanding of the formula, I felt this was something I would quite like to do. I recall it was well received by Douglas and Graham who helped to expand the notion as I started writing it up.

Originally I had thought it might form part of the 1 season, but then it got deferred. When John Nathan -Turner took over, he stipu- lated I would have to change some details, because there was going to be a lot of cast changes to match the requirements of the new season, but he did commission me to rewrite it, so obviously he had an affection for the story as it stood.

Post navigation

What ultimately doomed the project was firstly one or two of John's shows that blew their budg- ets early on, which killed any hopes of doing an expensive, very techni- cal six-parter to end the year, and secondly the arrival of a new Script- Editor, Christopher Bidmead, who had different ideas about the direc- tion he wanted the show to take.

Obviously I was sad at losing both SHADA and "Erinella", but thankfully John knew me to be an organised director and somebody who was committed to the series, and asked me back once I had com- pleted a few years of very heavy work doing Tenko, Juliet Bravo and a series of productions for BBC Wales.

Quite honestly there are very few directors who can handle Doctor Who because it is a very out of the norm series. Even Blake's Seven was comparatively simple in that you are following the conventional drama series guidelines often day's rehearsal plus two in the studio to shoot a fifty minute episode.

Doc- tor Who is far more of a logistical headache. It is spread out over a much longer period of time, with a higher proportion of special effects to shoot in shorter time spans. Al- ways you need to work to very rig- orous disciplines if you want to avoid overspending time early on, leaving yourself open to horrendous prob- lems later trying to catch up.

You also have to be very accurate timing the amount of material you are recording if you want the cliff- hangers to happen at the right place. Look at what happened when I wasn't allowed to change the cliff- hanger to part one of TIMELASH; the episodes got totally unbalanced; too much in part one, not enough in part two - result, all that extra pad- ding that had to be shot during an- other production. I WAS heartbroken. It would have been a fitting climax to Graham's era as producer.

The dis- pute broke about our ears as we were about to enter studio for the second time, and lasted until the day following our last studio day. Every single scene had been rehearsed, and more than half the story recorded. Because of the heavy demand for Christ- mas variety shows, the powers- that-be allocated our remaining facilities elsewhere, and could offer no alternative recording time in the near future.

The actors and technical crew were very disappointed - the dispute was none of their mak- ing. They deserve a very large vote of thanks for all their efforts. The visual effects team have been slaving away for three months, sometimes over long weekends, in order to meet our deadlines. Dave Havard's designs in- cluded three intricate spaceship models, the model of a prison planet, and much, much more besides.

All for nothing! But I won't enlarge on the plot and characters. The whisper is that Douglas Adams has been asked to re- shape the story as a four-parter for next season. Doubtless there will have to be some al- terations, so any more informa- tion from me at this stage may confuse. The disputes in- volving the PAs and the studio technical staff had escalated into a full blown strike, and Doctor Who was just one of many casualties.

In all the strike would paralyse television production for just undera month, causing a massive backlog of unmade pro- grammes and disrupting BBC schedules well into the following year. Unable even to start recording. Pennant Roberts had no option but to stand his down teams. Rehearsals went ahead for block three on schedule but even though the strike was resolved on the day recording was planned to begin, the December lst-3rd slot was scrapped to make way for The Morecambe and Wise Show.

The sets for block three, although fully constructed, were never erected. Although the Doctor Who office was able to recoup money from the strike, the suspension of production caused upset in its wake, not least to Dudley Simpson whose contract to write six episodes worth of music was not honoured.

On 10th December On Friday 1 4th December. The show had a new producer by then so any further develop- ments would fall to John Nathan-Turner to organise. Pennant Roberts argued that, if they moved fast, SHADA could still be completed in the gap before Doctor Who's next production year got underway, and before the primary cast got booked to other commitments.

John Nathan-Turner took up the matter with his boss Graeme MacDonald but ulti- mately, w ith so many other show s queu- ing for over-booked studio resources, there were no slots free to give SHADA the five days needed to complete it. In June a memo was sent to the production office notifying the pro- ducer that SHADA had been officially cancelled.

So we went out and did the OB first, filming next, and studio last, which was an absolute nightmare. But we could not get out of this one. The doors of the studio were locked, it was that simple, we just couldn't get in there. We turned up regularly in order for the actors to fulfil their contracts. Le- gally I had to say to them, 'Look. Both Graham and I looked at remounting it. Initially we tried for a remount in January 1 But we couldn't get a studio then.

Then when I took over as producer. I tried to tack it on to the end of my first season. But they wanted me to absorb the costs rather than give me additional money for it.

I wasn't prepared to do that. The first year I took over, being fairly selfish. I got 28 episodes through that year and wanted them all to be mine! Having got the 28 through. I then said "Would you like on top of that another four episodes? Douglas Adams re-cut the script to make it into a four-parter for me. He did that based on the know ledge of w hat we had already recorded. Pennant Roberts and I went through it. They weren't prepared to give it to us.

I don't know why - it was a very eco- nomical proposition. In a fortnight, in- cluding ten days' rehearsal and the stu- dio, we could have delivered another hundred minutes.

Douglas had written a verj clever script - and we had done some excellent filming at Cambridge. It w as a great shame. At the time we couldn't believe it was lost, they 'd spent so much on it - we'd done studio work and everything. It was Graham's last story, so it was sad for him - he took me to an American conv ention to cheer us both up.

You see. We shot the series out of order anyway, and because of delays and over-running we got steadily more and more behind schedule. The team were all working at breakneck speed to complete it all in time.

As I remember. Douglas had w ritten a superb script but it just coincided with a time w hen I felt fed up w ith everything. To have worked so hard and got so far advanced was heartbreaking when all that happened was its cancellation. I'd had to work harder than usual to keep up my performance and at least I thought it would be worth it in the end. When it was virtually pulled from beneath our feet because of the strike, morale sank v ery low - 1 was so depressed and unhappy.

It was adisgusting shame it was never finished. We d done some marvellous filming in Cambridge and had done our first studio, which dispensed with all the small actor parts and meant we were down to a small core of Tom. Lalla, and about three others. We had rehearsed our second studio, the sets were all up. It was heartbreaking.

We had no choice but to go on rehearsing for the next block, as we were all still under contract. Eventually it all fell through, and it was very, very sad. If it had been finished and broadcast, it would never have aroused so much interest.

Con- tinuity? In other television series, conti- nuity seems to involve nothing more than ensuring that characters and their backstories do not contradict what has gone before - witness the furious letters that flooded into Granada Television when vigilant Coronation Street view- ers spotted that Ken Barlow's children had aged incorrectly, or when Tracey Barlow spent five years in her bedroom, only to reappear as someone quite differ- ent.

The other "continuity " familiar to film and television buffs is shot-by-shot con- sistency, usually more a problem on film than in a multi-camera studio programme like Doctor Who. But in Doctor Who terms, continuity is far more than any of these. Tulloch and Alvarado describe it in The Un- folding Text as "intra-diagetic self-ref- erencing" the phenomenon of aspects and elements of the programme's past being reintroduced into a contemporary story but I think we'll stick to "continu- ity.

But it goes even further than this: Doctor Who fans give the label "conti- nuity" to gobbets of information that add to the series' mythos, a kind of back- wards use of the term. Fans seem to love continuity.

Under John Nathan -Turner, every flashback sequence, every reference to Gallifrey, even every use of Ron Grainer's theme as incidental music was greeted with approval in the fan world. Lengthy arti- cles would be written, worthy letters would be penned, hai I ing JNT for bring- ing continuity back to the series. But it never really went away. The first heyday of continuity was during the Pert wee years.

But most fans would claim that Williams' tenure on the pro- gramme signalled the end of continuity, as if he were terrified of acknowledging the series' history. They protest that nothing was intro- duced in his era that would have a lasting effect on the programme, no items that could be built upon later.

Suppose we can say that continuity falls into two distinct though not mutu- ally exclusive categories: But let me begin with an example of the former. SHADA contains a direct parallel to this. Salyavin's backstory is a delightful one , and gives the vie wer a typical Adams angle on the Time Lords. We discover that baby Gallifreyans are called time tots, a quite nauseating term that thank- fully never survived.

And we also find out that Time Lords possess an auto- nomic brain, yet another example along with superganglions, twin hearts and respiratory bypass systems of their physiological differences to humans. Indeed, Salyavin's powers of mind con- trol echo back to Morbius' claim that he was a Time Lord of the first rank, as though the hierarchy of Gallifrey is in some way linked to telepathic prowess.

Salyavin was even able to escape from Shada but how? This does seem to involve the figure years, but being a time travel- ler Salyavin's relationship with dates can be forgiven. Our first introduction to its unfortunate guests is quite en- couraging: Rungar, a war criminal; Sabjatric, amass murderer; and of course, Salyavin, the mind thief.

One Dalek? One Cy berman? The denizens of Skaro and Telos must be frightened! A Wirrn, representative of a race of intelli- gent waspy things? Even worse is the pot-pourri of naughty Earth people, like Lady Macbeth who probably wasn't even real , Nero who wasn't that bad anyway , and Boedicia, the original freedom fighter.

Silly continuity, I'm afraid. Not to worry.


SHADA 's well is far from dry. Back on Gallifrey, we learn a little more about the legendary Rassilon, father of Time Lord society. One of th e recurring problems with Rassilon seems to be that successive writers, in an at- tempt to top their predecessor, felt the need to create more and more fanciful heirlooms.

Rassilon had secrets and powers that even we don't fully understand". Indeed, time ran back- wards over the Book, an early clue that it was a going to be a lot more important than a reference work.

Still, it's nice to hear this excerpt from the Acad- emy Induction Ceremony: It has always been thought in fan circles at least that the Time Lords were great jurists.

Listen to this extract from a Time Lord judge's sen- tencing: You are imprisoned not by this Court but by the power of the Law. SHADA contains many other juicy bits. Romana re- veals that she is an historian. A pity that this was never really ex- plored, especially since Professor Bernice Summerfield's expertise in archaeology in The New Adventures has been so cleverly exploited.

We also discover that Salyavin was the Doctor's child- hood hero: One hopes not. What a controversy that famous isomorphism scene caused. Leela, Tegan, Adric, a couple of Concorde pilots It never really went away in the first place.

Continuity seen to recover. Where's isomorpism now?

Perhaps we can explain this away: And since Skagra has stolen the Doctor's mind, he could open the doors. Argument settled. But did people complain that the kitch- ens in a Type 40 were too far from the Control Room? But the real thrill comes when the Doctor swims through the Time Vor- tex. Douglas Adams describes it as be- ing not too dissimilar to the title se- quence.

And indeed, the Vortex looks like the opening credits, plus a bucket of pink paint. Strangely enough, most comic strip renditions of the Vortex re- semble the first Pertwee title sequence. So, what happened to the rest of the time-travel- ling, regenerating, autonomic-brain- bearing Drornids? I'm sure it's not in Our Planet's Story, a Gallifreyan nurs- ery book that most fans would give their eye-teeth for.

I think this all demonstrates that con- tinuity didn't "come back" with season Personally, I love continuity or intra-diagetic self-referencing, take your pick. But perhaps Doctor Who does occasionally have to stand on its current merits, and not the laurels of the past. Especially when they involve Gallifreyan Morse code.

Radio Times chose to honour him with both a cover and a five page interior feature on The Hitch Hikers Guide to the Galaxy. The issue proudly di splayed Into the Eighties over a front page depiction of a star-spangled hand thumbing a lift, and commemorated the first transmission of season two of Adams' science-fiction series.

The BBC broadcast one episode per night at 1 0: Talking to the author about this new series, a passing reference was made to Adams' contribution as script editor on Doctor Who, although only to high- light the virtues that writing for radio affords authors compared with the budget constraints of television. The feature, 'Mind Pictures' by Ernie Eban, not only served as an introduction to Adams' vi- sion of Life, the Universe and Everything, but also went into comprehensive depth about the making of this complex radio serial, whilst being unequivocal in its praise for the writer's achievements so far.

By January the long-running strike by PAs and technicians, which had crippled TV Centre for over a month, was over and the list of shelved or axed programmes was considered stale news. Cartoons, ox fillers as they are so often titled, are perennial fail-safes for programme planners.

The 'Whographica' guide to Classic Doctor Who Story ‘Shada’

Firstly they are very cheap to download, and secondly, as they are generally sold for syndication, they require almost nothing in the way of prior clearancing or agreements to broadcast. For loyal Doctor Who viewers the looming gap between seasons seven- teen and eighteen would be the longest in the series' history - a total of 33 weeks, nearly seven months.

Incom- ing producer John Nathan-Turner was able to keep the show in the public eye to a degree, sanctioning two stories for the traditional summer fortnight of Doctor Who reruns in mid-August.

Also read: WHOLE30 PDF S

Allocated nightly slots around 6: It was a successful gamble. The repeats averaged just over six million viewers per episode, curiously about one million more than would watch the first four serials of season eighteen in the coming autumn. For the video release, David Brierly recorded the message at the same time as he did the K-9 scenes which still had to be dubbed. The simultaneous resignations of Graham Williams and Douglas Adams was the first time in the show's history that producer and script editor had quit at the same time.

Normally, one had stayed on to provide a point of continu- ity for the newcomer. The magazine adaptation ran for six issues numbers 13 to 18 , and are still available. Dirk Gently' s H of i stic Defective Agency, saying: There's no point in wasting stuff. Combe was the first drama producer to work on videograms at BBC Enterprises and together with Who stalwart Terrance Dicks was in- terested in putting together a tape of Narrative Doctor Who clips. Sadly the project was never seriously pursued.

He later left television to run a hotel at Tiverton in Devon, where he was a councillor. He died in a tragic shotgun accident in August To him, we respectfully dedicate this season's issues.

THE year the story is set in is not given explicitly, but the month is said to be October. We do know from Wilkin and the Doctor that his previous visits to St Cedd's college were in , , and in he was there but in a different body. K-9 does not appear until part two of the story. When the Doctor first meets Chris Parsons he asks: From then on the Doctor refers to Parsons as "Bristol.

The Think Tank is hundreds of light years from Earth - the journey would take 39 astrasiderial days at Skagra' s ship's full warp drive - presumably Skagra has taken this long to get to Earth.

The scientists on the Think Tank are given titles in the rehearsal script and initials in the recorded programme. The names including both are: Doctor A. St John D. Caldera neurologist ; A.

Thira psychologist ; Professor G. Santori parametricist ; Doctor L. Ia biologist ; Professor R.There's no one interested in ancient history on Gallifrey any longer, and I thought that certain things would be safer with me. He was a bit like me in that respect. It is a slight relief that he wasn't another renegade Time Lord, and the at- Season five is remembered as the monster season. Half of it's stable all of the time, half of it none of the time.

I don't know what you're talking about. Shada, which was filmed in Cambridge, was created in for the end of the show's 17th Chronotis does not look to see who it is, but heads off to the kitchen. Was as hot as Bangkok.

KESHIA from Indianapolis
I love exploring ePub and PDF books generously. Also read my other posts. One of my extra-curricular activities is british bulldogs.