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I've made two grisly discoveries today - the first a dead sparrow, the second how many Target novelisations I am adrift. I know I had The Cave Monsters and The Sea Devils, and I remember reading Androids of Tara on the bus, so I wonder if somewhere I have a box that has a pile of Pertwee and Baker era books in. Quite where that is, I do not know.
I simply don't believe I don't have these or have given them away or lent them. I wonder if I had them when I last tried to catalogue them - but as to where I've put them... I've picked up five because these are important title but I will hold off pre-1984 titles
But:
( Cut for tedium )
I simply don't believe I don't have these or have given them away or lent them. I wonder if I had them when I last tried to catalogue them - but as to where I've put them... I've picked up five because these are important title but I will hold off pre-1984 titles
But:
( Cut for tedium )
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Doctor Who in Comics 1964-2011
27/7/2011-30/10/2011
Cartoon Museum, Little Russell Street, London (near the BM)
See: http://www.cartoonmuseum.org/
It's a bleeding jpg or summat so I can't cut and paste the info.
27/7/2011-30/10/2011
Cartoon Museum, Little Russell Street, London (near the BM)
See: http://www.cartoonmuseum.org/
It's a bleeding jpg or summat so I can't cut and paste the info.
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I wish the BBC knew the different between preview, prologue and prequel.
It's not rocket science.
A thought:
( Spoiler but a guess? )
It's not rocket science.
A thought:
( Spoiler but a guess? )
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I have a shelf of Doctor Who novelisations, pretty well all Target editions, presumably numbering somewhere in the region of a hundred, and stretching up to the end of Peter Davison's period, possibly including the odd Colin Baker. At one point it would have been complete, at least in the sense that I had all the novelisations available at that point. It became incomplete when they novelised virtually all the remaining Old Who stories (I'm guessing the Adams stories are the only ones left) and obviously there were Baker and McCoy adventures, plus the missing season. My records of which I have are not as accurate as they might be - I took a short cut when importing them into my database - and I think a couple have gone astray.
Every so often - as in on Thursday - I come across a bookshelf of novelisations, secondhand. A few times I've filled in gaps. It is an incomplete collection.
And that offends me.
On the other hand, I have virtually no interest in reading any more novelisations of Doctor Who, and certainly would not want to get into the Virgin adventures or New Who.
But, still. Offensive. Careless.
*
I notice Arden 3 has an edition of The Sonnets, unlike, as far as I can see, Arden 2.
Every so often - as in on Thursday - I come across a bookshelf of novelisations, secondhand. A few times I've filled in gaps. It is an incomplete collection.
And that offends me.
On the other hand, I have virtually no interest in reading any more novelisations of Doctor Who, and certainly would not want to get into the Virgin adventures or New Who.
But, still. Offensive. Careless.
I notice Arden 3 has an edition of The Sonnets, unlike, as far as I can see, Arden 2.
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Documentary on Douglas Adams on BBC Radio 4 at 11am.
#
11:00–11:30
The Doctor and Douglas
Jon Culshaw examines the influence of the man who changed Dr Who forever: Douglas Adams.
Shame it's Jon Culshaw. How long before he does a Tom Baker impression? (that'll be the point when he says, "Hello, I'm the Doctor" as he's of a generation who introduce their impressions so you can guess who they are. Come back Mike Yarwood, all is forgiven)
H'mmm:
As a new generation of fans await the debut of the 11th incarnation of the Doctor, long-time fan Jon Culshaw travels back in time to look at the man who changed Doctor Who forever: Douglas Adams.
After years toiling for success as a writer, in 1978 Douglas' world turned upside down. Just weeks after the radio series The Hitchhiker's Guide to the Galaxy was commissioned, so was his first script for Doctor Who. The following year - just as Hitchhikers was taking off - he was offered the job as script editor, one of the most demanding jobs in television.
The scripts he wrote for Doctor Who - The Pirate Planet, City of Death and Shada - still stand as a benchmark for the series today. But his time on the series was beset by problems. Technician strikes would seriously affect production, inflation was squeezing the series budget, and Douglas was exhausted by the simultaneous demands of Hitchhikers and Doctor Who.
Nevertheless, Douglas left an indelible mark on Doctor Who, bringing in a sharp wit that hadn't been seen before in what was ostensibly a children's TV series. Today's crop of writers and producers strive to emulate the intelligence, humour and ideas in Adams' scripts from 1979.
Jon Culshaw looks at Douglas' work on a television institution, talking to the writers, directors and actors who worked with him, and looks at the legacy of his work on Doctor Who with new executive producer Steven Moffat.
Produced by Simon Barnard and Kieron Moyles. This is a Wise Buddah production for BBC Radio 4.
#
11:00–11:30
The Doctor and Douglas
Jon Culshaw examines the influence of the man who changed Dr Who forever: Douglas Adams.
Shame it's Jon Culshaw. How long before he does a Tom Baker impression? (that'll be the point when he says, "Hello, I'm the Doctor" as he's of a generation who introduce their impressions so you can guess who they are. Come back Mike Yarwood, all is forgiven)
H'mmm:
As a new generation of fans await the debut of the 11th incarnation of the Doctor, long-time fan Jon Culshaw travels back in time to look at the man who changed Doctor Who forever: Douglas Adams.
After years toiling for success as a writer, in 1978 Douglas' world turned upside down. Just weeks after the radio series The Hitchhiker's Guide to the Galaxy was commissioned, so was his first script for Doctor Who. The following year - just as Hitchhikers was taking off - he was offered the job as script editor, one of the most demanding jobs in television.
The scripts he wrote for Doctor Who - The Pirate Planet, City of Death and Shada - still stand as a benchmark for the series today. But his time on the series was beset by problems. Technician strikes would seriously affect production, inflation was squeezing the series budget, and Douglas was exhausted by the simultaneous demands of Hitchhikers and Doctor Who.
Nevertheless, Douglas left an indelible mark on Doctor Who, bringing in a sharp wit that hadn't been seen before in what was ostensibly a children's TV series. Today's crop of writers and producers strive to emulate the intelligence, humour and ideas in Adams' scripts from 1979.
Jon Culshaw looks at Douglas' work on a television institution, talking to the writers, directors and actors who worked with him, and looks at the legacy of his work on Doctor Who with new executive producer Steven Moffat.
Produced by Simon Barnard and Kieron Moyles. This is a Wise Buddah production for BBC Radio 4.
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Doctor Who/Skins crossover. Only a matter of time.
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Guardian obituary is a little h'mmmm-some:
Verity Lambert, who has died aged 71 of cancer, will always be remembered as the presiding genius behind Doctor Who, the science-fiction romp which has intermittently flourished on television for nearly 45 years. [...] She contrived to get an opening in ABC Television, where Sydney Newman was in charge of production. Lambert's enthusiasm caught his eye. She worked on the regular Sunday night Armchair Theatre, and when Newman was headhunted by the BBC in 1963 she was one of several colleagues he took with him. Doctor Who, dreamed up by Newman himself with the writer Terry Nation, and starring William Hartnell, was an immediate project. Lambert was involved from the outset, and for the second batch of episodes was producer, credited with introducing the most celebrated of the doctor's adversaries, the Daleks.
This gives Nation a little too much credit, I'd think.
Verity Lambert, who has died aged 71 of cancer, will always be remembered as the presiding genius behind Doctor Who, the science-fiction romp which has intermittently flourished on television for nearly 45 years. [...] She contrived to get an opening in ABC Television, where Sydney Newman was in charge of production. Lambert's enthusiasm caught his eye. She worked on the regular Sunday night Armchair Theatre, and when Newman was headhunted by the BBC in 1963 she was one of several colleagues he took with him. Doctor Who, dreamed up by Newman himself with the writer Terry Nation, and starring William Hartnell, was an immediate project. Lambert was involved from the outset, and for the second batch of episodes was producer, credited with introducing the most celebrated of the doctor's adversaries, the Daleks.
This gives Nation a little too much credit, I'd think.
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Neil Gaiman in his blog: "The problem Dr Who always used to have was never a failure of imagination or a failure of script. It was a failure of obviously being a man in an unconvincing costume hiding behind some wobbly scenery."
Can we have the successful imagination back now? Or are we stuck with rewriting the phenotype instantly by changing the genotype every second episode?
Can we have the successful imagination back now? Or are we stuck with rewriting the phenotype instantly by changing the genotype every second episode?
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