Before venturing into this post, I must warn that this article contains SPOILERS about the end of Series 10 of Doctor Who. While I am fairly confident what I am about to comment is widely known, this is your last chance to look away now if you are still to watch The Doctor Falls.
As covered in last week’s blog, Doctor Who was headed towards an uncertain future in 1969. The show’s popularity had been waning over time, and lead actor Patrick Troughton was giving firm indications that he had little desire to stay on board for a fourth season as the Doctor. Into this mix, the decision was taken to trial a style of adventure that was to shape the next five seasons of Doctor Who; an adventure set not in the far reaches of space, the past, or the future, but on contemporary earth.
The TARDIS lands in 1960s England, broken down and in need of repair. As the Doctor seeks a technician who can aid him in repairing the broken TARDIS circuits, he is delighted to encounter his old friend Colonel Leighbridge-Stewart, last encountered in The Web of Fear, now promoted to Brigadier, and the leader of a new taskforce called U.N.I.T. The Brigadier reveals that U.N.I.T. are investigating a series of unusual disturbances centred around the world’s foremost supplier of electrical goods, International Electromatics. Forced into investigating the organisation when Zoe is kidnapped by their sinister security team, the Doctor discovers that their head, the mecurial Tobias Vaughan, is colluding with an unnamed alien menace, proposing to invade and take over the world. It is only halfway through this eight part adventure that the Doctor and Jamie learn that “some old friends” are Vaughan’s allies: the Cybermen!
This adventure was to provide one of Doctor Who’s most iconic moments, as the invading Cybermen use the London sewers to position themselves all over London, bursting out as the invasion begins. The sight of the Cybermen advancing from St Paul’s Cathedral has to go down as one of Doctor Who’s most memorable cliffhangers; sufficiently so that Steven Moffat would re-use the scene in Peter Capaldi’s debut season as the cliffhanger to Dark Water.
Even above this, The Invasion is eight episodes of excellence, principally due to the utter brilliance of Patrick Troughton as the Doctor, and Kevin Stoney as arch-villain Tobias Vaughan. While very long by Doctor Who’s usual standards, the story never feels padded, and proceeds at an enjoyable pace. The regular crew are supported by a very able supporting cast, while Nicholas Courtney very firmly seized his opportunity to stake a claim for reappearing in future. If this adventure was his audition piece, he passed with flying colours.
The Invasion is sensational in its own right; but is also significant for the groundwork it established for the future. The entire basis of the U.N.I.T. era was gestated in The Web of Fear and The Invasion, before being properly birthed in Spearhead from Space. Here lies the catalyst for U.N.I.T. (and the Brigadier) as season regulars; for earth based adventures; and for the longer stories of Season 7. As I observed in another blog piece, while the U.N.I.T. era is properly associated with Jon Pertwee’s time as the Doctor, The Invasion is not at all out of place from that era; indeed a colourised version of this adventure would fit very well indeed into the Pertwee collection!
A special mention is also due to this adventure for what it has contributed to the DVD collection. Two of The Invasion‘s eight episodes are missing, giving more than enough material for a viable release, but leaving an obvious gap. It was for this reason that this was the very first adventure to experiment with animation to fill these gaps; and arguably the work is among the very best ever done. The subsequent release of The Moonbase, The Ice Warriors, The Reign of Terror, and especially The Power of the Daleks only happened thanks to the BBC having the courage to gamble on animations for this adventure. For that alone, we should be thankful for this adventure … while still hoping we someday get episodes 1 and 4 back!
Next Time: Visit the genesis of the great U.N.I.T. dating scandal, as the Black Guardian decides that the Doctor is better off dead …
It has been a while since my last post on missing episodes, principally because there has been little by way of substantive rumour to report. Earlier this year there were rumblings that a number of William Hartnell episodes from Season 3 had been recovered, but nothing more substantive than rumour, and absolutely nothing relating to the supposed activities (or lack thereof) of Philip Morris.
Indeed, while there has been a lot of speculation about an event on 27th May put on by Fantom Films celebrating Doctor Who’s lost episodes, there has been a surprising lack of the sort of concrete rumour that ought to precede a pre-event announcement of more found episodes. Despite that, the guest list, which includes Mr Morris among other notables, has led sections of Doctor Who’s fans to conclude that there must be something happening; whether it is the presence of William Russell and Waris Hussein leading to speculation that Marco Polo must be recovered, to Deborah Watling’s presence being a sign that Evil of the Daleks is at least about to be animated, if not actually released as a full recovery.
Which means that this photo, posted on to the Facebook page of Philip Morris’s archive organisation Television International Enterprises Archives (T.I.E.A.) was inevitably going to raise eyebrows:
Shrewd observers will have already spotted similarities between the photo above, and the picture Philip Morris shared on the Doctor Who Missing Episodes Facebook Discussion Group of the complete Web of Fear in Jos. The similarities are of course giving rise to one obvious question: “What is in the film cans?”
Long term readers of this blog will know that I am convinced more material has been recovered, and also what material I think has been recovered. Rather than revisit that speculation, I will venture my own thoughts on whether the Fantom Film event is the precursor to a full or partial revelation of what missing Doctor Who Philip Morris has recovered.
I think in the very least we are about to get new information. Posting such a tantalising image as the one above could only ever have one impact on Doctor Who fans – to prompt renewed speculation. I firmly believe one does not knowingly enter a lions’ den having taken away the lions’ dinner! I therefore think that Philip Morris is in the position to share at least some new information, almost certainly related in some way to the posted photograph.
Secondly, if it is true that there is new information being shared, I think it is also possible that we will soon find out the results of his search. To date Morris has been exceedingly discreet regarding his search, emphasising that too much publicity makes it harder for him to track down material, and puts existing material at risk. There has also been speculation that regular teases on social media are Phil’s way of trying to get around Non Disclosure Agreements which prohibit him from revealing which commercially sensitive content he has returned to the BBC.
I do also think however that we won’t find out everything. I have previously speculated that the return of The Enemy of the World and The Web of Fear may have been influenced by these two stories proving a relatively isolated part of his overall search. Let’s assume that for each companion attending the event we have one returned story – say Marco Polo for William Russell, The Savages for Peter Purves, and The Abominable Snowmen for Deborah Watling. It may be that these stories also came from one small isolated station, allowing Morris to hold back from revealing if he had found anything else.
To put it another way: if there is not a conclusive statement on the search, we can presume that there is more material in the pipeline – either that Morris is still meticulously tracking down, or that he has tracked down and is seeking to repatriate to the BBC, or that is caught up in BBC negotiations. Conversely, a “that’s it” statement from Phil probably does mean the end of any hopes that the Doctor Who back catalogue survives somewhere in Africa …
That said, we should pay attention to whatever Paul Venezis has to say. Philip Morris has not been the only person tracking down material, and Paul Venezis has been one of the key men for co-ordinating the return of missing material from all sources, of which Phil’s worldwide hunt is just one. He is notoriously adept at using denials and carefully worded replies to give misleading impressions – saying for example “The entirety of Season 5 has not been found in Africa” while being aware that Enemy of the World and Web of Fear had been recovered – truthful, but not completely truthful! But if we are approaching the end game of Phil’s search, perhaps he will be more chatty.
That’s my realistic appraisal. I now hope that readers will forgive me if I indulge in a little daydreaming! Let’s suppose that somehow, incredibly, the BBC succeeded in keeping the biggest possible secret completely secret – a mass recovery of missing Doctor Who (ie. more than forty episodes, at least four completely recovered stories). I am inclined to agree with comments I have read elsewhere that the BBC would not permit an external organisation to claim the publicity benefit of such a major news story, so such an announcement would certainly not be made on the day.
Let’s suppose that there is a mass recovery announcement to be made – I rather suspect that the release of the animated Power of the Daleks gives us some indication what this might look like in practice. Assuming that they can control the news agenda (both Power of the Daleks and the Web/Enemy releases were plagued by pre-release leaks) then there will be a BBC press conference held before the Fantom event, not later (most probably) than Wednesday 24th. It is highly improbable that they will announce the release of every recovered episode – let’s face it, if all 96 episodes were recovered and released instantly, the likes of The Space Pirates would never sell in good numbers!
What is more likely is that they will repeat some of the promotional tricks used in Power of the Daleks – that is, a special incentive for fans to buy a complete story in advance; perhaps a discount for buying multiple adventures. The release of the story in a daily episodic format seemed to be extremely popular, and I could see that being repeated – it gained a massive amount of social media publicity and that would only increase for an actual episode recovery.
The trick question however would be which episode or episodes to release, assuming that the BBC have choice? Given that it has been rumoured for so long, and given the attendance of William Russell and Waris Hussein, I’d be amazed if Marco Polo is not a prime candidate for the first tranche of releases. We would then need to consider how the BBC would handle the recovery of multiple stories; would they perhaps release them in tranches of two or three stories at a time? Given that the BBC typically aimed to release one classic Doctor Who DVD per month, one presumes they could release the 20 missing adventures within two years if they so wished, and faster if the delay has been partially due to taking the time to restore the material.
My instinct is that the BBC would announce which stories they had recovered, and confirm which stories would be available ‘immediately.’ I think three is the absolute maximum they could release on BBC Store, which brings us neatly back to three confirmed companions – Ian (most probably Marco Polo), Steven (something from Season 3) and Victoria (most probably The Abominable Snowmen).
So I will finish with my wishful thinking prophecy: that even as we speak, BBC staff are making preparations to load Marco Polo, The Savages, and The Abominable Snowmen on to the BBC Store, ready to download at an episode per day. And if my unending optimism proves right, these downloads are only a taste of what may then follow!
As ever … all this is speculation. I am joining thousands of other Doctor Who fans in hoping that on this occasion, the speculation proves accurate!
2017 has not started well for those fans hoping that Philip Morris and/or A.N.Other missing episode collector would be backing up a massive truck to BBC HQ with 97 cannisters of 16mm film cans. The animation of Power of the Daleks, combined with certain acerbic assertions made by Paul Vanezis (a reliable if untrusted source) on GallifreyBase, have persuaded those following the omnirumour that it was just that – a rumour.
More on that to come in due course – but for this week’s post I have decided to revisit a post I wrote two years ago, when Doctor Who fandom had lost all of the pent up optimism that followed the release of The Enemy of the World and The Web of Fear. I decided that it was time to stop waiting for Philip Morris to bring the rumoured shipping container filled with cans of missing episodes to the BBC, and to instead press on with recreating what was lost; I wrote a letter to this effect in October 2015, launching the #MissingEpisodesMonday hashtag (not, I confess, one of my more successful ideas!) and hoping to pester BBC Worldwide into keeping the classic DVD range alive. We have already had the first fruits of that, with the wildly successful release of The Power of the Daleks fully animated.
I think there is a pointer to where the BBC can go next provided by another creation that looked to recreate something lost. I delayed this post for a month, giving readers plenty of time to watch Rogue One: A Star Wars Story (should they be that way inclined) without spoiling anything. I’m assuming a full month after release that if you have not watched it by now, you will not be troubled by a minor spoiler – but if you would be, this is your last chance to look away!
Rogue One, which is set just before the events of the very first Star Wars movie, caused a great deal of debate and discussion – not just for the storyline (good but grim) but also for a brave and contentious decision to recreate Peter Cushing’s character of Grand Moff Tarkin, and to create a Princess Leia who looked as the late Carrie Fisher did in 1977. The video below shows what sort of process was involved to do this – essentially, it required near lookalikes to portay and speak the roles, and then for CGI to be overlaid over the actor.
Of course the first question that has been raised in all of this relates to the ethics of recreating long deceased actors. This article by the Guardian focuses specifically on the ethics of it, and includes the following helpful remarks:
“This was done in consultation and cooperation with his estate. So we wouldn’t do this if the estate had objected or didn’t feel comfortable with this idea.
While I know some readers will want to debate the ethics involved, I’m purposefully side-stepping the debate for this post as it merits an entire post to itself, and is being explored much more thoroughly and knowledgeably elsewhere on the internet! Instead, I’d like to focus on what this develop does mean – for better or for worse, we are rapidly approaching the point at which CGI renderings will be comparable to real life actors. We absolutely need to land on a humane and sensible agreement in terms of what is acceptable and what is unethical – but we also won’t be able to avoid for long the question of how this applies to missing episodes of Doctor Who.
This idea is not exactly new – I speculated in May 2015 that the BBC could recreate Marco Polo using an entirely new cast as a reference point for the animators, the driving factor there being the proliferation of motion capture in computer games. Rogue One has demonstrated that movies are quickly catching up, and that television or on-demand viewing cannot be far behind. Yes, in 2017 it is probably prohibitively expensive to map William Hartnell’s CGI created expression on to David Bradley. But it is not impossible – and it was not that long ago that we were warned that animating a completely missing episode of Doctor Who was financially impossible.
This being the case, then suddenly the BBC have a lot of questions in front of them, in terms of productions, values and ethics – never mind the business decisions! Even if BBC Worldwide could bring together a cast to re-make Marco Polo, and wanted to do so, how far should their creative freedom go? The animators of The Power of the Daleks have already faced questions on the decisions they took when animating the adventure. Imagine having to decide whether Marco Polo: Reimagined should be recorded in widescreen colour HD, or instead as close to the orginal as possible? Should all of the original cast be faithfully recreated, or only the recurring cast? Should the original soundtrack be used? And especially given contemporary debates about cultural appropriation, would the BBC have to ensure that Chinese actors portrayed Chinese roles?
Against all of these challenges however, I would like to present a positive case. Unless the episodes show up (and optimism is at an all time low) we have 97 gaps in the classic catalogue, of which only fifteen have been satisfactorily plugged. The Power of the Daleks animation was great, but also lacked fluidity – you had to get past the realisation of the human characters. There is definitely a case for using motion capture to improve the quality of future animations – the question seems not to be if we should use motion capture, but rather the extent to which we should use motion capture and CGI.
It is not just missing episodes at stake here. If a convincing William Hartnell or Patrick Troughton could be re-created, why not a convincing Peter Davison or Colin Baker? Take Big Finish’s excellent audio drama Spare Parts (available to buy online here) – the clip below shows a test animation attempted by a fan (there are four on youtube in total):
While Cybermen (like Daleks) are easy to animate, humans are unsurprisingly somewhat more difficult. Given the pace at which technology is advancing however, we may not be far from the point that we can produce so much more than missing episodes – we would be able to turn audio dramas into reasonably realistic animations. Of course – this would instantly put fandom into a schism inducing uproar – certain fans would refuse to accept ‘non-canon’ stories, while even those who accepted it would be divided in terms of whether these new adventures would be welcomed into the ‘classic’ DVD range, or should be a stand alone range.
Plainly there remains a lot to debate, and absolutely no easy answers. But the future for classic Doctor Who is nevertheless extremely exciting, and persuades me that regardless of whether further material is found, Doctor Who fans can eventually look forward to a day when the missing episodes have been recreated in some form, and we can enjoy the classic era in its entirety.
Merry Christmas readers! I’ve been sitting on a review of The Power of the Daleks for a while, and so I have decided to use the Christmas break to pen my thoughts on the wonderful animation provided by BBC Worldwide.
As long term readers of the blog will recall, Power was one of the three stories I was most keen to see recovered, for the reasons I set out in this blog post. Indeed, so curious was I to sample Patrick Troughton’s sadly missing first adventure that I eventually gave in and watched the Loose Cannon recon – and it only increased my excitement for the animated release when BBC Store confirmed the animation project.
Now I have watched the animated reconstruction … several times. In such a short space of time, I think that is probably the highest complement I can pay The Power of the Daleks – one watch (even two!) simply has not been enough to enjoy a high quality adventure. I was nervous what standard the animation would be, with the quality varying substantially between previous BBC releases (The Moonbase was excellent, The Ice Warriors less so). In the end, I need not waste any words commenting on the quality of the animation – it is excellent, and a worthy alternative in the absence of the original prints. Sure there is the odd niggle here and there, but one is not only able to follow the story, crucially one is able to enjoy the story and establish some degree of empathy with the characters.
Which comes to the crux of this review: Power of the Daleks is an excellent piece of Doctor Who. The very best stories combine a good story, good characters and a good cast – and the most excellent stories have that extra edge that leaves you hooked. Power of the Daleks excels on all of these counts and then some. Even before you add the unique variable that this is the first regeneration story, it is already a fine example of Doctor Who well done, and would stand up well if it were any other Doctor, and indeed not even a regeneration story. As it is, Patrick Troughton’s first foray into the role of the Doctor is the cherry on the icing that makes this story exceptional.
The plot itself is relatively straightforward: the newly regenerated Doctor arrives with his startled companions Polly and Ben on the planet Vulcan. The earth colony on the planet has three resident challenges: a group of discontented colonists planning a rebellion against the governor; a discontented member of the administration plotting to use the rebels to usurp the governor, and an obsessed scientist who has discovered a space capsule containing what he takes to be three machines – but that the Doctor has no hesitation in identifying as dormant Daleks! When the Doctor witnesses the murder of an Examiner sent from Earth, he steps into the shoes of the Examiner to investigate the mysterious circumstances of the colony. As the wonderful extras explain, much of the tension in the episode stems from the Doctor (and the viewer) knowing that the Daleks are evil and not to be trusted, while the earth colonists are deceived by the Daleks’ pledge of servitude. The viewer knows full well that sooner or later the Daleks will betray their human ‘masters’, and the tension ramps up as the schemes of the rebels, the discontented administator, and the Daleks themselves reach a dramatic and violent climax.
In fact, if one had to identify one reason why this story is a triumph, it is precisely that word: tension. Power of the Daleks is a glorious lesson that modern television writers could heed well – sometimes the best way to develop a drama is to allow the tension to ramp up slowly, carefully, and deliciously much more slowly than the viewer finds comfortable. Undoubtedly one could argue that without the regeneration and some of the background scenes, this could easily be a four part adventure. I think that would be a shame however – the slower pace allows you to enjoy the excellent characters – and while we can only judge by the voices of the original cast how good their performances were, it seems the cast were all on top form; most importantly, at no stage is there any sense of a cast member being superfluous – each plays their role and plays it well. You find yourself draw in and emphasising with the characters, and hoping that somehow the Doctor can help the colonists to defeat the Daleks.
That said, there are two outstanding stars in the performance who deserve particular praise. Top of the list has to be the incomparable Patrick Troughton – right from “It’s over!” he absolutely nails the part of the Doctor. The BBC took a bold decision to completely recast the role of the Doctor, and if it had backfired they could well have pulled the plug after this adventure. Right from the start Troughton puts his own inimitable charm upon the role, and this is certainly a much better introduction to Troughton than the more comic persona he adopts in his earliest surviving episodes in The Underwater Menace. The animators deserve a lot of credit for taking the soundtrack with all of Troughton’s character, and managing to convey something of that in their animations – it is a simple fact that Patrick Troughton not only made this story a success, he also saved Doctor Who for future generations.
As a brief aside, it is worth saying that the regeneration (referred to in the story simply as a ‘renewal’) is both better explored and less explored than in future stories. The first ten minutes are entirely focused on the TARDIS, where Ben and Polly try to work out who this ‘new’ man is. Their suspicion and incredulity is well played, and essential for helping the viewer to weigh up the ‘new’ Doctor for themselves. In the end, the Doctor throws himself straight into the action, almost akin to Matt Smith in The Eleventh Hour, and demonstrating the fundamental continuity to the departing William Hartnell by doing what the Doctor does best – getting involved! I think for the first ever regeneration it was very well handled, and it was a delight to experience it.
The other stars are the Daleks themselves, in what is perhaps their most clever and nuanced appearance in the show. Most often we are used to the Daleks adopting their standard method of Dalek Diplomacy (“Seek, locate, exterminate!”) – so it comes to a shock to the senses when the episode two cliffhanger has the Dalek professing “I am your ser-vant!” The craftiness of the Daleks is a joy to behold, and especially the moments when the Daleks momentarily forget that they are meant to be concealing their true natures: witness the Dalek correcting himself from “Daleks are b- are different to humans!” in episode three; or the delicious moment when a Dalek, exhulting in the prospect of their own power supply, says: “With static power, THE DALEKS WILL BE TWICE AS … *pause* … useful.” There is something scarily human in the way the Daleks reason and plot; a potent reminder that their appeal was not least due to a sober reminder of what humanity can become when it gives in to its own worst instincts.
Even without the original footage I am ready to make the controversial statement that I think Power of the Daleks is the best Doctor Who story ever. It certainly runs my top three very very close, and the only doubt remaining is precisely because we are not able to see the original footage. I feel confident however, that were Philip Morris to work a miracle and recover Power of the Daleks against all of the odds, this story would justifiably take its place as one of the best regarded stories in Doctor Who fandom. It is that good.
It is widely recognised in fan circles that The Power of the Daleks animation is a gamechanger – the first classic adventure of Doctor Who to be entirely animated. It could have flopped, but instead it was a magnificent success. We must recognise this is partially due to the strength of the story itself, and not least of Pat Troughton’s marvellous debut performance, but the animation team showed that it is possible to reconstruct the lost stories in a credible and watchable format, and for fans to enjoy them. The question has now become a case of ‘What next?’, rather than whether more are coming.
In my last blog post I shared the responses of Doctor Who fans to which current missing episodes they most wanted to see animated. The moral of the story is that there were not many surprises – the Dalek stories were at the top, along with other predictable big hitters such as Fury from the Deep.
Of course, the BBC are not going to choose the next animation based only upon what fans want – though they will almost certainly take popular interest and demand into account. Most probably, they will be driven by the profit margin – which is fair enough, given that the BBC owes us nothing, and they are hardly going to invest in a programme with a negative return!
That being the case, I am prepared to make a confident guess that (possible returns notwithstanding) the BBC will probably choose The Abominable Snowmen as their next animation project.
So let us begin by reviewing what is missing:
The Entirely Missing Serials
The Orphaned Episodes
The Mostly Missing Serials
As you can see, the remaining stories can be classified three ways – a large number that, like Power of the Daleks, are completely missing. In a sense, these are the best prospects for the BBC in that they do not have to incorporate existing material, and so the animation team can start with a clean slate and imagine the serial however they want. There are also some highly anticipated stories in the mix, not least Marco Polo, The Macra Terror, and Fury from the Deep. The danger however, is that there are also several adventures in there that are less than hotly anticipated. Would it be a worthwhile risk for a second animation?
Meanwhile, the opposite problem exists for mostly missing serials. Unlike the orphans, which to all intents and purposes are basically missing, a substantial amount of content survives. With The Crusades and The Underwater Menace we have the comparable release of The Moonbase to demonstrate that combining animation with existing footage can work – but not necessarily easily. To put it another way – a release of The Wheel in Space with 66% of it animated might prove a risk.
Orphaned episodes on the other hand are an interesting case. The Power of the Daleks was the first animation to be produced in widescreen, taking advantage of the otherwise lamentable fact that no footage survives to be incorporated into the story. Presuming that future animations would follow this trend, it would be extremely tempting for orphaned episodes to animate the entire story, releasing the orphaned episode with the animation as a bonus.
My theory, for what it is worth, is that the BBC will be very tempted to release an animation that features an orphaned episode as their next venture. Power of the Daleks demonstrated that you could animate an entire adventure and make it work. I think the next theory that the BBC will want to test will be whether the animators would be able to lift aspects of the existing footage to incorporate into animated footage. Not being an animator, I have no idea if what I am proposing is impossible – though I am tempted to think not, given the extent to which The Moonbase animation incorporated existing footage from surviving episodes and The Tomb of the Cybermen. If the BBC could successfully incorporate (for example) the footage from episode 2 of Evil of the Daleks into a brand new animation of episode 2, it would demonstrate that the process could be successfully replicated for other orphaned adventures, and potentially even for mostly missing adventures.
That being the case, the question on everyone’s lips is ‘Which orphaned adventure would the BBC choose?’ Almost immediately, I am minded to discount three adventures – Galaxy 4, The Celestial Toymaker, and The Space Pirates. None of them are highly regarded, so why would the BBC take a risk on an adventure that might flop like a lead balloon? That leaves us with two adventures: Evil of the Daleks and The Abominable Snowmen. Notwithstanding my own conviction that The Abominable Snowmen has been found, I think the BBC would be jolly tempted to choose the debut of the Great Intelligence for their next release. While Daleks are guaranteed sellers, and Evil is a very hotly anticipated release, I think that’s rather the point – they know Evil will sell well, even if it follows up a less well received release, so they lose nothing by delaying it.
This is supposition on my part – the BBC may equally be thinking that a colour version of Marco Polo is the obvious next step, or to release The Wheel in Space animated in a similar style to The Moonbase. But if I were sitting in BBC Worldwide right this moment, and had nothing to indicate any more material was returning, I think I would be tasking my animators to bring the second adventure of Season 5 back to life.
Next week I’ll be breaking down the animations type by type, and giving my thoughts on how quickly the BBC is likely to animate these adventures.
Like most Doctor Who fans, I have been absolutely blown away by the outstanding job the BBC have done on the Power of the Daleks animation. The quality of the animation has been so good, and the reaction so uniformly positive, that fans are positively clamouring for the BBC to press ahead and animate the remainder of the missing back catalogue – the best of good news!
When the Power animation was announced, I did a reader survey asking respondents on their preference order for animations – all the way from their first choice to their 19th. What this uniquely reveals is the extent to which fans really want a classic adventure returned – some stories you would expect to do well are still highly ranked, but are lower because not every fan rates the story that highly.
Below are the results – the number represents the average score for the story, so if (for example) a story was ranked 2nd by everybody, then the score would be exactly 2.0.
Unsurprisingly the two Dalek stories top the poll – even if they are not necessarily everyone’s first choice, it is clear everyone would want both Evil of the Daleks and The Daleks Master Plan animated fairly quickly! Of greater interest is the relatively low performance of Marco Polo, and especially of The Massacre – the latter even more baffling, as the absence of telesnaps would make an animated reconstruction extremely helpful to fans! Conversely, nobody will be surprised that The Underwater Menace has finished bottom of the pile, given the rather lacklustre DVD release. You can also see that there does not appear to be much difference between completely missing adventures (in orange) and partially missing adventures (in green).
If you want to delve deeper still, the bar chart below shows how many respondents gave different values for each story:
Again, it comes as no big surprise that 80% of respondents have put Evil of the Daleks in their top three. What is truly fascinating is that every story had at least one fan – even The Underwater Menace! The 60 odd responses I received showed that fandom remains as varied as ever in its classic Doctor Who tastes – and that while different fans want different stories, there is a clear appetite to see all of these stories released in some format. If nothing else, the prospect of a complete Doctor Who catalogue is something worth celebrating!
Some notes on the survey:
There were 67 responses to the survey. Some respondents did not use all 19 ranking options, and some ranked the stories as either ‘1’ or ‘2’, as forced ranking was not possible through the survey design.