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Paul MC Smith

@wonderfulbooks.co.uk
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Design, data and Doctor Who. www.wonderfulbook.co.uk

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Paul MC Smith @wonderfulbooks.co.uk · 9h
Coming very soon, latest issue of Canadian fanzine Whotopia. Includes location filming report from 1996's TV Movie and contemporary interview with the legend that is Sylvester McCoy. whotopiamagazine2.wordpress.com
Whotopia issue 47 cover: flame-throwing Daleks in the jungle of Kembel (art by William Holmes, https://www.deviantart.com/presidentholmes), headline "Saved From the Flames: The nightmare begins again with the recovery of two more episodes from The Daleks' Master Plan"
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Monstermaker @monstermaker.bsky.social · 26/09/2026
It's live! The prologue from Malcolm Hulke's Target novel Dinosaur Invasion - animated! youtu.be/aNRfScgskFY?...
youtu.be
Dinosaur Invasion: London Alert
YouTube video by Doctor Who Literature Podcast
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Paul MC Smith @wonderfulbooks.co.uk · 30/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1978: Read @jamiehailstone’s look at Douglas Adams’ time on Who in Doctor Who 70-79, available from www.dwasonline.co.uk/dw7079
September 30 1978
‘The Pirate Planet’ marks the writing debut in the series of an author destined for world-wide fame, Douglas Adams, who was offered the commission after completing his radio series The Hitch‑Hiker’s Guide to the Galaxy, later to become an enormously successful television series and best-selling book. Once again, though, it is Mary Tamm’s playing of the redoubtable Romana that catches the critics’ eyes, Keith Baker of the Belfast Telegraph calling her the Doctor’s equal, ‘with a deferential bow towards the Bionic Woman, Wonder Woman and Women’s Lib all at once’.Doctor Who 70-79: ‘An infinitely improbable man of ideas’ by Jamie HailstoneDoctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
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Paul MC Smith @wonderfulbooks.co.uk · 30/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1978: Read @jamiehailstone’s look at Douglas Adams’ time on Who in Doctor Who 70-79, available from www.dwasonline.co.uk/dw7079
September 30 1978
‘The Pirate Planet’ marks the writing debut in the series of an author destined for world-wide fame, Douglas Adams, who was offered the commission after completing his radio series The Hitch‑Hiker’s Guide to the Galaxy, later to become an enormously successful television series and best-selling book. Once again, though, it is Mary Tamm’s playing of the redoubtable Romana that catches the critics’ eyes, Keith Baker of the Belfast Telegraph calling her the Doctor’s equal, ‘with a deferential bow towards the Bionic Woman, Wonder Woman and Women’s Lib all at once’.Doctor Who 70-79: ‘An infinitely improbable man of ideas’ by Jamie HailstoneDoctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
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Paul MC Smith @wonderfulbooks.co.uk · 29/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1979: This scene was recorded on 21 May…
September 29 1979
Start of the Paris-filmed story ‘City of Death’, which confirms Tom Baker’s claim that famous actors like to appear in the series – when John Cleese and Eleanor Bron make unheralded appearances as a couple of art-lovers. Because the close encounter of Doctor Who with Basil Fawlty in the final scenes of the story comes as such a surprise to viewers, it is repeated the following August with, as Patrick Stoddart describes, ‘the BBC trumpeting their coup’. On this re-showing, the new producer, John Nathan-Turner says: ‘I don’t think John took much persuading to do the show. Doctor Who is a bit like The Muppets – everybody likes the idea of popping up in it, if only to impress their children.’Eleanor Bron (and John Cleese) discuss the TARDIS’s Police Box appearance from an artistic perspective in episode four of ‘City of Death’Doctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
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Paul MC Smith @wonderfulbooks.co.uk · 29/09/2026
Let's hope the projector plays ball on the day! Target artists didn't always draw from the obvious imagery for the stories they were illustrating. wegottickets.com/f/23441/
wegottickets.com
Target Book Club
The Third Target Book Club Compendium! Another day of talks (some academic, some fun, many both) bombarding attendees with new information, questionable theories, rampant speculation and jaw-dropping...
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Paul MC Smith @wonderfulbooks.co.uk · 29/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1979: This scene was recorded on 21 May…
September 29 1979
Start of the Paris-filmed story ‘City of Death’, which confirms Tom Baker’s claim that famous actors like to appear in the series – when John Cleese and Eleanor Bron make unheralded appearances as a couple of art-lovers. Because the close encounter of Doctor Who with Basil Fawlty in the final scenes of the story comes as such a surprise to viewers, it is repeated the following August with, as Patrick Stoddart describes, ‘the BBC trumpeting their coup’. On this re-showing, the new producer, John Nathan-Turner says: ‘I don’t think John took much persuading to do the show. Doctor Who is a bit like The Muppets – everybody likes the idea of popping up in it, if only to impress their children.’Eleanor Bron (and John Cleese) discuss the TARDIS’s Police Box appearance from an artistic perspective in episode four of ‘City of Death’Doctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
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Paul MC Smith @wonderfulbooks.co.uk · 28/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1968: More special effects, this time a well-worn but time-consuming technique. It was more extensively used for the Skarasen in ‘Terror of the Zygons’ (1975)…
September 28 1968
Stop motion animation is used for the Medusa scenes in part three of ‘The Mind Robber.’ Although this is not the first time animation has been used in the series – hand animation being used for the map sequences in ‘Marco Polo’, and rostrum camera animation for ‘The Moonbase’ – this marks the first utilisation of the technique more commonly employed by Ray Harryhausen in films such as Jason and the Argonauts.
The short sequence of animation in ‘The Mind Robber’ – short due to the time and expense involved in using such a technique – focuses on the Medusa’s hair, a nest of snakes which gradually come to life to menace Zoe and the Doctor. The frame‑by‑frame shooting of the Medusa’s hair was, for reasons of controllability, shot on film at the BBC’s film studios in Ealing. To match this film footage of the Medusa to the studio-recorded scenes involving the Doctor and his companion requires the skills of the inlay operator, whose desk, up in the control gallery, has a bank of switches and buttons that can mix two separate pictures to achieve a composite third.The snakes of the Medusa are brought to life through stop-motion animationDoctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
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Paul MC Smith @wonderfulbooks.co.uk · 27/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1980: The full story of Scene Sync can be seen in John Kelly’s short documentary on the ‘Meglos’ DVD/Season 18 Blu-ray Collection…
September 27 1980
Another new special effects process is tried out on Doctor Who, this time the scene-sync equipment which will later be used to even grander effect in the major BBC production of The Borgias. Developed by an outside company, Scene-Sync is a control system allowing a slave camera to follow exactly the movements of a master camera. In the case of ‘Meglos,’ the master camera is a studio camera trained on a group of actors walking about on a totally blue set. The slave camera is set up to shoot a much smaller model stage where the set of the Zolpha-Thura screens has been built. Up in the gallery the two scenes are merged together using CSO. The scene-sync process is thus employed to match the movements of the actors on the big set that have been captured by the master camera, with corresponding camera angles on the model stage shot by the slave camera. Due to the expense of hiring the scene-sync equipment, ‘Meglos’ is the only Doctor Who story to date to make use of this technique.Setting up the model of the Zolfa-Thuran screensGeneral Grugger (Bill Fraser) and Lieutenant Brotodac (Frederick Treves) on a blue-screen background and combined with a model shot of the screens, in episode one of ‘Meglos’Doctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
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Paul MC Smith @wonderfulbooks.co.uk · 27/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1980: The full story of Scene Sync can be seen in John Kelly’s short documentary on the ‘Meglos’ DVD/Season 18 Blu-ray Collection…
September 27 1980
Another new special effects process is tried out on Doctor Who, this time the scene-sync equipment which will later be used to even grander effect in the major BBC production of The Borgias. Developed by an outside company, Scene-Sync is a control system allowing a slave camera to follow exactly the movements of a master camera. In the case of ‘Meglos,’ the master camera is a studio camera trained on a group of actors walking about on a totally blue set. The slave camera is set up to shoot a much smaller model stage where the set of the Zolpha-Thura screens has been built. Up in the gallery the two scenes are merged together using CSO. The scene-sync process is thus employed to match the movements of the actors on the big set that have been captured by the master camera, with corresponding camera angles on the model stage shot by the slave camera. Due to the expense of hiring the scene-sync equipment, ‘Meglos’ is the only Doctor Who story to date to make use of this technique.Setting up the model of the Zolfa-Thuran screensGeneral Grugger (Bill Fraser) and Lieutenant Brotodac (Frederick Treves) on a blue-screen background and combined with a model shot of the screens, in episode one of ‘Meglos’Doctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
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Paul MC Smith @wonderfulbooks.co.uk · 26/09/2026
Curiously this book was released a month before the Target and Wingate editions of Planet of the Daleks, likely why there are some different edits beyond its abridgement. My essay on the variations can be downloaded here: www.wonderfulbook.co.uk/basedon/
wonderfulbook.co.uk
Wonderful Books - Based On The Popular BBC Television Serial
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Monstermaker @monstermaker.bsky.social · 26/09/2026
I'm probably going to be reposting this one a lot. Tell your friends (please).
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Paul MC Smith @wonderfulbooks.co.uk · 26/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1967: This edition of Talkback only survives as an audio clip, included on the CD release ‘Doctor Who at the BBC volume 2’ (transcript at tinyurl.com/2knc57xa). The Daily Express had a follow-up the next day…
September 26 1967
The BBC screens the first Talkback programme, hosted by David Coleman. The show goes out live and features a debate with the audience on Doctor Who. Talkback is designed to be a programme wherein the public can come into the studio and give their views, on air, about BBC Television, so Doctor Who is almost a mandatory topic for inclusion in the opening show insofar that it is currently attracting a lot of criticism over the horror elements in the series. This has happened especially following the Visual Effects Department’s discovery of foam‑generating equipment. By mixing the foamable chemicals with various other ingredients – cocoa powder, wood chippings, paint, etc – different textures of the foam can be achieved. This has, so far, resulted in the slime of the Macra crabs, the fizzing brains of the Dalek creatures and, most recently, the disembowelled innards of a Cyberman. All three of these effects have, apparently, been exceptionally disturbing to younger minds and, for the Talkback prosecution, several mothers are invited by Coleman to give their views on Doctor Who’s content and to suggest solutions to the problem. Acting for the defence is the series’ unofficial scientific adviser Kit Pedler – co-creator of the Cybermen, and a medical doctor in his own right. However, the programme is not at all well handled by its presenters, with many of Pedler’s comments either being shouted down or chopped in mid-sentence by Coleman.
One suggestion put forward for further debate, though, is that Doctor Who, and other programmes of similar ilk, should carry certificates similar to those awarded to cinema films. This is later to be objected to by the Corporation Directors who feel that to impose such classifications would lessen the public’s own right to discern what makes good and bad television.Talkback presenter David ColemanFrom http://cuttingsarchive.org

Daily Express, 27 September 1967
Reviewing the programme where viewers get a voice
My grouse? It’s Mr. Coleman
B.B.C.1: Talkback
By James Thomas
Was James Mossman rude to the Prime Minister on Monday’s Panorama? NO, said nine viewers out of 10 in a snap studio opinion poll last night.
Is Simon Dee a symptom of the decline of B.B.C. standards? NO, said another 90 per cent of the 100-strong panel.
Does “Dr. Who” have a harmful effect on children? This split the panel 50—50.
I do not doubt that the B.B.C. has a splendid idea in this forum where viewers air their grouses—it is about time the licensed payers were allowed some voice.
But on this first showing, this somewhat complicated programme revealed (a) it had a long way to go to achieve real impact, and (b) that the voice which is going to be heard most is that of Mr. David Coleman, who as chairman talked “Talkback” off its feet.
The viewers lashed out in a big way at Mr. Mossman (“The country is not yet governed by TV interviewers”) and Mr. Dee (“You are guilty of moral hooliganism”), and “Dr. Who” (“Disgusting, revolting and unsuitable for children.”)
Mossman, Dee, and the “Dr. Who” scriptwriter seemed to be less wary of the viewers than of Mr. Coleman, who reduced the most erudite protagonist to the lowest common denominator by condensing each reasoned argument thus: “What you are really saying is this.…” Half the time, they weren’t at all.
A more irritating performance I cannot remember, one which at once lowered the stature of the whole idea to the level of “Juke Box Jury.”
As it stands, altogether the show is too slow and involved, and the viewers are not getting as much value from this elaborate 40-minute show as they did from the slick five minutes of “Points of View.”
It needs time to shakedown, forget a lot of its gimmicks and realise its basic value will be in immediate confrontation of the public with producers and performers.Doctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
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Paul MC Smith @wonderfulbooks.co.uk · 26/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1967: This edition of Talkback only survives as an audio clip, included on the CD release ‘Doctor Who at the BBC volume 2’ (transcript at tinyurl.com/2knc57xa). The Daily Express had a follow-up the next day…
September 26 1967
The BBC screens the first Talkback programme, hosted by David Coleman. The show goes out live and features a debate with the audience on Doctor Who. Talkback is designed to be a programme wherein the public can come into the studio and give their views, on air, about BBC Television, so Doctor Who is almost a mandatory topic for inclusion in the opening show insofar that it is currently attracting a lot of criticism over the horror elements in the series. This has happened especially following the Visual Effects Department’s discovery of foam‑generating equipment. By mixing the foamable chemicals with various other ingredients – cocoa powder, wood chippings, paint, etc – different textures of the foam can be achieved. This has, so far, resulted in the slime of the Macra crabs, the fizzing brains of the Dalek creatures and, most recently, the disembowelled innards of a Cyberman. All three of these effects have, apparently, been exceptionally disturbing to younger minds and, for the Talkback prosecution, several mothers are invited by Coleman to give their views on Doctor Who’s content and to suggest solutions to the problem. Acting for the defence is the series’ unofficial scientific adviser Kit Pedler – co-creator of the Cybermen, and a medical doctor in his own right. However, the programme is not at all well handled by its presenters, with many of Pedler’s comments either being shouted down or chopped in mid-sentence by Coleman.
One suggestion put forward for further debate, though, is that Doctor Who, and other programmes of similar ilk, should carry certificates similar to those awarded to cinema films. This is later to be objected to by the Corporation Directors who feel that to impose such classifications would lessen the public’s own right to discern what makes good and bad television.Talkback presenter David ColemanFrom http://cuttingsarchive.org

Daily Express, 27 September 1967
Reviewing the programme where viewers get a voice
My grouse? It’s Mr. Coleman
B.B.C.1: Talkback
By James Thomas
Was James Mossman rude to the Prime Minister on Monday’s Panorama? NO, said nine viewers out of 10 in a snap studio opinion poll last night.
Is Simon Dee a symptom of the decline of B.B.C. standards? NO, said another 90 per cent of the 100-strong panel.
Does “Dr. Who” have a harmful effect on children? This split the panel 50—50.
I do not doubt that the B.B.C. has a splendid idea in this forum where viewers air their grouses—it is about time the licensed payers were allowed some voice.
But on this first showing, this somewhat complicated programme revealed (a) it had a long way to go to achieve real impact, and (b) that the voice which is going to be heard most is that of Mr. David Coleman, who as chairman talked “Talkback” off its feet.
The viewers lashed out in a big way at Mr. Mossman (“The country is not yet governed by TV interviewers”) and Mr. Dee (“You are guilty of moral hooliganism”), and “Dr. Who” (“Disgusting, revolting and unsuitable for children.”)
Mossman, Dee, and the “Dr. Who” scriptwriter seemed to be less wary of the viewers than of Mr. Coleman, who reduced the most erudite protagonist to the lowest common denominator by condensing each reasoned argument thus: “What you are really saying is this.…” Half the time, they weren’t at all.
A more irritating performance I cannot remember, one which at once lowered the stature of the whole idea to the level of “Juke Box Jury.”
As it stands, altogether the show is too slow and involved, and the viewers are not getting as much value from this elaborate 40-minute show as they did from the slick five minutes of “Points of View.”
It needs time to shakedown, forget a lot of its gimmicks and realise its basic value will be in immediate confrontation of the public with producers and performers.Doctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
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Paul MC Smith @wonderfulbooks.co.uk · 17/09/2026
www.wonderfulbook.co.uk/screenprinted/ Seems like orders are finally coming through (Lulu can be a little slow). Hope you find it useful (and have strong shelves 😆)
Screen Printed: The Definitive Guide To The Exciting Adventure Based On The Popular BBC Television SerialScreen Printed: opening spread for Doctor Who and the Enemy of the WorldScreen Printed: opening spread for Doctor Who and the Destiny of the Daleks
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Paul MC Smith @wonderfulbooks.co.uk · 22/09/2026
This graphic was on @channel4news.bsky.social tonight, and that silhouette... I can't find the photo I'm thinking of now but... that's Chris and Billie isn't it?
Graphic from Channel 4 News about young people in careClose up of previous graphic
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Paul MC Smith @wonderfulbooks.co.uk · 19/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1968: Peter is alluding to the broadcast of ‘The Invasion’ in November 1968, but Cybermen *had* been filmed in London for this in early September. He may have found a clipping like this one from Radio Times in February…
September 19 1968
A Cyberman in the heart of London draws looks of amazement from passers-by. It is not another invasion from space this time (although the Cyberman invasion of London story is only a month or two in the future), but a serious attempt by Kit Pedler to raise money for the blind as part of his campaign Fight for Sight. When not involved in creating horrors for Doctor Who, or frightening adults with Doomwatch, Kit Pedler is a continual campaigner for more funds to aid research into the nature of eye diseases and their cure. A year ago the BBC loaned Pedler one of their Cybermen costumes which has since become a prime weapon in his fund-raising arsenal – frequently seen on the Euston Road holding a tin to attract passers-by. In these instances it is only the sometimes unsympathetic attitudes of policemen, worried about disturbances of the peace, which defeat the warrior from Telos!Fight For Sight continues to help people with eye problems: https://www.fightforsight.org.uk

From http://cuttingsarchive.org

Radio Times, 2309, 10-16 February 1968
Round and About
When you bump into a Cyberman
If you were in the Euston Road area of London a few weeks ago and saw a Cyberman walking through the street, chances are you took not the slightest notice.
Very few people did—with the exception of one very distinguished military-looking gentleman who stuck his tongue out at it and hurried on.
The thing from Dr. Who was lending a helping hand to Kit Pedler, the writer who dreamed up the Cybermen and Cybermats. In what he calls his respectable life, he is Doctor Pedler, heading a team researching into the causes of blindness and he had borrowed a Cyberman for a ball to raise funds for ‘Fight for Sight,’ his research campaign.Doctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
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Neil Norman And His Cosmic Orchestra @fubsyshabaroon.bsky.social · 18/09/2026
Doctor Who Appreciation Society
1h •

Call for submissions

Due next year from the Doctor Who Appreciation Society is 60-69, the latest in the 'decade' books, following
70-79 this summer. Details of the contents for 70-79 and how to order a copy are available here www.dwasonline.co.uk/dw7079

We are looking for written contributions related to 1960s Doctor Who for 60-69 - all suggestions are welcome. It can relate to anything behind or in front of the camera, and a deeper dive into the topic is encouraged. If you are interested, please contact the editor of 60-69
bruce.nicholson@dwasonline.co.uk
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🎃 Andy Lambert 🎃 @and-e-roo.bsky.social · 18/09/2026
Teatime terror for tots! Read about one of Doctor Who's scariest eras in the DWAS Summer Special - still available via the link below... www.lulu.com/shop/paul-sm...
A photoshopped image featuring a young boy hiding behind a chair in a 70s style living room. He is hiding from assorted monsters that appeared in Doctor Who in the mid 70s. The opening titles of Doctor Who can be seen on the television in the background.
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Bruce Nicholson @frontiervinyl.bsky.social · 18/09/2026
So...this arrived today. 'Screen Printed' by @wonderfulbooks.co.uk a celebration of the Doctor Who Target books. Absolutely gorgeous to look at and crammed full of amazing detail. Stunning stuff. Buy it here... www.lulu.com/shop/paul-mc...
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Paul MC Smith @wonderfulbooks.co.uk · 18/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1970: Again Peter’s dates are a little out – the Autons handing out plastic daffodils in Chalfont St Peter was filmed the previous day. The circus filming today was at Robert Brothers’ in Leyton…
September 18 1970
Shooting begins on the eighth season of Doctor Who at Chipperfield’s Circus, where the first location filmed inserts for Robert Holmes’s ‘Terror of the Autons’ are taken. Although no one knows it at the time the new serial is to prove a trend-setter for the series, with many of its production values still in operation today. To begin with, producer Barry Letts is able to modify the season-length of 26 weeks to include a balance between four-part and six-part stories. The four-part stories have dramatic appeal in the eyes of script editor Terrance Dicks, while six-parters are favoured by Barry Letts for the larger budgets they give to a serial. More significantly ‘Terror of the Autons’ inaugurates the practice of recording two episodes per fortnight, rather than one episode per week. This allows more, and sometimes larger, sets to be built, since all the sets for one episode do not have to be present as in the former continuous recording environment, where all the scenes for one episode are shot on one day. Under Letts’s new format the UNIT laboratory set, for instance, only needs to be erected once over the fortnight. Thus all the scenes in episodes three and four can be shot in one evening, thereby freeing studio space for the following day to concentrate on a larger more elaborate set, the footage from which will be edited into the two episodes during post‑production. The advantages are considerable. Set designers and builders have ten days instead of five to prepare, artists have longer to read and rehearse scripts, and directors are given more flexibility to plan and arrange exterior filming.Autons in carnival masks hand out free plastic daffodils in ‘Terror of the Autons’ episode 3Robert Brothers Circus (note the initials around the ring) was filmed for episodes 1, 2 and 3 of ‘Terror of the Autons’Doctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
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Paul MC Smith @wonderfulbooks.co.uk · 17/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1984: This was the day ‘The Key to Time’ was published at £12.50, or £40 for a limited leather-bound edition. Jacket painting by Andrew Skilleter, Who artist du jour…
Print ad for The Key to TimeAndrew Skilleter’s wraparound painting for the dust-jacketThe leather-bound limited edition with art by Mark Bentham (which appeared as a frontispiece in the regular edition)
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Paul MC Smith @wonderfulbooks.co.uk · 17/09/2026
www.wonderfulbook.co.uk/screenprinted/ Seems like orders are finally coming through (Lulu can be a little slow). Hope you find it useful (and have strong shelves 😆)
Screen Printed: The Definitive Guide To The Exciting Adventure Based On The Popular BBC Television SerialScreen Printed: opening spread for Doctor Who and the Enemy of the WorldScreen Printed: opening spread for Doctor Who and the Destiny of the Daleks
3158
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Stuart Denman 🏳️‍🌈 @stuartdenman.bsky.social · 17/09/2026
Ooh, lovely - look what's just arrived. (And there are my initials on the Brig's shoulder.) @wonderfulbooks.co.uk
The hardback cover of Screen Printed by Paul MC Smith.Page 504 shows the cover art for the novelisation of Battlefield.
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Monstermaker @monstermaker.bsky.social · 17/09/2026
Just received my copy of this - it's huge!!! Amazing work by Paul, it deserves to be supported, so get your copy now! (I've contributed bits to it, but it's all Paul's work!)
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Paul MC Smith @wonderfulbooks.co.uk · 17/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1984: This was the day ‘The Key to Time’ was published at £12.50, or £40 for a limited leather-bound edition. Jacket painting by Andrew Skilleter, Who artist du jour…
Print ad for The Key to TimeAndrew Skilleter’s wraparound painting for the dust-jacketThe leather-bound limited edition with art by Mark Bentham (which appeared as a frontispiece in the regular edition)
041
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Paul MC Smith @wonderfulbooks.co.uk · 15/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1969: Filming actually began on the 13th, with studio recording expected to be in TV Centre at this point. It wasn’t until the 25th that the decision was made to do the entire serial on film. Jon got his shower, though…
September 15 1969
The colour cameras start rolling on the first episode of Jon Pertwee’s story, ‘Spearhead From Space’, though not in the way the new producer, Derrick Sherwin, would have liked. ‘We knew four weeks before we were due to start shooting that we’d lost our studios, so I had to make the decision there and then to do it all on film with the restraint of not being able to get any more money. All our props had to be rebuilt from scratch. We needed to film an episode a week and I had just five days to re-plan and re-script the whole set-up.’
The problem has arisen because of a strike by scenery builders at the BBC’s Television Centre where the serial is due to be recorded using the new colour video cameras. Losing that facility means the whole thing has to be done on location and on film – calling for some of the tightest restructuring of a serial ever done for Doctor Who. There is, however, room within the production for the odd light‑hearted moment, as Jon Pertwee recalls: ‘Where we filmed that one was a magnificent seventeenth-century house in the middle of the countryside, used by the BBC as a training centre. While I was looking around one morning I came across this incredible shower unit that a previous owner had had installed. It was a tubular metal frame that enclosed you completely and had a royal crest at the top of it. The water passed through the tubes and so sprayed you from all angles. As soon as I saw this I sought out our director Derek Martinus, and suggested we use this in the story as a kind of visual ad-lib.’Ransome (Derek Smee) peruses a conveyor or dolls at the Auto Plastics factory, in episode two of ‘Spearhead from Space’, filmed at the Favourite Dolls Factory in Holloway, London, on 13 September 1969The Doctor (Jon Pertwee) takes a shower at the Ashbridge hospital in episode two of ‘Spearhead from Space’, filmed at the BBC Engineering and Training Centre, Wood Norton, Evesham, on 12 October 1969 — and you can too as it’s now a hotel and spa: https://thewoodnorton.comDoctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
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Paul MC Smith @wonderfulbooks.co.uk · 15/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1969: Filming actually began on the 13th, with studio recording expected to be in TV Centre at this point. It wasn’t until the 25th that the decision was made to do the entire serial on film. Jon got his shower, though…
September 15 1969
The colour cameras start rolling on the first episode of Jon Pertwee’s story, ‘Spearhead From Space’, though not in the way the new producer, Derrick Sherwin, would have liked. ‘We knew four weeks before we were due to start shooting that we’d lost our studios, so I had to make the decision there and then to do it all on film with the restraint of not being able to get any more money. All our props had to be rebuilt from scratch. We needed to film an episode a week and I had just five days to re-plan and re-script the whole set-up.’
The problem has arisen because of a strike by scenery builders at the BBC’s Television Centre where the serial is due to be recorded using the new colour video cameras. Losing that facility means the whole thing has to be done on location and on film – calling for some of the tightest restructuring of a serial ever done for Doctor Who. There is, however, room within the production for the odd light‑hearted moment, as Jon Pertwee recalls: ‘Where we filmed that one was a magnificent seventeenth-century house in the middle of the countryside, used by the BBC as a training centre. While I was looking around one morning I came across this incredible shower unit that a previous owner had had installed. It was a tubular metal frame that enclosed you completely and had a royal crest at the top of it. The water passed through the tubes and so sprayed you from all angles. As soon as I saw this I sought out our director Derek Martinus, and suggested we use this in the story as a kind of visual ad-lib.’Ransome (Derek Smee) peruses a conveyor or dolls at the Auto Plastics factory, in episode two of ‘Spearhead from Space’, filmed at the Favourite Dolls Factory in Holloway, London, on 13 September 1969The Doctor (Jon Pertwee) takes a shower at the Ashbridge hospital in episode two of ‘Spearhead from Space’, filmed at the BBC Engineering and Training Centre, Wood Norton, Evesham, on 12 October 1969 — and you can too as it’s now a hotel and spa: https://thewoodnorton.comDoctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
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Reposted by Paul MC Smith
Paul MC Smith @wonderfulbooks.co.uk · 14/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1968: Sherwin’s Part 1 was written before director and designer were assigned, so it’s not that sets weren’t available, he was just keeping costs down. He did add the robots, though, costumes from Out of the Unknown…
September 14 1968
Part one of ‘The Mind Robber’ by Peter Ling is screened on television, marking the culmination of much hard work for Derrick Sherwin. Like one of his predecessors, David Whitaker, Sherwin has found himself on the receiving end when problems with a storyline require the script editor to step into the breach, lock himself away in a room with a typewriter and emerge, a day later, complete with a workable script that uses no extra sets, no locations, no new monsters and no guest cast.
The problem arises when ‘The Dominators’ proves to be unworkable as a six-part script. As money had already been spent on the show designing and building the Quarks, ‘The Dominators’ cannot be cancelled and so, in a bid to tighten up the action, an episode is hived off it. Thus left with an embarrassing one-week hole in the schedule before the start of ‘The Mind Robber’, Sherwin elects to graft an extra episode onto the front of Ling’s storyline. However, with no sets from ‘The Mind Robber’ yet available, all Bryant, Sherwin and Director David Maloney have between them is an empty studio, a few stock sets (e.g. the TARDIS) and a couple of old robot costumes from an earlier BBC 2 production. That the finished episode – which bears no credit for a writer – succeeds in becoming one of Doctor Who’s most powerful narrative performances says a lot for the skills of Derrick Sherwin, the technical expertise of David Maloney and the acting talents of Patrick Troughton, who recalls later: ‘It certainly was a wonderful story. I remember the awful white of the place and those strange robots. Yes, it was marvellous.’Jamie (Frazer Hines) and Zoe (Wendy Padbury) are captured by ‘White’ Robots (clearly more grey and cream in this original-colour photo)The robot costumes were made by Daphne Dare for the Out of the Unknown series 2 episode ‘The Prophet’ shown 1 January 1967. One was repurposed for Thirty Minute Theatre instalment ‘The Metal Martyr’ (adapted by Derrick Sherwin) broadcast the following December. Their first requirement for ‘The Mind Robber’ was in prefilming at Ealing in June 1968Doctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
001
Paul MC Smith @wonderfulbooks.co.uk · 14/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1968: Sherwin’s Part 1 was written before director and designer were assigned, so it’s not that sets weren’t available, he was just keeping costs down. He did add the robots, though, costumes from Out of the Unknown…
September 14 1968
Part one of ‘The Mind Robber’ by Peter Ling is screened on television, marking the culmination of much hard work for Derrick Sherwin. Like one of his predecessors, David Whitaker, Sherwin has found himself on the receiving end when problems with a storyline require the script editor to step into the breach, lock himself away in a room with a typewriter and emerge, a day later, complete with a workable script that uses no extra sets, no locations, no new monsters and no guest cast.
The problem arises when ‘The Dominators’ proves to be unworkable as a six-part script. As money had already been spent on the show designing and building the Quarks, ‘The Dominators’ cannot be cancelled and so, in a bid to tighten up the action, an episode is hived off it. Thus left with an embarrassing one-week hole in the schedule before the start of ‘The Mind Robber’, Sherwin elects to graft an extra episode onto the front of Ling’s storyline. However, with no sets from ‘The Mind Robber’ yet available, all Bryant, Sherwin and Director David Maloney have between them is an empty studio, a few stock sets (e.g. the TARDIS) and a couple of old robot costumes from an earlier BBC 2 production. That the finished episode – which bears no credit for a writer – succeeds in becoming one of Doctor Who’s most powerful narrative performances says a lot for the skills of Derrick Sherwin, the technical expertise of David Maloney and the acting talents of Patrick Troughton, who recalls later: ‘It certainly was a wonderful story. I remember the awful white of the place and those strange robots. Yes, it was marvellous.’Jamie (Frazer Hines) and Zoe (Wendy Padbury) are captured by ‘White’ Robots (clearly more grey and cream in this original-colour photo)The robot costumes were made by Daphne Dare for the Out of the Unknown series 2 episode ‘The Prophet’ shown 1 January 1967. One was repurposed for Thirty Minute Theatre instalment ‘The Metal Martyr’ (adapted by Derrick Sherwin) broadcast the following December. Their first requirement for ‘The Mind Robber’ was in prefilming at Ealing in June 1968Doctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
001
Reposted by Paul MC Smith
Paul MC Smith @wonderfulbooks.co.uk · 12/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1983: Filming for ‘Resurrection of the Daleks’ took places yesterday and today in Shad Thames, although the Daleks themselves were only present for publicity purposes (plus one dummy to be exploded)…
September 12 1983
The Daleks are on the rampage again – and as ever attract newspaper coverage. The evil machines are photographed on location at Tower Bridge, where Peter Davison is filming an encounter with them for next season’s story ‘Resurrection of the Daleks’ written by script editor Eric Saward. Peter says: ‘Every actor who plays the Doctor has to face his most deadly enemy sooner or later and they’ve got to me just before I leave.’ This marks the Daleks’ thirteenth appearance – they starred with William Hartnell in five stories, two with Patrick Troughton, three with Jon Pertwee and two with Tom Baker – and this fact causes the London Evening Standard to speculate: ‘Will it be an unlucky number for Peter Davison?’Peter Davison pushes a Dalek out of a third-floor loading bay of an old warehouse in Shad Thames, LondonFrom http://cuttingsarchive.org

The Standard, 12 September 1983
Guess who’s after The Doctor again
Just In Time … The Daleks Return To Challenge Davison
Dr Who Peter Davison has to face the space traveller’s greatest adversary before he leaves the Tardis—the Daleks.
Davison, who steps down next year to be replaced as the Doctor by actor Colin Baker, was at work on his last series today near Tower Bridge along with a collection of the most famous monsters created by the veteran BBC science-fiction series.
The Daleks have tried to defeat no fewer than four Dr Whos since they first rolled into the series in 1963.
They starred in five adventures opposite the original Doctor, the late William Hartnell, two with Patrick Troughton, three with Jon Pertwee and two with Tom Baker.
“Every actor who plays the Doctor has to face his most deadly enemy sooner or later,” said the BBC today.
“Now the Daleks are making their 13th appearance in Peter Davison’s last season. Will it be an unlucky number for him?”
Davison, 31, the youngest Dr Who, will leave half - way through the next series which will begin on BBC - 1 next January.
Colin Baker, who takes over the role, made his name as the villainous Paul Merroney in the BBC series The Brothers.
Facing the Daleks with Davison today was his assistant Janet Fielding.Doctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
041
Paul MC Smith @wonderfulbooks.co.uk · 12/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1983: Filming for ‘Resurrection of the Daleks’ took places yesterday and today in Shad Thames, although the Daleks themselves were only present for publicity purposes (plus one dummy to be exploded)…
September 12 1983
The Daleks are on the rampage again – and as ever attract newspaper coverage. The evil machines are photographed on location at Tower Bridge, where Peter Davison is filming an encounter with them for next season’s story ‘Resurrection of the Daleks’ written by script editor Eric Saward. Peter says: ‘Every actor who plays the Doctor has to face his most deadly enemy sooner or later and they’ve got to me just before I leave.’ This marks the Daleks’ thirteenth appearance – they starred with William Hartnell in five stories, two with Patrick Troughton, three with Jon Pertwee and two with Tom Baker – and this fact causes the London Evening Standard to speculate: ‘Will it be an unlucky number for Peter Davison?’Peter Davison pushes a Dalek out of a third-floor loading bay of an old warehouse in Shad Thames, LondonFrom http://cuttingsarchive.org

The Standard, 12 September 1983
Guess who’s after The Doctor again
Just In Time … The Daleks Return To Challenge Davison
Dr Who Peter Davison has to face the space traveller’s greatest adversary before he leaves the Tardis—the Daleks.
Davison, who steps down next year to be replaced as the Doctor by actor Colin Baker, was at work on his last series today near Tower Bridge along with a collection of the most famous monsters created by the veteran BBC science-fiction series.
The Daleks have tried to defeat no fewer than four Dr Whos since they first rolled into the series in 1963.
They starred in five adventures opposite the original Doctor, the late William Hartnell, two with Patrick Troughton, three with Jon Pertwee and two with Tom Baker.
“Every actor who plays the Doctor has to face his most deadly enemy sooner or later,” said the BBC today.
“Now the Daleks are making their 13th appearance in Peter Davison’s last season. Will it be an unlucky number for him?”
Davison, 31, the youngest Dr Who, will leave half - way through the next series which will begin on BBC - 1 next January.
Colin Baker, who takes over the role, made his name as the villainous Paul Merroney in the BBC series The Brothers.
Facing the Daleks with Davison today was his assistant Janet Fielding.Doctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
041
Reposted by Paul MC Smith
Ten Acre Books @tenacrebooks.bsky.social · 11/09/2026
New for October, we are pleased to announce the release of The Reality War, a new book charting 20 years of the Doctor Who revival and its impact on the television industry. Order now from tenacrebooks.co.uk
Cover of The Reality War: How the Doctor Who Revival Transformed Television
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Reposted by Paul MC Smith
Dr. Uncle Beard 🦊 🌈 @unclebeard1978.bsky.social · 11/09/2026
WOULD YOU LIKE A JELLY BABY? Fourth Doctor Bumper general knowledge #DoctorWho crossword now at #CrypticWho crypticwho.com
static.klipy.com
Fourth Doctor 4th Doctor
Alt: Fourth Doctor 4th Doctor
1196
Reposted by Paul MC Smith
Paul MC Smith @wonderfulbooks.co.uk · 11/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1965: Daleks were big business in 1965. The Amicus movie had been playing to large audiences across the UK since the end of June. It didn’t debut in the US until 1967 but did suffer from poor distribution and promotion…
September 11 1965
Although there is not even a hint of the Daleks in the opening story of the third season, ‘Galaxy Four’ by William Emms, it is they who are making the news before the final episode on 2 October. The popular magazine Showtime, in praising Sean Connery for his role as James Bond, observes: ‘Your Bond has to be the best possible star, in order to hold his own amid all the gimmickery. Otherwise he suffers the fate of Doctor Who – forgotten in the wake of the Daleks.’
The observation is not, in fact, true, and indeed in America the Daleks have suffered two setbacks. The feature film Doctor Who and the Daleks has done badly at the box office (the television series has not, as yet, been shown in America, so both the Doctor and the Daleks are unknown to audiences), and a trip across the Atlantic by Terry Nation to launch his creations also comes to nothing. ‘I went to the United States and said I wanted to make a series called ‘’The Daleks’’,’ he says later. ‘I went there to hustle and got very close to doing it. There would have been no Doctor Who, of course, because I had no copyright in the character. But I could take the Daleks away and do it. Indeed, at one point the BBC were going to go with me on this series – but the whole thing sort of crumbled to dust, and I moved on to other things.’ (Terry did have the compensation, however, of reportedly earning £50,000 from Dalek merchandising during 1965.)From http://cuttingsarchive.org

Ariel, October 1965
The Daleks Are Shooting into Big Business!
In this interview with Dennis Scuse, General Manager, Television Enterprises, Ariel finds out something about the activities of the Merchandising Section
The Daleks look like becoming an even greater commercial success than Davy Crockett and that terrible hat. This is the view of Dennis Scuse, General Manager, Television Enterprises, when he looked up the royalty returns on Dalek toys for Ariel a few days ago.
Daleks are now in the shops in a variety of forms: there are large mobile Daleks which a child can get inside; stand up inflatable Daleks; battery-operated Daleks; clockwork Daleks; and numerous miniature Daleks. These last sell in very large quantities: an engaging little chap known as a Dalek Rolykin has just sold over one million. Also topping the million mark are Dalek badges.
Successful subsidiary invasions
The Daleks have also carried out a number of successful subsidiary invasions. There are Dalek slippers, playsuits, comics, jig-saws, box games, writing pads, and kits, to mention only a few. If your household has already been invaded by these creatures you can buy an Anti-Dalek Fluid Neutralizer or water-pistol. But it would seem that their march is wellnigh irresistible and nothing can now be done about the 500 tons of Dalek Jelly Babies that have already disappeared down goodness-knows-how-many earthmen’s throats.
Issue of licences
Licences to exploit the many manifestations of Daleks are issued by the Merchandising Section of Television Enterprises, who approve samples and maintain a strict check on quality and presentation. So far thirty-four firms remains hold between them sixty-three Dalek licences.
Other activities
But exploiting the Daleks is not the only activity of the Merchandising Section. Over fifty licences have been issued for records (TW3’s tribute to President Kennedy); games (The Third Man); toys (Z cars); and jigsaws (Steptoe and Son).From http://cuttingsarchive.org

Bucks Examiner, 22 September 1965
Stargazer’s Cinema Roundup
Stargazer’s Pick of the Week showing at Berkhamsted and Hemel Hempstead
From small screen to large ‘Dr. Who and the Daleks’
Rex, Berkhamsted and Odeon, Hemel Hempstead: Dr. Who and the Daleks (U) is the film stemmed from the highly popular television series. The only chance between the two is the different stars playing the main roles.
Tardis is the latest invention of Dr. Who. A Time and Relative Dimension in Space machine, it can transport passengers to another world, at another time.
With his grand-daughters Barbara and Susan, Dr. Who demonstrates the machine to Barbara’s boy friend, Ian. Ian trips and stumbles against the controls and the four humans are instantly ejected away from earth.
They land on another world only to find the place infested with things called Daleks and Thals, they soon find that the Thals are friendly towards them, the Daleks positively hostile.
The humans soon realise that they have landed at a bad time for the Thais and the Daleks are at war. Inevitably Dr. Who and his friends are drawn into the struggle for survival. The story weaves its way through seemingly impossible escapes and disasters all of which enable the directors of the film to get the best possible use of frightening monsters and inhuman beings.
Dr. Who and the Daleks will obviously draw a great response from the child addicts of the TV series and I’m told that many adults have also enjoyed the film, although I can’t see myself falling in the aisles or gripping my seat with the suspense of it.
Starring Peter Cushing, Roy Castle, Jennie Linden and Roberta Tovey. An obvious choice of both story and stars for she half-term holidays.Doctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
141
Paul MC Smith @wonderfulbooks.co.uk · 11/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1965: Daleks were big business in 1965. The Amicus movie had been playing to large audiences across the UK since the end of June. It didn’t debut in the US until 1967 but did suffer from poor distribution and promotion…
September 11 1965
Although there is not even a hint of the Daleks in the opening story of the third season, ‘Galaxy Four’ by William Emms, it is they who are making the news before the final episode on 2 October. The popular magazine Showtime, in praising Sean Connery for his role as James Bond, observes: ‘Your Bond has to be the best possible star, in order to hold his own amid all the gimmickery. Otherwise he suffers the fate of Doctor Who – forgotten in the wake of the Daleks.’
The observation is not, in fact, true, and indeed in America the Daleks have suffered two setbacks. The feature film Doctor Who and the Daleks has done badly at the box office (the television series has not, as yet, been shown in America, so both the Doctor and the Daleks are unknown to audiences), and a trip across the Atlantic by Terry Nation to launch his creations also comes to nothing. ‘I went to the United States and said I wanted to make a series called ‘’The Daleks’’,’ he says later. ‘I went there to hustle and got very close to doing it. There would have been no Doctor Who, of course, because I had no copyright in the character. But I could take the Daleks away and do it. Indeed, at one point the BBC were going to go with me on this series – but the whole thing sort of crumbled to dust, and I moved on to other things.’ (Terry did have the compensation, however, of reportedly earning £50,000 from Dalek merchandising during 1965.)From http://cuttingsarchive.org

Ariel, October 1965
The Daleks Are Shooting into Big Business!
In this interview with Dennis Scuse, General Manager, Television Enterprises, Ariel finds out something about the activities of the Merchandising Section
The Daleks look like becoming an even greater commercial success than Davy Crockett and that terrible hat. This is the view of Dennis Scuse, General Manager, Television Enterprises, when he looked up the royalty returns on Dalek toys for Ariel a few days ago.
Daleks are now in the shops in a variety of forms: there are large mobile Daleks which a child can get inside; stand up inflatable Daleks; battery-operated Daleks; clockwork Daleks; and numerous miniature Daleks. These last sell in very large quantities: an engaging little chap known as a Dalek Rolykin has just sold over one million. Also topping the million mark are Dalek badges.
Successful subsidiary invasions
The Daleks have also carried out a number of successful subsidiary invasions. There are Dalek slippers, playsuits, comics, jig-saws, box games, writing pads, and kits, to mention only a few. If your household has already been invaded by these creatures you can buy an Anti-Dalek Fluid Neutralizer or water-pistol. But it would seem that their march is wellnigh irresistible and nothing can now be done about the 500 tons of Dalek Jelly Babies that have already disappeared down goodness-knows-how-many earthmen’s throats.
Issue of licences
Licences to exploit the many manifestations of Daleks are issued by the Merchandising Section of Television Enterprises, who approve samples and maintain a strict check on quality and presentation. So far thirty-four firms remains hold between them sixty-three Dalek licences.
Other activities
But exploiting the Daleks is not the only activity of the Merchandising Section. Over fifty licences have been issued for records (TW3’s tribute to President Kennedy); games (The Third Man); toys (Z cars); and jigsaws (Steptoe and Son).From http://cuttingsarchive.org

Bucks Examiner, 22 September 1965
Stargazer’s Cinema Roundup
Stargazer’s Pick of the Week showing at Berkhamsted and Hemel Hempstead
From small screen to large ‘Dr. Who and the Daleks’
Rex, Berkhamsted and Odeon, Hemel Hempstead: Dr. Who and the Daleks (U) is the film stemmed from the highly popular television series. The only chance between the two is the different stars playing the main roles.
Tardis is the latest invention of Dr. Who. A Time and Relative Dimension in Space machine, it can transport passengers to another world, at another time.
With his grand-daughters Barbara and Susan, Dr. Who demonstrates the machine to Barbara’s boy friend, Ian. Ian trips and stumbles against the controls and the four humans are instantly ejected away from earth.
They land on another world only to find the place infested with things called Daleks and Thals, they soon find that the Thals are friendly towards them, the Daleks positively hostile.
The humans soon realise that they have landed at a bad time for the Thais and the Daleks are at war. Inevitably Dr. Who and his friends are drawn into the struggle for survival. The story weaves its way through seemingly impossible escapes and disasters all of which enable the directors of the film to get the best possible use of frightening monsters and inhuman beings.
Dr. Who and the Daleks will obviously draw a great response from the child addicts of the TV series and I’m told that many adults have also enjoyed the film, although I can’t see myself falling in the aisles or gripping my seat with the suspense of it.
Starring Peter Cushing, Roy Castle, Jennie Linden and Roberta Tovey. An obvious choice of both story and stars for she half-term holidays.Doctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
141
Reposted by Paul MC Smith
Paul MC Smith @wonderfulbooks.co.uk · 10/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1966: The location filming for ‘The Smugglers’, which began transmission today, had been done in June at Nanjizal Bay just south of Land’s End (not near the Lizard)…
September 10 1966
A special feel of authenticity is given to ‘The Smugglers’ the new season’s first story by director Julia Smith, who has a wide knowledge of the Cornish coast where the story is set. Considerable location shooting is done between Land’s End and the Lizard at a time when the weather should have been at its best – instead it is wet and windy, and the sea very rough, which gives several members of the cast seasickness during scenes on a fishing boat! Problems with transporting the TARDIS into a cave in Church Cove are only matched by the difficulty of avoiding contemporary artefacts at the rear of shots. A triumph of the story is the fight between revenue men and pirates, staged in the studios and completed in one take. This marks the debut of stuntman Terry Walsh, who over the years since has played more incidental characters in Doctor Who than any other actor or actress, including doubling for the Doctors in many stunt scenes. Terry particularly recalls his debut in ‘The Smugglers’. ‘The Doctor was involved with pirates,’ he says, ‘and six of us had to stunt a fight between the pirates and the revenue men. The trouble was there weren’t enough of us to go round, so as soon as one went down with a sword thrust, he’d crawl away behind a gravestone, put on a different wig and hat, and come storming back into the fight again!’Tele-snap from ‘The Smugglers’ episode four: the pirate crew approaches the bayNanjizal Bay todayDoctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
192
Paul MC Smith @wonderfulbooks.co.uk · 10/09/2026
@scott1gray.bsky.social Hi Scott, I have a request. Could you drop me an email via link at wonderfulbook.co.uk? Ta, Paul
100
Paul MC Smith @wonderfulbooks.co.uk · 10/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1966: The location filming for ‘The Smugglers’, which began transmission today, had been done in June at Nanjizal Bay just south of Land’s End (not near the Lizard)…
September 10 1966
A special feel of authenticity is given to ‘The Smugglers’ the new season’s first story by director Julia Smith, who has a wide knowledge of the Cornish coast where the story is set. Considerable location shooting is done between Land’s End and the Lizard at a time when the weather should have been at its best – instead it is wet and windy, and the sea very rough, which gives several members of the cast seasickness during scenes on a fishing boat! Problems with transporting the TARDIS into a cave in Church Cove are only matched by the difficulty of avoiding contemporary artefacts at the rear of shots. A triumph of the story is the fight between revenue men and pirates, staged in the studios and completed in one take. This marks the debut of stuntman Terry Walsh, who over the years since has played more incidental characters in Doctor Who than any other actor or actress, including doubling for the Doctors in many stunt scenes. Terry particularly recalls his debut in ‘The Smugglers’. ‘The Doctor was involved with pirates,’ he says, ‘and six of us had to stunt a fight between the pirates and the revenue men. The trouble was there weren’t enough of us to go round, so as soon as one went down with a sword thrust, he’d crawl away behind a gravestone, put on a different wig and hat, and come storming back into the fight again!’Tele-snap from ‘The Smugglers’ episode four: the pirate crew approaches the bayNanjizal Bay todayDoctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
192
Reposted by Paul MC Smith
Scott Gray @scott1gray.bsky.social · 09/09/2026
Holy Goosh. Even by Elle Cordova's standards, this is something special! youtu.be/0Ck-NPqf2c8
youtu.be
Modern Day Typographer - Elle Cordova
YouTube video by Elle Cordova
092
Reposted by Paul MC Smith
Bruce Nicholson @frontiervinyl.bsky.social · 08/09/2026
Available now, from @dwasonline.bsky.social this full-colour hardback publication looks at the decade of the Third and Fourth Doctors through a series of detailed essays on topics, from how a line of dialogue in 1969 changed the programme irreversibly,
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Reposted by Paul MC Smith
Bruce Nicholson @frontiervinyl.bsky.social · 06/09/2026
1960s Doctor Who fans - call for submissions. Due next year from @dwasonline.bsky.social is 60-69, the latest in the 'decade' books - 70s one here www.dwasonline.co.uk/dw7079 Looking for article contributions related to 1960s Doctor Who - all ideas are very welcome. DMs are open.
074
Reposted by Paul MC Smith
Paul MC Smith @wonderfulbooks.co.uk · 04/09/2026
Out now: SCREEN PRINTED, the definitive guide to the exciting adventures based on the popular BBC television serial. 199 titles, 1,100 editions, 800 cover images. Fully revised listings and details of the Doctor Who novelisations from Target and beyond. More at www.wonderfulbook.co.uk/screenprinted
65332
Paul MC Smith @wonderfulbooks.co.uk · 06/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1975: The switch-on was actually the 5th, the three actors having finished work on ‘The Android Invasion’ the previous week, just before the start of Season 13 on TV. Tom wrote about the day in his column in Reveille…
September 6 1975
The Doctor and his companions Sarah Jane and Harry switch on the Blackpool Illuminations at a ceremony attended by huge crowds. Several Daleks and Cybermen also attend the big switch-on in Talbot Square, along with the ‘Queen of Blackpool Lights’, the Fylde Coast Jazzmen, the Dolly Set dancers, and a singing group, The Loving Couple. The only hitch is the delayed arrival of the Mayor of Blackpool, Councillor Harold Hoyle, who tells the delighted crowds: ‘Someone locked me in one of the telephone boxes. It was a blue one – with another fellow in it . . .’Elisabeth Sladen, Tom Baker (in costume) and Ian Marter turn on the Blackpool Illuminations on Friday 5th September 1975From http://cuttingsarchive.org

Reveille, 26 September 1975
Click—I Light Up Blackpool!
by TV’s Tom Baker
At last the day came to go to Blackpool for the great annual switch-on of the illuminations. They told me I was only the 43rd person to be invited to do the switch on, so I felt part of a very select group. Knees shaking, and with nervous jokes Ian Marter, Les [sic] Sladen and I arrived in Talbot Square for the event!
There was a crowd—20,000 strong! I’ve sometimes played to full houses, but 20,000!
The Mayor came out to address the people—and suddenly he was surrounded by Daleks. They told him to sit down or be exterminated. They went on about only Daleks being allowed to switch on illuminations and threatened to destroy the Blackpool Tower and blow up Woolworths.
Just then two Cybermen arrived. By a stroke of good fortune, I had my sonic screwdriver with me and we managed to put the Cybermen out of action. This caused great uproar among the children, screams of happy terror. Then the Daleks attacked. Luckily there were some very large “Kiss Me Quick” hats on the dais and Les [sic] and Ian popped them over the Daleks.
As you know, if there’s one thing Daleks can’t stand, it’s being covered up. They spun around, and screamed and finally retired in sulky silence to the wings.
Then the switch-on. The crowd was hushed, I pressed the handle — and six miles of lights went on. We then toured the lights in Bessie. It was a wonderful evening.
The Mayor on behalf of the town council presented me with the Dictionary of National Biography in 22 volumes plus the supplements.
There was a supper party afterwards and then to bed.
It wits one of the most exciting days of my life. I’m grateful to the people and corporation of Blackpool.
Now, whenever I want to know anything about Colonel Blood who stole the Crown Jewels, or Guy Fawkes or Charlemagne, I just take down my Dictionary, and there it is.Doctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
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Paul MC Smith @wonderfulbooks.co.uk · 04/09/2026
Out now: SCREEN PRINTED, the definitive guide to the exciting adventures based on the popular BBC television serial. 199 titles, 1,100 editions, 800 cover images. Fully revised listings and details of the Doctor Who novelisations from Target and beyond. More at www.wonderfulbook.co.uk/screenprinted
65332
Paul MC Smith @wonderfulbooks.co.uk · 04/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1965: Although filming the The Myth Makers had taken place at nearby Frensham Ponds in the preceding week, Hartnell was not required for this so presumably this public appearance was organised separately…
September 4 1965
A spectacular appearance by the Doctor at the Farnborough Air Show. Huge crowds gather for a much publicised ‘appearance of Doctor Who’ and midway through the events, a specially built TARDIS made of lightweight plastic suspended by a parachute drops into the arena from an aircraft. From this emerges William Hartnell in the complete Doctor’s outfit and he is driven around the air base to a tremendous reception. Despite the fact that Hartnell is smuggled into the police box after it lands, many hundreds of children go home convinced they have seen the Doctor actually flying his TARDIS!Footage from the 1965 Farnborough Airshow can be seen at https://www.youtube.com/watch?v=8LfsOCRhgiI (sadly no Hartnell)Two weeks later Hartnell made a second airshow appearance at RAF Finningley near Doncaster. See footage (not that from 30 Years in the TARDIS) at https://www.youtube.com/watch?v=pLxaCcHDI_MDoctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
010
Reposted by Paul MC Smith
Paul MC Smith @wonderfulbooks.co.uk · 03/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1966: A year later and Troughton is well established as the Doctor. We now know his reasons for being reticent about revealing the details of his private life, but really whose business was it anyway? …
September 3 1967
A feature story by Kenneth Bailey in The People describes Patrick Troughton as ‘the great unknown of outer space – as soon as you want to talk to him he goes invisible, unget-atable, unspeakable-to. ‘Yet,’ says Bailey, ‘as soon as his name is mentioned he materialises in the enthusiastic talk which immediately erupts among fellow television workers.’ ‘You never forget working with Pat,’ one TV producer tells him, ‘he etches himself on your brain.’ Troughton’s reticence makes his period as the Doctor the least publicised, as Bailey explains: ‘When he leaves the studio after a day’s work, he’s often roaring his head off over some salty crack he’s made at the cast – which nevertheless adores him. Yet where he goes is his iron-fast secret. He’s never let escape facts about his private life. He thinks actors should be known only by their parts. At the moment he is Doctor Who. That, he thinks, should be sufficient.’From http://cuttingsarchive.org
(And that’s quite the crosshead!)

The People, 3 September 1967
Kenneth Baily’s TV insight
So eerie–my search for the silent ‘Dr Who’
Landing on a deserted planet last night, “Dr. Who” opened a new series of TV’s very odd trips into the great unknown of outer space.
But there are odder things. One is the great unknown Patrick Troughton, the actor who plays “Dr. Who.” Justifiably, one of TV’s most in-demand serious actors, I wanted to ask him why he stays inside this mumbo-jumbo character every Saturday teatime.
Straight-away, things took a very odd turn. Mr. Troughton went invisible, ungettable, unspeakable-to.
It seems that in 20 years of TV limelight, he’s never given an interview. Then an eerie thing happened.
Though Mr. Troughton was not there, in a sense he was. He materialised. Vividly he was there—in the enthusiastic talk which erupted immediately I mentioned his name to his TV producers.
As one said, “You never forget working with Pat. He etches himself on your brain.”
And, uncannily, as they talked, he etched himself on to mine. So I find myself writing this…
Crumpled Jeans
At 47, short, heavy-shouldered, strong-jowled with deep-set eyes, Patrick Troughton, ex-Mill Hill public schoolboy stalks lithely up and down the TV studio.
He wean his habitual garb. The crumpled jeans, the roomy sweater, the old suede shoes.
From this humble appearance you’d never suspect the roll of honour of his acting parts—as Hitler; as Dickens’s Quilp and Uriah Heep; as the Disciple Paul; and modern roles In “Maigret,” “Dr. Finlay’s Casebook,” “This Man Craig,” with a host of others.
In the studio he electrifies his fellow actors. In the early days of TV, playing the first-ever “Robin Hood,” be really became to his fellow actors the leader of a gang.
In the small pioneer studio, with one cork tree to do for Sherwood Forest, he had them rampaging with blood-racing fervour under his outlaw leadership.
He completely loses his personality in a part. […]Doctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
021
Paul MC Smith @wonderfulbooks.co.uk · 03/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1966: A year later and Troughton is well established as the Doctor. We now know his reasons for being reticent about revealing the details of his private life, but really whose business was it anyway? …
September 3 1967
A feature story by Kenneth Bailey in The People describes Patrick Troughton as ‘the great unknown of outer space – as soon as you want to talk to him he goes invisible, unget-atable, unspeakable-to. ‘Yet,’ says Bailey, ‘as soon as his name is mentioned he materialises in the enthusiastic talk which immediately erupts among fellow television workers.’ ‘You never forget working with Pat,’ one TV producer tells him, ‘he etches himself on your brain.’ Troughton’s reticence makes his period as the Doctor the least publicised, as Bailey explains: ‘When he leaves the studio after a day’s work, he’s often roaring his head off over some salty crack he’s made at the cast – which nevertheless adores him. Yet where he goes is his iron-fast secret. He’s never let escape facts about his private life. He thinks actors should be known only by their parts. At the moment he is Doctor Who. That, he thinks, should be sufficient.’From http://cuttingsarchive.org
(And that’s quite the crosshead!)

The People, 3 September 1967
Kenneth Baily’s TV insight
So eerie–my search for the silent ‘Dr Who’
Landing on a deserted planet last night, “Dr. Who” opened a new series of TV’s very odd trips into the great unknown of outer space.
But there are odder things. One is the great unknown Patrick Troughton, the actor who plays “Dr. Who.” Justifiably, one of TV’s most in-demand serious actors, I wanted to ask him why he stays inside this mumbo-jumbo character every Saturday teatime.
Straight-away, things took a very odd turn. Mr. Troughton went invisible, ungettable, unspeakable-to.
It seems that in 20 years of TV limelight, he’s never given an interview. Then an eerie thing happened.
Though Mr. Troughton was not there, in a sense he was. He materialised. Vividly he was there—in the enthusiastic talk which erupted immediately I mentioned his name to his TV producers.
As one said, “You never forget working with Pat. He etches himself on your brain.”
And, uncannily, as they talked, he etched himself on to mine. So I find myself writing this…
Crumpled Jeans
At 47, short, heavy-shouldered, strong-jowled with deep-set eyes, Patrick Troughton, ex-Mill Hill public schoolboy stalks lithely up and down the TV studio.
He wean his habitual garb. The crumpled jeans, the roomy sweater, the old suede shoes.
From this humble appearance you’d never suspect the roll of honour of his acting parts—as Hitler; as Dickens’s Quilp and Uriah Heep; as the Disciple Paul; and modern roles In “Maigret,” “Dr. Finlay’s Casebook,” “This Man Craig,” with a host of others.
In the studio he electrifies his fellow actors. In the early days of TV, playing the first-ever “Robin Hood,” be really became to his fellow actors the leader of a gang.
In the small pioneer studio, with one cork tree to do for Sherwood Forest, he had them rampaging with blood-racing fervour under his outlaw leadership.
He completely loses his personality in a part. […]Doctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
021
Reposted by Paul MC Smith
Paul MC Smith @wonderfulbooks.co.uk · 02/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1966: Hartnell was in bed with bronchitis for the last week of September so the script for The Tenth Planet part 3 was reworked to take the Doctor out of action. Troughton had first been approached in July…
September 2 1966
Before the fourth season of Doctor Who begins, the BBC announce the surprising news that William Hartnell is to leave the role of the Doctor and is to be replaced by the well-known character-actor Patrick Troughton. This now familiar change for the series is greeted with surprise and speculation as to whether such an unprecedented action with a central character can succeed. Although William Hartnell had not intended to leave the programme, his declining health has made it imperative, and a stand-in, Gordon Craig, has to double for him in a number of scenes shot for what is to be his last appearance in ‘The Tenth Planet’. He actually records his final appearance on 8 October.From http://cuttingsarchive.org

Daily Telegraph, 2 September 1966
‘Tougher’ Dr. Who is chosen
Norman Hare
Daily Telegraph Television Staff
The BBC has chosen Patrick Troughton to play the part of Dr. Who in its children’s television serial, in place of William Hartnell.
When “Dr. Who” returns on Sunday week Mr. Hartnell will still be playing the name part. The switch in actors, which will be one of the surprises of the serial story, will not take place until November.
Mr. Troughton, 46, is already well known to viewers and listeners. He played the Pawnbroker in the recent “David Copperfield” serial and Quilp in “The Old Curiosity Shop.” Earlier this year he appeared in “This Man Craig,” “Dr. Finley’s Casebook” and “Softly Softly.”
Played Paul and Hitler
In 1960 he appeared as Paul of Tarsus in the television serial of that name. In the theatre he has played a variety of parts since joining the Bristol Old Vic after war service in the Royal Navy. He was Hitler in the Gateway Theatre production of “Eva Braun” in 1950.
Mr. Sydney Newman, head of BBC TV Drama, said last night: “Our problem in choosing the new Dr. Who was very difficult because we have decided to make considerable changes in the personality of the character. We believe we have found exactly the man we wanted.”
Although the BBC refuses to say how the character is being changed, new stories in the serial will be tougher, with greater emphasis on science fiction and fewer comedy episodes. The Daleks will reappear in the early episodes.In the opening moments of episode three of ‘The Tenth Planet’ the Doctor collapses into Ben and Polly’s arms. This is not William Hartnell. Gordon Craig had already stood in for him for prefilming at Ealing as well as location filming the ‘The Smugglers’ over the summer, so was the obvious go-to when Hartnell was taken illDoctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
011
Paul MC Smith @wonderfulbooks.co.uk · 02/09/2026
The year according to Peter Haining’s ‘Doctor Who: The Key to Time’ — Today in 1966: Hartnell was in bed with bronchitis for the last week of September so the script for The Tenth Planet part 3 was reworked to take the Doctor out of action. Troughton had first been approached in July…
September 2 1966
Before the fourth season of Doctor Who begins, the BBC announce the surprising news that William Hartnell is to leave the role of the Doctor and is to be replaced by the well-known character-actor Patrick Troughton. This now familiar change for the series is greeted with surprise and speculation as to whether such an unprecedented action with a central character can succeed. Although William Hartnell had not intended to leave the programme, his declining health has made it imperative, and a stand-in, Gordon Craig, has to double for him in a number of scenes shot for what is to be his last appearance in ‘The Tenth Planet’. He actually records his final appearance on 8 October.From http://cuttingsarchive.org

Daily Telegraph, 2 September 1966
‘Tougher’ Dr. Who is chosen
Norman Hare
Daily Telegraph Television Staff
The BBC has chosen Patrick Troughton to play the part of Dr. Who in its children’s television serial, in place of William Hartnell.
When “Dr. Who” returns on Sunday week Mr. Hartnell will still be playing the name part. The switch in actors, which will be one of the surprises of the serial story, will not take place until November.
Mr. Troughton, 46, is already well known to viewers and listeners. He played the Pawnbroker in the recent “David Copperfield” serial and Quilp in “The Old Curiosity Shop.” Earlier this year he appeared in “This Man Craig,” “Dr. Finley’s Casebook” and “Softly Softly.”
Played Paul and Hitler
In 1960 he appeared as Paul of Tarsus in the television serial of that name. In the theatre he has played a variety of parts since joining the Bristol Old Vic after war service in the Royal Navy. He was Hitler in the Gateway Theatre production of “Eva Braun” in 1950.
Mr. Sydney Newman, head of BBC TV Drama, said last night: “Our problem in choosing the new Dr. Who was very difficult because we have decided to make considerable changes in the personality of the character. We believe we have found exactly the man we wanted.”
Although the BBC refuses to say how the character is being changed, new stories in the serial will be tougher, with greater emphasis on science fiction and fewer comedy episodes. The Daleks will reappear in the early episodes.In the opening moments of episode three of ‘The Tenth Planet’ the Doctor collapses into Ben and Polly’s arms. This is not William Hartnell. Gordon Craig had already stood in for him for prefilming at Ealing as well as location filming the ‘The Smugglers’ over the summer, so was the obvious go-to when Hartnell was taken illDoctor Who - The Key to Time: A Year-by-Year Record, by Peter Haining
011