Missing 1965 episode ‘Mission to the Unknown’ is authentically brought to life in unique project, authentically recreated by students, graduates and staff from the University of Central Lancashire (UCLan).

The project, known as Sci-fi in a Week, saw a large university cross-disciplinary team remake the lost episode in just five days of rehearsals and filming. This episode is unusual in that it was the only single episode story in the entire 26-year original series run, and also because it is the only story not to feature the regular cast including the Doctor himself who was played at the time by William Hartnell.

‘Mission to the Unknown’ is one of a large number of missing Doctor Who episodes. Unlike some that have been returned to the BBC, this one is likely to stay lost forever as it was never sold or distributed overseas. But, thanks to UCLan’s efforts, it has now been brought to life again in full 1960s glory.

The 25-minute episode, which was originally written as an introduction to the 12-part story ‘The Daleks' Master Plan’, featured Edward de Souza as Space Security Agent Marc Cory and his efforts to warn Earth of the Dalek’s latest plot. Audio recordings from the episode exist and have informed the development of the UCLan version but no original footage is known to have survived.

UCLan Pro Vice-Chancellor (Digital and Creative Industries) Dr Andrew Ireland directed and produced the episode after being given special permission from the BBC and the Terry Nation Estate, which holds the rights to the Daleks. Nicholas Briggs, who has been the voice of the Daleks on Doctor Who since the series returned in 2005, lent his support to the project by voicing the Daleks for the special UCLan episode. 

Dr Ireland said:

"I’m a huge Doctor Who fan and this episode in particular has always held an air of mystique for me because it experimented with the notion of the Daleks carrying their own storyline without the Doctor present. We kept it as close to the original as we possibly could, so everything from the props and costumes to the acting style, pace and camera techniques are designed to be very 1960s. It was filmed to simulate the low-resolution, black and white look of the era and we’ve been able to use the audio from the original recording to inform stage directions and the mood of the episode.”

The whole show has been created by UCLan students, graduates and staff, with help from Accrington and Rossendale College pupils who were in charge of make-up and prosthetics. It means that students on courses including acting, fashion and TV and media production gain hands-on experience of creating a drama from scratch and are able to compare techniques from more than 50 years ago with modern day drama production.

Dr Ireland added:

“It’s a cracking script and remaking it proved to be an exciting challenge and learning experience for all concerned. We often talk about the theory of historical television production techniques, but this project meant the students lived the high-pressured reality of it! We will give the BBC a copy of the episode and hopefully one day it may become available for people to see. Who knows? To achieve what we have in the time we had is a massive achievement and I want to thank everyone involved for all their efforts.”

To make the programme, the UCLan team had to make four sets; a futuristic conference room, a jungle, a rocket ship, and the Dalek Control Room, which was filmed as a miniature set, as well as creating all the props and costumes. It involved four speaking parts plus three Daleks with seven other actors playing aliens.

The cast and crew were given a treat mid-week when Peter Purves, who played the Doctor’s companion in 1965, and original cast-member Edward de Souza visited the set to see how things were progressing and take part in a special question and answer panel.

Peter said:

“This is an absolutely wonderful project, even more so as this episode was a one-off introduction to the massive 12 part ‘Dalek Master Plan’. I can remember at the time that we (That is me and Bill Hartnell) were a bit miffed not to be included in any way at all, but actually it was a nice week off in the end. I am intrigued to see what has been done and hope it could be a precursor to more reconstructions in the future."

UCLan already has strong links with Doctor Who through acting graduate Mandip Gill who currently plays the Doctor’s companion in the series alongside Jodie Whittaker as the first ever female Doctor.

Mandip said:

“I am really excited to not only see this lost episode finally, but to see what the team has created in just five days of rehearsals and filming. I am very proud of UCLan, it gave me a lot and I am thrilled to see it also give back a lost part of sci-fi history. Who knows where it could end up!”

The UCLan team treated the BBC as the client for the project and that set a high professional bar for the cast and crew to aspire to.

Peter Purves has shared some images [pictured in the right-hand column] from the production on his Twitter account, and, as you can see from our comparison, the attention to detail is incredible!

[Source: UCLan]

Manufacturer: Big Finish Productions

Written By: Roy Gill, John Dorney, Nev Fountain & Jonathan Morris

RRP: £23.00 (CD) / £20.00 (Download)

Release Date: February 2019

Reviewed by: Chris Swaby for Doctor Who Online

A Spoonful Of Mayhem - By Roy Gill

"In a spot of bother in Victorian London, Missy is forced to take on governess duties.

But she has another scheme in mind, and her charges are simply in the way. She’s going to have to teach the children some rather harsh lessons about getting what you want."

Divorced, Beheaded, Regenerated - By John Dorney

"Missy arrives in Tudor England, throwing the plans of another renegade Time Lord into chaos.

King Henry VIII is on the throne, and aliens are stomping through the countryside. Missy just wants to be Queen.

And the Monk? Once he knows who else is on the scene, he’ll be glad just to stay alive…"

The Broken Clock - By Nev Fountain

"Tonight, on Dick Zodiac’s America’s Most Impossible Killers, Detective Joe Lynwood hunts the most impossible killer of his career.

There’s a trail of bodies. Impossible bodies. And Joe has one long night to solve the case.

Luckily, DI Missy Masters from Scotland Yard in England, London, England is here to help…"

The Belly Of The Beast - By Jonathan Morris

"Missy’s scheme nears completion. All she must do is subjugate one little planet and bend the inhabitants to her will. Not too much to ask…

But slaves will keep rebelling. It’s almost as if they don’t want to unearth an ancient artefact to fulfil Missy’s plans for universal domination.

She’ll have to do something about that."

One sentence. A world of possibilities. When these words featured in “The Lie of The Land", it seemed so obvious yet so overlooked, what does The Master do when The Doctor isn’t around? Well, thanks to Big Finish this question has been answered.  

A Spoonful of Mayhem
By Roy Gill

So, to open, Missy is stuck in Victorian England. Punished for a crime she is yet to commit, she is trapped by Mr. Cosmo (her warden) with no TARDIS, no Vortex Manipulator and worst of all? Not being allowed to dispatch anyone who gets in her way. 

On advice from Mr Cosmo, she finds a job. The one you would never expect Missy to take is exactly the job she gains. A nanny. Despite the outfit and umbrella, Mary Poppins she isn’t! Well, she teaches the kids in her charge, but in true Missy fashion, this is a means for her own ends. The kids, as supporting characters are a bit under-realized but perfectly serviceable for the story with a nice bit of conflict thrown in towards the end

Missy’s aims are simple, escape the constraints that have been placed on her. This involves a lot of different steps and missions, which slowly come together in the climax. There is plenty of fun for her to have along the way and Michelle Gomez sounds like she is having a blast reprising this role.

This is a very different Missy we are introduced to in the first episode. She is at her sarcastic and threatening best in the opening scene but if you think that sets the tone for the character in this episode then you may be a bit let down. We get to see a bit of a softer version of Missy, whether this is down to her as a character or the fact she is constrained from being able to seriously hurt others is left pretty ambiguous here.

The story is very well written. It moves along at a good pace without ever feeling padded or that scenes are dragging. There is a good amount of mystery than unravels without ever feeling like there are signposts to how it is going to end, which ties up well with the unpredictable nature of Missy as a character. The only minor quibble that I have is some of the acting of Oliver Clement. There are points when the story reaches the climax and the character is supposed to be scared but you just don’t get that from the vocal performance at all. Added to this, the same character provides narration and although this isn't performed badly, it does take you out of the story and feels a bit unnecessary to the story overall. 

All in all, a very promising start to the box set! 

Divorced, Beheaded, Regenerated
By John Dorney

Sticking with a historical theme, the second episode is set in Tudor England. The Meddling Monk, hiding from The Time War and stuck with a broken TARDIS is attempting to alter existing time-lines in the hope of rescue from his fellow Time Lords. Missy, on the other hand, is also stranded, needing a vital piece to fix her Vortex Manipulator. Each knowing a fellow time traveller is at work nearby, they both have designs on obtaining what they need from the other.

I’ll be honest, I wasn’t that impressed with Rufus Hound's incarnation of The Monk in “The Side Of Angels”. I’m glad to say that this episode has redeemed the character somewhat. It still isn't my favourite incarnation but this is a vast improvement. This is entirely down to the dialogue and the way Hound and Gomez bounce off each other. The back and forth at times is a riot and it was a genius move to pair these two together.

The problem this causes for the episode it that, as so much is focused on Missy and the Monk, there isn't much room for an actual threat to be evident. The villains of the piece are the Gramorians, a race of collectors that are looking for significant people throughout the galaxy to vacuum pack for their own personal enjoyment. As such, they barely feature apart from a few brief interludes in the run-up to the climax, and when they do come face to face with Missy and the Monk it ends up being very underwhelming.

Having said that, there was no feeling of disappointment when it finished. The good in this episode far outweighs the bad. Again Missy is far less erratic or psychopathic in this episode and it is nice to see another side of her rather than hitting the same beats that are expected of the character again and again.

A very worthy entry into the series and one I would have no problems sitting through again!

The Broken Clock
By Nev Fountain  

Moving on from the historicals, this episode finds us still on Earth, but back in the present day. Detective Joe Lynwood is facing multiple murders and the toughest and most impossible case of his career to date. Fortunately for him, help is at hand from DI Missy Masters of Scotland Yard…. 

The story is told, mainly in the format of an American true crime T.V show, “Dick Zodiac’s America’s most impossible killers”, so you can expect a lot of narration over the running time. However it isn't as straight forward as it seems and at times the fourth wall is not so much broken as it is smashed, pulverized and turned to dust. 

I found this to be a strange and ambitious entry into the series and unfortunately I don’t think it really works as well as it should have. It takes a while to get going as the first two tracks are told in the format of the aforementioned American T.V style and it really starts to grate after a minute or two. It is so over the top and the initial voice acting from the narrator and cast really starts to jar. I’m aware that this is the angle that they are going for but it just didn’t land for me at all.

The constant interjection of the narrator and how it is linked into the story really feel like it gets in the way of what should be an interesting story and leaves the pacing of the piece a bit all over the place. The pace does pick up a little bit towards the end and once the killer is revealed it does become a lot more interesting, however at this point it all feels too little too late.

Missy is a bit different in this story from the preceding two. The sarcasm and madness are still there but the fun side to her has been toned down and there is not much or her psychopathy on display to make up for that either. This also contributes to the story feeling a bit flat, which is a real shame given the premise promises so much and delivers very little. 

The Belly Of The Beast
By Jonathan Morris 

After three Earthbound stories, finally, we get to see what Missy gets up to when out and about in the rest of the universe. What is it that she is up to? Well surprise, surprise it’s enslavement, subjugation, and scheming. Perfect!

In full control of a planet, she is using the local population to work in the mines in the hope of uncovering an ancient artefact. There is just one small problem, they would rather rebel than suffer. The story rattles along and is probably the most action-packed along with the first episode. Each scene takes you forward and there is not much in the way of lengthy dialogue scenes. The end of the episode leaves Missy on a high and a very intriguing prospect if there is to be a second series. 

This story really brings together the feeling of any number of The Master's grand plans and a healthy dash of every quality from Missy that we have seen from Doctor Who and the other parts of this release. Missy really gets to show off her psychopathy, lack of empathy, sarcasm and just how “Bananas” she can be. It is easily the strongest script for Michelle Gomez to show off her wide range of skills and for any fan of Missy, this will tick every box. 

So, would I recommend this release?

Well, if you’re a fan of Missy then it really is a no brainer, there is plenty of the familiar for fans and a fair touch of new stuff to keep it interesting and non repetitive. If your not the biggest fan of Missy then I would still recommend this based on three out of the four episodes, I think there is enough there to be enjoyed story wise even if you are not enticed by the main draw of Missy.

All I can say is, bring on series two!

+ Missy - Series One is OUT NOW, priced £23.00 (CD) / £20.00 (Download).

+ ORDER this title on Amazon!

Manufacturer: Big Finish Productions

Written By: Jamie Anderson & Eddie Robson

RRP: £14.99 (CD) / £12.99 (Download)

Release Date: February 2019

Reviewed by: Nick Mellish for Doctor Who Online

Black Thursday - By Jamie Anderson

"1902. Deep beneath the Welsh village of Abertysswg, men have worked the black seam for generations. Until the day of the disaster. The day that a blue box from the future materialised inside the mine.... and things would never be the same again."

Power Game - By Eddie Robson

"Welcome to the Incredible Power Game, in which three brave Earthlings enter the Void Pit in search of strange gems to help return the alien Hostess to her home dimension. Today's contestants include Graham, Sadia... and Tegan, an air stewardess from Brisbane!"

It's funny how history can impact upon the present in unexpected ways. Despite an audibly older cast, stories which deal with concepts the 1980s run of TV episodes would never have done, and episode running times that often far outrun the original format’s restrictions, give me a Big Finish Peter Davison story which is but two episodes in length and I find myself nodding: “Yes. This feels right.”

The presence of two-episode-long stories in this era's original run lend the format here an air of authenticity that would be absent for, say, Patrick Troughton’s Doctor. Here though, it fits well and whilst I think the ‘pure historical’ label sometimes ascribed to Black Orchid is wildly misleading, its existence lends the opening story in this release, Black Thursday, extra weight.

Written by semi-regular Big Finish director and sometimes-writer Jamie Anderson, Black Thursday takes us to Wales in the early 20th Century where a mining disaster strikes and the TARDIS crew soon find themselves in the middle of it all, helping save lives where they can, comfort the grieving where they cannot, and, naturally, winding up in trouble.

Kamelion and human emotion are the main focus points in this story, leading to a masterclass performance by Jon Culshaw. This is a script which gives us a man having to perform as a robot speaking in a slightly-off Welsh accent that's still recognisably robotic. It's incredibly impressive: to make his accent here authentically Welsh enough while holding back a little but in a way that doesn't distract is one hell of a task but he pulls it off superbly.

Much of the rest of the cast bring a similar level of depth and skill to their performances, too, with Tim Treloar turning in his strongest outing for Big Finish yet and Lizzie Roper giving an equally impressive showing. Add to this the best script Anderson has written so far and you've a recipe for success.

Oddly enough, its weakest element is also its strongest: Kamelion. His plight is heartfelt and understandable and Anderson writes it well with sympathetic strokes, but it undoubtedly feels rather familiar, being yet another case of ‘Kamelion is overwhelmed by another's emotions / mind and changes as a result’. Coming so soon after the exact same plot point being a fairly big hunk of Devil In The Mist, it really does show up limitations with the robot's plot potential, even if it's executed well as is the case here.

That it pops up again in the very next story only further this sense of familiarity, though writer Eddie Robson keeps it on the back burner and lets the rest of his story do the talking.

If Black Thursday was an intelligent and weighty slice of education that effectively grabbed the heartstrings, then Power Game is an intelligent and light slice of adventure that effectively tickles the funnybone.

Set in York in the 1980s, Power Game tells of a television series that mysteriously appears in the middle of scheduled transmissions, much to the bemusement and confusion of the TV schedulers but the joy of a local Science Fiction and Fantasy group. Anyone who has watched television shows such as The Adventure Game or, to a certain extent, Knightmare will recognise this story's use of early computerised effects, contestant interaction and gameplay, and come away smiling. It uses nostalgia well, but better still it doesn't just rely on that to woo the audience but has a strong script with well-realised characters to back it up: Ready Player One this (thank god) is not.

As before, the cast are more than up to matching the high quality with Janet Fielding and Mark Strickson in particular turning in fantastic performances. Match this with a delightfully amusing script (Robson writes for the regular cast brilliantly) and you've one of the most enjoyable hours Big Finish have given us for a while now.

Kamelion may be at once the weak link and focal point / highlight of a good portion of this release (a contradiction I'm still wrapping my head around) but this release of two halves does not waiver in quality.

A story featuring the prominent use of early BBC Micro computer graphics? One about miners? This release has “The Eighties” tattooed upon its chest and it's only a surprise that Big Finish have not gone down this road before.

How utterly delightful that they have done now with such a strong release.

+ Black Thursday / Power Game is OUT NOW, priced £14.99 (CD) / £12.99 (Download).

+ ORDER this title on Amazon!

Doctor Who fans will soon be able to step inside a virtual reality version of the TARDIS, in an upcoming immersive VR film based on the beloved series called Doctor Who: The Runaway. Jodie Whittaker reprises her role as the Doctor in animated form in the interactive story, which will run for around 12 minutes and will be available on selected VR headsets in the coming months.

Viewers will join the Thirteenth Doctor on board the TARDIS in this animated interactive story from the BBC and Passion Animation Studios. Fans will get the chance to be the Doctor's champion and help her on this exciting adventure, as they find themselves at the centre of the action facing a deadly threat.

Jo Pearce, creative director for the BBC's digital drama team, said:

“Fans will experience the TARDIS like never before in this thrilling new interactive story. As ever, the Doctor is full of warmth, wit and charm – helped by a wonderful performance from Jodie – which puts fans at the heart of the story as they immerse themselves in this beautifully animated world.” 

Zillah Watson, head of BBC VR Hub, said:

“Our team at the BBC VR Hub has been creating new experiences with the goal of helping to usher virtual reality into the mainstream, and Doctor Who is exactly the sort of series that can help more people to try this new technology. The show has been pushing boundaries for over 55 years, and VR enables Doctor Who to explore a whole new dimension of storytelling.” 

Featuring new original music from series composer Segun Akinola, Doctor Who: The Runaway has been written by Victoria Asare-Archer and directed by Mathias Chelebourg, whose previous VR films include Alice, the Virtual Reality Play and The Real Thing VR. It has been produced by the BBC’s digital drama team, BBC VR Hub and Passion Animation Studios. 

[Source: BBC Publicity]