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Welcome to the News & Reviews section here at Doctor Who Online! This is where you will find all the latest Doctor Who related news and reviews split up into easy to use sections - each section is colour coded for your convenience. The latest items can be found at the top, and older items follow down the page.

Archived news and reviews can be accessed by clicking on the relevant area on the News / Reviews Key panels to the right.

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1 May 2011

The final BARB viewing figures are in for 6.1: The Impossible Astronaut.

The episode achieved a final figure of 8.86m viewers, with an audience share of 43.3%.

This is the biggest ever time shift for Doctor Who, and one of the biggest ever for BBC One with a +2.4 Million shift.

+ What did you think of the episode? Rate / Discuss in the DWO Forums!

[Source: Andy Parish]

1 May 2011

The overnight viewing figures are in for 6.2: Day of the Moon.

The episode achieved a figure of 5.4m viewers, with an audience share of 30.5%.

Doctor Who was the second most-watched programme for Saturday, with Britain's Got Talent taking the top slot with 9.5m viewers.

Final BARB ratings will be available within the next 10 days.

+  What did you think of the episode? Rate / Discuss in the DWO Forums!

[Source: Andy Parish]

28 April 2011

The BBC Doctor Who website have uploaded a teaser to their prequel for Episode 3 of Series 6.

The teaser offers a short 30-second insight into the full prequel which will air after 6.2: Day of the Moon, exclusively on the BBC Doctor who website at 6:45pm.

You can view the teaser video below:

+  6.3: The Curse of the Black Spot airs on Saturday 7th May 2011 at 6:15pm on BBC One.

[Source: BBC Doctor Who website]

28 April 2011

The BBC Doctor Who website have added The Game of Rassilon to their Games section.

Legends tell of a Time Lord challenge that would test the guile, intelligence and fortune of those brave enough to step forward. The challenge was known as The Game of Rassilon.

The Time Lords may be near to extinction and Gallifrey consigned to history, but after centuries in abeyance the game will be soon be resurrected…

This is not an Adventure Game but a series of games that test your knowledge of Doctor Who. Featuring clips, images, exclusive new footage with Matt Smith, Karen Gillan and Arthur Darvill plus other members of the cast and crew, the games are not to be taken lightly. You'll be able to challenge your friends or take the test in solitude.

For centuries the mighty Time Lords played The Game of Rassilon. Now it is your turn...

+  Play The Game of Rassilon.

[Source: BBC Doctor Who website]

28 April 2011

DWO have seen 6.2: Day of the Moon and have put our spoiler-free preview together:

It's been 7 days and the nail biting can finally end as the resolution to last week's cliffhanger is finally here…

6.2: Day of the Moon, doesn't immediately pick up from where last week left off, however. The final moments of the previous story are revisited in a fragmented form which feels more like a stylistic resolution than what we have come to accept from traditional cliffhangers.

We're also treated to one of the longest pre-title sequences in the show's history - over 6 and a half minutes in total!

As with our previous preview, it's an incredibly difficult episode to describe without giving too much away, but we can tell you that it's set 3 months after the events in The Impossible Astronaut, there's another prison with The Doctor's name on it and there are more shocks here than the previous episode.

Day of the Moon actually feels a little more complex than The Impossible Astronaut, even with a couple of answers to some niggling questions (no, not THAT question…yet) - your brain will literally hurt after the 45 minutes are up.

Moffat displays once more just how talented he is on every level, delivering a story that takes the show to new exciting levels and possibilities.

But the cherry on this proverbial cake of an episode comes in the final minute - in a scene that will have you screaming through your television set in a way that makes Maureen Lipman's portrayal of 'The Wire' look diluted.

May the nail biting begin…AGAIN!

Rating: 8/10

Five things to look out for...

1) Rory's addiction to a little red light.

2) A certain picture in a frame.

3) 2 body bags filled with people The Doctor cares about.

4) River makes a splash!

5) Video Phone.

[Source: Doctor Who Online]

27 April 2011

2|Entertain have sent DWO the cover and details for the Doctor Who DVD box-set release of EarthStory.

The Gunfighters

Take a trip to the Wild West in The Gunfighters, when the TARDIS arrives in Tombstone, Arizona in 1881. The Doctor, suffering from toothache, seeks out the local dentist - the notorious Doc Holliday.

Tensions are running high between the feuding Clanton family and Doc Holliday, whilst the local lawman, Wyatt Earp, struggles to keep the peace. When legendary gunman Johnny Ringo comes to town, events start to escalate. 

Can the Doctor, Steven and Do do do anything to stop the situation getting any worse? Or will there be a gunfight at the OK Corral?

Special Features:

• Commentary - with actors Peter Purves, Shane Rimmer, David Graham and Richard Beale, production assistant Tristan de Vere Cole and moderator Toby Hadoke.

• The End of the Line – After two years on the screen, Doctor Who had become a television phenomenon, regularly reaching an audience of ten million viewers. But with a change of producer and script editor and the looming prospect of losing the lead actor, the programme’s third year was the one that would make or break it… With actors Maureen O’Brien, Anneke Wills and Peter Purves, script editor Donald Tosh, new series writer Gareth Roberts and long time Doctor Who viewer Ian Levine.

• Tomorrow’s Times – The First Doctor – looking at the newspaper coverage of Doctor Who during the programme’s opening years. Presented by Mary Tamm.

• Photo Gallery - production, design and publicity photos from the story, set to the entirety of ‘The Ballad of the Last Chance Saloon’.

• Coming Soon - a trailer for a forthcoming DVD release.

• Radio Times Listings in Adobe PDF format.

• Programme subtitles.

• Subtitle Production Notes.

The Awakening

The TARDIS has brought the Doctor, Tegan and Turlough to the picture postcard English village of Little Hodcome. Tegan has come to visit her grandfather - well known local historian Andrew Verny - but he seems to be missing.

The residents of Little Hodcombe, led by the obsessive Sir George Hutchinson, are playing a vicious war game - an exact recreation of a battle of the English Civil War fought there in 1643.

As each of the TARDIS crew witnesses a terrifying apparition from the past, the Doctor realises that he faces a far greater menace than the unstable Hutchinson. An ancient and alien force for evil is at work - one which will glory in the slaughter of them all...

Special Features:

• Commentary - with actor Michael Owen Morris and script editor Eric Saward, moderated by Toby Hadoke.

• Return to Little Hodcombe – Director Michael Owen, actors Janet Fielding and Keith Jayne and script editor Eric Saward return to the three villages that played host to the locations for ‘The Awakening’, and along with locals they reminisce about a memorable shoot…

• Making the Malus – visual effects designer Tony Harding and modelmaker Richard Gregory are reunited with the Malus prop they built for the story. Current owner Paul Burrows is on hand to describe the reality of living with a giant stone monster on the lounge wall…

• Now & Then – the latest in the ongoing series visits the villages of Martin, Shapwick and Tarrant Monkton to compare the locations used in the story with how they appear today.

• From the Cutting Room Floor – extended and deleted scenes from a timecoded VHS of the original edit and unedited film sequences, plus location action from the film rushes.

• The Golden Egg Awards – the inadvertent destruction of a prop lychgate by a horse was the winner of The Late Late Breakfast Show’s Golden Egg Award. Peter Davison is on hand to collect the trophy from host Noel Edmonds.

• Photo Gallery - production, design and publicity photos from the story.

• Isolated Music – option to view the story with the isolated music score.

• Coming Soon - a trailer for a forthcoming DVD release.

• Radio Times Listings in Adobe PDF format.

• Programme subtitles.

• Subtitle Production Notes.

+  The EarthStory Box-set is released on 20th June 2011, priced £30.63.

+  Compare Prices for this product on CompareTheDalek.com.

[Source: 2|Entertain]

27 April 2011

It is with deepest regret that DWO announces the passing of Classic Doctor Who Actress, Yolande Palfrey.

Yolande was perhaps best known to Doctor Who fans for her role as Janet in The Sixth Doctor Trial of A Time Lord adventure; Terror of the Vervoids.

DWO would like to extend our sympathies to Yolande's family and friends.

[Source: Neil Marsh]

27 April 2011

BBC4 will be paying tribute to Elisabeth Sladen by airing the Classic Series story; The Hand of Fear.

The adventure, which features Sladen's last regular appearance as Sarah Jane Smith in Doctor Who, will air in two parts on Monday 9th May and Tuesday 10th May 2011.

+  The Hand of Fear was originally broadcast between 2nd-23rd October 1976.

[Source: Radio Times]

27 April 2011

Doctor Who star, Matt Smith has been nominated as Best Actor in this years BAFTA Awards for his role in Doctor Who.

It is to be noted that this is the first time an actor who has played The Doctor, has ever been nominated in the role, and will be going head-to-head with Sherlock star, Benedict Cumberbatch.

Other Doctor Who related personalities to receive BAFTA nominations include:

Steven Moffat & Mark Gatiss - Best Drama Series - Sherlock

Toby Whithouse - Best Drama Series - Being Human

Anna Maxwell-Martin - Best Actress - Red Riding

Lynda Baron - Best Supporting Actress - Coronation Street

Stephen Fry - Best Entertainment Performance - QI

+  The awards take place on Sunday 22nd May 2011.

[Source: Neil Marsh]

24 April 2011

The overnight viewing figures are in for 6.1: The Impossible Astronaut.

The episode achieved a figure of 6.5m viewers, with an audience share of 36.7%.

Doctor Who was the second most-watched programme of Easter Saturday, with Britain's Got Talent taking the top slot with 9.5m viewers.

Final BARB ratings will be available within the next 10 days.

+ What did you think of the episode? Rate / Discuss in the DWO Forums!

[Source: Andy Parish]

23 April 2011

The DWO WhoCast Doctor Who Podcast is covering the New Series as soon as it airs each week.

The podcast, which is available weekly for FREE from iTunes and the DWO WhoCast website , will be moving to Saturday evenings whilst Series Six airs, and immediately after each episode has finished, you can find the latest episode of the DWO WhoCast online, with a review of the most recent adventure.

So at 6:45pm Tonight you will find Episode #190 available for download with our review of 6.1: The Impossible Astronaut.

** Don't forget to Rate / Discuss each episode of the DWO WhoCast in the DWO Forums!

+ Subscribe to the DWO WhoCast via iTunes.

+ Download the iWho App for just £1.19, complete with DWO WhoCast Episodes!

[Source: DWO]

22 April 2011

Tom Baker's Big Finish debut is underway!

Recording commenced at 10am on Friday 22nd April on Big Finish’s The Fourth Doctor Adventures, starring Tom Baker and Louise Jameson.

The first six-part audio series debuts on CD and download in January 2012, and pre-orders are already available at www.bigfinish.com.

Big Finish have sent DWO a photo [pictured right] showing Tom and Louise enjoying the Easter sun before recording commenced with Scene 2, INT TARDIS with the Doctor and Leela.

(And yes, it’s the wooden console room...)

[Source: Big Finish]

22 April 2011

SFX Magazine have added a recent interview with Steven Moffat to their website:

So your second year as showrunner is upon us. What did you learn from your first?

“The trouble with Doctor Who is that it’s so story-specific. There isn’t a set way of making Doctor Who. With a lot of shows, like Press Gang or Coupling, you think, ‘Well, that’s how we make it, that’s what it looks like and generally speaking there’ll be a scene like this…’ That sounds very reductionist and awful, but my favourite series of all time, The West Wing, falls into that category. Most of them are pretty much the same. You could, pretty much, take various different episodes of The West Wing and stitch them together in a different order, graft the sub-plot of one onto the main plot of another. It’s a genius work of art, but you do realise at a certain point you know how to make it. Doctor Who isn’t like that. You’re doing pirates one week, and then you’re doing a spaceship – possibly in the same episode!”

And you never get a sense of confidence making it?

“I think we’re much, much more confident now than we were in the beginning, just because at the very start you’re simply flailing. It’s like being strapped to the front of a train and trying to shout instructions to the driver. You have no idea how fast it’s going to go, the speed it’s going to go…”

You cast the Doctor spectacularly well. What strengths did you see in Matt’s performance last year that you wanted to capitalise on this year?

“That was a very, very gradual process. It was obvious from the get-go, from the very first scenes he did where they’re on the beach in the Angels episodes and he’s perfect as the Doctor. He’s not as good as he is now, but he’s perfect. He came through the door tonally perfect. He absolutely got what sort of show it would be. Quite purposefully, and sensibly, I said that if this new Doctor is a bit David Tennanty at the beginning then that makes perfect dramatic sense. I was still probably writing him a bit David Tennanty. David had made such a huge impression in the role that it made sense. But also, a few minutes before he meets little Amelia Pond, he was David Tennant, so why would he immediately not be like that? So Matt stretched into the part and took it over and made it his own, and sort of obscured his predecessor. It’s instinctive but he becomes much dafter, much sillier, and curiously more the old boffin than David ever was, in a way, even though he’s the younger one. Just more sort of basically mental!”

Did you spot stuff like Matt being really good with kids, and think, “That’s something that I can use”?

“Well, that was purely by accident. I’d already written the scene where he meets Amelia. But he’s fantastic with children. When I started writing it I was vaguely writing the Doctor as I roughly wrote it for Chris and for David. At a certain point you realise that you are writing stuff that you would never have written for Chris and David – the daffiness, the fact he forgets things, the fact he’s hopeless with women and flirtation and all that stuff, which David’s Doctor and Chris’s Doctor were very, very good at. All that gangliness… you get influenced by his weird body language, and the fact that he does seem like a completely different creature from a young, good-looking 28 year-old, which is, in fact, what he is. He’s resurrected the idea of the Doctor being mad. Not just eccentric but properly mad. I think Gareth Roberts’ episode ‘The Lodger’, which was the last one we did in the first series, was the fullest Matt performance. All that stuff where he’s doing the air-kissing because he thinks, “Is that how we talk?” – you sort of buy it. And he drinks wine and just goes bleurghh and spits it out. And even though that’s in direct contradiction of things that we know about the Doctor being a sophisticate, it completely sits with him, and those are moments that you would never have bought with Chris or David.”

“The Beast Below” had a particularly jolting moment where he suddenly lashed out in anger. But that wasn’t something that you seemed to revisit.

“We do revisit it. You will see scary Doctor again, without doubt. That wasn’t a particular decision. I quite like writing a grumpy Doctor. It just didn’t really come up in the stories. It wasn’t moving away from that at all. And we do have proper grumpy Doctor returning. And moments of scary Doctor, as well. Because he’s very, very good at them. It’s quite alarming – I’m used to the Doctor’s anger, and indeed his sadness being, in a very good way, quite theatrical, whereas Matt’s not that sort of actor, so when he does anger or tragedy or any of those big emotional things it’s quite visceral; it’s quite serious and heartfelt. It’s horrible to think that you’ve brutally disappointed this sweet man. And he is. Let’s not pretend otherwise about the Doctor, he is fundamentally incredibly sweet and incredibly kind, and all the things that he has to be to be the Doctor. But there are moments when he loses that, or he can’t sustain it.”

Is it quite a collaboration between you and Matt in shaping the Doctor?

“I don’t think we’ve ever – or certainly not for a very long time – had a proper sit down conversation about it. It’s more a collaboration in the sense that I’m writing stuff, seeing what he’s doing, instinctively following him, and then he’s following the script. Oddly enough, like David before him, he’s absolutely punctilious about dialogue. He never paraphrases. If he wants to change a line he’s on the phone. He’s very, very precise, very exacting, never ‘make it up’. But I do think the show is the Doctor, so you have to leave a blank space in a way and let the new Doctor, the current Doctor, occupy it.”

Can you talk about the decision to split the series in two? What drove that creatively?

“I think there was a very, very odd shape to last year, because we had nothing but event episodes for a while. David’s last year was occasional specials, and every one of them, of course, was promoted as an event. And then you had the huge event of David’s last two episodes, and then you had the huge event of Matt arriving. And then you think ‘And now it’s just on television…’ That’s good, but it starts to feel routine. And I kept saying, ‘We need a mid-season finale.’ It’s a long time to expect people to follow a big old arc plot, 13 weeks. You need something in the middle that makes it big. But of course the term mid-season finale literally means nothing. You can say that as many times as you like. It’s not a finale. It’s bollocks. It’s on next week. In fairness the idea has been floated several times for Doctor Who, and this time I thought let’s have that, let’s just do it twice. Because there’s a moment in the middle of a series where everyone just thinks ‘Well, it’s been back on for a few weeks, you can rely on it, it’s always there…’ So they think if they miss an episode it doesn’t matter so much, it can’t be a very important one this week. I know people think that way, because I think that way about some other television series, that I really, really like, but I don’t completely love. And the interesting thing about Doctor Who, and the challenge of it always is, if we do a special episode with all this publicity and all guns blazing, we can get 11, 12 million viewers. That’s a fact. But the core audience, the audience that we don’t ever drop below is probably around 6.5 million. And I would like to know how we can more often access those other six million, and try and keep them onboard. And say to them ‘Don’t just leave because Christmas is over. Maybe you want to see the next one too? And maybe the one after that?’ Just lure more of them in.”

So how does that impact on your storytelling? Is it as simple as chopping the season in two?

“Well, no, because it forces you to say ‘Well, there’s going to have to be a finale.’ You can’t just pretend that episode seven is going to be just another episode, and it will suddenly stop. No, there has to be a big va-voom, and then there has to be another va-voom that reintroduces the series.”

How did you want to kick off the series?

“My big thing was starting with a two-parter, and starting with quite a dark, quite an actiony, quite scary one, as opposed to our traditional approach of starting with a romp.”

And you filmed in America for that one.

“It does make more difference than you feel morally that it should. You suddenly see them standing in the desert, and you can see miles to the horizon. It feels properly American that two-parter. I think it’s a very, very convincing America that we pull off.”

Can you talk about the diversity of stories that you’re giving us this year?

“Curiously enough, I never really believe that you approach a television series by balancing it all. Would you want it to be properly balanced or have all of them just be really good? In other words, if you had two historicals in a row and they were both fantastic, who’s going to write in and complain? How many people are going to do that? How many people noticed in the second series of Doctor Who that ‘Tooth And Claw’ was only two weeks away from ‘Girl In The Fireplace’, and they were both celebrity historicals? Who cared? Did anybody care? So you don’t worry about that. So, yes, there’s diversity because it’s Doctor Who, but frequently the diversity is about the genres you move into. Matt Graham gives us quite a dark one, a dark, clever, very funny a two-parter. And I’d say Matt Graham’s Doctor Who is slightly different, it’s more like a police procedural somehow, in a way! You’ll throw those words back at me when you see it, but he takes a different angle on it.”

Most Doctor Who writers have just absorbed the style of the show in childhood, haven’t they?

“I think they have. I mean, you can try and define it – are you entertaining eight year-olds, are you exciting 14 year olds, are you making 40 year-olds laugh their heads off? You could answer all those questions yes and still not get it right. You have to be engaging every age group by all possible means. I’m no longer in touch with online fandom but I remember when I was – when I was just writing for the show, not running it – I did think at times, on some of those forums, that these are the people in the whole world who understand Doctor Who the least. They’ve stared at it so long, and invested so much in it that they no longer understand what it is. They can’t see it for what it is. Everyone else in the whole world gets it better than they do. That in itself is unfair, because loads of them aren’t like that at all, but you know what I mean? You just think ‘No, it’s not that kind of show, it’s not like that…’”

How much joy do you take in keeping secrets from various members of your cast? Matt tells us he’s frustrated that Alex Kingston knows more than he does, Arthur doesn’t know what’s going on at all…

“It was fun. It was just a laugh. It wasn’t anything serious. We wanted Alex to come back to be River again, so I thought I’d phone her up as I didn’t know how she was feeling about it. She’s a very successful, very glamorous actress and we make her film at night in the mud. At some point you think ‘Hm, maybe she won’t want to…’ I phoned her up and said ‘Look, I’ll talk you through what’s going to happen with River next year…’ And I realised quite quickly into that conversation that she was just going ‘Ooh, hooray!’ and had no idea why I was telling her, because she was perfectly happy to come back. Now I do have a general belief that if you want to have a secret, keep it. Don’t ever tell anybody who doesn’t need to know, because you’re not only trusting them, you’re trusting everybody that they trust, and everybody that those people trust. So I just didn’t tell the others. And then it became funny. I’d turn up on set and Alex would come over to me and cover her radio mike and have a whispered conversation with me, while I could see out of the corner of my eye Matt standing there going ‘But… I’m the star of the show!’ So that was just a laugh. At the same time, he should learn when the Doctor learns, which was when he read the script.”

I did wonder if it was you trying to feed the performances…

“You wouldn’t need to. Matt’s good enough that he could have done it anyway. But if they don’t need to know, why tell them? Poor old Arthur! This became a running joke. I’d be talking to Karen and Matt about Doctor Who, and he’d always be walking i n just as I’d be finishing a very, very long spiel. And it happened the other day, at a readthrough; I was filling in all the principals on what was going to happen in episode 13, how it was going to end, how we were going to get out of the problem that we’d set ourselves. And I realised as I ended that the door had banged and in walked Arthur. And we all just fell around laughing, saying ‘Oh, I’m sorry, you’ve missed it… again!’”

When you got the Doctor Who gig did you have the long game fully formed? Or is it something that changes year by year?

“It changes year by year. The danger of a long game or a big old plot arc is that you can start sacrificing the current episode because you think ‘Ooh, this’ll pay off later.’ And that’s no use in a show like Doctor Who. You can’t say ‘Well, it’s rubbish now, but wait til you see how it pays off.’ You can’t be driven too much by your big story idea. In truth, the big stories we tell tend to be very, very lightly sketched in. It’s more great, grand allusions rather than a great big masterplan. You have a sort of idea but I would throw it all out tomorrow if I suddenly thought of a great new story idea. If it contradicted it I’d just get rid of it. It’s about satisfaction every Saturday.”

How is Doctor Who seen by the BBC these days?

“I think all of us as fans probably don’t appreciate just how utterly loved Doctor Who is at the BBC, because no show performs like Doctor Who. Alright, there are shows that do slightly better, but not after this number of years, and not shows that sell all over the world. Think how many people have now seen ‘Rose’, that first Christopher Eccleston episode. Never mind who saw it in the first week, or even the first year. People are still watching that for the first time. Just imagine if we were able to add up everybody who eventually, over a period of years, watches an individual episode of Doctor Who, which unlike The X-Factor, unlike EastEnders, unlike any of those shows, continues to exist on your shelf. We’d be the biggest show in the country. One of the biggest shows in the world. If they measured book sales this way we’d be saying, ‘Well, it only counts if it sells on the day!’ Doctor Who carries on gaining new viewers. I’d love to know what percentage of Britain has now seen Christopher Eccleston’s first episode, say, or David Tennant’s first episode. I’m sure it’s way, way over half. That’s what we don’t quite appreciate, especially as television is going to change and we’ll be more like publishers than broadcasters, because the time of transmission is now just the date of publication, isn’t it? You know you can catch it on iPlayer, on iTunes, you know you can see it later… There’s no impetus, or not the same impetus, to see it at the time. And that’s the world in which Doctor Who will triumph. Which is why I got so ratty at the time they were saying our ratings were down when they weren’t. I remember yelling at some journalist, which I shouldn’t have done, saying do you even know that iPlayer isn’t counted in the ratings? You know there’s a whole 2 – 2 ½ million we’re not even allowed to mention, in typical BBC style. The only absolutely verified members of the audience, the only ones who are definitely there, aren’t counted in the ratings! We just use the big guess. But anyway, that’s me ranting on…”

Do you think Doctor Who embodies the best of the BBC? Is it a flagship for values that are under threat?

“Yes. I think it’s the most BBC show in the world. I can’t imagine anything more BBC than Doctor Who because I can’t imagine anyone else who would make it, and continue to make it, and continue to cherish it. It can look like madness to a tiny mind, as indeed the BBC can look like madness to a tiny mind, but that’s just what genius looks like if you’re an idiot. It’s not madness! It’s utter brilliance. This is one of the very few characters entirely created by television and for television and sustained by television, that is a legend alongside James Bond and Sherlock Holmes and Dracula. It is an extraordinary thing. I’m not even trying to be mean about American networks, but can you imagine them doing Doctor Who? It’s half Hammer Horror, half Generation Game, a genuinely frightening horror series aimed at young children. It’s all those mad conflations of ideas. But at the same time while it is the most wondrous and magical and fairytale thing, it’s born out of a scheduling decision. It’s born out of them saying, and how clever they were, ‘We need to join the children’s audience here to the adult audience there, and let’s have a show that everybody watches’. A problem they solved so brilliantly in 1963 that it still works now! Who else and where else would it ever happen? It’s all of the BBC in one barking mad show.”

** Interview conducted by Nick Setchfield for SFX Magazine.

[Source: SFX]

21 April 2011

DWO have seen 6.1: The Impossible Astronaut and have put our spoiler-free preview together:

The wait is over! Series 6 gets off to a flying start with the curiously titled, 'The Impossible Astronaut' - a story that is unlike anything we have seen, or even imagined, before.

It's a real knotty one to describe as so much of the plot is spoileriffic, not to mention complex. Complex is good though! It's so easy as a viewer to simply vegetate and accept everything you see on screen without challenging you or making you think.

Steven Moffat really makes you work as the many strands that bind The Impossible Astronaut, and no doubt the rest of Series Six, weave their way through a thoroughly entertaining 45 minutes.

Doctor Who feels a little more grown up now, but at the same time, a little more childish in places. The beautiful locations, the grim locations, some of the subject matter and plots just make you feel that the stakes have risen higher than ever before.

We start off the episode with five minutes of fun, taking us from a royal court (where The Doctor is getting up to mischief again) right through to a Laurel and Hardy movie (more Doctor-y mischief). Three TARDIS blue envelopes are delivered to their recipients and a fourth to a mystery man. All of the recipients are summoned to an exact location at an exact moment in time, but why, and by whom?

Then, get ready to have the rug pulled from the very fabric of your being as Steven Moffat delivers the first course of what will play out to be one of the greatest story arcs to date.

Throw in a big dollop of President Nixon, the FBI, the scariest monsters ever to have appeared in Doctor Who (hands down), and a cracking cliffhanger to boot, and you have yourself a truly unmissable televisual masterpiece.

The only problem is we have a whole 7 days until we find out what happens next...

Rating: 9/10

Five things to look out for...

1) "I won't be ______ ___ again, but you'll be ______ me"

2) The Doctor's special fizzy straw.

3) Joy in the bathroom.

4) "River, make her blue again!"

5) Amy has two secrets The Doctor doesn't know about!

[Source: DWO]

21 April 2011

ShortList.com have added a brand new interview with New Series Producer, Marcus Wilson to their website:


“The Silence [which we’ve heard about since last series] have a special power to make people forget them. They’re scary. And Lily Cole plays a Siren, a type of demon who lures soldiers to their death. Then, in episodes five and six, we’ve got something called The Flesh. It’s a technology that lets humans create duplicates of themselves — but this being Doctor Who, things don’t run smoothly.”


“For the final scene of the last episode before the mid-series break, we only gave the actors their final lines. Everyone else had a script that just said ‘interior of a spaceship hanger’ and that was it. We get papped every day and there are Facebook groups dedicated to where they think we’re going to be filming next. They’re right a freakish amount of the time, so on location we have to black out car windows so that they can’t see the guest stars and monsters. It’s unfair to spoil it for the fans.”


“What’s lovely about Doctor Who is that people want to guest star in it. We set out the story commissions for this series and we knew that we wanted to do a sequel to [episode] ‘The Lodger’. James said, ‘Tell me when, I’ll be there.’ We thought that his episode would be a one-off, but it did so well that everyone was keen to do another. Now he’s pitching to us for a trilogy.”


“Matt Smith makes the show a great environment to work in. He turns up with a lot of energy, welcomes the guest cast and is ready to work. Matt and Karen [Gillan, Amy Pond] have a sweet brother/sister relationship. You cut the camera and immediately they’re dancing to some tune that they’re singing. They both love it. Matt especially is very keen to continue in the role.”

[Source: Short List]

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