Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 456: The Hand of Fear, Episode Four

Dear diary,

I’ve been putting off the writing of this entry all day. This is it! One of the big ones! It’s the final appearance of Sarah Jane Smith during her original run in the programme! A huge moment, and one which is filled with emotion and heartbreak. When Elisabeth Sladen died in 2011, Babelcolour uploaded a video tribute to her, and it’s always been my favourite Sarah Jane related video. The tone is perfect - joyous, but tinged with a bittersweet sadness - and the clips of her saying farewell to the Fourth Doctor are really rather moving. I’ve been creeping closer to this episode, just knowing that the actual scene, coming in context after all her other episodes, will be even more emotional.

But then… it wasn’t. Didn’t even seem to move me one jot. I don’t know if I’m broken, but I didn’t find it half as sad as I was expecting to. I mean - yes - it’s very well done, and the way both Baker and Sladen play it is beautiful… but I’m just not sorry to see Sarah leave. Because of her return to the series in 2006, and the years she’s spent in her own spin-off, Sarah has always felt like the companion. The ultimate. The definitive article, you might say. While I’ve really enjoyed her time in the TARDIS up to now, though, I can’t say that I view her as being all that much better than Jo, for example. Or Jamie. Ian and Barbara… She’s a good companion, yes, one of the better ones… but I’m not sure I really understand what all the fuss is about.

And that, I think, is the root of my problem. So much of what makes Sarah Jane so well regarded is the fact that she was the right companion at the right time in the programme’s history. She’s paired with two of the more polar Doctors, and her time with Tom covers one of the most successful periods of the programmes history - both in terms of creativity and general popularity among the public. I think there’s a certain amount of nostalgia to the decision to crown her as the ‘best companion ever’.

All of this sound like I’m taking pot-shots at Sarah Jane in her final moments, but I’m really not. I have loved having her aboard the TARDIS for the last few months, and I’ve really grown to see what so many people love about the character. The issue is that I was just expecting more from her departure. I was expecting to feel more moved by it, and I think I’m a little disappointed that I’m not. Equally, it could be because I know she’ll be back now and again. I know I’ll see her when I watch K9 & Company at the end of Tom’s run, and again during The Five Doctors. I know she’ll pop up fairly regularly during the Tenth Doctor’s era. Maybe it’s not so emotional because I know it’s not the end?

I think I’m also a little miffed by the way the episode unfolds before we even reach the big farewell, too. It plays out like a rehash of Death to the Daleks again - in which the Doctor and Sarah have to overcome a number of puzzles to make their way somewhere inside this alien city. We’ve only recently had a similar scenario pop up in Pyramids of Mars, so it’s little too fresh in the memory for me. We’ve even got the same ‘creature watching a screen turns out to have been dead for millennia’ trick which worked so well when Terry Nation first did it a few seasons ago. It’s not often in this blog that I’m caught praising Terry’s originality!

During The Masque of Mandragora, I mused that I was feeling ready for a change in the programme, and I think that’s contributing to my general weariness here. The programme has had so many strong hits of late that any time an episode doesn’t quite live up to that same standard, I find myself feeling somewhat let down by it. You attune yourself to the average quality of the era you’re in. You’ll notice sometimes (the last season and a half of Pertwee is a good example) that I seem to be levelling out with my scores. Lots of sixes and sevens. That generally means that an era has been of a consistent quality for a while, and so stories then start to gather as extremes when they’re slightly better (or slightly worse) than those around them.

We’ve now got four episode of the Doctor on his lonesome, and then we’re going to be getting a brand new companion. I think this shake-up could be just what I need to shake off my fatigue and get my head back in the game. For now, I’ll say goodbye to this phase of the programme’s history.

Until we meet again, Sarah…

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 455: The Hand of Fear, Episode Three

Dear diary,

The pacing of this story is really throwing me. Episode One moves relatively slowly (though that doesn’t mean it’s boring in any way), then Episode Two really races by, with two nuclear threats and lots of people getting possessed by Eldrad. Then we reach Episode Three. I’d assumed Eldrad’s full reveal would be saved for use during a cliffhanger, so when it didn’t arrive yesterday, I wondered what that would mean for the pacing of today’s instalment. I wasn’t expecting to see the fully-formed creature emerge a little way into an episode.

I then also wasn’t expecting us to leave the location of the power station this early, either. I had no idea that we spent time actually on Kastria - I assumed we only saw it during that opening scene of the story. Events at the power station are left a bit suddenly, but we do at least get a nice send off for Professor Watkins wondering who’s going to believe him about all the events we’ve just been through!

To be honest, it was looking like we were heading for the kind of story I’m more familiar with from Dragonfire - the guest villain would want to get back to their home world, only to find that so long has passed, their world is long since dead. There’s certainly shades of that kind of story in here, but at least there’s a home for Eldrad to return to. I’m convinced that there’s more to her story than we’re being told, though. If she’s such a key person in that planet’s evolution, why would they have been so keen to destroy her? The booby trap in the cliff hanger adds another dimension to the culture, too. Did she place it there to deter intruders, or was it designed to keep her at bay should she ever return?

I’m also loving her bargaining with the Doctor. This season is seeing a heightened amount of ‘Time Lord’ being added in to his character, and it’s making for an interesting new thread. During the Pertwee years (and even into Season Twelve and Thirteen), the Doctor was unhappy to be sent on missions for his people, but now he seems to be talking a greater interest in their cause. During The Masque of Mandragora, he claims that it’s ‘part of a Time Lord’s job’ to step in and save the day against the Helix. Here, when Eldrad questions him about his home world, he says again that he has to protect the indigenous population when they’re threatened. Obviously, the next story will see our first proper trip to Gallifrey (as opposed to the brief excursion at the end of The War Games), so maybe they’re trying to thread them in deeper in preparation?

And then there’s all the stuff in the TARDIS. I only touched on the new console room briefly when it first appeared in the last story (to be fair, it does only make a fleeting appearance itself before we’re off to Italy), but now that we get to spend some proper time in here I’m really rather fond of it. As I said the other day, this room has always stuck out as something of an anomaly, but I’m really rather impressed by the set. Something about it feels so right, and it really does suit Tom’s Doctor. We’re given a slightly odd description of it, though. The Doctor explains that when they’re inside the TARDIS, they don’t really exist, so they can’t be harmed. Now, in one of the Matt Smith stories he describes this ‘state of temporal grace’ as being a clever lie - so maybe he’s trying to throw Eldrad off here? - but it is a bit of an odd one!

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 454: The Hand of Fear, Episode Two

Dear diary,

I spent much of The Masque of Mandragora banging on about just how brilliant the locations looked, but the same is true of this story - perhaps to an even greater extent. Oldbury Nuclear Power Station, used for the interiors of the Nunton Power Complex, is huge, so it really makes an impact on screen. Way back during The Dalek Invasion of Earth, I was impressed because when Ian and the Doctor found a flight of stairs to go up, the camera followed them… and just kept going! I’d become so used to the size of set the programme could build, and was ready for them to cut away. That same feeling is in place here today, when the Doctor and Dr. Carter rush after Sarah, and then engage in a fight on a gangway. Watching as Carter falls over the edge and plummets to his death below only helps to increase the scale.

It’s also inspiring some rather brilliant direction from Lennie Mayne, in his final work on the series. While the location is vast, and we’re able to get some stunning shots which really highlight how much space they have to play in this week, many of the individual areas of the power station are very cramped, filled high with machinery and equipment. Thus, they’re having to be clever with the placement of the camera when they’re taking many of the close up shots. Mayne has turned this into part of the serial’s style, and you notice that the shots are becoming more and more unusual as we focus on any character who’s been possessed by Eldrad.

Ah yes, Eldrad. I know enough about this story to know that - at some stage - the hand will grow into a crystalline blue woman, but I’m surprised it wasn’t the cliffhanger to this episode. I’m assuming it will come as the next cliffhanger, meaning that she spends less time being part of the plot than I’d expected. Instead, we’re left with the hand to entertain us for these 25 minutes. That’s not a complaint, mind, because it’s very well realised. There’s some shots where the CSO trickery is very evident (and one where you can tell the actor is being hidden away just behind the set), but then there’s other bits, like that first shot of the hand coming to life in the tupperware box, where I really can’t tell how it’s been done. I’m assuming that it’s CSO, the same as elsewhere, but it’s just done far better than I’m used to!

Aside from the effects and the location, I’m really rather fond of the characters we’ve got in this one, too. Just as with Giuliano and Marco in the last story, it feels like we’re being given added depth to the characters here. Many of them are scotched in with the briefest of lines, but it gives us just enough detail to fill in the rest of their story. I wondered, for example, what the relationship might be between Miss Jackson and Professor Watson: there’s enough of a hint between them to suggest that there’s a little bit of a workplace romance going on. And then, when things get dire, he’s sent everyone out of the building… and he phones his wife. It’s a beautiful exchange (where he even briefly speaks to his daughter), and while he never tells her that something serious is happening and that he might not come home that night, he tells her everything she needs to hear for a final conversation.

In The Writer’s Tale, during the planning of The Waters of Mars, Russell T Davies speaks a lot about how important the ‘messages from home’ are for the crew of Bowie Base One. He talks of the way they ground the story in reality, while at the same time helping to reaffirm just how remote the situation is. It has the same effect here, and it helps Watson to be ever more real. I do wonder if the dram is undercut somewhat by having the complex evacuated, then bringing the staff back in, only to evacuate it again: It’s difficult to take the threat seriously a second time (indeed, there was once a day at work when the fire alarm went off three times. By the end, we were genuinely unsure wether to bother going back inside again). But that one phone call, a brief scene of calm in an episode where a lot is happening, means that I care about Watson. I worry that he may end up becoming collateral damage before the story is out - and I feel sorry for his wife and daughter. Now that’s an example of good writing in a Doctor Who episode.

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 453: The Hand of Fear, Episode One

Dear diary,

By the time The Hand of Fear was released on DVD in 2006, I was regularly picking the stories up on release day as I passed by Woolworths. As if I didn’t already know from any number of guidebooks about the series, this particular release bore a sticker on the front, proclaiming it as ‘Sarah Jane’s final classic story’. Now that I’ve reached it in the context of the marathon, it’s as though things have come around a bit… quick. Sarah Jane has been companion for longer than most companions (even - just - edging out Jo Grant’s three seasons), but her time in the TARDIS has felt rather short.

I think it’s because of the change in teams throughout her time. She spends her first season alongside Jon Pertwee, and while they worked brilliantly together, they didn’t share the same rapport that she and Tom Baker would later build up. That said, in her second season, I often felt that she was overshadowed by the presence of Harry in the TARDIS. It’s only really through the stories of Season Thirteen that she’s become the wonderful companion that I know and enjoy.

But what on Earth have they dressed her in for her final appearance?!?! Of course, I’ve always known of the ‘Andy Pandy’ costume from this story (although I had no idea that it was described as such in the episode itself!), but it’s not until you actually encounter it watching through like this that you realise just how out of place it really is. Lis Sladen talks in her autobiography of making Sarah’s dress sense more and more ‘out there’ the longer she travelled in the TARDIS (and she makes the same point in the commentary for this episode), but this is, I think, the first time I’ve ever noticed it so much. Oh, sure, there’s been a few questionable clothing choices over the past few seasons, but this is batting things into a whole other league.

Thankfully, it’s not holding Sladen back, and she’s turning in a hell of a performance for her final story. She’s always been rather good with her ‘possessed’ acting, and it’s nice to see her really giving it her all in her final story. She gives a wonderful ‘far off’ look when trying to be disconnected from events, and I’m completely sold by it. Seeing a companion taken over like this isn’t new by any stretch (a similar thing even happened to Sarah in the last story!), but I’m loving the performance here. It sets this possession out above the rest, and that’s always nice.

I’ve never noticed before just how contemporary-Earth-centric these early Tom Baker years are. I’d always thought of the programme in the 1970s as being almost entirely Earth-bound for Jon Pertwee’s tenure, before barely touching down here again once Baker stepped into the role. It’s actually proved to be far more delineated than that, with every season from about 1972 onwards featuring at least a couple of stories set in the ‘present’. Since the Fourth Doctor took over, we’ve had Robot, Terror of the Zygons, The Android Invasion, The Seeds of Doom and now this one - almost half of his stories have taken place in this period of history. Sarah’s departure will change that, and we’ll start seeing less adventures placed here through the rest of Baker’s run. Maybe losing his human companion cuts another tie to the planet? After all, we won’t have another one until Tegan shows up, and that’s a long way off from now.

That said, this has a different feel to all the other stories set in this period over the last few years. For the first time since The Sea Devils, the Doctor has touched down on modern-day Earth in a story which won’t feature UNIT, and unlike The Seeds of Doom, he’s not been called in as such, but he’s simply arrived here while trying to give Sarah a trip home. It’s ironic, then, that the TARDIS should touch down in that most Doctor Who of locations - a quarry. There was a time, back around Season Three when quarries had first started to become shorthand for ‘alien world’, that I mused on how well they worked. It’s still true, now, but the language of the programme means that I watch the Doctor and Sarah Jane walk through this landscape, and my mind instantly sets it on some aline world. It’s only once we’re out of here and off to the hospital that things start to feel as though we’re really down to Earth. I’m also surprised just how often quarries do appear as themselves in Doctor Who. It was clever when they first tried it during The Ambassadors of Death, but we’ve only recently seen one at the end of last season!

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

With the passing of Ray Cusick last year, it only felt right that I should speak a little bit in the Diary about him and his contribution to the story of Doctor Who. Sadly, given the recent passing of Christopher Barry, it’s becoming a more regular occurrence than I’d like.

I heard today that another one of those stalwarts from the early years - Derek Martinus - had passed away. Last month, I commented on the way that Christopher Barry had helmed to many important stories in the early years of the programme, and it has to be said that Martinus is the other side of that same coin. Between them, these two men directed the first three ‘post regeneration’ stories, and Martinus was also responsible for seeing out William Hartnell - taking the directorial helm of the first ever regeneration inThe Tenth Planet.

What strikes me, looking at the list of stories Derek Martinus had a hand in, is what an exciting period it’s been for them over the last few years. Galaxy 4 has seen an episode returned to the archives The Tenth Planet and The Ice Warriors have seen their missing episodes animated for DVD release (and Mission to the Unknown has been the subject of an unofficial ‘fan’ recon), while Spearhead From Space has been spectacularly cleaned up and released in High Definition on Blu Ray. I hope Derek got the chance to see this version of the story - and enjoy it in all it’s detail. Indeed, the only story he directed which hasn’t seen anything exciting or new happen with it lately is The Evil of the Daleks… but never say never, eh?

I’ve said it before, and I have the sad feeling that I’ll have to say it a few more times before this marathon experiment is over, but when you’re talking about a TV series that’s run for (over!) 50 Years, you’re going to find more and more of the key people connected to it passing on. We seem to be losing some especially big names at the moment, and I think Derek Martinus has to be hailed as one of the most important directors to ever work on the programme. It’s sad that I’ve no more of his episodes to come throughout the rest of the run on The 50 Year Diary, but I’m sure I’ll be popping in one of those fantastic adventures again before too long, once I’ve made my way to the end.

Day 452: The Masque of Mandragora, Episode Four

Dear diary,

I’m not sure what it is, but something about this story has completely failed to connect with me. I’ve spent three days banging on about how gorgeous the locations are, how great the sets look, and how lovely the costumes are, but I’m just sort of… watching the story, instead of connecting with it.

The one thing it has done for me is make a bit more sense of K9 and Company. No, no, I assure you I’m not entirely mad. I’ve always thought it strange that they should choose a cult of robed figures in masks for the adversaries in that tale, because they had no relation to the adventures Sarah had taken during her time aboard the TARDIS, but now I realise that she did encounter this kind of thing in Doctor Who. If anything, I’m a little saddened that they didn’t take the opportunity to bring back the Mandragora Helix for that story – there’s the perfect set up given in this episode, when the Doctor announces that the helix should be ready for another attempt on Earth at the end of the Twentieth Century. There was briefly a plan to bring it back during the second season of The Sarah Jane Adventures, but ultimately the story moved into a different direction.

I fear that I’m going to end up boring you a bit today, because I’m about to praise all the things that I’ve already drawn attention to in the story. Most noticeably, I want to comment on the style given to Sarah for the Masque Ball in this episode. She looks absolutely stunning - and it’s nice to see her given the opportunity to dress up and enjoy herself (even if she is worried for the Doctor throughout the party). It’s also quite nice to see the Doctor having a bit of a laugh throughout. The situation is dire, he’s not sure how to get out of it… but he’s still got time to put on his lion’s head mask and have a joke with Sarah. With the series seeming to grow darker and darker, it’s nice to see a few moments of light relief.

Otherwise… I’m really not sure what to make of this one. Speaking to various people this week, it looks like this may be something of a ‘marmite’ story – people seem to either really love it, or find it just a bit… ephemeral. I think, for me, it may just be burn out. I’ve been loving the pairing of the Doctor and Sarah Jane, but they’ve been together for a long time now, and maybe the time has come for a change of pace. The next story could be coming along at just the right time, then…

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 451: The Masque of Mandragora, Episode Three

Dear diary,

It’s somewhat strange that it’s taken this long – fourteen seasons! – before anyone has brought up the question of how everyone the TARDIS travellers meet seem to speak fairly perfect English! It’s been the case right from the very start of the programme (the Tribe of Gum didn’t have brilliant sentence structure, but they were otherwise perfect BBC English), yet no one has ever thought to bring it up before. The Doctor’s assertion that it’s a ‘Time Lord gift’ which he shares with his companions doesn’t quite chime with the 21st century programme’s version of this skill (where it’s a function of the TARDIS), but I suppose you could argue that the Doctor shares it via his ship.

It’s also somewhat unusual that Sarah only thinks to bring it up once she’s under some kind of hypnotic control. Then again, I suppose that you may not initially think to ask the question when you’re out and about among the stars. When the TARDIS rocks up on Exxilon, or Metebilis III, or Skaro, you’re too busy being caught up in all the wonder (and all the running!) to wonder how you can understand all these different alien species. Arrive in Italy, only a few centuries before your own time, however, and it’s a more glaring anomaly.

I’m sorry to say that this story still just isn’t grabbing me in the way that I’d like it to. I don’t know what’s wrong with it, but I’m finding myself far more distracted by all the trappings of the sets, the locations, and the costumes, and I’m not being swept along with the story at all. That said, I really am distracted by all the of dressings in this story – I seem to be discussing it every day, but there really is some great work on display. After today’s episode, I watched a bit of the ‘making of’ special feature on the DVD, and was blown away by just how much work designer Barry Newbury puts in when he’s given a Doctor Who serial to work on. It was true of the Brain of Morbius, when he talks of giving thought to a whole new style of architecture for this alien world, and it’s just as evident here, when he talks of looking at paintings of the period and picking out specific details to use in his sets.

The effect of the temple being restored is also very well done. It’s a variant of the ‘Pepper’s Ghost’ trick, as far as I can tell, which has been used in theatre for decades, and was at its first peak during the Victorian period. It creates a lovely effect, and brings to life another beautiful set in the form of the temple itself, which is another example of great design. Because the effect is based on such an old technique, it’s simply being presented here as a matter of course, thrown into the background of the shots with Tom Baker. As such, it comes across as even more effective – they’re not drawing attention to it, it’s just something that’s happening.

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 450: The Masque of Mandragora, Episode Two

Dear diary,

The best thing about this story really is the locations and sets. I’ve said it before more than once (and don’t worry, I’m sure I’ll say it again plenty of times, too!), but the BBC really do excel themselves when it comes to producing the period stories. Today, I’m fascinated to learn that the ruined temple we see in this episode was provided by the BBC in the form of expanded polystyrene (and, supposedly, the people of Portmerion were so keen on it they asked if it could stay!), because it looks so perfect. Admittedly, I had thought that it was lucky to find such a perfect location right where they needed it, but I never for a second suspected it was anything other than real.

I’m also very impressed to discover that the orange grove from yesterday’s episode was all rigged up by the production team, too, with the fruit attached to the trees via wires. I mean, I was surprised enough that they’d found the location, but I never suspected! Maybe I’m simply foolish?

But then, Portmerion itself is proving pretty perfect, even without the BBC props department helping out. The chase early in today’s episode gives us plenty of opportunity to look around, and after that I just couldn’t help myself - I had to take a look at the ‘Now and Then’ feature on the DVD. Portmerion is best known as the location for The Prisoner, so it’s not completely unknown to audiences of archive telly. While I do own that series on DVD, I’ve still not found the time to get round to watching it, and I’m only a few episodes in.

Therefore, I’m most impressed by just how… European the setting is - You could take a pretty good guess as to where we’re supposed to be this week, even if the Doctor didn’t keep reminding us. Certainly, watching this story is making me want to visit the place (it’s only a few hours up the road - worth a trip!), and that doesn’t often happen with the series.

Something else that doesn’t often happen is me commenting on the musical scores for stories. To be perfectly honest… I’m not usually all that aware of them. Maybe that’s just me being ignorant, but it’s rare that they really stand out for me. That’s a good thing, though! The music isn’t supposed to be big and blaring and in-your-face, it’s supposed to be there to underpin the scenes and help add to the mood and atmosphere. Today, it simply can’t be ignored, though. Sarah’s tied to an alter. Cultists in robes gather around her, chanting and preparing her for sacrifice. She’s even been changed into the traditional white robes for the occasion. The tension is building, she’s going to be killed any minute…

But Dudley Simpson has chosen to score the scene with - what I’ve described in my notes as being - ‘comedy parp-parp music’. I just can’t take it seriously. Simpson has been providing scores to the programme since as far back as Planet of Giants, but I don’t think I’ve ever been as put off by the music as I am in this story. It’s perhaps worrying, because this marks the start of an unbroken run for his composing work on the series, which will last right through to the end of Season Seventeen and The Horns of Nimon. I’m dearly hoping that this won’t be the start of me not liking his scores generally, as it could make the bulk of the Baker years a bit of a chore. Still, he’s been composer for 39 stories before this one, so I’m guessing it may just be an off day!

Will Brooks’ 50 Year Diary - watching Doctor Who one episode a day from the very start... 

Day 449: The Masque of Mandragora, Episode One

Dear diary,

The Secondary Console Room has always been something of an anomaly as far as I’m concerned. When I think about the TARDIS in the classic series, it takes the form of the open, white, sterile space. Oh, sure, it goes through a fair few iterations over the years, but it always boil down to the same distinct template – the big white roundels and the large, hexagonal console in the centre. Once you reach the Eighth Doctor, things start to become a bit more flexible, and we have huge Jules Verne inspired cathedrals, or coral shells, or bright, orange monstrosities, but in the original series, there’s only one style of console room.

Except that there isn’t! I think it’s my lack of familiarity with this period that makes this room seem like such an anomaly for me (I don’t think I’ve ever watched any of the stories in which it appears, only odd clips of them like Sarah Jane’s farewell in the next tale). It’s also slightly strange to see how we end up with it, literally coming from a brief scene at the start of the episode where Sarah wanders the corridors of the ship and opens doors at random. It’s a lovely touch that earlier Doctors have their own effects scattered through the room (I can assume that the Third Doctor may have tried to jump-start the ship from here when in the earliest days of his exile, maybe in an attempt to bypass the Time Lord’s lock down), and I’m glad that we don’t spend too much time exploring the place before we’re caught up in the adventure.

And what an adventure to be caught up in! The TARDIS being sucked into the Helix is a beautiful effect (is it Mirrorlon, the same technique used for the Ice Warrior’s sonic weapons?), and then when the TARDIS rives at the bottom of the spiral, allowing the Doctor to step out into a mostly empty black void, it’s very effective. I’ve never seen this story before, but I have used some images from the production when doing design work before. There’s a lovely shot of the TARDIS against the CSO background which is perfect as an image of this era’s new prop: it seems obvious to me now that it was to be transplanted on another image for the episode, but I’d always assumed that the heart of the helix was a plain white void, which didn’t look very good! It’s always great when these kind of pre-conceptions of stories are overthrown, especially when they’re as good as this.

And then we’re off to 15th century Italy! I know that this story’s locations are filmed in and around Portmerion in Wales, but it’s easy enough to forget that fact when you’re watching the story, because it makes such a good stand in for Italy. We’ve not seen all that much of the town itself yet, mostly the surrounding areas, but they’re all uniformly lovely. Orange groves, and country lanes… I’m looking forward to watching the location work expand as the story goes on.

Ah, yes, the story. That’s the one thing which isn’t quite grabbing me yet. Due to the slightly odd nature of this episode, it feels almost like we get a false start with the Doctor and Sarah getting snared in the helix – when we cut to a hunt on horseback about ten minutes in, it feels like the opening scene of a new episode. But nothing in here yet feels very fresh or exciting. It’s portents and death, and there’s a sparkler floating around having hitched a ride in the TARDIS… I don’t know what it is, but something’s lacking for now. Still, it’s early days and we’re off to a good start.

Our friends over at Harkable have sent DWO a rather smashing infographic for Doctor Who Companions.

It's goodbye Amy Pond after Karen Gillan left in the tear-jerking mid-season finale, The Angels Take Manhattan.

But how will Amy be remembered in the pantheon of the best and worst Doctor Who companions? Did she hit the lofty heights of Rose Tyler or Sarah Jane Smith?

Take a look at the amazing infographic to the right and make up your own minds whist learning all there is to know about the Doctor's TARDIS co-travellers...

[Source: Harkable]

The BBC have confirmed that 'something suitable is being planned' for Saturday Night to mark the recent passing of Doctor Who Actress, Elisabeth Sladen.

DWO contacted the Doctor Who PR department who confirmed this, and although no further information can be given currently, it is understood that it will take the likely form of a textual tribute on screen at either the beginning or the end of 6.1: The Impossible Astronaut.

The BBC have also confirmed that the CBBC channel will air an Elisabeth Sladen tribute titled 'My Sarah Jane: A tribute to Elisabeth Sladen', and had the following text to accompany the announcement:

Elisabeth Sladen created one of Doctor Who's best loved and most enduring characters, Sarah Jane Smith. For over 35 years she brought the feisty, compassionate journalist to life, creating a figure that was adored by audiences of all ages - truly a heroine whose appeal had no boundaries.

This 15 minute programme is both a tribute and a celebration of Elisabeth Sladen. It brings together stories from friends and colleagues and draws on a rich archive of material to remind us of Sarah Jane's journey, from companion to the Third Doctor to the central character in CBBC's award-winning The Sarah Jane Adventures.

Produced by Gillane Seaborne and Brian Minchin, My Sarah Jane: A Tribute to Elisabeth Sladen is on CBBC on Saturday, at 6.45pm, straight after the end of The Impossible Astronaut.

+  Click Here to read Elisabeth Sladen tributes from DWO visitors and Doctor Who related Celebrities.

+  6.1: The Impossible Astronaut airs on BBC One this Saturday at 6pm.

[Source: BBC]

When you hear the words 'Doctor Who Companion' for the majority of us it is Elisabeth Sladen's face you see. Her portrayal as Sarah Jane Smith has forever cemented itself in Doctor Who fandom as a textbook female Doctor Who companion.

Her chemistry with Tom Baker was unmatched, and her reactions to the many evils she faced were amazing - in particular, her delivery of the line "Doc-tor" as she trembled her lips in that unforgettable Sarah Jane style.

Who could forget her triumphant return in 2006 alongside David Tennant in the Series Two story; School Reunion. Of course her character, and indeed Lis herself had aged a little since we last saw her on our screens, but everything was there from her mannerisms to her delivery of dialogue.

I think we all owe a particular thanks to Russell T. Davies for not only bringing her back into Doctor Who (twice) but for giving Sarah Jane her very own series, so that a whole new generation of fans could fall in love with her character.

When the terribly sad news came in last night of her untimely passing, we asked you to get in touch with some of your thoughts, memories and messages about Lis and her portrayal as Sarah Jane Smith.

Here are just a few together with some Doctor Who celebrity Tweets and messages:

Kris Schultz via DWO Facebook

"My prayers are with Elizabeth's family, friends and fellow fans. I love her portrayal of Sarah Jane Smith and will miss her very much."

Rob Carpenter via DWO Facebook

"A tear Sarah Jane ? I believe there will be many tonight :(("

Christopher Joseph Kerr via DWO Facebook

"First Sir Nicholas Courtney and now Lis. Im genuinely both shocked and shaking. Tears? Yes but tears are good. Will she be forgotten? No!"

Richard Teta via DWO Facebook

"When Doctor Who started to be broadcast here in South Florida, Sarah Jane was the companion. Seeing her reprise the role in the new series and The Sarah Jane Adventures was like re-visiting part of my childhood. Thank you so much, Elisaabeth. God Bless. A tear, Sarah Jane?"

doctorwho2013 via DWO Twitter

"We send our love to Elisabeth Sladens family she will be surely missed from all doctor who fans in the north east UK.XX"

bergie72 via DWO Twitter

"So sad about Liz Sladen. First Dr Who ep was Robot. Its been hard to top Dr #4 and Sarah Jane as fave doc/companion pair since."

jennnlovesyou via DWO Twitter

"She taught me the most important lesson I've ever learnt: some things are worth getting your heart broken for."

jimmyboulton via DWO Twitter

"Elisabeth Sladen was the best of them all. A true great in the world of Doctor Who, completely irreplaceable."

Patrick Sanders via DWO Email

"I had just finished watching Lis Sladen crying her way through the end of "Planet of the Spiders" when I heard she had sadly died. I put it on Facebook and it was amazing the response - shock, sadness and am outpouring of love from fans who remembered her in the 70s, new fans of new-Who, and parents who watch SJA with their children. I think Lis Sladen's great feat was that she made Sarah Jane Smith feel like a personal friend - when the Doctor calls her "my best friend" you believed she could be yours too. A lot of children of all ages will miss her very much."

Dale Who via DWO Email

"I was fortunate enough enough to meet Lis twice at conventions; and she was very friendly and we chatted at some length about how much she loved that Sarah was still held in high regard long after her leaving the TARDIS (the first time round!).  I'm of the generation who grew up watching Lis in Doctor Who; and it was always a pleasure to see her back in the role for cameo appearances such as The Five Doctors, K-9 and Company and later on, School Reunion.  When The Sarah Jane Adventures started on CBBC I fell in love with the character all over again; Sarah had lost none of her magic and even looked just as glorious as she had in 1976.  I'm deeply saddened by Lis' passing and hope that her family, friends and fans, both young and old, can find some comfort in knowing that in the world of Doctor Who at least, Sarah Jane will live on for ever."

Mark Scott via DWO Email

"A real shock to hear the news.She will be much missed by Who fans. Sympathies to her family and friends."

Celebrity Tributes to Elisabeth Sladen:

Colin Baker via Twitter

"Very sad to hear of the death of Lis Sladen. Great sympathy for her husband and daughter. She was far too young to be lost to them."

Nicola Bryant via Twitter

"I'm so sorry to have to say I've just had a call to say Liz Sladen has died. It's too much to take in, but it's true. How tragically young."

Murray Gold via Twitter

"Elisabeth Sladen enchanted three generations, never seeming to age, tire or cloud. RIP"

Mark Gatiss via Twitter

"'A tear, Sarah Jane?' Farewell to the wonderful, irreplaceable Lis Sladen. The best.x"

Gareth Roberts via Twitter

"Can't really find the words. Goodbye, our wonderful wonderful Lis."

Stephen Fry via Twitter

"What terribly sad news about Elisabeth Sladen - her Sarah Jane was part of my childhood. Deepest sympathy to her family."

Elsewhere on the internet:

2|Entertain - clips featuring Elisabeth Sladen on the Classic Doctor Who YouTube Channel.

BBC News - a touching tribute to Elisabeth Sladen that includes a contribution from Russell T. Davies.

Sky News - a tribute to Elisabeth Sladen on their website.

The Sun - news item citing Elisabeth Sladen as the 'Greatest Dr Who Girl Ever'.

[Sources: DWO; Twitter; Youtube; BBC News; The Sun; Sky News]

Unconfirmed reports are coming in that much-loved Classic Series Doctor Who Actress, Elisabeth Sladen has died.

It would be an understatement to say that Doctor Who fandom is in shock with this news, especially after the recent shock of Nicholas Courtney's passing.

It is understood that Elisabeth had been ill for some time, and that filming on Series 5 of The Sarah Jane Adventures had to be postponed as a result.

We are still waiting to hear official confirmation from the BBC, but Doctor Who Magazine, Gallifrey One, Nicola Bryant and Matthew Sweet (to name just a few) have all confirmed the news on their Twitter feeds.

We would like to extend our sympathies to Elisabeth's friends and family, and our thoughts are with them at this difficult time.

On a personal note, Elisabeth's portrayal as Sarah Jane Smith solidified her place as one of our favourite Doctor  Who companions of all time. Members of our team have met Liz on several occasions, and she held a very special place in her heart for fans of Doctor Who and Sarah Jane Smith.

DWO would like to hear from our visitors with their thoughts, memories and messages about Elisabeth, some of which we will add to this news item. You can get in touch with us via Email, Twitter, or on the DWO Facebook page.

[Source: Adam Reynolds]