Doctor Who: the Seeds of War Free
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Download Just Choose the Ones I Can Afford and Take to Have Some Grasp of Whereabouts in the and Own – Any Big Finish Production
WWW.BIGFINISH.COM • NEW AUDIO ADVENTURES REUNITING THE REBELS IN WARSHIP WHAT’S IN STORE IN GALLIFREY V ISSUE 48 • FEBRUARY 2013 ANIMATING THE REIGN OF TERROR PLUS CHASE MASTERSON DISCUSSES VIENNA VORTEX MAGAZINE | PAGE 1 VORTEX MAGAZINE | PAGE 2 SNEAK PREVIEWS EDITORIAL AND WHISPERS ello! You were expecting Nick Briggs weren’t you? I’m H afraid he’s in a booth at the minute, hissing and growling. This is not a condition brought on by overwork… Oh no, he’s back in the armour of an Ice Warrior, acting away for the recording of Doctor Who – The Lost Stories: Lords of the Red Planet. The six-part story, which was originally devised by Brian Hayles for TV back in 1968, will be out on audio in November – and form another part of Big Finish’s massive fiftieth anniversary celebrations. And what celebrations they will be! As I write, we’re well into recording our multi-Doctor special The Light at the End, and it’s been a blast. Admittedly it’s been strange to DOCTOR WHO: THE LIGHT AT THE END see the Doctors in the studio at the same time. We’re so used to them being in separately, and suddenly they’re ‘We want something special from Big Finish for here together! But there’s been a real sense of this being the fiftieth anniversary,’ they said. a massive party – the green room chatter has been really We like a challenge, so we went to town jolly and vibrant. It’s so nice to see that all these actors love with this one – eight Doctors (yes, incarnations Doctor Who just as much as we do. -
Foam Plague: Aphrogenic Threats, Extra-Terrestrial and All-Too-Earthly
Wissenschaftliches Netzwerk „Fluidität. Materialien in Bewegung“ (DFG) – Research Network „Fluidity: Materials in Motion” Foam plague: Aphrogenic threats, extra-terrestrial and all-too-earthly Marcel Finke 1969. Only four months before the first human being set foot on the moon, the earth was under serious extra-terrestrial threat. Berlin, Oslo, Hamburg, New York, Tokyo, Stockholm, London, and many other cities of the northern hemisphere were plagued by enormous amounts of toxic froth. At the peak of the space race, humankind was on the brink of being obliterated by the worldwide occurrence of lethal aphrogenic processes. While the crew of Apollo 11 prepared for its historical endeavor to conquer lunar soil, aliens sought to wipe out humanity in order to take over its earthly habitat. Their weapon of mass extermination: liquid foam. Causing a global blight of suffocating froth, the alien invaders fatally transformed the terrestrial environment by adapting its living conditions to their own Martian needs. They had left behind their natural habitat on Mars in order to find a new place to live, selecting Earth as their "planet B". At the same time as the earthlings were keen to board artificial, technologically regulated environments, i.e. the mobile life support systems of spacecraft, the extra- terrestrial beings manipulated the atmosphere as a whole, creating an environmental situation hostile to human life. Flooding the world with oxygen-consuming foam, they used a kind of air-conditioning that would eventually lead to some sort of reverse terraforming, or better: areoforming. While manned spaceflight was about to accomplish yet another feat of space exploration, the extra-terrestrial scum threatened to change our planet into a bleak Mars substitute, thus making spaceship Earth uninhab- itable for its human crew members. -
The Summons of Death on the Medieval and Renaissance English Stage
The Summons of Death on the Medieval and Renaissance English Stage The Summons of Death on the Medieval and Renaissance English Stage Phoebe S. Spinrad Ohio State University Press Columbus Copyright© 1987 by the Ohio State University Press. All rights reserved. A shorter version of chapter 4 appeared, along with part of chapter 2, as "The Last Temptation of Everyman, in Philological Quarterly 64 (1985): 185-94. Chapter 8 originally appeared as "Measure for Measure and the Art of Not Dying," in Texas Studies in Literature and Language 26 (1984): 74-93. Parts of Chapter 9 are adapted from m y "Coping with Uncertainty in The Duchess of Malfi," in Explorations in Renaissance Culture 6 (1980): 47-63. A shorter version of chapter 10 appeared as "Memento Mockery: Some Skulls on the Renaissance Stage," in Explorations in Renaissance Culture 10 (1984): 1-11. Library of Congress Cataloging-in-Publication Data Spinrad, Phoebe S. The summons of death on the medieval and Renaissance English stage. Bibliography: p. Includes index. 1. English drama—Early modern and Elizabethan, 1500-1700—History and criticism. 2. English drama— To 1500—History and criticism. 3. Death in literature. 4. Death- History. I. Title. PR658.D4S64 1987 822'.009'354 87-5487 ISBN 0-8142-0443-0 To Karl Snyder and Marjorie Lewis without who m none of this would have been Contents Preface ix I Death Takes a Grisly Shape Medieval and Renaissance Iconography 1 II Answering the Summon s The Art of Dying 27 III Death Takes to the Stage The Mystery Cycles and Early Moralities 50 IV Death -
Dr Who Pdf.Pdf
DOCTOR WHO - it's a question and a statement... Compiled by James Deacon [2013] http://aetw.org/omega.html DOCTOR WHO - it's a Question, and a Statement ... Every now and then, I read comments from Whovians about how the programme is called: "Doctor Who" - and how you shouldn't write the title as: "Dr. Who". Also, how the central character is called: "The Doctor", and should not be referred to as: "Doctor Who" (or "Dr. Who" for that matter) But of course, the Truth never quite that simple As the Evidence below will show... * * * * * * * http://aetw.org/omega.html THE PROGRAMME Yes, the programme is titled: "Doctor Who", but from the very beginning – in fact from before the beginning, the title has also been written as: “DR WHO”. From the BBC Archive Original 'treatment' (Proposal notes) for the 1963 series: Source: http://www.bbc.co.uk/archive/doctorwho/6403.shtml?page=1 http://aetw.org/omega.html And as to the central character ... Just as with the programme itself - from before the beginning, the central character has also been referred to as: "DR. WHO". [From the same original proposal document:] http://aetw.org/omega.html In the BBC's own 'Radio Times' TV guide (issue dated 14 November 1963), both the programme and the central character are called: "Dr. Who" On page 7 of the BBC 'Radio Times' TV guide (issue dated 21 November 1963) there is a short feature on the new programme: Again, the programme is titled: "DR. WHO" "In this series of adventures in space and time the title-role [i.e. -
Rich's Notes: the Ten Doctors: a Graphic Novel by Rich Morris 102
The Ten Doctors: A Graphic Novel by Rich Morris Chapter 5 102 Rich's Notes: Since the Daleks are struggling to destroy eachother as well as their attackers, the advantage goes to the Federation forces. Things are going well and the 5th Doctor checks in with the 3rd to see how the battle is playing out. The 3rd Doctor confirms that all is well so far, but then gets a new set of signals. A massive fleet of Sontaran ships unexpectedly comes out of nowhere, an the Sontaran reveal a plot to eliminate the Daleks, the Federation fleet AND the Time Lords! The Ten Doctors: A Graphic Novel by Rich Morris Chapter 5 103 Rich's Notes: The 3rd Doctor is restrained by the Sontarans before he can warn the fleet. The 5th Doctor tries as well, but the Master has jammed his signal. The Master explains how he plans to use his new, augmented Sontarans to take over the universe. The Ten Doctors: A Graphic Novel by Rich Morris Chapter 5 104 Rich's Notes: Mistaking the Sontarans as surprise allies hoping to gain the lion’s share of the glory, the Draconian Ambassador and the Ice Warrior general move to greet them as befits their honour and station. But they get a nasty surprise when the Sontarans attack them. The Ten Doctors: A Graphic Novel by Rich Morris Chapter 5 105 Rich's Notes: The Master, his plot revealed, now uses the sabotaged computer to take over control of the 5th Doctor’s ship. He uses it to torment his old enemy, but causing him to destroy the Federation allies. -
Doctor, Jamie and Zoe Immediately Find Themselves Caught in the Midst of a Crisis
Returning to Earth in the 21st century, the Doctor, Jamie and Zoe immediately find themselves caught in the midst of a crisis. T-Mat—a form of instantaneous transportation essential to the smooth running of life on Earth—is going disastrously wrong. The Doctor discovers that the T-Mat base on the Moon has been taken over by a group of Ice Warriors, led by the villainous Slaar. Their home a desolate and dying planet, the Martian invaders see Earth as a world ripe for conquest. But before they can colonise Earth they must dramatically alter its atmosphere. And so they unleash the Seeds of Death... Distributed by USA: LYLE STUART INC, 120 Enterprise Ave, Secaucus, New Jersey 07094 CANADA: CANCOAST BOOKS, 90 Signet Drive, Unit 3, Weston, Ontario M9L 1T5 AUSTRALIA: GORDON AND GOTCH LTD NEW ZEALAND: GORDON AND GOTCH (NZ) LTD ISBN 0-426-20252-X ,-7IA4C6-cacfcd— UK: £1.60 USA: $3.25 CANADA: $3.95 NZ: $6.50 DOCTOR WHO THE SEEDS OF DEATH Based on the BBC television series by Brian Hayles byby arrangement with the British Broadcasting Corporation TERRANCE DICKS Number 110 in the Doctor Who Library published by The Paperback Division of W. H. Allen & Co. Plc A Target Book Published in 1986 by the Paperback Division of W. H. Allen & Co. Plc 44 Hill Street, London W1X 8LB Novelisation copyright © Terrance Dicks, 1986 Original script copyright © Brian Hayles, 1969 ‘Doctor Who’ series copyright © British Broadcasting Corporation 1969, 1986 The BBC producer of The Seeds of Death was Peter Bryant the director was Michael Ferguson Typeset by Pheonix Photosetting, Chatham Printed and bound in Great Britain by Anchor Brendon Ltd, Tiptree, Essex ISBN 0 426 20252 X This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. -
Diary of the Doctor Who Role-Playing Games, Issue
HISTORICAL ISSUE The fanzine devoted to Doctor Who Gaming „COWPENS‰ ADVENTURE MODULE - „THE „THE COLD RUSH‰ ADVENTURE MODULE - ISSUE # 9 BUILDING A BETTER MAP - FOOD FOR „A NIGHT TO REMEMBER„ ADVENTURE MODULE FIRST TIME DOCTOR WHO ROLE-PLAYING LIGHTNING BUG‰ ADVENTURE MODULE „IN THE AFTER GLOW‰ ADVENTURE MODULE and MORE... GAMING - HISTORICAL ADVENTURES 1 EDITOR’S NOTES CONTENTS Welcome to this month’s issue of DDWRPG. This is our “Historical Issue” focusing on playing games that EDITOR’S NOTES 2 have an element of real history in them—whether a full REVIEW: Eleventh Doctor Sonic Screwdriver 3 historical or a pseudo historical that also has some sci‐fi Cubicle 7 Product Update 3 elements in it. DWAiTS Forum Updated 4 To fit this theme were are presenting to you, not TARDIS Lands at Graduation 4 our usual two, but a full five different modules featuring Food at Role‐Playing Gatherings 5 historical adventures that can be played. To show how MODULE: “The Cold Rush” 10 broad the idea of a “historical” can be, we present two Historical Not Just Pseudo‐Historical Adventures 11 pure historical adventures, two pseudo historical (that MODULE: “Cowpens” 12 feature alien involvement), and one historical adventure MODULE: “The Lightning Bug” 16 that takes place in another sci‐fi universe (as we present Better Building Maps Build Better Games 21 a crossover adventure into the universe of Firefly)! Arti‐ Neg/Dip Critical Failures 24 cles on cosplay and fake historical photography round out REVIEW: Doctor Who Insider 25 our features, as well as documenting the first‐time gam‐ MODULE: “A Night To Remember” 26 ing experience for some of the new players in the A Dilemma of Titanic Proportions 33 DDWRPG team’s own campaign. -
Inside Outside in 2: an Outside in Extra!
INSIDE OUTSIDE IN 2: AN OUTSIDE IN EXTRA! Inside Outside In 2 as a compilation is ©2018 Robert Smith? All essays are ©2018 their respective authors. Outside In inside outside in 2 robert smith? (Originally published in the Nethersphere fanzine) Outside In Who The first two books cover Classic and New reviews, but with a twist. Well, technically a gimmickDoctor Who and storiesa twist. (including The gimmick Shada is). that, In the in second each volume, (recently there out is precisely one reviewer per story. So, in the first volume,Who there were 160 writers covering 160 Classic from ATB Publishing), that meant 125 writers Space/Timefor 125 New to Rainstories. Gods to How Time did Crash we toget Music to 125? of theWe Spherescounted. Notpretty to mentionmuch everything! all the televised So if it had stories a title of andcourse. a narrative, then it was included. Which meant everything from However, while a logistical triumph/headache/nightmareDoctor Who collection(delete asin appropriate), the gimmick is simply that: a way to anchor the collectionDoctor Who — making it, incidentally the most diverse professionally published existence — meaning that there are multiple styles. Much like itself, if you don’t like this week’s offering, somethingWho stories else will saying be along the shortly.same old things. So The twist though, is rather more delicious. The first volume was created as a hard.reaction Doctor to so Who many reviews of Classic the aim with that oneThe was Seeds to sayof Doom something different. Which, in a way, wasn’t that , like the weather, is endlessly discussable. -
Orthia & Morgain 2016 the Gendered Culture of Scientific Competence
CULTURE OF SCIENTIFIC COMPETENCE 1 The Gendered Culture of Scientific Competence: A Study of Scientist Characters in Doctor Who 1963-2013 Lindy A. Orthia and Rachel Morgain The Australian National University Author Note Lindy A. Orthia, Australian National Centre for the Public Awareness of Science, The Australian National University; Rachel Morgain, School of Culture, History and Language, College of Asia and the Pacific, The Australian National University. Thanks to Emlyn Williams for statistical advice, and two anonymous peer reviewers for their useful suggestions. Address correspondence concerning this manuscript to Lindy A. Orthia, Australian National Centre for the Public Awareness of Science, The Australian National University, Peter Baume Building 42A, Acton ACT 2601, Australia. Email: [email protected] Published in Sex Roles. Final publication available at Springer via http://dx.doi.org/10.1007/s11199-016-0597-y CULTURE OF SCIENTIFIC COMPETENCE 2 Abstract The present study examines the relationship between gender and scientific competence in fictional representations of scientists in the British science fiction television program Doctor Who. Previous studies of fictional scientists have argued that women are often depicted as less scientifically capable than men, but these have largely taken a simple demographic approach or focused exclusively on female scientist characters. By examining both male and female scientists (n = 222) depicted over the first 50 years of Doctor Who, our study shows that, although male scientists significantly outnumbered female scientists in all but the most recent decade, both genders have consistently been depicted as equally competent in scientific matters. However, an in-depth analysis of several characters depicted as extremely scientifically non-credible found that their behavior, appearance, and relations were universally marked by more subtle violations of gender expectations. -
Digital Booklet
ORIGINAL TELEVISION SCORE ADDITIONAL CUES FOR 4-PART VERSION 01 Doctor Who - Opening Theme (The Five Doctors) 0.36 34 End of Episode 1 (Sarah Falls) 0.11 02 New Console 0.24 35 End of Episode 2 (Cybermen III variation) 0.13 03 The Eye of Orion 0.57 36 End of Episode 3 (Nothing to Fear) 0.09 04 Cosmic Angst 1.18 05 Melting Icebergs 0.40 37 The Five Doctors Special Edition: Prologue (Premix) 1.22 06 Great Balls of Fire 1.02 07 My Other Selves 0.38 08 No Coordinates 0.26 09 Bus Stop 0.23 10 No Where, No Time 0.31 11 Dalek Alley and The Death Zone 3.00 12 Hand in the Wall 0.21 13 Who Are You? 1.04 14 The Dark Tower / My Best Enemy 1.24 15 The Game of Rassilon 0.18 16 Cybermen I 0.22 17 Below 0.29 18 Cybermen II 0.58 19 The Castellan Accused / Cybermen III 0.34 20 Raston Robot 0.24 21 Not the Mind Probe 0.10 22 Where There’s a Wind, There’s a Way 0.43 23 Cybermen vs Raston Robot 2.02 24 Above and Between 1.41 25 As Easy as Pi 0.23 26 Phantoms 1.41 27 The Tomb of Rassilon 0.24 28 Killing You Once Was Never Enough 0.39 29 Oh, Borusa 1.21 30 Mindlock 1.12 31 Immortality 1.18 32 Doctor Who Closing Theme - The Five Doctors Edit 1.19 33 Death Zone Atmosphere 3.51 SPECIAL EDITION SCORE 56 The Game of Rassilon (Special Edition) 0.17 57 Cybermen I (Special Edition) 0.22 38 Doctor Who - Opening Theme (The Five Doctors Special Edition) 0.35 58 Below (Special Edition) 0.43 39 The Five Doctors Special Edition: Prologue 1.17 59 Cybermen II (Special Edition) 1.12 40 The Eye of Orion / Cosmic Angst (Special Edition) 2.22 60 The Castellan Accused / Cybermen -
Eco-Activism in Doctor Who During the 1970S
Author: Jørgensen, Dolly. Title: A Blueprint for Destruction: Eco-Activism in Doctor Who during the 1970s A Blueprint for Destruction: Eco-Activism in Doctor Who during the 1970s Dolly Jørgensen Umeå University In 1972, the editors of a two-year old environmentalist magazine named The Ecologist published a special issue titled A Blueprint for Survival, which subsequently sold over 750,000 copies as a book. This manifesto of the early eco-activist movement lamented the unsustainable industrial way of life that had developed after WWII and proposed a new 'stable society' with minimal ecological destruction, conservation of materials and energy, zero population growth, and a social system that supported individual fulfillment under the first three conditions (Goldsmith et al. 30). Blueprint received tremendous attention in the British press and became a seminal text for the British Green movement (Veldman 227–236). This environmental movement of the 1960s and 1970s was substantially different from traditional environmentalists of the early twentieth century who tended to be conservationists interested in wildlife and landscapes. The new environmentalists, whom Meredith Veldman labels eco-activists, "condemned not only environmental degradation but also the society that did the degrading" (210). They combined critiques against pollution with calls for limited population growth and refinement of social systems. Although the early eco-activist movement in Britain petered out politically in the late 1970s (it arose again in the mid-1980s), its radical environmental ideas had begun to permeate society. Vol 3 , At the same time that eco-activists were establishing their agenda, the BBC serial No television drama Doctor Who was enjoying its successful establishment in British 2 popular culture. -
Doctor Who: Abominable Snowmen
A single blow from the giant, hairy paw smashes the explorer to the ground. Terrified, he flees from the monster’s glowing eyes and savage fangs... Why are the peaceful Yeti now spreading death and destruction? And what is the secret behind the glowing cave on the mountain? When DOCTOR WHO discovers that a long-dead friend is still alive, he knows why his visit to the lonely Himalayan monastery has led to a struggle to save the Earth! ISBN 0 426 10583 4 DOCTOR WHO AND THE ABOMINABLE SNOWMEN Based on the BBC television serial Doctor Who and the Abominable Snowmen by Mervyn Haisman and Henry Lincoln by arrangement with the British Broadcasting Corporation TERRANCE DICKS Illustrated by Alan Willow A TARGET BOOK published by The Paperback Division of W. H. Allen & Co. Ltd A Target Book Published in 1974 by the Paperback Division of W. H. Allen & Co. Ltd A Howard & Wyndham Company 44 Hill Street, London W1X 8LB Novelisation copyright © Terrance Dicks 1974 Original script copyright © Mervin Haisman and Henry Lincoln 1967 Illustrations copyright © W. H. Allen & Co. Ltd 1974 ‘Doctor Who’ series copyright © British Broadcasting Corporation 1967, 1974 Reproduced, printed and bound in Great Britain by The Anchor Press Ltd, Tiptree, Essex ISBN 0 426 10583 4 This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser.