The Doctor's Beard Podcast

Lucky Shot Productions
  • 4.9 (7)
  • TV Reviews
  • Updated Weekly

A Whovian (John S. Drew) and a Newvian (writer/editor Jim Beard) walk into a TARDIS and retrace the journey of the Doctor and his companions from the very beginning.

  1. 4d ago

    These Shoes! They Fit Perfectly. - The 1996 TV Movie

    Note: This is a hiatus episode from our Wilderness Years coverage—the pivot point between Classic and New Who, and the story where Jim's own Doctor Who journey began. Love the podcast? Consider joining us on Patreon for early access, exclusive episodes, and the option to commission your own Doctor Who story. Three and a half years. That's how long John and Jim have been traveling toward this exact moment. After every televised Classic serial and a long stretch of Wilderness Years curiosities, they finally arrive at the 1996 TV Movie—the strange, beautiful anomaly in the negative zone between old and new Who. It's a big one, and the hosts give it the full two-hour treatment. It Is Doctor Who, and It Isn't The central tension both hosts keep circling: this is unmistakably Doctor Who—TARDIS, regeneration, the Master, a delightfully off-kilter hero—and yet it's filmed, lit, and paced like a mid-'90s American TV movie (one host insists it smacks of the '80s). They dig into what makes it feel simultaneously familiar and foreign, why the darkness (literal and tonal) pushes against the classic feeling, and how, for all its Americanization, Paul McGann almost single-handedly holds the Britishness together. And they push back on the lazy "it's basically American" take—writer, director, and producer were all British-born. The Long, Strange Road to Getting Made A signature Doctor's Beard production deep-dive: Philip Segal's years-long campaign to bring Doctor Who to American screens, Spielberg and Amblin circling the project, the BBC's two warring minds (Enterprises wanting the merchandising to continue, Drama wanting the "tatty old show" gone), the abandoned Ulysses/Borusa "searching for his father" script, and the tangle of three masters Segal had to please. The hosts trace how the pilot came together, why Fox insisted on an American villain, and the wild casting names that circled the Doctor before McGann (Eric Idle, Alan Rickman, Michael Crawford—and, memorably, David Hasselhoff). Paul McGann, and Why He Earns It Both hosts land firmly in the McGann camp. They talk through the moment the Doctor's memory floods back on those "warm Gallifreyan nights," the joyous shoe-recognition beat that instantly signals this is the Doctor, and why—despite reservations about the wig and the look—McGann sells the role completely. There's a spirited defense of the movie's most poignant moments as some of the finest in all of Who, and a discussion of how much of RTD's revival is seeded right here (the hand-holding "run!", the kiss, the summer-blockbuster energy). The Master, from Robotic to... Vamping Eric Roberts divides the hosts less than expected—one arrives braced for scenery-chewing and finds him surprisingly restrained early on, before the notorious third-act shift into full theatrical vamp. They debate whether this Master leans too far toward Ainley and not enough toward Delgado, how the portrayal became the template for the manic New Who Masters to come, and the murkier plot business (the snake essence, the stolen body, the "I always dress for the occasion" of it all). An Ignoble End for the Seventh Doctor Even the McCoy skeptic in the room feels for him here. The hosts wrestle with how little the outgoing Doctor is given—a single peaceful moment with a book and jazz before the whole thing goes wrong, no close-up, no line on stepping out, and a rough operating-table death scored over Puccini. They make the case that the Puccini alone would have played more nobly, and wish the Seventh Doctor had gotten pithier last words. The TARDIS That Changed Everything One host calls it his all-time favorite console room—the cathedral-like cloister space bleeding out into the whole interior—while noting it could never have worked on a weekly TV budget. Either way, it's another piece of DNA the modern show inherited, right down to the handbrake every TARDIS has had since. A Rights Maze, and the Ghost of Grace Holloway The hosts untangle who actually owns this thing (a Batman/Lost in Space-style split across the BBC, Fox, and Universal), why Grace and Chang Lee can't be referenced or revived elsewhere, and the small heartbreak of the later McGann regeneration short pointedly skipping Grace's name. A fascinating detour into the parallel rights headaches of the Godzilla films rounds it out. Odds, Ends, and Things to Put a Pin In The Superman-style credits, the Debney theme as a hint of themes to come, the half-human "on my mother's side" business the hosts happily absolve you of worrying about, the different US and UK cuts (including altered Dalek voices), the dedication to Jon Pertwee, and the genuinely lovely final beat where the Doctor extends a hand to save even the Master. Production Details: Premiere: May 12, 1996 (Canada) | May 14, 1996 (Fox, USA) | May 27, 1996 (BBC One, UK) Official Title: Doctor Who (unofficially subtitled The Enemy Within) Writer: Matthew Jacobs | Director: Geoffrey Sax | Producer: Philip Segal (all British-born) Filmed: January 15 – February 21, 1996, in Vancouver, Canada Budget: ~$5 million (Fox $2.5M; BBC Television £300k; BBC Worldwide and Universal splitting the remainder) Starring: Paul McGann (the Eighth Doctor), Eric Roberts (the Master, the first American to play an established Who villain), Daphne Ashbrook (Dr. Grace Holloway), Yee Jee Tso (Chang Lee), Sylvester McCoy (the Seventh Doctor) Music: Original theme arranged by John Debney Same-Day Tie-ins: Novelization (Gary Russell) and a making-of book Dedication: To Jon Pertwee, who died May 20, 1996, days before the UK broadcast Ownership: Split across the BBC, Fox, and Universal—the reason Grace and Chang Lee can't be reused Key Discussion Points: Why the movie feels simultaneously like and unlike Doctor Who The years-long, Spielberg-adjacent journey to getting it made The BBC's civil war between Enterprises and Drama Fox's American-villain stipulation and the McCoy "keep him quiet" compromise Paul McGann as the Doctor, and the reservations about the look How much of RTD-era Who is seeded in this one movie Eric Roberts' Master and the template it set for New Who The Seventh Doctor's ignoble send-off The console room as both gorgeous and impractical The rights maze and the vanishing of Grace Holloway The half-human line, and permission to ignore it Coming Up Next: Saturday (Main Feed): Tom Baker takes on Sherlock Holmes in The Hound of the Baskervilles—from the Patreon vault. Monday (Patreon Exclusive 186): A fan-proposed theme for Circuit Breaker (a theme for Jo Martin's Fugitive Doctor), the Memory TARDIS, and the comics "Final Genesis," "Time and Time Again," and "Cuckoo." Friday (Patreon): The Wilderness Years resume with Jon Pertwee's final turn as the Doctor in the six-part BBC Radio adventure The Ghosts of N-Space. Did Barry Letts and company learn the lessons of The Paradise of Death—or double down? Hashtags: #DoctorWho #TVMovie #EighthDoctor #PaulMcGann #EricRoberts #TheMaster #SylvesterMcCoy #GraceHolloway #ClassicWho #WildernessYears #DoctorWhoPodcast

  2. 4d ago ·  Bonus

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  3. Aug 29

    A Baker-Rated Situation - "The Hound of the Baskervilles"

    Note: This is a hiatus episode, part of the Wilderness Years series. Love the podcast? Consider joining us on Patreon for early access to episodes, exclusive content, and the option to commission your own Doctor Who story. Tom Baker Wearing a Sherlock Holmes Mask When Tom Baker signed on to play Sherlock Holmes in the BBC's 1982 adaptation of The Hound of the Baskervilles, the hosts expected brilliance—an alien intelligence wrapped in the detective's coat, bringing the mysterious, otherworldly quality Baker had mastered as the Doctor. Instead, what emerged was a performance so restrained it felt like he was reading lines from a script rather than inhabiting the character. One host summed it up perfectly: Baker looks like he's wearing a paper mask of Sherlock Holmes that literally says "Sherlock Holmes" on the forehead—recognizable as the character, but somehow still fundamentally Baker doing an impression of what he thinks Holmes should be, rather than becoming Holmes. A Watson Story with the Wrong Focus The story itself—one of Conan Doyle's four Holmes novels—is genuinely more Watson's tale than Holmes's. Holmes disappears for large stretches while Watson investigates the mystery on the moor, interacting with the household at Baskerville Hall, and gathering clues. This is Watson's chance to prove himself, to apply Holmes's methods, to earn praise from his mentor. The hosts recognized this structure and appreciated how the adaptation leaned into it. Terrence Rigby's Watson is good—more aligned with Doyle's original vision than Nigel Bruce's bumbling caricature. The problem: Baker's Holmes is so uncomfortable, so clearly second-guessing himself, that he undercuts every scene he's in. A Production Full of Doctor Who Faces Behind and in front of the camera, this was a Doctor Who reunion. Barry Letts produced it. Terrence Dicks served as story editor. Alexander Baron adapted the script. The cast included Hubert Reeves (chief engineer in Fury from the Deep, Captain Ransom in The War Games, John Stevenson in The Seeds of Doom), William Squire (the Shadow in The Armageddon Factor), and Morris Perry (leader of the IMF troop in The Colony in Space). The production itself was solid—good sets, striking location work on the moors, money was spent. The problem was always the central performance. What Everyone Thought, Then and Now At the time, the series ran in the afternoon rather than evening—a sign the BBC lacked confidence even as it aired. The BBC later apologized for Baker's performance. He himself has been critical, appearing on the DVD commentary in Australia to discuss his own unhappiness with the role. The Independent called him "oddly flat" compared to Basil Rathbone, Peter Cushing, and Jeremy Brett. A book titled A Study in Error: The Ten Worst Sherlock Holmes apparently includes this adaptation. Yet both hosts argue this reputation is undeserved—the production is competent, the adaptation faithful, and only Baker's restraint truly hampers it. The Dog That Didn't Want to Attack One charming behind-the-scenes detail: the dog playing the hound became very fond of the actor playing the murdered Baskerville and refused to attack him on cue. Instead of jumping and snarling, the dog wanted pets and hugs. They had to work around the animal's affection to create the necessary threatening scenes. A Series That Never Happened The plan was for this to be the beginning of a series of Tom Baker Sherlock Holmes adaptations. The poor reception killed that idea. The BBC made another Holmes adaptation the next year with a different actor, effectively trying to wash the taste of this one away. Production Details: Air Date: October 3–24, 1982 Network: BBC (aired afternoons, not prime time) Adapter: Alexander Baron | Director: Peter Hammond Producer: Barry Letts | Story Editor: Terrence Dicks Main Cast: Tom Baker (Sherlock Holmes), Terence Rigby (Dr. Watson), Nicholas Woodison (Sir Henry Baskerville) Notable Guest Cast: Hubert Reeves (Inspector Lestrade) William Squire (Franklin) Morris Perry (Barrymore) Structure: Four-part serial Filmed Locations: English moors, Baskerville Hall sets Notable Detail: The dog playing the hound had to be coaxed to attack; it preferred affection to aggression Key Discussion Points: Why Baker seems to be reading lines rather than inhabiting the character Whether booking Baker was a scheduling decision (he's absent for large portions of the story) Why Hound of the Baskervilles is fundamentally a Watson story, not a Holmes story Terrence Rigby's Watson as more true to Doyle's original than other adaptations The paradox of Holmes as an "alien" character—brilliant beyond human comprehension, unable to relate to mortals Why Baker should have brought his alien-Doctor energy to the role The quality of the production itself (sets, locations, costumes) despite Baker's performance Nicholas Woodison's uncomfortable American accent as Sir Henry The "getting to know you" montage as shorthand storytelling Recognizing Carolyn John (who played Elizabeth Shaw in Season Seven) as Mrs. Lyons Why this adaptation is unfairly maligned compared to other Holmes performances The BBC's apology and Baker's own criticism of his work Coming Up Next: Wednesday (Patreon Exclusive 137 or 138): Music discussion, "The Stars Fell on Stockbridge" comics, and a review of "Creatures of Beauty" (Peter Davison and Sarah Sutton audio). Friday (Patreon Early) / Monday (Main Feed): Back to Classic Doctor Who with "Arc of Infinity" (Season 20, four-parter with Peter Davison). Hashtags: #DoctorWho #TomBaker #SherlockHolmes #TheHoundOfTheBaskervilles #1982 #ClassicBBC #WildernessYears #ProductionTrivia #ConanDoyle #DoctorWhoPodcast

  4. Aug 22

    These Aren't the Time Lords You're Looking For - "Doctor Who and the Daleks and the Seven Keys to Doomsday"

    Note: This is a hiatus episode, originally a Patreon Exclusive, airing on the main feed during the break between Classic and New Who. Love the podcast? Consider joining us on Patreon for early access to episodes, exclusive content, and the option to commission your own Doctor Who story.  When Budget Constraints Force an Impossible Choice In 1974, the BBC wanted a stage play featuring Doctor Who. Terrence Dicks was brought in to write it. But immediately, a problem emerged: they had money for either John Pertwee (still playing the Doctor on television) or the Daleks. They couldn't afford both. The choice seemed obvious to everyone involved—go with the Daleks. They would draw the audiences. After all, kids coming to see a Doctor Who stage play wanted to see the show's most famous villains. So Pertwee stayed on television, and a new actor named Trevor Martin became the Doctor on stage. A Regeneration Scene Every Single Night At the beginning of every performance, the audience witnessed something unique: they saw the ailing Third Doctor (Pertwee's costume, a white wig, his back to the audience) collapse on stage. Above them, a giant screen showed John Pertwee's face slowly morphing via projected slides into Trevor Martin's face. While the audience watched that transformation, Martin was on the stage floor removing the wig and revealing himself as the new Doctor. It was meta theater decades before the term became common—the audience became part of the story. A Short Run Cut Even Shorter by History The play premiered December 16, 1974, in London. It received decent reviews, but it was underfunded and ultimately lost money. A planned national tour never happened. Why? The production coincided with the height of IRA bombing threats in London. Theater districts were evacuated. Performances were canceled. Bomb scares shut down entire neighborhoods. In the end, the threats and closures cost the production far more than lack of audience interest ever could. Lost Media, Lost History Unlike the BBC television productions, which had photographers documenting them for posterity (leading to the famous Tele-Snaps), no one filmed or even photographed the stage play in any systematic way. The sets, the Dalek designs (which were reportedly different from both TV and movie versions), the TARDIS interior, the lighting design—all of it exists only in the memories of those who saw it and the words of the script. No one bothered to record it for posterity. By contrast, the 1989 stage production "The Ultimate Adventure" (with Pertwee and later Colin Baker) was filmed and preserved. In the 1970s, apparently the thought never occurred to anyone. A Casting Callback You Might Not Expect Trevor Martin, the stage Doctor, had previously appeared in Doctor Who television—he was one of the three Time Lords who banished Patrick Troughton to Earth in "The War Games." So he wasn't unknown to Doctor Who production. More interestingly, Wendy Padbury (Zoe from the Second Doctor era) played Jenny in the original stage production. For the 2008 Big Finish audio adaptation, her daughter Charlie Hayes played Jenny, creating a direct lineage from the original theatrical performance to the modern audio drama. The 2008 Adaptation: A Faithful Recreation of an Unseen Original Terrence Dicks was brought in to adapt his own 34-year-old script for Big Finish. The producer John Ainsworth asked if Dicks wanted to make changes. Dicks said no—he tightened a few things for pacing, but the dialogue and structure remained essentially what he wrote for the stage. For the audio, they brought Trevor Martin back to reprise his role. They also brought in Nicholas Briggs to voice the earlier regeneration of the Doctor (the Pertwee version briefly heard at the top). Questions of Canonicity That May Never Be Answered Unlike Peter Cushing's film Doctors, who exist in an alternate universe and were later acknowledged in New Who, the stage Doctor and this play exist in a strange limbo. The play was never televised. It's not part of the main canon. Trevor Martin and this incarnation don't appear in anniversary specials. When the Thirteenth Doctor sees echoes of previous incarnations in "The Power of the Doctor," this Doctor isn't among them. So where does he fit? Nowhere official. He's canon in the same way Big Finish's licensed audio productions are canon—for those who accept them as such, and for no one else. A Story That Desperately Wants to Be Seen, Not Heard Both hosts find themselves wrestling with the same fundamental problem: Doctor Who works best as a visual medium. Listening to a stage play script without knowing what the production looked like—how they solved the problem of the TARDIS materializing and dematerializing on stage, how they managed Dalek movement in a live theater setting, what the alien planet actually looked like—creates a void of imagination that the audio alone can't fill. The hosts spend considerable time wondering about these production details rather than focusing on the story itself. An Interesting Question That's Never Been Asked One conversation point emerges that becomes surprisingly fascinating: has there ever been a female Dalek? In 60 years of Doctor Who—television, audio, novels, comics—no one has ever given a Dalek a female voice. During this adaptation, Jenny (a female character) ends up inside a Dalek casing and must speak with the Dalek modulation. For the first time in Who history, listeners hear what a female Dalek sounds like. The hosts wonder why this idea has never been explored in official productions, and discuss what an "Empress Dalek" might mean for Dalek mythology. Production Details: Original Stage Play Premiere: December 16, 1974 (London) Writer: Terrence Dicks Original Director: Mick Hughes Original Cast: Trevor Martin (the Doctor), Wendy Padbury (Jenny), various supporting actors Reason for Short Run: IRA bombing threats and theater closures in London; planned national tour canceled Big Finish Audio Adaptation: October 2008 Audio Director: John Ainsworth Audio Cast: Trevor Martin (reprising the Doctor from 1974), Charlie Hayes (Jenny, daughter of original Jenny actress Wendy Padbury), Nicholas Briggs (Pertwee's Doctor in voiceover) Runtime: Presented in two parts (~50 minutes, ~30 minutes) Status: Not considered canon to main Doctor Who timeline; exists as a Big Finish exclusive Budget: £5,000 (estimated for original stage production) Surviving Documentation: Script only; no film, video, or systematic photography of the original production Key Discussion Points: The forced choice between Pertwee and the Daleks, and why the Daleks won The nightly regeneration scene as audience participation theater Why no one recorded or photographed the original stage production The impact of IRA bombing threats on the production's survival How Trevor Martin's previous Doctor Who appearance affects viewing of this role The significance of Wendy Padbury's daughter playing Jenny in the audio Why a female Dalek voice is notable and why it's never been done before The story vs. the production: what we're missing by only having audio The canonicity question and how it differs from Peter Cushing's Doctor Who films Whether the play would have continued if it had been financially successful Coming Up Next: Monday (Patreon Exclusive): We discuss "Lux" from the Ncuti Gatwa era. Jim handles narration. Wednesday (Patreon Exclusive): Music, Memory TARDIS, and comics including a story from the Doctor Who Annual from 1966 featuring "Mission for Duh." Friday (Patreon Early) / Saturday (Main Feed): Season 17 premiere, "Destiny of the Daleks" (four-parter)—Tom Baker's penultimate season begins.  #DoctorWho #SevenKeysToDoomsday #TrevorMartin #TerenceDicks #ClassicWho #StagePlay #BigFinish #1974 #TheaterHistory #DoctorWhoPodcast #WildernessYears

  5. Aug 15

    Johnny Benton's Wilderness Years: The First Professional Spinoff - "Wartime"

    Note: This is a hiatus episode, originally a Patreon Exclusive, airing on the main feed during the break between Classic and New Who. Love the podcast? Consider joining us on Patreon for early access to episodes, exclusive content, and the option to commission your own Doctor Who story.  A Producer's Frustration Becomes the First Professional Spinoff In 1988, Keith Barnfather—a producer known for his decades-long "Myth Makers" interview series—had an idea. He wanted to film a third Doctor/Sarah Jane story with John Pertwee and Elizabeth Sladen to prove that high-quality, professional Doctor Who content could be produced independently. He pitched the concept to the BBC, but John Nathan Turner shot it down, claiming the budget would "tarnish the legacy of Doctor Who" and look "cheap and tatty." So Barnfather pivoted. He approached the creators of UNIT and the Brigadier for permission to use Benton and the military organization instead. With BBC blessing, Wartime became the first professionally produced, BBC-authorized independent Doctor Who spinoff—a distinction that makes it canon in a way fan productions cannot be. The Budget, The Cast, The Ambitious Story Shot for just £5,000 (roughly £14,000 in today's money) in Shropshire, Wartime is a 30-minute psychological thriller about Benton confronting ghosts from his past. The crew—including Michael Wisher (the original Davros), John Levine, and Nicholas Briggs—largely worked for expenses only. The production is wholly filmed on location with no studio interiors and proudly proclaims this fact in its credits. The music comes from Mark Ayers, who would soon become the incidental music composer for the McCoy era. But there's a mystery: the original 1988 release may not have included the opening voiceover from Nicholas Courtney. A later 1990s re-release added enhanced video and possibly added Courtney's introduction—or so goes one account. An Actor Stretched Beyond His Range John Levine hadn't played Benton since 1976's "The Android Invasion." Wartime reunites him with the character, but asks him to do something Benton was never asked to do in the televised series: carry a dramatic, psychologically complex story. Over his two decades away, Levine had worked primarily in stage productions. The acting here is uneven—there are moments where genuine effort is visible, but the dialogue often feels hamfisted, and some of Levine's delivery struggles under the weight of the emotional material. The hosts debate whether this was a mistake or whether it explains the story's structure: perhaps Levine himself worked with the writers to create something that would finally let him show dramatic range. Two Stories That Never Quite Merge The narrative splits between two distinct threads: nuclear material is being transported, and the vehicle breaks down in the exact area where Benton grew up. While waiting for repairs, he confronts manifestations of his past—his father, his brother, guilt from a childhood tragedy. But these two storylines remain largely separate. The hosts wonder: was this the intended story, or are we seeing a compromise between what should have been a straightforward political thriller and what became a psychological character piece? The ambient storytelling choices reinforce the surreal nature of the past sequences—including an eerie slow-motion effect applied to the driver's scenes, complete with an unsettling sound design that hints at alien interference without ever confirming it. The Foreboding English Countryside Both hosts find themselves returning to a running theme in British television and film: why is the English countryside always so ominous? There's something about location filming in rural England that transforms familiar landscapes into places of dread. Wartime's Shropshire location captures this perfectly, with genuinely beautiful cinematography serving scenes of mounting psychological unease. A Question of Canonicity and Intention The novelization by Stephen James Walker sets the story in 1990, which raises questions about whether Benton left his post-Doctor Who car lot business to return to UNIT, or whether the Brigadier emerged from retirement. The "unit dating controversy" gains an unwanted new entry with this one authorized production. Additionally, there's no indication the filmmakers intended this as a pilot for a series. It stands alone—a one-off experiment to prove that independent BBC-sanctioned Doctor Who content was possible. What This Inspired Wartime's success (however modest) helped establish the foundation for what would come later: Real Time (the production company) would go on to create "The Stranger" videos, while others in the film community would be emboldened to approach the BBC. The true legacy may be the confidence it gave to fan producers and independent creators, eventually contributing to the ecosystem that would allow Big Finish to eventually dominate Doctor Who audio production. The Mystery of Benton's Emotional Maturity One persistent question: are the apparitions real, supernatural manifestations, or purely psychological? Is this a story set in the Doctor Who universe where strange things genuinely happen, or is this pure character introspection? The ambiguity remains unresolved—which fits the story's intent, but also leaves the viewer uncertain about what universe they're actually in. In a show where the protagonist has fought Daleks and Cybermen, how much can we trust that anything he experiences is purely in his mind? Production Details: Release Date: January 20, 1988 (on VHS) Timing: Between Seasons 24 and 25 of Doctor Who Budget: £5,000 (~£14,000 today) Runtime: Approximately 30 minutes Producers/Writers: Keith Barnfather (producer/director), Andy Lane and Helen Sterling (writers) Notable Cast: John Levine (Benton), Michael Wisher (Benton's father), Nicholas Courtney (voiceover—possibly added later), Nicholas Briggs (soldier) Music: Mark Ayers (pre-McCoy era composition) Shooting Location: Shropshire, England (entirely on location) Status: First BBC-authorized independent professional Doctor Who spinoff Novelization: By Stephen James Walker, set in 1990 Key Discussion Points: Why John Nathan Turner rejected the original Petwee/Sladen concept The logistics of producing professional-grade content on a £5,000 budget Whether Levine was the right actor for this particular story The disconnect between the two narrative threads (thriller vs. psychological drama) Whether the supernatural elements are real or imagined The mystery of Nicholas Courtney's involvement and when it occurred How Wartime influenced future Doctor Who spinoff productions The visual language of the English countryside as a character itself Whether Benton's characterization here aligns with his televised persona What the novelization reveals that the video doesn't explain Coming Up Next: Monday (Patreon Feed): Patreon Exclusive number referenced in episode (music, Memory TARDIS, three comic stories from three different authors—including one from Grant Morrison). Friday (Patreon Early) / Wednesday (Main Feed): "Remembrance of the Daleks" (four-parter)—the 25th Anniversary story. Guest Alan J. Porter joins the discussion. Hashtags: #DoctorWho #Wartime #Benton #UNIT #ClassicWho #IndependentProduction #ProfessionalSpinoff #1988 #JohnLevine #DoctorWhoPodcast #WildernessYears

  6. Aug 9

    Who Was That Terrible Woman? - "Dimensions in Time"

    Guest: JB Anderton of the Doctor Who Gives a F#! podcast joins John and Jim, as he does for every multi-Doctor story, to make sense of the un-make-sense-able. Note: This is a hiatus episode from our Wilderness Years coverage, released early on the Patreon feed and arriving on the main feed August 9th to celebrate Doctor Who Podcast Day. A warm welcome to everyone joining us for the occasion! Love the podcast? Consider joining us on Patreon for early access, exclusive episodes, and the option to commission your own Doctor Who story. Show Notes: For the show's 30th anniversary in 1993, the BBC gave Doctor Who fans a two-part, 3D, charity crossover with EastEnders in which the Rani traps the Doctor's incarnations in a time loop and scrambles Doctors and companions together at random. It is, by common agreement among the hosts, the Doctor Who equivalent of the Star Wars Holiday Special—not to be taken remotely seriously, but a genuine curiosity worth seeing at least once, if only because it's one more chance to watch these beloved actors play these beloved characters. How We Even Got Here: The Ghost of The Dark Dimension Before there was Dimensions in Time, there was The Dark Dimension—an ambitious, Tom Baker-centered 30th-anniversary feature that collapsed months before it would have aired. The hosts (with JB drawing on John Pertwee's own memoir) untangle the competing accounts of what happened: budget mismanagement, pressure from the American rights holders, and a script that the other surviving Doctors felt reduced them to walk-on cameos. What emerged instead was a bargain-basement Children in Need special built on a standing EastEnders set, produced by John Nathan-Turner as if it were a real episode (production code and all), and shot around the soap's schedule for no fee. A Cast List That Astonishes—and the Gaps That Intrigue The hosts marvel at the sheer roll call of returning Doctors and companions, puzzle over who's conspicuously absent, and confront the parade of EastEnders faces that leaves them defaulting to "if I don't recognize them, they must be from the soap." There's the interactive phone-in twist that raised a small fortune for charity, the Noel Edmonds framing device, the rave-version theme, and Kate O'Mara gamely chewing the scenery as the third choice for the villain. Everybody's In Character (With Two Very Notable Exceptions) A running thread: nearly everyone slips back into their roles with real commitment—even in three seconds of screen time—which makes the two who don't stand out all the more. The hosts have plenty to say about a phoned-in performance from a certain fan-favorite Doctor reading off cue cards in a sound booth, and a beloved companion stranded in a costume and a barrage of technobabble that left one host cold (with a fair hearing of the very human, very practical reasons behind the wardrobe choice). Along the way: Susan's grandfather problem, the disembodied busts of two late Doctors, a monorail glimpsed in the background, and the eternal question of why the Seventh Doctor hauls all his equipment outside the TARDIS. A Menagerie Missing Its Most Famous Monster Why are there no Daleks among the Rani's captured specimens? The hosts dig into the rights tangle behind their absence—and what it might mean for the show's future as Doctor Who itself heads to tender in 2026. The Canonical Silver Linings Amid the chaos, the hosts find the moments worth preserving: the only on-screen meeting of the Sixth Doctor and the Brigadier, and Nicholas Courtney's Brigadier arriving by helicopter—giving the actor, if you squint, a claim to having worked with all seven classic Doctors. Production Details: Broadcast: November 26–27, 1993 (across Children in Need and the Noel Edmonds show) Production Code: 7R Format: Two parts, presented in 3D, with an interactive phone-in ending Villain: The Rani (Kate O'Mara, the third choice after two others) Setting/Crossover: EastEnders' Albert Square Predecessor Project: The Dark Dimension (cancelled 30th-anniversary feature) Charity: Raised over £100,000 for Children in Need on the phone-in alone 13.8M (part one), 13.6M (part two) — inflated by the EastEnders crossover Coming Up Next: Monday (Patreon Exclusive 183): A disco version of the theme, the Memory TARDIS, a look back at the first six Doctors, and the comics "The Grief" and "Ravens." Friday (Patreon): Whatever Happened to Susan Foreman?—A BBC Radio produced mockumentary, starring Jane Asher. Saturday (Main Feed): Wartime—the fan-produced, BBC-sanctioned Benton video, from the Patreon vault. End Music: This episode closes with a reworking of the Dimensions in Time theme by Darth Jedi: https://www.youtube.com/watch?v=bv2t41k2244 Hashtags: #DoctorWho #DimensionsInTime #ChildrenInNeed #ClassicWho #TheRani #EastEnders #WildernessYears #DoctorWhoPodcastDay #MultiDoctor #DoctorWhoPodcast

  7. Aug 5

    Shadaly Written - "Shada"

    Note: This is a hiatus episode, originally a Patreon Exclusive, airing on the main feed during the break between Classic and New Who. Love the podcast? Consider joining us on Patreon for early access to episodes, exclusive content, and the option to commission your own Doctor Who story.  A Strike Over a Clock Changes Doctor Who History The story of Shada begins not on screen, but in the chaos of 1970s British industrial action. A seemingly minor dispute over which union controlled the operation of an elaborate clock on the BBC Children's Program, Play School, escalated to the point where production of Doctor Who came to a standstill. Two-thirds of filming had been completed. Sets were built. Effects work had been shot. Actors had been cast. And then everything stopped. The cast wasn't aware of what was happening behind the scenes—some didn't even know production had ceased until much later. Meanwhile, writer Douglas Adams had already decided to step away from the show. He wouldn't be returning. The Lost Story That Became Many Stories Because Shada was never completed in 1980, it exists in five different forms today. A 1983 fan edit using rough footage and text inserts. A 1992 VHS release with Tom Baker providing narration for the unfinished scenes. A Big Finish Flash animation from 2013 that reimagined the story. An unofficial animation created before the official version. And finally, a 2021 Blu-ray restoration with enhanced animation presented in proper episode format. But none of these versions represent what Douglas Adams might have intended, because the original script—if it still exists—has never been published. The editing, the changes, the additions made over decades remain mysterious. What Was Filmed, What Wasn't, and Why Some Special Effects Exist for No Good Reason One of the most fascinating aspects of watching Shada is understanding what the production achieved before the strike. All the Cambridge location footage—the punting scenes, the exterior shots of the university, Tom Baker riding a bicycle—was shot first. The interior sets at the professor's rooms were next. But the spaceship interiors? Those were never filmed, because the production never got far enough. Yet special effects models of both spaceships were built and filmed specifically for a story that would never be completed. The Krog robots, partial shots of spacecraft, miniature effects work all survived despite the rest of production falling apart. It's a window into how Doctor Who production actually worked: film everything outdoor or on location first, then work studio interiors later. A Woman Transformed, A Doctor Leaving, and a Show About to Change Everything Tom Baker—at this point no longer interested in playing the Doctor again—was paired with Lala Ward (as Romana II). Their relationship during this period was becoming increasingly strained (they would eventually marry and divorce, an 18-month union that left permanent scars). Meanwhile, Graham Williams—the outgoing producer—was frustrated that the BBC wouldn't fund the show properly. He could only get two-thirds of the budget needed. He suggested his replacement: John Nathan Turner, a producer with big ideas and bigger ambitions. Turner would bring in Christopher Bidmead as script editor—someone determined to ground the show in actual science and move away from what he considered silliness. Bidmead would also cherry-pick which parts of established continuity "counted," declaring entire seasons from the past to be non-canonical. This era would define everything that came next. Cambridge, Tea, and a Story About Wanting to Create a Universal Mind The story itself involves a professor of Gallifrey, secret books, a man named Skagra with mysterious plans, and a prison planet that the Time Lords conveniently forgot about. But at its heart, it's a tale about someone trying to merge multiple consciousnesses into a single universal mind—a concept that resonates strangely in an era of AI debates decades later. The Doctor opposes this not through violence, but through philosophy, engaging in a debate about why controlling the universe isn't actually desirable. It's quintessentially Douglas Adams: ambitious ideas wrapped in humor and logic puzzles. Guest Stars Both Familiar and Forgotten Gerald Campion, who played the original Billy Bunter decades earlier, appears in a small role. Tom Baker was thrilled to work with him. Christopher Neame plays the villain Skagra in a distinctly disco-era outfit that suggests the production was made in a very specific time period. Most of the cast has been forgotten by history—which is what makes it tragic. These actors prepared for a major Doctor Who story that would have been seen by millions. Instead, they prepared for something that was erased. Romana in Costume, or Rather, in Multiple Costumes One thread that becomes increasingly frustrating as the story progresses: Romana keeps changing outfits, and none of them seem quite right. There's a hat situation that neither host is happy about. But the core problem goes deeper—Romana, one of the Doctor's most capable companions, spends large stretches of this story being dragged around, held hostage, or forced to watch as events happen around her. It's a companion written with less agency than the show had managed before. A Mystery at the End: What Was Douglas Adams Actually Trying to Say? The final revelation that Professor Cronotus is actually Salyavin—a famous criminal from Shada prison—raises questions that the story never adequately addresses. He's dead, sort of. He's a paradox, sort of. He creates a companion (Claire) who suddenly understands alien technology without explanation. And then the Doctor simply... leaves. Leaves a TARDIS on Earth with an unstable former criminal who's slowly fading from existence. No one discusses what will happen. No one seems concerned. By the final episodes, the story becomes increasingly muddled, introducing concepts that don't quite land and resolutions that feel incomplete. Which Version Did They Watch? And Does It Matter? The hosts watched the 2021 Blu-ray restoration, broken into six episodes with enhanced animation. But the question lingers: is this Douglas Adams's original story, or has it been altered beyond recognition by decades of reconstruction? The animation is competent but uneven. Tom Baker's and Lala Ward's aged voices are notably different from their younger selves. David Briarley, the original voice of K9's computer, recorded new material shortly before his death. A final scene was added showing Tom Baker as an older man—was this always planned, or a later addition? A Story in Cotton Candy Form One host describes Shada as "cotton candy science fiction"—tasty in the moment, completely gone the moment you consume it. The question becomes: how much of the fascination with Shada is about the story itself, and how much is about its impossible history? Had it been completed on schedule and aired as just another season finale, would anyone still talk about it? Or is the legend of Shada more interesting than Shada actually is? Production Details: Production Code: 5M Intended Air Date: January 19 – February 23, 1980 (never aired) Writer: Douglas Adams (final script for the show; also served as script editor) Director: Pennant Roberts Cause of Non-Completion: Industrial action/strike regarding union jurisdiction over BBC equipment (ultimately over a clock on a children's program) Percentage Shot: Approximately two-thirds Versions That Exist: Five distinct versions across different formats and decades Key Guest Cast: Gerald Campion (Billy Bunter himself), Christopher Neame (Skagra), Daniel Hill (Chris), Victoria Burgoyne (Claire) Key Discussion Points: The production history and why the strike occurred Why special effects were filmed for scenes that were never shot The decision to leave Tom Baker out of future multi-Doctor stories (and his later appearance here) What happened to Romana's agency as the story progresses The muddled explanation of Cronotus/Sally Avon and the paradox he represents Whether Shada would be remembered if it had simply aired as scheduled How different Doctor Who productions worked (exteriors first, interiors later) The implications of leaving an unstable TARDIS on Earth with no follow-up Douglas Adams's memos and his frustrations with the show's direction The romantic relationship between Tom Baker and Lala Ward during this period, and how it affected their performances Coming Up Next: Saturday (Main Feed) / Friday (Patreon Early): Season 18 premiere, "The Leisure Hive" (four-parter). The first story under the new regime begins. Monday (Patreon Exclusive 120): Season 17 retrospective and mainstream comics coverage for the hiatus period ("Dogs of War," "Time Witch," "The Star Beast"). Hashtags: #DoctorWho #Shada #TomBaker #LalaWard #DouglasAdams #ClassicWho #LostStory #ProductionHistory #UnfinishedBusiness #DoctorWhoPodcast #WildernessYears

  8. Jul 29

    Season 20: When the Companions Argue More Than They Help - Patreon Exclusive 145

    Note: This is a hiatus episode, originally a Patreon Exclusive, airing on the main feed during the break between Classic and New Who. Join our Patreon to get early access to review episodes and weekly exclusive content like this. A Theme with Energy But No Clarity on Genre The episode opens with "Dancer Who," a drum and bass remix of the Doctor Who theme from an account called "Synth Theme Remixes." Despite nearly 13 years of existence and modest viewership, the track has undeniable energy and a strong beat. Whether it's actually pure drum and bass is debatable—there are keyboards and synthesizers involved—but it's undeniably danceable. The hosts hope their coverage might help this overlooked remix find a wider audience. https://youtu.be/Puve_A9EFwQ?si=Mw5zOUxgQS27JnFn A Season Where Companions Spend More Time Fighting Than Helping Season 20 presents an interesting problem: the TARDIS is crowded. Tegan is improving as an actress, but only incrementally. Turlough raises the fundamental question: why is this character here at all? Even more surprising—by the time we're done, Adric starts looking better in retrospect. When you find yourself comparing a companion favorably to someone much-maligned by fandom, you know the roster has an issue. A Creature Department with Nothing to Do The hosts confront an uncomfortable truth about Season 20: it's remarkably free of monsters and creatures. The Mara is a villain, not a creature. The Garm exists but barely registers. The Eternals are villains. Kings Demons has... nothing. This absence reflects a deliberate editorial choice to ground the show under Peter Davison's influence—away from the wacky alien designs, toward something more naturalistic. The creature department was apparently just sitting around with nothing to build. When Best Villain and Best Guest Star Diverge in Unexpected Ways One host makes a surprising villain choice. Another champions a campy, over-the-top performance that might seem like it belongs in a different era of Doctor Who entirely. The Brigadier's return gets unanimous agreement as best guest star, but his performance in a particular story involves playing not one, but two versions of himself—a challenge that pays dividends. Meanwhile, the Black Guardian lingers as a presence but never quite rises to the occasion, despite excellent work from the actor. Two Different Takes on the Same Brigadier Moment Both hosts select best moments from the same story, but they pick different scenes. One focuses on the emotional weight of two versions of the same character finally meeting and reaching out. The other selects a memory-based sequence—a storytelling device that works beautifully here but one the hosts caution against overusing. It will show up again and again in New Who, and there's apparently a real tearjerker in the Sarah Jane Adventures that hits hard. But how many times can you deploy the same emotional tool before it loses power? The Easiest and Hardest Superlatives Best and worst episodes sort themselves out quickly—there's immediate consensus on what works best and what's interminable. But best monster becomes genuinely difficult when you realize the season doesn't have traditional creatures to choose from. Best companion is solved "by default." And best moment splinters into two thoughtful but different answers. Comics: A Fishing Trip That Becomes a Moral Quandary "Lunar Lagoon" (DWM 76–77, April–May 1983) finds the Doctor landing on a Pacific island during World War II, not realizing what era he's actually in. A lone Japanese soldier still believes the war is ongoing. When an American pilot is shot down, the Doctor removes the bullets from the soldier's gun—but this act of mercy sets off a chain of events that results in the soldier's death and leaves the Doctor consumed with guilt. The hosts note that while this is a hoary old cliche (the Japanese soldier who doesn't know the war is over), the Doctor's presence should have reframed it. Instead, critical details remain unclear—what year did the Doctor think he was in? Why was there suddenly an American WWII plane? The story needs another line or two of dialogue to ground what's happening. Additionally, the complete absence of a companion (despite Nyssa, Tegan, and Turlough all being available) makes the story feel oddly hollow. The Doctor carries everything through thought balloons and internal monologue, which limits the interplay a good Doctor Who story thrives on. Memory TARDIS: A Landing That Nobody Expected "The Mind Robber" (Troughton, five-part story) sends the hosts into a discussion about a tale so weird, so far from grounded Doctor Who, that it might be impossible to imagine in Davison's era. The Land of Fiction, a rogue character masquerading as "the Master," Jamie's face literally rearranged due to actor illness, and a famous shot nobody will forget—this is 1968 Doctor Who at its most experimental. Production Details: Season 20 aired March–June 1983 (seven stories) The Five Doctors included with this season set (though technically separate) Best Companion: Nyssa (with significant caveats) Creature Department Status: Vastly underutilized Key Spoiler Cards for Season 21: The hosts avoid "New Doctor" (too spoilery), pick "Elementary, My Dear Jim" instead of "Body Count" Upcoming Writer Return: Robert Holmes returns for Season 21 with what many consider both Peter Davison's best story and Holmes's finest work Hashtags: #DoctorWho #Season20 #TheFiveDoctors #PeterDavison #Superlatives #Brigadier #DoctorWhoPodcast #ClassicWho #WildernessYears #MindRobber

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Trailer

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About

A Whovian (John S. Drew) and a Newvian (writer/editor Jim Beard) walk into a TARDIS and retrace the journey of the Doctor and his companions from the very beginning.

Information

  • Creator
    Lucky Shot Productions
  • Years Active
    2023 - 2026
  • Episodes
    214
  • Rating
    Explicit
  • Copyright
    © 2025
  • Show Website
    The Doctor's Beard Podcast

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