Damn the writing. Full speed ahead with a bit of casting news.
Karen Gillan to Star in ABC’s Emily Kapnek Comedy ‘Selfie’
by Lesley Goldberg
Doctor Who alum Karen Gillan is returning to TV.
The actress, who next appears in Marvel’s Guardians of the Galaxy and Oculus, has been tapped to star in ABC’s Emily Kapnek comedy Selfie, The Hollywood Reporter has learned.
The modern take on My Fair Lady is inspired by the musical and tells the story of a self-obsessed 20-something woman named Eliza Dooley (Gillan) who is more concerned with “likes” than being liked. After suffering a public and humiliating breakup, she becomes the subject of a viral video and suddenly has more social media “followers” than she ever imagined — but for all the wrong reasons. She then enlists the help of a marketing expert at her company to help repair her tarnished image.
Speaking of DOCTOR WHO (well, sorta), as everybody who visits TVWriter™ knows, we’re huge WHO fans. Which means that we spend way too much time searching the web for little tidbits about the show, the people who made and are making it, and its history.
A week ago we stumbled across a review of a book about the series that we’d never heard of before. When we read the review, we saw why. JN-T: The Life and Scandalous Times of John Nathan-Turner, by Richard Marson Miwk, goes into facets of the life of a man who may well be the Old WHO’s most beloved producer and is mighty strong stuff, especially when its obvious audience is a fandom where most controversies swirl around missing episodes and continuity errors.
In many ways, this book is TMI gone wild, but after due deliberation it seems to us that its subject definitely is worth presenting and discussing, especially in light of the BBC’s ongoing investigations into the horrific sexual conduct of the late Jimmy Savile.
In other words, we’re all headed for hell anyway so let’s go down, down, down in style:
Back in time: A frank new book about Doctor Who is full of shocking claims
by Matthew Sweet
Doctor Who is the most documented programme in the history of television. It has generated hundreds of scholarly books and articles. Over 34 years Doctor Who Magazine has examined every episode, spin-off novel, audio drama and comic strip in microscopic detail. Remnants of rejected scripts from the bottom drawers of dead screenwriters have been reconstructed and recorded. The memories of production team members have been sifted by convention delegates and the makers of DVD extras. Every dispute, tantrum, writ and nervous breakdown; every all-nighter at the keyboard or in the Colony Room has been logged, archived, discussed. We – and when I say “we”, I probably don’t mean “you” – know that Ridley Scott was originally on the rota to design the Daleks, that Tom Baker looks weird in “The Ribos Operation” because a dog bit his face down the pub, and that the galactic co-ordinates of the windswept planet of Kastria are the phone number of the Doctor Who production office, circa 1976. If the discourse of Doctor Who were the subject of a Doctor Who story, the cliffhanger would reveal that it had evolved into a pulsing entity bent on cataloguing the universe to destruction.
Deep down, most Doctor Who fans prefer this discourse to be about provisional story titles and the limited lift capacity at Lime Grove studios. Their interviewees, however, have begun to talk about more personal matters. The honesty of the former colleagues of the first Doctor, William Hartnell, has ensured that his racism is now part of the accepted narrative of his life. His onscreen companion Anneke Wills has described how she escaped from an abusive marriage to Michael Gough into the ashram of the Bhagwan Shree Rajneesh. In the current issue of Doctor Who Magazine, Frazer Hines – who played Jamie, the only companion to merit a mention in Joe Orton’s diaries – talks about the stops second Doctor Patrick Troughton would make on the drive home from TV Centre: “We’d go to three different houses on the way,” he recalls. “He’d knock on the door, give this woman some money and then we’d drive off. I’d look the other way.” Slowly, all those details about scene-shifters’ strikes and monsters built from fox skulls and condoms are being augmented by stories of the everyday emotional sturm und drang of the people who walked through those sets and ran away from those monsters. This is not happening to the cast and crew of Casualty, because a world without Casualty would be only marginally different from this one – whereas for many of us, a universe without the Doctor scarcely bears thinking about.
JN-T: The Life and Scandalous Times of John Nathan-Turner will test the limits of that appetite for information. It is the frankest book ever written about Doctor Who, and contains material that could not have been published in the lifetime of its subject, a bookie’s son from Birmingham who became the programme’s longest-serving producer.
Nathan-Turner oversaw Doctor Who throughout the 1980s – its most eclectic decade, in which the style was sometimes Play for Today, sometimes Play Away. He produced a story that comprises a shot-for-shot homage to Cocteau’s La Belle et la Bete, and another in which a leather-clad Beryl Reid fights Cybermen on a spaceship. He produced episodes about a police state in which the chief torturer is a robot made of Liquorice Allsorts, and others about a giggling slug who wants the galactic broadcast rights to execution videos from a planet whose rulers are fond of phrases such as: “I want to hear you scream until I’m deaf with pleasure.”
This was also the decade in which the BBC’s institutional indifference towards Doctor Who – a factor since its birth in 1963 – hardened into hostility, with cruel consequences for Nathan-Turner. In November 1983 the series was celebrating its 20th anniversary with a Radio Times cover and a film-length special called “The Five Doctors”. Fifteen months later, Michael Grade, controller of BBC1, was publicly dismissing Nathan-Turner’s production team as complacent and their work as tired, violent and unimaginative. For Grade and his colleagues, Doctor Who and its producer had become an interlocked pair of problems. “I wanted him to fuck off and solve it – or die, really,” says Jonathan Powell, the BBC’s former head of drama, in one of the many brutal remarks collected in Richard Marson’s book. “But it had probably gone beyond solving. The only way of resuscitating it would have been to put a new producer on it – but we didn’t want to resuscitate it.” Had Powell and Grade known about some of the incidents described in JN-T, they might have been able to kill both producer and programme at a stroke.
Halfway through his story, Marson drops his bombshell. At the age of 17, he was dispatched to Television Centre to write a set report on a story called “Resurrection of the Daleks”. After the recording, he was propositioned by Nathan-Turner in the bar. The following year, on the promise of some stills from an imminent story, Marson made an after-hours visit to the Doctor Who office, where he endured a sexual assault at the hands of Nathan-Turner’s partner, Gary Downie, who worked as the show’s production manager (he died in 2006). Given the age of gay consent in 1985, this constituted a double offence. Marson’s account, though, sounds a surprising note of black humour: he hid from Downie in an adjoining room, readying to defend himself with the nearest object to hand – the script for episode two of “Timelash”. Marson knows that for Doctor Who fans, this amplifies the indignity – episode two of “Timelash” is awful.
We’ve been neglecting the Doctor Puppet lately, mostly cuz, well, it’s not as fun anymore now that the blog is told in the voice of the DP’s creator instead of his own. But that’s our problem…and probably why the usual kinds of marketing don’t work on us. Anyway, better late than never:
Join the Doctor Puppets for a musical Doctor Who Christmas adventure!
“A Timelord Christmas” is a labor of love made by a truly dedicated and talented crew of artists and musicians. It was produced and animated in under a month in a tiny Brooklyn apartment. The music and vocals were produced and recorded in England.
It’s a Timelord Christmas
Let the the Universe rejoice
It’s a Timelord Christmas
For all the girls and boys
We’ve filled our hearts with warmth and joy
We’ve built up all year long
When it comes to loving fellow man
Two hearts are better than one
We are looking forwards
And we are looking backwards
Merry Christmas one and all!
Writers Explain Why ‘Doctor Who’ is ‘Like Writing Seven Shows At Once’
by Graeme McMillan
Tomorrow sees the 50th anniversary of the BBC science fiction series Doctor Who, television’s longest-running sci-fi show and — in recent years — one of the fastest-growing genre franchises around the world (The anniversary is being celebrated with a global simulcast of a special episode “The Day of the Doctor,” with additional 3D screenings in U.S. cinemas on Saturday and Monday).
The longevity of the series means that those currently creating the show grew up watching it — not that the familiarity makes their jobs any easier. “Writing Doctor Who is not like writing any other show. It’s like writing seven shows at once, it’s so extraordinarily demanding,” said Chris Chibnall, who’s written for the show since 2007 under showrunners Russell T. Davies and Steven Moffat.
“Douglas Adams, who was a Doctor Who writer of huge renown, said the show had to be complicated enough for children and simple enough for adults, and that still holds true, I think. The target audience is everybody from 6 to 106,” he continued. “You want it to be exciting and thrilling and have a lot of different takes to it. You want it to be emotional, and have great characters, and you also want it to be self-contained: within 45 minutes, you’re having to land on a planet, or a period of history, meet a whole bunch of people, solve a mystery, have an adventure and get back in the TARDIS — and with jokes, and you can’t afford to do any of it. That’s why it’s one of the hardest shows to write for, but when you even come close to getting it right, it’s the most exciting show in the world to write for.”
Toby Whithouse, who has written for the show in addition to creating the original British version of genre series Being Human, also praised the variety offered by the series. “Being Human always had to retain a certain shape, whereas with Doctor Who, I’ve written a chamber episode, a thriller episode, a western episode [and] a high-camp comedy episode,” he said. “There’s always going to be twists and turns and it’s never going to be the same show week to week.”