For some reason, I missed reading Gerry Davis’ adaptation of his and Kit Pedler’s script for “The Tenth Planet” during the height of my reading and collecting the Target novels. It could be due either to that fact that I didn’t appreciate the William Hartnell serials as I do now during my initial viewing of Doctor Who or it could be that this one just didn’t show up at my local bookseller.
A pivotal story in the history of Doctor Who, “The Tenth Planet” features two huge firsts — the debut of the Cybermen and the first time the Doctor regenerated.
You’d think that for a story this pivotal to the long-running history of the show, the Target novelization would be more to write home about. Continue reading
I’m not really sure why I skipped Nigel Robinson’s adaptation of “The Time Meddler” during my Target novel collecting days. Whether it’s that the relatively recent release date came with a higher price tag or that I didn’t really appreciate the serial during my teenage years, I don’t quite recall.
But this gap in my collection allowed me to come to Peter Purvis’s reason of the story without my memory cheating on the relative merit of the original novelization.
Coming at the end of the classic series’ second season, “The Time Meddler” is a pivotal point in Doctor Who history. Continue reading
There are a lot of things about “Revenge of the Cybermen” that don’t make sense.
But the biggest thing comes not from anything that takes place on-screen but the serial’s place in Doctor Who history.
Back in the 80’s as VCRs became more and more common in homes, the BBC decided to test the waters with a commercially released classic Doctor Who serial. And for this honor, they decided to pick something from what many fans considered the pinnacle of Doctor Who – the Tom Baker starring, Robert Holmes script-editing, Phillip Hinchcliffe producing years.
Somehow classics like “The Ark in Space,” “The Pyramids of Mars” or “The Robots of Death” were passed by and instead the world got “Revenge of the Cybermen.”
Who-lore from the era tells us that the BBC polled fans at a convention and a mix-up between “Revenge of the Cybermen” and the then missing “Tomb of the Cybermen” occurred. Seems fans wanted “Tomb.” Instead we got “Revenge.” Continue reading
Over the years, I’ve read more than my fair share of tie-in novels. And while I can’t recommend a steady diet of them, I think that good tie-in novel can be a great way to clear the reading pallet if you’ve just finished something heavy, dark, emotional or intense. Or they can be great bubble gum for the mind, whether reading or hearing them on audiobook (I re-read a lot of classic Doctor Who adaptations while running or working out. Great distraction without being too distracting).
This week’s Top Ten Tuesday (hosted by the Broke and the Bookish) asks us to look at underrated books in a particular genre. So, here are my top ten underrated tie-in novels. Continue reading
If there has been one glaring omission from the classic Doctor Who Target novels audiobooks line, it’s “The Day of the Daleks.” One of the first serials adapted by Terrance Dicks, “Day of the Daleks” was one of the first Target novels I read (though it was under the U.S. Pinnacle reprint, including the fantastically, ranting introduction by Harlan Ellison) and it’s easily one of the strongest adaptations the line ever produced.
And while I was delighted that the story was finally getting the audio treatment, part of me was still a bit nervous about visiting this old friend from my Target-obsessed days. Could it live up to the greatness associated with it in my memory?
The good news is that it not only lived up to my fond memories of it, it may have even exceeded them. Continue reading
It only took three decades for John Nathan-Turner’s prediction that we’d have a female Doctor to come true.
In the weeks since it was announced that Jodie Whittaker will be my favorite Time Lord’s next incarnation, I’ve been excited by what this news means for my favorite television show. With a co-production deal with China ensuring we’ll have new Doctor Who for at least four more seasons, I’m excited and intrigued to see where the changes in creative staff both in front of and behind the cameras will take the series in the next several years. Doctor Who is a series that’s been defined as much by the person crafting the scripts behind the camera as it has by the person who brings those scripts to life in front of the camera. Find the right combination and you’ve got a winner on your hands. Find the wrong combination and you’ve got, well, a mess on your hands where the behind-the-scenes drama is almost more interesting than the finished product on our screens (I’m looking at you, the Colin Baker era, where you had a great actor with a tired script editor and the quality of the stories declined).
No slight at Chris Chibnell intended, but I couldn’t help but think that with the casting of a female Doctor how utterly exciting and compelling a female show runner might be. Continue reading
For some odd reason, I never picked up a copy of “The Horror of Fang Rock” during my Target novel collecting days. Whether it’s because the bookstores I frequented didn’t have a copy or there were other books that got my hard-earned cash instead, I don’t know.
So, I came to the audio version of the fourth Doctor and Leela adventures without any memories of the original on the printed page.
And I’ve got to admit, this one was pretty well done. Adapting his own script, Terrance Dicks creates a bit more backstory for some of his characters and gives the reader some context as to the social norms and assumptions of the day. These additions give a greater depth to how some of the characters interact over the course of the novel.
And while his adaptation of “Horror of Fang Rock,” doesn’t necessarily create a larger canvas for the story like “Day of the Daleks” or “The Auton Invasion,” “Fang Rock” still feels a bit more substantial than others from this era that simply feel like Dicks is adapting the shooting script for the printed page.
The audio version of the story adds an extra layer of tension to the already tense story, thanks in large part to the performance of Louise Jameson. While the actress who brought Leela to life has been a fixture in the Big Finish range, this is her first Target novel reading. Based on the work she’s done here, I hope it won’t be her last. Jameson reads the story like we’re gathered around a camp fire and she’s sharing a scary tale with us. Jameson wisely doesn’t try to offer her imitation of each actor from the original broadcast but instead creates her own performances for each of her characters. It goes without saying that her Leela is a highlight of this novel.