Podcast appearances and mentions of Sydney Newman

Send us a textRecorded in March 2025 Dylan and Liam traverse this season finale of Doctor Who and the future of the show and get it spectacularly right/wrong. They also look at two turning points in the show history first up its the TV Comic strip ‘The Night Walkers', then they look at the abandoned script for episode 14 of ‘The Trial of a Timelord' entitled ‘Time Incorporated'  written by Eric Saward. And as always they answer the burning questions:Who is the bonny blue of Dr Who podcasting ? What is Dynasty on ice?Are we better off with Pip and Jane Baker? Be sure to check out Liams art work at  https://www.instagram.com/artfullyliam/#

Doctor Who Holiday Specials- Ep 325: We take a visit with the Ghosts of Christmas Past, Present, and Future as well as the Ghosts of Doctor Who Past, Present, and Future as we take a look at a holiday special episode and the 50th Anniversary Special only on Normies Like Us! It's not Doctor When or Doctor Where... It's Doctor Who! @NormiesLikeUs https://www.instagram.com/normieslikeus/ @jacob https://www.instagram.com/jacob/ @MikeHasInsta https://www.instagram.com/mikehasinsta/ https://letterboxd.com/BabblingBrooksy/ https://letterboxd.com/hobbes72/

fWotD Episode 2759: Sydney Newman Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Saturday, 23 November 2024 is Sydney Newman.Sydney Cecil Newman (April 1, 1917 – October 30, 1997) was a Canadian film and television producer, who played a pioneering role in British television drama from the late 1950s to the late 1960s. After his return to Canada in 1970, Newman was appointed acting director of the Broadcast Programs Branch for the Canadian Radio and Television Commission (CRTC) and then head of the National Film Board of Canada (NFB). He also occupied senior positions at the Canadian Film Development Corporation and Canadian Broadcasting Corporation, and acted as an advisor to the Secretary of State.During his time in Britain in the 1950s and 1960s, he worked first with ABC Weekend TV, before moving across to the BBC in 1962, holding the role of Head of Drama with both organisations. During this phase of his career, he created the spy-fi series The Avengers and co-created the science-fiction series Doctor Who, as well as overseeing the production of groundbreaking social realist drama series such as Armchair Theatre and The Wednesday Play.The Museum of Broadcast Communications describes Newman as "the most significant agent in the development of British television drama." His obituary in The Guardian declared that "for ten brief but glorious years, Sydney Newman ... was the most important impresario in Britain ... His death marks not just the end of an era but the laying to rest of a whole philosophy of popular art."In Quebec, as commissioner of the NFB, he attracted controversy for his decision to suppress distribution of several politically sensitive films by French Canadian directors.This recording reflects the Wikipedia text as of 01:14 UTC on Saturday, 23 November 2024.For the full current version of the article, see Sydney Newman on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Danielle.

Type 40 • A Doctor Who Podcast Episode 151: Mount Who – For Doctor Who Podcast Day 2024 Join us as we task ourselves with something truly monumental on this edition of Type 40: A Doctor Who Podcast! All marking Doctor Who Podcast Day for 2024! Regular panellists Sarah, Charlotte, Simon and Dan are all in session to deliberate on which four personalities from over 60 years of the Whoniverse would be on the Mount Rushmore of Doctor Who? From both in front of and behind the cameras. Our panel evaluate their impact, performances, decisions and legacies as they go... Who made the cut? From the easy charm of Jon Pertwee to the enigmatic father figure of series creator Sydney Newman and the impossibly long legs of Karen Gillan? We'll analyse each candidates' unique contributions to the series. Casual viewer or scarf wearing life: this ranking will get you talking and scribbling down your own submissions. It's the ideal way to celebrate Doctor Who Podcast Day on the 9th August 2024: whether you're a creative, a listener or both HERE: Find Type 40 • A Doctor Who Podcast feed here at: type40.podbean.com Listen to Type 40 on: Apple Podcasts, Spotify, Stitcher, Google Play, iHeart Radio,           Tune In and the Podbean App. Or as part of FPNet Master Feed @Fpnet.podbean.com Dan on X and Instagram @The_spacebook Kyle on X and @AKyleW If you would like to contact us directly you can: Email: type40doctorwho@outlook.com Twitter: @type40doctorwho Instagram: @type40doctorwho Facebook: Type 40 • A Doctor Who Fan Page Join the Facebook group Type 40 • A Doctor Who Fan Group: http://bit.ly/type40_fbgroup Subscribe to the Type 40 Doctor Who YouTube channel! For extended versions, our weekly livestream magazine show and exclusive Type 40 content here: https://www.youtube.com/channel/UCh8T5-mFYWblZo6lnakCSCw TeePublic Store: Help support the Fandom Podcast Network and wear some of their fantastic original designs and logos on t-shirts, mugs, hats and more from Tee Public Go to: https://www.teepublic.com/user/fandompodcastnetwork or just search Fandom Podcast Network to find our storefront. Please listen to our other formidable podcasts on the Fandom Podcast Network: Master Feed: https://fpnet.podbean.com/

Certains personnages doivent survivre pour mener l'intrigue à bien, ce qui peut désamorcer un enjeu narratif important. Comment gérer cette situation, côté protagonistes ou antagonistes ? Lionel avance tout de suite qu'un personnage mort ne peut plus souffrir, ce qui n'est plus drôle – et qu'on peut trouver bien des enjeux et des sorts indirects pires que la mort ! Estelle appuie l'importance de ces enjeux pour sortir de la « shock value » primaire de l'emploi de la mort et de la violence, et la nécessité de problématiser mort et survie dans sa narration. Mélanie réfléchit peu à cette question dans sa propre écriture, mais a des tas d'exemples sur le sujet tirés de la fiction qui l'ont marquée. Références citées - *Game of Thrones*, série TV adaptée des romans de G. R. R. Martin - « James Bond », série de films inspirée des romans de Ian Fleming - Superman, personnage de DC Comics - Brandon Sanderson - *Highlander*, film de Russell Mulcahy - *Star Wars Episode IX, L'Ascension de Skywalker*, film de J. J. Abrams - Woody Allen - « Jason Bourne », série de films adaptés des romans de Robert Ludlum - *Doctor Who*, série créée par Sydney Newman, C. E. Webber and Donald Wilson - Roger Zelazny - *La Mort de Superman*, série de Mike Carlin, Dan Jurgens, Roger Stern, Louise Simonson, Jerry Ordway et Karl Kesel - *Torchwood*, série TV de Russell T. Davies - *Les Simpson*, série TV de Matt Groening - « Le Parrain », trilogie de films de Francis Ford Coppola adaptés des romans de Mario Puzo

Une certaine concentration actuelle des attentes du marché sur la tension narrative, le conflit, le rythme peut faire crainte la difficulté d'écrire des relations peut-être saines ou pacifiques entre personnages. Peut-on le faire ? Comment écrire de l'enjeu et de la tension sans tomber dans la cruauté et la violence ? Pour Estelle, justement, un premier levier consiste à prendre conscience que celles-ci ne sont pas obligatoires ; au contraire, s'en abstenir permet de marquer du contraste. Ensuite, il convient d'accepter que dans un monde sombre aux événements âpres, les relations ne sont pas forcées de suivre le même motif. Mélanie souligne justement, exemples et choix de narration à l'appui, la puissance que ce contraste entre normalité et cruauté peut acquérir dans un récit. Pour Lionel, la difficulté s'enracine dans une compréhension restrictive ce qui fait un conflit narratif et sa tension, lesquels peuvent sortir du modèle frontal, interpersonnel et intense pour aborder quantité d'autres façons de raconter. Reférences citées - L'Armée des ombres, film de Jean-Pierre Melville - The Last of Us, série de Neil Druckmann et Craig Mazin - Harper Lee, Ne tirez pas sur l'oiseau moqueur - J. R. R. Tolkien, Le Seigneur des anneaux - Star Trek, série créée par Gene Roddenberry - Ted Lasso, série de Bill Lawrence, Jason Sudeikis, Brendan Hunt et Joe Kelly - Doctor Who, série créée par Sydney Newman et Donald Wilson

First broadcast on FAB RADIO INTERNATIONAL at 19:00 on May 14th 2023 It's long been known, at least in archive television circles anyway, that the charismatic Canadian television pioneering producer SYDNEY CECIL NEWMAN was enticed into working for ABC television in Britain in the late 1950s, and was responsible for such high profile dramas such as ARMCHAIR THRILLER, as well as creating the sixties phenomenon known as THE AVENGERS, before his successes led to him joining the BBC in 1962, which eventually led to the creation of the long-running, and much loved, TV cornerstone that is DOCTOR WHO, although that's a long and oft-told story which we aren't going to go into today. However, before deciding to bring teatime science fiction stories to children on the BBC, SYDNEY NEWMAN did actually have a bit of a track record of trying some quite similar ideas over at ABC, at least when it came to bringing Science-Fiction stories to children. In April 1960 he was the Producer on TARGET LUNA, a six-part science fiction adventure serial now sadly lost to time and, perhaps, videotape wiping policies, which involved those exciting possibilities offered up by the dawn of the space age in which children and hamsters could occasionally replace trained astronauts when British Rocket Groups were trying to send rockets to the moon. The success of this serial led to the swift commissioning of three further serials which we now refer to as the PATHFINDERS IN SPACE trilogy to differentiate it from the later 1972 series about World War Two bombers. PATHFINDERS IN SPACE, a six-part serial, largely recast and now including the chiseled good looks of GERALD FLOOD as Journalist CONWAY HENDERSON, was broadcast in September of that same year, with PATHFINDERS TO MARS following in December, and PATHFINDERS TO VENUS following in MARCH 1961, and proved to SYDNEY NEWMAN at least that Science-Fiction as an exciting storytelling device for family audiences was, on the whole, a pretty neat idea. TV Historian MICHAEL HERBERT, who recently shared his insights into the life of MALCOLM HULKE on the show, got in touch with VISION ON SOUND and asked if I might like to discuss these series, along with a later set of adventure serials also featuring GERALD FLOOD CITY and SECRET BENEATH THE SEA, on the show, and, of course I was not going to say no to an offer like that now, was I? PLEASE NOTE - For Copyright reasons, musical content sometimes has to be removed for the podcast edition. All the spoken word content remains (mostly) as it was in the broadcast version. Hopefully this won't spoil your enjoyment of the show.

A new character enters proceedings, played by an actor we knew nothing about ... until now. But Ling Tau, the eponymous emissary from Kublai Khan, isn't the only person with a story to tell. William Russell's agent needs reassuring and a scene needs to be reshot, but it's a Reithian episode and series creator Sydney Newman is very happy. So saddle up for another episode of this lost classic from 1964, which has been unearthed with the help of someone behind the discovery of another long lost historical find, the skeleton of Richard III... Oh yes, it's all go here!   Please support these podcasts on Patreon, where you will get advance releases, exclusive content (including a patron only podcast - Far Too Much information), regular AMAs and more. Tiers start form as little as £3 per month.  patreon.com/tobyhadoke   Or there is Ko-fi for the occasionally donation with no commitments: ko-fi.com/tobyhadoke   Follow Toby on Twitter @tobyhadoke And these podcasts @HadokePodcasts And his comedy club @xsmalarkey   www.tobyhadoke.com for news, blog, mailing list and more. 

First broadcast on FAB RADIO INTERNATIONAL at 19:00 on April 24th 2022 A little over sixty years ago, a television series began that would, in many ways, come to encapsulate a particular view of nineteen sixties Britain that never really went away. It was so popular in certain countries that this particular image of Britain and the British seems to have stuck in their minds and shaped their perception of us ever since. Or perhaps one version of it has, anyway, because THE AVENGERS, the series PAUL CHANDLER, THE SHY YETI, is joining me to talk about today, went through several incarnations – and lapel carnations – as it progressed through most of the 1960s from its grey, grimy, and gritty origins in 1961, to its colourful, almost pop-art, last hurrah in 1969, and, in many ways, could be said to almost reflect that transformational decade on screen like almost no other television series of its time. Featuring PATRICK MACNEE as John Steed, a charmingly eloquent, and dapper, spy, who wears a bowler hat sometimes cast in stainless steel, and who carries a rolled umbrella which sometimes conceals a sword, who spends his professional career dealing with diabolical master minds intent upon some fiendish, eccentric, and freedom-threatening plot, usually with the assistance of a strong, plucky woman who seems far more adept at handling the rough stuff than he could ever hope to be. CATHY GALE, EMMA PEEL, and TARA KING were those fabulous, ground-breaking, and astonishingly independent women, and were played by three actors destined to become almost as iconic as the series itself: HONOR BLACKMAN, DIANA RIGG, and LINDA THORSEN. Although those other, grittier incarnations, also featured JULIA STEVENS as VENUS SMITH, JON ROLLASON as DR MARTIN KING, and the sublime and ridiculously talented IAN HENDRY who, as DR DAVID KEEL, was there right at the start, might be the person we have to thank for the series even existing at all, but who then chose to leave to pursue other career options, leaving JOHN STEED to step into the breech, and become the calm centre around which the series would carry on though such astonishing changes, not only in the lead actors, but from the technical point of view of switching from live studio videotape, to black and white, and later colour film, and a very successful penetration into the American market. In fact, if any show could be said to demonstrate the evolution of British television in the 1960s, I think THE AVENGERS may be the one that shows it off best, so much so that anyone who watched the 1961 version would barely recognise it as the same show if they tuned in again in 1969, with MOTHER and RHONNDA adding to the cast of eccentric regulars to battle each week with the very cream of 1960s acting talent. This other brainchild of Canadian Television supremo SYDNEY NEWMAN might not be your idea of what the Britain of the 1960s was really like, but it certainly is an image that has persisted since it first aired back in 1961 as a replacement for another series featuring its main star as a police surgeon, right through to its final episode in 1969, and the series was so internationally successful that it even got a fairly successful two year reimagining in the mid-1970s featuring PURDEY and GAMBIT as played by JOANNA LUMLEY and GARETH HUNT. PAUL is unashamedly a fan of the final year featuring TARA KING, so our conversation does inevitably spend a lot of time covering that era, but we do our best to give you a broader overview on our way there. PLEASE NOTE - For Copyright reasons, musical content sometimes has to be removed for the podcast edition. All the spoken word content remains (mostly) as it was in the broadcast version. Hopefully this won't spoil your enjoyment of the show.

Show Notes & Links: Director Jamie Magnus Stone has good ideas We don't know much about the Crimean War but did know about Florence Nightingale & *should* have known about Mary Seacol  Sydney Newman wanted the show to have a ‘strong informational core based on fact' Not like Back to the Future  Mary Seacoll was played by Sara Powell Oscar Isaac doesn't write scripts    We are also at handwavium.net & on Twitter @handwavium

The Avengers Radio Show is a spy show based on the adventures of Agent John Steed.It was created by Sydney Newman and stars Patrick Macnee Diana Rigg Honor Blackman

Ben and Mark continue the Jodie Whittaker/Chris Chibnall era with looks at two races against time without much urgency - 'The Ghost Monument' and 'Enlightenment'.Struggling to study for their NVQs, Ben and Mark tackle dodgy portrayals of coordination disorders, one of the best cliffhanger resolutions in Doctor Who and the ghost of Sydney Newman. Whilst back in the 1980s, the first story to be written and directed by women, 'Enlightenment' suffers from dodgy bird hats, mad eyes and the weight of hype for new viewer Mark but wins him round with its high concepts and treatments of class and religion. But what do the bandages say?WARNING: Contains Star Trek chatter. Support the show (https://www.buymeacoffee.com/onthetimelash)

At the beginning of the space age, a plucky band of scientists and children launch into adventures on the Moon, Mars and Venus. They are - Pathfinders in Space! UK television has created some of most influential, imaginative and scary science fiction in the medium's short history. Take a journey into some of the lesser known regions with Very British Futures. We begin with the ABC 1961-62 teatime drama series created by Sydney Newman, the television pioneer who would later devise Doctor Who for the BBC. What is the secret of Gerald Flood's acting? How much research did writers Malcolm Hulke and Eric Paice do? Why did they deliberately put microphone booms into the frame? Where does the Lost Planet fit in? Host Gareth Preston is joined by Nigel J Anderson and Brian Clarke to celebrate this overlooked science fiction programme. Music by Chatri Art (chatriart.bandcamp.com) --- Send in a voice message: https://anchor.fm/gareth-preston/message

Re-Released for Dr Who Day (23rd November!) This year I've done several presentations about how Saturday morning TV has actually given us many small business lessons as kids. But to be fair we were probably bouncing off the walls with coco-pops way too much to notice. But I love to talk about my favourite TV programme, Dr Who. It came back with a media and PR bang; quite simply because of the controversy surrounding it's first female lead character. Let's be fair those that got their backside in their hands about a woman taking the lead on this are probably the same people who get upset if they have a female boss, a female CEO and have forgotten that the whole thing is a made up story about a two hearted alien that regenerates and turns into different people. But that is a different story for another day and another podcast. Originally airing on Saturday 23rd of November 1963, at 5.16pm, And I've released this podcast at exactly that time and date, to celebrate the fact. It was the brain child of Sydney Newman, a man bought on board by the BBC from ITV to do ‘something a little different' with the drama department. And different it was. Designed as a 25 minute filler programme, it's gone through it's high's and lows, like any business of any size, and is now one of the biggest money spinners that the publicly owned BBC have. So let's talk about the lessons of business from exploring the Sixth Doctor, Colin Baker. Follow me on:

Re-Released for Dr Who Day (23rd November!) This year I've done several presentations about how Saturday morning TV has actually given us many small business lessons as kids. But to be fair we were probably bouncing off the walls with coco-pops way too much to notice. But I love to talk about my favourite TV programme, Dr Who. It came back with a media and PR bang; quite simply because of the controversy surrounding it's first female lead character. Let's be fair those that got their backside in their hands about a woman taking the lead on this are probably the same people who get upset if they have a female boss, a female CEO and have forgotten that the whole thing is a made up story about a two hearted alien that regenerates and turns into different people. But that is a different story for another day and another podcast. Originally airing on Saturday 23rd of November 1963, at 5.16pm, And I've released this podcast at exactly that time and date, to celebrate the fact. It was the brain child of Sydney Newman, a man bought on board by the BBC from ITV to do ‘something a little different' with the drama department. And different it was. Designed as a 25 minute filler programme, it's gone through it's high's and lows, like any business of any size, and is now one of the biggest money spinners that the publicly owned BBC have. So let's talk about the lessons of business from exploring the fifth Doctor, Peter Davison. Follow me on:

Re-Released for Dr Who Day (23rd November!) This year I've done several presentations about how Saturday morning TV has actually given us many small business lessons as kids. But to be fair we were probably bouncing off the walls with coco-pops way too much to notice. But I love to talk about my favourite TV programme, Dr Who. It came back with a media and PR bang; quite simply because of the controversy surrounding it's first female lead character. Let's be fair those that got their backside in their hands about a woman taking the lead on this are probably the same people who get upset if they have a female boss, a female CEO and have forgotten that the whole thing is a made up story about a two hearted alien that regenerates and turns into different people. But that is a different story for another day and another podcast. Originally airing on Saturday 23rd of November 1963, at 5.16pm, And I've released this podcast at exactly that time and date, to celebrate the fact. It was the brain child of Sydney Newman, a man bought on board by the BBC from ITV to do ‘something a little different' with the drama department. And different it was. Designed as a 25 minute filler programme, it's gone through it's high's and lows, like any business of any size, and is now one of the biggest money spinners that the publicly owned BBC have. So let's talk about the lessons of business from exploring the fourth Doctor, Tom Baker. Follow me on:

Re-Released for Dr Who Day (23rd November!) This year I've done several presentations about how Saturday morning TV has actually given us many small business lessons as kids. But to be fair we were probably bouncing off the walls with coco-pops way too much to notice. But I love to talk about my favourite TV programme, Dr Who. It came back with a media and PR bang; quite simply because of the controversy surrounding it's first female lead character. Let's be fair those that got their backside in their hands about a woman taking the lead on this are probably the same people who get upset if they have a female boss, a female CEO and have forgotten that the whole thing is a made up story about a two hearted alien that regenerates and turns into different people. But that is a different story for another day and another podcast. Originally airing on Saturday 23rd of November 1963, at 5.16pm, And I've released this podcast at exactly that time and date, to celebrate the fact. It was the brain child of Sydney Newman, a man bought on board by the BBC from ITV to do ‘something a little different' with the drama department. And different it was. Designed as a 25 minute filler programme, it's gone through it's high's and lows, like any business of any size, and is now one of the biggest money spinners that the publicly owned BBC have. So let's talk about the lessons of business from exploring the third Doctor, Jon Pertwee. Follow me on:

Re-Released for Dr Who Day (23rd November!) This year I've done several presentations about how Saturday morning TV has actually given us many small business lessons as kids. But to be fair we were probably bouncing off the walls with coco-pops way too much to notice. But I love to talk about my favourite TV programme, Dr Who. It came back with a media and PR bang; quite simply because of the controversy surrounding it's first female lead character. Let's be fair those that got their backside in their hands about a woman taking the lead on this are probably the same people who get upset if they have a female boss, a female CEO and have forgotten that the whole thing is a made up story about a two hearted alien that regenerates and turns into different people. But that is a different story for another day and another podcast. Originally airing on Saturday 23rd of November 1963, at 5.16pm, And I've released this podcast at exactly that time and date, to celebrate the fact. It was the brain child of Sydney Newman, a man bought on board by the BBC from ITV to do ‘something a little different' with the drama department. And different it was. Designed as a 25 minute filler programme, it's gone through it's high's and lows, like any business of any size, and is now one of the biggest money spinners that the publicly owned BBC have. So let's talk about the lessons of business from exploring the second Doctor, Patrick Troughton. Follow me on:

Re-Released for Dr Who Day (23rd November!) This year I've done several presentations about how Saturday morning TV has actually given us many small business lessons as kids. But to be fair we were probably bouncing off the walls with coco-pops way too much to notice. But I love to talk about my favourite TV programme, Dr Who. It came back with a media and PR bang; quite simply because of the controversy surrounding it's first female lead character. Let's be fair those that got their backside in their hands about a woman taking the lead on this are probably the same people who get upset if they have a female boss, a female CEO and have forgotten that the whole thing is a made up story about a two hearted alien that regenerates and turns into different people. But that is a different story for another day and another podcast. Originally airing on Saturday 23rd of November 1963, at 5.16pm, And I've released this podcast at exactly that time and date, to celebrate the fact. It was the brain child of Sydney Newman, a man bought on board by the BBC from ITV to do ‘something a little different' with the drama department. And different it was. Designed as a 25 minute filler programme, it's gone through it's high's and lows, like any business of any size, and is now one of the biggest money spinners that the publicly owned BBC have. So let's talk about the lessons of business from exploring the first Doctor, William Hartnell. Follow me on:

Welcome to Doctor Who’s That?, the podcast where one Doctor Who Expert, one Modern Doctor Who Fan, and a Doctor Who Newbie watch and discuss every Doctor Who story, starting from the very beginning. Sean (the Expert), Andy (the Modern Fan), and Bay (the Newbie) are joined by guest host Kieran to talk about the Pre-History of Doctor Who. We talk about the early state of British television in the 50’s and 60’s, and we introduce some of the key behind-the-scenes people who helped to create the show, such as Sydney Newman, David Whitaker, and Verity Lambert. We also talk about some of the initial ideas for the show, like an invisible time machine, an evil Doctor, and an alien karate princess named Biddy.

Onzième épisode du CDF où nous nous intéressons au langage. Beaucoup d'oeuvres de science-fiction s'affranchissent de la barrière de la langue entre les races extraterrestres. Pourtant, il y a fort à parier que ce sera un obstacle majeur en cas de rencontre... sans compter que le langage est aussi miroir des cultures et des civilisations ! Si vous aimez cet épisode, abonnez-vous à la chaîne, partagez, mettez des pouces verts et mangez des pommes ! Merci. Nos références de l'épisode (par ordre de citation) : Stargate SG1 (Série) - Brad Wright and Jonathan Glassner - 1997 Stargate (Film) - Roland Emmerich and Dean Devlin - 1994 Le guide du voyageur galactique (Roman) - Douglas Adams - 1979 Docteur Who (Série) - Sydney Newman et Donald Wilson - 1963 1984 (Roman) - George Orwell - 1949 Les langages de Pao (Roman) - Jack Vance - 1958 Taken (Série)- Steven Spielberg - 2002 Star Wars (Films) - Georges Lucas - 1977 Contact (Roman) - Carl Sagan - 1985 Rencontre du troisième type (Film) - Steven Spielberg - 1977 Firefly (Série) - Joss Whedon - 2002

Onzième épisode du CDF où nous nous intéressons au langage. Beaucoup d'oeuvres de science-fiction s'affranchissent de la barrière de la langue entre les races extraterrestres. Pourtant, il y a fort à parier que ce sera un obstacle majeur en cas de rencontre... sans compter que le langage est aussi miroir des cultures et des civilisations ! Si vous aimez cet épisode, abonnez-vous à la chaîne, partagez, mettez des pouces verts et mangez des pommes ! Merci. Nos références de l'épisode (par ordre de citation) : Stargate SG1 (Série) - Brad Wright and Jonathan Glassner - 1997 Stargate (Film) - Roland Emmerich and Dean Devlin - 1994 Le guide du voyageur galactique (Roman) - Douglas Adams - 1979 Docteur Who (Série) - Sydney Newman et Donald Wilson - 1963 1984 (Roman) - George Orwell - 1949 Les langages de Pao (Roman) - Jack Vance - 1958 Taken (Série)- Steven Spielberg - 2002 Star Wars (Films) - Georges Lucas - 1977 Contact (Roman) - Carl Sagan - 1985 Rencontre du troisième type (Film) - Steven Spielberg - 1977 Firefly (Série) - Joss Whedon - 2002

Onzième épisode du CDF où nous nous intéressons au langage. Beaucoup d'oeuvres de science-fiction s'affranchissent de la barrière de la langue entre les races extraterrestres. Pourtant, il y a fort à parier que ce sera un obstacle majeur en cas de rencontre... sans compter que le langage est aussi miroir des cultures et des civilisations ! Si vous aimez cet épisode, abonnez-vous à la chaîne, partagez, mettez des pouces verts et mangez des pommes ! Merci. Nos références de l'épisode (par ordre de citation) : Stargate SG1 (Série) - Brad Wright and Jonathan Glassner - 1997 Stargate (Film) - Roland Emmerich and Dean Devlin - 1994 Le guide du voyageur galactique (Roman) - Douglas Adams - 1979 Docteur Who (Série) - Sydney Newman et Donald Wilson - 1963 1984 (Roman) - George Orwell - 1949 Les langages de Pao (Roman) - Jack Vance - 1958 Taken (Série)- Steven Spielberg - 2002 Star Wars (Films) - Georges Lucas - 1977 Contact (Roman) - Carl Sagan - 1985 Rencontre du troisième type (Film) - Steven Spielberg - 1977 Firefly (Série) - Joss Whedon - 2002

November 1963 – The first episode of Doctor Who aired, beginning the legacy of a sci-fi epic that is still going strong 56 years later. However, many fans do not know that the first episode was not the one originally produced. The original version did not go well with producer Sydney Newman, so it was … Continue reading Examining The Doctor: An Unearthly Child – The Unaired Pilot The post Examining The Doctor: An Unearthly Child - The Unaired Pilot first appeared on Geekville Radio.

November 1963 – The first episode of Doctor Who aired, beginning the legacy of a sci-fi epic that is still going strong 56 years later. However, many fans do not know that the first episode was not the one originally produced. The original version did not go well with producer Sydney Newman, so it was … Continue reading Examining The Doctor: An Unearthly Child – The Unaired Pilot The post Examining The Doctor: An Unearthly Child - The Unaired Pilot first appeared on Geekville Radio.

It's time to talk Horror Nights at Universal Studios Hollywood! Sydney Newman is joined by Chris Glass and Brian Glenn to talk first impressions and review the event, discussing all 10 houses, 5 scare zones, merchandise, and more!

Step into the Tardis for our first foray into the world of sonic screwdrivers and Daleks for a conversation about Doctor Who. With companion (and special guest) Pumice, join us for a conversation discussing the two generations of the series, referred to by fans as "Classic Who" and "New Who". Music and audio from "Doctor Who (1963)" is the property of Ron Grainer, Delia Derbyshire, Sydney Newman, C.E. Webber, Donald Wilson, and BBC Studios. Music and audio from "Doctor Who (2018)" is the property of Segun Akinola, Matt Strevens, Chris Chibnall, and BBC Studios. The intro and outro music was created by Cackles and Jeremy Eckert. We thank them for their generous support of this podcast. Check out our Facebook page at www.facebook.com/batjarpodcast. Invite your friends to like our page! You can contact us at @thebatcookiejar on Twitter or you can send an e-mail to batjarpodcast@gmail.com.

Chris Lord, Chris Glass, and Sydney Newman are back to discuss the latest happenings around Universal Studios Hollywood; including Pass Member Appreciation Days, the end of Dark Arts at Hogwarts Castle, warp up thoughts on Jurassic World, and Midsummer Scream's Halloween Horror Nights panel, and more.

Chris Lord, Chris Glass, and Sydney Newman are back to discuss the latest happenings around Universal Studios Hollywood; including Despicable Me: Minion Mayhem removal of 3D glasses, Halloween Horror Nights updates, Jurassic World and the handling of opening date announcements for Jurassic World and Star Wars: Galaxy's Edge.

Chris Lord, Chris Glass, and Sydney Newman are back to talk some more Holidays & Grinchmas, as well as wrap up 2018 and discuss their favorite moments of the past year. We also talk about Universal Studios Hollywood's future, with the upcoming Jurassic World attraction, Super Nintendo World construction, and if we'll ever get that hotel.

Chris Lord, Chris Glass, and Sydney Newman are back for more Universal Studios Hollywood talk; discussing the transition between 2 Holidays, with our final thoughts on Halloween Horror Nights, and what we're looking forward to this Holiday season at the parks, with Grinchmas and the Wizarding World Holidays.

Chris Lord, Chris Glass, and Sydney Newman are back to discuss the latest around Universal Studios Hollywood; including our last meet-up, a Horror Nights washout, Secret Life of Pets/Globe Theater talk, Super Nintendo World talk, and more! As always, we answer your questions.

Chris Glass and Sydney Newman get together to discuss & review this year's Halloween Horror Nights 2018 event at Universal Studios Hollywood; including trying to answer some frequently asked questions you may have concerning this year's event.

Chris Lord and Chris Glass are joined by Inside Universal's newest contributor, Sydney Newman, to discuss the latest around Universal Studios Hollywood; including the Globe Theater's demolition and future of the area, the Lower Lot's future, Halloween Horror Nights 2018, and how the Fox/Disney merger could impact Universal Parks going forward.

Cinquième épisode du CDF où nous nous intéressons aux poitrines aguichantes des héroïnes et aux torses virils des héros de la science-fiction. Autant de bombes sexuelles répondant aux stéréotypes de la société, et qui pourtant ne présentent aucune libido. Parlons-en autour d'une bonne bière... en compagnie de Carie Fisher, Jennifer Lawrence, Will Smith et Colin Farell Nos références de l'épisode (par ordre de citation) : Star Wars (Film) - George Lucas - 1977 La Caste des Méta-Barons (Bande dessinée) - Alejandro Jodorowsky et Juan Gimenez - 1992 Alien, le huitième passager (Film) - Ridley Scott - 1979 Aliens, le retour (Film) - James Cameron - 1986 Barbarella (Film) - Roger Vadim - 1968 Heavy Metal (Film) - Gerald Poterton - 1981 Barbwire (Film) - David Hogan - 1996 Mass Effect (Jeu vidéo) - Drew Karpyshyn - 2007 Les Créatures de l'esprit (Film) - Hironobu Sakaguchi - 2001 Total Recall (Film) - Paul Verhoeven - 1990 Total Recall (Film Remake) - Len Wiseman - 2012 Je suis une légende (Livre) - Richard Matheson - 1954 Je suis une légende (Film) - Francis Lawrence - 2007 Hunger Games (Livre) - Suzanne Collins - 2008 Hunger Games (Film) - Gary Ross - 2012 Le passeur (Livre) - Lois Lowry - 1993 Le passeur (Film) - Philip Noyce - 2014 Demolition man (Film) - Marco Brambilla - 1993 Doctor Who (Série) - Sydney Newman et Donald Wilson - 1963 L'Incal (bande-dessinée) - Alexandro Jodorowsky et dessinée par Moebius - 1981

Dixième épisode du CDF où nous nous intéressons aux technologies de communication. Dans le futur, pas de smartphone ou de cloud sur Terre pour échanger facilement. Par contre, dans l'espace, aucune difficulté pour communiquer d'une galaxie à l'autre ! Si vous aimez cet épisode, abonnez-vous à la chaîne, partagez, mettez des pouces verts et faites des cookies ! Merci. Nos références de l'épisode (par ordre de citation) : Cyberpunk 2020 (jeu de rôle)- Mike Pondsmith - 1988 Dragon Ball Z (Manga) - Akira Toriyama - 1989 Le Monde de Rocannon (roman) - Ursula K. Le Guin - 1966 La Stratégie Ender (roman) - Orson Scott Card - 1985 Interstellar (Film) - Christopher Nolan - 2014 Rendez-vous avec Rama -(Roman) - Arthur C. Clarke - 1975 Doctor Who (Série) - Sydney Newman et Donald Wilson - 1963 Kingsman (Film) - Matthew Vaughn - 2015 Star Wars (Film) - George Lucas - 1977 Timescape ( roman) - Gregory Benford - 1980 Watchmen (Comics) - Alan Moore - 1986 Babylon 5 (Série télévisée) - Joe Michael Straczynski - 1994

Dixième épisode du CDF où nous nous intéressons aux technologies de communication. Dans le futur, pas de smartphone ou de cloud sur Terre pour échanger facilement. Par contre, dans l'espace, aucune difficulté pour communiquer d'une galaxie à l'autre ! Si vous aimez cet épisode, abonnez-vous à la chaîne, partagez, mettez des pouces verts et faites des cookies ! Merci. Nos références de l'épisode (par ordre de citation) : Cyberpunk 2020 (jeu de rôle)- Mike Pondsmith - 1988 Dragon Ball Z (Manga) - Akira Toriyama - 1989 Le Monde de Rocannon (roman) - Ursula K. Le Guin - 1966 La Stratégie Ender (roman) - Orson Scott Card - 1985 Interstellar (Film) - Christopher Nolan - 2014 Rendez-vous avec Rama -(Roman) - Arthur C. Clarke - 1975 Doctor Who (Série) - Sydney Newman et Donald Wilson - 1963 Kingsman (Film) - Matthew Vaughn - 2015 Star Wars (Film) - George Lucas - 1977 Timescape ( roman) - Gregory Benford - 1980 Watchmen (Comics) - Alan Moore - 1986 Babylon 5 (Série télévisée) - Joe Michael Straczynski - 1994

Cinquième épisode du CDF où nous nous intéressons aux poitrines aguichantes des héroïnes et aux torses virils des héros de la science-fiction. Autant de bombes sexuelles répondant aux stéréotypes de la société, et qui pourtant ne présentent aucune libido. Parlons-en autour d'une bonne bière... en compagnie de Carie Fisher, Jennifer Lawrence, Will Smith et Colin Farell Nos références de l'épisode (par ordre de citation) : Star Wars (Film) - George Lucas - 1977 La Caste des Méta-Barons (Bande dessinée) - Alejandro Jodorowsky et Juan Gimenez - 1992 Alien, le huitième passager (Film) - Ridley Scott - 1979 Aliens, le retour (Film) - James Cameron - 1986 Barbarella (Film) - Roger Vadim - 1968 Heavy Metal (Film) - Gerald Poterton - 1981 Barbwire (Film) - David Hogan - 1996 Mass Effect (Jeu vidéo) - Drew Karpyshyn - 2007 Les Créatures de l'esprit (Film) - Hironobu Sakaguchi - 2001 Total Recall (Film) - Paul Verhoeven - 1990 Total Recall (Film Remake) - Len Wiseman - 2012 Je suis une légende (Livre) - Richard Matheson - 1954 Je suis une légende (Film) - Francis Lawrence - 2007 Hunger Games (Livre) - Suzanne Collins - 2008 Hunger Games (Film) - Gary Ross - 2012 Le passeur (Livre) - Lois Lowry - 1993 Le passeur (Film) - Philip Noyce - 2014 Demolition man (Film) - Marco Brambilla - 1993 Doctor Who (Série) - Sydney Newman et Donald Wilson - 1963 L'Incal (bande-dessinée) - Alexandro Jodorowsky et dessinée par Moebius - 1981

Dixième épisode du CDF où nous nous intéressons aux technologies de communication. Dans le futur, pas de smartphone ou de cloud sur Terre pour échanger facilement. Par contre, dans l'espace, aucune difficulté pour communiquer d'une galaxie à l'autre ! Si vous aimez cet épisode, abonnez-vous à la chaîne, partagez, mettez des pouces verts et faites des cookies ! Merci. Nos références de l'épisode (par ordre de citation) : Cyberpunk 2020 (jeu de rôle)- Mike Pondsmith - 1988 Dragon Ball Z (Manga) - Akira Toriyama - 1989 Le Monde de Rocannon (roman) - Ursula K. Le Guin - 1966 La Stratégie Ender (roman) - Orson Scott Card - 1985 Interstellar (Film) - Christopher Nolan - 2014 Rendez-vous avec Rama -(Roman) - Arthur C. Clarke - 1975 Doctor Who (Série) - Sydney Newman et Donald Wilson - 1963 Kingsman (Film) - Matthew Vaughn - 2015 Star Wars (Film) - George Lucas - 1977 Timescape ( roman) - Gregory Benford - 1980 Watchmen (Comics) - Alan Moore - 1986 Babylon 5 (Série télévisée) - Joe Michael Straczynski - 1994

Cinquième épisode du CDF où nous nous intéressons aux poitrines aguichantes des héroïnes et aux torses virils des héros de la science-fiction. Autant de bombes sexuelles répondant aux stéréotypes de la société, et qui pourtant ne présentent aucune libido. Parlons-en autour d'une bonne bière... en compagnie de Carie Fisher, Jennifer Lawrence, Will Smith et Colin Farell Nos références de l'épisode (par ordre de citation) : Star Wars (Film) - George Lucas - 1977 La Caste des Méta-Barons (Bande dessinée) - Alejandro Jodorowsky et Juan Gimenez - 1992 Alien, le huitième passager (Film) - Ridley Scott - 1979 Aliens, le retour (Film) - James Cameron - 1986 Barbarella (Film) - Roger Vadim - 1968 Heavy Metal (Film) - Gerald Poterton - 1981 Barbwire (Film) - David Hogan - 1996 Mass Effect (Jeu vidéo) - Drew Karpyshyn - 2007 Les Créatures de l'esprit (Film) - Hironobu Sakaguchi - 2001 Total Recall (Film) - Paul Verhoeven - 1990 Total Recall (Film Remake) - Len Wiseman - 2012 Je suis une légende (Livre) - Richard Matheson - 1954 Je suis une légende (Film) - Francis Lawrence - 2007 Hunger Games (Livre) - Suzanne Collins - 2008 Hunger Games (Film) - Gary Ross - 2012 Le passeur (Livre) - Lois Lowry - 1993 Le passeur (Film) - Philip Noyce - 2014 Demolition man (Film) - Marco Brambilla - 1993 Doctor Who (Série) - Sydney Newman et Donald Wilson - 1963 L'Incal (bande-dessinée) - Alexandro Jodorowsky et dessinée par Moebius - 1981

Join comedian, TV expert and Doctor Who aficionado Toby Hadoke as he travels through 54 years of Doctor Who on TV, tracking down people involved with every story and presenting these free downloads and podcasts...

It’s been an exciting year for the return of missing material and one of the great ways to see some of this material is to go to the BFI’s Missing Believed Wiped event on the 16th of December! We take time in this episode to preview some of the awesomeness that is going to be shown this year! We talk with two gentlemen who do not need introductions but we will do so anyway: Dick Fiddy TV Historian for the BFI who founded the Missing Believed Wiped event in 1993. We talk about the recent recoveries that will be shown at the event but also what else is going on at the BFI. At the time of publication of this podcast, the BFI is wrapping up its Sydney Newman season and we can a sneak peek at a couple of other events that have yet to be formally announced. We then talk to Ed Stradling. Ed is a freelance Producer who has done extensive work telling the story of DOCTOR WHO through some of its most famous periods through documentaries but in this episode, we talk about his passion for missing British television material. He has been looking through countless hours of domestic recordings. What is he looking for? What is he going to have for us to watch at Missing Believed Wiped! Finally, this podcast has been going for a year! Your host is celebrating this by traveling to the UK and will be at Missing Believed Wiped! If you are going to be there, let me know! I would love to say hi! If you have feedback or questions you would like to have read on the podcast or general inquiries, please contact us at feedback@fromthearchive.co.uk. We would love to hear from you! This podcast is a co-production between From the Archive: A British Television Blog and Kaleidoscope. Thank you for listening.

Celebrating the 100th episode of Next Stop Everywhere, Charles Skaggs and Jesse Jackson discuss An Adventure in Space and Time, the 2013 biographical TV film about the creation of Doctor Who, starring David Bradley as William Hartnell, Jessica Raine as Verity Lambert, Brian Cox as Sydney Newman, Sacha Dhawan as Waris Hussein, and Lesley Manville as Heather Hartnell! Find us here: Twitter: @NextStopSMG @CharlesSkaggs @JesseJacksonDFW Facebook: Facebook.com/NextStopEverywherePodcast/ Email:  NextStopEverywhereSMG@gmail.com  

The Blue Box Podcast - Episode 275: Graeme Burk on Sydney Newman Brought to you every Saturday by Starburst Columnist - JR Southall, Lee Rawlings, Mark Cockram and Simon Brett.

On the forty-ninth episode of Reality Bomb, we have a super-sized episode where we conclude our review of Series 10 with a discussion of the finale and the season as a whole with our intrepid reviewers Lindsey Mayers and Lori Steuart. We're also comparing notes about capital punishment, relationship sadness and tribophysical waveform macro-kinetic extrapolators when Rachel Donner brings Boom Town to the Gallery of the Underrated. Once again, the interviewer becomes the interviewed as Graeme Burk talks with the Coal Hill AV Club Podcast host Andy Hicks about the book about Doctor Who creator Sydney Newman that Graeme worked on, Head of Drama. And Joy Piedmont talks about representation, Bill and the series 10 finale. Plus the return of Listeners Letters with Graeme and Alex Kennard and see the titanic fight to the death of... reasonable fans. Reality Bomb will be celebrating it's 50th episode with a live show in New York in September! It's on Saturday, September 30 at 3 pm at Passage Irish Bar and Kitchen, 40-11 30th Avenue, Queens, New York. Details are on our Facebook page. It's going to be a great time and we hope to see you there!  

Doctor Who creator Sydney Newman profiled by Graeme Burk - He never said “Pop! Pop! Pop!” but Sydney Newman did transform British drama while creating Doctor Who along the way. We check in with Graeme Burk who annotated and supplemented Newman’s memoir, Head of Drama. Also, we celebrate Victor Pemberton’s memory and squee over Jodie Whittaker interviews and David Tennant casting news. Host Chip Sudderth and Alyssa Franke with Graeme Burk.

Matthew Sweet looks at the Canadian influence on British TV drama in the early 1960s, with director Alvin Rakoff, Sydney Newman biographer, Ryan Danes, and Graeme Burk, contributor to the publication of Newman's memoirs. Newman was instrumental in setting up Armchair Theatre, The Avengers and Doctor Who and The Wednesday Play at a time when broadcasting was in an excitingly fluid state. The British-Trinidadian poet Vahni Capildeo on her Forward Prize winning collection Measures of Expatriation and a new Poetry Prize for Second Collections, the Ledbury Forte Prize. Artists Larissa Sanour and Jonathan May discuss the Survival of the Artist as this year's Shubbak, London's festival of Contemporary Arab Culture opens. Presenter: Matthew Sweet Guests: Graeme Burk 'Head of Drama: The Memoir of Sydney Newman' by Sydney Newman (Author), Ted Kotcheff (Foreword, Contributor), Graeme Burk (Contributor) out in September Ryan Danes 'The Man Who Thought Outside the Box: The Life and Times of Doctor Who Creator Sydney Newman' out now Vahni Capildeo 'Measure of Expatriation' out now. The Ledbury Poetry Festival 30th June to 9th July 2017 The Survival of the Artist presented by The Mosaic Rooms, at the British Museum July 2nd, part of Shubbak, London's Festival of Contemporary Arab Culture 1–16 July 2017 .Producer: Jaqueline Smith.

114 days until the 2016 Christmas Special! 19OCT10: [Original shownotes] Within 25 minutes, four episode reviews, a look at that regeneration limit, the world of Sydney Newman and impersonations. Complete value for money. A look at Situation Vacant, Book of Kells, Nevermore and Deimos with Paul McGann and a new assistant.. John -CT Cyber Testicle is a uniquely satirical Doctor Who podcast focused mainly on DW Big Finish audio dramas. As the podcast can no longer be obtained anywhere else, we re-post it now on the MHC feed to preserve the legacy for posterity. Audio presented is the purely untouched original audio file. Stay tuned to this feed for more classic Cyber Testicle to be posted every first of the month. Only 5 remaining! WARNING: Uncut - Unrated - Unrelenting This discussion contains Big Finish, new WHO, and classic SPOILERS pertaining to Doctor Who. If you are 100% spoilerphobic to new & classic episodes not yet seen, do not complain to us. This episode is POLITICALLY INCORRECT & contains EXPLICIT terms and as always expect strokes of innuendo throughout. DISCLAIMER: This Cyber Testicle was originally released October 19, 2010. Due to original date of recording/release, any web links, email addresses, etc. offered may not work. This episode contains some old shout outs to Krynoid Podcast krynoid.libsyn.com and Cultdom Collective Podcast cultdom.com Eighth Doctor Series 4 boxart by Simon Hodges hisi79.deviantart.com COMING SOON: MHC #???   Cyber Testicle   Creator/Host/Producer: John @digspinach Email: branners ~at~ gmail ~dot~com Mostly Harmless Cutaway @DoctorWhoMHC Email: DoctorWhoMHC ~at~ gmail ~dot~com Website: guidetothewhoverse.libsyn.com Patreon: patreon.com/MHC Tumblr: doctorwhomhc.tumblr.com  Facebook: facebook.com/DoctorWhoMHC  CT Theme (secondary) created by E.A. Escamilla

Without parallel, the single most influential and beloved British cult television series this side of Doctor Who was the quirky, often campy take on the 60's spy genre was Sydney Newman's (and later Brian Clemens') Avengers. Starting life at the very dawn of the 1960s as a gritty, nigh-street level crime series (with covert government involvement), Patrick MacNee's iconic British Intelligence man John Steed cycled through a succession of civilian partnerships, moving from a suave yet icily cold blooded black ops type to a far warmer, even goofily campy father figure throughout the series' long run. Join us as we work our way through the Dr. Keel and Venus Smith era to the outstanding Cathy Gale (Honor Blackman) and Emma Peel (Diana Rigg) eras, to the more questionable Tara King (Linda Thorson) and New Avengers (with Gareth Hunt and Joanna Lumley) runs, as we bring a touch of class to our usual espionage... Week 35 Champagne, Bongos and Brolly Sword Canes: John Steed and The Avengers

Well, if it isn't a clash of the podcast worlds! Jeremy Phillips from Cinema Limbo joins Gary and Tilt to discuss Sydney Newman's pre-Doctor Who sci-fi adventure series Pathfinders In Space and its sequels.

In which Daniel and Shana talk about Doctor/Rose Shipping, the nature of the Space Nazi as a villain, similarities between the Daleks and the Doctor, and erotic tension as a Ganatus/Ian/Barbara love triangle forms in "The Daleks." Also: a hypothetical 90s "grunge Doctor" and a (mostly) sincere request for fanfiction. Show Notes: Main topic: Hartnell's "The Daleks" and Eccleston's "Dalek." Is Shana a Doctor/Rose shipper? Eccleston as Shana's favorite Doctor? Hanky-panky in the Tardis? Nine playing the musical instrument in "Dalek." Sexual tension in Series 1 of New Who. Shana plays with her plush Dalek. Daniel is a Bad Fan. Then explains the origin of "Bad Fan." The pacing of the Hartnell era. Shana sings "Homoerotic tension." Spelunking in Terry Nation scripts. The pacing of "The Daleks" and the personalities of the Daleks in "The Daleks." The ultimate evil businessmen. Daniel forgets Sydney Newman's name, but talks a bit about the educational origins of Doctor Who. What might this episode had been without the Dalek design? The arc towards humanity in the Dalek race. Political activism in Doctor Who, particularly in the Verity Lambert and Russell T. Davies eras. The Daleks as Nazi analogues. "Dalek" as a metaphor for Bush/Blair-era warmongering. Shana plays with the plush toy again. Bringing the show thematically to America as a commentary on Americans. A brief mention of RTD-era diversity policies. Van Statten as the man-child capitalist genius. These two episodes as showing the Doctor showing "non-Doctorish" characteristics. Empathy and emotionality in "Dalek." Philosophical questions posed by many Dalek episodes. Daniel isn't a huge fan of the Master. The lasting effects of the Time War on the New Series narrative. The monsters inside of us all, and a Vonnegut reference. The hidden (and perhaps unintentional) humor of "The Daleks." Susan as a useless character, not to the fault of Carole Anne Ford. Fashion victims: The Thals. The amazing richness of "Dalek" and Eccleston's performance. Historically speaking, the way the show changes specifically at the turn of each decade. Matt Smith is "Hipster Who." What would a hypothetical 90s Who have looked like? Imaginary casting decisions. The Doctor Wears Flannel? A request for fanfic. Wrapping up with three excellent quotes from "Dalek." Daniel's Tumblr: danieleharper.tumblr.com Shana's Tumblr: redshana.tumblr.com Daniel's Twitter: @danieleharper Shana's Twitter: @inkyosa

On the fifth edition of Reality Bomb, the host becomes the hunted as Graeme Burk and his co-author Robert Smith? submit to Alex Kennard's questions about their new book, Who's 50: The 50 Doctor Who Stories To Watch Before You Die. Once Graeme gets back the interviewer's chair, we celebrate the 50th anniversary by talking to Taza McDoom, who watched the first episode of Doctor Who in 1963 and Wendy, a young Doctor Who fan. We also talk to Dr. Mary Jane Miller, emeritus professor of media studies at Brock University and author of many books on the history of Canadian television, about the career of Doctor Who co-creator Sydney Newman. And we chat with Felicity Kuzinitz about harrassment and conventions. All this plus a history of the Doctor Who theme you don't want to miss!

Verity Ann Lambert, ( – ) was an and . She is best known as the founding producer of the , a programme which has become a part of British . Lambert was a pioneer woman in ; when she was appointed to Doctor Who in 1963 she was the youngest producer, and only female drama producer, working at the . Lambert began working in television in the 1950s, and continued to work as a producer up until the year she died. After leaving the BBC in 1969, she worked for other television companies, notably and in the 1970s and 80s. She also worked in the film industry, for , and from 1985 ran her own production company, . In addition to Doctor Who, she produced , , , , , , and . The 's website describes Lambert as "one of those producers who can often create a fascinating small screen universe from a slim script and half-a-dozen congenial players." The website of the hails her as "not only one of Britain's leading businesswomen, but possibly the most powerful member of the nation's entertainment industry ... Lambert has served as a symbol of the advances won by women in the media". News of her death came on the 44th anniversary of the first showing of Doctor Who. Contents [] // [] Early career in independent television Lambert was born in , the daughter of a accountant, and educated at . She left Roedean at sixteen and studied at the in for a year, and at a secretarial college in London for eighteen months. She later credited her interest in the structural and characterisational aspects of scriptwriting to an inspirational English teacher. Lambert's first job was typing menus at the Kensington De Vere Hotel, which employed her because she had been to and could speak . In , she entered the television industry as a secretary at 's press office. She was sacked from this job after six months. 's studios at in , where Lambert worked in the late 1950s. Following her dismissal from Granada, Lambert took a job as a typist at . She soon became the secretary to the company's Head of Drama, and then a production secretary working on a programme called State Your Case. She then moved from administration to production, working on drama programming on ABC's popular anthology series . Armchair Theatre was overseen at the time by the company's new Head of Drama, producer . On , while Lambert was working as a production assistant on Armchair Theatre, actor died off-screen just prior to a scene in which he was to appear during a broadcast of the hour-long play "Underground". Lambert had to take control of directing the cameras from the as director hastily worked with the actors during a commercial break to accommodate the loss. In 1961 Lambert left ABC, spending a year working as the personal assistant to television producer at the independent production company in . Returning to England, she rejoined ABC with an ambition to direct, but got stuck as a production assistant, and decided that if she could not find advancement within a year she would abandon television as a career. [] BBC career In December 1962 Sydney Newman left ABC to take up the position of Head of Drama at , and the following year Lambert joined him at the Corporation. Newman had recruited her to produce , a programme he had personally initiated. Conceived by Newman as an educational science-fiction series for children, the programme concerned the adventures of a crotchety old man travelling through space and time with his sometimes unwilling companions in . The show was a risk, and in some quarters not expected to last longer than thirteen weeks. Although Lambert was not Newman's first choice to produce the series — and had both declined the position — the Canadian was very keen to ensure that Lambert took the job after his experience of working with her at ABC. "I think the best thing I ever did on that was to find Verity Lambert," he told in 1993. "I remembered Verity as being bright and, to use the phrase, full of piss and vinegar! She was gutsy and she used to fight and argue with me, even though she was not at a very high level as a production assistant." When Lambert arrived at the BBC in June , she was initially given a more experienced associate producer, , to assist her. Doctor Who debuted on and quickly became a success for the BBC, chiefly on the popularity of the alien creatures known as . Lambert's superior, Head of Serials , had strongly advised against using the script in which the Daleks first appeared, but after the serial's successful airing, he said that Lambert clearly knew the series far better than he did, and he would no longer interfere in her decisions. The success of Doctor Who and the Daleks also garnered press attention for Lambert herself; in 1964, the published a feature on the series focusing on the perceived attractiveness of its young producer: "The operation of the Daleks ... is conducted by a remarkably attractive young woman called Verity Lambert who, at 28, is not only the youngest but the only female drama producer at B.B.C. TV... [T]all, dark and shapely, she became positively forbidding when I suggested that the Daleks might one day take over Dr. Who." Lambert oversaw the first two seasons of the programme, eventually leaving in 1965. "There comes a time when a series need new input," she told Doctor Who Magazine thirty years later. "It's not that I wasn't fond of Doctor Who, I simply felt that the time had come. It had been eighteen very concentrated months, something like seventy shows. I know people do soaps forever now, but I felt Doctor Who needed someone to come in with a different view." In the 2007 Doctor Who episode "", the Doctor (as John Smith) refers to his parents as Sydney and Verity, a tribute to both Newman and Lambert. She moved on to produce another BBC show created by Newman, the swashbuckling action-adventure series (1966–67). The long development period of Adam Adamant delayed its production, and during this delay Newman gave her the initial episodes of a new , , to produce. Further productions for the BBC included a season of the crime drama Detective (1968–69) and a twenty-six-part series of adaptations of the stories of (1969). During this period, Lambert was obscurely referenced in 's 1969 sketch "Buying a Bed," which featured two shop assistants called Mr. Verity and Mr. Lambert, named after her. In 1969 she left the staff of the BBC to join , where she produced (1970–72) and Between the Wars (1973). In 1974, she returned to the BBC on a freelance basis to produce Shoulder to Shoulder, a series of six 75-minute plays about the movement of the early . [] Thames Television and Euston Films in , where several dramas overseen by Lambert, such as , were produced in the 1970s. Later in 1974 Lambert became Head of Drama at , a successor company of her former employers ABC. During her time in this position she oversaw several high-profile and successful contributions to the network, including (1975), (1976–77), (1978–92) and (1978). In 1976 she was also made responsible for overseeing the work of , Thames' subsidiary film production company, at the time best known as the producers of . In 1979 she transferred to Euston full-time as the company's Chief Executive, overseeing productions such as (1979), (1979–94) and (1983). At Thames and Euston, Lambert enjoyed the most sustained period of critical and popular success of her career. The Naked Civil Servant won a (BAFTA) for its star as well as a Award and a prize at the ; Rock Follies won a BAFTA and a Award, while Widows also gained BAFTA nominations and ratings of over 12 million — unusually for a drama serial, it picked up viewers over the course of its six-week run. Minder went on to become the longest-running series produced by Euston Films, surviving for over a decade following Lambert's departure from the company. Television historian Lez Cooke described Lambert's time in control of the drama department at Thames as "an adventurous period for the company, demonstrating that it was not only the BBC that was capable of producing progressive television drama during the 1970s. Lambert wanted Thames to produce drama series 'which were attempting in one way or another to tackle modern problems and life,' an ambition which echoed the philosophy of her mentor Sydney Newman." , the writer of Rock Follies, also later praised the bravery of Lambert's commissioning. "Verity Lambert had just arrived as head of drama at Thames TV and she went for broke," he told newspaper in 2002. "She commissioned a serial, Jennie: Lady Randolph Churchill, for safety, but also Bill Brand, one of the edgiest political dramas ever, and us... Before we had even finished making the first series, Verity commissioned the second." Lambert's association with Thames and Euston Films continued into the 1980s. In 1982, she rejoined the staff of parent company Thames Television as Director of Drama, and was given a seat on the company's . In November 1982 she left Thames, but remained as Chief Executive at Euston until November of the following year, to take up her first post in the industry, as Director of Production for . Her job here was somewhat frustrating as the British film industry was in one of its periodic states of flux, but she did manage to produce some noteworthy features, including the 1986 film . Lambert later expressed some regret on her time in the film industry in a feature for newspaper. "Unfortunately, the person who hired me left, and the person who came in didn't want to produce films and didn't want me. While I managed to make some films I was proud of — 's , and Clockwise with John Cleese — it was terribly tough and not a very happy experience." [] Cinema Verity In late 1985 Lambert left Thorn EMI, frustrated at the lack of success and at restructuring measures being undertaken by the company. She established her own independent production company, . The company's first production was the 1988 feature film , starring and and based on the "" case in . Cinema Verity's first television series, the BBC1 , debuted in 1989 and ran until 1994. The company also produced another successful BBC1 sitcom, , which ran from 1992 to 1994. Lambert executive produced 's hard-hitting drama serial for in 1991, winning critical acclaim and several awards. Lambert's relationship with Bleasdale was not entirely smooth, however — the writer has admitted in subsequent interviews that he "wanted to kill Verity Lambert" after she insisted on the cutting of large portions of his first draft script before production began. However, Bleasdale subsequently admitted that she was right about the majority of the cut material, and when the production was finished he only missed one small scene from those she had demanded be excised. A less successful Cinema Verity production, and the most noted mis-step of Lambert's career, was the soap opera , a co-production with the BBC set in a British community in . At the time it was the most expensive commission the BBC had given out to an independent production company. Launched with a major publicity campaign and running in a high-profile slot three nights a week on BBC1, the series was critically mauled and lasted only a year, from 1992 to 1993. Lambert's biography at Screenonline suggests some reasons for this failure: "With on-location production facilities and an evident striving for a genuinely contemporary flavour, Lambert's costly Euro soap Eldorado suggested a degree of ambition ... which it seemed in the event ill-equipped to realise, and a potentially interesting subject tailed off into implausible melodrama. Eldorado's plotting ... was disappointingly ponderous. As a result, the expatriate community in southern Spain theme and milieu was exploited rather than explored." Other reviewers, even the best part of a decade after the programme's cancellation, were much harsher, with Rupert Smith's comments in in 2002 being a typical example. "A £10 million farce that left the BBC with egg all over its entire body and put an awful lot members back on the dole... it will always be remembered as the most expensive flop of all time." In the early 1990s, Lambert attempted to win the rights to produce Doctor Who independently for the BBC; however, this effort was unsuccessful because the Corporation was already in negotiations with producer in the . Cinema Verity projects that did reach production included (BBC1, 1991) and (BBC One, 2001), the latter co-produced by actress , whose idea it was to adapt the novels by . Lambert continued to work as a freelance producer outside of her own company. She produced the popular BBC One comedy-drama series , by writer , ever since taking over the role for its second series in 1998. From then until 2004 she produced eighteen episodes of the programme across four short seasons, plus two Christmas Specials. She and Renwick also collaborated on another comedy-drama, , starring and transmitted on BBC One in the autumn of 2005. In 1973, Lambert married television director Colin Bucksey (a man ten years her junior), but the marriage collapsed in 1984, and they divorced in 1987. She had no children, once telling an interviewer, "I can't stand babies — no, I love babies as long as their parents take them away." In 2000 two of her productions, Doctor Who and The Naked Civil Servant, finished third and fourth respectively in a poll of the of the . In the 2002 Lambert was appointed an (OBE) for her services to film and television production, and the same year she received BAFTA's Award for Outstanding Contribution to Television. She died of cancer five days before her 72nd birthday. She was due to have been presented with a lifetime achievement award at the Women in Film and Television Awards the following month.