Only The BBC say The Moff

Doctor Who’s lead writer and executive producer has added his voice to a growing chorus defending the BBC at the Edinburgh international television festival. Speaking after a screening of The Magician’s Apprentice, the opening episode of the ninth series, Steven Moffat insisted that only the BBC could have commissioned something as idiosyncratic as the long-running show, which celebrated its 50th anniversary two years ago.

“It’s fair to say that there’s only one broadcaster in the whole world that would have come up with and transmitted as good an idea as Doctor Who,” he said, offering a mock version of what a contemporary pitch for the Who might sound like. “‘What’s the spaceship going to look like?’ ‘You’re going to love this’ ‘Is he going to be a young dashing hero?’ ‘Sometimes.’” (Guardian)

I would have to disagree with The Moff on this one.

First off, the “creator” of the show as a Canadian. He was also a rebel inside a very stuffy, old guard BBC. The one that did basically plays on TV.

He shook them up. That was why he was hired away from ITV, that had been kicking the BBC’s ass rating wise for years.

Sydney Newman then hired the very first Female Producer in BBC history, who went on to be a legend in British television.

So, from what I know of the BBC in the early 60s, no The BBC would not have thought of it. But someone from outside their little box could.

It is well known that Doctor Who was NOT the BBC’s favorite during it’s initial run, even though it ran 26 years. It was not well regarded by the higher ups in the BBC, but the profitability of the show kept it around until the BBC could manage to kill it.

So, sorry Stephen I disagree with you. The BBC itself at the time was not capable of inventing this show.

The outsiders, the rebels, the revolutionaries had to create this show.

Then they had to fight to keep it on the air for 26 years.

And only Doctor Who fans, in control of The BBC, brought it back.

The Venerable old Auntie Beeb may be a great British institution that will have to change with the times and that is more likely the source of the anxiety and the defensiveness rather than the claim made by Mr. Moffat.

Change, my dear… :)

The Fifth(ish) Doctor

Peter Davison as The Doctor (Credit: BBC)

Peter Davison is writing his autobiography, which is currently titled The Fifth(ish) Doctor and will be published in April 2016. The book will feature a foreword by his son-in-law and former Doctor, David Tennant.

Davison is only the third Doctor actor to write an autobiography. Jon Pertwee wrote two autobiographies; 1984’s Moon Boots and Dinner Suits (republished in 2013) and I am the Doctor in 1996, the year of his death. Tom Baker came out with Who on Earth is Tom Baker? in 1997, though he didn’t mention much of Doctor Who. While not autobiographies, Colin Baker released two books; Look Who’s Talking (2010) and Second Thoughts (2011) which were compilations of the columns he wrote for Bucks Free Press.

The Fifth(ish) Doctor
Written by Peter Davison, with Andrew Merriman
Foreword by David Tennant
Published on 7th April 2016 (available for pre-order)

‘Peter? It’s John Nathan Turner here. How would you like to be the next Doctor Who…’

After receiving this life-changing phone call in March 1980, actor Peter Davison would go on play the Doctor in the hit BBC series from 1981–84, fighting Daleks, Cybermen and the Master. Now, for the first time, Davison reveals what it was really like to take on this role of a lifetime.

Davison also talks exclusively about this childhood and personal life, as well as describing his work on shows such as All Creatures Great and Small, The Hitchhiker’s Guide to the Galaxy, Miranda, Sherlock and Law and Order UK.

An 8 page colour plate section will feature images of Davison in his most famous roles, including the Doctor, as well as photographs from his personal collection which have never been published before.

Peter Davison is one of Britain’s best-known actors, having starred in All Creatures Great and Small, Doctor Who, Miranda, New Tricks, Lewis and Law and Order UK. Peter also enjoys a successful career in the theatre, starring in Arsenic and Old Lace, Legally Blonde, Spamalot and Gypsy. He lives in London.

Format: Hardback, 304 Pages
ISBN: 9781781315163
Illustrations: 8 Page colour plate section
Size: 9.213 in x 6.024 in / 234 mm x 153 mm
Published: Apr. 7, 2016


This Q&A was held by the administrators and members of the Doctor Who Missing Episodes Discussion Group on Facebook. Sue Malden is considered a legend of Doctor Who history. She became the first Television Archive Selector at the BBC in the late 1970’s and was responsible for putting an end to the junkings and wipings of Doctor Who (and other programms) tapes. Without her the BBC archive today would hold even less 60’s and 70’s Doctor Who episodes.

Joe Crammond, Andrew O’Donnell & Calum Corral: What do you believe was your most important rescue for the archives, the recovery you are most proud of, for a) Doctor Who b) general TV? And if you could have saved a single missing episode of Doctor Who, which would it have been?

Sue: I think that just finding any missing Dr Who episode was a tremendous achievement. With regard to other tv programms – the missing Dads Army finds were great and have been shown by the BBC so many times.

Carl Strehlow: What were your impressions on Philip Morris finding most of The Web of Fear and Enemy of the World? And do you think of ‘what if’ we went to went to search physically in the first place we could have at least had those episodes back and possibly others?

Sue: Phil’s achievements are amazing – a tribute to his determination and tenacity . I agree if we had been able to visit foreign archives in person all that time ago we might have found these and others earlier, but we relied on letter contact with people in these other archives

Grant Wheelwright: What does Sue think happened to Tenth Planet 4 and Daleks Master Plan 4 after their visits to Blue Peter for clip usage?

Sue: This is a mystery I could not get to the bottom of. I am checking details again now
(Note: Sue originally provided the above answer with her partial response. She provided the follow-up answer below at a later point)
Sue: There was a loan record set up for the Master Plan episode it was sent to the BP film editor in October 1973 and it was logged that the print never came back to the Library. The Tenth Planet episode was not originally logged on Infax/FLOL which implies that it was accessed from Enterprises at Villiers House, as with certain other clips that survive from missing episodes of Doctor Who.

Ian Ferrier: Apart from Doctor Who which is your most wanted missing TV show you would like to see recovered?

Sue: Bob Dylan appeared in a play called MadHouse on Castle Street, transmitted in 1963

Mark Backwell: When did you realise just how much material was missing, and were you shocked by the amount or had you expected to find so much missing?

Sue: When I first began working in the BBC library like many others, I presumed that everything that had been broadcast had been put away safely on their shelves. I became the Archive Selector in 1978 against a background of the Asa Briggs report into the BBC Archives and it was then that I realised that not everything had been kept and I was most shocked and needed to find out why programmes had not been kept in the archives. This is when I learned about live transmission, technology issues, re-use value of videotape, contributor rights issues – all of which led to tapes not surviving.

Justin Watson: Many Dr Who fans demonise Pamela Nash for the destruction of overseas duplicates. Given that she he had ordered the creation of many of the film negatives in the first place (without which we may not have many of the episodes now) and that it wasn’t her role to keep backups – they were just overseas prints and the BBC’s attitude then was that TV was ephemeral – 
Do you have a view of Pam Nash’s role back then? Is it right that she should be vilified, or do you think that the situation was more complicated than that?

Sue: I think it quite wrong to vilify Pam Nash. Justin, you are quite right. Her job in BBC Enterprises was to (among other things) organise the copying and distribution of BBC productions for BBC Enterprises clients. As I understand it this involves arranging for duplicating masters from the original BBC masters to be made solely for Enterprises use – to copy from, thus saving wear on the original BBC master . Sometimes this would be a film recording from a 2” tape copy (and sometimes a black and white copy of a colour original). Pam was not aware of what the BBC subsequently chose to do with its masters. She was fulfilling her role meeting Enterprises requirements. Even then the BBC was not a “joined up“ organisation!
As you say – the fact that this BBC Enterprises activity was in operation parallel to the main BBC functions of production and transmission does at least mean that additional copies of programmes were being made and distributed to many countries, which has meant that the chances of at least one copy of a programmes were increased (to later be found).
I found that once Pam understood what had been happening to BBC master tapes she was helpful to our quest, but very clear that she was not responsible for the BBC wipings.

Paul Mitchell: Hi Sue, how are you? Thanks for all your hard work over the years trying to recover Doctor Who, Z Cars and many other programmes. Are you still involved in trying to recover missing episodes?

Sue: Hi Paul, many thanks. I am not directly involved these days, but do like to help out where and when I can.

Brad Phipps: Thanks for the Q&A, Sue. My question is how much of a process was it back in the 1970’s to realise there had been a mistake in junking the BBC’s archive? Was there apprehension from other departments to abort junking in favour of retaining the status quo (i.e. continuing to junk)? What was the reaction (if any) of the unions when the BBC began retaining material for potential domestic sales?

Sue: The Asa Briggs report on BBC archives in 1978/9 was crucial in highlighting the need to review and bring consistency to the BBC’s retention activities. This report, among other things, recommended the creation of the post of an Archive Selector. When I first began it was so helpful to have this report to refer to if I met any resistance from production managers!

Nigel Peever: Video recorders have been around for decades. When did staff at the BBC first think as a germ of an idea, “in the future people will have these things in their homes and they might want to access these old programmes”? Or did it just suddenly dawn on them just before the Revenge of the Cybermen release?

Sue: I do not know when home video sales first appeared, but I would presume as soon as Enterprises (now Wordwide) became aware of the commercial opportunity. But until then there were no domestic video rights negotiated or paid to the contributors so the back catalogue would need to be re-cleared – another commercial decision. Going forward when a programme was made Enterprises would have to express an interest in it, so that the appropriate rights could be negociated with all the contributors. Eventually these rights were written into most BBC contracts.

Christopher Springate: When you started checking the archive for Doctor Who, were there any records of non-theatrical sales (generally donated to areas like the armed forces etc. ) or was there nothing like that? I believe there were index cards for each DW story held by what is now BBC Worldwide.

Sue: I never found any formal records of non commercial distribution. There were certainly index cards for Enterprises (now Worldwide) holdings and distribution

Stuart Halliday: Was it true, Sue, that the directors or producers of a programme had to sign a form saying that there was no merit in keeping a story on tape? If they said no, it was junked?

Sue: It was certainly a production decision to wipe or keep and I think the wiping sheets may have been signed by the department managers, but I don’t think every individual tape was signed away!

John Fulbrook: Beyond broadcasters, is there a possibility other organisations such as government departments obtaining episodes from the 60’s?

Sue: The BFI did; government overseas departements did, but I don’t know on what basis and we did try to get programmes back from remote places such as the Ascension Islands.

William Frame: This is broader than Doctor Who. I hope that’s alright. We’re told the BBC, and I assume other broadcasters, couldn’t keep everything. So was there a specific set of rooms or a building designated for this. Was it running some sort of system where new programs went in one end and the oldest programs went out the other to the skip to make space? I’m making it sound very simplistic, I’m sure it must have been much more complex. Thank you for giving some of your time to answer questions.

Sue: In the early days the VT programme tapes were managed by VT Engineering on behalf of the Production departments who would decide which of their tapes they wanted to retain depending on the significance of their content, the copyright and contractual arrangements for that programme and repeat or sale potential. In the late 1970’s the library became responsible for this store and when I was appointed I could override the production decisions to wipe – using the BBC’s section criteria thus taking a wider view of the value of the programme.

Dave Wood: Not limited to Dr Who, but can Sue tell us what to do if fans stumble across BBC material at boot-sales, junk shops etc? I live quite close to London and I often see material that may or may not be of interest, usually on old video formats, or reel-to-reel audio tapes. Is there any value in this material and should we try and get it all back, or are they just junk copies on obsolete formats that have been thrown out by the corporation on purpose as they switch to digital formats? Also what is a fair price for us to pay and would we be reimbursed for expenses by the BBC/BFI if we have to pay out on material that might be of interest to the corporations, but might not be of any immediate interest to us as individuals? I’d be fascinated to have some advice and guidance.

Sue: It is always worth following up on any old tv or radio recordings you come across. Dick Fiddy who organises “Missing Believed Wiped” at the BFI is the best person to contact. In general it is not likely that VHS are worth collecting because the broadcast master probably has been retained. Most interesting would be film recordings and 2 and 1 inch videotapes. All BBC material that is not required was supposed to be wiped first, recycled or sent for landfill, but I know things slipped through this process!
I cannot advise on a fair price to pay or whether it would be reimbursed by the rights owners – but I would hope so. Dick is the best person to check with, especially if possible before buying. I realise this is not so easy at a boot sale.

Simon Luckin & Steve Traves: Were there any countries or types of countries that were difficult to get a response from when asking for old material to be returned? For example, countries like Ethiopia, when it was under a dictatorship, and we know that some Dr Who was sold to Iran. It’s obviously rather a difficult place to approach. Do you know if they have been contacted again since the classic “Who in the name of Allah are you talking about” response many years ago?

Sue: I think almost everywhere I contacted responded, mainly because I was contacting people in the libraries. I cannot remember any rejects. Whether they all looked in the relevant stores is another matter. I do not recollect the quote, but certainly an archivist in Iran TV was most helpful some years ago

James A Murray: Do you think there are any more missing episodes out there ?

Sue: Never say never!!! I think it is possible that more will be found – but who knows where!!

Admins: I’d like to ask Sue to tell us a little about her career leading up to becoming the BBC Archive Selector? Also, I’m interested in hearing about what she’s been up to since leaving the BBC.

Sue: I did a degree in Economics, specialising in Economic history. My first job after leaving college was for about a year in the library of Birkbeck College London. I enjoyed library work, so I decided to persue this as a career and left Birkbeck to undertake a post grad diploma in Information Management at the Library School of the Polytechnic of North London. This ran for a year from January to December. Whilst I was there the BBC Film library advertised for student holiday relief work and I was a successful applicant. I returned to work there in December when I qualified – as an assistant librarian. I worked in all areas of the library, including intake. In 1975 I was sent to Lime Grove to work as librarian/researcher for the current affairs programme “Midweek”. The position of first Television Archive Selector was advertised in 1978 and I applied.
I went on to work on the BBC’s 50th anniversary celebration, became Assistant head of the Film Library. Following management reorganisation I became head of BBC TV Broadcast Archives covering News, Photos, Music, Grams and later Radio archives. For a short period I was Head of Marketing for BBC Information and Archives. I was Corporate Affairs Manager when I left in 2001. Since then I have been a freelance film researcher working mainly on current affairs productions, but also on the History of Ealing Studios and the Great War repeat. I have worked in a range of countries in the Middle East and Caribbean as a management consultant and training in archive work and research. I am currently chair of FOCAL International and also chair of the media Archive of Central England (MACE).

Anthony Wood: Hi Sue. It’s 2015 now, looking back when you started cataloguing and preserving Doctor Who back in the late 1970`s, could you have possible envisaged how your work has brought joy and delight to the legion of Doctor Who fans all over the world with the releases on VHS then DVD, and do you receive much fan mail these days?

Sue: I had no idea what I was taking on when I began investigating Dr Who episodes. I just chose what I thought was an iconic, significant long-running series to investigate, in order to learn about what had happened to programmes in the past. I do not get any fan mail these days!

Stephen Day Freestone: How easy was access to the archives in the 1960’s and 1970’s – could items have been removed by any producers, editors and simply not returned?

Sue: In the early 1960’s the library was based in Ealing studios so it is possible that “physical ” access was easier than when the archive moved to the Brentford site but I don’t know. Anyone working for the BBC with a legitimate production number could borrow from the library – it was unusual to loan a negative or master copy unless to the editor or the labs for transmission. There was also an overdue chasing process to get items back – but not always successfully. In fact the copy lent for the 1973 special did not return, but there was a master in the archive

Matt Fitch: Were copies of programs ever made for persons such as the Royal Family or celebrities to view at their leisure?

Sue: Hi Matt, copies of BBC programmes were made for contributors and others, but I do not know if Dr Who was ever copied for them.

Doctor Who News would like to thank the admins and members of the Doctor Who Missing Episodes Discussion Group on Facebook for providing us with the Q&A. Sue has also very kindly agreed to take some follow up questions. If anybody has some you will have one week to post any such questions in a thread on the Facebook group.


Wanna little looksee at the Doctor Who Series Nine Prequel? Well alright then….
(from UK site Warped Factor)

We’ve known for some time that there will be a prequel minisode for Doctor Who series nine. BBC America broke the news that it would air alongside the US 3D cinema screenings of Dark Water / Death In Heaven, and that it would be called The Doctor’s Meditation. But what it would be about and who it would feature had been a mystery.

Until now.

A couple of images have been released confirming that Peter Capaldi is at least included. Above you can see him with Daniel Hoffmann-Gill, who plays the character Bors in the series nine opening episodes The Magician’s Apprentice / The Witch’s Familiar.

Interestingly the chalice that the Twelfth Doctor is holding seems to be the exact same one that the Sisterhood of Karn presented to Paul McGann’s Eighth Doctor, and which he subsequently drank from, in The Night of the Doctor! See…

What do you think?

Anyway, I said we have a couple of images from The Doctor’s Meditation and we do. Below we can see the Twelfth Doctor leading Bors and the rest of the newly assembled Time Team crew on a dig for archaeological wonders.

Possibly. Maybe. Probably not.

(Quick aside for our American cousins:
Yes, you’re right. Us Brits do all still live in castles just like that.)

The Doctor’s Meditation will air on September 15th and 16th in US Cinemas, and we have to suspect that it will also hit the internet at the same time.]

The Participating Theatres in Phoenix Metro Area are:
AMC- The Arizona Center
AMC Ahwautukee 24

Cinemark 16 Mesa
The Mesa Grande 14 Mesa
Westgate 20 Glendale
Surprise Pointe 14 in Surprise
Arrowhead Towne Centre Glendale/Peoria


Doctor Who Symphonic Spectacular 2014

The two Doctor Who Symphonic Spectacular shows set for New York have been cancelled.

The shows were scheduled for 7 October 2015 at Barclays Center in New York and were to be hosted by Michelle Gomez.

An email was sent to ticket holders with the following message:

Vision Nine regrets to announce that the two Doctor Who Symphonic Spectacular shows scheduled for October 7 at Barclays Center have been cancelled.

All Ticketmaster online and phone orders will automatically be refunded. Remaining refunds will be available at point of purchase.

We apologize for any inconvenience and hope to see you at a future event at Barclays Center.

A message on the Barclays Center website states: “there are no plans to reschedule them at this time.”

I guess, selfishly, I’m glad I went to the performance at Wembly now. :)

Hugo Escapes our Grasp

Doctor Who has lost out in the 2015 Hugo awards.

The 2014 episode Listen, written by Steven Moffat and directed by Douglas Mackinnon was nominated in the Best Dramatic Presentation, Short Form category. The episode came second, behind the Canadian science fiction television series Orphan Black. Last year’s winner Game of Thrones came third.

Best Dramatic Presentation, Short Form

  • Winner – Orphan Black: “By Means Which Have Never Yet Been Tried”, ” written by Graham Manson, directed by John Fawcett (Temple Street Productions, Space/BBC America)
  • Doctor Who: “Listen”, written by Steven Moffat, directed by Douglas Mackinnon (BBC Television)
  • Game of Thrones: “The Mountain and the Viper”, written by David Benioff & D. B. Weiss, directed by Alex Graves ((HBO Entertainment in association with Bighead, Littlehead; Television 360; Startling Television and Generator Productions)
  • The Flash: “Pilot”, teleplay by Andrew Kreisberg & Geoff Johns, story by Greg Berlanti, Andrew Kreisberg & Geoff Johns, directed by David Nutter (The CW) (Berlanti Productions, DC Entertainment, Warner Bros. Television)
  • Grimm: “Once We Were Gods”, written by Alan DiFiore, directed by Steven DePaul (NBC) (GK Productions, Hazy Mills Productions, Universal TV)

The results were announced at the 73rd World Science Fiction Convention, held at Spokane in Washington State.

I watched the pilot of that show, but it just didn’t grab me and a show, especially these days, has to grab you right away of else you’ll have to binge watch years later to catch up.

I watched The Flash pilot and I wasn’t grabbed then either.

But when the Wirrn fell out of the closet at the beginning of Episode 2 of “The Ark in Space” I was grabbed like no other since. :)

People and TV are fickle like that…


Yesterday was the 50th Anniversary of “Dr. Who & The Daleks” the big screen adaptation that saw Peter Cushing as “Dr. Who”.

It was significant because in a Black & White TV world, you had Daleks in glorious color!

The Whouniverse was also introduced to Bernard Cribbins who 40+ years later would come to be Donna’s granddad Wilf Mott.

So, time permitting :), pop it in and enjoy the colorful side of 60’s WHO, even if it’s not canon. :)

Dr Who and the Daleks (Credit: Deborah Taylor)

Photo Show


Magician of Time

“You must never trust the Doctor, because his knowledge of the past and the future is comprehensive and deep and not quite human. So, in his human form, I think he’s decided – because he knows how dark it can get outside – that he’s going to have a good time. But as always in Doctor Who, no good time goes unpunished.”–Peter Capaldi

Really, you wanna trust a guy who has a near comprehensive view of the universe, he can see many alternates too. So it does bring up the question of does The Doctor know your fate before you do? And if he does, why does he travel with you anyhow??

Did he know Rose’s fate beforehand? And if so why was he so broken up by it. Did he know she’d go on to Torchwood with her alternate universe father?

Did he know Osgood was coming back??

For the drama to unfold for us humans, he can’t. If we knew everything in advance this would be a boring procedural and not a fantasy science fiction family show.

We can’t know everything ahead of time. We have to go on the journey with him and his companion.

We can’t see it coming. But does he?

I think there are limitations to his power, otherwise if he knew everything already then he wouldn’t be the child-like wanderer and adventure thrill-seeker that he is.

The discovery is the thing. The thrill is the thing. Just like it is for us humans when a new episode comes out.

If knowledge was that comprehensive, it wouldn’t be fun. Spoilers! :)

A example that I can think of is from the 1980’s Arcade culture.

“Dragon’s Lair” was the first laser disc based arcade game ever. It had a story. It had moves that had to be discovered and done in a specific order and with lighting fast timing.

But once you amazed the emassed crowds with your prowise, and after days of hard work, where you’ve mastered the game from beginning to end it gets boring. Now you’re just showing off, which The Doctor does frequently.

I, like many masters of that game, wanted to rescue the Dragon and not the Princess because she was such a diva. But we couldn’t. The game was not programmed for that. It was a very linear game in that way and in the end not very satisfying.

So the universe and time are time wimey so it makes it more fun to break the rules and have some fun and discover new things while impressing the crowd (aka the Companion, UNIT,etc).

But you don’t know everything. He’s got an amazing Universal Britannica knowledge of most things though.

So I like the sentiment expressed by Mr. Capaldi, I’m just not sure “comprehensive” is the right word.

It can’t be, or it would be no fun for him and as a boy and a 2,000 year old Time Lord he wouldn’t be constantly running around the universe begging for something interesting to happen if his knowledge was THAT comprehensive.

The capacity to be surprise is crucial to The Doctor, and just as crucial to the Fan.

Without it, why bother. It may be fun to revisit it, but if you knew ahead of time that MIssy was The Master would that ruin it for you and then The Doctor who have to feign surprise and that’s not very dramatic or fun.

He’s a Magician of Time :) but he’s not all powerful or all comprehensive.

“The Doctor and Clara are excited about the idea of having adventures this series, but that’s a dangerous thing to do. They can’t have a good time for too long. They have to pay for it. The Doctor has a profound knowledge of the past and future and he knows how things will come off in the end.”–  Peter Capaldi

“He is aware darkness will fall.”

Let’s hope it’s darkness and not silence…:)

Merry Christmas!

Nothing says “party” like terrifying predatory aliens that want to pluck you out of your timeline and banish you into an alternate era while feeding off the potential energy from your lost lifetime.

The Weeping Angels are one of the most frightening “Doctor Who” villains ever created, much scarier than the green blobby creature that threatened Tom Baker in “The Horror of Fang Rock” in 1977.

Celebrate the fear and pervasive sense of statue paranoia with a set of Weeping Angel string lights available through ThinkGeek for $24.99 (about £16, AU$34).

Series 9 News

The Episode for Series 9 as they stand now:

In Theaters Sept 15-16th: “The Doctor’s Meditation”

1       “The Magician’s Apprentice”
2     “The Witch’s Familiar”
3     TBA
4     TBA
5     “The Girl Who Died
6     “The Woman Who Lived”
7     “Invasion of the Zygons”
8     “Inversion of the Zygons”
9     TBA
10     TBA
11     TBA
12     TBA


A ‘found footage’ episode

Written by Mark Gatiss, and starring his fellow League of Gentlemen alumni Reece Shearsmith, episode nine will take on the ‘found footage’ format of The Blair Witch Project and Paranormal Activity.

Exec Producer Brian Minchin hinted that even the famous Doctor Who title sequence may be dropped for the story.


The Zygons will star in their own two-parter (Picture: BBC)

Described as a ‘sequel’ to the 50th anniversary special “The Day of the Doctor”, where Zygons had infiltrated the Earth, this two-part adventure is an invasion on a global scale and sees rogue Zygons take on agenda of their own.

Chatting about filming, Capaldi revealed that one scene will feature a chase in a supermarket where a Zygon will hide among pizzas.

Peter also revealed that this story, titled Invasion of the Zygons and Inversion of the Zygons, will be ‘very urban, handheldy and modern,’ adding it’s ‘quite dark’.

The actor also promises it will reflect current events with ‘fundamentalist arguments’.

I am fundamentally against Political Correctness.



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