"This is the first academic study of the science fiction television devised and written by Terry Nation, who wrote Dalek stories and other serials for Doctor Who, and created the BBC's 1970s post-apocalyptic space adventure series Blake's 7".--Back cover.

A “splendidly entertaining” biography of the British tv writer acclaimed for his invention of a fictional alien race for Doctor Who (Dominic Sandrook, author of State of Emergency—The Way We Were: Britain 1970–1974). The Daleks are one of the most iconic and fearsome creations in television history. Since their first appearance in 1963, they have simultaneously fascinated and terrified generations of children, their instant success ensuring, and sometimes eclipsing, that of Doctor Who. They sprang from the imagination of Terry Nation, a failed stand-up comic who became one of the most prolific writers for television that Britain ever produced. Survivors, his vision of a post-apocalyptic England, so haunted audiences in the Seventies that the BBC revived it over thirty years on, and Blake’s 7, constantly rumored for return, endures as a cult sci-fi classic. But it is for his genocidal pepperpots that Nation is most often remembered, and now, more than 50 years after their creation they continue to top the Saturday-night ratings. Yet while the Daleks brought him notoriety and riches, Nation played a much wider role in British broadcasting’s golden age. He wrote for Spike Milligan, Frankie Howerd and an increasingly troubled Tony Hancock, and as one of the key figures behind the adventure series of the Sixties—including The Avengers, The Saint and The Persuaders!—he turned the pulp classics of his boyhood into a major British export. In The Man Who Invented the Daleks, acclaimed cultural historian Alwyn W. Turner, explores the curious and contested origins of Doctor Who’s greatest villains, and sheds light on a strange world of ambitious young writers, producers and performers without whom British culture today would look very different.

The end of the world may be upon us, but it certainly is taking its sweet time playing out. The walkers on The Walking Dead have been "walking" for nearly a decade. There are now dozens of apocalyptic television shows and we use the "end times" to describe everything from domestic politics and international conflict, to the weather and our views of the future. This collection of new essays asks what it means to live in a world inundated with representations of the apocalypse. Focusing on such series as The Walking Dead, The Strain, Battlestar Galactica, Doomsday Preppers, Westworld, The Handmaid's Tale, they explore how the serialization of the end of the world allows for a closer examination of the disintegration of humanity--while it happens. Do these shows prepare us for what is to come? Do they spur us to action? Might they even be causing the apocalypse?

The quirky British television series Doctor Who is a classic both of science fiction and television drama. First broadcast in 1963, it has remained an influential TV presence ever since, with an eagerly anticipated new series airing in 2005. As a vehicle for satire, social commentary, or sheer fantasy adventure, Doctor Who is unparalleled. It was a show created for children, but it was immediately usurped by adults. Arriving at a time of upheaval in the popular arts in Britain, Doctor Who was born into a television tradition influenced by the TV plays of Dennis Potter, the cult television drama The Prisoner, the James Bond films and Stanley Kubrick's science fiction triptych — Dr Strangelove, 2001: A Space Odyssey and A Clockwork Orange. A British fantasy adventure that has unfolded across television screens over decades in the tradition of Lewis Carroll, Conan Doyle and HG Wells, the strength of Doctor Who has always been its writers and the ideas they nurtured. In this new history of the show, Andrew Cartmel (who was the script editor on Doctor Who from 1987 to 1990) looks into its social and cultural impact - providing a fascinating read for committed and casual fans alike.

The subjects of this book constitute a significant cross section of BBC science fiction television. With such characters as the Doctor (an enigmatic time-traveling alien), Kerr Avon (a problematic rebel leader), Dave Lister (a slovenly last surviving human) and Captain Jack Harkness (a complex omnisexual immortal), these shows have both challenged and reinforced viewer expectations about the small-screen masculine hero. This book explores the construction of gendered heroic identity in the series from both production and fan perspectives. The paradoxical relationships between the producers, writers and fans of the four series are discussed. Fan fiction, criticism and videos are examined that both celebrate and criticize BBC science fiction heroes and villains.

This collection of fresh essays addresses a broad range of topics in the BBC science fiction television series Doctor Who, both old (1963-1989) and new (2005-present). The book begins with the fan: There are essays on how the show is viewed and identified with, fan interactions with each other, reactions to changes, the wilderness years when it wasn't in production. Essays then look at the ways in which the stories are told (e.g., their timeliness, their use of time travel as a device, etc.). After discussing the stories and devices and themes, the essays turn to looking at the Doctor's female companions and how they evolve, are used, and changed by their journey with the Doctor.

Almost everything about the good doctor, his companions and travels, his enemies and friends. Additionally the actors etc. Part three contains all summaries of all TV episodes.Compiled from Wikipedia pages and published by Dr Googelberg.

Reveals how Doctor Who is at its strongest when it reflects the political and cultural concerns of a mass British audience (as in the 1960s, 1970s and 21st century), and at its weakest when catering to a narrow, fan-based audience (as in the 1980s). Chapters range from discussions of the cultural and political relevance of Doctor Who monsters like the Daleks and the Cybermen, through to the show's treatment of themes like energy and the environment in the 1970s.