Advertise on podcast: Kasterborous Classic TV: Exploring Doctor Who & Classic Sci-Fi

Russell T Davies has been reflecting on Doctor Who's partnership with Disney+, raising questions about whether the programme was ever a natural fit for the streaming platform. But while Doctor Who's international future remains uncertain, the BBC is preparing something rather different: TARDIS Crew, a new animated series for CBeebies aimed at introducing younger children to the Doctor's adventures. Could the key to Doctor Who's survival be attracting a new generation of British children rather than chasing an international streaming audience? In this edition of Kasterborous, Christian Cawley and James McLean explore three connected aspects of Doctor Who's past, present and future. We begin with Russell T Davies' forthcoming memoir, The Queerest of Folk, and his reflections on the Disney+ partnership. Was Doctor Who's problem the programme itself, or the platform on which it was being presented? The conversation then turns to some intriguing Doctor Who projects that never reached television, including abandoned Series 3 story ideas and discussions of the franchise's various spin-offs. It's a reminder that Doctor Who's history is full of alternative directions, unrealised ideas and opportunities that might have changed the programme considerably. Finally, attention turns to TARDIS Crew. With 52 short episodes planned for CBeebies, the animated series represents a very different approach to expanding the Doctor Who universe. James argues that introducing children to Doctor Who could be one of the smartest decisions the BBC has made for the franchise in years. Christian is less certain, questioning the role of merchandising and whether the cartoon will succeed in an increasingly competitive children's television market. The discussion also takes in In the Night Garden, Bluey, Hey Duggee and the enduring appeal of classic children's television. Join the conversation What do you think? Was Disney+ ever the right home for Doctor Who? Are there abandoned stories you'd still like to see produced? And could TARDIS Crew introduce enough new viewers to secure the programme's future? We'd love to hear your thoughts. Kasterborous is presented by Christian Cawley and James McLean, discussing Doctor Who, classic television, science fiction and popular culture. Visit Kasterborous.co.uk for more, subscribe to the podcast, and find us on YouTube and Patreon.

Who will make Doctor Who next? And after the Disney+ experiment, could the programme be heading for its biggest reinvention since 2005? In this edition of Kasterborous, Christian Cawley and James McLean discuss the uncertain future of Doctor Who, from the BBC's search for a new production company to the controversy surrounding AI-generated Doctor Who. We start with the BBC's search for a new production partner. With Jed Mercurio, World Productions, ITV Studios and STV Studios among the names being discussed, Christian and James consider what a change of production company could mean for the series. Could Doctor Who move to Scotland? Would a smaller, more character-driven approach work better? And does the programme need to rediscover what made it successful in the first place? Then, we move onto the AI comments from new BBC Director-General Matt Britton. They've led to concerns within the organization and beyond about the implications for actors, writers and the wider television industry. Is artificial intelligence a useful creative tool, or does it threaten the very people who make television worth watching? In this episode Jed Mercurio and the companies interested in producing the next era. The possibility of ITV Studios or STV Studios taking over production. Whether Doctor Who needs a new creative direction as well as a new production company. The controversy surrounding AI-generated television and the BBC's response. Join the conversation! Who would you like to see producing Doctor Who? Should the programme embrace a completely new direction, or return to the approach that made it successful? Share your thoughts with us! Leave a comment, or email [email protected] Kasterborous is presented by Christian Cawley and James McLean, bringing you conversations about Doctor Who, science fiction, classic television and popular culture. This edition was released with additional materal for our Patreon members. Support Kasterborous on Patreon for extended video editions and archive content.

Hello! Another Kasterborous chat for you this week with the full team of Christian Cawley, James McLean, and Brian Terranova. This time, we're bringing together three conversations about television past and present — from the frustrations of streaming to Doctor Who edits and the decidedly different world of 1970s superheroes. First, has streaming actually made it harder to discover good television? With programmes scattered across an ever-growing collection of services, we look at how finding something to watch has changed — and whether we've lost something from the days when you could simply stumble across a great programme. Then we turn to Doctor Who. If you could go back to the original material and make your own edit, what would you change? Which stories could benefit from a little judicious cutting, rearranging or reconsideration? Finally, it's back to the 1970s and two very different attempts to bring Marvel superheroes to television: Spider-Man and The Incredible Hulk. Long before the MCU established what audiences expect from live-action superheroes, television had its own ideas about how these characters should work. Three conversations, one extended edition of Kasterborous.In this edition: Has streaming killed the accidental discovery of great television? The problem with programmes being scattered across multiple services What would we re-edit in classic Doctor Who? Looking back at television with the benefit of hindsight The strange world of 1970s live-action Spider-Man Bill Bixby, Lou Ferrigno and The Incredible Hulk How superhero television changed long before the MCU With Christian Cawley, James McLean and Brian A. Terranova. This edition is available as a video on our Patreon, with shorter videos on our YouTube channel.

Why did radio drama and comedy remain such a strong part of British broadcasting — while largely disappearing from American radio? In this edition of Kasterborous, Christian Cawley and Brian A. Terranova start with the very different audio traditions on either side of the Atlantic. Along the way, they encounter The Hitchhiker's Guide to the Galaxy, Star Wars on radio, Big Finish, and some almost-forgotten Doctor Who radio productions. That leads to the peculiar British tradition of bringing television comedy to radio, including Dad's Army, Fawlty Towers and Blackadder. But why did The Black Adder change so dramatically after its first series? Christian and Brian discuss the huge scale of Rowan Atkinson's original medieval comedy, the reduced budget that helped reshape the programme, the transformation of Blackadder and Baldrick, and whether moving comedy into the studio actually made it better. There's also Red Dwarf, live studio audiences, Jeeves and Wooster, Not Going Out, Fawlty Towers, panel shows, and the question of why British and American sitcoms developed such different approaches to comedy. In this episode: Why radio drama survived in Britain Doctor Who before Big Finish The British tradition of comedy on radio The Black Adder vs Blackadder II What happened when the budget disappeared Do sitcoms need a live audience? Red Dwarf: Back to Earth British vs American sitcoms When sitcoms start becoming dramas Presented by Christian Cawley with Brian A. Terranova. Kasterborous: Doctor Who, classic television and science fiction conversation since 2007.

The BBC has formally begun looking for the production team that will take Doctor Who into its next era — and some of the details suggest the series could be made rather differently in future. This week, Christian Cawley and James McLean examine the BBC's new Invitation to Tender for Doctor Who, including its emphasis on high-concept science fiction, distinctively British storytelling and episodic writers — and the intriguing suggestion that the programme may no longer follow the traditional showrunner model. Does the tender represent a genuine fresh start for Doctor Who? What does the BBC's instruction not to consult previous BBC Studios or Bad Wolf production teams tell us about its intentions? And with a new production unlikely to reach television until 2028 or 2029, what happens in the meantime? That leads to something rather more controversial: Doctor Who Reboot, a fan project using generative AI to create an unofficial continuation of the series. Christian and James discuss the results, the potential intellectual-property problem, and the much bigger question of whether using AI to recreate Doctor Who is fundamentally at odds with the programme itself. After all, if the Doctor is a character who repeatedly champions human creativity, individuality and freedom over technological conformity, is AI-generated Doctor Who a particularly strange contradiction? Plus: the Master's latest trick may have nothing on the Kasterborous YouTube channel finally passing 200 subscribers. With Christian Cawley and James McLean.

The Master has been cheating death almost as long as the Doctor has been saving the universe — but can all those different incarnations actually be fitted into a coherent timeline? Christian Cawley and Brian A. Terranova take a trip through the Master's complicated history, from Roger Delgado and the decaying Master to Anthony Ainley, Eric Roberts, Derek Jacobi, John Simm and Michelle Gomez. Along the way, they revisit an old theory connecting the Master of the 1996 Doctor Who TV Movie with The Deadly Assassin, examine Big Finish's rather more elaborate attempt to make sense of the Master's regenerations, and consider what Eric Roberts has brought to the role on audio. ----------------------------------------------------------------You can watch this week's episode on YouTube: https://www.youtube.com/watch?v=UUCImw-B1Cc---------------------------------------------------------------- But continuity is only half the story. Was Doctor Who robbed of a potentially definitive Master by giving Derek Jacobi so little screen time? How does his colder interpretation compare with Delgado's original? And did John Simm effectively get a second chance to play the Master when he returned opposite Peter Capaldi? It's an attempt to untangle one of Doctor Who's most complicated characters — and work out what actually makes a great Master. With Christian Cawley and Brian A. Terranova.

What happens next to Doctor Who — and who might actually make it? Christian Cawley and James McLean discuss the latest speculation surrounding the programme's future, including Netflix's apparent lack of interest and Amazon's much more welcoming response to the prospect of getting involved. Could Amazon do for Doctor Who what it once did for Ripper Street? Would moving further into the streaming world give the programme greater creative freedom, or would something important be lost along the way? Then there's the small matter of Billie Piper. With Mark Gatiss discussing the unresolved ending to the most recent series, Christian and James consider whether a future production team really needs to explain what happened — or whether Doctor Who should simply move forward. From Sherlock and Dallas to Blake's 7, Sapphire & Steel and the Seventh Doctor's final adventure, we look at the peculiar power of an unresolved ending — and wonder whether Doctor Who's controversial cliffhanger might actually be helping to keep the series alive in the public imagination. With Christian Cawley and James McLean.

Chris Carter has returned to 2008's The X-Files: I Want to Believe and created a new director's cut — but unusually, his preferred version is shorter than the film we already had. James McLean and Brian Terranova have watched the new cut and join Christian Cawley to discuss what's changed, including its renewed emphasis on horror, alterations to Mulder and Scully's relationship, and whether Carter has actually made I Want to Believe a better movie. But that raises a bigger question: when should creators stop changing their own work? From Chris Carter and The X-Files, the conversation moves to Ridley Scott's Blade Runner, George Lucas and Star Wars, fan edits and the very idea of a definitive version. Films and television are collaborative works involving writers, directors, actors, editors, composers, and producers. So when somebody returns decades later to create their preferred cut, whose work are they actually changing? And does being the director necessarily give them the final word? With Christian Cawley, James McLean and Brian Terranova.

What should Doctor Who do next? We look to its uncertain future — and back to the BBC's memorable Doctor Who Night in 1999. Christian Cawley, James McLean and Brian Terranova discuss Dean Devlin's recent comments about Doctor Who, the prospect of another David Tennant return, and whether the programme might benefit from something resembling the clean break it received in 2005. Should a future producer embrace decades of continuity, or give new viewers an easier way in? Could Tennant's Fourteenth Doctor provide a bridge to another incarnation? And has Doctor Who become too reliant on its own past? Then we head back to 1999, when Doctor Who faced a very different uncertain future, to revisit BBC Two's Doctor Who Night. Featuring Tom Baker, specially made sketches, documentaries and a showing of the 1996 TV movie, the evening arrived at a fascinating point in Doctor Who history: ten years after the original series ended and several years before its eventual return. Was Doctor Who Night simply a nostalgic celebration — or, looking back, can we see the beginnings of the rehabilitation that eventually brought the Doctor back to Saturday-night television?

What happens when the films and TV programmes we grew up with aren't quite the same things we remember? This week, a mix of Doctor Who and Star Wars, with Christian Cawley, James McLean and Brian Terranova beginning with some surprising discoveries about Luke Skywalker's decidedly ordinary trousers and Han Solo's blaster, changing lightsaber props, and the surprisingly problematic dimensions of the Millennium Falcon. That leads us into the world of film and television restoration. What can modern transfers reveal that VHS and old television broadcasts concealed? And why might the Peter Cushing Doctor Who movies never make the jump to true 4K? Doctor Who presents another puzzle. The series has always contained changing props, models, sets, and continuity, yet fans seem remarkably willing to accept them. More recent projects such as The War Games in Colour take things further, effectively creating alternative versions of familiar stories. Then things get personal. James reveals that he edits songs he likes into what he considers their "correct" versions, leading to a discussion about fan edits, remixing, copyright and whether audiences have always customised the media they consume. As CGI, AI and increasingly powerful editing tools become available to everyone, could personalised versions of films and television become commonplace? And if we can all "fix" the things we don't like, are we still watching the same thing?

What actually counts as Doctor Who canon—and who gets to decide?  Christian Cawley, James McLean and Brian Terranova head down the rabbit hole of Doctor Who fan productions, unofficial spin-offs and alternative continuities, beginning with Brian's experiences developing his own Orville fan production.  That leads us to Doctor Who projects such as Downtime, and The Stranger, where familiar actors and characters could appear in productions that existed somewhere between fan fiction and the television programme they were inspired by.  An additional "aftershow" section for subscribers: https://www.patreon.com/cw/kasterborous/membershipBut things become even more complicated once officially licensed Doctor Who enters the equation. Does Big Finish "count?" What happens when established continuity contradicts something that was previously accepted? And is our obsession with arranging television, audio, comics and other media into a hierarchy of "canon" itself part of the problem?  We also discuss different approaches to shared fictional universes, why people create fan films and fiction in the first place, and how working within an established universe can help develop creative skills.  Finally, there's the curious case of Richard E. Grant: announced as the official Ninth Doctor for Scream of the Shalka—only for the return of Doctor Who to television to rewrite his place in the programme's history. So perhaps the real question isn't simply what counts as Doctor Who canon, but whether canon matters as much as we think it does.  ShownotesDowntime on Amazon Prime: https://amzn.to/4xoikps

What can Tracy Island, Wonky Donkey and a TARDIS tell us about growing up with television in the 1990s?  Well, Christian Cawley is about to find out.  He chats with author Thom Gray about 100 Objects of '90s Children's TV, his celebration of a decade of CBBC, CITV, Saturday morning shows and programmes that have since slipped from memory, which is out now from Candy Bar Books. Thom explains how the book came together, the challenges of researching children's television from the period, and his conversations with around 35 people who helped make it, including Pat Sharp, Anne Wood and Tony Robinson.  We also delve into some of the 100 objects themselves, including Anthea Turner's famous Blue Peter Tracy Island, Wonky Donkey from SM:TV Live, the MicroSoap Rubik's Cube, and the TARDIS. Doctor Who might have been absent from television for most of the 1990s, but it wasn't entirely absent from children's TV. Thom explains how the TARDIS continued appearing elsewhere during the Wilderness Years, prompting a wider discussion about Doctor Who's curious place in the decade.  Plus: forgotten programmes, VHS tapes, YouTube archaeology, and why '90s children's television is ripe for rediscovery.  Links 100 Objects of '90s Children's TV on Amazon: https://amzn.to/4fMhmwi

This week’s podcast explores what the future might hold for Doctor Who—and whether the problems facing the BBC’s flagship series are really part of a much bigger shift across television and film. Hosted by Christian Cawley and James McLean, the show discusses Sylvester McCoy’s surprise appearance in the Commonwealth Games trailer, what it tells us about the BBC’s continuing commitment to Doctor Who, and the implications of the programme’s move to open tender. From there, the conversation broadens into Marvel fatigue, Netflix’s audience drop-offs, Spider-Noir, Chris Chibnall’s attempts to reinvent Doctor Who, and whether modern audiences still want long-running serialised storytelling—or something completely different. Talking points: Sylvester McCoy and the Commonwealth Games trailer BBC Studios and Doctor Who’s future What happens after Bad Wolf? Why Marvel’s current strategy may no longer work Spider-Noir and character-first storytelling Reassessing Chris Chibnall’s era What Netflix’s viewing figures tell us Why Doctor Who may need a completely different release strategy Let us know what you think, and if you have any thoughts on how Doctor Who should end, get in touch!Meanwhile, Patreon supporters can enjoy some exclusive “after show” chat…

This week, Christian Cawley, James McLean, and a returning Brian Terranova revisit Doctor Who Series Two (2006)! Twenty years after Doctor Who Series Two first aired, we look back at the stories that established David Tennant as the Doctor and cemented the modern series as a television phenomenon. From New Earth and Tooth and Claw to School Reunion, The Girl in the Fireplace and the return of the Cybermen, we revisit our original reactions, discuss how our opinions have changed over the years, and ask whether this celebrated run of episodes deserves its reputation. The conversation also broadens into a look at modern Doctor Who as a whole, from the Chibnall era to Russell T Davies' recent return, considering which stories have stood the test of time and how fandom's views continue to evolve. In this episode Looking back at Doctor Who Series Two (2006) First impressions versus twenty years of hindsight New Earth and the strengths (and weaknesses) of the opening story Tooth and Claw and the evolving Doctor/Rose relationship Why School Reunion remains one of the defining stories of the era Revisiting The Girl in the Fireplace The Cybermen's return in Rise of the Cybermen and The Age of Steel Which episodes have improved with age—and which haven't Flux, the Whittaker era and recent Doctor Who highlights Why every era of Doctor Who has both classics and disappointments What are your memories of Series Two? Has your opinion changed over the last twenty years, or does it still represent the high point of modern Doctor Who? Let us know in the comments, or get in touch: [email protected] You can support the podcast via our Patreon, which features a full unedited discussion about this topic and others. You'll also find the Kasterborous archive, which resurfaces old interviews and other material from the old Kasterborous website.

Doctor Who artist Lee Sullivan joins Christian Cawley to look back on a career that has spanned Transformers, Marvel UK, Doctor Who Magazine, and some of the most memorable comic strips of the Seventh and Eighth Doctor eras.Beginning with his childhood love of comics and Gerry Anderson, Lee explains how an ambition to become a comic strip artist eventually led him from British Aerospace to Marvel UK, where he cut his teeth drawing Transformers before unexpectedly becoming one of Doctor Who's defining artists. The unedited interview is available on our Patreon. The conversation explores the creative process behind classic Doctor Who Magazine strips, the challenges of sequential storytelling, and the evolution of the comic throughout the Wilderness Years and beyond.  Along the way, Lee discusses:  How Transformers became his first professional comic strip work.  Breaking into Marvel UK and working with editors including Richard Starkings.  Becoming a Doctor Who artist during the programme's 25th anniversary.  The enduring popularity of the Seventh Doctor comic strips.  Bringing the Eighth Doctor to life in comic form.  Storytelling techniques, page layouts and visual pacing.  Working on graphic novels, illustrations and Doctor Who publications beyond the comic strip.  Why Doctor Who has remained such a constant throughout his career.   Whether you discovered Lee Sullivan's artwork through Doctor Who Magazine, Marvel UK's Transformers, or later Doctor Who books and illustrations, this interview offers a fascinating insight into one of the franchise's most recognisable artists. Learn more about Lee Sullivan and his work: https://leesullivanart.co.uk/