We’re back with another podcast, taking a look at the recent developments in the Doctor Who fan community during lockdown.

Join your hosts Christian Cawley, James McLean, and Brian Terranova as they look at tweetalongs and other ways Doctor Who fans can deal with enforced downtime.


Take care out there, Kasterborites – we’ll be back soon.

It’s Christmas, so we’ve recorded a special seasonal podcast. Time travel back to 2006 with Christian Cawley and Brian Terranova as they talk all the way through The Runaway Bride, starring David Tennant and Catherine Tate.

This episode went out on Christmas Day evening to an audience of 9.35 million viewers, and famously split fans, some of which adored Catherine Tate’s first full appearance (following the cameo at the end of Doomsday) while others were less than enthused.

A quick look in the Ultimate Regeneration compendium of Doctor Who reviews from the RTD era reveals what Christian thought at the time:

“This wasn’t a ‘fun adventure for all the family’. It had all of the worst excesses of Russell T Davies’ take on Doctor Who sliced up, repackaged as something new and different and frankly empty. Without a strong lead, Doctor Who would be dead in the water. That’s worth thinking about. He shouldn’t really have to put up with nonsense like this.”

But what does Christian think of The Runaway Bride 13 years later?

So get ready to hit play. We’ve even provided a count-in so you can watch the episode along with us. What’s more, we’d love to hear your thoughts on rewatching The Runaway Bride, so leave them below.

Doctor Who is back. In just a few weeks we’ll see new adventures of the Time Lord, earth’s protector, as he battles foes from other planets. We’ll gasp as he whips out his sonic screwdriver to solve problems liked locked doors and smile in admiration as Christopher Eccleston runs, leather jacket flapping in the wind. Ah yes. The “leather jacket”. Or as it will forever be known in Doctor Who fandom, the “Leather Jacket” (that’s with capitals).

Clogs might have been quite a fashion statement, but no doubt would have required a Brian May-like perm. Similarly a stovepipe hat would have appeared archaic and frankly silly, whereas a loud, multicolored shell suit would have given the wrong impression totally.

My own preferences were either a futuristic suit of armour (yes, I know it is Doctor Who, and that our hero is rarely violent; but it would look kind of cool!) or a slightly disheveled wedding suit, giving the Doctor a post-Lazenby Bond back-story. Anything, really, to stop the public thinking about that bloody scarf!

To the British public — and probably most of the world — Doctor Who is a mad wide-eyed bohemian in a long scarf and brown coat. He pops up in “The Simpsons” from time to time, and Tom Baker’s portrayal of the Time Lord is renowned across the globe. It was these 7 years of episodes, plus the Pertwee era, that endeared the show to its many millions of fans from the 1970s onwards, depending where on earth you lived. But the bohemian look of the Fourth Doctor was common in the 1970s, an era when hippies were growing up and either changing the world through business, or just wandering. Similarly, many a dashing wave could be cut in a smart velvet suit of the type favoured by the Third Doctor. London fashion spots were full of velvet-clad dandies and musketeers in the late 1960s and early 1970s — just look at Hendrix.

On the other hand, perhaps a smartly-cut, velvet two piece would have worked in 2005? Not in the post Lawrence Llewellyn-Bowen world it wouldn’t. It was old hat when he adopted the style and just imagine how odd Christopher Eccleston would look! Meanwhile, how would the new Doctor look in a beige or brown trouser and jacket two piece? Simply hideous — the Seventh Doctor couldn’t make it work!

So what about a sporting motif? Tennis, anyone? A Formula One driver’s jumpsuit? Somehow Peter Davison got away with that look, although it would have been interesting to see some variation in his appearance — it was of course at the beginning of the Fifth Doctor’s era that the clothes of the Doctor became his “costume”.

While the term “costume” is of course perfectly sensible in the realm of a drama production, within the confines of the narrative the audience considers the actor’s clothes the character’s own. So why did the Fifth Doctor wander around for 3 years in that ridiculous cricketing outfit when it was:

a) Obviously not suitable for playing cricket in, and

b) easily soiled?

Perhaps the giant figure that Christopher Eccleston cuts would have looked more appropriate in a Dickensian costume? Stooping around like Bob Cratchit? The First, Second and Eighth Doctors all pulled off the 19th century look — possibly too well. That leaves us with little to work with as an alternative really, although I doubt the production team looked at it that way when Eccleston’s look was decided.

If we take the Doctor’s attire during his heyday (the velvet dandy or the bohemian) we see two iconic looks inspired by the attire of the mid-twenties male in the sixties and seventies. Perhaps not the typical twenty-something – who no doubt was covered in post-puberty spots and greasy hair — but certainly the student or young teacher of the time, regardless of their reading. What we have in Christopher Eccleston’s costume is the look of a teacher — casually dressed, brown Leather Jacket.

If a link can be made to the character of the Ninth Doctor from his costume (and attempts have been successfully made to marry previous Doctors with their attire in ways such as this) we should perhaps expect the Doctor to act as Rose’s teacher and guide as he takes her on a fantastic voyage through the history of the human race. If no link can be made however, at least Christopher Eccleston looks damn fine in that jacket…

“‘Tis nature’s law to change”, as John Wilmot, 2nd Earl of Rochester wisely said. Writing in the seventeenth century he wasn’t talking about Doctor Who but change is, of course, the one constant in the programme. Eventually, everyone who works on the show will move on: actors, writers, technicians, showrunners…

Whilst there’s no sign of Steven Moffat moving on just yet, what with Series 9 due to hit the screen in a couple of months and the recent news that he’d signed up for a further series, the day will inevitably come when he decides it’s time to do something else. We’ve discussed possible replacements in some depth here at Kasterborous in our ‘Man Who Would Be King’ series but today it’s all about you. What would you do if, unlikely as it may sound, the BBC chose to put you in charge of your favourite show?

Previous changes of leadership in the Doctor Who production team have led to significant new directions being pursued in the tone and style of the programme. Think of Jon Pertwee’s debut in Spearhead From Space, which, along with colour filming being used for the first time, established the show’s new, earth-bound setting and slicker feel reminiscent of the classic ITC shows of the previous decade, once Barry Letts’ and Terrance Dicks’ influence was felt.

Philip Hinchcliffe took over as producer with a clear plan to take the Doctor away from UNIT and back into space. The stories he and script editor Robert Holmes oversaw, influenced in many cases by literary and cinematic classics, have endured as some of the very best in the programme’s long life.

Later still John Nathan-Turner’s era burst into life with a new title sequence, a new colour palette for the Doctor’s costume and an emphasis on more serious story-telling, ditching the comic whimsy of the Williams/Adams period.

Moffat himself has spoken of the need for such a long-running programme to constantly re-invent itself and has overseen not one but two significant changes of tone and style. Matt Smith’s debut in The Eleventh Hour heralded what some have described as a ‘fairy tale’ feel for the next few years, with the mysteries of the girl who waited and later the impossible girl (not to mention River Song) serving as enduring arcs which would span multiple seasons.

Just when he felt things were getting a little too cosy he went and shook things up again, delivering a new acerbic incarnation of the Doctor who would no more eat fish fingers and custard than he’d wear question marks on his jumper. This most recent change is still being played out, with hints in the build-up to Series 9 that the grumpiness will be toned down, allowing the Doctor to rediscover his sense of fun.

So what do you think? How would Doctor Who be different if it was your name on the credits? New writers? New monsters? Old monsters? More multi-episode stories? Series-spanning arcs? Bring back the Ergon? Give us your views below! Be as bold as you like – but remember, this is about you and the future, not any perceived mistakes of the past…

In this week’s podKast with a K, Brian Terranova returns to the show to discuss what he’s been up to since taking a break. Naturally, there’s a lot of talk about the RTD era sonic screwdriver, too, following publication of Brian’s 30 page PDF history of the prop.

Unaware of the book? Don’t worry, it’s free to download via the link above. In this podcast, you’ll learn why Brian started compiling the history of the prop, and get an idea of the type of material he’s analyzed.

You’ll also find out “why now?” – why did Brian release this prop history eBook now, rather than last month or even next?

Christian Cawley, James McLean, and Gareth Kavanagh are back again with another Doctor Who podKast with a K.

This week, we address the news from the BBC that Doctor Who Series 12 will not air until 2020. There’s also some chat about how the 2005 series was almost a 6 parter, and a review of the Series 11 finale, The Battle of Ranskoor Av Kolos.


Doctor Who Series 12 airs in 2020

This week’s podcast looks at recent Doctor Who news, including the sale of a William Hartnell script, the audio reunion of Torchwood, new location shoots in Sheffield, and Russell T Davies’ reaction to Christopher Eccleston’s recent comments concerning his departure from Doctor Who in 2005. PLUS a look at the controversy surrounding the new DWM Time Team…

With James Baldock and Christian Cawley.


Peter Capaldi, Russell T Davies, Star Wars: The Last Jedi; we’re covering everything in this week’s news-centric podKast with a K, starring Christian Cawley and James Baldock! Should you be concerned about the “William Hartnell script” that is coming up for auction? Is Doctor Who really a children’s show after all? Is Russell T Davies happy with the idea of a female Doctor at last? And why isn’t Peter Capaldi on Twitter?

Click “play” to hear all this and more…


Doctor Who: it’s a bit of a laugh, isn’t it? Rarely taking itself entirely seriously, Doctor Who has a strong link to British comedy, whether through Steven Moffat and Douglas Adams, or via the very tone and content of the stories. This week, we consider how the show has charmed and amused us through standard comedy, and even absurdity.

What does it tell us about the Doctor, and who he is? And just what else is the Curator looking after in the National Gallery?

After a brief ramble about the state of soap operas and sitcoms on British TV, Christian and James then settle down to take a look at how comedy has been used in Doctor Who since 1963. Listen out for mentions of Comic Relief, Curse of the Fatal Death, and even The Three Doctors