This is my latest remix of Dominic Glynn’s 1986 (and 2008, and now 2014) Doctor Who theme. It is heavily inspired by and based upon the awesome remixes Dom did for his brand new Doctor Who: The Gallifrey Remixes release, which is available today. If you haven’t already done so, I very highly recommend that you check it out and download it to support Dom’s continued work with the theme.
Since this mix is based on Dom’s newest theme arrangements, it has been under development since March, and has evolved considerably since its first version. With every new version I heard from Dom, there were more ideas and sounds that I wanted to incorporate into my own mix, and the final version incorporates many. In fact, the most recent change to the mix was also the most substantial; the bassline was completely overhauled, in part after hearing the extremely cool sweeping bass drones Dom used in the Syzygy mix (which is likely my favorite of all of them).
I hope you enjoy this mix, but it wouldn’t exist without Dominic Glynn and all the work he has done with the theme over the years (but especially this year). My mix very clearly stands on the shoulders of his as he continues to inspire some of my best work, and I hope you will download the Gallifrey Remixes as well to show your support.
OmniFocus 2 for Mac is available now and highly recommended for people who value the doing of things. It’s an extremely significant upgrade which has put the Mac version back at the center of my workflow.
Originally composed by TV legend Ron Grainer, the Doctor Who Theme was re-arranged for the programme by Dominic Glynn in 1986. Now, 28 years later, Dominic has produced a new EP of original remixes of his theme arrangement. Originally performed at the Gallifrey One fan convention in Los Angeles in February, the “Gallifrey One Remix” is here joined by three other brand new mixes. The EP also sees the first new mix in twelve years from Syzygy - the underground electronica duo of Dominic Glynn and Justin Mackay, best known for their techno and ambient dance releases on the Rising High label.
Coming June 16th. You absolutely won’t want to miss this. There are some truly phenomenal tracks on this release.
I’m pleased to announce that I’ll be at TimeGate once again this year. I’ll be participating on at least one of the panels as well, and should have more to announce on this front soon. If you’ll be attending, I’ll see you there.
My annual trip to Brighton, England begins tomorrow, March 22, and lasts until Thursday, April 3. I can’t make any promises regarding availability, but if you’re interested in meeting up and grabbing a drink, let me know!
He was able to summon a sense of mystery, mischievousness and danger that none of his successors managed to the same degree, while also giving off a particularly avuncular vibe, by surrounding himself with a surrogate family. Hartnell’s Doctor felt like he could genuinely do something magical at any given moment.
So, personally, I feel that this idea of Patrick Troughton laying the foundations of the modern Doctors is rubbish, even if Troughton remains ‘the Doctors’ Doctor’. […] Troughton built on the foundations laid by Hartnell, as did everyone who followed, but everything that the character is comes from the First Doctor. A friend of mine put it perfectly when he said, “We talk a lot about people defining the role. Hartnell defined it first.”
The screening of a new Steven Moffat show is an event like no other. Doctor Who and Sherlock both have this astonishing grip over the psyche of middle England, as seen by anyone who follows a lot of middle-class English people on twitter: these shows are completely prevalent, almost everybody seems to watch them, get really exciting about the fact they are coming up, etc. And then these people are usually almost universally disappointed. Because, of course – something that the sharper ones have worked out long ago – Steven Moffat’s shows are actually really shit and his worldview, utterly prevalent in all of them, is a really shitty one. And yet, there is still this deep drive in these people to discuss these shows; and they cannot abandon them, no matter how constantly disappointed with them they are. I want to work out why this is.
Interesting discussion. I especially like the assertion that Moffat is in fact an alien influence, and that the only way to get rid of him is through one of his own absurd plot twists. It’s like something out of The Mind Robber, except shit.
I was five when the show started. I don’t remember Doctor Who not being part of my life, and it became a part of growing up, along with The Beatles, National Health spectacles, and fog. And it runs deep. It’s in my DNA…
That is one sexy man. I hope Moffat is sincere in his desire for the show to “flip around a bit.”1 We’re pulling for you, Peter Capaldi. Whatever happens, it won’t be your fault.
Although even if he is, his competence is in question more than his intent. ↩
This was written by Josef Kenny. I just stole it and made minor alterations for clarity.
Doctor Who is a reflection of the culture in programme-making and showrunning that it originates from. It’s just that the current TV culture is not conducive to good Doctor Who. It can be done, but not with people like Moffat and the current BBC board of directors.
TV now is heavily invested in essentially just making a very long movie that never properly ends. It used to be more like an old-fashioned radio serial, but now it’s like a Hollywood movie. That’s just how TV is. Doctor Who isn’t emotionally-driven, so it suffers, because that’s all people know how to make, and even worse, it’s all people know how to market.
I like Doctor Who because it’s an enigmatic guy who nobody knows anything about, taking people from one time and place to another, and having to solve problems and deal with situations by casting them in either a historical light, or taking current ideas and extrapolating them either into the future or into an alien society different from ours. That’s why I like Doctor Who.
Sure, I like the TARDIS and I love seeing the proper TARDIS prop and howlarounds and Sid Sutton’s rainbow stars, but that’s not what defines Doctor Who, those things are just symbols of it. I like them because of what they suggest and what they represent.
Doctor Who isn’t a bunch of memes sandwiched together with contrived plots and unrealistic peril. It’s an educational TV show where you take people (frequently from Earth) to other places. It’s an adventure, not a drama.
Developing characters isn’t wrong. It’s not a problem. Most great TV shows and movies are based on it. But Doctor Who isn’t focused on that. The point of it is to expose ideas, not to develop characters over a lasting, overbearing arc.
The point of Doctor Who is that sometimes you get attacked by a giant shellfish.
The risk of this approach, though, is that the stories become skewed towards the smallest audience that any programme has: the obsessives. While any successful TV drama these days should generate fan fiction, it can not afford to become entirely fan fiction itself. Even shows as successful as Doctor Who and Sherlock should be aiming – especially given the accumulating publicity they receive – to introduce new viewers, and there were stretches of The Time of the Doctor and The Empty Hearse that must have been almost incomprehensible to new or casual consumers.
The guiltiest fans on the list? Moffat and Gatiss themselves.
Smith’s farewell turn is certainly the worst of the NuWho baton-passers. From the forced sub-Mork & Mindy shenanigans with cipher Clara’s cardboard family, to the eyeroll-inducing voiceovers, to the repetition of “Doctor who?,” to the Attack of the Killer Regeneration, it was pretty painful to watch. As Moffat checked off the boxes, explaining the lingering mysteries of Smith’s run (about the connection between the Silence and the exploding TARDIS, etc.), all I could think of was The Eight Deadly Words that doom all forms of storytelling: I don’t care what happens to these people.
But you know what? Matt Smith, man. In the middle of this train wreck, he does a bit with a severed Cyberman head that actually finds a heartstring. When Handles finally craps out and “dies,” Smith, in his late-middle-age makeup, calls his name a couple of times and stares at the thing. The look on his face evokes memories not just of the similarly robotic K-9, but also of all the other companions long gone. Another one, his face says. I’ve lost another one.
Fantastic article. Matt Smith was an absolute tragic waste of a Doctor, from one that started with so much potential. I think my favorite line in the article is “But you know what? Matt Smith, man.” Because I said that practically every day of my life.1
Soon I’ll be saying “But you know what? Peter Capaldi, man” with the same wistful sadness. ↩
The reality is that, while they share the same title, main character, and universe, the 1963-1989 Doctor Who and the current version are profoundly different shows. The original program was a narrative-based serial centered around cliffhangers. The current show is a character-based drama based on emotional bonds and epiphanies. In the old show, the Doctor solved problems; in the current show he helps people, and sometimes himself. As a result there’s less of an emphasis on the sorts of stories that defined the original series. Superficially they’re the same: Monsters threaten the peace, and the Doctor intervenes. But the nature of the intervention has changed from a cerebral solution to an emotional one.
More good stuff. The new series is not what I want. I want science and problem-solving. Unfortunately I’ve come to accept that I’m just not going to get it anymore.
Matt Smith was alleged to be inspired by Patrick Troughton’s portrayal, though the end result aligns far closer to a cut-price David Tennant. By his tenure, any perilous situation could be resolved by using his sonic screwdriver which was now indistinguishable from a magic wand. Doctor Who had completed its transition from a science fiction show with a scientist hero to a fantasy show with a wizard hero aiming to cynically tap in to the readymade Harry Potter audience. There is nothing wrong with Harry Potter: the stories are terrific children’s fantasy and the Vatican hates them (what’s not to love?), but Doctor Who’s aspiration to copy its formula, extending to asking JK Rowling to pen an episode (credit to her, she declined) is an indication that the new series and the classic series in essence share very little in common. …
I have seen more articles in line with my view of modern Doctor Who over the past few weeks than I have in the past few years. The world is finally waking up to the fact that this new monstrosity is not worthy of the name, and it’s making me very, very happy.
The whole article is excellent. Read the whole thing.