[167] Script editor Eric Saward was tasked with completing the story, his version of the script ending with the Doctor and the Valeyard locked in battle in the time vortex and no clear victor. Written by Roger Dixon, this story was submitted on 16 January 1967. [179] Crime of the Century (another title invented by Owen for "27 up") was later adapted by Cartmel for Big Finish's The Lost Stories range in May 2011. [55] It was later adapted as Prison in Space by Simon Guerrier for Big Finish's The Lost Stories series in December 2010. The Sarah Jane Adventures ended as of Series 5 which was only half complete.

[127] This elixir would be produced by the beetles feeding on intelligent beings. After completing Snakedance, Saward requested that writer Christopher Bailey devise another story. The Slide was commissioned as a seven-part serial which aired on the BBC Light Programme, beginning on February 13, 1966. Written by Robert Holmes, this story was pitched on 22 October 1968. Written by Barry Letts, this story outline, submitted around November 1966 [42] to story editor Gerry Davis,[44] would involve a race of beings undergoing a cycle of mutations,[42] akin to that of a butterfly, moving from one form to another via a chrysalis stage. London: BBC Books. Released September 2013. [50] The story would be set in Scotland in Jamie's ancestral home, Castle McCrimmon, where the Doctor's old foe the Great Intelligence plans to use Jamie's body. [100] Production was halted during filming due to a strike and never resumed,[101] although a reconstruction of the serial using narration and existing footage was later released on VHS in 1992. Written by Philip Martin, this story was submitted on 28 December 1983[146] and had the TARDIS pulled to a spaceship graveyard controlled by the Master. [178] The audio adaptation of Earth Aid makes references that this story takes place before it. On 1 November 1966,[43] Dalek creator Terry Nation pitched a spin-off series The Daleks[43] to the BBC, writing a thirty-minute teleplay entitled "The Destroyers"[43] as a possible pilot episode for an American coproduction. [citation needed] But when they land in Pompeii in 79 AD,[citation needed] Jack discovers that Rose's life has been manipulated by the Doctor in an experiment to create the perfect companion. Thus, while ‘The Dark Planet’ is a thoroughly enjoyable and poignant tale that captures the essence of the second season of Doctor Who wonderfully, it is nonetheless a slightly uneven affair that doesn’t quite reach the truly magnificent heights a slightly more condensed script could have achieved.

The Masters of Luxor, originally titled The Robots, was a six-part story submitted by Anthony Coburn while he was part of the BBC Script Department[7] and considered for the second serial of Season 1,[8] in which the Doctor faces a self-aware robot which is trying to gain a soul. A story idea considered for the second series, it involved a group of aliens attempting to close the Rift by destroying Earth. Written by Donald Tosh. Written by John Brosnan who submitted this idea sometime after Bidmead became script editor in January 1980. [220], Written by Russell T. Davies.

This idea was submitted in May 1987, the then script editor Andrew Cartmel liked some of the concepts, but he felt that it was generally inappropriate for Doctor Who, and that there were too many supporting characters. Written by David Banks, the writer proposed the story around the time that he was engaged to play the Cyberleader in Attack of the Cybermen. It was later reworked by Ford into the Torchwood novel of the same name. Written by Victor Pemberton. This was disapproved by series producer John Nathan-Turner as being too down-beat and would end the show on an inconclusive moment should the BBC decide to cancel the series. It would have focused on Ianto coming to terms with his recent death and involved a group of people affected by various near-death experiences being targeted by an "angel of death". [96] After providing a second draft of the storyline to modify parts of the script to avoid issues such as the rules involving child actors,[103] Lloyd was forced to focus on his commitments as producer of Not the Nine O'Clock News. ", which reuses the rejected storyline. It was replaced with Genesis of the Daleks. [59] This story would have focused on a faulty communications satellite which causes the release of robotic "sensorspheres" which induce amnesia on their victims. The storyline was commissioned on 11 December 1974, but was abandoned on 13 May 1975. [220] While redecorating, one of the Bannerman Road gang was to strip some paint off a wall and reveal old wallpaper underneath. Rumours appeared on the BBC's websites shortly after the airing of the new Series 1[206] and the story was pencilled in as the eleventh episode of Series 2. [104] The storyline was commissioned on 7 February 1979[105] and a script list dated 29 June 1979 links Lloyd and Prior to the project. Script editor Dicks rejected the storyline, but the inclusion of the Ice Warriors inspired the development of The Curse of Peladon.

He himself is kidnapped and taken to a civilization under Antarctica. Rani, Clyde and Luke return to the 1970s in order to save the lives of Rani's parents. Cartmel would have preferred to call the story Action at a Distance. [23] It was later adapted by Matt Fitton for Big Finish's The Lost Stories range in September 2013.

The Doctor's greatest foes, the Daleks, are getting the spotlight in the final installment of the Doctor Who: Time Lord Victorious multimedia crossover. Written by David Roden, this two-part story, would feature the Doctor and the Brigadier trying to save the Doctor's previous reincarnations from the powers of the Celestial Toymaker.

A second variant on Gary Russell's "The Web of Lies" proposal. The first serial of the series, The Giants, was originally to be written by C. E. Webber, the first episode being titled "Nothing at the End of the Lane",[1] and would concern the four main characters (at that point named as the Doctor, Cliff, Lola, and Biddy) being shrunk to a "miniature size" and attacked by giant animals.

[118] The story, set on Gallifrey, involved hopping back and forth in time resulting in multiple variants of the TARDIS and a spare Doctor, one of whom was killed. The pilot was to feature the half-human Doctor seeking his father, Ulysses, through various time periods—contemporary Gallifrey (where Borusa dies and is merged with the TARDIS, and the Master becomes leader of the Time Lords), England during the Blitz, Ancient Egypt, and Skaro (where the Daleks are being created).

Things do turn out far more complicated than one might expect, naturally, and the second iteration of the Hartnell Tardis crew becomes embroiled in various aspects of an internecine war between the shadow and light, where all is not as it may at first seem (as the opening metaphor of Ian’s introduction of Vicki to the art of film-based photography and the concept of negatives makes quite clear). Later action would have involved the discovery of a secret chamber beneath the museum. Below is a list of unmade serials which were submitted by recognised professional writers and the BBC had intended to produce, but for one reason or another were not made. In this storyline, many of the episodes would have been kept the same but the episode "Immortal Sins" would have killed off the character of Andy Davidson. [76] Scripts were requested, but Hinchcliffe was unhappy with the draft of the first part and ultimately the story was dropped.

He has constructed a space fleet with which he intends to invade the mineral-rich Earth, and plans to kill any unconverted Mondasians with cyanide gas. First is a strong emphasis on acted drama that would belie the aforementioned classification. [41] Emms reused elements of the story in Mission to Venus, a Choose Your Own Adventure-style story featuring the Sixth Doctor. Four part adventure serial written by Brian Hayles. [3] Around early September 1963 the idea was given to Robert Gould to develop, referred to as the "miniscule" storyline, which was anticipated to be the fourth serial of the season, but this story was later dropped from this slot in January 1964[4] and Gould abandoned work on the story altogether a month later. Written by George F. Kerr, not much is known about it. The Prison in Space by Dick Sharples, originally titled The Amazons,. During a school trip, the youngsters find an alien in distress and have to help it without revealing its presence to the rest of their friends. [220], Written by Phil Ford. As nuanced and layered as the core conflict ends up being, however, the characterization is the standout component of this story, benefiting greatly from its placement during the second season when Hartnell’s First Doctor was more prone to acting and interfering based on principles and morals. And in the end, if anything will build a level of harmony between one person, belief system or culture and another of different or seemingly opposite predilection, it will be based on calm and reasoned communication between them – without that, we are doomed to endless, pointless, genocidally self destructive strife. [63] This similarity caused the production team some concern,[citation needed] and producer Barry Letts eventually decided that he would rather start the series with a Dalek adventure instead of ending it with one. It was rejected on April 2, 1965, by Whitaker's successor, Dennis Spooner, because the Romans had already featured in his own story The Romans. It was rejected by script editor Robert Holmes, who nonetheless encouraged Adams to continue submitting material; this ultimately led to his commission for The Pirate Planet. A similar idea was later used in Moffat's 2010 Christmas special "A Christmas Carol", much to Cornell's annoyance at the time.

The fourth and final series of Big Finish’s The Lost Stories kicks off with Brian Hayles’s ‘The Dark Planet,’ a reunion for William Russell and Maureen O’Brien in a tale originally intended to air during William Hartnell’s second season. Written by Chris Boucher,[85] this story was, like The Dreamer of Phados,[86] written to an idea brief from Holmes and Hinchcliffe. [171] Fellow writer Ben Aaronovitch intercepted the script, suggesting that submitting to script editor Andrew Cartmel a World War II script when he was currently already editing something similar (The Curse of Fenric) was a mistake and to instead submit it for the following series. Written by Lewis Greifer, this story was commissioned in July 1974. The distinction is an important one, as not only is the new series quite far removed in tone and stylistic signifiers from the original series (literally as far as the recent Star Trek revival films, scripted by a self described Star Trek hating Star Wars fan, are from their intellectually oriented, high concept progenitor), but in the fact that a respectable percentage of its fans have an apparent tendency to view the classic series as something of an embarassment, “boring”, “slow” and marked by “bad special effects” – mind, some of these being former Whovians who’ve been “converted” to the more ADD oriented, CG lights and mirrors rollercoaster ride “modern” style)! [195] With the project sunk, the thirtieth anniversary was instead celebrated with the light-hearted Children in Need charity special Dimensions in Time and the documentary 30 Years in the TARDIS. Written by Gary Hopkins,[158] this story reunites the Doctor with former companion Victoria Waterfield, now crusading against nuclear waste. [57] Initial discussion saw the story begin as a story featuring Jamie and Victoria,[57] but by the time Tosh delivered the first materials for the story Patrick Troughton had already decided to depart the series. [215] Other productions proceeded further along. Proposed stage play written by Ben Aaronovitch and Andrew Cartmel set at partly in space.

The Doctor and his companions are forced to perpetually enact the King's favourite story without changing any aspect of it.[41]. Commissioned as a two-part story from Christopher H. Bidmead on 21 November 1984.