| CASTROVALVA |
| Peter Davison’s debut, Castrovalva (1982) is a story of artificial environments and their creators. Andrew Orton explores an intricate and bewildering labyrinth of architecture, history, mathematics and philosophy. |
| KINDA |
| A revered yet contested text, Kinda (1982) touches on the perennial Doctor Who themes of colonialism and religion. Frank Collins investigates its conception and production, drawing on new conversations with scriptwriter Christopher Bailey. |
| BLACK ORCHID |
| Vintage cars, cricket and a country house murder: Black Orchid (1982) appears to offer the comforts of a familiar genre. But, argues Ian Millsted, it also mines older traditions to look at issues of race and colonialism, class and identity, and physical and mental disfigurement. |
| EARTHSHOCK |
| Revisiting the Cybermen after seven years, and killing off a long-term companion for the first time, Earthshock (1982) represents Script Editor Eric Saward’s vision for Doctor Who, and kickstarts a trend of reviving ‘old monsters’ for effect. Brian J Robb explores its influence and implications. |
| THE AWAKENING |
| The Awakening (1984) draws from a rich tradition of British cinema and television that explores time at odds with itself, creating a village on the threshold of social and temporal collapse. David Evans-Powell examines the influence on the story of hauntology, timeslip telefantasy and real-world historical re-enactment. |
| MAWDRYN UNDEAD |
| Mawdryn Undead (1983) was an ambitious serial, weaving familiar elements of Doctor Who together with myth and legend. Kara Dennison re-examines a murderous new companion, and a crew of hubristic mutated scientists and asks what truly makes immortality a curse? And what does it mean to trust a hero who will never stop changing? |
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