Happy #DoctorWhoDay everybody! The show is 58 years old today, and as this is a pulp account there really is only one way I can mark the occasion...
Let's look back at the New Adventures!
In 1989 the BBC killed off #DoctorWho. The corporation said the series was being 'rested'; the fans suspected it was as dead as Adric.
But an unlikely saviour emerged to carry Who through the wilderness years: Richard Branson.
Both Michael Grade and Jonathan Powell, BBC Directors in the 1980s, disliked Doctor Who. They felt it was outdated, violent and cheap-looking. Ratings were awful, exacerbated by terrible scheduling. Relations with producer John Nathan-Turner had also hit rock bottom.
Grade had already paused the series in 1985, and insisted Colin Baker leave the show in 1987. By 1989 Jonathan Powell had pulled the plug on the whole thing.
Farewell Doctor...
Doctor Who has one of the oldest and most passionate fandoms in television, and many had felt that the series was finally going in the right direction again, with a darker and more mysterious Doctor and a companion who had been given a more mature role.
Fans had also produced a lot of fan-fic and critical analysis of Doctor Who, and many were themselves budding or actual writers - often due to their love of the series. Even with the show cancelled there was still a core audience for it out there.
Which was lucky for Richard Branson, given Virgin Publishing had purchased Target Books in 1989. As the main publisher of Doctor Who novels it was clear thar the flow of new books was going to dry up pretty quickly with the show cancelled.
So Virgin's fiction editor Peter Darvill-Evans asked the BBC for permission to commission and publish new original Doctor Who stories. With only Marvel UK still showing any interest in the show the BBC agreed. What did it have to lose?
Virgin believed the audience was there and had lined up a number of writers familiar with novelising Doctor Who stories. However the material would have to appeal to the hard-core of Who fandom - a tough and opinionated audience!
Running from 1991 to 1997 the New Adventures would eventually consist of 61 novels focused (almost) exclusively on the Seventh Doctor. Target stalwarts such as John Peel and Terrance Dicks were brought in to kickstart the series.
But the New Adventures also brought in passionate fans looking to launch their own writing careers. Both Paul Cornell and Mark Gatiss wrote for the series...
...and the New Adventures helped launch the careers of Kate Orman and Justin Richards.
With no BBC executives policing the stories the New Adventures could go where they liked. New companions such as Bernice Summerfield were created, story arcs became more complex. New aspects of the Doctor began to emerge.
All of this was guided by the 'Cartmel Masterplan'; a backstory by Doctor Who script editor Andrew Cartmel designed to restore some mystery to the Doctor's background. The Doctor would become linked to the mysterious Other, one of the triumvirate who once ruled Gallifrey.
Cover art for the New Adventures could be variable. The ever-excellent Peter Elson did a few, but other titles fared less well with their cover artwork.
There were of course critics of the New Adventures: the plots could be ridiculously complicated and everyone seemed to have a gun. The reinvention of Ace as a cynical, grittier character was a sign that fandom - with all its passions and foibles - was now in charge of the story.
There were many excellent stories in the New Adventures, not least Paul Cornell's Human Nature - later to be adapted as a Doctor Who double episode when the series returned.
In 1994 Virgin began publishing The Missing Adventures series, adult-oriented Doctor Who stories featuring earlier Doctors. The New Adventures character Bernice Summerfield also got a spin-off series of books.
But it couldn't last. In 1996, following the Doctor Who movie, the BBC did not renew Virgin's licence and instead decided to publish its own line of original Doctor Who novels. After 61 New Adventures and 33 Missing Adventures the Virgin series ended.
The New Adventures did an important job keeping Doctor Who alive and fresh in the 1990s. They moved the stories towards complex, dark, harder sci-fi and showed that there was an audience for this kind of Doctor. They undoubtedly influenced the rebooted TV series.
But for me the New Adventures were genuine pulp sci-fi. New writers were given old themes and asked to turn them quickly into amazing stories. If the quality varied, well that's pulp. But the legacy of the New Adventures should not be overlooked.
More stories another time...
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He was the terror of London; a demonic figure with glowing eyes and fiery breath who could leap ten feet high. The penny dreadfuls of the time wrote up his exploits in lurid terms. But who was he really?
Today I look at one of the earliest pulp legends: Spring-Heeled Jack!
London has always attracted ghosts, and in the 19th Century they increasingly left their haunted houses and graveyards and began to wader the capital's streets.
But one apparition caught the Victorian public attention more than most...
In October 1837 a 'leaping character' with a look of the Devil began to prey on Londoners. Often he would leap high into the air and land in front of a carriage, causing it to crash. It would then flee with a high-pitched laugh.
Today in pulp I look back at New Zealand's home-grow microcomputer, the 1981 Poly-1!
Press any key to continue...
The Poly-1 was developed in 1980 by two electronics engineering teachers at Wellington Polytechnic, Neil Scott and Paul Bryant, who wanted to create a computer for use in New Zealand schools. Education Minister Merv Wellington liked the idea and gave it the green light.
Backed by government finances, and in partnership with Progeni Computers, Polycorp was formed in 1980 to began work on the prototype for the official Kiwi school computer.
It was the biggest manhunt in Britain: police, the press, aeroplanes, psychics all tried to solve the disappearance. In the end nobody really knew what happened. It was a mystery without a solution.
This is the story of Agatha Christie's 11 lost days...
By 1926 Agatha Christie's reputation as a writer was starting to grow. Her sixth novel - The Murder of Roger Ackroyd - had been well-received and she and her husband Archie had recently concluded a world tour. But all was not well with the marriage.
In April 1926 Agatha Christie’s mother died. Christie was very close to her: she had been home-schooled and believed her mother was clairvoyant. The shock of her sudden death hit the author hard.
Many readers have asked me over the years what my definition of pulp is. I've thought about it a lot, and the definition I keep coming back to... well it may surprise you.
Let me try and set it out.
There are lots of definitions of pulp out there: in books, in academic papers and on the web. And most circle back to the same three points: the medium, the story type and the method of writing.
Pulp is of course a type of cheap, coarse paper stock. Its use in magazine production from the 1890s onwards led to it becoming a shorthand term for the kind of fiction found in low cost story magazines.
let's take a look at the extraordinary work of Victorian illustrator and cat lover Louis Wain!
Louis Wain was born in London in 1860. Although he is best known for his drawings of cats he started out as a Victorian press illustrator. His work is highly collectable.
Wain had a very difficult life; born with a cleft lip he was not allowed to attend school. His freelance drawing work supported his mother and sisters after his father died. Aged 23 he married his sisters' governess, Emily Richardson, 10 years his senior.
Over the years a number of people have asked me if I have a favourite pulp film. Well I do. It's this one.
This is the story of Alphaville...
Alphaville: une étrange aventure de Lemmy Caution (1965) was Jean-Luc Godard’s ninth feature film. A heady mix of spy noir, science fiction and the Nouvelle Vague at its heart is a poetic conflict between a hard-boiled secret agent and a supercomputer’s brave new world.
British writer Peter Cheyney had created the fictitious American investigator Lemmy Caution in 1936. As well as appearing in 10 novels Caution featured in over a dozen post-war French films, mostly played by singer Eddie Constantine whom Godard was keen to work with.