innes lloyd


Dr who just hasn’t been as good since they got rid of the REAL doctor, William Hartnell. Innes Lloyd and all his followers have tried to get us to accept these false “doctors” like Patrick Troughton, Matt Smith, and even Tom Baker (just to name a few). We TRUE doctor who fans know that these aren’t the real doctor! They don’t even look like him! #BRINGBACKTHEREALDOCTOR or I’m quitting the show!!

Info Text from the Tenth Planet.

‘The change of Doctor Who’s lead actor was the first time such a recasting was acknowledged and explained as an overt part of a series’ ongoing fictional narrative. Ideas for transforming the Doctor were discussed between Innes Lloyd and his team. The basic premise was that he should 'die’ and come back as a new, younger man. This echoed an idea in the 1963 novel A Trace of Memory by Keith Laumer, in which an alien marooned on Earth takes on a rejuvenated form after slipping into a coma and incurring memory loss. 

Innes Lloyd himself was more influenced by Doctor Who’s time travel aspect. He reasoned that, if the Doctor could travel in time, he should also be able to change his form and personality.  The thinking was that we all are different people at different stages of our lives. The idea had been explored in Peter Ustinov’s play the Banbury Nose (1944) , in which a series of different actors played the same character at successively younger ages, moving back through the generations of one family. The idea thus crystallised that the new version of the Doctor should be a younger persona than the original, but still the same man inside.

… At first they assumed it would be technically impossible for the physical change between Doctors to be depicted on screen. They envisaged that the old Doctor would simply collapse to the floor with a cloak covering his face, and the new Doctor would not be revealed until the next story. Their plans changed when they learned that a suitable effect could be achieved. Vision mixer Shirley Coward would cross-fade from a close up of William Hartnell’s face taken by one camera, to an identically composed close-up of Patrick Troughton’s face taken by another.

On the day, Shirley Coward in discussion with Derek Martinus and others, devised a way of enhancing the effect. BBC mixing desks at the time had two banks of faders- Bank A and Bank B. In Riverside studio 1 however, Bank B had a known fault and was not supposed to be used. Coward mixed from the close-up of Hartnell’s face on Bank A to the same shot on Bank B. The fault then caused the picture to flare and distort.  Coward next faded down that flaring shot and simultaneously faded up the close-up of Troughton also on Bank B. Finally she mixed from that shot on Bank B to the identical shot on Bank A, causing the flare to fade away.

As originally scripted the story’s last words were the Doctor’s 'No, no, I can’t go through with it. I can’t, I can’t. I will not give in.’ In the end Derek Martinus chose to stage the crucial sequence with the Doctor silent, conveying the action in rapid intercut shots.’


“It’s no coincidence that the Doctor’s granddaughter Susan is seen listening to pop music in her first appearance. A mystery to her teachers Ian and Barbara, she was a mixture of the ordinary and exotic.”

"With Doctor Who’s cast originally devised as a surrogate family, history teacher Barbara Wright was a sensible and strong matriarch, a figure common to 60’s dramas like Coronation Street.”

"When space orphan Vicki arrived in 1965, Doctor Who entered the swinging 60’s. She might have been shipwrecked in the future, but her startling mini dress and cheeky attitude were definitely 1965!”

"At home in the company of ‘the Avengers’ and 007, Sara Kingdom was as 1965 as the Beatles.”

Dodo Chaplet was a new spin on the surrogate granddaughter’s the Doc kept acquiring. With her fashionable, sometimes Northern accent, unisex haircut and Bob Dylan cap, she looked like she’d wandered into the TARDIS from the front row of a Rolling Stones or small faces gig.”

"1960’s it Girl Polly changed forever the perception of the Doctor Who girl. Previously portrayed as either teenage girls or mature women, Polly was in her early 20’s, stylish, sexy and the authentic face of swinging London.”

“As Polly’s replacement producer Innes Lloyd reversed the Adam Adamant Lives format so that the Doctor was accompanied by a young Victorian lady, Victoria.

“Space travel was very much in vogue in 1968. With a career as an astrophysicist, kinky boots and catsuits, Zoe Heriot was a cute space oddity”

Those inspiring 60’s Who ladies (pictures and quotes from the ‘girls, girls, girls’ feature on the Romans DVD)

I think (Innes Lloyd) had definite plans for the series which neither Steven nor Dodo really fitted, and half way through my first year I was told that Dodo was to be written out. I would have liked a dramatic ending and my farewell just two episodes into ‘The War Machines’, and not even on camera but in reported speech, was a bit of an anti-climax. Still, I got my revenge. I now run a voice-over agency and Innes Lloyd once asked me to find him work. I reminded him that he had once sacked me from ‘Doctor Who’ and said a very firm ‘no’!
—  –Jackie Lane (Dodo Chaplet)

imagine if Classic Who fandom divided things into eras like the New Who fandom


Doctor Who manages to re-invent itself constantly. When ideas start to stagnate, a new writer comes in, does something revolutionary, and everything starts anew. The funny bit is that the ones who were most innovative, the ones who took chances, the ones who ‘ruined Doctor Who,’ are the ones who will be remembered the most. Innes Lloyd, Philip Hinchcliffe, Barry Letts, John Nathan-Turner, Russell T. Davies, Steven Moffat. But let us not forget Sydney Newman and Verity Lambert. Ever.
—  Shelley Duncan, Mile High Who Fan Group