FYI: NOT TALKIN’ ABOUT REGENERATION…
They say that no news is good news, but in an age of huge competition and attention-seeking, do the fans and the programmers of shows like DOCTOR WHO all need to reconsider their own ‘persistence of vision’? All things are time-sensitive and relative, says John Mosby as he tracks how we got here and… what happens next..?
UPDATE: Well, that all escalated quickly, didn’t it? The announcement that Doctor Who WON’T be coming back for Christmas (sadly, as many were predicting) came mere hours after this article was posted. I’m leaving it up as I think the dissection of the events that lead up to the uncertainity, the ‘hiatus’ and the mistakes made in decisions are worth the examination. I certainly take no joy in the outcome and hope that the Doctor returns soon, perhaps with a far better gameplan than merely crossed-fingers…
As noted in a recent FYI, it’s becoming the norm for longer hiatus periods for tv shows, which has increased both patience and impatience for returning series – especially on streaming/cable. Many a modern programme, at least the ‘genre’ shows, thrive on some level of continued engagement. When a show is about to return, the marketing machine gets put into maximum overdrive with features, interviews, appearances and tie-ins… but with the gaps sometimes being more than a year, sometimes more than two, it’s become increasing obvious that with those longer downtimes, you also run the risk of losing your captive audience unless you keep them satiated. Absence can increase anticipation, but it does not always make the heart grow fonder.
There’s truth to the fact that die-hard fans feel an entitlement to know things that goes beyond the general public’s appetite. Genre shows especially, seem to generate a level of interest and impatience that many ‘conventional’ mainstream shows do not have to face. The general populace might quietly wonder when a show they happen to like is returning (is Call the Midwife on this week, did I miss the latest The Daily Show?) or casually note a continued absence from the schedules after a cancellation happened quietly off-camera without any fanfare (no series three for The Lazarus Effect? Well, phooey…), but Joe Public doesn’t hang on every titbit of production information, they don’t analyse every interview or appearance or cling to positive or negative nuances and their only bulletin board or forum is probably in their workplace cafeteria.
Newspaper gossip and website filler flitter around the edges searching for crumbs to turn into banquets and hunger pangs to turn into headlines. Even genre magazines leaning into one specific show or another sometimes have to scramble for content. Rumours fly by, some expanding in an ouroboros echochamber of wholesale misinformation (intentional or subjective) where the pragmatic secrecy of an ongoing production means that errors are often not corrected in a timely manner. That can be because they are perceived by that production office to be harmless, even useful, or simply that there aren’t enough hours in the day to address every theory out there. Unless it’s a genuine scandal or a legal matter, silence, shrugs or a ‘no comment‘ will often occur, especially if things are actually proceeding as planned. When it comes to rumours with a more distinct and negative edge (perhaps claims of huge conflict or impending doom) it’s wise for the public to remember something that good journalists and lawyers have to know: that just because something isn’t denied doesn’t mean it’s automatically true and the best-laid plans sometimes change. (The worst-laid plans always do). Absence of one thing is not proof of another and unnamed sources don’t carry notable weight if they remain anonymous.
On the flipside, there are cases where there is some kernel of truth in the mix: when there’s a genuine creative-conflict bubbling under rather than a reported fistfight boiling over… if there’s incompatible working styles rather than unprofessional behaviour… but all to varying degrees where no-one will ever go on the record on how much was accurate or how much might be exaggerated in the telling of it – or at least until the memoir is ready. Every studio set has its good days and bad days (sometimes weeks), its brickbats and bouquets. Sometimes the job is too stressful and, yes, sometimes there are divas and assholes (they don’t usually last long). It happens. I’ve been on enough sets to see and experience that there probably isn’t a production out there where every day has been perfect or smooth or where everyone feels they have been appreciated equally.
But if it’s wise for the public to take second-hand news (or lack of news generating an idealistic wish-list) with a pinch of salt, then the show-makers may also have to realise that there is a moment where the void looks back at you and that expectation and anticipation can become a tipping point into something just as risky: ambivalence or distrust. It’s easy to condemn lazy, tabloid behaviour or frustrated fandom getting toxic, but it’s also worth noting that studios and publicists who shake their heads in indignation often shamelessly court those self-same people and outlets when it works in their favour. Both nature and media abhor a vacuum.
There’s little doubt that, right now, Doctor Who is the timeless poster child for such frustration… because, well, there’s no show on air and, more importantly, there may be no current holder of the mantle…
Even if you’re a more casual fan rather than a legacy, generational acolyte, you’re likely to be aware of Doctor Who‘s fluctuations. 2005’s hugely successful reboot of the show brought a true resurgence in interest, but even in the prolific David Tennant years there were both mass-media awareness and spin-offs and then big gaps as seasons reduced episode numbers and there were effective ‘skip years’. It was the business side of show business, but it wasn’t… well, very consistent and that doesn’t help. Even back in the classic run there were the rollercoaster blips. To name but a few: Colin Baker being let go in 1986 and not coming back to film his regeneration into Sylvester McCoy… Doctor Who going on hiatus in 1989 with Michael Grade saying it wasn’t a cancellation when it really was… then Christopher Eccleston leaving the 2005 reboot after one season and going very public after the BBC put out a press release with fake reasons and attributions about the actor’s decision to depart… hubble, bubble, timey and whimey etc.
Jodie Whittaker’s era (2017-2022) gave us the ‘de facto’ first female appearance of the title Gallifreyan causing ripples in the fan community with some embracing the landmark casting (that demographic citing it was ridiculous that a shape-shifting alien who could be any height, weight, hair-colour, skin-colour or outward age should be limited by outward gender appearance) with others saying that it was only down to political correctness and where was their traditional middle-aged white guy??? Show-runner Chris Chibnall certainly had a different approach, not least with packing the Tardis with a ‘fam’ for the Doctor.
In October 2022, the landmark deal with Disney+ was announced and brought in extra finance benefits and a new Doctor (after a brief Tennant return for the 60th anniversary) and a change in creative team. Ncuti Gatwa was the first openly gay actor to play the title role. (Again, reportage at the time and since varied in reaction). Russell T Davies, who had helmed the triumphant 2005 return, appeared to fare less well holding the reins for two uneven seasons and before Gatwa also decided to step away (possibly due to questions about the series’ future) causing some rewriting, some already-shot scenes to be snipped and a new cliffhanger created.
All of these things, even in significant number, could still produce a shrug. Plus ça change etc etc. Loud grumbles might be heard across certain parts of fandom but unfortunate things do happen in tv production that the wider public barely notice: actors get tired, deals fall through, executives change… pandemics play a part. One could equally argue that Doctor Who, through over six decades on the screen, has rolled remarkably well with the ebb and flow of interesting times.
The Whoniverse production office – and Russell T Davies in particular – has often spoken in unapologetic hyperbole, some of it knowingly self-aware, some of it perhaps far less so. Whatever happens or doesn’t happen, there have usually been reassurances, quotes and eventual press releases that it’s all okay and if not going absolutely going quite as planned, it’s all going to be bloomin’ lovely. Sometimes that has been the reasonable truth and sometimes more of a rather thin cover and holding pattern akin to Han Solo placating stormtroopers. But the sudden absence of overt cheerleading can also be deafening when you’ve got used to it.
The Disney+ deal might have initially been seen as a benefit, but with a parting of the ways at a crucial time, there’s been a clear lack of detail on the whys and whenfores involved. We still don’t know how the partnership ran its course/aground – and we may never, perhaps rightly, know the terms involved in a business contract. For a long while there wasn’t even the acknowledgment that it actually had run out with both sides keeping quiet as to a decision being made, having been made or on how and when to deliver it. A reasonable inference is that Doctor Who, despite its legacy appeal, didn’t have the critical or financial success that the House of the Mouse wanted, but there’s few specifics.
Immediately following broadcast of the latest Who season finale, The Reality War (on 31st May 2025) and Gatwa’s regeneration, the appearance of Billie Piper in the Tardis doorway (events/reveals that would have been more shocking if the rumours hadn’t gained traction on the internet in the weeks before), came the official comment that promised that the show would be back… for a Christmas Special on the BBC at the end of 2026. It seemed like a promise rather than a band-aid, but did not address if Piper was actually the new Doctor (in fact, the on-screen credit and a change to the script pointedly seem to suggest Davies wanted to create ambiguity or was simply – and seemingly more likely – leaving his options open).
Such a cliffhanger (simultaneously shown in UK cinemas) got the expected momentary headlines in the days that followed. But days turn into weeks which then turn into months and for a long time there was nothing but that radio silence. THAT silence is perhaps what has caused the recent gnashing of teeth, the sheer apparent scale of the uncertainty factor… that overt shift from regular cosmic chatter to a becalmed black hole.
Muddying the waters is also the fact that Disney+ announced they would show the Doctor Who spin-off The War Between the Land and the Sea (featuring UNIT and the ‘Sea Devils’) in ‘early 2026’. While the BBC broadcast the mini-series over five chapters in December 2025 – to very middling reviews – even the widest understanding of the term ‘early‘ gives the AWOL US presentation about twenty days left before Disney‘s assurances get beached. That may have no impact on the main show’s future, but nor does it encourage absolute truth in press releases or keeping to announced gameplans.
During October 2025 publicity for that mini-series, Lindsay Salt (Director of Drama, BBC) offered one of the few updates. “The BBC remains fully committed to Doctor Who, which continues to be one of our most loved dramas, and we are delighted that Russell T Davies has agreed to write us another spectacular Christmas special for 2026. We can assure fans, the Doctor is not going anywhere, and we will be announcing plans for the next series in due course which will ensure the TARDIS remains at the heart of the BBC.”
In November 2025, Davies briefly stated that “I know exactly what happens in it, don’t worry about that…” but also confirmed he hadn’t written the script yet. Composer Murray Gold later suggested various versions of a script existed as casting wasn’t nailed down.
The Doctor might not be going anywhere, yet would there be a somewhere?
In the interest of balance, it’s NOT true to say there’s been nothing Doctor Who related on the radar since…however, it’s mostly been looking back not forwards…
At the time of writing this, there’s a new deal in place for AMC+ to broadcast the stories of Doctors Eccleston through Whittaker from 11th June, but no news on any future show creation. (AMC Networks took full control of BBC America in November 2024). Don’t expect that to include future productions as things stand.
Big Finish has continued to release audio adventures through 2026 featuring past Doctors and what might likely be called ‘continuity-adjacent’ stories (which may or may not be considered canon) featuring the Second, Third Fourth, Eighth and Eleventh incarnations and other titles. In the ‘Missing presumed Wiped’ category, there was news of old Doctor Who episodes resurfacing. (Many episodes of varied shows from the Sixties were stored by the BBC but essentially got recorded over and thought to be lost forever – but from time to time there is much celebration as errant copies turn up to fill in a few blanks). The ‘new’ old episodes were two parts of the 1965 Doctor Who serial The Daleks’ Masterplan.
Jo Martin’s version of The Doctor (created by Chris Chibnall and very controversially revealed to be a ‘Fugitive Doctor’ who was a black-ops operative doing the work of a secret Gallifreyan cabal and chronologically coming well before William Hartnell’s ‘First Doctor’ in the timeline – well, possibly… even Chibnall’s hand-wavery on the matter) has popped up a few times, proving a very popular persona even with those who balked at her ‘origin’. She will be in audio adventures from Big Finish and novels and is currently the face of Circuit Breaker, another connective, multimedia event taking in comics, books and websites but noticeably not tv. Previous ambitious ideas along this line include 2021’s alt-history Timelord Victorius and 2023’s Doom’s Day which, again, received mixed reactions.
But at the same time Circuit Breaker launches there are also murmurings that the 2026 Christmas Special – of which so little is/was known – might be pushed to Easter 2027. Davies saying that ‘I won’t be back filming anything until next year, really…‘ is also worryingly ambiguous. Some outlets claimed that the delay was being caused by either budgetary constraints or a difficulty in finding someone who was prepared to be the face of the new Doctor. Despite a number of prominent fan-pages and sites and more official web presences such as the Radio Times (though it is no longer partnered directly with the BBC) running the postponement rumour (and therefore creating volume – in both senses of the word). If true, for whatever reason – that would be another blow to confidence.
That’s the public state of play. So…where are we now?
Just as I was penning this, Russell T Davies was interviewed on BBC Radio and promised that an announcement of some sort was imminent, though he stipulated that red tape and bureaucracy meant he couldn’t say exactly when. It might be days or weeks. Some press outlets immediately inferred this would be the revelation of the new Doctor, but that may well NOT be the case. In fact, I’d be hugely surprised if it was. Davies notably did NOT promise that and indeed the ‘news’ could be bad or good or in between. It could range through anything from the ‘we’re on course‘, to a formal new business partner for Doctor Who‘s tangible future, to an admitted delay or that all plans have been cancelled. For what it’s worth, Davies seemed circumspect but outwardly upbeat… but, let’s be blunt here, it’s hard to remember a time when he hasn’t appeared so, whatever the inclement weather.
Ironically, it’s only time that will tell, but for that firm future – not the mere bumper-sticker promise of such – certain things need to be done or explained in the near future even if not fully resolved. The other shoe is that the longer the wait for any real clarification, the more fandom imbues any announcement with expectations that it might not live up or down to… and gives more fuel to the toxic parts of fandom that go beyond grumbles and seem to positively relish building a regular funeral pyre so they can keep pissing on its embers.
Those certain things..?
* The BBC needs to recognise that the current rumours have grown and are starting to be damaging – not only because bad headlines can become self-fulfilling prophecies despite initial inaccuracy. But they are easily dealt with in the short term. At the very least they DO need to confirm the status of the Christmas Special – either way. If it’s all going to plan, just say that. Specifics can wait, but a ‘The Whoniverse is getting the reindeer ready with production starting shortly for Santa to deliver as planned…‘ is a short collection of words that would offer huge relief.
Alternatively, if it’s not going to plan and certain pillars haven’t already been sorted as necessary (casting, crew etc) then that’s obviously a known factor behind closed doors and time is now audibly ticking away to a point where it has to be admitted or be seen as deceit rather than discretion. A ‘The script is done and we have big plans but getting the right story and people aligned to tell it has meant delaying it… ‘ might not be received quite as well, but would suggest commitment and momentum, albeit slowed. In the unlikely scenario where the very worst news is true and it’s all gone to Hell/Skaro forever, just yank the bandage and be done with it. If the truth is in the middle and the delay is still a delay but even longer, pull the pin on the news. (Apologies – the metaphors are timeless, even if the fallout isn’t…)
* If (and when) all IS going to plan there’s a stream of mini-milestones that can be announced along the way, ones that don’t spoil anything but offer breadcrumbs: Russell T Davies returning to his column in Doctor Who Monthly to chart progress. Confirmation of the production office gearing up. A start date for filming. Casting announcements for supporting players. Ye gods… maybe a tentative title?
* Remember (and lean into, if not so far you topple in) that this uncertain era of Doctor Who is unique. Technically, with Davies refusing to even confirm Billie Piper is actually playing any version of the Doctor, we’re now in the position of there not actually being a ‘current’ incarnation for the public… While that’s full of dramatic possibilities for a jumping-on point and relaunch, it’s also a harder sell and a potential jumping-off point. If and when – quite reasonably – Davies and the BBC want to hide the identity or status for as long as possible, then create mystery, but don’t think that radio silence alone does that.
The bottom line is this: Doctor Who evolves and regenerates with the times. Each actor, cast and production office bring changes – some subtle, some not, some well-received, some less so. But as much as that means fandom will twist and flex around itself, it’s also a unique body-armour that equips the show for survival against the slings and arrows and Dalek death rays of misfortune. As a series that has fans who range between 7 and 70 and beyond, some of that audience will fall off, finding that the show they once loved no longer feels to be an imperative and they will naturally bemoan those changes. That’s sad, but inevitable and the only real danger is positively reveling in the negatives and disappointment as if they were a badge of honour. On the flipside, while one would hope the show retains its base, it will – it MUST – find new fans who want something different. The Doctor Who of 1963, the Doctor Who of the 1980s and the 21st Century eras may all be the same Time-Lord running around the universe solving problems with their two hearts rather than guns, but they all feel like distinct parts of one meandering journey. If we / they need to stop to take a breather at a diner that looks suspiciously like it could be a Tardis, so be it, as long as we get back on the road again…
Listen… there’s a string of acting royalty that could handle the role rather than simply unite Tennant and Piper once again (another on-and-off rumour that regenerates a ‘been there, done that‘ response regardless of whether true or not) yet I’d be happy to start with the obvious solution: with the charismatic, spryly-dressed and wry persona of Jo Martin’s version being moved to centre-stage as the next (rather than former) incarnation. It’s sf… so therefore all things are possible – make it so! But hey, that’s just my 2cs in the matter.
Doomsayers be damned… whether new Doctor Who returns in 2026, 2027 or 2028 (and place your money on one of these) we’re now living in the age of access to multimedia, of reruns, of DVDs, of streaming and potential other secondary formats, there’s little danger that Doctor Who will vanish entirely. Indeed, we are always on the event horizon of both an end-of-days wormhole and a potential resurgent supernova. (Metaphorsapalooza!) But if there’s no genuine forward momentum on screen or at least clarity on the matter, even the world’s oldest sf show won’t be propelled by nostalgia and legacy, but simply shackled to it…
Hartnell’s First Doctor famously said “One day I shall come back. Yes, I shall come back. Until then, there must be no regrets, no tears, no anxieties. Just go forward in all your beliefs and prove to me that I am not mistaken in mine…”
Eloquent and timely though that is, a better mantra would hopefully be “It’s NOT the end and the moment IS being prepared for…”
All images (c) BBC/Disney+