The Tardis Tin concept (in which DWM interviews a Doctor Who luminary by getting them to pull random questions out of a Tardis Tin) has had surprising longevity. I can see it's easy to prepare (after all the questions already exist) and I wonder if the guests like it - after all generic random questions are unlikely to throw up anything too searching or embarrassing.
I have a Tardis Tin somewhere but I can't quite recall the context in which they were produced. I don't recall it having anything in it (e.g., sweets) on the other hand I don't think I was ever sufficient a completist to have bought an empty Tardis tin. I wonder if a VHS set of some description came in it? It occurs to me that I have enough back issues of DWM that I could probably go through and reconstruct the set of random questions and then put them in the tin, though to what end I can't quite imagine.
The difficulty with this book is where to shelve it since it is clearly intended to be an AU in which the Doctor never left Gallifrey though. Until about halfway through the book, I was kidding myself that I could pretend it was set after he had returned to Gallifrey at some point in the future but no. Anyway, since the Eight Doctor adventures occur in canon in publication order I eventually opted to shelve it among them in publication order.
Freebie postcard from Vworp!
The teenager got me this book for my birthday on the strength of it being publicised at Vworp! I think we were both a little disappointed with the reality which is capsule biographies of various women in Doctor Who not, as we'd somehow thought, new short stories about them. Still, there is lots of pretty artwork and it's the kind of thing I would have loved as a child/teenager getting into the fandom - though I'm less clear how much demand there is for this kind of thing in the age of the Internet.
Sometimes I see a DWM cover and wonder about the chain of reasoning that made someone think this, of all the images available, was the one most likely to make some random member of the general public pick the magazine up off the stand. Then I'm slightly charmed that either someone thought this, or someone felt that the cover image need only appeal to die hard fans.
This is from the second issue of DWM I ever had. I still remember the excitement of realising whoever was writing the Dr Who comic was as Dr Who literate as I was. From my viewpoint now, I'm slightly surprised that I recognised that as a potential image of Zoe and wonder where I had seen Zoe's similar outfit before, or was it just the hair?
This is from DWM 79. The accompanying text states that, inspired by the Dr Who Technical Manual doing something similar for the 1980s console, the uncredited author(s) have examined the Hartnell and Troughton episodes in order to construct a reference of what all the controls and instruments on the Tardis console do. I can't quite work out to what extent I believe this reconstruction is entirely based on televised episodes. The modern magazine would lovingly reference each deduction, including discussion of any discrepancies and there is none of that here and some of the text doesn't ring any bells with me in terms of things I recall happening in stories. But still, for what it's worth in the above the labels refer to the following:
1. The Audio Unit.
2. Indicator Lights (the function of each one is detailed).
3. Course acceptance Unit. As I understand matters this is some kind of check on whether you've inputed correct destination coordinates.
4. Safety Precaution Switch. An invention of the Doctor's (no less) this stops the Tardis landing anywhere it might get destroyed. I find the concept that a) this does not come as standard in Tardises and b) that it apparently has to be activated after every take off somewhat alarming.
5. Materialization Switch.
6. The Stasis Switch. I confess I have no understanding of the text accompanying this. It seems to have something to do with the idea that the Tardis doesn't dematerialise if only travelling in time - but why you need a switch for that is beyond me.
7. Materialization Switch. Yes, another one. It is not clear what happens if you activate one and not the other.
8. Auto-Log indicator. Lights up if the auto-log has overriden the Navigational Instruments apparently.
9. Navigational Control. Allows you to program coordinates in binary (which rather suggests there are only 128 locations in the whole of time and space).
10. Co-Ordinate Programmer. Apparently the navigational control sets the coordinate from galactic zero while this sets the "normal digital reference". The reason you need both is not clear...
As for Panels 2 to 6... well I may post them sometime.
According to the caption in DWM, this is William Hartnell on Junior Points of View in 1964. The boy in the middle is Stephen Qualtrough from Liverpool and the woman is presenter Sarah Ward. I've no idea if Points of View is still a thing (Wikipedia tells me it still is) - there certainly was no longer a junior version when I was growing up, but I recall both Barry Took and later Ann Robinson presenting viewers' letters and sometimes BBC responses from my teenage years.
The credit on the back reads Sylvester McCoy in The Pied Piper by Adrian Mitchell from the poem by Robert Browning (Olivier Theatre, 1987). Photograph by Nobby Clark.
On the back of this postcard, I've written "Theatre Trip to `Anthony and Cleopatra' 6/2/88". So I must have picked this up while in the National Theatre shop. I certainly never saw the production.