Saturday, 12 November 2022



The two full cast Blake's 7 audio plays “The Mark of Kane” and “The Logic of Empire”, plus a special outtakes feature from these two productions, has been permanently added to the Ultimate Download Megapack for no extra charge.

This means for just £18 you will now get The Time Waster; Radio Bastard (including bonus material); Kaldor City: The Prisoner; both versions of Kaldor City: Metafiction; Blake's 7: The Mark of Kane; Blake's 7: The Logic of Empire and Blake's 7: Blooper Reel. That's approximately five hours of entertainment! 
Cast and production credits plus the script for “The Mark of Kane” can be found here.

Cast and production credits plus the script for “The Logic of Empire” can be found here.

Sunday, 23 October 2022

Another free issue of Celestial Toyroom!

Continuing our ongoing tradition of sharing complete free PDF editions of Doctor Who Appreciation Society magazine Celestial Toyroom with Magic Bullet fans, this month we provide copies of Issue #520/1 free to download! With items on Barry Letts and the Classic Serials, BBV audio, Cool Things... The Time Monster, a major feature on the making of Kaldor City, and more Dalek articles than you can shake a sink plunger at, this publication has something for everyone! Download it from the Articles Page.

Monday, 26 September 2022

Interview: Why Danger Man Is Great

Fiona Moore is once again on the Dan Schneider Video Interviews, this time guesting with Sixties expert Gideon Marcus to talk about Danger Man, the prequel The Prisoner never had (OR DID IT?!).

Thursday, 22 September 2022

Finding The Hidden Factor

New on our Articles page, "The Hidden Factor"! In light of the recent release of the animated "The Evil of the Daleks", Alan Stevens has some exciting insights into time travel and the bootstrap paradox. Follow along and gain a new appreciation for a classic story!

Wednesday, 7 September 2022


 Below is Alan Stevens' Editor's blog entry for Celestial Toyroom issue 531/2.

Here’s a thought…

Doctor Who is always an imperfect shadow of the perfect, ideal image of the programme you have in your head.

When I watched the show as a child, I never noticed its flaws. Indeed, how could there be errors in what for me seemed thrilling and real?

As I entered my teenage years, I noticed every imperfection and was depressed by them, but in adulthood, I recognised a deeper meaning below the surface adventure, and production shortcomings no longer bothered me; to the point where I considered anyone who whined on about them immature, or even worse, foolish.

Was adult me unreasonable in my analysis?

I don’t think so.

Doctor Who was made on a TV budget, so, surely it was the characters, the dialogue and the plots which were the main draw, not the odd dodgy piece of CSO, or chipped Dalek.

It was something entirely different if the narrative failed to convince me, if the dialogue was clunky, or an actor performed badly, and on those occasions, I was less forgiving!

Then the BBC decided to finish with Doctor Who, and I was informed by various media bods that this was because it was unable to compete with Star Wars’ special effects.

To their minds, sci-fi was primarily about spaceships, robots, monsters and derring-do, with plot and characterisation a poor second.

All of which would either suggest that good storylines and memorable characters were not a part of the Star Wars universe, or conversely, the smug, self-satisfied pundits saying these things had no idea what they were talking about.

And yet, when Doctor Who returned for the twenty-first century, there appeared to be a huge emphasis on the look of the series, to the extent where spectacle usurped everything else. Whilst any criticism in those early years was treated as a form of heresy.

It was as if the production team, together with a significant portion of Doctor Who fandom, had absorbed all this clich├ęd nonsense about what sci-fi should be and were now using it as a stick to beat dissenters.

Today, 17 years down the line, a large contingent of fans complain about the scriptwriting, saying it’s too preachy and the programme should instead be concerning itself with spaceships, robots, monsters and derring-do…

There’s a pattern here.

So how about this for a thought?

Maybe that flawless, ideal model of Doctor Who those critics have in their heads is, rather, the imperfect shadow of a TV series which no longer exists, and that they themselves were complicit in erasing.

I would like to acknowledge the following contributors to this latest edition of Celestial Toyroom: Andy Lambert, Ann Worrall, Colin Brockhurst, Finn Clark, Fiona Moore, Ian Scales, Jez Strickley, John Kelly, Kevin Mullen, Nicholas Hollands, Paul Bensilum, Paul Driscoll, Paul Scoones, Phil Stevens, Timothy Stephen Keable and Tristan Lee Stopps.

Kindest regards,
Alan Stevens (with thanks to Plato)

Finally, this is Andy Lambert's suberb wrap-around cover, minus the Celestial Toyroom logo and issue number.

Monday, 22 August 2022

Why "The Prisoner" is Great

 Interview with Fiona Moore and Dean Motter (author of Shattered Visage, a The Prisoner graphic novel) on why The Prisoner is great, 55 years after it aired:

Monday, 15 August 2022

Fly My Pretties, Fly!

Here is artist Timothy Stephen Keable's moody and evocative artwork for the giveaway Doctor Who postcard that's available for free with Celestial Toyroom issue 531/2. He tells me it was “inspired by the double spread in The Dalek Outer Space Book depicting The Strata of Skaro, specifically ‘Icanos’.”