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Jean Marsh: 1934-2025

Jean Marsh: 1934-2025

Doctor Who: Companion Pieces - SARA KINGDOM - Warped Factor - Words in ...
Jean Marsh as Sara Kingdom in Doctor Who: The Daleks’ Master Plan (1965/66)

Beloved British actress Jean Marsh, who co-created and starred in the iconic period drama Upstairs, Downstairs, has died at the age of 90.

The Emmy-winning star passed away peacefully at her home in London on Sunday, her close friend, filmmaker Michael Lindsay-Hogg, confirmed. 

The cause of death was reported as complications from dementia.

Jean, known for her striking features and commanding presence, became a household name in the 1970s thanks to her unforgettable role as Rose Buck – the no-nonsense but warm-hearted head parlour maid – in the much-loved ITV series set in Edwardian England.

Upstairs, Downstairs was a ground-breaking show that captivated audiences on both sides of the Atlantic. It aired in the UK from 1971 to 1975 and in the US from 1974 to 1977, drawing millions of viewers.

Her compelling performance as Rose earned her a prestigious Primetime Emmy Award for Outstanding Lead Actress in a Drama Series – one of seven Emmys the show would ultimately collect, along with a coveted Peabody Award. 

Born in Stoke Newington, north London, in 1934, Marsh began her career as a stage actress before making her name on television and film screens in the 1950s and ’60s.

Her career spanned over six decades, with appearances in everything from sci-fi classics to Hollywood films.

Marsh has appeared several times in the BBC series Doctor Who. She first appeared alongside William Hartnell in the 1965 serial The Crusade as Lady Joanna, the sister of Richard I (The Lionheart). She returned later that year as companion Sara Kingdom in 9 episodes of the 12-part serial The Daleks’ Master Plan. Marsh reprised the role in the audio plays Home Truths (2008), The Drowned World (2009), The Guardian of the Solar System (2010), The Five Companions (2011), The Anachronauts (2012), The Light At The End (2013), An Ordinary Life (2014) and The Sontarans (2016). She also appeared in the 1989 television serial Battlefield as Morgaine, as well as the 2007 audio play The Wishing Beast. She made an un-billed cameo appearance in the 2013 docudrama about Doctor WhoAn Adventure in Space and Time.

Her big-screen credits included roles in Stanley Kubrick’s A Clockwork Orange, Alfred Hitchcock’s Frenzy, and the 1967 James Bond spoof Casino Royale. 

She also starred in fantasy favourites like Return to Oz (1985) and Willow (1988), where she portrayed the evil Queen Bavmorda in a memorably menacing performance.

On television, Marsh was a familiar face in countless dramas, including The Twilight Zone, The Love Boat, The House of Eliott, and 9 to 5. 

She also appeared in several Shakespearean adaptations and held her own opposite the likes of Laurence Olivier and Judi Dench.

But it was Upstairs, Downstairs — which she co-created alongside friend and fellow actress Eileen Atkins — that cemented her place in television history.

Marsh played the no-nonsense yet warm-hearted parlour maid Rose Buck in the Edwardian-set ITV drama, which aired from 1971 to 1975 and explored the complex relationship between the aristocratic Bellamy family and their servants.

The show became an international sensation, winning seven Emmy Awards, a BAFTA and a Peabody, with Marsh taking home the 1975 Emmy for Outstanding Lead Actress in a Drama Series — a rare accolade for a British performer at the time.

She reprised the role of Rose in the BBC’s 2010 revival of Upstairs, Downstairs, where she returned as the housekeeper, bridging the gap between old and new generations of fans.

Despite her fame, Marsh remained fiercely private. She had a brief marriage to actor Jon Pertwee, the Third Doctor in Doctor Who,  in the 1950s, but the pair later divorced and remained friends.

Known for her intelligence, wit and elegance, Marsh was not only a talented actress but also a passionate advocate for women’s voices in the arts. 

Marsh was appointed Officer of the Order of the British Empire (OBE) in the 2012 Birthday Honours for services to drama. 

Could BBC1 Miss A UK Doctor Who Premier For The First Time Ever?

Could BBC1 Miss A UK Doctor Who Premier For The First Time Ever?

Belinda and the Doctor standing next to the TARDIS and looking open-mouthed with excitement. Belinda is holding the Doctor's arm.
Belinda and the Doctor standing next to the TARDIS and looking open-mouthed with excitement. Belinda is holding the Doctor’s arm.

Things might be about to get very timey-wimey, as it seems Doctor’s Who’s Eurovision-inspired episode is in danger of not getting a BBC One transmission – because of the real-life Eurovision Song Contest.

The sixth episode of the show’s upcoming 15th season, which comes from writer Juno Dawson, is titled The Interstellar Song Contest, and will see Rylan Clark guest starring as one of the hosts of the space-bound version of Eurovision.

Rylan Clark and Julie Dray as Sabine in Doctor Who
Rylan Clark and Julie Dray as Sabine in Doctor Who

It’s set to be released on BBC iPlayer at 8am on the same day as this year’s Eurovision grand final, but Doctor Who showrunner Russell T Davies has revealed there is currently a question mark over whether it will get a BBC One transmission like the season’s other episodes.

Speaking during a Q&A for the new run, Davies said:
 
“The most exciting week of all is the Eurovision week, because that afternoon is the FA Cup Final live on BBC One. At 8 o’clock at night is Eurovision live across Europe.

“We’re in the middle. If the football has lots of goals and things, going into extra time and penalties, we get crushed in the middle.”

He continued:

“It’s like we cannot move – the football can’t move, Eurovision can’t move. So we genuinely don’t know if we’ll be transmitted that day. It’ll be on the iPlayer, but you’ll have to sit there that day.

“I’ll have to sit through a f**king football match to find out whether Doctor Who’s going out that night.

“They said to us, ‘Do you want to move it?’ and I said, ‘That’s the most exciting thing I’ve ever heard. Let’s find out if we’re transmitting. Let’s feel alive.’ So that Saturday is going to be fun.”

Season 15’s scheduling is slightly different than the previous run – episodes will now stream on iPlayer from 8am UK time, rather than midnight.

Equity Calls On Government Regulator To Punish Mad Dog Casting After Agency Collapsed Owing Creditors $2M

Equity Calls On Government Regulator To Punish Mad Dog Casting After Agency Collapsed Owing Creditors $2M

Doctor Who

It is being reported by Deadline.com that British actors union Equity has written to a government regulator urging it to take action against Mad Dog 2020 Casting, a 25-year-old UK agency that collapsed last month owing creditors more than £1.5 million ($1.9 million).

Paul W. Fleming called on Ben Bruten, boss of the Employment Agencies Standards Inspectorate, to exercise its powers against Mad Dog, which includes fines, prosecutions, and the ability to ban individuals from running agencies in the future. Mad Dog’s parent company, Cinextra Limited, lists directors including CEO Graham Beswick.

“Equity would like to ask … how the EASI intends to use its powers to ensure that the individuals behind Mad Dog are held accountable for systematic breaches of their statutory obligations and treatment of artists, and so that they cannot continue their behaviour,” Fleming said.

Deadline chronicled the issues at Mad Dog last year, with clients complaining that they were owed thousands by the agency that supplied background actors to productions including Call the Midwife and Doctor Who. Mad Dog continued to trade despite failing to observe multiple county court judgments in favour of supporting artists owed money.

Fleming told Deadline that the company’s collapse had been “horrendous” for Equity members, adding that the “scale [of damage] is extraordinary for people with precarious incomes.” He acknowledged that it was unlikely that actors would be paid money they are owed, but said this will not stop Equity fighting for justice. “If we can’t get a pound in cash, we can get a pound in flesh,” he added.

Mad Dog filed for liquidation in February. MHA, the accountancy company, is overseeing the process and has called a meeting of creditors on Friday morning. A statement of Mad Dog’s affairs, seen by Deadline, shows the agency owes £1.66M ($2.1M) to creditors, including £1.3M to trade and expense creditors and £67,400 to employees. MHA said there was a “large number of creditors.”

A spokesperson for the Department for Business and Trade, which oversees the EASI, said: “We take all relevant complaints about agencies seriously and ensure they are thoroughly investigated.” The spokesperson declined to comment on the EASI’s industry-wide investigation into agencies in the entertainment space.

Last year, Mad Dog apologized to clients and stressed that it was committed to clearing its backlog of payments. The agency blamed the twin U.S. writer and actors strikes for its financial issues. Under UK regulations, it is unlawful for an agency to withhold payment from clients for more than 10 days after receiving funds from a producer, broadcaster or streamer.

Daleks and Cybermen sold for Children in Need

Daleks and Cybermen sold for Children in Need

A blue TARDIS is sat next to a bronze and scarred Dalek
A blue TARDIS is sat next to a bronze and scarred Dalek

An auction of Doctor Who props and costumes raised £245,243 for Children in Need.

Auctioneer Propstore, based in Chenies, Buckinghamshire, said more than 2,000 global fans and collectors bid on more than 170 lots.

The biggest earner was a Dalek – used on screen for actress Jodie Whittaker’s final episode as the doctor – which sold for £16,380.

Stephen Lane, founder and chief executive of Propstore, was delighted and said:

“From Doctors to Daleks, the dedication and passion of Doctor Who fans supporting this auction has been second to none.”

A Mondasian Cyberman which looks vaguely steampunk with a material like face. It has large silver headpiece and light-up box on its chest
A Mondasian Cyberman which looks vaguely steampunk with a material like face. It has large silver headpiece and light-up box on its chest

A TARDIS prop used in a biographical film about the creation of Doctor Who, called An Adventure in Space and Time, sold for £12,600.

Parts of a Cyberman costume, from one of actor Peter Capaldi’s last stories, fetched £15,120.

Doctor Who brand director Vanessa Hamilton said:

“We’re so incredibly proud of the results of this auction and to support BBC Children in Need.

“It’s amazing to be able to share parts of Doctor Who with the fan community, and we hope they enjoy owning a piece of TV history.”

Headless mannequins wearing costumes are stood together in a line. The first has a tuxedo used by David Tennant, the second is wearing a costume used by Jodie Whittaker, a third is one used by Matt Smith and a fourth is a Peter Capaldi costume.
Headless mannequins wearing costumes are stood together in a line. The first has a tuxedo used by David Tennant, the second is wearing a costume used by Jodie Whittaker, a third is one used by Matt Smith and a fourth is a Peter Capaldi costume.

Several costumes were also sold – including a wedding dress for £4,410, used by actress Catherine Tate playing Donna Noble – but the highest earner was an outfit belonging to Whittaker which sold for £9,920.

A hand-painted recreation of Van Gogh’s “Thatched Cottages at Cordeville, 1890”, used in a popular episode with actor Matt Smith secured £8,190.

Several statues depicting popular monsters, including the Weeping Angels, a foe that first appeared in 2007, were also sold at the auction.

But the highest earning one, was a bust that won £6,930 after 37 bids.

A woman is holding a decapitated Cyberman head next to a weeping Angel statue which is missing wins and a left hand.
A woman is holding a decapitated Cyberman head next to a weeping Angel statue which is missing wins and a left hand.

Doctor Who had a long association with Children in Need. In 1983, the show’s 20th anniversary episode “The Five Doctors” aired as part of the fundraising programme.

Tommy Nagra, director of content at BBC Children in Need said:

“The Doctor Who family have been long-time friends of the charity and we are so thrilled to see them come together once again to support BBC Children in Need”.

VFX studio The Mill shut down!

VFX studio The Mill shut down!

VFX studio The Mill was put into administration and shut down after 35 years when its parent company, Technicolor Creative Studios UK Limited, a part of Technicolor Group filed for administration on February 24, 2025.

The Mill was the company responsible for the VFX of around 150 episodes of Doctor WhoThe Sarah Jane Adventures and Torchwood until 2013, the same year a group of artists and producers from The Mill’s TV department formed their own company, Milk VFX.

The post-production and visual effects company launched in 1990. Along will providing visual effects, they designed the Doctor Who title sequence introduced in the first 2005 Doctor Who story Rose.

According to a letter from the Technicolor Group to their team, the Group has been experiencing difficulties linked to a variety of factors including the difficult operational situation resulting from post-covid recovery, a costly and complex separation from the previous group followed by the writers’ strike leading to a slowdown in customer orders causing severe cash flow pressures.

Doctor Who radiophonic archive made available for first time

Doctor Who radiophonic archive made available for first time

Delia Derbyshire at the BBC Radiophonic Workshop in the 1960s

The BBC has announced that its groundbreaking Radiophonic Workshop archive has been made available to musical artists and producers for the first time.

The archive includes samples of sounds and music made for a huge range of BBC shows from Doctor Who to The Hitchhiker’s Guide to the Galaxy, all of which were created using the Workshop’s unconventional methods – including hitting lampshades and manipulating tape loops with milk bottles.

The work done at the studio has been cited as an influence by a number of major musicians including Brian Eno and Hans Zimmer, and the BBC has said that by making the archive available, it will preserve “an important musical heritage for generations to come”.
 

The key features of the new library include authentic sounds from the BBC Radiophonic Workshop archives, new recordings and experiments by Workshop members and associates, and a wide range of sounds, including archival content, found sounds, junk percussion, tape loops, and vintage synthesisers.

You can get a closer look at the Workshop by watching the below trailer:

Describing the Workshop as “a department at the BBC that was purely for making bonkers noises”, archivist Mark Ayres explained further why the decision had been made to open up the archive.

“I’m the youngest member of the core Radiophonic Workshop – and I’m 64!” he said. “We’re not going to be around forever.

“It was really important to leave a creative tool, inspired by our work, for other people to use going forward. I hope we’ve made an instrument that will inspire future generations.”

He added:

“This instrument is all formed from the work, processes and equipment that the Workshop created and used.

“You know, sampling now really looks like sampling then, but with a few more twiddles. I’ve been saying for years that Workshop composers such as Delia Derbyshire and John Baker were really samplists.”

Meanwhile, Harry Wilson, head of recording at Spitfire Audio – which has collaborated with the BBC on the project – said:

“We’re not just looking back at what the members were doing way back when. We’re projecting a strand of their work into the future and saying: if the Workshop was engaged with a similar process now, what would it sound like?”

And Dominic Walker, global business director for BBC Studios, said:

“We are thrilled to be collaborating once again with Spitfire Audio in bringing the legendary sounds of the BBC Radiophonic Workshop to a new generation of musicians and composers with this valuable online library.”

Access to the library costs £149 at full price, although there as introductory offer of £119 that will run until 17th March – you can access it now.

Love for ‘Dr Who’ inspires Dalek build

Love for ‘Dr Who’ inspires Dalek build

Macandrew Bay sci-fi enthusiast Jason Connolly standing behind his home-made Dalek. PHOTO: GERARD O’BRIEN

A quiet house in suburban Dunedin, New Zealand, is now home to a violent exterminator set on destroying any “impure” forms of life.

Macandrew Bay residents might be safer inside their homes because a six-foot (183cm) merciless Dalek, from the cult television show Doctor Who, is now operating in the area.

Sci-fi enthusiast Jason Connolly spent about 200 hours over the past three months building the life-size replica of the show’s most menacing antagonist in his workshop.

He said he had been a fan of Doctor Who in the late 1970s and early 1980s when Tom Baker was The Doctor, and more recently when David Tennant assumed the role.

When he visited a Doctor Who exhibition in Wellington, in October last year, it “reawakened” his love for the show and he decided to build a replica of a special 50th anniversary edition Dalek.

Most of the four-tier structure was built from scratch and was “a pain” to build, he said.

“The only [ready-made] thing that I’ve been able to stick in, is that plunger.”

Built on a modified mobility scooter, the Dalek moves using a wired remote and is big enough to fit a small-to-medium sized person inside.

However, Mr Connolly who is 1.93m tall and weighs 120kg, could not fit.

The machine also had bright blue and red lights attached to it, as well as a speaker for sound effects.

Mr Connolly had already been invited to display his Dalek at festivals in Christchurch and Auckland, and was keen to take it to events in Dunedin when possible.

He is a district nurse for Health New Zealand/Te Whatu Ora Southern during the day, and only built pop culture replicas for a hobby, he said.

When things were busy or he needed a bit of “quiet time” he liked to go into his workshop, have a cup of tea or a glass of wine and build things.

Mr Connolly said he was starting to run out of space to store his projects, which included a Storm Trooper, a full-sized Chewbacca suit and a samurai Batman suit.

So there was no danger of any more aliens popping up in the area.

“I don’t know if I can make anything else because we’ve got nowhere for anything else to go.”

Doctor Who theme added to Australian national sound archive

Doctor Who theme added to Australian national sound archive

Composer, Ron Grainer

The theme music to iconic British sci-fi TV show Doctor Who has been immortalized by Australia’s National Film and Sound Archive.

Wait? What? Why is music from the UK’s most substantial contribution to broadcast sci-fi worthy of inclusion in an Australian archive?

Because, as explained by the Archive (NFSA), it was written by an Aussie.

English musician and composer of electronic music, Delia Derbyshire.

“While the theme for the long-running BBC series, with its otherworldly pulsing bassline, was recorded by English musician Delia Derbyshire, it was written by Australian composer Ron Grainer,” the NFSA explained, before going on to remind us all that the theme is thought to have been the first piece of electronic music used as a TV theme – and remains in use to this day, albeit modernized.

“Each note was painstakingly realized using musique concrète techniques – cutting, splicing, and manipulating analog tape recordings of white noise, a test-tone oscillator, and a single plucked string,” NFSA noted in its account of the tune’s creation.

That description accords with one The Register published in 2010, when we brought readers news that the BBC planned to air a previously un-aired interview with Delia Derbyshire.

That interview can be heard here as part of a 58-minute BBC program celebrating her life and work.

NFSA’s biography of Grainer explains that he was a musical prodigy who moved to London in 1952 and was once hit on the head by a grand piano lid – an incident that threw him into an orchestra pit.

He eventually found himself in the orbit of the BBC and in demand for his composing skills, which he used to create themes for classic programs Steptoe and Son and The Prisoner.

His IMDB profile lists him as also contributing to many Doctor Who episodes, Charlton Heston flick The Omega Man, and a program featuring UK comic Benny Hill. That’s an oeuvre surely worth archiving in some form! ®

Watch deleted scenes from Doctor Who Season 1

Watch deleted scenes from Doctor Who Season 1

First-look into the making of Season 1 in celebration of Doctor Who Day.

To celebrate sixty-one years of Doctor Who, we’re bringing you a little bit extra from the latest era of the series! Over on the official Doctor Who YouTube channel, you can watch deleted scenes from Season 1 and the third 60th Anniversary special, The Giggle

There are many reasons why not everything in a script makes it into the final broadcast episode: runtime, pacing, or even just a change in artistic direction. And, as an extra treat, each deleted scene comes with a note from showrunner Russell T Davies explaining the decision not to include it in the final cut. 

Read on for the full list of deleted scenes below. 

THE GIGGLE 

SCENES 9-10A: As UNIT welcomes the Doctor and Donna to their new HQ, Donna ensures that her family are protected from the dangers of the Giggle on the outside world. 
RUSSELL T DAVIES’ NOTE: “Cut because it spoils that sweeping entrance, to stop and have a chat. And get to Mel faster!” 

SCENE 27: Doors, doors and more doors! The Doctor and Donna attempt to negotiate  their way through the Toymaker’s infinite and tricksome domain. 
RTD NOTE: “Cut for time.” 

SPACE BABIES

SCENE 16: Ruby shares her experience as an orphan with the Space Babies before being interrupted by an excitable Doctor on his way to Portal 357. 
RTD NOTE: “Cut for time, which is a shame, Millie’s wonderful here.” 

SCENES 40/42: “Into the belly of the beast…” The Doctor and Ruby navigate some daunting and increasingly bogey-filled corridors as they approach the Bogeyman’s lair. 
RTD NOTE: “Cut to get to the Bogeyman faster.” 

SCENE 63: The Doctor and the Bogeyman recover from their airlock encounter, and the Doctor even checks on the Bogeyman’s wellbeing – carefully, of course! 
RTD NOTE: “Not needed, though a wide shot of this scene plays on the screens behind Jocelyn.”

THE DEVIL’S CHORD

SCENE 9A: After witnessing a miserable performance of ‘Three Blind Mice’, the Doctor declares, “Someone has stolen music!” 
RTD NOTE: “Felt a bit psychic of the Doctor, how does he know it’s stolen?” 

SCENE 23: Maestro, having just popped out of a rooftop piano, uses their cosmic tuning fork to track the location of the retreating Doctor and Ruby. 
RTD NOTE: “Cut for time, get on with it!” 

SCENE 72: The Doctor and Ruby run back up the rooftop stairwell as music returns to the world. 
RTD NOTE: “Cut because this explains what’s about to happen. Just let it happen instead!” 

SCENE 74: A montage through some Londoners’ windows as they rediscover music in their hearts. 
RTD NOTE: “Nice idea, but not really needed.” 

73 YARDS

SCENES 3-4: With the Doctor suddenly missing, Ruby waits outside the TARDIS alone, with the mysterious Woman standing nearby…  
RTD NOTE: “It’s already a long, slow opening, get on with it!” 

SCENES 53-54: The morning after her victory against Roger ap Gwilliam, 40 year-old Ruby runs to her window to find,  sadly, that the Woman is still outside. 
RTD NOTE: “Much more effective to cut on the earlier scene, as Ruby asks the Woman, ‘Can you leave me alone now?’

THE LEGEND OF RUBY SUNDAY 

SCENES 41-44: An alternative sequence of the moment Harriet Arbinger heralds the return of Sutekh
RTD NOTE: “All tightened, sharpened and pulled up.” 

EMPIRE OF DEATH 

SCENE 35: The Doctor, Ruby and Mel arrive in 2046. Shortly after they exit the Remembered TARDIS, it fades away; its purpose fulfilled. 
RTD NOTE: “We lost this because I didn’t want the Remembered TARDIS to die, I like the thought of it still out there somewhere.” 
 
SCENES 59-63: Ever wondered where the Doctor’s TARDIS-controlling whistle came from? This timey-wimey sequence shows the Doctor programming the TARDIS to respond to the whistle’s pitch, then using a hatch to pass the whistle back to his past self. Bit of a cheat, but as the Doctor says, “We’re fighting a god – we get one trick once!” 
RTD NOTE: “This seemed terribly complicated. But watching it again now, it’s great, maybe we shouldn’t have cut it. Though I don’t think anyone wondered where he got his whistle from…?