First we saw a trailer for "Planet Of The Dead," the desert planet epic that premieres tonight at 8:00 on BBC America — complete and unedited.

We also saw a trailer for "Waters Of Mars," the following story, which looks to be considerably darker.

We see images of a Martian base, with lots of somewhat primitive Earth tech including flashing buttons. The base is sort of cross-shaped, with modules sticking out at various points. The Doctor says, "Certain moments in time are fixed. Everything else is in flux. Anything can happen. But there are certain moments that must stand." We see images of the people in the Mars base going about their business, and then the weird water zombie thing starts, with people turning into water and getting the scabby reptilian faces. "This time and place on Mars, what happens here, must not be changed," the Doctor adds. And then we see more of the watery monster panic. And then the Doctor, in a different scene, explains that whatever this thing is, it doesn't just hide in water — it creates water. And if the humans take it back to Earth, it's all over. "Any one of us could be infected," says a blonde woman. More scenes of chaos and havoc as the base starts to fall apart. And then the Doctor stands in his orange spacesuit (from "The Satan Pit") with flames behind him. In his most dramatic voice, he says to the blonde woman, "It doesn't end here and now — because I don't hear anyone knocking, do you?" And then there are four brutal, loud knocks. And the titles say "THE WATERS OF MARS."

And then there was the trailer for Tennant's final two-parter, which appears to be called "The End Of Time":

We see the planet Earth from space, with the sun coming out behind it, and Timothy Dalton's voice purrs: "It is said that in the final days of the planet Earth, everyone had bad dreams." And then we see weird laughing faces, followed by David Tennant looking quite perturbed. We see glimpses of Wilf, Donna, Donna's mother, and an African man in a suit, all looking very serious. And there's a scary snake-faced creature. And then there's a figure in a dark hoodie lurking ominously. Dalton narrates: "He returns." We catch a glimpse of Ood Sigma, the Ood who told the Doctor his song was ending. And then the Doctor standing in the background, with the guy in a hoodie in the foreground. And then the hoodie comes off, and it's John Simm with his hair weirdly bleached! His voice comes: "My name is the Master." And then a title comes on the screen: "THE END OF TIME." And the Doctor walks forward with flames in the background, his face looking smoky and serious. And the title says "CHRISTMAS 2009." And the crowd goes wild.

The Doctor Who panel was more fun than informative, as it really should be. David Tennant had a huge standing ovation, and people in the crowd were shouting "WE LOVE YOU!!" at regular intervals. At one point, Tennant responded "We love you too. Each one of you in a slightly different, individual way. We want you to know that."

Russell T. Davies did confirm that Lucy Saxon, the Master's long-suffering wife, will be back in the final episodes, alongside Simms. And the words "He will knock four times" have a great significance.

And Tennant alluded to something bad that happens to the Doctor's jacket in one of the last scenes he shot.

Someone asked David Tennant if the new Who is a reimagining of the old show, and he responded: "It's the same show and the story continues. I'm playing the same man tht William Hartnell was playing. I just have a slghtly different wig."

Someone from the Guinness Book Of World Records presented the show with an award for being the most successful science fiction show of all time, and Davies happily accepted, making jokes about Star Trek. ""Eat that, Supernatural!" He shouted, followed by "Eat me, Supernatural — oh I didn't really say that, did I?"

Someone mentioned that John Barrowman (who plays Captain Jack Harkness) talked about stealing a few items from the Doctor Who set, and asked if Tennant had taken anything as well. Executive producer Julie Gardner quipped, "I think John Barrowman just stole things off the set so he could be strip-searched."

Tennant only has one regret about leaving the show now: "The one thing I leave the show with a great sadness about is, I didn't get to snog Bernard Cribbins. I got to snog all the other ones."

And a fan asked if Professor River Song might come back at some point, and Davies and Gardner made it clear they have nothing to do with the episodes going out in 2010 and have no clue what'll happen. But Davies added: "I think if you go online and do a little search for River Song, you might be very happy."

We were lucky enough to have a one-on-one interview with Gardner, who's supervised both Who and Torchwood for the BBC, the other day. And she shared her thoughts about both shows, going forward. Plus she explained why, exactly, she's moved to Los Angeles.

She says the BBC will fully try to top the current season of Torchwood, assuming it actually returns in 2010. That's "part of the fun, and part of the adrenaline rush of working in TV drama." She adds, "The joy, for me, with Torchwood, is that it's a show that, every single years, has reinvented itself." That's certainly true with the new format of a five-part miniseries airing across five consecutive nights, which Jane Trantor suggested and Russell T. Davies found an exciting challenge.

We're kind of having conversations now, about what the next step is, because I do think it's fun working on a show that reinvents itself constantly. We're looking at all of this, whether another serial arc, or possibly something else.

As to whether series four will show the Torchwood team rebuilding after the challenging events of "Children Of Earth," she says "You go where the story needs to take you. I think it's always possible to rebuild."

"Children Of Earth" started from Davies "wanting to tell a first contact story," says Gardner. "It's not the usual action adventure. It's a story about what could plausibly happen." And he looked at all the terrible atrocities happening in other countries, and how people behave when they're pushed to their limits, and tried to imagine how that could happen in Britain.

So is there any truth to the idea that a Doctor Who movie is in the pipeline? Gardner says at this point, it's mostly speculative. "At the moment, we are absolutely concentrating on the new production of the Doctor Who series." She'd love to see a Who movie, but doesn't see it happening any time soon.

As to what Gardner's doing in L.A., she's not actually working on bringing Doctor Who, or any other British show to American shores. Rather, she's looking at positioning the BBC as a production company, much like any other U.S. production studio, which can create new shows for American networks. Rather than creating American versions of British shows, she says the BBC is "looking at new ideas." The U.S. production arm of the BBC has been there for a number of years, and now the time seems right to move it forward. "The U.K. and American TV scripted industries have never been closer," says Gardner. "There is a shared culture." She may be able to bring some lessons from the BBC to American broadcasting, and she has a lot to learn from U.S. television as well.

Julie Gardner image by Fazzinchi.

It's a far cry from any normal star-studded event, but SDCC always brings us our own pantheon of SF gods and goddesses every year. For me personally, this includes a handful of stars (Michael C. Hall, David Tennant, Felicia Day) and Creators (Joss Whedon, Alan Ball, J.J. "You-Make-Life-Worth-Living" Abrams) and, above all, the unsung heroes behind-the-scenes like Julie Gardner and Jane Espenson.

The addition of Dr.Who and its naughty little spin-off Torchwood to the SDCC TV panel lineup has already been big news around here lately. While everyone is lining up to see the sexy stars of these two BBC series, I'm going to see the amazing Julie Gardner. Gardner is the executive producer of Who and Torchwood, and helped co-create the latter along with Russell T. Davies. While RTD is leaving the TARDIS for other adventures, Gardner will continue to executive produce the show and help Matt Smith fill David Tennant's Hi-Tops.

Jane Espenson has been a script editor, writer and producer behind Buffy, Dollhouse and Battlestar Galactica. She wrote the antebellum-themed Firefly episode "Shindig", and spends her free time working with Joss on the Buffy comics for Dark Horse. She's scripted the pilot episode to Warehouse 13 and will hopefully turn up on the W13 panel to promote the new show, and maybe to give us some hints as to what to expect from Caprica, which she'll be showrunning with Ronald D. Moore.

Gardner has joined the BBC's new American division as the person in charge of creating dramas and other scripted-programming for the US and international markets. The announcement of her hiring (officially as an Executive Producer under exclusive contract to BBC Worldwide America) came yesterday, after months of speculation that she would be joining her former boss Jane Tranter in the new organization. As the Head of Drama at BBC Wales, Gardner was responsible for greenlighting Doctor Who, Torchwood, Sarah Jane Adventures and the original Life on Mars, before moving on to become the Overall Head of Drama Commissioning for the BBC until yesterday's move was announced. While it's not yet known what kinds of shows that Gardner will be looking to create for American audiences, her track record with SF should speak for itself... And if it doesn't, the rumor that Russell T. Davies is one of the writers she's looking to bring with her to the States should raise some new hopes.

Julie Gardner in at BBC Worldwide America [Hollywood Reporter]

News broke yesterday that the BBC is looking to set up a new US division in Los Angeles next year, headed up by Jane Tranter, the woman responsible for making sure that shows like the revamped Doctor Who, Life on Mars and Spooks: Code 9 made it to screens in the first place. According to those in the know, the division - to be called BBC Worldwide West Coast - would concentrate on development and production of shows not only for the BBC, but also for US and international television. Rumored to be joining Tranter in the new offices is another familiar name, Doctor Who executive producer and current head of drama at BBC Wales, Julie Gardner. Suddenly you have to start wondering whether Gardner's trip to Comic-Con last month was less promotion and more a scouting trip to see whether or not she'd enjoy the weather.

While none of the above has been confirmed by the BBC - who, instead, are firmly "no comment"ing the story away - this can't be taken as any real confirmation about the American Who rumors. But still: With two such Who-heads involved in the setting up of the division, it would make sense to launch it with a special episode or two of one of the BBC's biggest hits in years, wouldn't it?

BBC Exec prepping drama unit in US [Hollywood Reporter]

Does Doctor Who's popularity prove people love science fiction? Or is there something else going on?

I think it's both, actually. I think people do live scifi, and they love the bigness of it, and they love the big emotions. That's what I love about scifi, I love that things are writ large. I think that 's on a bigger canvas in a way. There's something extrarodinary in its [popularity]. I can't even pretend to know what it is. Children write to us, and they write stories and they draw pictures, and there's a real interaction and a real engagement, and they see the Doctor as their friend, and they go on adventures and they really are travineling with him and there's a great engagement of their imaginations, and I've never experienced that before. And obviously Russell T. Davies and Steven were enormous fans.

You weren't a fan before?

I dipped in and out, and expeirenced a little bit of it... I've become a huge fan now, through rediscovering the classic series. When I first worked on Doctor Who, [Russell T. Davies] sent me a viewing list. "This is what you need to know."

What was on it?

I knew you were going to ask me that. "Pyramids Of Mars," "City Of Death," which is my absolute favorite, "Talons Of Weng Chiang." "City Of Death" was the first time I really understood it, and started to understand that this show can do anything. You've got Tom Baker being amazing, you've got a shoot on a limited budget in Paris, exteriors only obviously. You've got the cheekiness of him going back in time to meet Leonardo Da Vinci, you've got the scale and the fun and the imagination that was gob-smacking. Personally the type of scifi I've never been able to engage in is things like Star Trek. I've never been a Star Trek fan. It's an amazing show. I can conaprpeciate it, but it doesn't connect with me, it's cold scifi. I love Smallville, I love Buffy. Stuff that deals with emotions and families, but has an extra element to it. It's a mx of the ordinary and the extraordinary. There are sesaons for scifi. There are times when i think psychologically nations want that feel-good factor, and the scale of it... the the confidence, the scale or the swagger of it.

So during times of war and crisis, people need scifi more?

Yes. You want your comedies, or your musicals, or your epic emotion, which is real emotion, but on an epic canvas.

When I talk about cold scifi... There's a huge cleverness to Star Trek which is tantalizing, but... I love Doctor Who and Torchwood and Sarah Jane Adventures... because ultimately they're all about how you live and the choices you make, and Doctor Who without question is at its best in the moments where the Doctor suffers and the Doctor has to make a choice, as opposed to the moments where you see this extraoridnary Time Lord genius traveling. If you're immortal, like Captain Jack, what does that do to your relationships? Sarah Jane, she's alone, but then she finds her family. She's fighting for her adopted son.

Torchwood has changed so much just in the past two years. And now it's being aired all over the place. I just saw that it's showing in Korea.

Torchwood does really well in Korea. It's really up there with CSI, they have some major imports from America, and [then there's] Torchwood.

Do you think Torchwood lost some of its identity in the second season when it became less racy?

I think it's the reverse. I think it started to find itself. Because I think season one, we made very fast. It's the fastest show I've ever gone through, from the development and the commission to actually being on air. It was a tight schedule. It dictates the tone sometimes, you're just really running for the finish. But as well as that we just really clearly wanted to earmark Torchwood as being different to Doctor Who. There was swearing in the first scene, and it was very clearly stated. [Then] we started to relax into it, and we started to find what Torchwood was to itself. Captain Jack is a larger than life character, and has a great sex life with Ianto. [People talk about] the sex, the sex, the sex, but actually there's very little sex in Torchwood. Where we got that reputation was episode two, where you did have the sexy gas alien monster. But beyond that, it was more about broken hearts and love. The Toshiko episode [with her lesbian lover] was not about lesbian sex, it was about she's finally found... something outside of work... [and then she loses it.]

Speaking of Toshiko, one of my favorite episodes in season two was the episode with Toshiko and the World War I soldier. It seems like Torchwood is often at its best when it deals with war.

I think it's a very romantic show. Tosh having that relationship from World War I is very romantic and emotional, and painful and the loss of someone that young and thinking about what those men went through — those boys went through — it's painful. Torchwood's tone is never risque for the sake of being that. When it's risque, it is always about the story and haivng a little twinkle in your eye.

My favorite Who spinoff is actually the Sarah Jane Adventures. I love how Sarah Jane has actually managed to become sort of a version of the Doctor.

She has her sonic lipstick. He's called the Doctor, he makes people better, that's a running theme across all the adventures in his life... She is like the Doctor, with her team... it's a sunny show. We always film it in the summer. Elisabeth Sladen is amazing. How can a woman look that good? She's got so much energy and vicacity. I think actually it's quite a moral show, and not in a preachy way. It's about what choices do you make, like Doctor Who and how do you live with them and how to stand up for the things you believe in. And there's a cost to things, and Sarah Jane suffers. And how this lonely woman suddenly finds a ready-made family and how brilliant that is

Speaking of which, I was sad to hear that Maria is leaving the show, but I hear a new family is moving in across the street from Sarah Jane?

We are two weeks away from wrapping the shoot. The new family is called the Chandras and their daughter Rani. They bedded down really well as characters. They come in in episodes three and four. It's an imporant story. It's also about what does it mean to Sarah Jane to lose Maria. That loss all plays out in important ways.

Top Julie Gardner image from Ewan and Donabel on Flickr.

In the longer version of the 2008 Christmas special trailer, we saw the Doctor asking a small boy what day it was. The little boy replies, with disarming specificity, that it's Christmas Eve 1851. And then Velile Tshabalala, playing temporary companion "Rosita," says that a "creature came out of the shadows, a man made of metal." And later we hear Rosita calling out for the Doctor. We also glimpse Dervla Kerwin's sinister Miss Hartigan, who's at a funeral when a man asks what manner of men these metal figures are. Miss Hartigan replies, "Cybermen," with obvious satisfaction. And then we see Miss Hartigan say "Merry Christmas" in a totally evil way. If you want to ruin your eyes, here's a cameraphone copy:

Other exciting revelations at the Doctor Who and Torchwood panels:

• Moffat says his famous catch phrase "wibbly wobbly timey whimey" isn't a "get-out clause," because the time travel and manipulation still has to make sense in the story.
• There were very vague hints about Neil Gaiman writing for Moffat's Who. At his reading, Gaiman said it would be okay to mention to Moffat that it would be nice. And Moffat agreed that it would be nice.
• People kept asking John Barrowman if he'd read the end of the script for the season three finale, where it's revealed Captain Jack is the Face of Boe, and he hadn't read it yet. Finally, he did read it, and screamed and freaked out with glee.
• Moffat said you have to give the Doctor credit for "dumping a sligthly clingy girlfriend" by sticking her with a clone.
• Gardner and Moffat disagreed about whether to bring back Donna's kids at the end of "The Forest Of The Dead." Moffat didn't want to kill off kids in a kids' show, and Gardner thought it was a mistake to bring them back as River Song's kids at the end, because it would be confusing. But now Moffat's changed his mind and thinks it "was a loss of clarity and it makes no sense." Now, when he watches the episode he can't stand watching it after the moment where the TARDIS door closes. But Gardner has changed her mind too, and thinks it makes sense to keep the kids around.
• It's deliberately vague as to whether River Song recognizes the "essence of the Doctor" or specifically the David Tennant Doctor. But in Moffat's mind, she's met the Tennant Doctor before, and that's not the only Doctor she's met.
• Moffat thinks the "stunt value" of two Doctors meeting only lasts about eight minutes, and any plot just gets in the way of the wish fulfillment of seeing them chatting. He wouldn't do a longer story involving two Doctors, unless he had a way to get some energy from the fact that the same adventure was happening to this man at two different times in his life.
• Asked about bringing back random old characters from the classic show, Moffat said it's most important to tailor the show for the new eight-year-old viewers. "We're not in the business of doing nostalgia, we're makking nostalgia for the future."
• Also, asked whether his Who would be too frightening, he responded: "If your concern is that with me taking over Doctor Who, it's going to be really really frightening every week, then tough." (But Moffat also told Sci Fi Wire that we shouldn't expect all of his episodes to be the same as "Blink," because he'll have to vary his style more when he's overseeing a whole season.)
• The Doctor's daughter didn't die, as originally planned, because Moffat made an off-hand comment to Russell T. Davies that introducing the character and killing her in the same episode would be "what Star Trek would do."
• BBC America officially announced that it's picking up the third season of Torchwood to air in the U.S. And the new Torchwood season starts shooting soon. Davies is working on scripts for it right now.

We've been debating on our site endlessly: Is Doctor Who a kids' program?

Yes. Debate over. It's good to fix those things quickly.

Even though it has a huge adult following? It's not aimed at both?

It's aimed at kids and adults. And why should anyone care about this? If you watch it, then it's for you. It shouldn't matter. I mean the specific thing about it being a children's program, is that it follows the imperatives and narrative rules and the joy of children's fiction. If you watch Doctor Who at 9 pm at night [as you do in the United States] it's going to seem a bit odd. It's energetic. The Doctor walks straight out of the TARDIS and into trouble, and you accept it. The Master becomes Prime Minister of Britain, and you accept it. It's got all the brio and vigor of Harry Potter, Narnia and Star Wars. That doesn't mean it doesn't appeal to adults. Star Wars, the most successful film franchise ever, is explicitly for children, but adults love it. Doctor Who is my favorite thing in the world. If you're in Britain, we'll show you the sticker books [and] the lunchboxes. In the schoolyard on Monday, they're all talking about Doctor Who. That doesn't mean it's childish. It's very sophisticated.

And of course England has a tradition of children's literature that's quite nasty, like Roald Dahl.

It's naughty... It's all fear. death and screaming women. It's innocent people being melted in the first 5 minutes of every episode. Why should there be a debate? If they watch it, it's their program. We're very happy they watch it [but] every single one of them would enjoy it more if they watched it with an eight-year-old. You really see it then... Literally, the whole family sits down to watch Doctor Who: mum and dad, granddad, the two kids... Mum's fancying David Tennant, dad's thinking the spaceships are really cool, the granddad is saying it was better when it was William Hartnell.... and they're all thinking it's aimed at them.

Have you seen Wall-E?

I haven't seen Wall-E. It looks fantastic.

I was really blown away by it. It's a kid's movie, but it deals with some incredibly weighty issues.

The misconception about children's ficition is that it's lightweight or fluffy. It's about really big and important things. It's adults who like light and fluffy. Everything is big and imprtant to a child, [so] their stories are about big and important events.

When the show re-launched, original showrunner Russell T. Davies talked about being influenced by Buffy The Vampire Slayer. Is the show still being influenced by Buffy?

I think when you start on a show like that... You are looking around [for things to compare it to]. Where does it sit now? What is like this now? What can I give as an example of this? Buffy is a good example: it's young-skewed, adventurous, funny and irreverent. But the moment you start making the show, you stop thinking of Buffy [and] you start thinking of Doctor Who. Doctor Who is a huge, fantastic, important show now.

So are there any shows happening now that you're more influenced by?

[You watch things, and inevitably you're influenced by things you like.] A show like Doctor Who has always been eclectic and kleptomaniac. You start grabbing bits of shows. Doctor Who switches shows all the time. You want to do a bank robbery episode of Doctor Who? You can do a bank robbery episode of Doctor Who.

So are we going to get something off the wall, like a bank robbery episode, in season five?

I won't say much about series five. It's two years off. Even giving tantalizing hints, those things will become so old. [People would be analyzing and debating them to death.] In two years [when] series five comes out, I want it to be the freshest thing in the world.

I won't ask for series five spoilers then. Except, any chance we'll be seeing River Song again?

The Doctor will certainly see her, and we know he will some day. But as to whether we will? (Shrugs)

So speaking of River Song, one of the most intriguing things in your recent two-parter was all the mentions of the future super-Doctor, who can open the TARDIS by snapping his fingers. Is that a sign of things to come?

If you've got a bluetooth key for your car, you can practically do that anyway. Having the Doctor be able to open his door [by snapping] is not a big deal. You've seen him change his face. What's really important to Doctor Who - I was discussing this with Russell the other day - is that he's got the biggest gob in the universe, and [he can talk people into anything]. Underneath it all, he's a bloke. He 's a man. He's just a man with a time machine who is brilliant at convincing people of things... and it's a great bluff. When [River Song] whispers his name in his ear, he freaks, and you see him collapse back into himself, and [into] being just a bloke. David Tennant does a brilliant job. David shows him [building back up] and shouldering the burden of being the Doctor again. He's the man who never gives up, and that's his super-power.

But there are hints in other episodes of the Doctor being sort of a god. And in the end of that Paul Cornell two-parter last year, we see him inflicting these godlike super-punishments on people, freezing them or trapping them in mirrors.

You see a very collapsed version of those events. He does things. He's not magic... It would be a very boring legend if you discovered that, at the center of it, it's actually a legend. You want it to be a legend about a man. It becomes dramatically interesting, because he is a man. I'm surprised people are worried about that. There's a lot, in the rest of the series, where we play a very human Doctor. He's prone to jealousies, he's prone to falling in love, his heart can be broken. And he's thinking, "How can i keep doing this?"

Speaking of Paul Cornell, he wrote a Doctor Who internet audio starring Richard E. Grant called "Scream Of The Shalka," where we see a Doctor who's much more weary and self-loathing. Will we ever see that side of the Doctor on television?

I shouldn't think that. I don't think that's something that we could sell to a mainstream audience, a Doctor who loathes himself. A bitter, sad Doctor. You're not going to get the audience for that. You want to think, this man is having the best life ever. This is not a piece of art-house cinema. You get glimpses of the great sadness and the loneliness, [but] that's just the occasional colour. [Even in the "Shalka" storyline, it was just an arc within that story.] Most of the time he's going to be running and running.

You're obviously influenced by the Peter Davison era, and you wrote "Time Crash," where he met David Tennant's Doctor. How does that inform your approach to a more human Doctor?

I really enjoyed Peter's Doctor. I said sometimes, he's underrated as the Doctor - although not after "Time Crash," that's for sure. I think he's a brilliant Doctor... He paved the way for the younger, more reckless Doctors... He is the [first] modern Doctor... [Before Davison], he was always the father figure, and suddenly the Doctor became your reckless mate... The Doctor always doesn't know what he's doing, he just hopes he can get away with it.

So for now we're seeing a human side of the Doctor, but are we eventually going to see him turning into the super-Doctor River Song describes? Maybe in series ten?

He's an incredible man, and we want him to do things that seem like magic. How must it have seemed to the court of Versailles, when he crashed through the mirror on a horse? How must it have looked to them? [Whereas] we know there was a horse on the spaceship, and there was a portal, and it was a trick.

Your episodes of Doctor Who are among the scariest, and you also worked on the fantastic Jekyll. What are your horror influences?

I'll be honest. The horror influence on me is Doctor Who. I haven't watched a lot of scary movies. I watched The Ring, that's bloody terrifying. Gareth Roberts, who wrote "The Unicorn And The Wasp," has a theory: You write Doctor Who as you remember it. He remembers it as funny and clever, so he writes that kind of Doctor Who. I remember it as being scary.

In the Batman comics, the idea that Batman creates his own villains used to be a subversive undercurrent, but recently it's become more like the official story. Similarly, there's the idea that the Doctor creates more problems than he solves, and he's a destructive force. This comes up in the most recent season finale, with Davros saying the Doctor dare not look back at the damage he's caused. Is this view of the Doctor becoming more prevalent?

I would hate that to be true. I think that's Davros winding him up. I want to think the universe is held in balance by this one good man. I think he does more than that, he inspires people to great acts of heroes of heroism. That's what Davros sees, because he's a mean-spirirted old [jerk], but the Doctor is more special and lovely than that.

One of the great innovations of the Russell T. Davies era was the idea of the companion being connected to her home and family, and keeping the family as a supporting cast. How do you keep that fresh with a succession of new companions?

You change everything, all the time. Even that element of the show has changed radically over the past four years... You don't worry about doing things radically, in an a new way... [You] do what tells the story... It was very important that Rose, Jackie and Mickey were clear, developed characters. [When the show started] the Doctor was a ridiculous guide. [Audiences didn't] understand who he is and what he's supposed to be. But [now] it's very different, because the Doctor is the most familiar character in the show. [Originally] we knew Rose much better than the Doctor, and now we know the Doctor better than we know Rose. And now we see Rose from the Doctor's point of view, instead of seeing the Doctor from Rose's point of view. You have to stay alive and stay lively, and Doctor Who is about change. Change is part of Doctor Who's formula. It must change.