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Doctor Who's iconic title sequence has been reimagined many, many times. But which is the best of the best... and the worst of the worst? Let's find out!
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00:00From the TARDIS to the Daleks to the Sonic Screwdriver, Doctor Who has many iconic elements
00:05which are recognisable to even those who aren't die-hard fans of the franchise.
00:09Amongst those elements is the opening title sequence.
00:12Over the past 62 years, the title sequence has been through many changes and adaptations,
00:17both visually and audibly, whilst also remaining consistent enough to maintain its iconic status.
00:23Some changes have been minor, while others have showcased major progression in special effects
00:28and elevated the show to a whole new level.
00:31So let's take a look at each variation, plus a few additions from elsewhere in the Who-niverse,
00:35and determine which is the worst and which is the best.
00:38I'm Ellie for Who Culture, and here is every Doctor Who title sequence ranked from worst to best.
00:45Before we get into the main title sequences of the Who-niverse,
00:49let's take a look at some openings within the wider Doctor Who franchise that deserve some recognition.
00:54Kicking things off with Totally Doctor Who.
00:56Kids in the UK, during the airing of Series 2 and 3, were treated to a fun behind-the-scenes
01:02slash chat show on CBBC, which explored each new episode of the show.
01:07Hosted by Barney Harwood, Liz Parker for Series 1, and Kirsten O'Brien in Series 2,
01:12this was peak Doctor Who childhood in the mid-2000s,
01:16and the energetic, comic-book-style animation of the opening title sequence
01:20perfectly highlights that noughties hype and nostalgia for the show.
01:24This was the perfect intro for a more junior-centric behind-the-scenes show,
01:29full of bright colours and recognisable characters.
01:32Sticking with behind-the-scenes shows, next we have Doctor Who Confidential.
01:35Airing on BBC3 after every episode of Doctor Who between 2005 and 2011,
01:41this show gave a great insight into the inner workings of the production.
01:45The opening titles were simple yet effective.
01:47Opting for a blue variation of the time vortex filtered over various clips from the upcoming
01:53episode and a more upbeat, bouncy version of the Doctor Who theme tune.
01:58It seems fitting that a show focused on pulling back the curtain on the behind-the-scenes magic
02:03should have a more toned-down and to-the-point opening sequence.
02:07Finally, we have the science of Doctor Who, an hour-long science lesson hosted by Professor
02:12Brian Cox as part of the 50th anniversary celebrations.
02:16Focusing on the science behind theories of time travel, black holes and planets outside
02:21of our solar system, it's only fitting that the opening title sequence combines science
02:26fiction with real science, as the TARDIS flies through the time vortex whilst being seemingly
02:30chased by scientific equations.
02:33In over 60 years of Doctor Who, it's actually surprising that we haven't seen something like
02:36this in the main show itself.
02:38And speaking of the main show, let's take a trip into the main Who-niverse.
02:43Number 16, The Eleventh Doctor, 2012-2013
02:47Following the departure of the Ponds, the second half of Matt Smith's final series saw the arrival
02:53of an entirely new version of the title sequence.
02:56The series 7B sequence forgoes the standard time vortex structure, as seen in the other
03:01openers from the revival era, and opts instead for a rather dizzying, fast-paced explosion of
03:07bright flashes and a lot of red.
03:09While beginning with the TARDIS flying through space, rather than follow its journey, we quickly
03:13lose track of it before being swept away into a series of spinning nebula imagery that moves
03:18too fast to focus on properly.
03:20The TARDIS does then return at the close of the sequence, where the doors open to reveal the
03:25opening frame of the episode.
03:27Now, this is one of the smoothest transitions from titles to episode the show has seen, but
03:31it isn't enough to redeem the mediocrity of what comes beforehand.
03:35While the return of the Doctor's face appearing mid-sequence is certainly a welcome addition
03:39and a great nod to the openers of the classic era, it does bear wondering why it was decided
03:44to reimagine the opening so close to the end of Matt Smith's run, not to mention doing
03:48it midway through a series.
03:50It just feels a little bit unnecessary.
03:53Number 15, The Third Doctor, 1970-1973
03:57The first title sequence for John Pertwee's Third Doctor was fairly similar to those of
04:02the previous two incarnations, but with one glaring difference.
04:07Color.
04:081970's Spearhead from Space saw Doctor Who burst into the realm of colorized television,
04:12and this new age of vibrancy opened up a whole world of creative avenues for the show to go
04:18down.
04:18While not necessarily a bad thing, it does seem as though the title sequence was perhaps
04:22an example of the creatives getting overexcited with this new freedom and trying to show off
04:27every color they possibly could all at once.
04:30We have red.
04:31We have orange.
04:31We have yellow.
04:32We have green.
04:33We have pink.
04:34You get the picture.
04:35The visuals and sequence itself, however, remains relatively unchanged, save for the replacement
04:40of Patrick Troughton's face with John Pertwee's and the introduction of a new style
04:44for the logo.
04:45While the explosions of color were no doubt breathtaking for viewers at the time, the overall sequence
04:50doesn't stand out as anything particularly unique compared to others.
04:55Number 14, The Seventh Doctor 1987-1989
05:00Right off the bat, The Seventh Doctor's title sequence gets brownie points for its purple
05:05color scheme.
05:06Can you tell what my favorite color is?
05:08But unfortunately, the rest of the sequence is a little forgettable in comparison to the
05:12majority of the others.
05:13One element that absolutely fits with the cheeky charm of The Seventh Doctor is the image
05:18of Sylvester McCoy winking at the viewer, and it must also be commended for attempting
05:22something different, with the TARDIS caught in some sort of bubble and the reimagining of
05:26the logo to lean more into the 80s 3D tech hype.
05:30While the technology use was undoubtedly impressive for the time, the entire sequence does feel
05:35a little slow-paced compared to those that came before, and it's hard not to see the computer-generated
05:40space rocks as anything other than three pieces of scrunched-up paper flying through the
05:44air.
05:45A perfectly fine title sequence, but not one destined to be remembered forevermore.
05:49Number 13, The Thirteenth Doctor 2018-2022
05:54The arrival of Jodie Whittaker and Chris Chibnall saw major changes to the modern era of Doctor
05:59Who.
06:00The first female Doctor, a new showrunner, changes in production, and a new composer.
06:05Sagan Akinola took over from Morigold, becoming only the second composer in 13 years
06:10of New Who. His version of the theme tune feels far more reminiscent of the Delia Derbyshire
06:15original, and this was no accident. During the creation process, Akinola experimented with
06:20sections from Derbyshire's original arrangement, before incorporating them back into his own
06:25version, claiming Derbyshire to be a huge inspiration for his creative process as a composer for Doctor
06:30Who. Not only was the new theme tune an homage to the classic era, so too were the visuals
06:35of this new title sequence. This kaleidoscopic effect feels very much like what the first
06:41Pertwee sequence would have looked like if they'd had the technology and budget of 2018
06:46back in the 1970s. While more minimalist than the previous sequences of the modern era, this
06:51version certainly highlights the high production values of the Chibnall era, and showcases some
06:56stunning VFX. I mean, that star field looks particularly mesmerising. While perhaps not the most memorable
07:02of title sequences, this one should certainly be commended for its incorporation of elements
07:07from the past, and for taking a more abstract approach following many years of a fairly tried
07:12and tested format.
07:1312. The Eighth Doctor, 1996
07:17The 1996 TV movie does an excellent job of bridging the gap between classic and modern Who,
07:24and this is evident right from its opening. To begin with, the movie features a cold open,
07:28something commonplace in the revival era but extremely rare for classic Who, before moving
07:33into the title sequence. The visuals combine both elements from what came before, such as the return
07:39of the Pertwee era logo, while also introducing elements which would be refined and reused in the
07:44future, like the credits flying up through the time vortex. The most notable difference with the TV
07:49movie opening, though, is the theme music itself. With the prospect of revitalising the franchise and
07:54venturing into the United States, the theme was given the Hollywood treatment, which meant goodbye
07:59to the classic electronically produced arrangement, and hello to a fully orchestrated version from
08:05American composer John Debney. This really helped shift the tone of the show from a wacky British
08:10sci-fi show to a potential global franchise, and is something that has become commonplace in the
08:16revival era. While the American reboot ultimately failed, there are so many elements in this opening
08:21title sequence that would go on to influence the successful 2005 revival, and most importantly,
08:27pave the way for Morrie Gold's Doctor Who career.
08:30Number 11, The Sarah Jane Adventures, 2007-2011.
08:36The Sarah Jane Adventures was peak television for British kids in the mid-2000s, and yes,
08:42I am absolutely speaking from experience here. Following the success of the 2005 revival,
08:47the introduction of a more adult-focused spin-off in Torchwood, and the overwhelmingly positive
08:52response to classic companion Sarah Jane Smith returning in Series 2's school reunion,
08:58it made perfect sense to create a second, more child-friendly spin-off, led by a fan-favourite
09:02character now familiar to both classic viewers and new. In keeping with the main show, the title
09:08sequence for The Sarah Jane Adventures follows a very similar format, carrying over the journeying
09:12through the time vortex style of the first four series of Doctor Who's modern era. Where it
09:17differs most obviously is with the inclusion of random letters and numbers alongside the time
09:22vortex. Now, while this certainly looks cool, one does have to question its relevance to the show
09:27itself. At a guess, they perhaps link to Sarah Jane's job as an investigative journalist, but compared
09:32to other title sequences in the franchise, the themes here are a little less obvious. Now, from Series 3
09:38onwards, the title sequence was reduced to make room for a pre-title sequence, which featured Clyde
09:44Langer giving a brief overview of who Sarah Jane is, what she does, and who her companions are, alongside
09:49clips from the relevant series. Now, there's a debate as to whether this counts as part of the title
09:54sequence or not, but regardless of its status, it was a fun addition to the CBBC program, and may or
10:01may
10:01not be ingrained in the memories of many a child of the time.
10:05Number 10, The Twelfth Doctor 2014-2017
10:09If you've ever questioned whether it's worth posting your fan edits online, look no further
10:15than YouTube creator Billy Hanshaw to help you decide that it absolutely is worth it. His fan-made
10:22title sequence for The Twelfth Doctor was noticed by Stephen Moffat, who then hired him to design the
10:27real thing for Peter Capaldi's run as the Doctor. Now, what stands out most about this particular
10:32sequence is the choice to put more focus on the time travel elements of the show, as opposed to
10:37all the previous sequences, which tend to focus more on space imagery. Now, while space and nebula
10:42imagery is certainly visually appealing, especially in terms of scope and colours, and is used in this
10:47sequence, the imagery of clockwork mechanisms and the TARDIS literally travelling through the middle of
10:52time itself was a breath of fresh air for this famous title sequence, especially following the
10:57underwhelming effort from Series 7B. The one element from its predecessor that was carried
11:02over to great effect was the return of the Doctor's face appearing, and Capaldi's attack eyebrow stare
11:07fits perfectly into the fold. Mori Gold's theme is tweaked slightly for this new incarnation,
11:12but nothing majorly significant. Perhaps the greatest disservice to both Gold and Hanshaw is the
11:17unfortunate sinking issues that seem to occur throughout the run, whereby the music and visuals seem to shift
11:23out of sync from week to week, which definitely caused some frustration among viewers. Despite
11:28this hiccup though, this sequence absolutely deserves praise for its unique approach and daring
11:33to explore a different avenue within the show's themes. Well done, Billy Hanshaw! Before we move on
11:38though, let's also take a moment to highlight the silent title card in Series 9's Sleep No More,
11:43which replaced the usual title sequence to keep him fitting with the found footage style of the episode.
11:48This was a great addition to the episode, and it enhanced the themes without suddenly interrupting
11:53the atmosphere with the upbeat theme tune. Honestly, it's a shame that things like this
11:57aren't done more often. Number 9, Torchwood, 2006-2011.
12:03With Torchwood being the Doctor Who spin-off to focus on more adult themes and storylines,
12:08it stands to reason that the title sequence would follow suit. This is one of the quickest title
12:13sequences of the franchise, and strips away all the flamboyance of the main show in favour of a
12:18more mature, serious approach. With its black and red colour scheme and no-nonsense displaying of
12:23the cast names, it's clear from the offset that this is a show for the parents, not the kids.
12:28Like the Sarah Jane Adventures, the first two series of Torchwood also opened each episode
12:33with a pre-title sequence featuring a speech from Captain Jack Harkness about what Torchwood is,
12:39alongside clips from the various episodes. This also served to highlight that this was a more mature
12:44show once again, with mention of Torchwood arming the human race against the future,
12:48including multiple clips of gunfire, and displaying creatures much scarier than any
12:53scene in Doctor Who. We get it, this isn't for kids. Torchwood's third series, Children of Earth,
12:59went even more minimalist, opting to forego the opening title sequence altogether in favour of a
13:04simple title card which changed the day number with each episode. Like the Sleep No More title card,
13:09this was the right choice for this particular story. The tone and themes of Children of Earth
13:14would have felt less intense if each episode had began with a brief interlude to highlight that
13:19it's a work of fiction. Where Children of Earth thrives is in the gut-wrenching relatability and
13:24pure terror the situation evokes. Nothing should break that hold. Miracle Day could be mistaken for
13:29a medical drama based on its title sequence alone, and yet with context, this does actually fit
13:34very well with the theme of the fourth series. Unlike the simplicity of the first series opener,
13:40this one feels very dramatic, which is no doubt a result of the American co-production of this
13:45final series of the show. Nevertheless, it serves well in building up the tension of the series and
13:50maintains the more serious tone that Torchwood holds within the Who-niverse.
13:55Number 8, The Eleventh Doctor, 2010-2012
13:59The shift from RTD1 to the Stephen Moffat era was likely the first experience of major change for
14:06many viewers of modern Doctor Who. As such, there was a fine line to be trodden in order to make
14:11sure that those viewers left feeling uneasy by the changes wouldn't abandon ship. The new title
14:16sequence did this very well. While the visuals were distinctly different, the overall motion and
14:21concept of the sequence wasn't too far removed from the previous offering, and therefore kept an air of
14:26familiarity amongst those changes. The cloud-like variation of the time vortex worked really well
14:31with the more whimsical fairytale vibes of the Eleventh Doctor's era, as did the tweaks made by
14:36Murray Gold on the theme music itself. The stone-like effect on the text, while maybe not intentional,
14:41also feels very fitting for an era so focused on the Weeping Angels. And the formation of the TARDIS
14:46shape using the DW initials was a stroke of creative genius. It's genuinely surprising that this had never
14:52been done before. This sequence remained consistent across Series 5 and 6, with the addition of Arthur
14:57Darville to the credits in the latter. Come the first half of Series 7, however, and things took
15:02a turn, and not for the better. Each week, the Doctor Who title was covered in a cheesy-looking texture
15:08to fit with the theme of the episode, from dinosaur scales to the Statue of Liberty. But the most outrageous
15:14change for Series 7A was the use of what looked like an early 2010s Instagram filter over the entire
15:20sequence, which seemed to get darker and darker with each passing week. I mean, what were they
15:24thinking? A strong start with Series 5 and 6, but a real mixed bag heading into Series 7. A mixed
15:30bag
15:30that only got worse. Number 7, The Fourth, Fifth, and Sixth Doctors, 1980-1986. Heading into the 1980s,
15:40the Doctor Who title sequence got the full disco treatment. John Nathan Turner commissioned a
15:45reimagining of the sequence, which saw Delia Derbyshire's arrangement replaced by a new rendition by
15:50Peter Howell, and a complete redesign for the visual elements. Taking heavy influence from the success
15:55of Star Wars, gone were the bright, trippy vibes of the 70s, and in came a more simplistic approach
16:01featuring star fields and lens flares. The diamond logo was also replaced with a new neon tube-like
16:07design, which quite literally screams 1980s in neon lights. In keeping with those that came before,
16:13however, the new sequence still featured the faces of the Doctors appearing on screen, created by the
16:18stars aligning to form the image. Although whoever chose the image for poor Tom Baker deserves to be
16:23sat on by the Absorbaloff. What is that? While the sequence remained almost identical for the Tom
16:28Baker and Peter Davison version, it received an upgrade for Colin Baker's run. While the overall
16:33contents of the sequence remained the same, much more vibrancy was added. The star field became much
16:39fuller and injected with much more colour, as did the neon logo. As for Colin Baker's image,
16:44animation was used to transition from a slight smile to a big cheesy grin. For the Sixth Doctor's
16:50final season, the Peter Howell theme was again replaced, this time with a version arranged by
16:55Dominic Glynn, which, dare I say, sounds even more 80s than the previous one. Very much a sequence of
17:01its time, but when that time is the era of 1980s disco, that's one heck of a fun time indeed.
17:07Number 6. Class, 2016
17:10Oh, Class. The potential was there, but the interest was not. Unlike the previous spin-offs,
17:16Class fell victim to being released online, rather than being broadcast on live TV, which instantly
17:21hindered its chances of being a hit. Now, while streaming is commonplace now, back in 2016, the idea
17:27of BBC3 being switched to an online-only service was greatly criticised by viewers. As such, Class didn't
17:33perform as well as it was hoped, and was cancelled after just one series. Now, while the external issues
17:38might suggest that Class wasn't a good show, the characters and storylines were certainly
17:43interesting, ending on a gripping cliffhanger no less, and the title sequence was a surprisingly
17:48solid banger. While Torchwood opted for the more refined, mature style to fit with its target
17:53audience, Class offered up a fun, catchy sequence to better suit the teen, young adult viewers.
17:59Rather than an original composition for the theme, this sequence introduced a first for the
18:03Hooniverse, opting to use an existing song, Alex Clare's Up All Night, a song with lyrics
18:08no less, over its opening title sequence. This could have easily been a disaster, but paired
18:14with the flashy, colourful visuals, fit perfectly with the vibes of the show. Visually, this sequence
18:19has enough similarities to identify it as a part of the Hooniverse, such as the time vortex-like
18:24patterns and nebula imagery popping up here and there, but also steps away from the norm
18:29by including flashes of not just one character's face, but all the main players. It's very reminiscent
18:34of many other teen, young adult TV shows of the time, and honestly it's a real shame that Class
18:39wasn't given the chance to tell more stories.
18:42Number 5. The First Doctor, 1963-1967
18:47The one that started it all. Doctor Who was a revolutionary concept for the BBC back in the
18:531960s. Nothing like this had ever been done before, and so it was the perfect production to push
18:58boundaries and explore the possibilities of science fiction. And this was certainly true
19:03of Bernard Lodge's original title sequence, which explored techniques that, although simple
19:08by today's standards, were groundbreaking and otherworldly for the time. The pulsating waves
19:13were created by using a technique called the Howl Round effect, which was achieved by pointing
19:18the camera at its own feedback on a monitor. Simple, but extremely effective. Delia Derbyshire's
19:24original arrangement of the famous theme was also revolutionary for the time. Rather than using
19:28traditional instruments to create the theme, Derbyshire recorded countless electrical sounds,
19:33adjusted their pitch, and spliced them together to form a piece of music. In an age before
19:38synthesizers and computers could be used to create music, this was a painstaking task,
19:43and an absolute triumph for Derbyshire. If only she'd known then how famous her work could be
19:48over 60 years later. Now the idea of having the image of the Doctor appear in the sequence
19:52was explored for this first version, but was ultimately deemed too scary by producer Verity
19:58Lambert. Of course it wouldn't be long before that idea was revisited, but it's crazy to think
20:02that a simple image of a man's face would be considered too scary. My my, how times have
20:07changed. Though it may be simple in comparison to those that followed, it cannot be understated
20:11how groundbreaking this sequence was for television at the time. So vital, in fact, that when it came
20:17time to celebrate Doctor Who's 50th anniversary, this was the sequence chosen to open the day of
20:22the Doctor. Number 4, The Third and Fourth Doctors, 1973-1980. John Pertwee's final season saw the first
20:32major changes for the Doctor Who title sequence. Still in the hands of Bernard Lodge, the new
20:37sequence introduced perhaps the most recognizable element of the Doctor Who titles, something still
20:42used today, the Time Vortex. Gone were the wavy blobs of the HowlRound effect in favour of a tunnel-like
20:48visual that really elevates the feeling of travelling through a portal to another world. Although a little
20:53cheesy by today's standards, the image of the Third Doctor panning out to a full body shot as it
20:58travels down the tunnel also adds to the sense that this is a man who travels through these space
21:03portals. The theme music remained unchanged, but audiences were treated to one of the greatest
21:08logos the show has ever seen. In comparison to the more simple designs of the previous years,
21:13the iconic diamond logo gave a real sense that the show was upgrading as its popularity grew.
21:18The shape and tint of blue gives a sense that this could somehow be part of the TARDIS,
21:22and feels the most connected to the show itself. And speaking of the TARDIS, when Tom Baker arrived
21:27in 1974, the title sequence saw some tweaks made. Now while the general concept remained very similar,
21:34the TARDIS was incorporated into the sequence for the first time. It almost appears to be
21:38travelling up the Time Vortex towards the audience, before cutting to a much more flattering image of
21:44the Fourth Doctor than what would appear in his next title sequence. While some of the elements
21:48introduced here were dropped for a while, it's clear that these particular titles were highly
21:53influential on the modern era of Doctor Who, and they still hold up very well today.
21:57Number 3, The 14th and 15th Doctors, 2023-2025
22:03With the 60th anniversary marking the grand return of Russell T. Davis as showrunner,
22:09David Tennant and Catherine Tate, and music maestro Murray Gold, there was plenty of excitement and
22:14plenty of curiosity about what everything would look like. In keeping with the diamond anniversary,
22:20it was only fitting for the iconic diamond logo to make its return. With some minor 21st century
22:25VFX tweaking to add more dimension and definition, this logo is relatively unchanged from the original
22:311973 version. I mean, if it ain't broke, don't fix it, right? As for the title sequence itself,
22:36this is one of the most visually beautiful sequences of the last 60 years. Now more brownie
22:41points here for another purple colour scheme which just feels like a perfect fit for the space imagery.
22:46It's clear that nostalgia does play a part in the enjoyment of this sequence, but it's fun to point
22:51out the elements of past sequences that have been reimagined for this version. The concept is very
22:56reminiscent of the sequence of the RTD1 era, with the TARDIS travelling through the time vortex,
23:02but it also incorporates the more cloudy, fiery visuals of the early 11th Doctor titles too. The
23:07music, now back in the hands of Murray Gold, is a new arrangement, but also feels like a combination
23:12of the theme from both RTD1 and the early Moffat era. Now moving into Shooty Gat was run as the
23:1815th
23:19Doctor, the title sequence remained virtually unchanged, save for the addition of a beautiful
23:24shot of the TARDIS jumping from one portal to another through an asteroid field. It's remarkable
23:29how one tiny adjustment can elevate something even higher, and this brief addition just puts the
23:35icing on the cake for the most recent title sequence. 2. The Second Doctor
23:44Now, some might consider the placement of the Second Doctor's title sequence so high on this list to be a
23:50rogue choice, but there is a key reason for this decision. While the original title sequence pushed
23:56boundaries and experimented with absurd ideas, the Second sequence took all those successes and
24:02improved upon them. The Howlround effect is still present, but more refined and structured.
24:06Delia Derbyshire's theme is back, but with additional sounds to complement the more layered
24:11visuals. The only major change saw the incorporation of an idea once abandoned, the image of the Doctor's
24:17face. Again, this wasn't an entirely new concept, but one adapted and re-explored in order to enhance
24:23what came before. There was a lot of pressure riding on Patrick Troughton's run as the Second Doctor.
24:28The prospect of swapping out the main actor was a massive risk, and everything about the new run had
24:32to prove that this was still the same show, and that change was the key to longevity. Just like the
24:37character of the Doctor, if the core elements remain consistent across the incarnations, then no matter
24:43how many superficial changes are made, the show will always be recognised and revered by the fans. I think
24:48the Second Doctor put it best, life depends on change and renewal.
24:531. The Ninth and Tenth Doctors
24:58Maybe nostalgia does play a part in the placement of the Ninth and Tenth Doctor's title sequence here at
25:04the top of this list, but it cannot be denied that this is one of the most energetic and adrenaline
25:09pumping sequences in the history of Doctor Who. The 2005 revival really was just that, a revival,
25:16taking everything that came before and ramping it up with refreshed energy and enthusiasm to
25:22revitalise Doctor Who back to its peak. Stepping into the 21st century, the VFX were unlike anything
25:27the show had seen before. The time vortex looked more vibrant and realistic than ever. The pace
25:33was much faster, adding to the feeling of new life and energy being pumped into the show. The TARDIS
25:38was back as the driving force of the sequence, and the new logo, though unbeknownst to viewers at the
25:43time, linked nicely to the fiery orange redesign of regeneration that would become a mainstay in the
25:48modern era. And then there's Murray Gold's new take on the theme. Taking clear inspiration from
25:53the 1996 movie version, Gold perfectly combines the full power of the orchestra with the iconic
26:00electronic sounds to create the most powerful adaptation of Delia Derbyshire's classic arrangement.
26:05Now, the theme went through some minor tweaks over the years, and it reached its absolute peak from
26:10Planet of the Dead onwards, where more emphasis was put on the strings to bring that extra dramatic
26:15beat. This sequence remained virtually unchanged throughout the entire RTD1 era, which only
26:21highlights its strength and popularity. They hit the nail on the head with this one, and have
26:25struggled to reach its heights in the years that have followed. Some have come close, but none have
26:30stolen the crown. And that concludes our list. Please let me know your ranking in the comments down
26:36below, and if you like to watch the ranking videos, then why not check out every modern series ranked?
26:41Although, we probably need to update that one now that Season 2 has aired. Hmm.
26:45In the meantime, I've been Ellie for WhoCulture, and in the words of Riversong herself, goodbye, sweeties.
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