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| rdfs:label | - The Caves of Androzani (TV story)
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| rdfs:comment | - As a regeneration story, it offered many unusual elements. Perhaps the most obvious was that it was written by Robert Holmes. Although the most prolific writer of the 1963 version of the programme, this was his only regeneration story. Caves was also the first regeneration story to allow for a brief scene with the incoming Doctor. Unlike any of his predecessors, the new Doctor was given the final words of the story — something that would happen for several subsequent regeneration stories. It was also the first time the Doctor willingly and explicitly underwent a regeneration solely to save a companion. Furthermore, it was the first time since 1966's The Tenth Planet that the Doctor regenerated before the end of the then-current series.
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| BTS | - Doctor Who The Caves of Androzani Event
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| Clip | - Fifth Doctor regenerates - Peter Davison to Colin Baker - BBC
- Crash landing - Doctor Who - The Caves of Androzani - BBC
- Doctor android attack - The Caves of Androzani - BBC
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| Setting | - Androzani Minor and Major
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| abstract | - As a regeneration story, it offered many unusual elements. Perhaps the most obvious was that it was written by Robert Holmes. Although the most prolific writer of the 1963 version of the programme, this was his only regeneration story. Caves was also the first regeneration story to allow for a brief scene with the incoming Doctor. Unlike any of his predecessors, the new Doctor was given the final words of the story — something that would happen for several subsequent regeneration stories. It was also the first time the Doctor willingly and explicitly underwent a regeneration solely to save a companion. Furthermore, it was the first time since 1966's The Tenth Planet that the Doctor regenerated before the end of the then-current series. From a behind-the-scenes perspective, Harper's direction was hailed by those involved with the production as highly innovative. Particularly noteworthy were Harper's more free use of camera movement than usual at the time and his direction from the studio floor. Harper's energetic and more personal directorial style sharply contrasted most who preceded him. Unlike Harper, most directors of the 1963 version of Doctor Who generally preferred to work in the booth and relay their messages to the actors and crew through the production assistant stationed on the floor. Peter Davison, in particular, found Harper's more direct style much to his liking. He lamented he had waited until his last story to receive this bolder style of direction, and that he would've stayed on the series longer if this directorial style was present during more of his tenure (DCOM: The Caves of Androzani). Another unique aspect of the production was its use of Shakespearian soliloquy. Morgus, the principal villain of the piece, sometimes turned away from the characters and spoke his thoughts aloud, often appearing to break the fourth wall in the process by gazing into the camera. Though apparently the result of a mistaken impression about the script by actor John Normington, Harper kept the asides in, feeling they effectively ramped up the dramatic tension. (DCOM: The Caves of Androzani)
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