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Judge Mills Lane

Judge Mills Lane is a syndicated American television series and arbitration-based reality court show that ran in first-run syndication from August 17, 1998 to September 7, 2001. Reruns later aired on The National Network (TNN) and currently on Pluto TV. The show was produced by John Tomlin and Bob Young for Hurricane Entertainment Group. Judge Mills Lane was distributed by Rysher Entertainment (until 1999) for its first season and Paramount Domestic Television for its last two.

Synopsis
The show was presided over by former Nevada district court judge Mills Lane, who is more widely known for being a professional boxing referee. The introduction to the series' first season mentioned Lane's connection to both boxing and the law. Lane's catchphrase "let's get it on" was used to open each case and if he found one of the litigants to be out of line, he would tell them that if they didn't stop, "your case is gone."

Judge Mills Lane premiered at a time when court shows were starting to see a large revival. The show could not find secure enough footing in an increasingly crowded market and was cancelled after three seasons.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Judge Mills Lane


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Patriarchate of the East Indies

The Titular Patriarch of the East Indies (Patriarcha Indiarum Orientalium; Patriarchatus Indiarum Orientalium for Titular Patriarchate of the East Indies) in the Catholic hierarchy is the title of the Archbishop of Goa and Daman in India; another of his titles is the Primate of the East. Unlike the patriarchs and the major archbishops of the Eastern Catholic Churches sui juris, the Patriarch of the East Indies is within the Latin Church similar to the residential Latin Patriarchs of Venice, Lisbon and Jerusalem, enjoying only an honorary position. Like the Patriarch of the West Indies, the Patriarch of the East Indies is a titular patriarchate unlike the residential Latin Catholic Patriarchs. The title is attached to the Archbishop of Goa and Daman, the diocesan ordinary of the Archdiocese of Goa and Daman and the metropolitan archbishop of the Province of Goa and Daman.

This title of Patriarch or Primate of the East Indies was conferred upon the Archbishop of Goa as a result of a concordat between the Holy See and the Crown of Portugal; concerning the link between religious and political aspects of Portuguese India, known as the Padroado system. Later, with Portugal's decline as a colonial power, a difficult period resulted that was resolved by a further agreement by which Portugal renounced its rights of patronage. In this way the episcopal appointments in actual or former Portuguese colonial territory reverted to the common provisions of Latin ecclesiological law, with no intermediary between them and the Holy See. As regards India, this meant that the Holy See was free to make appointments to the episcopate in regions such as British Bombay.

The later isolation of the territory of Goa and Damaon as enclaves in India prior to the invasion of Indian forces in 1961 accounts for the fact that the Archbishop of Goa for a number of decades was immediately subject to the Holy See and had no suffragan dioceses. In the more distant past the archbishop did have a true metropolitan jurisdiction, with suffragan dioceses. These, however, were progressively stripped away or suppressed, the final suffragan diocese in India was the Diocese of Damaon, which was merged with the Bishopric of Goa on May 1, 1928, to form the present archdiocese. The archdiocese formally lost its status as a metropolitan see on January 1, 1975, when the Dioceses of Macao and Dili were transferred from the province of Goa. On November 25, 2006 Pope Benedict XVI elevated it again to a metropolitan archdiocese, with the Diocese of Sindhudurg as its suffragan.

title: Patriarchate of the East Indies


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Henry van Dyke Jr.

Henry Jackson van Dyke Jr. (November 10, 1852 – April 10, 1933) was an American author, educator, diplomat, and Presbyterian clergyman.

Early life
Van Dyke was born on November 10, 1852, in Germantown, Pennsylvania. He was the son of Henry Jackson van Dyke Sr. (1822–1891), a prominent Brooklyn Presbyterian clergyman known in the antebellum years for his anti-abolitionist views. The family traced its roots to Jan Thomasse van Dijk, who emigrated from Holland to North America in 1652.

The younger Henry van Dyke graduated from Poly Prep Country Day School in 1869, Princeton University, in 1873 and from Princeton Theological Seminary, 1877.

Career
He served as a professor of English literature at Princeton between 1899 and 1923. Among the many students whom he influenced was, notably, future celebrity travel writer Richard Halliburton (1900–1939), Editor-in-Chief, at the time, of the Princeton Pictorial.

Van Dyke chaired the committee that wrote the first Presbyterian printed liturgy, The Book of Common Worship of 1906. In 1908–09 Dr. van Dyke was a lecturer at the University of Paris.

By appointment of President Woodrow Wilson, a friend and former classmate of van Dyke, he became Minister to the Netherlands and Luxembourg in 1913. Shortly after his appointment, World War I threw Europe into dismay. Americans all around Europe rushed to Holland as a place of refuge. Although inexperienced as an ambassador, van Dyke conducted himself with the skill of a trained diplomat, maintaining the rights of Americans in Europe and organizing work for their relief. He later related his experiences and perceptions in the book Pro Patria (1921).

Van Dyke resigned as ambassador at the beginning of December 1916 and returned to the United States. He was subsequently elected to the American Academy of Arts and Letters and received many other honors.

Van Dyke was a friend of Helen Keller. Keller wrote: "Dr. van Dyke is the kind of a friend to have when one is up against a difficult problem. He will take trouble, days and nights of trouble, if it is for somebody else or for some cause he is interested in. 'I'm not an optimist,' says Dr. van Dyke, 'there's too much evil in the world and in me. Nor am I a pessimist; there is too much good in the world and in God. So I am just a meliorist, believing that He wills to make the world better, and trying to do my bit to help and wishing that it were more.'"

He officiated at the funeral of Mark Twain at the Brick Presbyterian Church on April 23, 1910.

Van Dyke died on April 10, 1933. He is buried in Princeton Cemetery. A biography of Van Dyke, titled Henry Van Dyke: A Biography, was written by his son Tertius van Dyke and published in 1935.

Literary legacy
Among his popular writings are the two Christmas stories, "The Other Wise Man" (1896) and "The First Christmas Tree" (1897). Various religious themes of his work are also expressed in his poetry, hymns and the essays collected in Little Rivers (1895) and Fisherman's Luck (1899). He wrote the lyrics to the popular hymn "Joyful, Joyful We Adore Thee" (1907), sung to the tune of Beethoven's "Ode to Joy". He compiled several short stories in The Blue Flower (1902), named after the key symbol of Romanticism introduced first by Novalis. He also contributed a chapter to the collaborative novel, The Whole Family (1908).

One of van Dyke's best-known poems is titled "Time Is" (Music and Other Poems, 1904), also known as "For Katrina's Sundial" because it was composed to be an inscription on a sundial in the garden of an estate owned by his friends Spencer and Katrina Trask. The second section of the poem, which was read at the funeral of Diana, Princess of Wales, reads as follows:

Time is Too slow for those who Wait, Too swift for those who Fear, Too long for those who Grieve, Too short for those who Rejoice, But for those who Love, Time is not.

(This is the original poem; some versions have "Eternity" in place of "not.")

The poem inspired the song "Time Is" by the group It's a Beautiful Day on their eponymous 1969 debut album. Another interpretation of the poem is a song entitled "Time" by Mark Masri (2009).

In 2003, the same section of the poem was chosen for a memorial in Grosvenor Square, London, dedicated to British victims of the September 11, 2001 terrorist attacks. The poem is also used as the closing of the 2013 novel Child of Time, by Bob Johnson.

Short stories

 * Among The Quantock Hills, from Days Off and Other Digressions
 * Antwerp Road
 * The Art of Leaving Off, from Days Off and Other Digressions
 * Ashes of Vengeance (a half-told tale)
 * Beggars Under the Bush
 * Between The Lupin and The Laurel, from Days Off and Other Digressions
 * The Blue Flower
 * Books That I Loved as a Boy, from Days Off and Other Digressions
 * The Boy of Nazareth Dreams
 * A Brave Heart, from The Ruling Passion collection
 * The Broken Soldier and the Maid of France
 * A Change of Air
 * A City of Refuge
 * A Classic Instance
 * The Countersign of The Cradle
 * Days Off, from Days Off and Other Digressions
 * Diana and the Lions (a half-told tale)
 * A Dream-story: The Christmas Angel
 * The Effectual Fervent Prayer
 * The First Black Christmas
 * The First Christmas-Tree
 * A Friend of Justice, from The Ruling Passion collection
 * The Gentle Life, from The Ruling Passion collection
 * A Handful Of Clay
 * The Hearing Ear
 * The Hero and Tin Soldiers
 * His Other Engagement, from Days Off and Other Digressions
 * A Holiday in a Vacation, from Days Off and Other Digressions
 * Humoreske
 * In the Odour of Sanctity
 * Justice of the Elements (a half-told tale)
 * The Keeper of the Light, from The Ruling Passion collection
 * The Key of the Tower
 * The King's High Way
 * The King's Jewel
 * Leviathan, from Days Off and Other Digressions
 * Little Red Tom, from Days Off and Other Digressions
 * The Lost Boy
 * The Lost Word: A Christmas Legend of Long Ago
 * A Lover of Music, from The Ruling Passion collection
 * Lucifer's Virgin Body
 * The Mansion, Christmas story
 * Messengers at the Window
 * The Mill
 * The Music-Lover
 * The New Era and Carry On (a half-told tale)
 * The Night Call
 * Notions About Novels, from Days Off and Other Digressions
 * An Old Game
 * The Other Wise Man
 * Out-Of-Doors in the Holy Land
 * The Primitive and His Sandals (a half-told tale)
 * Ships and Havens
 * A Remembered Dream
 * The Return of the Charm
 * The Reward of Virtue, from The Ruling Passion collection
 * The Ripening of the Fruit
 * The Sad Shepherd, Christmas story
 * Salvage Point
 * A Sanctuary of Trees
 * Silverhorns, from Boy Scouts' Book of Campfire Stories
 * Sketches of Quebec
 * Some Remarks On Gulls, from Days Off and Other Digressions
 * Songs Out of Doors (Poems) small (duodecimo?) volume published by Scribner's, 1922
 * The Source
 * Spy Rock
 * Fighting For Peace
 * Stronghold
 * The Traitor in the House (a half-told tale)
 * The Unruly Sprite, a Partial Fairy Tale
 * The Wedding-Ring
 * What Peace Means
 * The White Blot, from The Ruling Passion collection
 * Wood-Magic
 * Helps to Happiness (contains selections of his work as permitted)
 * A Year of Nobility, from The Ruling Passion collection
 * The Red Flower
 * Doors of Daring

Scribner's Sons published The Works of Henry Van Dyke, 16 volumes, in 1920; it is known as the Avalon Edition.

Essays

 * The Americanism of George Washington (1906)

Archival collections
The Presbyterian Historical Society has a collection of Van Dyke's sermons, notes and addresses from 1875 to 1931. The collection also includes two biographical essays and a poem from 1912.

title: Henry van Dyke Jr.


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Talk:Tenseness/Archive 1

Definition of Tenseness
Tenseness unfortunately does not have a consensus definition among linguists. I gathered some material from newsgroups and websites. Even Peter Ladefoged, in his A Course in Linguistics Third Edition, said once regarding tense and lax vowels:

These terms are really just labels that are used to   designate two groups of vowels that behave differently in English words. There are phonetic differences between the two groups, but they are not simply a matter of tension...

In each of these pairs, the lax vowel is shorter, lower, and slightly more centralized than the corresponding tense vowel.

This type of fuzzy definition is not up to today's linguistics standards. Mario Pei equally had a vague definition for lax vowels:

1. A vowel sound pronounced with lesser muscular tension in the speech organs ([I], [E], vs. [i], [e]). Opposite TENSE.

2. A Sound produced with weaker breath pressure, less vigorous action of the lips or tongue (i.e., less   muscular strain and deformity of the vocal tract), and correspondingly lesser concentration of energy in the spectrum and in time.

In Pullum and Ladusaw's Phonetic Symbol Guide:

Tense. A problematic term phonetically, it is claimed by some that there is an identifiable class of tense speech sounds characterized by an articulation involving relatively more forceful and extreme motions of the articulators, but there is   considerable controversy in the experimental literature about such phonetic correlates.

As for "Lax": "The opposite of tense".

This confusing situation has improved recently. For instance, Melissa A. Epstein, following Ladefoged 1971 and Gobl 1997, put forth the following definitions:

Lax voice: Associated with loosely adducting arytenoid cartilages, loosely adducting vocal folds, and less tension in the vocal folds themselves.

Tense voice: Associated with tightly adducting artenoid cartilages and vocal folds, and greater tension in the vocal folds themselves.

Ladefoged, P. 1971, Preliminaries to Linguistic Phonetics, University of Chicago Press; Chicago. Ni Chasaide, A. and C. Gobl. 1997. Voice Source Variation. In W. J. Hardcastle and J. Laver, eds., The Handbook of Phonetic Sciences. Blackwell: Oxford, 427-461.

An analogy with party balloon may help to clarify the difference between tense and lax vowels. An inflated balloon is like a human lung holding some air pressure. If one holds the balloon's neck fairly tightly and only let open a minuscule gap, the air comes out slowly and can make some whistling sound. This kind of controlled release of the air pressure is analogous to the production of a tense vowel. On the other hand, if one fully releases the balloon's neck at once, one gets some puffing sound instead. That is analogous to the production of a lax vowel. In order to prevent the total loss of the lung's air pressure, human lax vowels must be followed immediately by some form of partial or full constriction. That is why lax vowels tend to occur only at checked syllables. Notice one crucial difference between tense vowels and lax vowels: tense vowels are sustainable, lax vowels are not. ~ 07:28, 8 November 2005 (UTC)

 * Then GA English has no lax vowels, except maybe reduced schwa, for all others are sustainable. kwami 08:26, 8 November 2005 (UTC)

 * Not necessarily. English is a tenseness-assisted language, not a tenseness-strict language like Vietnamese. In colloquial speech, the English short vowels often start with lax phonation. But when lengthened, they are continued with tense phonation. The vowel qualities of these two ways of phonation are aurally different, but are allophonic to a native speaker. ~ 17:10, 8 November 2005 (UTC)

Lax Vowel Training and Glottal Trill Technique
Because lax vowels are impossible to sustain and are short in duration by their very nature, it often becomes inconvenient to discern their vowel quality aurally and compare them with other vowels, short of using advanced electronic instruments. Speakers whose native language does not have lax vowels often have difficulty learning their proper pronunciation for a language that has them.

Fortunately, there is a vocal technique that can help to make lax vowels "longer" by repetition: the glottal trill technique.

Imagine taking a cold water shower in a freezing winter day. After it, you may say: "Brrr, it's COOOOOOLD!" with a trembling creaky voice. That trembling is the glottal trill. During glottal trill the glottis opens and closes intermittently.

Using the glottal trill technique, one can discern various vowel-quality differences. For instance, the vowel quality of a short vowel in American English (as in bit) can vary from lax production to tense production. In normal speech, the word bit is often produced with lax phonation and has a short duration. However, when emphasizing, the same word can be followed with tense phonation, with a further retracted tongue root and centraling. Usage of the glottal trill can help to the recognition of these differences and also to the familiarizing of the proper production of the lax-vowel version. Similarly, there is a difference between the American English's and the standard High German's short  as in the word bitte. The American version is RTR (retracted tongue root) whereas the German version is ATR (advanced tongue root). The usage of glottal trill can help to their comparison more easily. Glotal trill can also be used to elucidate the sound qualities of English's semivowels and vowel glides (in diphthongs). E.g., to help distinguishing (as the semivowel in year) from  and  (as the vowel in ear.) ( ~ 17:10, 8 November 2005 (UTC)

American English
I have removed American English from the list of languages where tense vowels are long. To my knowledge, it is typical for many American English dialects that vowel length is independent from vowel tenseness and rather determined by the voice of the following consonant, e.g. long vs. short. J. 'mach' wust 09:06, 9 Apr 2005 (UTC)

 * Although length may not be as salient as other acoustic features, there is still interaction between length and the other features. So, the vowel in bid is longer than bit but it is still much shorter than the vowel in bead. Likewise, beat is shorter than bead but longer than bit. Length and articulation change work together to make the composite feature of tenseness. peace — ishwar  (SPEAK)  07:34, 2005 Jun 13 (UTC)

 * "... the vowel in bid ... is still much shorter than the vowel in bead."
 * Not in my dialect; certainly not in my own pronunciation, nor any I'm familiar with. The tense vowels may be slightly longer on average, but to me one of the marks of a British (RP) accent is that the tense vowels are noticeably longer.  Vowel length seems to be determined (more or less) entirely by the following consonant and suprasegmental features, such as the timing of stressed syllables and phrasing. — Damezi ( tʰɑk tʰə mi  04:17, 22 September 2005 (UTC)
 * The GA "tense" vowels are diphthongs. They can be considered tense if approximants are considered tense vowels, or long due to the extra segment, but the length is almost insignificant and is not a primary phonetic cue, unlike for example the long vowels in Japanese or French. kwami 04:40, 22 September 2005 (UTC)

 * Even /i/, /u/ and ? (PS: French has long vowels?? I thought it didn’t—but I don’t know French. Where'd they come from, and how are they spelt?) BTW, as I understand it, the shortest RP long vowels are shorter than the longest RP short vowels in any case, so even if AmE does that it doesn't necessarily mean anything on its own. —Felix the Cassowary ( ɑe hɪː jɐ ) 12:28, 22 September 2005 (UTC)

 * French long vowels are on their way out of the language. They're mostly due to an etymological /s/, an indicated with a circumflex: maître "master" (long vowel) vs. mètre "meter" (short vowel).

 * The question for RP is not just whether long /i/ is shorter than short /a/, although that's interesting (since open vowels tend to be longer than high vowels), but how much longer long /i/ is from short /i/. In languages with phonemic vowel length, the difference is seldom much less than 50%. I doubt my long vowels are much more than 10-20% longer, though I really should check. kwami 12:49, 22 September 2005 (UTC)

Sorry, about RP I meant that the /iː/ in ‘leap’ is (I’m told) shorter than the /ɪ/ in ‘live’, a phenomenon known as clipping (frex ). I know in my own Australian speech where apparently long vowels are 1.5–1.9× longer than the short versions, if there’s no phonetic short equivalent, long vowels are substantially shortened in this scenario (most noticeable with /iː/, /ʉː/ but still happens with /ɜː/ and /oː/); this is also noticeable with diphthongs. —Felix the Cassowary ( ɑe hɪː jɐ ) 13:03, 22 September 2005 (UTC)

 * Ultimately I agree with J. 'mach' wust's decision to remove American English from the list of linguages in which tense vowels are long. The relationship between the American free and checked vowels and either "tenseness" (however defined) or duration is just too messy to say anything definitive here. --Angr/undefined 12:55, 22 September 2005 (UTC)

 * My addition

In American English, in fact, tenseness and duration are indipendent,  however these are not considered minimal pairs since the flap is allophone of two different phonemes (a phonemic transcription would be liter ~ leader'' ). was completely deleted. However, it is true for at least some American dialects. However, I'm not a native speaker so I shouldn't be self-assured about such things, but I read somewhere that ladder was clearly distingushed from latter by the length (and pitch) of the vowel. (That site dealt particularly with Western Canadian English.) Maybe re-adding it, maybe starting it with "In some American English dialects", would be a good idea. However, having seen this discussion about the length contrasts, I prefer being cautious. --Army1987 16:12, 22 September 2005 (UTC)
 * Yes, I was the one who deleted your addition, for precisely the reasons mentioned. Even if we say "some American accents" (or better, "some North American accents") it's vague because we're not really specifying which North American accents. For my own (relatively General American) speech, I'm quite sure that bidder/bitter, leader/liter, rider/writer etc. are completely homophonous when I choose to flap. (Flapping is of course optional in North American English.) But I know there are other North Americans who do have a quantitative and/or qualitative difference in the vowels of those words. But until someone has pinned down exactly which accents do what in North America, I think it's preferable to stick to clear cases like RP (where tenseness definitely correlates with length) and Scottish English (where it definitely doesn't). --Angr/undefined 17:42, 22 September 2005 (UTC)
 * If the problem is just this one, we could write "In some (Northern) American English dialects, such as Western Canadian English, duration and tenseness are in fact..." etc. until we find some more precise info. As for "some North American accents is better than some American accents", well, in Centro-Southern America there aren't so many (native) English speakers as to make the latter ambiguous AFAIK...--Army1987 20:05, 22 September 2005 (UTC)
 * My objection to "some American accents" is that it is too narrow (omitting Canadian English, since Canadians generally do not self-identify as American), rather than too broad (including English as spoken in Belize, Guyana, and the Caribbean). Anyway, we already have two English accents identified on the page, RP and Scottish English, so we don't really need more. --Angr/undefined 20:27, 22 September 2005 (UTC)
 * My idea was to show that tenseness and duration are not necessarily related, and there are languages in which all the four combinations are possible. I thought of Northern American English because it's the only one I (and most readers of the English Wikipedia) know. --Army1987 20:55, 22 September 2005 (UTC)
 * I don't know of a language where all four possibilities are phonemically distinct, but that doesn't mean there aren't any. Icelandic has a phonemic tenseness distinction and phonologically predictable length that is quite independent of tenseness. --Angr/undefined 21:02, 22 September 2005 (UTC)

Tenseness and Spanish
Here is more information on tenseness and Spanish vowels: (1) In http://pegasus.cc.ucf.edu/~abrice/IALP04.pdf, we see the sentence: Only tense vowels are present in Spanish (Delattre, 1965), and reference is given for Delattre's book. Delattre, P. (1965). Comparing the Phonetic Features of English, French, German, and Spanish. Philadelphia, PA: Chilton Books. (2) In http://print.google.com/print?hl=en&id=yyqU_tXek1EC&pg=PA29&lpg=PA29&dq=lax&sig=QJO6ktcRgbupWmOtHM5B4UJgl20, we see the sentence: ..., primarily because of a tense/lax contrast not used in Spanish (where all vowels tend to be tense). (3) In http://www.lionelkaufman.com/vowels.doc, page 3, we see a table for English vowels and another table for Spanish vowels. Whereas for English we have the categories SIMPLE LAX, COMPLEX TENSE, for Spanish we have instead SIMPLE TENSE, COMPLEX TENSE. Given these evidences, it would be wise to re-write the paragraph regarding tenseness in Spanish. ~ 08:47, 7 November 2005 (UTC)
 * In the artice about Bulgarian it is claimed there are only lax vowels in Bulgarian, which seems right to me, but IANAL. Not sure about under stress. —Preceding unsigned comment added by 87.121.52.119 (talk • contribs) 08:43, 21 January 2009

Paragraph on AmEng and Vietnamese
I removed this paragraph from the main article so we can discuss it here:
 * Complicating the matter is the advanced tongue root (ATR) vs. the retracted tongue root (RTR) distinction. For instance, the vowel in the English word "bit" has a lax RTR vowel in colloquial American English speech. One can artificially lengthen this vowel, but in the process the vowel would actually become a tense RTR vowel. There is debate as to what degree tenseness is a better/worse descriptor than tongue-root position for a language like English. For some other languages like Vietnamese, tenseness is clearly a better descriptor (e.g.: the lax-vowel letters ă and â are never pronounced in isolation, and even their alphabet names are borrowed from the tense-vowel letters a and ơ, only with a modified tone.)

I disagree with the claim about artificially lenghtening the vowel of "bit". I would say that artifically lengthening that vowel does not change anything about its articulation, and therefore whatever the definition of "tense" and "lax" are, a lax vowel does not become tense by being lengthened. As for Vietnamese, I don't know what "ă and â are never pronounced in isolation" means. According to Vietnamese phonology, the letters ă, â, a and ơ stand for, , and  respectively, indicating that the primary distinction is length rather than tenseness. --Angr/undefined 21:53, 30 October 2005 (UTC)

 * "Long" and "short" are linguistic misnomers. Please read this: "...The tense/lax distinction correlates with laryngeal activity and concerns different voice qualities. Tense voice involves an increase in muscular tension and thus results in a constriction of the larynx and pharynx, heightened subglottal pressure and raised pitch and volume..." from http://www.ims.uni-stuttgart.de/phonetik/EGG/pagel3.htm A "long" vowel pronounced in 0.1 seconds won't make it short. Similarly, a "short" vowel contorted into a tense-RTR (retracted tongue-root) vowel can last for 10, 20, 30 seconds, but that does not make it long, either. Using "short"/"long" is really confusing, especially because they are not relative terms, either. Native speakers can always tell which is which, independent of their relative durations. If people want to be more precise, they should use the lax/tense plus the ATR/RTR classification, which is what Morris Halle has suggested. At any rate, it is really substandard to present a modern discussion on the issue of tenseness without making reference to related concepts like ATR/RTR, vowel length, etc. As for Vietnamese lax vowels, these vowels must always end with a consonant (to provide the necessary constriction). And more, these vowels don't even have their own names: they borrow their alphabet names from the long vowels, with a modified tone! A proper understanding of tenseness/laxity can only be achieved when a person understands why monophthongic lax vowels are always constricted at the end with a consonant. There is no ambiguity whatsoever on this point.

 * The page you cited relates to the contrast in German, not languages in general. There are certainly languages with a genuine long/short distinction in vowels, where the only contrast is one of duration. Ladefoged has argued that whatever the so-called "tense/lax" distinction in English is, it isn't ATR/RTR, though of course others may disagree with him. It is interesting that the Vietnamese "lax" vowels are checked vowels, just like the English ones are. --Angr/undefined 19:46, 3 November 2005 (UTC)

 * The paper is universal as far as the observation of tenseness being constricted production of voicing goes (and the opposite: unconstricted voicing for lax vowels). That is the best definition of tenseness/laxity and clearly explains why (monophthongic) lax vowels must be checked. The consonantal "checking" of lax vowels happens exactly because there is no "checking" (constriction) at the glottis. Lax vowels are produced exactly like semivowels (e.g. /w/ and /j/ in English) or glides in English diphthongs. All these sounds (whether one calls them semivowels, glides or lax vowels) are not sustainable since the glottal opening is motionful/widening and lung air pressure is lost all too quickly. That is the main difference with tense vowels. Tense vowels are produced with narrow glottal opening and can be sustained for as long as feasible (up to 1 or 2 minutes for singers/swimmers). English's short vowels have allophonic realizations. In colloquial speech, they tend to be lax+RTR vowels. However, when emphasized, they are continued as tense+RTR vowels. One should not use single dimension to describe English's vowel system. Rather, both tenseness AND tongue-root position must be used in conjunction. Spanish vowels are tense vowels by nature. They are produced without need of checking and they are always sustainable. ~

 * Also, ATR/RTR is not an English opposition. kwami 21:58, 30 October 2005 (UTC)

 * At least one person seems to think it is - see this paper (which I have no opinion on). On this subject, though nothing to do with improving the article, I'd like to know what the distinction I make between e.g. cut and coat really relies on.  I'm reasonably confident that it's not diphthongisation (I'm from the north of England, where the FACE and GOAT vowels usually don't have much of a glide), and none of the other explanations (except possibly ATR, which does seem to fit with what my tongue seems to be doing in coat) seem very convincing.  Not being a linguist myself, I'm not really able to be confident about what's going on.  I'd make a recording, but I don't have a microphone.--JHJ 18:22, 31 October 2005 (UTC)
 * Lip rounding?--Army1987 18:38, 31 October 2005 (UTC)
 * They're both rounded. (Rounded cut is common in northern England; it's often not distinct from the vowel of put, though in my somewhat RP-influenced accent cut is a bit more open.  See foot-strut split.)

 * According to Ladefoged, who may never have worked with your dialect, ±ATR is not a useful parameter for European languages, including English. Some vowels may be argued to be ±ATR with regards to each other, but this doesn't correspond to the tense-lax distinction: some of the vowels that would be +ATR are "tense", but others are "lax", even for a single speaker of a single language. Diphthongization, even if slight, might contribute a noticeable tenseness to a vowel, I suppose. kwami 18:58, 31 October 2005 (UTC)

 * Can you give a reference (which I might get round to looking up some day) or quote some examples? It's intuitively clear to me that the four vowels FACE, FLEECE, GOAT and GOOSE share something (which I might call "tenseness"), but I'm not really sure what it is, and the apparent confusion about what "tenseness" is doesn't help.--JHJ 18:40, 2 November 2005 (UTC)
 * No one really knows what it is. See checked and free vowels. --Angr/undefined 19:16, 2 November 2005 (UTC)

 * Well, no one can give an account that works for all English dialects. It's pretty clear what it is in my dialect, diphthongization (very broadly [ej, ij, ow, uw]). kwami 19:37, 2 November 2005 (UTC)

 * That's right, JHJ, you wanted a quote from Ladefoged? This (next section below) is from SOWL. Bolding is my own. kwami 09:05, 8 November 2005 (UTC)

Tense/Lax and ATR (quoted from Ladefoged SOWL 1996)
The Akan vowels in figure 9.17 also differ in the height of the tongue in the front part of the oral cavity. This leads us to consider whether the differences between [+ATR] and [-ATR] vowels are the same as the differences between so-called Tense and Lax vowels, which may also differ in both the height of the tonge and the position of the root of the tongue. There are differences of this kind in Germanic languages, as exemplified by pairs of English words such as heed-hid and bait-bet. Following Jones (1956) and a long British tradition, we regard the members of these pairs of vowels as being distinguished by variations of the major vowel qualities, Height and Backness (and perhaps Rounding). We note, of course, that the differences may involve diphthongization implemented through variation in Height and the members of each pair also differ in length. But we do not find it necessary to consider any additional parameters such as tenseness.

We recognize, however, that there is also a long tradition in which these vowels are considered as being distinguished by the feature Tense (e.g. by Bloch and Trager 1942, and by Chomsky and Halle 1968). This leads us to consider two related questions that might be asked at this point. Firstly, are we correct in our phonetic characterization of these vowels as differing only in the regular vowls dimensions of Height and Backness (and Rounding), plus Length? Secondly, are ATR variations the same as Tense/Lax variations? We can get a partial answer to these questions by comparing the vocal tract shapes shown for th Igbo vowels in figure 9.16 and the Akan vowels in figure 9.17, with the pairs of English vowels shown in figure 9.19 or the pairs of German vowels in figure 9.20. In Igbo and Akan the tongue height is not correlated with the tongue root position. In English the position of the tongue root is correlated with the tongue geight (more so for the back vowels than for the front). In German the same is true of the back vowels, but in the front vowels what difference there is in root position would favor the so-called lax vowel having a more advanced tongue root. There is no common setting of the tongue root for the so-called lax vowels that distinguishes them from the so-called tense vowels. This conclusion is supported by statistical analyses of tongue shapes, in which it has been shown that the sagittal position of the tongue in sets of Englsih vowels containing the Tense/Lax pairs can be specified very completely by reference to only two variables (Harshman, Ladefoged and Goldstein 1977, Ladefoged and Harshman 1979). Using similar techniques, Jackson (1988) has also substantiated the finding that in English there does not appear to be a separate control of the root of the tongue; but he did find that there were three independent parameters of tongue shape in Akan. ''[That is, English only has Height and Backness, while Akan has Height, Backness, and ATR. –kwami]'' Tiede's (1993) three-dimensional study of pharynx volume using MRI shows further differences between Akan and English. In the pharyngeal region below the epiglottis, Akan shows a positive correlation between the transverse width of the space and the tongue root advancement, whereas in English transverse width is negatively correlated with advancement. Accordingly it seems that the situation in English (and other Germanic languages) is not the same as that in West African languages. Although there may be some increase in the height of the tongue accompanying the advancement of the tongue root in Akan, the changes in tongue height are small in comparison with the expansion that occurs in the pharyngeal region. Furthermore, on some occasions there may be virtually no increase in tongue height for [+ATR] vowels, as is shown in the case of the Igbo vowels in figure 9.16. We conclude that the advancement of the tongue root is a separable tongue gesture in languages such as Igbo and Akan. In Germanic languages, however, it is simply one of the concomitants of vowel Height.

If the advancement of the tongue root is an independent gesture that can be learned as part of the sound pattern of a language, then it must have observable acoustic consequences that distinguish it from all other possible ways of achieving similar acoustic effects.

Lindau (1979) has also pointed out that there are differences between ATR and Tense/Lax characterizations of vowels in the acoustic domain. Figure 9.21 shows the acoustic characteristics of ATR differences in a number of languages. The Akan data is from Lindaw (1979), the DhoLuo from Jacobson (1978), and the remaining languages are from our own files. It may be seen that in virtually all the cases the [+ATR] vowel appears to be raised and advanced in the acoustic space. The only exception is the Ebira lower mid back vowel which is raised, but only very slightly advanced. Among front vowels, paris of vowels differing in ATR have formant frequency characteristics that are reminiscent of so-called tense-lax pairs of vowels in Germanic languages, such as Englsih bead-bid; bade-bed; both retracted tongue root vowels and the lax vowels are lowered and more central in the acoustic space. Among front vowels there is this parallel between [+ATR] and [-ATR] tongue root vowels on the one hand, and Tense and Lax vowels on the other, but among back vowel pairs there is no such parallel. The high back retracted tongue root vowel is always further fack than its counterpart, rather than further forward, as is the case for the traditional lax back vowels. Lax vowels of all kinds are normally taken to be more centralized. Retracted tongue root vowels do not always have this characteristic.

[end section] kwami 09:05, 8 November 2005 (UTC)

 * Thanks for posting that. I'm still not very sure what's going on, though.  Part of the problem is that my GOAT and GOOSE vowels feel central, not back (except the allophones before /l/), so I'm not sure about how the last paragraph applies.  But there's no way of telling what's really going on without acoustic analysis, which I don't have the equipment for, so let's leave it here.--JHJ 21:49, 8 November 2005 (UTC)

Comparison between tense and lax vowels
This section needs re-work in light of the new definition.

"In general, tense vowels are more close (and correspondingly have lower first formants) than their lax counterparts. Tense vowels are sometimes claimed to be articulated with a more advanced tongue root than lax vowels, but this varies, and in some languages it is the lax vowels that are more advanced, or a single language may be inconsistent between front and back or high and mid vowels (Ladefoged and Maddieson 1996, 302–4). The traditional definition, that tense vowels are produced with more "muscular tension" than lax vowels, has not been confirmed by phonetic experiments. Another hypothesis is that lax vowels are more centralized than tense vowels. There are also linguists who believe that there is no phonetic correlation to the tense-lax opposition.

In many Germanic languages, such as RP English, standard German, and Dutch, tense vowels are longer in duration than lax vowels; but in other languages, such as Scots, Scottish English, and Icelandic, there is no such correlation.

Since in Germanic languages, lax vowels generally only occur in closed syllables, they are also called checked vowels, whereas the tense vowels are called free vowels as they can occur at the end of a syllable."

4tildes 05:56, 16 November 2005 (UTC)

 * And why have you decided on a single definition as the truth, when there is no such agreement in the literature? I didn't revert it immediately to give you a chance to respond, but I think you should justify your edit. kwami 06:15, 16 November 2005 (UTC)

 * All Wikipedia items involve some judgement call on which definition to choose, otherwise each item would have an endless list of definitions. I chose the one that I personally considered to be the most precise. It certainly is fair to include alternative points of views. Two would be OK, three is already a bit too much. If you can find an alternative definition of tenseness that allows you to explain it with several supporting topics (like in my case, I have included balloon analogy, glottal trill, semivowels, tenseness assisted, etc. etc.), we can figure out a way to better organize the article, like moving my part into a separate subsection. If this still does not work, it is OK to move my part entirely to a totally different article, too. The whole point is, it is very disappointing to see people not understanding tenseness and making statements like Spanish vowels cannot be meaningfully described as tense or lax and take it as true. I have seen all too many people (including linguists with academic positions) being confused about tenseness, which really is not that complex if you focus on the glottis area. It is just sad. Wikipedia is not my life. I will be gone soon enough. You guys that stay are the ones that need to look into yourselves and ask: have I really understood tenseness? 4tildes 15:55, 21 November 2005 (UTC)

 * I agree with kwami. Your edit does not cite its sources (whose definitions are these? whose is the party balloon analogy?), and it's unencyclopedic to claim one definition of a term to be used here when there is no consensus among experts. You added the Ní Chasaide and Gobl reference but you didn't cite them anywhere in your edit, so it's impossible to know what exactly they argue for. --User:Angr/talk 07:09, 16 November 2005 (UTC)

 * I agree with Angr agreeing with kwami. The recent additions also have an obvious contradiction (or poor explanation), that being that if lax vowels and semivowels are unsustainable, then the glottal trill technique should be impossible (because how you repeat the loss of all the air from your lungs if you have no more air in your lungs?), or how could you produce a vowel to follow the semivowel? (Even if the latter is possible, I think that this physical arrangement would result in semivowels being very marked as onsets—yet that's their preferred placement!) This could just be the result of a poor explanation or understanding, though; kwami and Angr's points are more than enough to disapprove of the additions. —Felix the Cassowary ( ɑe hɪː jɐ ) 08:51, 16 November 2005 (UTC)

 * Well, there are at least four vocal techniques with various degrees of faithfulness to real lax vowels. (a) Tense phonation, like the long-duration it in Michael Jackson's song Beat It. (b) Vibrato phonation, used by opera singers, where the tension of the vocal cords changes intermittently, but not enough to fully close the glottis, (c) Glottal trill, where glottis closes intermittently, (d) real lax phonation, which is impossible to sustain. The degree of faithfulness increases from (a) to (d). My point is, glottal trill is only a technique to produce a sequence of vowel-like sounds close enough to the actual lax vowels produced in colloquial speech. It's an approximation, not the real thing. If you want the real lax vowels of colloquial speech, then use actual colloquial speech, and live with the difficulties of not being able to compare them easily to other vowels or explain them easily to another person. As for your question how it is possible not to lose all the air pressure or how it is possible to follow up with another vowel, remember the balloon analogy. If you let open the neck completely, at some point you will lose all the pressure. But if you constrict the neck (tensify your vocal cords) soon enough before all that pressure is gone, you surely can (a) repeat the same process again to achieve glottal trill, (b) follow up with a tense vowel. Tense vowels themselves are a form of partial constriction. It is OK to consider English's semivowels as on-sets and glides as off-sets. But in a language like Vietnamese, they do recycle the lax vowel â for diphthongs, notationally. And phonetically, many of the phonetic lax vowels in Vietnamese can appear (a) in monophthongs, (b) as on-glides (equivalent to English's semivowel) in diphthongs/triphthongs, (c) as off-glides in diphthongs/triphthongs. There is no reason to consider them as separate entities, just because they are monophthongic, on-glides or off-glides. 4tildes 15:55, 21 November 2005 (UTC)

Still smacks of original research, and is therefore inapropriate for Wikipedia. We need to describe the concept as it actually exists in the lit. If this is an alternate view expounded by a particular university or linguist, then we can include it too. Otherwise it doesn't belong. Either way, the other common uses should be there, even if they're nonsense. (In that case, we can state that many think these ideas are nonsense or useless.) kwami 01:59, 22 November 2005 (UTC)

title: Talk:Tenseness/Archive 1


text:
User:Banazzraq

I like to write about articles which have to do with religion and history.

I live in Asia.

title: User:Banazzraq


text:
Bjarte Breiteig

Bjarte Breiteig is a Norwegian short story writer.

Early life and education
Bjarte Breiteig was born in Kristiansand, Norway.

He studied physics at NTNU in Trondheim, but dropped out after two years to study literature at the same place. He has also studied at the Skrivekunstakademiet and the University of Bergen.

Career
Published in 1998, Breiteig's first short story collection, Fantomsmerter, received glowing reviews and Aschehougs debutantpris. His next collection of short stories, Surrogater was published in 2000.

In 2003, Breiteig was one of five young authors whose work was included in a collection of short stories published under the title of Borders by the European literary project Scritture Giovani with his "Fremover" translated into Welsh, German, English, and Italian.

In 2006, his third short story collection, Folk har begynt å banke på, was published.

Awards and recognition
Breiteig received the Anders Jahre Culture Prize for young artists in 2004, and was awarded the Mads Wiel Nygaards Endowment in 2006.

title: Bjarte Breiteig


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York Dungeon

York Dungeon is a tourist attraction in York, England. York Dungeon depicts history of the dungeon using actor led shows, special effects and displays of models and objects.

The York Dungeons reopened in March 2013 after a period of closure due to severe flooding.

History
York Dungeon was opened in 1986 at 12 Clifford Street, York, England. It was the second Dungeon attraction created, the first being the London Dungeon in 1975. Like the London Dungeon, it was designed as a live action interactive horror show loosely based on factual events throughout history.

As part of a £3.5 million investment across both Dungeons, a new feature opened in 1997 showcasing tales of the 'Lost Roman legion' in York. Further additions and expansions continued with a Plague section encounter in a Plague doctor's surgery. 2002 saw the opening of 'Gorvik' (the name a pun on 'Jorvik', the kings name for York), which detailed the Viking history of the City and brutal attacks from Viking forces. Other attractions included the Torture Chamber, The Gunpowder Plot, Dick Turpin, and the Courtroom. 2003 saw the arrival of the Witch Trials that detailed the witch trials in York through the use of a detailed set and animatronics. This area subsequently became the 'Ghosts of York' show in 2007.

Like London, over time, the Dungeon evolved from a museum to an actor led experience. The Dungeon remains the smallest of the dungeons chain.

The Dungeon has been subject to severe flooding numerous times, due to its close proximity to the River Ouse. This has occurred in 2001, 2004 and twice in 2012, leading to a complete refurbishment. Many exhibits were totally refurbished, particularly the torture chamber which as a result was drastically reduced in size, had most of the original exhibits removed, and script rewrites to focus on actor-guest interaction instead.

As with entire Dungeons brand, the York Dungeon received a rebranding in 2013 to coincide with the relocation of the London Dungeon. This included a new set of scripts and additional comedy elements to shows.

Exhibits and shows
The dungeon operates on the basis of tours which start every 7 minutes and last between 1 and 1.5 hours. In these tours visitors are led around a sequence of shows and exhibitions which are loosely based on historical events and practices.

The Great Plague show is set in 1551 in a recreation of a plague doctor's surgery, led by one of the recently deceased plague doctor's assistants. There is also a recreation of a York pub, The Golden Fleece Inn where visitors are told ghost stories. Other shows include the Judgement of Sinners where visitors are accused of various crimes and the Torture Chamber where visitors are shown demonstrations of torture devices. During the tour actors playing plague doctors' assistants, innkeepers, night watches, torturers, judges, executioners, stage coach guards and witch-burners tell visitors gruesome stories. Whilst the Dungeon does not have the space to accommodate any rides like its sister incarnations, the Dick Turpin section features 'drop benches' that give sudden movement to simulate a crashing stage coach and animatronics under the seat during a discussion of leeches to simulate their feel.

Criticism
The Christian community in York raised concerns in 2004 about a Christmas show at the dungeon called Satan's Grotto and asked the dungeon to stop the show. Reverend Roger Simpson of St Michael-le-Belfrey church said "There are real evil forces . . . We are concerned the attraction has the potential to do real pastoral harm." A spokesman from York Dungeon's responded that it was "all tongue-in-cheek" and should not be taken seriously."

York Dungeon offered free entry to people subject to anti-social behaviour orders (ASBOs) for the weekend of the 26 May and 27 May 2007. The dungeon was "widely condemned for a controversial decision" with criticism coming from victims of crime, York Councillors and Hugh Bayley, the Member of Parliament for the City of York, who commented:This is a publicity-seeking gimmick which goes too far. The public needs protection from anti-social behaviour and York Dungeon shouldn't be rewarding people who have been sentenced to an ASBO by the courts.

The manager of York Dungeon said "I thought it might shock the ASBO offenders a little to see what would have happened to them a couple of hundred years ago", but the Dungeon reported that no one took up their offer of free admission.

title: York Dungeon


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User:Macronyx~enwiki

Freedom which refuse to be bound to the truth would fall into arbitrariness and end up submitting itself to the vilest of passions, to the point of selfdestruction. (John Paul II: Centesimus annus)

My homepage: www.vicemene.info de:Benutzer:macronyx fr:Utilisateur:Macronyx

title: User:Macronyx~enwiki


title: User:TarmoK/Babel-5


text: User talk:130.49.145.40

title: User talk:130.49.145.40


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Talk:WebQuest

Whether using a WebQuest amounts to "turning your students loose"
A well-designed webquest lets you turn your students loose on the web for a specific project and get results that both you and your students will like. Education Links: Webquests
 * Far from it. Webquests are not about "turning your students loose."  You provide them with links to relevant resources.  See instructional scaffolding.Alex Dodge 02:24, 14 November 2006 (UTC)

Outline removed
Why was the model outline removed? (Restored today.) Teaching 19:54, 23 July 2007 (UTC)

I deleted the "webaquest" external link because they sell fill-in-the-blank worksheets that only need copy and pasting - definitely not WebQuests - tmarch

Clarification
What exactly differentiates a "Webquest" from normal internet research? I just transfered to a school which uses them as solitary exercises. They seem, to me, to merely be an elaborate method of presenting a research topic. One which, I might add, seems to invariably ignore the suggested links and go straight to Wikipedia. 75.105.183.113 (talk) 10:33, 19 December 2008 (UTC)

In response to your clarification question, in my experience WebQuests are a means for students to interact with technology and curriculum content. I have seen WebQuests like those you mentioned and I have seen very effective WebQuests. I have created and used 2 WebQuests with my students. I think the key for a successful and effective WebQuest is to provide a variety of website sources that are differentiated and easy to navigate for the grade level. Then, like with any lesson, the teacher sets the expectations, identifies the requirements and encourages the learners to explore the WebQuest. Does this help? KDG555

Working definition?
This wiki page is missing a standing definition. The typical format is Definition, Table of Content, Content. This page does a good job of explaining how to use webquests - but doesn't really explain what a webquest is. I've never used them, so I cannot add this information, but perhaps some one more familiar with them could add a working definition and description at the top of the page to make this wiki page more clear and more useful. —Preceding unsigned comment added by 160.36.53.239 (talk) 13:56, 22 September 2010 (UTC)

Use in education cleanup
The use in education section is a combination of promoting WebQuests and how-to. It also gives examples of how teachers do use the WebQuest model. This last point is what I think the focus should be; the first two aspects should be removed.

At a minimum, the unbalanced nature of the coverage needs to go. The section reads like a listing of the advantages of web-quests. Additionally, subjective adjectives like "fluid and dynamic" sound too much like hype and not enough like an encyclopedia for me.

A section on limitations and applicability that mentions that WebQuests are not good for mastering rote knowledge of facts would be good. BrotherE (talk) 19:18, 13 March 2012 (UTC)

title: Talk:WebQuest


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Richard Dawkins Award

The Richard Dawkins Award is an annual prize awarded by the Center for Inquiry (CFI). It was established in 2003 and was initially awarded by the Atheist Alliance of America coordinating with Richard Dawkins and the Richard Dawkins Foundation for Reason and Science. In 2019, the award was formally moved to CFI. CFI is a US nonprofit organization that variously claims on its website to promote reason, science, freedom of inquiry, and humanist values, or science, reason, and secular values. The award was initially presented by the Atheist Alliance of America to honor an "outstanding atheist", who taught or advocated scientific knowledge and acceptance of nontheism, and raised public awareness. The award is currently presented by the Center for Inquiry to an individual associated with science, scholarship, education, or entertainment, and who "publicly proclaims the values of secularism and rationalism, upholding scientific truth wherever it may lead." They state that the recipient must be approved by Dawkins himself.

The Richard Dawkins Award is named in honor of the British evolutionary biologist. In a 2013 poll conducted by Prospect magazine, Dawkins was ranked first in the list of "world thinkers" rankings. He is famous for his atheistic beliefs, and has written books including The God Delusion and Outgrowing God: A Beginner's Guide. The first Richard Dawkins Award was received by James Randi, a magician who investigated and debunked various paranormal claims. In 2005, Penn Jillette and Teller, jointly as Penn & Teller, received the award. In 2009, Bill Maher received the award; due to his views on vaccines and his criticism of evidence-based medicine, oncologist David Gorski referred to him receiving the award as "inappropriate". In 2020, Javed Akhtar became the first Indian to receive the award. In 2021, Tim Minchin received the award. In 2022, Neil deGrasse Tyson received the award saying it was an honor that he would hold above all others.

title: Richard Dawkins Award


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Doctor Who merchandise

The long-running British science fiction television series Doctor Who has since its beginnings in 1963 generated many hundreds of products related to the show, from toys and games to picture cards and postage stamps. This article is not an exhaustive list of merchandise but attempts to present a flavour of the type of material that has been produced. This entry mainly concentrates on "official" spin-offs, that is to say, material sanctioned by the British Broadcasting Corporation, which produces the series.

Board games
Featuring William Hartnell as The Doctor. Gameplay involves players attempting to avoid the Daleks while travelling around the gameboard. If players encounter a Dalek, he or she would be out of the game. This was the very first Doctor Who board game produced. Featuring William Hartnell as The Doctor. Gameplay involves players answering a series of questions while a plastic Dalek model reveals the answers magically. This game now fetches up to £350 on the second hand market. Featuring William Hartnell as The Doctor. Gameplay involves players using a small plastic gun, loaded with plastic pellets, to shoot Daleks and be the first to arrive home safely on the gameboard. This game is also rare on the second hand market. Featuring William Hartnell as The Doctor. Gameplay involves players using a pinball-type machine to move a tiny Dalek model around a set course, avoiding obstacles along the way. According to Howe's Transcendental Toybox, this game was terrifically hard. Featuring Tom Baker as The Doctor. Gameplay involves players moving around the universe, using the TARDIS to skip time streams and move from planet to planet. The game was produced by Denys Fisher, who also made a range of Doctor Who toys. Featuring Tom Baker as The Doctor. Updated version of the 1975 Doctor Who game, with the addition of a large Tom Baker full-colour sticker on the box, the subtitle The Planet of Monsters and revisions to the gameplay and equipment. Featuring Tom Baker as The Doctor. Gameplay involves players attempting to fight off a Dalek invasion by collecting cards and building specialist weapons. Extra playing pieces for the game were available to buy separately, depending on how many players were in the game. Featuring Tom Baker as The Doctor. Gameplay involves players collecting pieces of the Key To Time that are scattered around the gameboard. During the game, players may encounter various aliens and villains from the series – but don't worry, as the doctor's companions are on hand to help. Featuring Tom Baker as The Doctor. Gameplay involves players assuming the roles of The Doctor, his companions or agents of the Celestial Intervention Agency, while carrying out tasks and completing missions, some of which were available as separate gamebooks that had to purchased as 'extras'. Featuring Tom Baker as The Doctor. Updated version of the game, removing all references of the Sixth Doctor due to copyright issues, and with the addition of a range of 25mm white metal miniatures, designed and released by Citadel Miniatures. Featuring Sylvester McCoy as The Doctor. Gameplay involves players assuming the roles of The Doctor, Davros, The Master or the Cyber Controller, while moving around the board and challenging other players to battles in Hyperspace. Featuring All Eight Incarnations of The Doctor. Gameplay involves the typical rules of chess, with the addition of Doctor Who playing pieces (priced at £9.99 per piece), and a twist in the rules to incorporate the given characters. Collectors were given the game board free of charge upon a purchase of playing pieces. An expansion set of playing pieces was issued later at the same price. "Doctor Who: Invasion Earth" was a miniature wargame designed by Daniel Faulconbridge and released by Harlequin Miniatures. The game allowed players to create or re-enact scenarios involving characters from the Doctor Who universe. The rule book came with an initial scenario of UNIT pitted against the Daleks in an invasion of Earth. Additional scenarios were produced, as well as an extensive range of 28 mm pewter miniatures for the game which covered the first eight Doctors, the Peter Cushing movie Doctor and all of the television companions (except for Katarina) in the original series and the 1996 television movie. In addition a wide variety of monsters, foes and guest characters from a number of the original television stories were produced. Harlequin later became Icons Miniatures, and are currently known as Black Tree Design. Scenarios, miniature statistics and information about the game and miniatures can be found on the site listed below (see below). Featuring Christopher Eccleston as The Doctor. The game involves players representing the Ninth Doctor in an attempt to defeat the daleks. An electronic TARDIS piece provides instructions for the players throughout the game. This is the only game released to feature the Ninth Doctor. Featuring David Tennant as The Doctor. The game involves players asking each other questions related to the TV series, including questions based on both series. The game continues until one player answers ten questions correctly, earning themselves a Who-shaped chocolate. Featuring David Tennant as The Doctor. The game involves players attempting to capture The Doctor's enemies by collecting tokens from various areas of the board. However, the board can rotate at any time during gameplay, making collecting the tokens much harder. Featuring David Tennant as The Doctor. Doctor Who provides its own personal twist on 'Operation', with players attempting to carry out an operation on Dalek Sec. If any of the players fail during play, one of several famous Dalek phrases, such as "Exterminate!", will be heard. Featuring David Tennant as The Doctor. The game involves players representing one of four Doctor Who characters (The Tenth Doctor, Martha Jones, Captain Jack Harkness or K-9), while completing three laps around the gameboard without being caught by a Dalek. Featuring David Tennant as The Doctor. Exclusive to supermarket chain Marks & Spencer, the game involves players exploring different parts of the Doctor Who universe, while collecting tokens and completing laps. The winner of each round receives a Doctor Who-shaped chocolate prize. Featuring David Tennant as The Doctor. Issued as part of the Doctor Who Easter promotion in 2008, this set includes three different playabale games, including a dalek adaption of Tic Tac Toe, a game involving press-out characters from the series and a cybermen adaption of Solitaire. Featuring David Tennant as The Doctor. The game involves players maneuvering around the gameboard, attempting to evade capture from a motorised Dalek that can detect players' playing pieces in front of it. The winner is the first to reach the end of the gameboard. Featuring David Tennant as The Doctor. The game involves players answering a series of questions based around the TV series, with the TARDIS revealing the answers. The winner is the first player to reach the end of the gameboard with at least eight correct answers. Featuring David Tennant as The Doctor. Exclusive to high street chain Woolworths, the game involves an adapted version of children's classic "Beat The Bleep". Players may be required to change the Dalek cardboard cut-out or movable wire during gameplay, all while keeping their nerve. Featuring David Tennant as The Doctor. The game involves players watching clips, bloopers and deleted scenes from the TV series using an interactive DVD, all while attempting to answer questions and keeping ahead of their opponents on the gameboard. Featuring Matt Smith as The Doctor. The game involves players completing a mission to capture a selection of The Doctor's worst enemies, all while keeping themselves safe from the mercy of the Time Vortex and flip-action gameboard. This was the first game to feature Matt Smith as The Doctor. Featuring Matt Smith as The Doctor. The game involves players collecting statuettes of The Doctor's worst enemies, in an attempt to foil their opponent's plans to do the same. This was the first game to feature characters which had not featured with the relevant Doctor (IE Slitheen appeared with Christopher Eccleston, not Matt Smith).
 * Dodge The Daleks (Christmas 1964)
 * The Dalek Oracle (Christmas 1965)
 * The Dalek Shooting Game (Christmas 1965)
 * Daleks: The Great Escape (Christmas 1966)
 * Doctor Who (May 1975)
 * The Planet of Monsters (October 1975)
 * War of the Daleks (October 1975)
 * The Game of Time And Space (June 1980)
 * The Doctor Who Role Playing Game: 1st Edition (December 1985)
 * The Doctor Who Role Playing Game: 2nd Edition (October 1986)
 * Battle for the Universe (January 1989)
 * Chess Set (Early 1996-Late 1998)
 * Invasion Earth (March 1999)
 * The Interactive Electronic Board Game (November 2005)
 * Test Your Trivia (June 2006)
 * The Time Travelling Action Game (August 2007)
 * Operation (September 2007)
 * Doctor Who & The Dalek (September 2007)
 * The Time Travelling Game (Christmas 2007)
 * Three in One (Easter 2008)
 * The Dalek Battle Through Time (April 2008)
 * The Facts And Trivia Board Game (April 2008)
 * Exterminate Wire Buzz Game (June 2008)
 * Scene It? (October 2008)
 * The Time Wars Game (July 2010)
 * Battle To Save The Universe (July 2010)

Card games
Published by MMG, this collectible card game involved players building a deck of cards from their collection and playing that deck against each other. The object of the game was to remove the opponent's six Time cards before they removed yours. This would be accomplished by attacking the other player using cards representing the various Doctors, Assistants and monsters that had appeared in the original 26 series of Doctor Who. Featuring Christopher Eccleston and David Tennant as The Doctor. This fortnightly magazine and trading card game partwork from GE Fabbri lasted over four years, with five sets of cards being released within that time. The first set, "Exterminator", featured 275 cards including characters from both the first and second series, as well as the 2005 Christmas special. The second set, "Annihilator", included 100 cards featuring characters from the second series and the 2006 Christmas special. The third set, "Invader", included 225 cards featuring characters from the third series. The fourth set, "Ultimate Monsters", included 225 cards and was the first set to venture back into Classic Who, featuring monsters and villains featured with all ten doctors. The fifth and final set, "Devestator", included 250 cards featuring characters from the 2007 Christmas special and the fourth series. In addition to these 1075 cards, a further 31 cards were produced – an exclusive 18 card "Daleks vs. Cybermen" mini-set, issued with issue 18; an exclusive 10 card "Sarah Jane Adventures" mini-set, issued with issue #62; the 'Dalek Blaster' bonus card, issued with the Invader launch issue; the 'Psychic Paper' bonus card, issued with the very first issue; and 'Super Rose', the ultimate "Gold" card, found in only 1 in every 1000 packs of cards. Featuring David Tennant as The Doctor. This collection, which included characters from all four series, the 2005, 2006, 2007 and 2008 Christmas specials, as well as "Planet of the Dead" and "The Waters of Mars", was released in late 2009 as a replacement for the discontinued Battles in Time range. These cards were considerably less expensive, giving them a wider market for fans. The set also included limited edition cards of all ten doctors. Featuring Matt Smith as The Doctor. Now issued by BBC magazines, this card collection is an up-to-date revamp of the Battles in Time series. The test set, released in the South East region in April 2010, featured 90 cards including characters from all five series of the show. The official set, containing 375 cards featuring characters from series five, will be released in April 2011 nationwide.
 * The Doctor Who Collectible Card Game (1996)
 * Doctor Who – Battles in Time (2005–2009)
 * Alien Armies (2009)
 * Monster Invasion (2010–2014)

The collection was test marketed in the South West of the UK ahead of a nationwide release. The test set included seven magazines and a set of 90 trading cards. When the magazine and trading card collection were launched nationwide the card set was increased to 165 cards and a planned run of 52 magazines.

Card collection and gameplay Website info and online code All-time top 10 Alien slamdown (different monster or alien head-to-head) Episode guide Where's the Doctor? (Search & find) A-Z of aliens Puzzles. The first set of cards featured 165 cards (Doctor: 5 Blue, Villain: 11 Purple, Ally: 13 Turquoise, Monsters: 26 Red, Gadgets: 9 Green, Adventure: 24 yellow & the infinite card). The set included common, rare, super rare 3D and ultra rare. Included in the first Monster Invasion tin was also an exclusive exploding TARDIS bonus card. The second set titled Monster Invasion Extreme was launched September 2011 and consisted of 180 cards including three exclusive cards: Doctor autograph card (came with issue 11), Amy autograph card (came with subscriber tins and Rory autograph card with standard tins. The card game ended in 2013, with issue 52 being the last issue of the magazine.

 * Alien Attax (2013–2014)

Takes the basic gameplay of Fluxx and merges it with multiple regenerations of the Doctor, various companions, Gallifreyan technology, K-9, Cybermen, Daleks, Weeping Angels, and the Master.
 * Doctor Who Fluxx published in 2017 by Looney Labs.

 * Doctor Who: Worlds Apart is a virtual card collecting game set to be released in 2021

Game books
These were a series of six gamebooks featuring the Sixth Doctor, released during the 1985–86 hiatus. The books were published by Severn House in the United Kingdom and by Ballantine in the United States; at least three were also published by the ABC in Australia, using the British titles. The stories also feature many familiar old companions and enemies including K-9, Peri, Turlough, the Rani and Omega. With the exception of Michael Holt, all the books in the series were written by scriptwriters for the television series, and at least one book, Mission to Venus, was a reworking of unused scripts, in this case Emms' unmade Second Doctor serial The Imps. Despite this, some of the books broke from the continuity of the series, particularly Crisis in Space which features Vislor Turlough, even though he did not travel with the Sixth Doctor. The six books were:

FASA also published two books similar in format to the "Make Your Own Adventure" books listed above, the first ('The Vortex Crystal by William H. Keith, Jr.) featuring the Fourth Doctor, Sarah Jane Smith and Harry Sullivan, and the second (The Rebel's Gamble also by William Keith, ISBN 0-931787-68-8), set during the American Civil War featuring the Sixth Doctor, Peri and also Harry Sullivan, even though Sullivan was not a companion during the Sixth Doctor's era, although there is a brief reference to Sullivan having rejoined the Doctor. A further gamebook, entitled Time Lord, was written by Ian Marsh and Peter Darvill-Evans and published by Virgin Books. These were totally unrelated to the previously released Doctor Who RPG by FASA. It has different, simpler, mechanics and is considered faithful to the original television show. However, it was marketed with other Doctor Who books and not other role-playing games. In addition, Virgin was unknown in the gaming market. As a result, it did not sell well and aside from a few articles in Doctor Who Magazine, no supplements were published. Since 1996, it has been made available for free on the Internet by the authors.

Tabletop Role-Playing Games
FASA also published a tabletop role-playing game simply titled The Doctor Who Role Playing Game in a box set in 1985, as well as three supplements and a line of seven adventures.

In December 2009, Cubicle 7 published Doctor Who – Adventures in Time and Space: The Roleplaying Game.

Computer games

 * Doctor Who: The First Adventure (1983), The Key To Time (1984), Doctor Who and the Warlord (1985) and Doctor Who and the Mines of Terror (1985)

These games were produced and released for the BBC Micro, Amstrad CPC 464, ZX Spectrum and C64. The games featured the characters of the Fifth And Sixth Doctors, with the games becoming very hard to obtain on the second-hand market. New characters for the games included feline robot called Splinx. A sequel for the series, entitled 'Doctor Who 2', was planned but was later cancelled due to production problems.

In 1992, Midway (under the Bally label) released a Doctor Who pinball game, designed by Bill Pfutzenreuter (also known as "Pfutz") and Barry Oursler (designer of the 1986 classic Pin*Bot). The theme of the game was "Time Streams", and featured a rearrangement of the Doctor Who theme tune by Jon Hey. Sylvester McCoy provided voice work for the game. The machine features a Dalek on top of the scoreboard. This Dalek was designed to move along with the game; however, the electronics were not always attached.
 * Pinball (1992)

A computer game published by Admiral Software, it allowed the player to play either the Second, Fourth or Seventh Doctors, with the option of a second player taking the role of Ace or Brigadier Lethbridge-Stewart. The object of the game was to navigate through several environments, ranging from sewers to devastated cities and defeat the Daleks and their assorted minions.
 * Dalek Attack (1992)

Published by BBC Multimedia, this was a CD-ROM based computer game in which the player took the role of the Graak, a creature of mental force created by the Fourth Doctor. The Master has imprisoned all seven of the Doctor's incarnations in a dimension known as the Determinant and the player must undergo a series of quests and puzzles to free each of them. The game featured extensive new clips of Anthony Ainley as the Master (playing the role for the final time) and the voices of all the surviving actors to play the Doctor as well as that of Nicholas Courtney as Brigadier Lethbridge-Stewart.
 * Destiny of the Doctors (1997)

Featuring David Tennant as The Doctor. This computer adaptation of the popular card game featured the Doctor and companions attempting to defeat a wide range of enemies by competing in card battles against them. This game was released on PlayStation 2, Nintendo DS, PC, and later, the Nintendo Wii. Featuring Matt Smith as The Doctor. The first official Doctor Who video game features Matt Smith and Karen Gillan in five interactive episodes with Arthur Darvill only featured in the fifth episode, the first of which released in June 2010. Entitled "City of the Daleks", "Blood of the Cybermen", "TARDIS", "Shadows of the Vashta Nerada" and "The Gunpowder Plot", each game is available to download from the Doctor Who website exclusively for PC and Mac. The series was discontinued after five games, due to budget cuts and to focus more on the Eternity Clock game. Featuring Matt Smith as The Doctor. These two video games, the first of which is for the Nintendo DS, and the second for the Nintendo Wii, are two parts of the same story. Involving a mass evacuation of Earth, the doctor and Amy discover something terrible is afoot. But can they defeat the world's worst villains to make the Earth inhabitable again? Both games were released in October 2010. They will not be released on any other format, says showrunner Steven Moffat. Return to Earth was released with a sonic screwdriver shaped Wii Remote A third person maze game release for the Apple iPhone and iPad. The Doctor and Amy land on a spaceship that is broadcasting a distress signal and must race through time to defend them from a lone Dalek and other creatures from the Doctor Who universe. A massively multiplayer online role-playing game released on 12 March 2012. Players are able to control the player and the TARDIS as they complete challenges set by the Doctor to save the universe from various enemies and is free to play. The game closed on 3 March 2014. A third person adventure game released on PlayStation 3, then later PlayStation Vita and PC. Featuring Matt Smith and Alex Kingston, The Doctor and River Song as they travel across space and time encounting the Cybermen, Daleks, Silurians and The Silence to save Earth by gathering pieces of the eternity clock.
 * Top Trumps (2008)
 * The Adventure Games (2010)
 * Evacuation Earth / Return To Earth (2010)
 * The Mazes of Time (2010)
 * Worlds in Time (2012-2014)
 * The Eternity Clock (2012)

 * Doctor Who Legacy (2013)

A puzzle role-playing game initially released as part of the 2013 anniversary celebrations published by Tiny Rebel Games. It was closed down in 2019.

 * Doctor Who and the Dalek (2014)

A mobile platform game published by BBC Digital. It was written by Doctor Who writer Phil Ford and centers around the Doctor teaming up with a Dalek to save the universe.

 * Doctor Who Game Maker (2015)

A web game for making platform games. Developed by Aardman Animations and published by BBC Digital.

Scorpion Automotive
Widely considered by collectors to be the 'holy grail' of BBC authorized Dr Who merchandise. The 1964 Scorpion Automotive Dalek costume was a joint venture between the BBC & Scorpion to capitalize on the 'Dalek craze' sweeping the country at the time. Released for sale in the run up to Christmas 1964 in limited numbers, An extensive fire at the Scorpion Automotive factory in Nottingham, England destroyed all remaining stock of the Dalek costumes & also the injection moulding tools required to fulfill any further orders.

Of the several hundred Dalek costumes that made it into the shops in 1964 only a handful survive today with the last known sale of a Scorpion Automotive Dalek costume (at a London Toy auctioneer) seeing a hammer price of £5,000 in 2014.

Denys Fisher
Denys Fisher/Mego released a selection of 9" figures in the mid-1970s, including the Fourth Doctor, Leela, K-9 (released in 1978 after the first six), the Giant Robot, a Cyberman, a Dalek, and a TARDIS. The Dalek and K-9 have friction drives to allow for movement. The TARDIS has a self-propelled spinning top. The Doctor could be inserted into the TARDIS and the "light" on top was spun. If the red button was hit while the top was spinning, the Doctor "disappeared". If the green button was hit, the Doctor re-appeared. These toys are all extremely rare and difficult to find, especially in near mint or mint condition. The Tom Baker figure is the most common and can be found in an English or Italian box. A mint (or near mint) Baker figure with the box is worth between $150–500, depending on quality of the figure and the box. The Tom Baker figure with the Italian box is more common (and may sell for as little as $75–200). The other figures, excluding the TARDIS, are worth $500–1200 if they are in near mint quality and have their original box, even if the box is damaged. In May 2006, a Denys Fisher Dalek with box sold for over $1150 on eBay. The TARDIS is usually a bit cheaper at $200–350 (provided it has no damage or any repairs are not noticeable and the box is included). Of course, this is relative and eBay auctions can vary considerably. While a mint Leela may sell for $500–600, one without a box may only sell for $150–200. That said, some items are so rare that even a damaged item, or one with missing pieces, is worth a fair amount. For example, in May 2006, a Leela doll without her loin cloth (and correspondingly, without the attached pouches and knife) but with her original, but highly damaged box, sold for over $350. It really depends on competition, timing and if serious bidding is occurring. Nonetheless, considering these toys sold in the UK for under GBP £10 in the 1970s, their value has gone up nearly 10- to 100-fold and will most likely continue to rise due to the popularity of the new Doctor Who series. Some stress cracks due to time and cannot be avoided, but more serious cracks or discolouration will decrease the value considerably. The more damaged the item is, obviously, the less it is worth. These are very simple toys, as none require batteries, have any flashing lights or speak, but they have become quite collectible. The rarity of the boxes (or high quality boxes) has led to people selling box reproductions. These reproduced boxes can be an alternative as they are less expensive than finding a figure with the original box, although true collectors may not appreciate them. Be sure to ask if the box is original or a reproduction. Along those lines, some of these toys can be repaired. The TARDIS "light" and doors easily broke, but repairs by those with ingenuity or toy-repair skills can be done. Simply re-glueing the light or the doors rarely works for this toy, so more advanced repairs are needed. Flaking damage on the Cyberman suit can be repaired using a high quality silver paint for fabric. Dust on many figures can be removed by air-blown sprays or delicate washing. Leela's hair can be repaired by combing, conditioning and steam-cleaning. Delicate repainting can also be done on some figures. The key is to do just enough repairs, without ruining the essence of the original. Any repair work should be noted in ads (often a seller will simply sell the damaged item and leave repairs to the buyer). If unsure, ask the seller. The Denys Fisher K-9 or Dalek may be initially confused with the talking Palitoy K-9 or Dalek toys. The Palitoy talking toys were released around the same time and are also quite collectable. Finding a good quality talking K-9 or Dalek, that speak at a "normal" speed and have their original boxes, can cost anywhere from $200–500. Even without the box, the toy could be worth $100–150 if in good speaking condition. If the toys do not speak, their value drops considerably (not more than $50–100 for a non-speaking Dalek). A working Palitoy K-9 is more rare and may be more costly. Both toys speak via a small vinyl record that is inside or near the battery compartment. The K-9 record is inside the battery compartment and the record can be flipped over, giving K-9 more phrases. The Dalek record is buried within the toy and cannot be removed. The Palitoy K-9 is considerably larger than the Denys Fisher line, so the two cannot be confused when visually compared. The Palitoy Dalek is considerably different from the Denys Fisher Dalek, although it is similar in size. The Palitoy Dalek came in red with black Dalek "spots" or "bumps" and in silver-grey with blue "bumps". The silver/blue Dalek is a bit more rare. Both Palitoy Daleks had black extremities, with a red end on the eye and red suction cup. The Denys Fisher Dalek is also silver/blue, but has a red head and a blue eye piece (with silver gun and suction cup). Palitoy toys also tended to rust and crack.

Dapol
For the series 25th anniversary in 1988 the BBC commissioned model train manufacturers Dapol to release the first line of Doctor Who action figures since the Denys Fisher toys of 1976. The first wave of the line was composed of current Doctor Sylvester McCoy, already departed companion Melanie Bush (in a pink top), the Doctor's iconic ship the TARDIS, the Fourth Doctor's robotic pet dog K9 and a Tetrap monster from Time and the Rani. The first wave had numerous errors such as the TARDIS console featuring the wrong amount of sides and a green painted K9 as opposed to the correct metallic grey, apparently because the photo given by the BBC to Dapol gave the impression K9 was green as it allegedly reflected the grass. Half a year later a second wave of the first series was released featuring an Earthshock Cyberman, Dalek variants and the Fourth Doctor, surprisingly without his trademark long scarf and hat. The next batch of figures released in 1989 featured costume variants for the Doctor and Melanie, current companion Ace, an Ice Warrior story and a two-armed Davros. At first the way to readdress this mistake was simply to snap the offending hand off but later models took more care to readdress the balance. The final editions of this wave were three more Dalek colour variants. In 1990 the Dapol factory suffered serious fire damage and no new Doctor Who figures were produced until 1998. Dapol's third series of action figures mainly focused on the early 1970s era of the programme, including two types of Silurian, a Sea Devil, the Master as portrayed by Roger Delgado and the Doctor as portrayed by Jon Pertwee. The series also featured a Dalek based on the Peter Cushing film series and a gold Dalek from Day of the Daleks, which was only available in the Third Doctor box set. In 1999 Dapol released six more Daleks, the Melkur and two types of Sontaran. The next year Dapol discontinued the figure range and made 4-inch statues of the Second Doctor and a cyberman from The Moonbase. Though the company planned to continue this range with the First Doctor and a Yeti the BBC opted not to renew Dapol's licence. The company also hosted the Doctor Who Experience exhibition, which showed props and costumes from the original series and ran until 2003. Dapol also produced gift sets containing common figures, typically with one rarity included, and dozens of special edition Daleks, usually to coincide with the latest theme at the exhibition.

Corgi
In 2003 die-cast model makers Corgi released a model Bessie with The Three Doctors DVD and in early 2004, still for the 40th anniversary, released a limited edition (5,000) TARDIS set featuring an Earthshock Cyberman, Davros, The Fourth Doctor in Bessie, K9 and a Light Gold Dalek. Essentially the same set was re-released months later in a commemorative film can, the differences the inclusion of a Fourth Doctor figure, a figure of the Fourth Doctor peering through the TARDIS and an early silver/blue Dalek. Corgi then released eight different types of Dalek and Davros in sets of three with runs of 7,000, and re-released every figure from the box sets in packs of two. Corgi's final release was a limited edition (2,000) UNIT set featuring a jeep, helicopter and Supreme Dalek.

Character Options
Since 2005, Character Options (CO) has held the master toy license for producing merchandise primarily inspired by the revived series of Doctor Who. This includes action figures, play sets, electronic variations of the Doctor's sonic screwdriver accessory, an electronic TARDIS-shaped money box, 12-inch and 18-inch radio-controlled Dalek models, electronic masks depicting monsters from the series, and other toys and accessories.

Action figures
CO's first Doctor Who releases were two Dalek Battle Packs – two 5-inch radio-controlled model Daleks that included either a Ninth Doctor or Rose Tyler action figure – released in 2005. This led to the production of further, more detailed, action figures depicting characters and monsters from the programme, with three 'waves' of posable 5-inch scale figures and RC Dalek and K9 models were released in 2006. New figures were released regularly alongside broadcast of the programme, along with larger 'deluxe' and 'Collect & Build' figures, an electronic TARDIS control room play set and other models. From 2007 to 2009, instead of waves, figures were marketed under Series banners based on which series the character depicted appear in. Limited edition and retailer-exclusive figure sets were also released while certain figures have received re-releases featuring new sculpts, paint-apps and accessories. The figures received high praise and won Character the 2006 Toy Retailers Association's Boys Toy of the Year Award.

In 2008, Character Options expanded the range to include figures the programme's classic series. While there was an initial lack of interest from major retailers after the release of the first wave, further releases were commissioned by Forbidden Planet and Underground Toys, making 5-inch classic Doctor Who figures exclusive to those retailers. As well as villains, classic-era releases include the first eight incarnations of the Doctor, Dalek and Cyberman variants and various TARDIS exterior play sets.

In 2012, Character Options announced the semi-discontinuation of their 5-inch Doctor Who action figure line in favour of figures produced in a new 3.75-inch scale to match toys from other brands, allowing further playability for children. The first 3.75-inch figures were released in 2013 depicting characters from the seventh series as well as re-releases of certain 5-inch figures in the new scale. Connectable 'Time Zone' play sets including exclusive figures and accessories, an electronic spinning TARDIS exterior and electronic gliding Dalek models were also released. The range was halted in 2015 due to low sales. The 5-inch figure range is currently continuing as a limited collectors' series, with B&M being CO's lead retailer as of 2023.

Other
Additionally, Character released a series of 12-inch Doctor Who dolls between 2006 and 2007. 10-inch dolls depicting the Eleventh and Thirteenth Doctors were also released in 2011 and 2018, respectively. The company also released the Doctor Who Micro Universe game series in 2007 featuring collectible miniature figurines and ship models based on characters from the programme's first, second and third series. The series was succeeded by the Doctor Who "Time Squad" range – highly stylised (cartoonish) 2-inch figures with variable levels of articulation that came in sets of one to five figures – first released in 2009.

In November 2007, CO released merchandise related to the Doctor Who spin-off series The Sarah Jane Adventures. Originally launching with a Sarah Jane Smith and Star Poet action figure set, the range expanded to include a sonic lipstick & wrist watch scanner set, an electronic Alien Communicator accessory, and twin packs of Sarah Jane Smith action figure variants with various aliens from the first series of the programme. The range was discontinued shortly after due to a lack of customer interest.

The London-based collectables company Sci-Fi Collector also released a range of figures based on the mature Doctor Who spin-off Torchwood. This was an exclusive license granted to the company in favour of mass-production by Character Options.

In 2010, Polish construction toy company COBI teamed up with Character Options to produce Doctor Who construction toys. The line mainly consisted of characters and buildable playsets from the Eleventh Doctor's era of the programme. Figurines were released as collectibles in blind bags that also came with clear stackable cases to display them. Rare and hard-to-find figurines were also released. The line ended in 2014, around the time of the Twelfth Doctor's TV debut.

Micro-Universe
Doctor Who Micro Universe is a very simple collectable miniatures game similar to Top Trumps except with a die. Each figure has a number of characteristics with a numerical value. Choose a characteristic, roll the spinner (a die replacement shaped like the TARDIS console) and add the result to the characteristic's value. Your opponent rolls and adds the same characteristic from his figure and the highest wins that combat. No movement rules included despite this being a miniatures game. They were sold in semi random starters of 7 figures and boosters of 3 figures, plus a TARDIS-shaped carrying case was also released. 26 in the main set and 6 special packs that contain 1 ship (not to scale with the rest of the figures) and one special figure not available in the starters or boosters.

Commemorative stamps
During 1999, the Royal Mail issued twelve sets of postage stamps known as the "Millennium Series". One set of four stamps was issued every month, and each had a common theme. The set issued on 1 June 1999 was named "The Entertainers' Tale", and the 44p stamp featured a Dalek. The others of this set depicted: Freddie Mercury on the 19p stamp; Bobby Moore on the 26p; and Charlie Chaplin on the 64p.

In March 2013, the Royal Mail issued a set of eleven first class stamps in honour of the shows 50th anniversary featuring the faces of the eleven Doctors. There was also a set of five second class stamps that feature the Tardis, a Dalek, an Ood, a Weeping Angel and a Cyberman

Bakeware
In 2013, Kitchenware company, Lakeland, created a range of bakeware, decorations and party products, including cookie cutters, cake moulds, cupcake accessories, napkins, plates, and straws produced under licence.

title: Doctor Who merchandise