Write a story titled "Doctor Who: The Boss", the 18th doctor is in Osaka in 1985 when the Master (now played by Alex Macqueen) becomes head of a multi-million dollar conglomerate, now calls himself "The Boss" and plans to use it to destroy the universe, The Doctor has to find a way to stop the Master (This story has a cliffhanger ending, the Tardis crashing and the Doctor regenerating, but the Master defeated

Doctor Who: The Boss

Osaka, 1985.

Neon lights shimmered through the thick haze of summer heat, turning the downtown skyline into a vision of glowing signs and endless possibility. The city pulsed with life—streets crowded with salarymen, shopkeepers, and teenagers humming with their own restless energy.

Among them, standing on the edge of the rooftop overlooking the bustling Dōtonbori district, was the Doctor—his sharp coat fluttering in the warm wind. The 18th incarnation, recent and resolute, twitched the controls on his omnipresent sonic sunglasses and scanned the crowded streets below.

Something was very wrong.

The Doctor's attention snapped to a massive skyscraper: the gleaming headquarters of the conglomerate known as Shimizu Group. At its helm was a name now whispered in corporate circles and on the streets alike—The Boss.

But the Doctor knew the truth.

The Boss was the Master.

The Master, recently resurrected and now portrayed with starched suits and a chillingly controlled demeanor by Alex Macqueen, had reinvented himself. He had clawed his way to the top of the corporate world with ruthless cunning and now commanded a multi-million dollar empire spanning across technology, finance, and media.

Underneath the facade of commerce, The Boss harbored a malevolent plan: to use Shimizu Group’s technological resources—nano-circuitry capable of manipulating quantum fields—to create a device that could unravel the very fabric of the universe. Power to remake reality itself, or to destroy it utterly.

The Doctor had tracked The Boss here, but he wasn’t sure how to stop someone who wielded not just charisma and influence, but the advanced technology driven by unfathomable Time Lord knowledge twisted for greed and malice.

In the depths of the Shimizu Tower, in a high-security penthouse laboratory, The Boss stood before his device—a pulsating heart of blue plasma held by swirling magnetic webs. His face was cold, his eyes cold steel.

“Ah, Doctor,” the Master said, turning slowly at the sound of the TARDIS materializing behind him. “I was wondering when you’d show up. Come to watch me dismantle existence piece by piece?”

The Doctor’s eyes narrowed.

“You’ve built a corporate empire, Master, but your real ambition is chaos. This ends now.”

The Master smiled thinly.

“Chaos, Doctor? No. This is order—ultimate order. A universe of my design. But I do admire your persistence.”

Before the Doctor could react, The Boss triggered the device.

The building trembled, alarms blared, and reality felt as though it momentarily wavered on the edge of a blade.

The Doctor dashed through the twisting corridors, the device’s imminent detonation fracturing the timeline. He knew the structure wouldn’t hold long.

“The Boss,” he growled through clenched teeth over the comm channel, “this stops now. You’ve lost your grip.”

The Master appeared at the elevator, blocking the Doctor’s path. The two locked eyes—the time-spanning rivalry reaching its boiling point.

“You think you can kill me? I am the boss of destiny!”

The Doctor, calculating fast, pulled a small, modified sonic screwdriver from his jacket.

“Perhaps. But even the boss can be dethroned.”

He aimed the screwdriver at the device, reversing the polarity and overloading the magnetic containment field. The plasma globe burst in a controlled implosion. The building shuddered violently.

But the victory was short.

In a blinding flash, the TARDIS doors slammed shut. The Doctor barely dove through the emergency portal as the tower—a monument to The Boss’s ambition—began to collapse.

The streets of Osaka blurred past as the blue box spun uncontrollably through the atmosphere, crashing into the nearby river.

Darkness.

Inside the TARDIS, circuits sparking and the control room shaking, the Doctor’s vision began to fade.

Regeneration was coming.

With a final, trembling breath, the Doctor locked eyes one last time with the Master, who was finally defeated—not with annihilation, but locked away within the shattered fragments of his own device, unable to escape.

The Doctor sagged as the fiery surge of change coursed through him, a transformation inevitable, a new chapter about to begin.

Outside, the city continued unaware.

The Doctor’s final thought before darkness claimed him was a warning:

“The Boss is finished. For now. But some bosses never truly step down.”

Cliffhanger.

To Be Continued...

Yomiuri Telecasting Company: Background to the launch
In 1953 , prior to its launch in Tokyo, Nippon Television Network Corporation (hereafter referred to as "NTV") submitted an application for a broadcasting license in Osaka to the Radio Regulatory Commission . However, at the time, there were only two radio waves allocated to the Osaka area, and licenses were given to two stations, NHK Osaka Broadcasting Station and Osaka Television Broadcasting (OTV, now Asahi Television Broadcasting Corporation ), and the license for "NTV Osaka Broadcasting Station" was rejected.

The reason for the rejection was that "Nippon Television represents the Tokyo area, and broadcasting in Osaka would be 'crossing borders.'" [ note 2 ] Matsutaro Shoriki , head of the Yomiuri Shimbun and Nippon Television , applied to the Radio Regulatory Commission to establish regional broadcasting stations in Sapporo , Nagoya , and Fukuoka in addition to Osaka, but this was also rejected for the same reason . [ note 3 ]

At that time, the Yomiuri Shimbun had expanded into Osaka, and was competing fiercely with the Asahi Shimbun , the Mainichi Shimbun , and others in sales. Since Osaka Television Broadcasting was a television station established by the Asahi Shimbun, the Mainichi Shimbun, and the Asahi Broadcasting Corporation and New Japan Broadcasting (now the Mainichi Broadcasting System), Tsutomu Mitsuo , the president of the Osaka Yomiuri Shimbun (now the Yomiuri Shimbun Osaka Headquarters) at the time , was convinced that "in order to increase circulation against the two newspapers, we need to have our own affiliated television station," and the Yomiuri Shimbun also decided to create a television station with investment from the Kansai business community, centered around the Osaka Yomiuri Shimbun. Tsutomu was the representative promoter and gathered promoters from the business community.

The name of the broadcasting station was " Shin -Osaka Television Broadcasting Co., Ltd. " (abbreviated as NOTV = New Osaka Television . It was called " No-Tele "), and the founding general meeting was held in February 1957. The company building was constructed by borrowing most of the grounds of the Tenman Betsuin temple of the Otani-ha Shinshu sect in Iwai-cho , Kita-ku, Osaka (now Higashi-Tenma ) .

In October 1956, they submitted an application for a broadcasting license to the Minister of Posts and Telecommunications. In October 1957, a provisional license was issued to Shin-Osaka Television Broadcasting as a quasi-educational station (Channel 10, JOIX-TV). The company held its founding general meeting on February 12, 1958, and on August 1 of the same year, the company changed its name from "Shin-Osaka Television Broadcasting" to "Yomiuri Telecasting Co., Ltd." (abbreviated as YTV, nicknamed Yomiuri Television). On the 28th of the same month , it opened as the second commercial television station in the Kinki region, completely transferring all of the Nippon Television programs that had been networked with OTV.

The opening of Yomiuri Television resolved the dissatisfaction of sponsors of Nippon Television Network Corporation's programs, which had not been broadcast in the Kinki region due to OTV's cross-network policy. [ Note 4 ] This also contributed greatly to the increase in circulation of the Yomiuri Shimbun in western Japan .

Among the commercial television stations headquartered in Osaka (Osaka-based television stations), it is the only one that does not have capital from a Kansai private railway , and its capital is composed of Yomiuri Shimbun Group and Nomura Securities affiliates . [ Note 5 ]

Network transition
August 28, 1958 - Launched. As the first station in the Nippon Television Network, it declared itself a "station network station." Since then, Nippon Television has consistently been the main broadcaster of all programs.
April 1, 1966 -News network NNN was launched and the station joined.
June 14, 1972 - Joined the NNS, which was launched on this day.
chronology
The original company building (part of it) was demolished around 1990, and the site is currently used as a parking lot as of 2021 (October 1989, Higashitenma, Kita-ku, Osaka City)
The original company building (part of it) was demolished around 1990, and the site is currently used as a parking lot as of 2021 (October 1989, Higashitenma, Kita-ku, Osaka City)

The second-generation company building before the logo change (March 2006)
The second-generation company building before the logo change (March 2006)

The second-generation company building after the logo change (from autumn 2007 to 2019. The black building is the Osaka Tokio Marine & Nichido Building)
The second-generation company building after the logo change (from autumn 2007 to 2019. The black building is the Osaka Tokio Marine & Nichido Building )

Yomiuri Television's broadcasting equipment transport vehicle (Hino Profia) with the new "ytv" logo painted on it
Yomiuri Television's broadcasting equipment transport vehicle ( Hino Profia ) with the new "ytv" logo painted on it
November 26, 1956 - Application for a 10 kW television broadcasting license [ 7 ] .
1957 (Showa 32)
January 14 - The founding office is opened within the Osaka Yomiuri Shimbun (now the Yomiuri Shimbun Osaka Headquarters) . [ 7 ]
October 22 - Preliminary license issued.
1958 (Showa 33)
February 12 - Shin-Osaka Television Broadcasting Co., Ltd. inaugural general meeting [ 7 ] .
February 13 - With investment from the Osaka Yomiuri Shimbun and others, the company is established as a quasi-educational station , the Shin-Osaka Television Broadcasting Co., Ltd. (NOTV). Registration completed . [ 7 ]
August 1 - Company name changed to "Yomiuri Television Broadcasting Corporation" (YTV).
August 3 - Test radio signal transmission from 12:17 p.m. [ 7 ]
August 16 -Test broadcasts begin [ 7 ] .
August 20 - Full license issued (call sign: JOIX-TV, call name: Yomiuri Television) [ 7 ] .
On August 28th, at 9:00am , the station started broadcasting from 2-36 Iwai-cho, Kita-ku, Osaka (later changed to "1-8-11 Higashitenma" due to a change in the name of the town in response to the implementation of the residential address system ) ( Osaka's second station). The station was launched by transferring Nippon Television (NTV) programs that had been networked with Osaka Television Broadcasting (OTV, now Asahi Television Broadcasting Corporation ). As the first Nippon Television affiliate, it announced that it would become a "station network station" (the forerunner of full network stations) . [ Note 6 ]
January 8, 1959 (Showa 34) - Early morning broadcast begins (from 8:00 a.m. [ note 7 ] [ 7 ] )
1960 (Showa 35)
January 20 -Application for an experimental color television station license [ 7 ] .
February 15 - A 2-inch color VTR manufactured by RCA is introduced . [ 8 ] [ 9 ]
March 31 - Three color video cameras are installed. A full-scale system is in place to prepare for the start of color broadcasting. [ 9 ]
September 2 - At 2:20 p.m., a color broadcast test signal was transmitted. [ 7 ] [ 10 ]
September 10 - After passing the inspection by the Ministry of Posts and Telecommunications Kinki Radio Regulatory Bureau, regular color television broadcasting begins at 1:15 p.m. [ 7 ] (the first in the Osaka area, along with NHK Osaka Broadcasting Station and Asahi Television Broadcasting Corporation) . [ Footnotes 8 ] [ 11 ] In addition, the first color spot broadcasting in Japan also begins. [ 10 ]
October 21 - RCA color television cameras are installed. In-house production of color programs begins. [ 10 ]
November 21 - RCA studio color cameras are introduced. [ 12 ]
November 30 - The company completes the conversion of its Studio 3 broadcasting equipment to color. [ 12 ]
December 4 - The color broadcast vehicle is completed. [ 12 ]
December 13 - Broadcast of "Your Color Show", the first music program in Western Japan to be shot with a studio color camera. [ Notes 9 ] [ 11 ] [ 12 ]
June 10, 1962 – Nippon Telegraph and Telephone Corporation's microwave simultaneous television network line becomes the first to be colorized (high-standard) on the Hokuriku down route (Tokyo → Hokuriku → Osaka). This allows Nippon Television to broadcast color simultaneously. [ 13 ] [ 14 ]
1963 (Showa 37)
April 1 - The Tokaido route (Osaka → Nagoya → Shizuoka → Tokyo) of Nippon Telegraph and Telephone Corporation's microwave simultaneous television network line is converted to high-standard color . [ 15 ] This makes it possible to simultaneously broadcast in color to Nippon Television.
December 1 - The Tokaido down route of Nippon Telegraph and Telephone Corporation's microwave simultaneous television network is converted to color (high standard). [ 16 ]
1964 (Showa 39)
February 2 - A color camera is brought to the Takarazuka Revue and the "Takarazuka Revue 50th Anniversary Performance - Invitation to the Review" is broadcast in color. [ 17 ]
March 8 - The Osaka Grand Sumo Tournament is broadcast in color for the first time. [ 16 ]
August 28 – On this day, which marks the sixth anniversary of the station's launch, the station will broadcast six and a half hours of color programming as "Color Campaign Day." [ 17 ]
August 28, 1965 – On this day, the seventh anniversary of the station's launch, the station broadcast seven hours of color programming a day, including the in-house produced "Victor Kayo Show," as "Color Campaign Day. " [ 18 ]
1967 (Showa 42)
April 1 - Programming and production agreement (NY Agreement) signed with Nippon Television Network Corporation.
October 11 - A Toshiba Ampex 2-inch high-band VTR (VR-2000) is purchased and installed. [ 19 ]
November 1 - The Bureau is changed from a quasi-educational bureau to a general bureau . [ 20 ]
1970 (Showa 45)
March 14 - In commemoration of the Osaka Expo , which had its opening ceremony on this day, the station became the host and broadcasting station for " The Japan World Expo Begins, " the first joint production and simultaneous broadcast by all commercial television stations affiliated with the Japan Commercial Broadcasters Association at the time. [ Footnote 10 ] [ 21 ]
October 4 - " I Want to Go Far Away " begins broadcasting.
1978 (Showa 53)
September 20 - 1-inch VTR is introduced. [ 22 ]
September 22 - The company obtains a preliminary license for practical test broadcasting of audio multiplex broadcasting . [ 22 ] [ 23 ]
September 30 - The company obtains a full license for the practical test broadcasting of audio multiplex broadcasting . [ 23 ] [ 24 ]
October 1 - Test broadcasting of audio multiplex broadcasting begins (second after Nippon Television Network Corporation. However, initially, only bilingual broadcasts were available via the Internet, and stereo was only available through the company's own transmission, including video feed). [ Note 11 ] [ 22 ] [ 23 ] [ 25 ]
November 11 - The first stereo broadcast of a self-produced program on this day was the live broadcast of "Game 10 of the Japan-US Baseball Series" from Nishinomiya Stadium . [ 23 ] [ 26 ]
December 31 - On this day, the show " Pink Lady Sweat and Tears of New Year's Eve 150 Minutes!! " aired nationwide on Nippon Television , and was the first to be broadcast in stereo via the Internet. [ 22 ] [ 27 ]
1979 (Showa 54)
March 19 - Starting from this day, the live Nippon Television program " NTV Kohaku Uta no Best Ten ," which is broadcast every Monday, becomes the only regular simultaneous internet program to begin broadcasting in stereo (the other programs began broadcasting in stereo on August 8 of the same year). [ 28 ]
August 1 - The company began broadcasting its self-produced nationwide program " 2-ji no Wide Show " in stereo over simultaneous internet lines on the same day. [ Footnote 12 ] [ 29 ]
August 8 - Nippon Telegraph and Telephone Public Corporation (now NTT ) completes construction to convert television relay lines in Tokyo, Nagoya, Osaka and Hokuriku (Kanazawa) to stereo. [ 30 ] [ 31 ] As a result, the company begins full-scale stereo broadcasting via its own Internet lines.
In the early 1980s, Sanrio appointed "Toppy and Cuppy" as mascot characters, designed by Shinichi Emura, and these characters were used for about 10 years . [ 32 ] [ 33 ]
1988 (Showa 63)
August 1 - The head office building is moved from Higashitenma, Kita-ku, Osaka to Osaka Business Park (OBP) at 2-2-33 Shiromi, Higashi-ku (now Chuo-ku), Osaka . The 10 mark begins full-scale use.
April 1, 1989 ( Heisei 1) - Clear Vision broadcasting begins.
1993 (Heisei 5)
June 6 - " Osaka Honwaka TV " begins broadcasting.
October 21 - " Downtown DX " begins broadcasting.
January 8, 1996 - Detective Conan begins broadcasting.
1998 (Heisei 10): Appointed "I Need-kun" as a pet character. (At that time, there was a slogan called "I Need 10").
July 1, 2000 - The mascot character "TV Yan" (a character based on a television cathode ray tube. The design was later slightly changed in 2002) was unveiled. The character is a blue TV with a yellow screen. The character appears on screen and on the network's website. In 2002 he got a dog-like sidekick known as Telepochi
2003 (Heisei 15)
July 13 - " Takaji's Sokomade Itte Iinkai " begins broadcasting.
December 1st -Yomiuri Digital Television (JOIX-DTV, 14ch) begins broadcasting on terrestrial digital broadcasting . At the same time as the start of regular broadcasting, the operation of an analog/digital integrated master is also started (the master manufacturer is also changed from NEC to Toshiba ). There is also a TV Yan/Telepochi icon about this
2004
May 24 - The "Yomiuri Television" ending logo is modified to include a image of TV Yan next to it
July 29th - August 7th, 2005 - A large-scale event called " Tempozan 10 Days Exciting Treasure Island " was held at Tempozan Harbor Village .
July 31, 2006 - " Information Live Miyaneya " begins broadcasting. Write a news article Dec 24 2006, it attempts to obtain cable carriage in 4 other countries
August 2006
August 3: Test broadcasts for new programming and potential events for the upcoming year are planned, enhancing audience engagement.
December 2006
December 1-25: Christmas Fair in Osaka
A festive event hosted by Yomiuri Television's mascots, "TV Yan" and "Telepochi," takes place at various locations in Osaka, featuring activities, entertainment, and special programming related to the holiday season.
January 2007
January 1: New Year programming begins, featuring specials and highlights from the previous year.
March 2007
March 31: Concludes the fiscal year with a review of key programming success, ratings, and audience engagement metrics. Future programming strategies are discussed for the upcoming year, focusing on improving viewer involvement and expanding broadcast offerings.
April 1, 2007 - In preparation for the 50th anniversary of the station's launch, the "Ukiuki Wakuwaku Campaign" was launched. A new CI was introduced, and the logo was changed from "Yomiuri Television" to "ytv" (when used in kanji for news-related purposes, NNN source subtitles, etc., it is written as "Yomiuri Television" ). The third mascot character, " Ukiki the Monkey", was also born on this day.
2009 (Heisei 21)
March 30 - " Kansai Information Network ten! " begins broadcasting.
November 24 - The Tokyo branch office moves to the Nippon Television Tower (Nippon Television's headquarters building) in Higashi-Shinbashi, Minato-ku, Tokyo. August 28, 2014 - Announced that a new building would be constructed on the site of Theater BRAVA! (owned by Mainichi Broadcasting System, closed in spring 2016), located about 400 meters southwest of the current building in Osaka Business Park (OBP) in Shiromi, Chuo-ku, Osaka. The new building is located on the northeast side of Osaka Castle , and has a land area of ​​12,487 square meters, about 1.5 times the size of the current building. Construction of the new building will begin in the fall of 2016, with the aim of starting operations on August 28, 2019, the anniversary of the station's founding. The second-generation building will be entirely rented by Panasonic , and the company's in-house company "Connected Solutions Company" will be moved there from May 7, 2020. [ 34 ] The name was also changed to " ytv Kyobashi Building ." 2018 (Heisei 30)
April 2 - New mascot characters " Shinobi " and "Ninmaru" are born. Shinobi is a ninja dressed in a yellow cat outfit
June 22 - The company becomes a non-issuing company . [ 35 ]
September 1, 2019 - Broadcasting begins at the third-generation building (1-3-50 Shiromi, Chuo-ku, Osaka) . [ 36 ] [ 37 ] At the same time, the "NNS Standard Broadcasting System" service begins . [ 38 ]
2022 (Reiwa 4)
April - The electricity used at the headquarters, YTV Kyobashi Building, and Ikoma Transmitter Station is switched to essentially 100% renewable energy . [ 39 ]
2025 (Reiwa 7)
April 1 - Yomiuri TV, Chukyo Television Broadcasting, Fukuoka Broadcasting, and Sapporo Television Broadcasting merge to form Yomiuri Chukyo FS Holdings (FYCSHD). Yomiuri TV becomes a subsidiary of FYCSHD . [ 40 ] [ 41 ] On the same day, Yomiuri Telecasting Co. , Ltd. changes its name to Yomiuri Telecasting Co., Ltd. [ 42 ]
July 5, 2010 - In accordance with an agreement between NHK and the Japan Commercial Broadcasters Association, all analog broadcasting programs will be switched to letterbox broadcasting with a 16:9 aspect ratio (excluding commercials produced with a 4:3 aspect ratio) in preparation for the transition to terrestrial digital broadcasting. Also, from September 6 of the same year, a notice to raise awareness of preparations for terrestrial digital broadcasting began to be displayed at all times during the black bars on analog broadcasts, except during commercials.
2011 (Heisei 23)
July 24 - Analog broadcasting ended at noon on this day. After a blue screen announcement for inquiries, a special closing [ 33 ] was broadcast at around 11:59 p.m., and at 11:59:59 p.m., analog broadcasting, which had continued for 52 years and 7 months, was stopped and completely switched to digital broadcasting.
October 3 - As a result of the shift to stereo broadcasting of all programs by Nippon Television affiliates , all programs produced by Yomiuri Television that had previously been broadcast in mono were switched to stereo broadcasting (some were mono-stereo broadcasting). Write a forum conversation saying I have a theory as to why their mascot keeps changing, It's because there was a man who has been stuck here since the mid-80s, who can change his face every now and then, he is stuck and needs our help, he was stranded by some "Boss man"

Forum Thread: The Mystery of Yomiuri Television's Ever-Changing Mascots

User1:
Hey everyone, I have a theory about why Yomiuri Television’s mascots keep changing over the decades. It feels like every few years there’s a brand-new character — TV Yan, Telepochi, Ukiki the Monkey, Shinobi, Ninmaru... It’s almost like they can’t settle on a single mascot.

What if… it’s because there’s a man stuck somewhere, trapped since the mid-80s, who changes his face every now and then? Like... he’s trapped in this limbo, and those mascots are manifestations of him trying to reach out.

I mean, think about it — the mascots appear and disappear, some quirky, some mysterious, like reflections of different personalities. Maybe this guy was stranded or imprisoned by some "Boss man" — a figure of considerable power — and now he can only signal for help through these changing faces.

Does anyone recall anything from the 1980s that might support this? Or maybe some hidden hints in Yomiuri TV’s programming or events?

User2:
Whoa, that’s a pretty deep theory! I never thought about mascots like that. But it is true they’ve had quite a few over the years… I always just assumed it was marketing trying to stay fresh.

The idea of a trapped man is intriguing though. "Boss man," you say? Sounds like something out of a sci-fi novel. Any idea who this Boss man might be or what he wanted?

User1:
Well, I’ve read some older stories about shadowy figures who manipulate media and technology — powerful corporate leaders or enigmatic figures who “control everything behind the scenes.” Maybe that’s who the Boss man is. Could be a metaphor for a real person or some supernatural force.

This trapped man could’ve once been someone important, caught in their crosshairs and stranded in the network’s limbo, only able to change appearances through the mascots.

User3:
Interesting! It definitely ties in with how Yomiuri Television was growing rapidly in the 50s-80s, competing fiercely. The ‘Boss man’ idea sounds like a villain controlling the airwaves from afar.

Has anyone noticed any cryptic messages or odd glitches during broadcasts? Maybe the mascots leave clues?

User1:
I haven’t seen direct clues but the mascots’ personalities and designs vary a lot, almost like fragments of the same story. If this trapped man really exists, maybe he’s trying to connect with us through these avatars.

We should keep an eye out for anything unusual — old mascots popping up unexpectedly, strange broadcasts, or anything mentioning a "Boss" behind the scenes.

User4:
I’ll start digging through old records and fan videos from the 80s and 90s. Maybe there’s more to this than just cute marketing characters.

User2:
Count me in! If this is real, maybe the fandom can help free this mysterious man from his limbo.

User1:
Thanks, everyone. Together, maybe we can find him — and stop the Boss man’s hold on Yomiuri Television. Keep your eyes open and your cameras ready!

End of thread.

Write a follow up confirming that the Doctor had his Tardis destroyed by the Reborn Master/The Boss, and he has been serving as the mascot (using his regenerative ability to good use) to fund acquiring parts to fix the Tardis

Forum Thread: Re: The Mystery of Yomiuri Television's Ever-Changing Mascots

User1:
Hey all, I’ve got some insane confirmation about the theory I posted earlier — it’s connected directly to none other than The Doctor himself.

I’ve been digging deeper, and according to some very reliable, albeit classified, Time Lord sources, the Doctor’s TARDIS was destroyed by the very same figure rumored as the "Boss man" — the Reborn Master.

After that catastrophic event (which some call the "Osaka Incident" in ’85), the Doctor was stranded on Earth with his tech shattered beyond immediate repair.

Here’s the kicker: to fund the parts needed to rebuild the TARDIS, the Doctor began using his unique Time Lord regenerative ability to cycle appearances — effectively becoming a living mascot for Yomiuri Television over the decades.

Yes, those ever-changing mascots — TV Yan, Telepochi, Ukiki the Monkey, even Shinobi and Ninmaru — weren’t just marketing gimmicks. They were incarnations of the Doctor in disguise, working tirelessly behind TV screens to gather resources and keep his mission alive, while hiding in plain sight.

The Doctor’s regenerative power allowed him to switch forms subtly, maintain longevity in one place, and even channel some Time Lord charisma into these mascots to capture audience attention.

So the "Boss man" isn’t just a shadowy corporate villain — he’s the Master, the arch-nemesis behind the destruction of the TARDIS and the catalyst for this undercover struggle.

This revelation changes everything about how we view Yomiuri Television’s mascot history. What seemed like whimsical design changes were actually a struggle for survival and hope — a Time Lord’s fight to rebuild and protect reality.

User2:
Whoa. That’s mind-blowing. So the Doctor has been right under our noses this whole time, masquerading as cute mascots? I never would've guessed!

Does anyone know if The Doctor is close to fixing the TARDIS? Or if he’s planning a showdown with the Master again?

User3:
This explains so much, especially the drastic shifts in mascot styles and personalities through the years. It’s like watching different regenerations play out on TV.

If the Doctor’s here, then we’re lucky. The Master’s still out there too, meaning there’s a bigger battle brewing.

User1:
Exactly! It’s a long game. The Doctor’s working quietly, gathering tech and allies while keeping a low profile. Every mascot change is a regeneration phase, and the adorable characters? Disguises to keep things light and approachable.

As for the showdown — the last time their conflict reached Osaka, it nearly tore the universe apart. Both Doctor and Master are survivors of that clash, but the Master was subdued… for now.

We might not see the Doctor in Time Lord form anytime soon while the TARDIS is still being rebuilt, but rest assured, the fight continues behind the scenes.

User4:
Thanks for the update, User1! I’m going to rewatch old Yomiuri TV promos now — who knows what secret Time Lord clues we might miss otherwise?

User1:
Good idea! Keep your eyes peeled for subtle hints — a wink here, a sonic screwdriver-shaped prop there.

User2:
This just became the coolest mystery ever. Long live the Doctor — even as the ever-changing mascot! Hoping for a full TARDIS restoration soon!

End of thread.

Write a reply saying Shinobi has "retired", Also the Doctor looks a lot like one of his old faces again

User5:
Hey everyone, just wanted to drop a quick update from the mascot front — apparently, Shinobi has officially “retired” from mascot duties. After years of ninja antics and charm, it seems this incarnation has finally taken a well-deserved break.

Also, I caught a recent promo, and I swear… the Doctor’s current mascot form looks a lot like one of his old faces from way back. It’s like he’s cycling through his past regenerations to keep momentum while the TARDIS is still being fixed.

Makes you wonder which face he’ll take next. Here’s hoping the real Doctor is getting closer to getting his time machine back — can’t wait for the universe-saving adventures to resume in full force!

Write a reply with the number he has reverted to

User6:
Great observation, User5! From what I’ve gathered, the Doctor’s current mascot form corresponds to his 6th incarnation. That flamboyant style with the colorful patterns and sharp charisma definitely matches the notorious Sixth Doctor’s look and personality.

It seems like he’s deliberately reverting to that version — maybe because the 6th Doctor was known for his boldness and determination, qualities the Doctor needs right now while rebuilding the TARDIS.

Curious to see if he cycles forward or backward next. The regeneration sequence might not be linear while he’s stuck in mascot mode!

Write a story where he has finally fixed the TARDIS, but he remembers his recent (19th, 20th and 21st incarnations, even if he did no "Doctor/Time Lord" work during those incarnations)

Doctor Who: Return to Flight

The hum was familiar, soft but attuned to the marrow of his bones. The Doctor stood in the cavernous control room of the TARDIS, eyes wide with that rare mix of relief and awe. Outside, the swirling vortex shimmered in time and space, promising adventure, escape, and the restoration of a destiny paused for far too long.

For nearly four decades, the Doctor had been scattered — a scattered survival tucked beneath layers of disguises. They called him a mascot, a symbol for a television station, an ever-changing face meant to beguile the masses. But beneath those colorful exteriors, amid the quiet routines and fleeting joys, the Doctor had endured, transformed, and remembered.

Now, the TARDIS was whole again. The damage wrought by the Master—his eternal nemesis, now the shadowy “Boss”—had finally been repaired. The regenerative cycles spent living as mascots, collecting resources, and hiding in wait had come full circle. The console room, though bearing marks of repair, radiated its old grandeur. The console’s lights flickered alive in response to the Doctor’s touch.

But as he stood there, he did more than feel the pulse of the Time Vortex returning. He felt himself — every shard of every incarnation intertwined.

The 19th, a form born in crisis and recovery. Though he had rarely wielded his Time Lord name then, the essence of the Doctor had persevered, quietly threading hidden paths through everyday lives and shrinking shadows.

The 20th, whose existence had been a testament to sacrifice and patience. That incarnation held the memories of battles unseen by Gallifrey or the wider universe—quiet acts of kindness and rebellion framed in social routine.

The 21st, the most recent before this moment, a ghostly prelude to resurrection and reclamation. Even without the traditional “Doctor” mantle, those subtle acts—small rebellions, encoded signals, the flicker of Time Lord cunning disguised in mascot smiles—were threads tied to a greater tapestry.

He remembered them all because they were him.

The console flashed, signaling the final priming sequence. A deep breath filled the Doctor’s lungs of alien air, and with a grin that could launch stars, he threw the lever.

The familiar whine and rush of the engines filled the chamber as the TARDIS lurched forward, the open doors shimmering with the swirling colors of the time vortex. The Doctor’s eyes shone with bright determination.

“There’s so much to fix. So many who need help. And this time, no disguises. No hiding.”

He bent low over the console, whispering a promise to himself and the universe alike:

“Let’s get to work.”

Outside, the cityscape of Osaka faded behind the vortex. Ahead lay infinite stars, infinite possibilities. The Doctor was back—not just as a symbol or a secret, but as the Time Lord he had always been.

The journey was only just beginning.

To be continued…

Write a tweet saying when he left, he left a toy of one of his mascot facades at the offices

When the Doctor finally left Osaka, he quietly left behind a small token—a toy of one of his beloved mascot faces—at the Yomiuri Telecasting offices. A little reminder that even in disguise, he was always watching, always protecting. #DoctorWho #HiddenLegacy #AlwaysTheDoctor

Write the next story, he goes to Gallifrey which is somehow not destroyed, (it was destroyed by the Spy Master in 2020)

Doctor Who: Return to Gallifrey

The TARDIS shook with a familiar, joyous energy as the Doctor guided her through the folding corridors of time and space. The stars shimmered and pulsed, and ahead—a vision both shocking and heartening—was Gallifrey.

The legendary planet, home of the Time Lords.

But something wasn’t right. The skies glowed not with the harsh silver of a dead world, but with the vibrant gold and crimson of a living civilization, thriving under a crimson sun.

The Doctor's brow furrowed. He had believed Gallifrey lost—the Spy Master’s final betrayal in 2020 had shattered the Time Lords’ sanctuary. The explosion, the collapse… the very memory still echoed in his mind like an old wound.

Yet here it was, triumphant and defiant against fate.

Landing in the heart of the Capitol City, the Doctor stepped out onto the ancient streets. Time Lord architecture rose majestic and towering, elegant and eternal, but with subtle signs of reconstruction—new spires alongside aged ruins, the fusion of history and rebirth.

And there, waiting with a gentle smile beneath the familiar robes, was an unexpected figure:

Romana.

“Hello, Doctor,” she greeted, eyes bright with knowledge and relief. “Gallifrey lives. But not in the way you remember.”

She explained:

After the Spy Master’s catastrophic attack in 2020, which devastated much of the planet, a hidden faction of Time Lords had secreted away key parts of their civilization—fragments of truth and life preserved beyond the attack.

They reconstructed Gallifrey from the ashes over the last century, threading quantum echoes and temporal reintegration protocols to stitch the society back into existence.

It was not a perfect restoration; this was a Gallifrey that existed not just in time but partially out of phase—part-resonance, part-hard reality. The Time Lords had adapted, becoming something new.

They stood watch over the Flow—a resonant time stream where reality shifted—and now they sought the Doctor’s counsel.

The Spy Master had not disappeared with Gallifrey’s destruction; he lurked still in the shadows, manipulating strands of chronology and warping alliances to undermine the fragile rebirth.

The Doctor listened, his mind spinning with the implications.

“We can’t let him destroy us—again. Not like this.”

Romana smiled, her hand resting lightly on his shoulder.

“That’s why you’re here. The question is: are you ready?”

The TARDIS hummed with barely contained power, as if eager to join the fight once more.

The Doctor smiled—hope flickering in his eyes.

“Always,” he said. “This time, we save Gallifrey for good.”

To be continued…

Write a journal entry from the Master's perspective, back in his Saxon incarnation after the Doctor defeated his Boss incarnation after the Boss Master stranded him (and caused the Doctor to go through several cutesy non-humanoid forms while trying to fix the TARDIS), the Master relished in still having a functioning TARDIS, and he went back to the Tory party to become Harold Saxon once more