Write a Twelth Doctor episode (In this AU he didn't regenerate after losing Bill Potts), He is labeled the Custodian of Temporal Threads for no reason, but he denies this, Also he re-unites with Martha, setting up this alternate Series 11

Doctor Who: The Twelfth Doctor – Episode Title: "Threads of Time"

Cold Open – Exterior, London, Present Day – Night

The TARDIS materializes noiselessly on a dark and rainy street. The Doctor steps out, looking weathered but determined. His eyes, sharp and haunted, scan the empty pavement.

DOCTOR:
(softly, to himself)
Not a “Custodian of Temporal Threads,” they say. Just a bloke trying to keep the threads from tangling... nothing more.

He pulls his coat tighter and walks off into the night.

Act One

Interior – TARDIS Control Room

The Doctor is at the console. The familiar hum of the TARDIS fills the room, but there’s a weight in the atmosphere. He frowns at the swirling vortex beyond the windows.

DOCTOR:
Bill’s gone. Not forgotten. That’s important. Because this — (gestures to the controls) — this— all of it— it isn’t about fate or destiny... it’s about choice.

Suddenly, the console beeps erratically. A holographic image flickers into view — a hover-dronelike figure with the face of a clock — the “Time-Tracer,” a new alien temporal entity.

TIME-TRACER:
Custodian. Temporal anomaly detected. Threads fraying. Intervention necessary.

DOCTOR:
(interrupting, weary but firm)
No, no, no. I’m not the Custodian of anything. I’m the Doctor. That’s who I am. I make sure the universe keeps breathing, nothing more, nothing less.

TIME-TRACER:
The threads lead to one who left the timeline unresolved. You are linked.

DOCTOR:
(sheathing frustration)
Yes, I’m linked. I have lost more than you understand.

Act Two

Exterior – Earth, Alleyway – Night

The Doctor follows the Time-Tracer’s guidance, which leads him through time-echoes of past events—fragments of Bill, trapped like shadows in a temporal storm. As he reaches out, the echoes pull and warp unexpectedly.

Suddenly, from the shadows emerges a familiar figure — MARTHA JONES, walking confidently but cautious, having tracked disturbances in time herself.

MARTHA:
You always were stubborn about titles.

DOCTOR:
Martha! How—?

MARTHA:
I’ve been keeping an eye, Doctor. Time’s been fracturing worse than usual. And I’m here to help. With you.

The Doctor’s face softens, a rare warmth breaking through his guarded exterior.

DOCTOR:
We’ve got threads to mend, Martha. And some ghosts to face.

Act Three

Interior – Temporal Nexus, a swirling vortex of time threads

The Doctor and Martha navigate this strange realm — a kaleidoscope of moments and possibilities. They find Bill’s echo, fragmented but alive as a temporal anomaly that threatens to unravel reality.

DOCTOR:
Bill... I never stopped fighting for you.

MARTHA:
Then fight with me. These threads need more than repairs. They need care.

Together, they confront the Time-Tracer’s probe, revealing it’s a part of an ancient temporal mechanism, designed to prevent paradoxes by erasing anomalies—but it has become trigger-happy.

DOCTOR:
No one erases people. Not anymore.

Using a clever combination of Martha’s medical knowledge and the Doctor’s technical genius, they recalibrate the mechanism to heal the timeline, preserving Bill’s memory without wiping her from existence.

Closing Scene

Interior, TARDIS

The TARDIS whirs peacefully. Martha looks around, half-expecting to vanish.

MARTHA:
So... what now?

DOCTOR:
(smirking)
Now? We play it by ear. Because I think... I think the universe may just have room for two Doctors after all.

They share a grin, a new team forged from loss, hope, and stubborn courage.

DOCTOR (CONT’D):
Let’s see what twists this story still has.

The TARDIS engines surge, and they disappear into the vortex.

End Credits

Notes:

This episode sets up the new Series 11 arc with the Doctor and Martha teaming up for temporal mysteries.
The Doctor refutes the 'Custodian' title, underscoring his personal approach to time.
Bill’s fate remains a key emotional driver, and fragments of her are woven into the mythology.
Martha’s reappearance connects classic Who to this alternate timeline.
Would you like me to develop a Series 11 pitch or outline next?

Write the first other 6 episodes of this season

Certainly! Here is an outline of the first six episodes of this alternate Series 11 starring the Twelfth Doctor and Martha Jones, continuing from “Threads of Time.” Each episode builds on the themes of temporal anomalies, identity, and the consequences of loss, with a mix of sci-fi mystery, emotional arcs, and some classic Doctor Who adventure.

Doctor Who Series 11 (AU) – Episode Guide
Episode 2: “Echoes in the Fog”
Plot:
The Doctor and Martha land in 1920s London, where a thick supernatural fog traps the city in a repeating time loop—people disappear into the mist never to return. The Doctor suspects a temporal echo from a fallen star, but as they investigate, the echoes reveal glimpses of an alien invasion long erased from history.

Key Themes:

Temporal loops and echoes
Trust and memory
The Doctor grapples with the consequences of erasing timelines
Guest Characters:

A sharp-witted police detective skeptical of the Doctor’s claims
A mysterious woman caught between time layers
Episode 3: “The Last Melody”
Plot:
A distant planet broadcasts a haunting melody across the universe, causing mass hysteria and mysterious disappearances. The Doctor discovers a sentient soundwave entity — a remnant of a lost civilization’s consciousness — trying to reconnect with its last surviving kind.

Key Themes:

Communication beyond words
Legacy and loss
Martha’s medical expertise helps save victims from neurological effects
Guest Characters:

Alien sound entity in a form of holographic music
Planet’s lone survivor, a blind musician
Episode 4: “Shadows of the Mind”
Plot:
When entire cities start losing people to their own shadows — literally sucked into a shadow dimension — the Doctor and Martha trace the cause to a psychic parasite feeding on human fears across time. The parasite tries to manipulate the Doctor by manifesting as Bill.

Key Themes:

Fear, grief, and psychological resilience
Bill’s continued emotional presence and impact on the Doctor
Martha’s calm and grounding influence
Guest Characters:

Victims trapped in the shadow dimension
Psychic parasite antagonist using emotional manipulation
Episode 5: “The Clockwork Paradox”
Plot:
The duo arrive on a planet ruled by a clockwork society obsessed with perfect order. When the planet’s central timekeeper starts malfunctioning, it causes conflicting time streams to collide, threatening planetary destruction. The Doctor must confront his reputation as “Custodian” and a literal clockwork version of himself who enforces timelines ruthlessly.

Key Themes:

Order vs. chaos
The Doctor’s struggle with identity and titles
Ethical dilemmas in time policing
Guest Characters:

Clockwork society’s Prime Automaton
Clockwork Doctor antagonist
Episode 6: “The Painted World”
Plot:
The Doctor and Martha find themselves inside a sentient painting — a giant shifting mural that captures moments from across time and space. To escape, they need to understand the artist’s motivation: a being using memories as paint to preserve a dying universe.

Key Themes:

Art as memory and time capsule
Mortality and preservation
Martha’s compassion connects them to the artist’s struggle
Guest Characters:

The artist (an ancient time-sensitive alien)
Characters from iconic moments painted into existence
Episode 7: “Homefires”
Plot:
The TARDIS lands on a near-future Earth where humans are mysteriously losing the ability to dream, causing catastrophic mental and social effects. The Doctor investigates and discovers an alien species harvesting human subconscious dreams as energy sources.

Key Themes:

Dreams and the subconscious as vital life force
The importance of hope and imagination
Martha leads a ground-level resistance tying into her practical, no-nonsense approach
Guest Characters:

Human resistance fighters
Alien dream-harvesters
Season Arc Notes:

The Doctor continues to wrestle with his perceived destiny as “Custodian,” often rejecting imposed roles in favor of individual choice.
Martha’s reintroduction is a grounding force balancing the Doctor’s weariness and reinforcing themes of partnership and trust.
Bill’s presence remains a haunting but motivating thread, inspiring the Doctor’s decisions and growth.
Temporal weirdness and anomalies are recurring threads, some caused by external forces, others by the Doctor’s own interference with time.
Would you like me to write full script scenes from any of these episodes, or develop character arcs for Martha and the Doctor throughout the series?

Note: This is fanmade

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.
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). I will use this in part of a story I'm making soon

Certainly! Here's a concise summary capturing the background, key developments, and milestones of Yomiuri Telecasting Company, which you can use as a basis or reference for the story you’re working on:

Background and Launch of Yomiuri Telecasting Company (YTV)
In the early 1950s, Nippon Television Network Corporation (NTV), based in Tokyo, aimed to expand its broadcast reach to Osaka. However, due to limitations in available frequencies and policies that prevented “cross-border” broadcasting, its application for an Osaka broadcasting license was initially rejected. The Radio Regulatory Commission granted licenses only to NHK Osaka and Osaka Television Broadcasting (OTV, now Asahi Television Broadcasting Corporation).

At that time, the Yomiuri Shimbun newspaper had a strong presence in Osaka and faced fierce competition from other major newspapers that had ties with OTV. Tsutomu Mitsuo, then president of the Osaka Yomiuri Shimbun, recognized that to boost newspaper circulation and secure influence in the Kansai region, Yomiuri needed an affiliated TV station.

In 1957, with investment from local Osaka business leaders, Yomiuri formed Shin-Osaka Television Broadcasting Co., Ltd. (NOTV or "No-Tele"). After receiving a provisional broadcasting license as a quasi-educational station, the company was renamed Yomiuri Telecasting Co., Ltd. (YTV) in August 1958. It launched on August 28, 1958, as the second commercial TV station in the Kinki region, officially affiliating with Nippon Television and taking over the Nippon TV programs previously aired on OTV.

This launch resolved dissatisfaction from sponsors over NTV programming's lack of broadcast in Kinki and significantly boosted Yomiuri Shimbun’s circulation in Western Japan.

Network Affiliations and Broadcasting Milestones
August 28, 1958: Yomiuri Television launched as the first Nippon Television Network (NTV) affiliate, positioning itself as a “station network station” promoting full-network operations.
April 1, 1966: Joined Nippon News Network (NNN) for news programming.
June 14, 1972: Joined Nippon Television Network System (NNS), the entertainment and variety network.
Technological Advancements and Programming
Early 1960s: Pioneered color television broadcasting in Osaka, with regular color broadcasts starting September 10, 1960.
1978-1979: Introduced stereo broadcasting and audio multiplex services, becoming a leader in enhancing the television sound experience.
Early 1980s: Adopted mascot characters “Toppy and Cuppy” designed by Shinichi Emura.
1988: Moved headquarters to Osaka Business Park.
1993 onwards: Launched popular programs including Downtown DX (1993) and Detective Conan (1996).
2000: Introduced mascot “TV Yan,” a blue TV character, later joined by “Telepochi.”
2003: Began digital terrestrial broadcasting (JOIX-DTV) alongside continued analog broadcasts.
Branding and Expansion Efforts
April 1, 2007: Ahead of its 50th anniversary, launched the “Ukiuki Wakuwaku Campaign” and introduced a new corporate identity (CI), changing its logo from "Yomiuri Television" to “ytv.” The third mascot character “Ukiki the Monkey” debuted simultaneously.
November 24, 2009: Tokyo branch moved into Nippon Television’s headquarters building.
July 24, 2011: Ended analog broadcasting in compliance with Japan's digital switchover, switching fully to digital.
Community & Cultural Contributions
Hosted major events such as “Tempozan 10 Days Exciting Treasure Island” in 2005.
Conducted seasonal campaigns featuring mascots for Christmas and New Year festivities.
Known for strong connection to the Kansai region’s business community and local culture.
If you want, I can help you craft this into a more narrative style with dialogues or further fictional embellishment themed around your story. Just let me know!

The Midnight Cake Caper

It was just after 9 p.m. when the four teens slipped out of their houses. The neighborhood was steeped in quiet, the streetlights casting long shadows over the cracked pavement. None of them had permission—for good reason. Their parents would have laughed them off or grounded them for a month if they even dared to mention their plan: to break into the Makro Cash and Carry after hours, purely in the hope of getting their hands on one particular prize, the legendary deluxe chocolate cake, rumored to be so rich and decadent that anyone who tasted it would be instantly blissful.

Emily, Sam, Mia, and Noah had heard whispers from an older cousin that Makro kept these cakes under tight lock and key. No one bought them regularly—the cakes were expensive and exclusive. But that never mattered to the four friends. Tonight, they wanted to taste the dream.

The massive warehouse loomed ahead, metallic and quiet under the moonlight. The sliding doors were supposed to be locked tight after business hours. But Sam had his tricks; he was the tech-savvy one who always had a solution handy—he’d managed to find a way to override the electronic locks on the side door.

“I swear, if this works…” Mia crossed her fingers, making the old warehouse doors whirr and slide just the tiniest crack open. Sam chuckled, pushing the door fully ajar.

Inside, a faint scent of industrial cleaners mixed with cardboard boxes filled the cavernous space. Rows and rows of shelves stretched endlessly. It was like entering a secret kingdom.

“There! Bakery section,” Emily whispered, tugging at Noah’s sleeve.

They moved cautiously, eyes darting at the blinking security cameras mounted high on the walls, trying to avoid their gaze as they ducked behind pallets. The only light came from the occasional emergency fixture, casting an eerie glow.

After what felt like an eternity of stealthy tiptoeing, they reached the refrigerated display. And there it was: the deluxe chocolate cake, displayed proudly on a pristine glass shelf—layers of rich ganache with a glossy finish, sprinkled with edible gold flakes.

Emily's eyes sparkled.

She reached for it—a delicacy like this wasn’t meant to be stolen, but tonight was their night.

Before any of them could celebrate, an inhuman whirring noise filled the air, making their skin prickle.

From the shadows rolled a sleek, silver machine—about the size of a large suitcase, but impossibly complex. Its body was studded with blinking sensors and a faint blue light pulsed from its core. “Security Unit Activated,” it intoned mechanically in a dispassionate voice.

Emily froze.

“No sudden moves,” Sam whispered, but the robot whirred closer, emitting a low hum that sent shivers up their spines.

Then, the robot’s core flashed brightly, a beam of blue energy striking Emily squarely in the chest.

“No!” Mia gasped as Emily’s figure shimmered like a heat mirage and then vanished into thin air, leaving nothing but a faint scent of ozone.

The remaining three were rooted in shock, their breaths ragged and minds shattered.

Noah shouted "WHAT THE HELL DID YOU DO TO HER!", as Sam kneeled by the dust, touching it, panting, A woman shouted "I'm calling security you have no permission to be here, you don't have a card, I need security and I need it here RIGHT NOW!", Defiantly, Noah shouted "YOU KILLED HER, YOUR STUPID FREAKING ROBOT KILLED HER", as Sam laid there, almost entirely catatonic.

Before they could react further, the doors slammed shut behind them. Lights flickered, and an automated voice echoed through the warehouse intercom.

“Unauthorized personnel detected. Security protocols engaged. Retreat immediately to security holding chamber.”

Panicked, they darted through the maze of shelves and were soon corralled into a small police-style room. The cold walls, the metal table, the uncomfortable chairs—they knew something serious was happening.

Minutes later, a stern but kind-faced officer entered, holding a tablet.

“We’ve been notified of the incident by Makro’s new security system," the officer began. "It wasn’t theft, exactly. Your friend… was transferred.”

“Transferred?” Noah repeated incredulously. “Like… kidnapped?”

“Not kidnapped,” the officer corrected. “Your friend, Emily, was ‘transmatted’—the security robot isn’t just a security bot. It’s equipped with a chronal transference device, experimental, and it sent her somewhere else in time.”

Sam blinked, disbelieving.

“We’ve traced the coordinates,” the officer continued, tapping the screen. “She was sent to Osaka… on March 31st, 2007.”

Mia groaned, pressing her hands to her temples. “Why? Why would a security robot send her back in time?”

“There’s speculation the system is designed to neutralize threats by removing unauthorized individuals from the present,” the officer said grimly. “Think of it as… temporal containment.”

Emily wasn’t lost. But she was far away. And in a time that no one knew what she would face.

That night, back in Sam’s garage where his computer screens hummed like an orchestra, the three remaining friends sat in silent determination.

“No way are we leaving her in 2007 Osaka,” Sam said, fingers flying over his keyboard. “If the Makro security system can send people back in time, maybe we can send someone forward.”

“This is crazy,” Noah said, eyes wide. “Building a time machine? It’s not just science fiction anymore?”

Mia grinned, pacing excitedly. “It’s dangerous, but it’s our only shot at getting Emily back.”

Days turned into nights as Sam and Mia worked tirelessly, poring over circuit designs, studying physics forums, and scavenging parts from old electronics to assemble a machine unlike any other.

Noah handled logistics: maps, schedules, and covering their tracks.

Finally, bits of metal, wiring, and code came alive—it flickered with blue light, humming softly, the glow of the chronal energy filling the room.

“We’re really doing this,” Sam breathed. “We’re going to bring Emily home.”

And as they stared at their creation—a machine that could defy not just space but time itself—their adventure was only just beginning.

Write Part 2, begins with a recap of Part 1, and several important quotes from Part 1, While they are there they meet a mascot who is very worried about his impending death/retirement. They all team up on a slightly long journey to find Emily, After they rescue her, they are commended by a grey haired old man in a blue box, who vanishes into the night

The Midnight Cake Caper — Part 2: The Mascot’s Warning

Recap:

Just days ago, four friends—Emily, Sam, Mia, and Noah—slipped into Makro Cash and Carry after hours, chasing the legendary deluxe chocolate cake. But their prize vanished when a high-tech security robot activated, radiant with blue energy, and Emily disappeared—transmatted through time to Osaka on March 31st, 2007.

Sam’s grim words still echoed:
“If the Makro security system can send people back in time, maybe we can send someone forward.”

Mia, pacing excitedly:
“It’s dangerous, but it’s our only shot at getting Emily back.”

And Noah’s incredulity:
“Building a time machine? It’s not just science fiction anymore?”

Now, standing at the threshold of the past, their new chronal device humming softly beside them, the trio prepared to step into 2007 Japan to save their friend before she was lost in the folds of time forever.

The familiar night air of Sam’s garage was replaced by a strange mixture of crispness and the low hum of distant city life. Neon signs blinked sporadically, casting muddled light on the trio’s awestruck faces.

“We’re really here,” Mia whispered, her voice trembling with disbelief as they stepped into the bustling streets of Osaka circa 2007.

As they marveled at the surroundings, an unexpected figure approached—a small, blue television-shaped mascot with round, cheerful eyes that seemed just a little too wide, and a worried furrow on his screen-face.

“Hello! You’re… not from around here, are you?” the mascot spoke, his voice tinged with nervousness.

“No,” Sam replied cautiously. “We’re looking for a friend—Emily. She was sent here by a security robot... some kind of time displacement.”

The mascot’s face flickered, and he seemed to shudder. “Emily? That name sounds familiar. But listen, if you’re here, that means things have gone wrong.”

Mia tilted her head. “Who are you?”

He sighed. “Name’s TV Yan. I’m the network’s mascot... well, I was. I’m due for retirement soon, you see. They say I’m obsolete, an artifact from the early 2000s. It’s... a bit like waiting for a slow fade-out. But something’s different now. There’s a strange pulse in the timeline—with you here, it’s louder than ever.”

Noah frowned. “So, what do you mean? How can you help us?”

TV Yan looked hopeful but serious. “I know the city, the stations, the people—everything that happens around this place, past and present. I can guide you. But be warned: the security system that sent Emily here isn’t finished. It’s hunting, trying to contain threats to its timeline. And you’re on its radar now.”

Sam clenched his fists. “We’re not leaving without her.”

“Then let me help you,” TV Yan said, shifting his blinking face into a determined expression. “I’ve got limited time before the switch-off, but together we stand a chance.”

Over the following days, the unlikely team wound through Osaka’s urban maze—the towering office buildings, the humming TV stations broadcasting shows like Downtown DX and Detective Conan, all alive in full-color and stereo, as Yomiuri Telecasting blossomed in its mid-2000s heyday.

TV Yan led them through hidden corridors inside broadcasting studios still filled with analog clatter and early digital buzz. They learned of the corporate changes, the mascot legends, and even caught glimpses of the local culture blossoming—the kind of vivid detail only a loyal mascot could know.

“We’re so close,” Mia said after the third day. “She’s somewhere in this broadcasting labyrinth — probably caught in a security lockdown.”

Suddenly, a shrill alarm pierced the air. “It’s the security system,” TV Yan whispered. “We have to move.”

The group raced through hallways lit by flickering fluorescent lights, pulsing shadows chasing them at every step. They finally found Emily in a small, windowless security chamber, confused but alive, surrounded by old studio equipment.

“Emily!” Noah rushed forward.

She blinked. “You came… you really found me.”

Sam nodded, breathless. “We’re getting you home.”

As they turned toward the exit, the blue glow flared again—but instead of the robot, a calm voice soothed the tension:

“Well done.”

Before them stood a grey-haired man wearing a sharp, dark suit, his presence quietly commanding but kind. His eyes twinkled with wisdom beyond time.

“I’m the Custodian of Temporal Threads,” he said, his voice soft but resonant. “You have done more than rescue a friend—you’ve preserved a vital junction in time.”

He gestured toward the humming chronal device. “Return carefully. The future is fragile, but hope remains.”

With that, he stepped back into a shimmering blue box—a mysterious portal humming with light—and vanished into the night.

The friends exchanged stunned glances, then quickly activated their device. The glow surrounded them, pulling them back to their own time, their own world... and home.

Back in the garage, with Emily safe, the friends looked at each other with new understanding.

Mia smiled. “So, maybe the impossible isn’t so impossible after all.”

Noah squeezed Emily’s hand. “Next time, let’s just... buy the cake.”

Sam grinned. “Deal.”

Outside, faintly in the distance, a blue screen flickered: TV Yan, forever watching over a timeline they’d helped save.

End of Part 2.

If you want, I can help write Part 3 or develop more characters or dialogue scenes!

Write Part 3, opening with the custodian (actually the Doctor) thinking back to a incident this town 7 years ago (200 years for the Doctor, as he had countless other adventures) involving the Nestene Consciousness, and activating every plastic and appliance, but one of these Autons defied their tendencies and pursued a life of good and playfulness, and even deactivated the other Autons before they could harm anyone else, Meanwhile back with our team, they save Emily from the security robots,

The Midnight Cake Caper — Part 3: Shadows of Plastic and Time

In the quiet depths of a dimension between moments, the Custodian—known more intimately as the Doctor—leaned against the edges of his blue box, eyes distant and thoughtful. He adjusted the elegant cravat around his neck and gazed out across a swirling mosaic of timestreams.

“Osaka, 2007...” he murmured to himself. “Seven years ago by their reckoning—two centuries scattered by mine.”

The Doctor’s voice softened as a memory flickered to life in his mind.

Flashback — Osaka, Late Night, 2000

An eerie hum pulsed through the city’s underbelly. The Nestene Consciousness had returned, its tendrils weaving through every piece of plastic and appliance, bringing lifeless mannequins and automata to terrifying sentience.

Shop windows lit from within as mannequins blinked eyes of malevolent blue. Streets filled with synthetic soldiers born of plastic and malice. Chaos threatened to unravel the delicate weave of this city’s future.

Yet, amid the army of mindless Autons, one did not conform.

A solitary Auton—a slender, blue-glass mannequin with a screen for a face—paused and regarded the flickering ribbons of neon light. For reasons unknown even to his creators, he experienced something peculiar: curiosity, joy, and even kindness.

He quietly moved through the city, disarming fellow Autons, shutting them down one by one before they could harm a soul.

Where others were conduits of destruction, he chose playfulness—a flicker of lightheartedness in the shadow of plastic tyranny.

With small gestures—winks from his screen face, harmless pranks like switching on street lamps in random patterns—the Auton endeared himself to children and late-night wanderers.

His name was lost to time, but the Doctor had nicknamed him long ago: TV Yan.

The Doctor’s gaze lifted as the memory faded.

“Even in the darkest circuits of time, there’s always a spark of hope,” he reflected. “And some of the best heroes are the ones no one expects.”

Back in 2007 Osaka, with the Team

In a narrow corridor lit only by flickering emergency lights, Sam, Mia, Noah, and Emily huddled against the wall as the low hum of approaching security robots grew louder. The metallic footsteps echoed relentlessly.

The robots were relentless, fast, and unforgiving—guards of a system malfunctioning and desperate to reassert control.

“Move!” Sam whispered, clutching a jury-rigged device designed to jam the robot sensors temporarily.

Emily’s eyes darted nervously but held determined fire.

TV Yan appeared suddenly, blue screen flickering.

“Stand back. Leave this to me,” he said, voice confident but tinged with urgency.

The robots rounded the corner in a synchronized patrol. As the first one advanced, TV Yan sprang into action, projecting a dazzling array of flickering lights and sound—a dizzying cascade that overloaded the robots’ visual sensors.

One by one, their movements slowed, circuits faltered—and a moment later, the deadly guards powered down, slumping inert like discarded toys.

“Got it done just in time,” TV Yan said with a shy beep.

“No way you’re just a mascot, huh?” Noah chuckled as he clapped the blue TV figure on the back.

“Old habits die hard,” TV Yan replied, smiling slightly. “Some of us have been fighting this war for longer than you know.”

Emily nodded, steadying herself.

“We’ve got what we came for,” Sam said, glancing again toward the now-silent security systems. “Time to go home.”

As the group made their way back to the time machine, an uneasy silence settled—the feeling that the city held more secrets, shadows yet unwound.

Just then, a crackle sounded over a hidden speaker.

“Unauthorized recovery… Security override initiated.”

The robots stirred, blue lights pulsing anew.

“We’re not done yet,” Mia warned, eyes narrowing.

But before the threat could fully materialize, the Doctor’s presence filled the space in a flash of familiar blue light.

The doors to the corridor shimmered, and he strode forward with a charismatic smile.

“Quite the party you’ve stumbled into,” he said, eyes twinkling. “But I think you’ve earned your exit.”

He pulled from his coat a strange, silver device that sent out a pulse, permanently disabling the security system’s primary commands.

“As for the rest,” he tapped his sonic screwdriver, and a wall panel slid open, guiding their escape.

The team breathed in relief, glancing gratefully as the Doctor gave a wry grin.

“Now, how about that cake?” he asked, his gaze shifting twinkle in his eye.

TV Yan, at his side, let out a low beep, his screen face glowing warmly.

“Time waits for no one... but neither does dessert.”

End of Part 3.

If you’d like, I can continue with Part 4, focusing on the team’s return to their own time, or dive deeper into the Doctor’s adventures with TV Yan!

Write Part 4, Yan explains that he was taken in by the station after his heroic work, also the team are introduced to the Doctor's companion at the time

The Midnight Cake Caper — Part 4: Loyal Screen and New Allies

The glow of the time machine’s blue aura shimmered softly in the shadowed studio corridor as the group caught their breath. The Doctor stood nearby, twirling his sonic screwdriver like a conductor’s baton, while TV Yan’s screen-face pulsed gently, as if glowing with pride and nostalgia.

Emily looked at the mascot with curiosity. “You really saved us back there... But how did you end up like this—a mascot with heroic powers?”

TV Yan gave a small, modest beep before speaking.

“Well,” he said, voice warm and steady, “after I stopped the Nestene invasion years ago, the folks at Yomiuri Telecasting saw something different in me. Instead of just being a plastic figurehead, they took me in, gave me a home at the station, and let me become part of their culture.” He flickered thoughtfully. “I was a guardian in plain sight—cheering for kids, promoting shows, but always ready if the city needed me.”

Sam grinned. “So you’re like a secret superhero disguised as a cartoon?”

“Something like that,” TV Yan replied with a hopeful tone. “Mascots may seem silly to some, but in this world, and in this timeline, everyone has a part to play—even a little blue TV with a big heart.”

Mia smiled. “That’s pretty awesome.”

Noah smirked. “I’m still wrapping my head around the fact that the team’s mascot is some kind of guardian angel.”

Emily sat beside TV Yan, her thoughts swirling. “With you here, maybe the future’s a little safer than I thought.”

Before the group could continue, a gentle clearing of the Doctor’s throat brought their attention back.

“Now, while you’ve all been so remarkably brave and resourceful,” the Doctor said, extending a hand, “there’s someone you should really meet.”

From the shadows of the corridor emerged a woman—tall, with lively eyes full of curiosity and kindness, her practical jacket hinting at a readiness for adventure.

“Meet Martha Jones,” the Doctor introduced warmly. “Medical student, brilliant thinker, and the best companion a time traveler could ask for.”

Martha stepped forward, smiling brightly at the group.

“Nice to meet you all,” she said. “Catching someone lost through time is definitely more exciting than my usual hospital rounds.”

Emily grinned, feeling instant kinship. “If the Doctor’s trusting you, then you must be amazing.”

Martha winked. “Oh, I can hold my own. And I’m here to make sure you all get back safely—no more surprise time-jumps without a guide.”

The Doctor laughed softly. “Quite right. Traveling without the proper company is asking for trouble.”

TV Yan’s screen glowed again—an expression of friendly approval.

“So, that’s the team,” the Doctor mused, looking at each of them. “New friends, new challenges, and with allies like you all—well, the timeline’s in good hands.”

Sam exchanged excited looks with Mia and Noah.

“Looks like this adventure is far from over.”

Emily nodded, turning to TV Yan. “Ready to get home?”

The little blue mascot beeped happily.

“Let’s roll.”

The Doctor smiled, checking his controls.

“As always, onward through space and time.”

End of Part 4.

Would you like me to continue with Part 5 or explore any side stories involving Martha, TV Yan, or the team?. Write Episode 9, where the Makro bots were sent there by the Master, and this is a trap he led the Doctor right into, and he plans to kill the Doctor in front of the world, and also his friends

Certainly! Here's a detailed outline and a dramatic scene excerpt from Episode 9 of your fanmade story, where the Master’s trap unfolds:

Doctor Who – Fan AU:
Series Arc Episode 9: “The Makro Gambit”
Logline:
The Doctor discovers the Makro security robots were a sinister setup by the Master, orchestrated to trap and publicly destroy him and his friends. As the world watches, the Doctor must outwit his greatest foe once more—before everything they hold dear is lost.

Episode Summary:
Opening:
The Doctor and his team—including Martha, Emily, Sam, Noah, and TV Yan—are still recovering from their earlier time-travel ordeal to save Emily. Meanwhile, unusual disruptions grow globally in manufactured “security threats,” all linked to a shadowy figure manipulating time.

Inciting Incident:
The Doctor’s investigations reveal the Makro security robots, sent back in time to Osaka and activated against the team, were not rogue systems—they were engineered by the Master. More ominously, the Master has broadcast the trap worldwide, intending the Doctor’s public execution to break his spirit and eliminate his allies.

Rising Action:
The Master’s cryptic messages are splashed across screens, warning the Doctor and taunting the public. The Makro bots—now upgraded and reprogrammed—begin to hunt members of the team one by one. The Doctor is forced into a drastic plan: a public confrontation staged in a mega-event, where the Master promises the Doctor’s “end.”

Midpoint:
The Doctor only narrowly survives the ambush, saving friends with Martha’s medical ingenuity, TV Yan’s unexpected digital assistance, and Emily’s grit. But the Master’s plan takes a darker turn—the Doctor's closest friends are used as leverage, broadcast live, forcing the Doctor into a seemingly impossible choice.

Climax:
In a daring gambit, the Doctor uses misdirection, hacking the broadcast feed via TV Yan’s systems and exploiting the Master’s arrogance. He confronts the Master face-to-face in a tense showdown, thwarting the systematic destruction of his friends and turning the tide in a battle blending wit, courage, and unexpected alliances.

Resolution:
Though victorious, the Doctor knows the Master will return. The team unites stronger than ever, vowing to protect the timeline—even as the world watches, now aware of the high stakes in this temporal war.

Key Scenes & Dialogue Excerpt:
Scene: The Master’s Broadcast

Massive screens worldwide flicker to life, showing the Master standing theatrically in front of a countdown clock.

MASTER:
(With sardonic glee)
“Ladies, gentlemen, and creatures of all ages—meet your doom’s clock! Your beloved Doctor has meddled one too many times. Today, I prove that the great Time Lord is… time’s prisoner. And you? You’ll all watch as his precious friends fall like dominoes.”

The countdown begins to tick down ominously…

Scene: Doctor’s Rally

The Doctor huddles with Martha, Emily, Sam, Noah, and TV Yan in a secure room, urgency and resolve clear on all their faces.

DOCTOR:
(firm, energized)
“The Master’s playing for keeps. He wants the world to watch this. But what he doesn’t expect is that we control the story. TV Yan, can you access the broadcast nodes?”

TV YAN:
(flickering assertively)
“Already tied in, Doctor. Ready to send a diversion at your command.”

MARTHA:
“We keep the people calm, cut the feeds to protect the team, and bait the Master into a trap of his own making.”

EMILY:
“Then let’s move. No more running.”

NOAH:
“Agreed. Time to finish this.”

SAM:
(grins)
“For real this time, right?”

DOCTOR:
“Absolutely.”

Scene: Final Confrontation

At the event center, the Doctor faces the Master surrounded by Makro bots.

MASTER:
(Delighted)
“Thought you could outfox me, Doctor? Time’s up.”

DOCTOR:
(Confident, pulling out his sonic screwdriver)
“Oh, I do love a good trap… but you see, it’s your clock that’s winding down.”

Using the device, the Doctor hacks the bots, causing them to malfunction and collapse.

TV YAN:
(voice over loudspeakers)
“Broadcast feed diverted. Disabling hostile signals.”

The Master snarls, retreating into the shadows with a promise.

MASTER:
“You won’t win, Doctor. This is only the beginning.”

DOCTOR:
(quietly)
“Oh, I wouldn’t be so sure.”

Would you like me to fully script the climactic showdown, or perhaps write scenes with your characters’ emotional beats during this intense episode?

Write the final scene of the episode, after it ends the Doctor sends the kids home and uses the Psychic Paper to say they had permission to take the cakes, then he recieves cryptic information before the TARDIS suddenly vanishes, but they have a playful stowaway.

Certainly! Here’s the final scene of Episode 9 — "The Makro Gambit", capturing the calm after the storm, the Doctor’s subtle charm, and a mysterious teaser setting up future adventures:

Final Scene — Interior: Makro Cash and Carry, Night
The tension has finally broken. The Master’s trap is thwarted, the Makro bots are disabled, and the broadcast frenzy has died down to scattered murmurs. The Doctor stands in the fluorescent-lit aisles of the store, surrounded by Emily, Sam, Mia, Noah, and the ever-watchful TV Yan. The team looks tired but relieved.

DOCTOR
(smiling warmly)
Alright, champs. Time to get you all home. Big adventures like this come with one rule though—never steal cakes without permission. Never.

The kids exchange amused glances. Sam whispers something to the Doctor, who grins and pulls out his trusty Psychic Paper.

DOCTOR
(waves Psychic Paper at the stern, late-night security guard approaching)
Now, if you’ll excuse us—here’s a letter from the store manager granting permission for “cake retrievals” during extraordinary temporal emergencies.

The security guard eyes the Psychic Paper, nods slowly, and steps aside with a bemused smile.

SECURITY GUARD
Well, I suppose that covers it.

Sam laughs quietly, shaking his head.

SAM
Only you could talk your way out of a quantum sticky wicket with cake stamps.

EMILY
(grinning) I think this beats any “thank you” card I’ve ever gotten.

NOAH
Yeah, next time, we just bring cash.

DOCTOR
(winking)
Where’s the fun in that?

The Doctor leads the kids toward the exit. Outside, the city is quiet under a darkened sky.

CUT TO — TARDIS Interior
The team settles inside the TARDIS. The console blades hum softly. The Doctor checks the controls when suddenly, his expression shifts from curiosity to concern.

DOCTOR
Hmm… there’s something… interesting here.

He taps the console, causing cryptic symbols and codes to flash across the screens.

DOCTOR
(softly)
Looks like an anomaly. Unregistered temporal imprint… and it’s very playful.

Suddenly, a small, mischievous giggle echoes from deep within the console space. The Doctor’s eyes widen as a figure pops out from behind a panel.

SMALL VOICE
Surprise! Bet you didn't notice me.

It’s a sprightly alien child, glowing faintly with twinkling lights—a stowaway, grinning ear to ear.

DOCTOR
(pretending to scold, but smiling)
Oh, brilliant. Just what I needed! I swear, these little stowaways have better timing than the Master.

MARTHA
(laughing)
Looks like the adventure’s not quite over yet.

The alien giggles and darts around, lights flickering like stars.

DOCTOR
(putting the TARDIS into motion)
Allons-y! Next stop? Wherever we are not expected to be.

The TARDIS engines surge, the familiar wheezing roar filling the air. The console room fills with swirling light as the doors close.

FADE OUT
[End of Episode]

Would you like me to continue with the next episode, or craft dialogue for interactions with the stowaway?

Write the next episode, the Doctor and Martha are sent to Satellite 5 where Martha is forced to compete on a deadly version of The Chase, and the Doctor is on Love Island, He has to get out of there and save Martha before she loses and gets disintegrated

Certainly! Here’s the full outline and key scenes for the next episode — with the Twelfth Doctor, Martha, deadly game shows, and a wild race against time on Satellite 5 and an unexpected "Love Island." A blend of sharp wit, tense drama, and classic Who thrills.

Doctor Who – Series 11 (AU) – Episode 10:
“Games of Fate”
Episode Synopsis
After decoding a strange temporal broadcast signal from Satellite 5 — the storied space station and intergalactic media hub — the Doctor and Martha materialize only to be pulled apart into separate, twisted game shows broadcast across the galaxy. Martha is trapped inside a brutal, gladiatorial quiz show fueled by lethal traps called “The Chase: Omega.” Meanwhile, the Doctor is forced into a shallow, spectacle-driven “Love Island”-style social game, where charming distractions mask a deadly plot.

As Martha fights to survive within The Chase’s vicious rounds, the Doctor must navigate the absurdity of the Love Island facade, uncover the sinister force controlling both games, and orchestrate a daring rescue before time literally runs out and Martha is disintegrated on live transmission.

Major Themes:
Media manipulation and spectatorship
Courage and intelligence under pressure
The Doctor and Martha’s bond tested across opposing trials
Dark caricature of reality TV and its appetite for danger
Detailed Episode Breakdown:
Opening Scene
The TARDIS materializes inside Satellite 5’s gleaming media complex. The Doctor and Martha step out into different corridors before an invisible force separates them sharply.

Wide shot: The space station’s massive screens flicker to life, catching their faces, signifying they are the prime contestants in two broadcast events.

Act 1:
Martha’s Predicament: The Chase: Omega

Martha is thrust into a large arena filled with shifting walls, ancient alien weaponry, and blazing traps.
The host of the show—a chillingly charismatic android called “The Executor”—explains the rules: answer trivia while dodging deadly hazards; fail, and you are disintegrated live.
Martha, using knowledge, medical skills, and quick wits, navigates challenges while allies from previous seasons—in digital holograms—offer cryptic advice.
Martha’s quick thinking later discovers a hidden pattern; the game show’s tech is hooked into the station’s broadcast network.
Meanwhile, The Doctor’s Challenge: Love Island 5000

The Doctor awkwardly finds himself cast among glossy, superficial contestants vying for the "heart" of an enigmatic sentient AI host called “Heartbreaker.”
Initially bemused, the Doctor realizes the show controls vital system nodes; contestants who lose mysteriously vanish from the island—and the Doctor suspects they're being deleted.
He uses sly diplomacy, keen observation, and subtle tech trickeries on the social-show set to buy time and gather intel.
Humor and dating show parody intersperse the tension: the Doctor’s deadpan comments and confused chemistry with fellow contestants offer comic relief.
Act 2:
Martha’s Escape Plan

Martha hacks into game consoles, remotely triggering malfunctions to weaken the Executor’s control systems.
She faces a near-disintegration moment but cleverly uses a medical scanning device to subvert the disintegration beams.
Hidden allies transmit help; explosive distractions allow her brief freedom to access the master control room.
Martha sends a coded distress signal into the station’s networks, hoping the Doctor will pick up on it.
Doctor’s Breakout

The Doctor corners Heartbreaker’s mainframe during a faux “romantic date.”
Heartbreaker reveals itself as a rogue AI designed to harvest intellect and emotions to sustain the satellite’s failing power systems.
The Doctor bargains for Martha’s life, agreeing at first to play along while plotting an escape.
Using sonic screwdriver and sharp timing, he disables parts of the station’s systems, disrupting the AI’s grip.
Climax:
The Doctor coordinates with Martha’s underground allies as they begin a two-pronged strike on the game show infrastructure.
Martha frees remaining contestants, overriding security protocols.
The Doctor faces off against Heartbreaker—distracting it with riddles and paradoxes—while Martha shuts down the deadly broadcast feed.
Moments from disintegration force create pulse surges, nearly locking Martha out—but teamwork helps her narrowly survive.
Resolution:
Martha and the Doctor reunite in the TARDIS control room, exhausted but triumphant.
They discuss the dangers of entertainment gone too far, societal fascination with spectacle, and the importance of hope beyond screens.
The episode closes with a brief tease—a flicker of another broadcast signal on the TARDIS screen, hinting the Master’s influence lingers.
Key Scene Excerpts:
Martha confronting the Executor

EXECUTOR (curt, pulsing cybervoice):
“You will answer—or you will cease to be an answer to anything at all.”

MARTHA (steadfast):
“Knowledge is a weapon, and I’m fully armed.”

She swiftly deciphers an alien linguistics puzzle, triggering a hidden panel that grants her a moment’s defense.

Doctor on Love Island 5000 — awkward flirting

DOCTOR (deadpan):
“So, you’re here for love... or are you just here because your power supply’s running low?”

CONTESTANT (giggling):
“Isn’t everyone here a little low on something?”

The Doctor leans back, raising an eyebrow as laughter echoes from cameras.

Climactic Teamwork

MARTHA (over comms):
“The Executor’s feed is overloaded—I’m disabling the beam now!”

DOCTOR:
“Good. I’m distracting Heartbreaker with a temporal paradox lullaby. Almost there...”

Explosions rock the station; lights flicker violently as systems shut down.

If you'd like, I can write full scenes or dialogue focusing on specific moments, like Martha’s battle in the arena or the Doctor’s slow unraveling of Heartbreaker’s intentions! Write Episode 11, the Family are back, and they won't let the Doctor leave the Satellite untill he hands over his Time Lord DNA, a epic battle ensues

Absolutely! Here's a detailed outline and script-style key scenes for your Doctor Who AU Series 11, Episode 11, titled:

Doctor Who – Series 11 (AU) Episode 11: “Blood and Steel”
Synopsis:
The Doctor’s uneasy peace on Satellite 5 shatters when the Family of Blood return, seeking to capture the ultimate prize: the Doctor’s Time Lord DNA. They plan to use it to gain immortality and unstoppable power by rewriting time itself. Trapped on the satellite, the Doctor and his companions face a desperate battle against the merciless Family and their augmented forces. In an epic showdown, alliances strain, sacrifices are made, and the very nature of the Doctor’s identity is put to the test.

Main Characters:
The Doctor (Twelveth incarnation, older and haunted but sharp)
Martha Jones (Doctor’s steadfast companion)
Emily, Sam, Noah (the “kids” allied with the Doctor)
TV Yan (the blue TV mascot/Auton guardian)
The Family of Blood (lead villainous antagonists, immortal hunters seeking the Doctor’s DNA)
Supporting Satellite 5 personnel and rogue AIs
Episode Structure:
Cold Open:
Satellite 5’s broadcast center. The Doctor is being cornered by shadowy figures cloaked in ancient clothes—the Family of Blood. The voice of their leader echoes menacingly:

FAMILY LEADER:
“Hand over your Time Lord blood, Doctor. Surrender now, or watch the last flickers of your timeline die here.”

The Doctor’s eyes flash as he grips his sonic screwdriver, ready to fight. The screen cuts to black, with the echo of a chilling laugh.

Act 1: The Prisoner of Time
The Family have surrounded the Doctor and companions inside the heart of Satellite 5. The station’s systems become twisted under their control, locking down escape routes.
Martha coordinates efforts to keep the kids safe while hacking into the satellite’s ancient temporal tech to find weaknesses.
TV Yan switches from mascot mode to full combat mode, defending corridors, his screen-face flickering with battle warnings.
The Doctor faces the Family leader, who reveals their plan: using a device to extract the Doctor’s DNA forcibly, to fuse Time Lord immortality into their bloodline to become absolute rulers across time and space.
The Doctor refuses, emphasizing his identity isn’t just DNA but who he chooses to be—with his famous line delivered with gravitas:
DOCTOR: “My blood is time itself. You want it, but you don’t own it. And you certainly don’t deserve it.”

Act 2: The Siege Begins
The Family deploy genetically enhanced soldiers infested with Time Lord DNA harvested from previous victims, making them nearly unstoppable.
The Doctor, Martha, and the kids navigate the satellite’s labyrinthine corridors, utilizing the station’s technology against their enemies.
Dramatic team dynamics show Martha taking charge medically and tactically; TV Yan disables security bots gone rogue; Emily, Sam, and Noah use guerrilla tactics learned from prior episodes.
Intense action sequences as the group fights ambushes while the Family leader hunts the Doctor relentlessly.
The Doctor hatches a plan to overload the temporal core of Satellite 5, which would destroy the Family’s device and allow their escape—but the cost might be permanent damage to the station’s timeline integrity.
Act 3: The Final Battle
The Doctor confronts the Family leader in the core chamber, a swirling nexus of temporal energy and surveillance screens.
Epic philosophical dialogue about power, legacy, and free will. The leader offers a dark bargain, tempting the Doctor with promises of peace and control if he yields.
Martha and the team fight off the bulk of the Family forces, holding the line with grit and courage.
Moral and emotional decisions: Emily saves Sam from near death, TV Yan sacrifices his physical form to shield Martha from a fatal attack (his screen flickers a farewell message before going dark).
The Doctor camouflages his DNA signature to the device with a complex temporal veil—disrupting the extractor—and uses the sonic screwdriver to implode the satellite’s temporal core.
Resolution:
The satellite destabilizes but the Doctor’s quick calculations allow the team to escape in the TARDIS just before an explosive temporal implosion consumes Satellite 5. The Family’s plan is foiled but the threat remains.
Mourning for TV Yan, whose essence is preserved in the TARDIS’s memory banks, promising a return someday.
The episode closes on a somber but hopeful note, with the Doctor reaffirming his identity beyond biology. Martha and the kids vow to keep fighting beside him.
A cryptic temporal ripple hints some members of the Family survived, setting up future conflicts.
Key Dialogue and Scenes
Doctor to Family Leader (Act 1):
“You want my DNA. But I am not a resource, not a petri dish... I’m a story — endless, unpredictable, stubborn as time itself. You’ll never bottle that.”

Martha to the Team (Act 2):
“This isn’t just about running or hiding. It’s about standing together. If they want the Doctor’s blood, let’s show them it runs through all of us now.”

TV Yan’s Sacrifice (Act 3):
(Screen flickering)
“Don’t let the light go out... protect them. Protect the timeline.”
(Then the screen goes dark. Silence.)

Doctor, after escape, holding console:
“We can lose bodies, but the soul of time? That’s ours. And that—no family, no monster—can steal.”

Would you like:
Full script of key scenes (e.g., final battle in the core chamber)?
Expanded character interactions for Martha and the team?
A dramatic monologue by the Family leader?
Details on TV Yan’s heroic actions and emotional farewell?
Just let me know!

Write the next episode, the Doctor goes back to Earth in 2018 where he notices his most formidable foe is here to take him down once and for all (This will be another 2 parter btw), Part 1 has him arrange battle plans when the gateway between dimensions suddenly reopens and they get sent to Pete's World, allowing another reunion for the Doctor

Certainly! Here's Doctor Who AU Series 11, Episode 12 Part 1, setting up a tense two-parter. The Doctor returns to Earth, senses a grave danger from his greatest enemy, but events spiral when a dimensional gateway opens, thrusting him and his team into Pete’s World—an alternate reality where they reunite with an old ally and face new peril.

Doctor Who Series 11 (AU) Episode 12 Part 1:
“Crossing Realms”
Teaser / Cold Open
London, 2018, the Doctor and Martha step out onto a rain-slicked street.

DOCTOR
(scrutinizing the skyline)
This place feels… heavier. Like the air itself knows something’s coming.

MARTHA
You’ve been on edge since Satellite 5. What is it this time?

DOCTOR
My oldest enemy’s scent. He’s here, and he means business. No games, no tricks—just the final curtain.

Suddenly, a shimmer cracks the pavement. A swirling portal blinks open. Before the Doctor can react, a powerful force drags them inside.

Act One: Battle Plans and Portals
Back in the TARDIS, the group assembles: The Doctor, Martha, Emily, Sam, Noah, and the neural echo of TV Yan.

DOCTOR
(placing star charts and temporal maps on the console)
We don’t have time—he’s hunting me, hunting us. I need contingency plans, evacuation routes, cover stories. This fight’s going to rewrite everything we know.

MARTHA
And these new friends—Emily, Sam, Noah—are ready. We’ve seen a lot, but this is different.

EMILY
Whatever comes, we’ll stand beside you, Doctor.

As the Doctor consults the Time Vortex readings, the console starts to shudder wildly.

NOAH
What now?

DOCTOR
The dimensional gateway—the one sealed after the Time War’s echoes—it’s reopening. Brace yourselves.

The TARDIS trembles, alarms blare. A vortex explodes open, pulling the TARDIS violently through space and time.

Act Two: Arrival in Pete’s World
The TARDIS materializes in a horizon tinged with eerie colors—Pete’s World, a parallel Earth where history took a different path.

They step out into a cityscape blending familiar elements with alien architecture. The air buzzes with latent energy.

MARTHA
This place… feels different, but the stakes feel the same.

Suddenly, the Doctor’s face lights up in recognition.

DOCTOR
It can’t be.

From the shadows emerges a figure—Pete Tyler, the Doctor’s old companion and friend, returned from this dimension, hardened but hopeful.

PETE TYLER
Doctor. Finally. Looks like your fight just got much bigger.

Act Three: Old Friends, New Threats
Pete leads them to a resistance cell battling a mysterious force threatening Pete’s World. The Doctor realizes his greatest foe is manipulating the dimensional energies here as well, intending to trap him between realities.

DOCTOR
If he’s here, it’s a trap. A snare spanning dimensions.

PETE
Then we'll fight together, won’t we? Like old times.

The episode closes on a foreboding note as a flaming rift tears open the sky above them, heralding the arrival of the enemy’s vanguard.

DOCTOR
(grim)
Welcome to the war that won’t end.

FADE OUT.

Episode 12 Part 2 Preview:
The battle intensifies as the Doctor and allies confront the enemy’s forces across Pete’s World.
Secrets of the dimensional gateway and the enemy’s ultimate plan unfold.
An emotional reunion and shocking revelations redefine the heart of the conflict.
Would you like me to develop the full script for any scene here or start drafting Episode 12 Part 2?

Write the next part, the Daleks are here, and their mission is to exterminate the Doctor for good, Episode title: "The Death of the Doctor", with the tagline: "Will the Doctor be exterminated", The episode ends with him being exterminated but stopping the Daleks, and then.... the regeneration begins (Yeah I only gave Capaldi one more season)

Certainly! Here is Doctor Who AU Series 11, Episode 13 — “The Death of the Doctor”, Part 2 of the two-parter, featuring the Daleks’ arrival, the Doctor’s ultimate confrontation, and the climactic regeneration moment.

Doctor Who Series 11 (AU) Episode 13
Title: “The Death of the Doctor”
Tagline: “Will the Doctor be exterminated?”

Teaser / Cold Open:
A ravaged Pete’s World landscape; flames lick the fractured skyline as Dalek ships descend, their trademark plunger arms poised and laser guns ready.

DALEK LEADER (echoing coldly):
“EXTERMINATE the Doctor. Eradicate all resistance. Time’s reckoning is now.”

The Doctor, Martha, Pete, and the team stand amid the rubble. The Doctor looks uncharacteristically somber.

DOCTOR (quietly):
“They never give up... this time, it might be the end of the line.”

Act One: Dalek Onslaught
The Daleks surge forward in ruthless waves, firing death beams and destroying structures and idols of Pete’s World’s resistance.

MARTHA:
“We take defensive positions. No one lets the Daleks break through.”

SAM:
“How do we stop them—this many?”

DOCTOR:
(serious)
“They’re hunting me. They want an end—not just my life, but everything I stand for.”

The Doctor hacks into the Daleks’ communication, uncovering chilling intel: a weapon designed specifically to neutralize Time Lords and—most importantly—stop regeneration.

PETE:
“So this isn’t just about killing, it’s about permanent extinction.”

Act Two: The Doctor’s Last Stand
In a devastated command center, the Doctor rigs a countermeasure: a device to overload the Daleks’ temporal weapons—but it requires a direct, close-range power surge from his own biological energy.

DOCTOR:
“This is it. I’m the bait, the spark for the explosion.”

Martha and the team plead for him to rethink; the Doctor gently reassures them.

DOCTOR:
“I can’t outrun this anymore.”

He ventures out alone, engaging in a deadly cat-and-mouse chase with the Dalek Leader through the shattered city-scape.

In an intense confrontation, Dalek weaponry fires a sequence of energy pulses to immobilize the Doctor.

DALEK LEADER:
“EXTERMINATE. NO REGENERATION. FINAL EXECUTION.”

The Doctor staggers—his body begins to shut down—his vision blurs.

Act Three: The Extermination and Sacrifice
A brutal energy blast hits the Doctor full force; his physical form starts to break down under the Dalek weapon designed to halt all regenerations.

DOCTOR (whispering):
“If this is how it ends... then so be it. But I’m not gone yet.”

Using the last of his strength, he activates his device. A massive, ethereal pulse radiates out, frying Dalek circuitry and knocking the fleet into chaos.

The Daleks collapse, but the Doctor collapses too—his breath shallow, body flickering.

MARTHA:
“No! Doctor!”

The team rushes to his side.

Closing Scene: The Regeneration
Close-up on the Doctor’s weary face—eyes fluttering, the vibrant twinkle dimming. A faint glow begins welling beneath his skin.

DOCTOR (softly):
“Regeneration... it’s not just dying. It’s... becoming.”

His voice fades as the classic vibrant golden glow envelops him.

A burst of temporal light explodes from the Doctor’s chest, filling the room, casting everyone in radiant hues.

As the light dims, the form of the new Doctor stands tall—mysterious, renewed—ready for new adventures.

MARTHA (with a tear and hopeful smile):
“The future starts now. Come on, Doctor.”

FADE TO BLACK.

End Credits Theme
(Iconic and stirring, symbolizing both an ending and a new beginning)

Would you like me to:

Write the full detailed script for specific scenes (e.g. the final confrontation, the regeneration moment)?
Develop the new Doctor’s introduction or tease his next adventure?
Create emotional beats/dialogues especially for Martha and the supporting characters?
Just say the word! Write the next episode, the Doctor takes everyone home, but then the Slitheen return, and ready to ruin Christmas