Title Sequence

A title sequence is that part of a programme which typically gives the series title, theme music, and serial or episode name. It may also provide the names of the principal actors involved, as well as that of the writer.

Doctor Who
Historically, the title sequence has been of great interest to Doctor Who fans, especially when it has been overhauled, as at the beginning of a new actor's tenure as the Doctor, or simply when a producer decided to do so. Changes to the title sequence can be rigorously scrutinised by fans, who may be interested in such minutiae as the font used in the title cards or even relatively minor variations in the theme music.

The 1963-1967 version of the programme titles did not feature an image of the Doctor, but from 1967-2011, the title sequence included a shot of the current Doctor's head floating either through space or the time vortex. However, the presence of the head — or in the case of Season 11, then later Seasons 33-40 the body — of the Doctor during the Troughton, Pertwee, Baker, French and Richard E. Grant eras rendered the title sequences more abstract.

John Nathan-Turner's radical redesign of the title sequence completely eliminated the time vortex, and replaced it with a representation of space that was never seen in that way within the body of episodes — mainly because the visual effect of space was far more expensive than the production team could afford on a weekly basis.

Throughout much of the 90s and early 2000s, the title sequence would occasionally change each season; usually in terms of the colour schemes, theme tunes and general effects. By 2007, the average title sequence was usually American like in terms of how it appeared in the order of the titles (space shot, logo, names, face, episode title and writer) and from 2010 the titles mainly harkened back to those of the 1998-2003 and 1974-80 which by then were fully CGI. During the 2010s, the titles generally were based on clips from episodes with the odd space shot.

1963-67; 2011
(An Unearthly Child - The Moonbase) The first title sequence consisted of a simple "howl-around" effect over the stark original arrangement of the Doctor Who theme. The logo was mixed into the image in such a way that the title momentarily looks like DOCTOR OWO or DOCTOR QHO. The logo then moves into the distance as the sequence cross-fades into the first scene of the episode. The title and writer of the episode is superimposed over this scene, except The War Machines and The Tenth Planet experimented with specialised title cards for the episodes. The original title sequence was filmed by Bernard Lodge, Hugh Sheppard and Norman Taylor.

In 1999, as part of Paramount's Doctor Who: Remastered, the titles were colourised and edited.

In 2011, the titles were reused in The Phantom Doctor with the titles themselves altered to fit into widescreen, and in black and white along with names, episode title and writer and lightning bolts added in.

1967-69
(The Macra Terror - The War Games) A more active "howl-around" effect is employed in the second title sequence. This is the first to truly illustrate the time vortex effect. The Doctor's face is now incorporated into the sequence: a closeup of a smiling Patrick Troughton which breaks apart to reveal a redesigned logo. Like its predecessor, it moves towards the back of the image. For the most part, the howlround effect continued as the episode title, episode number and writer appeared superimposed over the image, though some stories such as The War Games placed the titles over specialised footage. A modified arrangement of the Doctor Who theme accompanied this version from episode 2 of The Faceless Ones onwards, except on episodes 4 and 5 of Fury from the Deep where, due to an error, the 1963 arrangement of the theme was used.

As with the 1963-67 titles, in 1999, as part of Paramount's Doctor Who: Remastered, the titles were colourised.

1970-73
(Spearhead from Space - The Green Death) A shift to colour production and a change to a new Doctor resulted in a new title sequence being commissioned. Although similar to the 1967-69 version, only now given a red hue, a more tunnel-like howl-around is employed. Now, instead of moving away from the camera, the logo is stationary, but it changes colour.

The episode title and the name of writer are stationary as well, except for during the title sequences of The Ambassadors of Death and Spearhead from Space, in which the title goes towards the screen. A new image of Jon Pertwee replaced that of Troughton. Some variants were attempted during the 1970 season: The Ambassadors of Death experimented with interrupting the title sequence with a scene from the episode, while Inferno employed a one-off use of volcano footage as the backdrop to the episode title and writer credit. Otherwise, from here on in, the episode title and writer and episode number would be consistently featured as part of the opening titles.

In 1972 a revision was made, incorporating animation of the Doctor moving his hands over his head and a revised version of the theme music. This version was never officially employed but did accidentally go out on an international print of Carnival of Monsters. One modification to the theme that became permanent was the use of a melodic sting (a repeating musical phrase) that gave the opening sequence a definite conclusion; before it simply cross faded into the first scene of the episode; the "middle eight" section of the theme, occasionally heard during the 1963-69 openings, was no longer included due to the sting.

1973-74
(The Time Warrior - Planet of the Spiders)

Bernard Lodge created a new version of the title sequence for Pertwee's final season. A slit-screen effect was used to render stars shooting through space and the sequence begins with a close-up of Pertwee's face which pulls back to reveal a full-length image of the actor. He then becomes an outline, which shows the time vortex, heading towards the camera and completely vanishing. The show's iconic diamond logo was introduced with this version.

1974-80, 2003
(Robot - The Horns of Nimon; The Sands of Time) Commonly argued as the most famous of all, the sequence was similar to its predecessor, it opens with an image of the TARDIS going through the vortex; the TARDIS becomes an outline as it draws closer to the screen, showing the Time Vortex. A close up of Tom Baker's face appears, fading away to show the time vortex. It is also the first opening sequence to have the TARDIS in it. This would not happen again until the Seventh Doctor Era.

For the first part of Tom Baker's second serial, The Ark in Space, the sequence colour was changed from blue to orange, pink, and brown tones. However, all later episodes reverted to Tom Baker's first sequence.

This sequence was later re-used for the Season 40 story The Sands of Time. The BBC logo was added at the start of the sequence and it was in widescreen.

1980-84, 2003; 2009
(The Leisure Hive - The Caves of Androzani; Creatures of Beauty; Time Crash)

John Nathan-Turner commissioned a radical reimagining of the title sequence in 1980. Delia Derbyshire's arrangement of the Doctor Who theme was retired, and a new Peter Howell rendition was introduced. The diamond logo was retired for a neon-tube-styled branding. To go with these new elements, Lodge's howl-around and slit screen were also retired and a new starfield influenced by Star Wars was introduced. A new image of Tom Baker forms out of the stars in this version, the face moving towards the camera. The same title sequence was used in the Peter Davison era, except with Davison's face used now instead of Baker's and extra stars filled the right side of the shape. In addition, a "Venetian blinds" effect is added to introduce Davison's image. The reason behind the new "Venetian blind" effect was because, unlike Baker, Davison had a more normal hairstyle, thus the shape the stars would form is less interesting. The Davison version was used for Davison's appearance in Season 40 with added widescreen as Creatures of Beauty was filmed in widescreen, due to the show being filmed and broadcast that way since 1998. A truncated version was used for Davison's return in the charity mini-episode, Time Crash in 2009. The truncated version removed Peter's face and skipped ahead to the part of where the DOCTOR WHO title is shown and it carries on to the title of the episode, which is the first to not have a 'PART' number after the story title in the classic title sequence's after being decommissioned as the episode was only of a single story.

1984-86, 2003
(The Twin Dilemma - The Ultimate Foe; The Horrors of War) On the foundation of the starfield from the 1980-84 sequence, a new one was constructed. Prism effects added colour to the image, and the logo was modified slightly to have a curved appearance as well as the added colour. For the first time, animation was added to the Doctor's image in an official title sequence; he now went from a sombre expression to a smile. The Howell version of the Doctor Who theme was replaced by a new version by Dominic Glynn for the 1986 season, but the title sequence remained unchanged.

With Baker making a one-off return for Season 40's The Horrors of War, the title sequence was cropped to 16:9 widescreen to match the aspect ratio the show was being filmed in since 1998.

1987-90, 2003
(Time and the Rani - Blood and Iron; LIVE 34) For new Doctor, Sylvester McCoy, a completely new title sequence was commissioned. Now computer animated, it begins with an explosion, which turns into stars that surround a galaxy. Three rocks then fall into the galaxy, in rhythm with the theme. The TARDIS, inside a sphere of blue energy, rotates into the galaxy, vanishing just like a spiral of blue energy swirls inside the galaxy. The Doctor's face then appears, which now has three expressions for the Doctor (sombre, then a wink, then a smile). McCoy's face was painted silver for this sequence to make him seem like he had been computer-animated.

The series title (the logo once again redesigned) now appears at the very end of the sequence. It forms with the letters "W", "H" and "O" floating in space until they form the word "WHO", with the word "DOCTOR" appearing in cursive afterward. The episode title and writer now appear on screen at the same time as the logo. The episode number, in a return to the old style, is now superimposed over the first scene of the episode.

For Season 40's LIVE 34, the titles were cropped to widescreen but as the 4:3 safe zone resulted in the sides of the logo being chopped off, some additional edits were made; as the logo appeared, the cropped titles zoomed out with space being filled in to fit widescreen so the episode title and writer fitted in as well.

1991-95, 2003
(Night Thoughts - Hatred of the Daleks; The Societal Step) Again, for new Doctor, Richard Griffiths, new producer, Ian Fraser, commissioned a brand new title sequence, carrying over elements of the previous titles, again produced by CAL Video. It starts with the TARDIS flying and materialising in space before crossfading to a red nebula in the distance with the TARDIS flying towards the camera and the camera zooms towards the nebula. The Doctor's face, that of Richard Griffiths, gradually fades in from a skull while zooming in towards the camera and fades away before flashing to space, where the redesigned Doctor Who logo zooms out with a ripple effect as the episode title and writer fade onto the screen with the part number appearing over the episode itself after the titles. The theme tune arrangement by Mark Ayres is unusual, as the theme tune is much slower and darker in tone and uses elements of previous themes.

For Seasons 31 and 32, it was recoloured to blue due to a new producer in Stephen Garwood, and change in cameras which improved the look of the show. The latter variant was used for Season 40's The Societal Step, albeit cropped to widescreen (like the McCoy titles, additional adjustments were made for the logo to fit in the 4:3 safe zone).

1996-98, 2003
(Revenge of the Master - The Web of Time; Spare Parts)

When Michael French took over as the Doctor, Stephen Garwood decided once again to change the titles. The new title sequence was designed to be radically different and have a much slower pace than previous sequences. The title sequence was heavily inspired by those of two of Who's competitors, Star Trek: Deep Space Nine and Star Trek: Voyager due to them being made by the same American VFX company, Santa Barbara Studios. This sequence also introduced the actors' names being used in the title sequence as well as using character names and creator credits for the first time. The titles focus on various shots around Earth with the occasional TARDIS flying by. The Doctor Who logo, while remaining the same, is now a blue colour, instead of its original brown.

With French making a one-off return in Season 40's Spare Parts, initial plans were to ask SBS to recreate the titles in widescreen. By the time of production, they had closed down and resulted in the titles cropped to widescreen but the credits remaining 4:3 safe.

1998-2000
(The Hail Mary - The Chimes of Midnight)

A complete change in production for Season 35 as well as the Paramount Deal and the aspect ratio change saw another new title sequence including the new theme rendition from Julian Stewart Lindsay. The titles focus on model shots of the TARDIS in various landscapes, modelled by Mike Tucker including the odd CGI TARDIS scene in space whilst retaining certain elements of the titles.

The sequence starts with the desert landscape before going to a submarine base with the camera panning towards the TARDIS in both shots. The TARDIS is then seen on a star whale in space as the camera zooms out where the cast names appear (also occasionally with a guest star credit), which fades into a close-up of Michael French's face in a purple time tunnel as it slowly zooms in where the logo gradually appears, before fading back to the TARDIS in a snowy landscape where the episode title and writer appear, sometimes with the part number preceding it.

For Season 36 and the change in aspect ratio from 14:9 to 16:9, some of the shots such as the CGI scenes and the logo, were zoomed in to fit the new aspect ratio.

2001-2003
(Night of the Angels - The Other)

With the debut of Richard E. Grant's Tenth Doctor, a new title sequence was produced. Executive producer David Renwick planned Season 38, and many parts of Grant's Doctor to be more Earth-based which is what the new titles were roughly based on.

The title sequence begins with shots around Earth. In the last Earth shot, the camera zooms out into the black of space. The TARDIS eventually appears from the left-hand side, revealing the Doctor Who logo (the same as it had been since Season 35 but with a new texture) and flying away in the background. A brown-yellow space dust background then appears for the rest of the titles whilst accompanied by the actor names, Grant's face and the episode title and writer. The titles end with the background getting darker before becoming black. A new theme arrangement from Vangelis was also included, in a more back to basics approach. Like the last titles, the names occasionally change depending on the changes in companions or other guest stars.

A variation of this title sequence appeared in Rogue Who with the whole sequence tinted red and orange. Derek Jacobi's and Kate O'Mara's names replaced that of Grant and Kearney's and Jacobi's face replaced Grant's also. A 'Rogue Who' logo was made in the style of the current Doctor Who logo but in red instead of blue.

2004-06
(Lord President of Gallifrey - The Confrontation of the Wicked)

With a new Doctor, a new producer and a new premise to the show, a new set of titles were commissioned.

The sequence begins with footage from all the past Doctors over the beginning 'slow' part of the theme before it kicks in and transitions to a vortex where the logo and the cast names with the character's names too appear. Then it transitions to space and the Doctor's presidential portrait moves towards the camera and then it fades to a shot of the citadel and the title card appears.

In Season 42, the font and animation of the text were altered and in Season 43, the timing of the sequence was altered to incorporate new theme music.

2007-09
(The Silurian Awakening - Mad World)

As the show returned to its usual premise, it got a new Doctor, a new companion and a new producer, a new title sequence was commissioned. It retained the feel of the Grant-era title sequence with elements of the previous Head titles and the Rebel Zero ones carried over.

Elements such as the slow shots of space at the beginning during the 'slow' part of the theme music was retained but instead, it was of the sun and two colliding moons. This then transitions into a new red vortex, and the logo (still the same as Season 41-43) but in a new animation, spins around and zooms past the camera and then the names of the cast, now in 3D and without the character names, zoom past the camera before the title sequence fades out to the sun we saw in the beginning, but in the distance. Paterson Joseph's face fades over the sun, for a few seconds, and then the title card fades over it.

In Season 45, Sophie Okonedo's name was added to the titles and later for a few episodes in Season 46, Janet Fielding's name was added to the titles too.

For Season 46, the text for the title card was all changed into the 'logo font' and made a yellow colour, mainly for the end credits following complaints of Season 45's credits going too quickly due to the BBC's new 30-second credit rules, which for this season was now horizontally stacked for character and actor, crew job and crew member.

2010-2011
(Masters of All - Evil of the Gaians)

As there was yet again a new Doctor, a new title sequence was commissioned. It was designed to be drastically different to Who titles of the past few years as Robert Shearman had felt that ever since Season 33 all of the titles have had quite a slow pace and felt that even though 44-46’s sped up eventually, a fast pace would be needed throughout, so he asked for the new sequence to be approximately 40 seconds in length, compared to the 84 seconds of last season, and for there not to be the slow shots of space at the opening which had become common place since Season 35, and while were replaced by the Doctors in the Redston era, still kept the same feel.

This time, the sequence just delves straight into the vortex and for the first time ever, the cast names are before the Doctor Who logo in the title sequence. Also, for the first time since Season 40, the TARDIS would feature in the titles, this time the latest exterior design first introduced in Doctor Who: Vengeance. To go along with this updated sequence, a new title card was devised for the episodes which see 3D text used for the first time for an episode title and then the sequence ends with the camera flying into the inside of the TARDIS which takes us into the episode.

For the Christmas Special, Hark! The Weeping Angels Sing, Julie Walters guest-starred as a 'one-hit-wonder' companion and therefore her name featured in the titles.

Starting with Broken Shackles in season 48, Emer Kenny appears in the titles.

2014-2016
(God Save the Queen - The Third Planet)

Introduced for the start of Chapter Four, by new showrunners, Ronald D. Moore & Jane Espenson, the new title sequence featured an array of clips from across the season, with credits running over the top, for the first time in a Doctor Who title sequence, the wider ‘above the line’ production crew would be credited, and due to standard BBC rules everyone, but the cast, who are credited in the opening titles should not be also credited in the closing titles. In addition, the top 3 billed Guest Stars from each episode would be given a short credit in the opening titles after the principle cast.

The format of the titles remained in use for Season 50, albeit with minor changes such as new clips from across the season whilst remaining a few scenes such as the TARDIS, the Fourteenth Doctor and the layout of the text where the credit role was made smaller. For its last use in The Third Planet, Part II due to the unexpected regeneration of the Fourteenth Doctor, the titles remained mostly unchanged albeit with the clip removed but not replacing it with the Fifteenth Doctor.

2016-2018
(The Last Winter - The Martian Equinox)

With a change in Doctor as well as the new aspect ratio of 2.35:1, using the same as that in the spin-off show The Elysium, the new title sequence for Season 51 was yet again drastically different. With it being shorter and only including the names, logo, episode title, writer and director it is the first title sequence since the original not to feature the Doctor's face. The titles were done by Peter Anderson Studios who previously made the series 4 titles of Panopticon. The names appear first in a black background before cutting to the logo in red surrounding a red galaxy. It then cuts to the episode title appearing in 3D text in front of purple space as it fades out followed by the episode title, writer and director. Also, it marks the first time since Season 32 that the episode title and writer appear separately.

Bear McCreary arranged the theme tune once again as he did with the previous titles which uses the original Derbyshire melody but a rearranged bassline. The 'above the line' production crew returned to the end credits.

2018-2020
(Chain Reaction - No Good Deed)

Another new title sequence was introduced for Season 52, produced again by Peter Anderson Studios. These titles go back to the style of the 49-50 titles with some clips of the season appearing in the titles whilst the main cast names and some 'above the line' production crew members appear. It continues with the TARDIS flying around Earth as the camera zooms into the left window where the logo zooms out, before the episode title, writer and director subsequently appear.

As with the previous titles and the original, the Doctor's face does not appear in the titles. Another new theme arrangement by McCreary is present in the titles; based on the 49-50 theme with some sci-fi elements included, which are notably incorporated as it goes on. All of the text in the titles are now in 3D.

From Season 53, the titles were edited in favour of the recently-released "Chapter Five". The clips now showcase the first three stories, a brand new theme tune was arranged by Jeff Russo, and the logo was changed. Season 54's titles remained similar, albeit with clips from that season, and Ace Bhatti's name replacing Adjoa Andoh. From Vajahnari's Curse, the logo was changed to reflect the ViacomCBS report with a modified version of the 1970 logo becoming the main brand logo.

2021-
(Rebirth -)

Season 55 introduced a new title sequence and theme arrangement for the programme. The sequence was designed and realised by Prologue, who were also behind The New Renegade’s title sequence. It lasted a shorter 40 seconds, and saw the TARDIS rapidly flying through the vortex, as the main cast names appeared, before leaving the vortex as it passed over a bunch of alien planets as Producer, Director and Senior Executive Producer credits appeared, before the camera followed the TARDIS very quickly rushing into the vortex again, the logo appears and then we cut to black and land on the title card. The theme tune was once again composed by Jeff Russo, although Ruth Barrett stayed on as composer in general.

1981
(A Girl's Best Friend)

This title sequence start with green blueprints of K9 and consisted of repeated footage of K9 and Sarah Jane Smith. Elisabeth Sladen receives her screen credit over footage of her character, rather than over a photo as was the case with the Doctors. The title sequence is also unique for incorporating K9's voice into the theme music, making it the first franchise theme to have "lyrics".

2001-03
(The Forgotten Boy - Temple)

The title sequence for Leftover took on a more mysterious feel than Doctor Who and heavily uses shades of red in them. Beginning with a red ocean and the woods where the Leftover logo in the center and BBC logo underneath overlay it. The main cast subsequently appears, with footage of them in slow motion overlaying various landmarks in Newcastle along with crime scenes with their respective credits appear below. It concludes with the same background as the main title card, albeit with the episode title and writer. To be added.

2005
(Voyage to the New World - Mastermind)

To be added.

End of Days
2010's Leftover: End of Days, the fifth series of Leftover, three-part series had its title sequence completely reinvented for this series. It consists of a plain black background with a thin red electrocardiogram line travelling from the left of the screen to the right of the screen. The actor names then appear on screen in white letters as each new red lines moves across the screen. Once the names finish displaying, the red heart rate lines become faster as they change angle and move into the background, whilst this happens the title card appears. Another small red line then travels across the bottom of the screen and the part number appears below the logo.

The theme music for this title sequence is a slower, darker, quiet piano arrangement of the original Leftover opening theme music, and has extra beeping noises along with hospital sound effects in the background.

2006
(For the Good - On the Eve of War, Here I Am)

The title sequence of Rebel Zero was intended to be an optimistic journey that The Resistance were embarking on for what they intended was for the good. The sequence began with the two reused shots of Gallifrey from the Movie before moving to many dark beauty passes of the HT-1408, the main setting of the series, as the cast credits and creator credits appear in 3D. The sequence finishes with the Ship flying away and the title card in 3D, fades over.

2008-10
(Period of Adjustment - Only Teardrops)

The first Panopticon title sequence had a unique style of title sequence for the Doctor Who franchise. Vastly different from the text based titles of Leftover, closer to the Rebel Zero titles but still very different but in fact, the closest comparison would be the season 33-34 titles of Doctor Who.

These titles show the far reaches of time and space – showing the power Gallifrey has control over. We begin with the Panopticon title card overlayed over Gallifrey and we are leaving Gallifrey and going far out into the universe. And then over each title card we see different parts of space and time. It ends with a sun imploding with the ‘Based on Doctor Who credit’ the ‘created by’ credit and then there’s a massive flash before the episode title and writer’s credit.

2011
(Rapture - C'est La Vie)

After Ira Steven Behr left production on Series 3, his partner from Star Trek: Deep Space Nine, Ronald D. Moore replaced him as he had finished his show Battlestar Galactica and had left the spin-off, Caprica for another showrunner to run the show. Ronald D. Moore requested that the title sequence was remade to fit the new tone of the new changes that he would place for the series.

Bear McCreary did the new arrangement of the theme tune; given the idea of the original theme with every note poisoned, though it's the same theme just pitched down and in a minor key.

2012 - 2013
(The Condemned - Doctor)

After Moore's controversial first series in charge, he was advised by fans to tone down the darkness. However, the title sequence changed dramatically; possibly in a more darker route. Series 4's titles were quickly and cheaply done by Peter Anderson Studios which were fairly disliked by viewers and production staff. After some debating with the BBC, Moore managed to get a new one, made by D8 Creative Agency.

The titles were more in line with Series 1-3 in terms of structure but in a darker and bleaker tone. It focuses on the Seal of Rassilon with ash flickering in the background to represent Gallifrey in the show. A new arrangement of the theme tune was made, also by McCreary, who took the Series 4 theme as a template, but softened to match the new titles and darker feel of the show. The theme was a light pianosynth theme, as opposed to the heavily synthed and twisted theme used previously.

Cold Front
(Rivals - Ascension)

Due to Cold Front being an anthology series the title sequence couldn’t really be about anything so

a simple title card was used. The sequence would fade into the Cold Front logo which would be shown against a background with a glowing blue light effect. The logo then slowly flies towards the camera before cutting to the episode title.

This was the first title sequence in the franchise not to use any theme music. Instead sound effects are used followed by a short piece of music when the episode title is shown.

Daleks vs Mechons
A special sequence was created for the Series 2 episode Daleks vs Mechons.

The sequence starts with the normal Cold Front logo. Static then begins to overlay the screen before cutting to a colourful time vortex which the camera travels down. This is the only episode to show cast credits in the title sequence.

This is also the only episode to feature actual music in the title sequence. In this case the opening theme to Dr. Who and the Daleks.

The Elysium
(The Promise - Lulli Lai Lae)

The title sequence for The Elysium was created to show the main setting of the series, Taoter III. The sequence begins by showing wide, sweeping shots of the forests, mountains and fields of Taoter III. The main cast credits were shown over this sequence. The title card is then shown against a shot of a crashing wave before fading into the logo and creator credits which are shown against a forest background.

This also marked the first sequence to feature a song with lyrics. The song used is composed by Rolf Lovland with the lyrics performed by Irish violinist Fionnuala Sherry.

For Season 3, the sequence is extended and includes a new version of the song, with the fifth and final series having a choral arrangement of the theme. Additionally, the episode title card is structured similarly to match Doctor Who's style from Seasons 24-48, with the episode title and writer appearing together.

Doctor Who (2003)
Because of the move to title cards in most Hollywood blockbuster films, the decision was made for the Movies to have a title card instead of a full title sequence. The sequence consists of the Paramount and BBC films logos and the 'Paramount and BBC presents', 'A... film' and 'A... production' before the Seal of Rassilon appears floating in space and then a regeneration effect overhauls it into tiny particles where the new Doctor Who logo appears.

Doctor Who: Revelation
The film’s titles would again be a title card like the previous film and be quite similar in structure. It starts off with the Paramount and BBC films logos before going to the first credits of ‘Paramount Pictures and BBC Films Present’, ‘A Tony Redston Production’ and then ‘A Graeme Harper Film’ before then going to the logo appearing first with the word ‘Revelation’ and then ‘Doctor Who’ as Gallifrey draws closer behind them. Then the camera pulls back and it is revealed we are seeing this from a Spaceship which is on it’s way to Gallifrey and we hear the sound of the Master’s laughing.

Doctor Who: Vengeance
Again, Vengeance features a title card and it appears in the same format as the previous films. However, the text appears over a blue vortex in a much thinner, yellower font. Then the camera zooms through the Doctor Who: Vengeance logo and it gets smaller as it's yellow font inverts the vortex.

Doctor Who: Endgame
As expected by this point, the film starts with the title card, which indeed it does. The main credits appear in dark gold over a bluey-purple background before the logo appears.

This would also be the second Doctor Who movie film to not feature the actual movie logo since the first film in 2003. Instead, a Serif styled logo is used, to match the branding of the film, with a red light flaring in the centre from behind. As well as this, it would also be the first film not to feature the main theme tune, which isn't heard until the end credits. Replacing it this time was 'Thirteen's Song' by Murray Gold, the composer for the movie.

Doctor Who: Genesis
For story purposes, the title card for Doctor Who: Genesis was structured differently. As per usual, the initial credits appeared first with the red-green howlaround background with the sound of the cloister bells. Instead of the title card, the first fifteen minutes of the movie play out; leaving it to after the Fourteenth Doctor first appears.

Again, the whole title of the movie isn't shown at once, with the Doctor Who Chapter Three logo appearing, followed by the 'Genesis' part with the howlaround and ashfield similar to the Panopticon Series 6-8 titles in the background. The Doctor Who theme makes a return for the title card in a short motif by Murray Gold, featuring the original Delia Derbyshire theme in a goth-like arrangement.

Doctor Who: Until the World Ends
Unlike the previous movies, the title sequence for Until the World Ends was a full movie title sequence instead of a title card. The sequence largely consists of aerial and drone shots around London; the first several shots being shot at night, followed by the Chapter Four Doctor Who logo merging into the Chapter Three logo, with the main title card appearing from a planet in space, overlayed in dark red. This is followed by more London shots, now during sunrise in the day. The main cast and above the line credits are featured in the opening, instead of the closing, similar to the Season 49 and 52 title sequences. The theme music by John Debney closely resembles the theme used during the Paterson Joseph era of the show, but rescored for the big screen.

Dokter Wie
To be added.

Doctor Misterio
To be added.

Doctor Who: Through Time and Space
To be added.

Mysteriet Doktorn
To be added.