Cleopatra knew a thing or two about pampering, and milk + honey founder Alissa Bayer took note.

The spa founder, who has been opening locations across the U.S. since 2006, looked to the Egyptian queen when shaping the wellness destination’s concept and its expansive menu.

“I was inspired by the legends of Cleopatra bathing in milk and honey, ingredients long associated with beauty, from the lactic acid in milk to the humectant qualities of honey,” she tells ET.

The royal treatment carries through to every visit, too. The spaces offer everything from massages and facials to hair, nails, and medSPA services, making it easy to squeeze in a little self-care or settle in for a full spa day.

“It’s less about creating a one-stop shop and more about seeing an opportunity to create the kind of elevated, deeply caring experience I could not find anywhere else,” Bayer says.

“Our approach is rooted in helping people feel more grounded, confident, and connected to themselves. … Caring for your skin or getting your hair done may appear physical, but the way it makes you feel can reach much further,” she adds.

For a head-to-toe experience fit for a queen, the order matters.

“Begin with a manicure or pedicure because there is nothing quite like a hand or foot massage. From there, have a massage with body gua sha, followed by a lymphatic sculpting facial. I always recommend having the massage before the facial, so you are not lying face down afterward with freshly treated skin. Finish with a blowout so you leave feeling cared for from head to toe, and completely ready to reenter the world.”

The crowning touch? A body wrap for an extra dose of indulgence.

“There is something almost cocoon-like about having the body exfoliated, treated, and wrapped in warmth, especially when it is combined with massage. It engages all of the senses and allows you to surrender in a way that is difficult to describe until you experience it.”

But Bayer’s reigning philosophy isn’t about turning back the clock. Instead, she’s embracing an approach that celebrates every chapter.

“I am loving the shift from anti-aging to pro-aging. For me, that has meant embracing my gray hair rather than feeling like I need to cover it. I still want to care for myself and feel good, but I am less interested in trying to erase every sign of age. There is something beautiful about allowing yourself to evolve and feeling confident in the person you are becoming,” she explains.

“I think we will see much more beauty and wellness care designed around specific stages of a woman’s life. … I see treatments becoming more thoughtful and personalized around changes in the skin, hair, hormones, sleep, and nervous system. … There is beauty in every season of life, and our treatments should support that rather than erase it.”

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There’s no doubt The Office is one of the most universally beloved sitcoms, not just of the 2000s, but of all time. The mockumentary style sitcom has an eclectic mix of characters, almost all of whom went on to huge projects once the show ended. It’s one of those shows that even if you never watched it, you know what it’s about. You’ve heard of the most talked about moments, scenes, and lines, and appreciate its cultural impact.

That said, there are other sitcoms that came both before The Office and after it that are arguably even more universally loved. They range from family sitcoms to ones about friends, and feature everything from absurdist humor to classic sarcasm and biting jokes. If you’re looking for a sitcom that’s as good or better than The Office, you have some great choices to consider.

10

‘Arrested Development’ (2003–2006, 2013–2019)

Image via Fox/Netflix

Arrested Development wasn’t an instant hit. In fact, Fox canceled the satirical sitcom after just three seasons. Thankfully, Netflix swept in, as it has with other shows, and developed more episodes, spread out with the first set seven years later, followed by more episodes five years after that. The quirky show follows the dysfunctional Bluth family that’s trying to navigate running their business following the arrest of patriarch Oscar (Jeffrey Tambor).

With an eclectic mix of personalities and hilarious moments, Arrested Development is one of the most fun shows of the 2000s. It grew to develop a cult following and is now widely considered to be one of the best TV shows of all time. With a total of five seasons spread across 16 years, shows like 30 Rock and Community are widely considered to have been influenced by Arrested Development.

9

‘Friends’ (1994–2004)

Image via NBC

You’ll probably come across someone who swears they don’t like Friends or claims they have never watched it. First, there is no way they haven’t seen episodes. And second, encourage them to watch, and there’s zero chance they won’t let out a chuckle or two. It’s almost impossible not to like Friends. The show solidified the 20-somethings’ friend dynamic in the big city. It is responsible for some of the most popular catchphrases from TV. And the characters are among the most recognized around the world.

You hear about people who say they learned to speak English from watching Friends. If you overhear someone say “we were on a break!,” “pivot!,” and “could you BE any more ridiculous?” you instantly know where the line is from. We quote Friends episodes to this day, and many even compare our own friends to the characters. The influence of the show is one thing, but its universal love, literally around the world, takes it to a whole other level.

8

‘Seinfeld’ (1989–1998)

Image via NBC/courtesy Everett Collection

Like Friends, you’d be hard-pressed to find someone who hasn’t watched at least a few episodes of Seinfeld, and even less likely to come across a person who doesn’t know some of the popular quotes from it. Some from the younger generation might know them, even say them, and not realize these phrases originated on the show. Think “master of your own domain,” “serenity now,” and “man hands.”

Seinfeld is famously a show about nothing, the daily doings of a group of friends as they discuss everything from the annoying neighbor to the horrible day they had at work, and their latest romantic partners. Yet the writing is so brilliant, so sharp, and the acting impeccable, that it delivers every single time. The sitcom remains a classic comedy show that’s still better than most new series. Seinfeld is a masterclass in how to make sitcom television, and a testament to the fact that having a silly hook or special story isn’t needed to make a show funny.

7

‘Everybody Loves Raymond’ (1996–2005)

Image via CBS

While there are moments in Everybody Loves Raymond that wouldn’t hold up today, the show is tough not to love. The sitcom centers around Raymond Barone (Ray Romano) and his family, as well as his invasive parents and jealous older brother. Raymond’s mother caters to his every whim, much to his wife Debra’s (Patricia Heaton) chagrin.

The clashing personalities of the characters on the show are what make it so perfect. Ray’s desire to keep the peace, desperate to avoid conflict, his mother Marie’s (Doris Roberts) passive-aggressive jabs at Debra, and his father Frank’s (Peter Boyle) overly masculine, rough-around-the-edges personality mix to make sitcom perfection.

6

‘Full House’ (1987–1995)

Image via ABC

If there’s ever a show to watch with the family, it’s Full House. It’s a wholesome family sitcom to a T that hasn’t been replicated since. Every episode following single father Danny Tanner (Bob Saget) raising his three daughters with the help of his brother-in-law and best friend has a purpose, a moral, a lesson. And each one is delivered with sweet and innocent humor.

As corny as it is, there’s something so endearing about Full House. So much so that when a sequel series came out on Netflix decades later called Fuller House, fans fell in love with it again. Like a time capsule of the early ’90s, Full House will make you laugh, cry through its “very special” episodes, and feel warm and cozy inside.

5

‘Cheers’ (1982–1993)

Image via NBC

I don’t think I have ever met a single person who recalls Cheers and claims not to have liked the show. What’s not to like? The sitcom predominantly takes place in a local bar of the same name tended by owner Sam Malone (Ted Danson) and patronized by regulars and the occasional new customer. We get to know everyone from the occasionally employed accountant Norm (George Wendt), who is always greeted with a loud name call when he arrives, to the know-it-all mail carrier Cliff (John Ratzenberger), and the wisecracking waitress Carla (Rhea Perlman).

There’s something comforting about feeling like you’re hanging out at the bar with everyone, following Sam’s flip-flopping love life and womanizing ways, laughing at bartender Woody’s (Woody Harrelson) naivete, and enjoying psychiatrist Frasier Crane’s (Kelsey Grammer) rants. It’s the bar where everyone knows your name, and one that’s universally loved by all.

4

‘Modern Family’ (2009–2020)

Image via ABC

In a sea of cookie-cutter sitcoms, many of which serve as sequels, prequels, or spinoffs to older ones, Modern Family burst onto the scene as something fresh and new. And it worked. The series follows the unconventional Pritchett family that’s far from traditional. While Claire (Julie Bowen) is married with three kids, her father Jay (Ed O’Neill) is married to a much younger (and incredibly attractive) woman, Gloria (Sofia Vergara), who has a son and, eventually, a new baby with her aging husband. Meanwhile, Claire’s brother Mitchell (Jesse Tyler Ferguson) is married to Cam (Eric Stonestreet), and they have adopted a Vietnamese baby.

The family is a mix of personalities, from the uptight Claire to her goofy husband Phil (Ty Burrell), the effeminate Cam, rebellious daughter Haley (Sarah Hyland), and bookworm daughter Alex (Ariel Winter). There’s so much to love about Modern Family, from the clever writing that includes double entendres and misunderstandings in every episode, to the relatable family moments. It’s no surprise Modern Family won five Emmys for Outstanding Comedy Series.

3

‘Schitt’s Creek’ (2015–2020)

Image via CBC Television

Sweeping the Emmys and winning in all four major categories in 2020 for its final year, Schitt’s Creek is one of the most modern, endearing sitcoms. It began with an idea: what would happen to a wealthy family if they suddenly lost everything and were forced to move to a small town? This premise is explored as the Rose family ends up in the title town, a place patriarch Johnny (Eugene Levy) once bought as a joke.

What happens from there is a wonderfully positive story of acceptance, appreciation, and understanding about what really matters in life. But it’s delivered behind a humorous lens as each member of the family, including aging actress mother Moira (Catherine O’Hara) and spoiled rich adult kids David (Dan Levy) and Alexis (Annie Murphy), learns real values and hard work. Schitt’s Creek is also widely praised for its handling of LGBTQ+ themes. It’s a family sitcom that you can’t help but smile from ear to ear while watching, one that’s amazing from start to finish.

2

‘I Love Lucy’ (1951–1957)

Image via CBS

Any ranking of the best sitcoms ever made will have I Love Lucy at or near the top of the list. Its comedic brilliance can never be touched by The Office or any other show. Lucille Ball had a knack for delivering comedy not just in dialogue, but in her movements, her facial expressions, every ounce of her being. Seeing her and her best friend Ethel (Vivian Vance) get up to antics while their husbands are at work never gets old.

You won’t find a single person on Earth who doesn’t like I Love Lucy or doesn’t at least appreciate the humor if they were to watch it now. Comedic actors today still praise Ball as an inspiration, as well as the show itself. I Love Lucy opened the door for shows like The Office, and it’s arguably the most universally loved show ever made.

1

‘The Golden Girls’ (1985–1992)

Image via NBC

The Golden Girls are so enduring that they even play a role in the Deadpool movies, the titular superhero claiming to be a huge fan of the series. The sitcom centers around three middle-aged women living in a Miami beach house; Dorothy’s (Bea Arthur) mother comes to live with them, too, when her retirement home burns down. As they navigate life now that their kids are grown, and they have gone through either divorce or the death of their partners, they lean on one another for support in this next chapter.

The Golden Girls was the precursor to any show about groups of female friends. And it’s also one of the funniest ever made. The jokes always hit because of both the writing and the unmatched delivery from every single one of the cast members. The show came together for seven masterpiece seasons that new generations today are starting to watch and appreciate for its relevance and sharp comedic timing.

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The Golden Girls

Release Date

1985 – 1992-00-00

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Showrunner

Susan Harris

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Susan Harris

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A great show should look different by Season 5. After all, the premise that hooked viewers in Season 1 can’t keep doing the work forever. There are only so many times before familiar conflicts start repeating themselves and characters begin running in circles. The best writers understand that reaching Season 5 should mean something has changed along the way. That can be in the form of character growth, changing relationships, and sometimes, even reworking the central conflict of the story.

That’s easier said than done, but thankfully, HBO has produced several shows that knew exactly what to do with the time they had. None of the five shows on this list ends as a longer version of what it was in Season 1. In fact, they evolve without losing what made them great in the first place, which is exactly why they are considered the greatest.

5

‘Insecure’ (2016–2021)

Image via HBO

Insecure is easily one of the most accurate and realistic depictions of adulthood on television. The HBO comedy begins with Issa Dee (Issa Rae) approaching 30, stuck in a job she hates, questioning her long-term relationship with Lawrence (Jay Ellis), and wondering whether everyone around her has life figured out better than she does. Her best friend Molly Carter (Yvonne Orji) appears far more successful on paper, but her dating life and tendency to overthink everything practically reveal a different kind of insecurity. Together, they spend five seasons stumbling through careers, relationships, friendships, and the uncomfortable realization that becoming the person one wants to be usually takes longer than expected.

The most grounded aspect of the show is how Issa doesn’t suddenly discover some bigger purpose after a eureka moment. Instead, the show simply lets time pass as she goes through life’s ebbs and flows. That isn’t to say she doesn’t experience growth — Insecure comes full circle at the end of its five-season run. It doesn’t tie everything up into a neat little bow, but makes the audience realize that perfection was never the point anyway.

4

‘Hacks’ (2021–2026)

Image via HBO Max

Hacks is technically a comedy, but this HBO series captures the full range of the human condition in completely unexpected ways. The show follows legendary Las Vegas comedian Deborah Vance (Jean Smart), whose long-running residency is beginning to look increasingly outdated. On the other hand, Ava Daniels (Hannah Einbinder) is a young comedy writer whose career collapses after an offensive joke leaves her practically unemployable. Deborah needs fresher material, and Ava needs a job, so their manager forces them together. Now, neither of the two ladies is particularly happy about this arrangement, especially since they are total opposites in terms of their approach to life and have a massive generational gap, which adds another layer of tension to the dynamic. However, the show follows the two as their relationship gradually starts changing.

Ava pushes Deborah to make her comedy more honest, while Deborah teaches Ava the ins and outs of an industry where women are rarely given their due respect. The clever part is that Hacks never lets either woman remain comfortably the mentor or student. Deborah and Ava keep butting heads, but they always find their way back to each other. Their conflicts keep Hacks from ever feeling stale, especially since they are always rooted in the characters’ individual journeys. Plenty of comedies can keep finding new situations for their characters, but Hacks found five seasons of new ways for its central relationship to evolve, without ever losing the friction that made putting these two women in the same room so hilarious in the first place.

3

‘Boardwalk Empire’ (2010–2014)

Image via HBO

Boardwalk Empire tracks one of the most fascinating periods in American history. The five-season epic begins in Atlantic City at the dawn of Prohibition, with political treasurer Enoch “Nucky” Thompson (Steve Buscemi) realizing almost immediately that banning alcohol is going to make the right people extremely rich. Nucky already controls much of the city through political connections and corruption, but bootlegging gives him a chance to expand far beyond New Jersey. His local operation soon connects him to gangsters, politicians, businessmen, and rival organizations across the country, and the stakes just keep expanding from there. Boardwalk Empire’s historical progression is what gives this story a sense of scale that becomes more impressive with every season.

Nucky initially looks like the man perfectly built for this new America, but it starts feeling like he is in way over his head when his protégé Jimmy Darmody (Michael Pitt) turns against him. Every time Nucky survives yet another rival, the show makes it clear that he cannot keep up with the changing criminal world around him forever. Boardwalk Empire Season 5 makes that shift impossible to ignore with a time jump. The show follows one man building an empire while simultaneously showing how history makes his version of power obsolete. Perfectly capturing a story like that across five seasons is no small feat.

2

‘Six Feet Under’ (2001–2005)

Image via HBO

Six Feet Under tells the audience exactly how every story eventually ends, and then spends five seasons proving how everything that came before it is what matters. The drama, created by Alan Ball, follows the Fisher family, who run a funeral home in Los Angeles. After patriarch Nathaniel Fisher Sr. (Richard Jenkins) dies suddenly, his sons Nate (Peter Krause) and David (Michael C. Hall) are left to run the family business alongside their mother Ruth (Frances Conroy) and younger sister Claire (Lauren Ambrose).

Now, one would assume that being surrounded by death every day has prepared the family to deal with it, but it turns out they are just as confused about life as the grieving families who give them business. That contradiction gives the show five seasons of material without requiring increasingly ridiculous stakes. Everyone in the Fisher family is dealing with the loss in their own way, but Nathaniel’s death also forces them to confront whether they are actually living the lives that they want to. By Season 5, the audience is so attached to these characters that the whole emotional ending in the final episode feels strangely beautiful instead of bleak.

1

‘The Wire’ (2002–2008)

Image via HBO

The Wire might just be the best show ever created. The series begins with detective Jimmy McNulty (Dominic West) pushing his department to investigate drug kingpin Avon Barksdale (Wood Harris) and his organization, but that first case quickly exposes how much bigger the problem really is. The show turns the city of Baltimore itself into the main character to show how crime is connected to practically every institution around it. McNulty and his team can spend months building a case against Avon, but their work is constantly shaped by higher-ups worried about statistics, appearances, and closing cases more than actually fixing the conditions that create them. Every breakthrough is complicated by police politics, budgets, and unimaginable bureaucracy. At the same time, the show follows Stringer Bell (Idris Elba), who is trying to make the drug trade function more like a legitimate business, while young dealers on the corners are treated as replaceable pieces in a system much larger than them.

Now, The Wire refuses to keep its critique of the system confined to narcotics. Season 2 shifts the focus to the city’s dying docks; Season 3 brings the focus back to the streets as City Hall begins shaping what the police are allowed to do; Season 4 covers the public schooling system, while Season 5 turns toward journalism. The interesting part is how all of these institutions are interconnected, even when the people inside them rarely see the full picture. That is also why characters who seem powerful in one part of the city can look completely powerless in another. More than two decades later, The Wire still feels like a timeless piece of television that somehow keeps becoming relevant all over again. If there is one HBO classic every serious television fan should experience at least once, this is it.

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The Wire

Release Date

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2002 – 2008-00-00

Network

HBO

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Directors

Ernest R. Dickerson, Ed Bianchi, Steve Shill, Clark Johnson, Daniel Attias, Agnieszka Holland, Tim Van Patten, Alex Zakrzewski, Anthony Hemingway, Brad Anderson, Clement Virgo, Elodie Keene, Peter Medak, Rob Bailey, Seith Mann, Christine Moore, David Platt, Dominic West, Gloria Muzio, Jim McKay, Leslie Libman, Milcho Manchevski, Robert F. Colesberry, Thomas J. Wright

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Nicole Scherzinger is carrying on with her Pussycat Dolls tour after enduring a gnarly injury.

“Nothing like boiling water falling on your leg an hour before your set — But the show must go on,” Scherzinger, 48, wrote via her Instagram Story on Sunday, September 27. “Thanks Düsseldorf for keeping me going. See you soon Amsterdam.”

Alongside the message, Scherzinger shared a gruesome image of her leg covered in blisters from the burn she sustained from the boiling water.

Scherzinger is currently traveling with Ashley Roberts and Kimberly Wyatt for the Pussycat Dolls’ latest world tour, PCD Forever, which began in June. Ahead of the tour’s inaugural show, most of the North American dates were canceled due to low ticket sales.

“When we announced the PCD FOREVER Tour, we hoped to bring the show to fans across the world,” the group wrote via Instagram in May. “After taking an honest look at the North American run, we’ve made the difficult and heartbreaking decision to cancel all but one of the North America dates.”

Us confirmed at the time that the OUTLOUD Music Festival at WeHo Pride in June would host the only North American Pussycat Dolls show in 2026.

“The LGBTQ+ community has shown us so much love and support throughout our career, and we’re honored to be part of a weekend rooted in joy, pride, music and chosen family,” the group shared. “Our UK and European dates are still moving forward as planned, and the response has been incredible, with several shows already sold out.”

After several of the tour dates were canceled, a source exclusively told Us in May that Scherzinger is “disappointed” by the limited interest in the tour.

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Related: Pussycat Dolls Perform With Busta Rhymes at 2026 AMAs After Canceled Tour

The Pussycat Dolls took the 2026 American Music Awards stage alongside iconic rapper Busta Rhymes after canceling the U.S. leg of their comeback tour. Nicole Scherzinger, Ashley Roberts and Kimberly Wyatt performed with Rhymes, 54, for a rendition of their 2005 hit “Don’t Cha” during the Monday, May 25, awards show at the MGM Grand […]

“She was really excited to get back out there with Ashley and Kimberly to celebrate a new era, but now she feels they didn’t get a chance to showcase what they can do,” the insider said. “They went from not touring for over 15 years to booking big arenas like Madison Square Garden with only one new song to back it. They overestimated the demand.”

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Earlier this month, Scherzinger was noticeably absent from the stage at the COS Torwar Arena while the others sang the hit track “Buttons” before later joining them in the performance. Her rep later explained the mishap in a statement.

“During a wardrobe change, there was an issue with Nicole’s in-ear pack, which meant an unexpected mid-show change was necessary,” the statement read. “Rather than the Dolls stopping the entire show and disappointing the fans, the decision was made to fully switch Nicole’s pack, and unfortunately, the change delayed her from joining the other Dolls in time.”

The statement added, “Nicole is devastated that the fans were let down in any way, and looks forward to coming back to Poland very soon to make it up to them.”

An outlandish beat, a disquieting whistle, the sound of the TARDIS popping in and out of existence lingering in the back… The Doctor Who theme is by far one of the most unique tunes in the history of television. Originally composed by Australian musician Ron Grainer (and Delia Derbyshire, but we’ll get to that), the theme remains pretty much the same since the classic BBC sci-fi series aired its first episode in 1963, with some alterations made by later composers working on the show. This unique theme song has its own wild history behind it. In an era in which now run-of-the-mill synthesizers were still far from becoming a thing, the song was put together through the use of hands-on techniques, from recording jugs of water being poured to simply pressing play on multiple tapes at the same time in order to turn them into a cohesive piece. The result was a distinctive tune that basically introduced the world to the possibilities of electronic music. Add to that a whole in-house debate about who the actual composers of the theme are, and you have yourself a story that deserves to be told.

How Was the Original ‘Doctor Who’ Theme Created?

Back in 1963, the BBC had just created a new science fiction series that few could imagine would become the cultural juggernaut it is today, still making waves more than 60 years after its inception. Doctor Who follows an Earth-obsessed alien who travels through space and time, always with at least one lucky companion tagging along. Things were all set in motion for the show to kick off its very first season, which starred William Hartnell as the first incarnation of the titular Doctor, but among many matters that still needed solving there was the issue of what tune would introduce Britain — and, eventually, the world — to the adventures of the TARDIS crew.

The BBC commissioned Ron Grainer to write the opening theme to its newest show. The piece would then receive a new treatment by the BBC Radiophonic Workshop, a sound effects project created in 1958 to produce new sounds for the British broadcasting company’s radio and TV stations. More specifically, the theme was to be reworked by the musician Delia Derbyshire, who would go on to become one of the greatest in the history of electronic music, influencing modern acts such as Aphex Twin, Portishead, and The Chemical Brothers. The final result would be something so different and so unique that Grainer himself would have trouble recognizing it as his original composition.

Delia Derbyshire Is Who We Have To Thank for ‘Doctor Who’s Iconic Theme

Grainer was very much aware that the crew at the BBC Radiophonic Workshop employed some very complicated techniques in their projects. Thus, he delivered them a very simple piece of sheet music, with just a handful of instructions such as “wind bubble” and “clouds.” In order to bring Grainer’s vision to life, Derbyshire employed techniques such as filtered white noise, plucking a single string, and hooking up a keyboard to equipment generally used to calibrate recorders.

In the absence of synthesizers and stereo equipment, Derbyshire and her team recorded the sounds in mono, putting them to tape “inch by inch by inch”, in her own words. An entire orchestra was built up from individual notes, as explained by Dick Mills, one of the sound engineers involved in the project. The notes were then cut out and merged together manually, as there was no digital editing software available at the time.

Mills goes on to explain, in an interview with the BBC, that most tunes are divided into three parts: the rhythm, the melody, and the “twiddly bits on top”. Thus, Derbyshire’s team recorded their sound onto three separate tapes that were then loaded into three different machines. In order to put these sounds together, the crew had to press play on the three devices at the same time. In case you’re a music buff and want to go into the specifics of how it all works, there’s a whole website devoted to breaking down the tune. It might sound simple enough, but only in theory: can you even begin to imagine how in sync they had to be for it all to work out in the end? Besides, this early form of multitracking was pretty much unheard of at the time, and Derbyshire and her team employed it for the first time.

The ‘Doctor Who’ Theme Became a Classic, But Derbyshire Was Never Properly Credited for Her Work

Image via BBC

The final result of this excruciating work went on to become the iconic theme of Doctor Who for the next seventeen years. Though some changes were made over the course of the series to match the new title sequences, it wasn’t until 1980 that the intro theme received whole new arrangements by Peter Howell, who used analog synthesizers to give the theme a new feel. From then on, composers like Murray Gold and Segun Akinola have also tried their hand at reworking Grainer and Derbyshire’s original composition. However, after all these changes, it is still hard to match the haunting melody of the original score.

But despite having been instrumental to the creation of the theme as we eventually came to know it, Delia Derbyshire was never properly credited for her work. Grainer tried to reason with the BBC to get her name recognized on the piece, but to this day, he remains the only musician credited for the tune. The story goes that this decision was made due to matters of anonymity: the BBC didn’t want the public getting acquainted with the members of the Radiophonic Workshop, wishing to keep it known simply as an ensemble. Nowadays, however, most dedicated fans of the show recognize Derbyshire’s essential role in the making of the series’ theme.

Delia Derbyshire Never Got To See the Revival of ‘Doctor Who’

Image via BBC

Still, it is sad to realize the BBC doesn’t extend the same kindness to Derbyshire as Whovians, especially considering how hard of a time she had before getting into the Workshop. Derbyshire once said that her love for abstract music came from the sounds of the air raid sirens during World War II, and she graduated from Cambridge with a BA in both Math and Music. In one of her first attempts to get a job in the recording industry, she was turned down by Decca because the company did not hire women. In 1960, however, she got a job as a trainee at the BBC, and, in 1962, one year before her work on the Doctor Who theme, she was transferred to the Radiophonic Workshop. Throughout her career, she collaborated with names such as Yoko Ono and The Royal Shakespeare Company. She eventually began getting credit for her BBC work, but only after the Doctor Who theme hit television sets.

Derbyshire left the BBC in 1973, feeling out of place in an environment that she perceived as more and more corporate and unfriendly towards creative work. Though she continued to work as a musician in private, she all but disappeared from the public eye. She died in 2001, at the relatively young age of 64, four years before her most famous creation made its way back to public introducing Christopher Eccleston as the Ninth Doctor.

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Release Date

1963 – 1989-00-00

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Network

BBC One, BBC Television

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Directors

Douglas Camfield, David Maloney, Christopher Barry, Michael E. Briant, Barry Letts, Michael Ferguson, Peter Moffatt, Richard Martin, Chris Clough, Lennie Mayne, Pennant Roberts, Ron Jones, Paddy Russell, Paul Bernard, Michael Hayes, Timothy Combe, Morris Barry, Graeme Harper, Gerald Blake, Hugh David, Mervyn Pinfield, Rodney Bennett, Waris Hussein, John Gorrie

Writers

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Robert Holmes, Bob Baker, Malcolm Hulke, Dave Martin, David Whitaker, Brian Hayles, Robert Sloman, David Fisher, Dennis Spooner, Terrance Dicks, Eric Saward, John Lucarotti, Don Houghton, Chris Boucher, Ian Stuart Black, Louis Marks, Peter Grimwade, Henry Lincoln, Johnny Byrne, Mervyn Haisman, Jane Baker, Pip Baker, Robert Banks Stewart, Anthony Read

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  Barry Jackson

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The last several years have been challenging for Brandi Glanville, but things seem to be turning around for the mother of two.

While promoting her appearance on season 5 of Fox’s “Special Forces,” the former “The Real Housewives of Beverly Hills” star spoke about her health and her rising medical bills.

During the interview, Brandi Glanville also thanked her “RHOBH” co-star, Kyle Richards, who publicly donated to the 53-year-old’s GoFundMe.

Brandi Glanville’s Friend Sets Up A GoFundMe To Help Cover Her Medical Expenses

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According to The Blast, Glanville’s friend, Gina Rodriguez, set up a GoFundMe page for the Bravo star to help cover her medical expenses related to a long-term illness causing facial disfigurement.

Rodriguez set the goal amount at $28,000 and encouraged Glanville’s supporters to “help Brandi on her journey to get her health back.”

“Brandi has been fighting this for years and still has months of costly treatments and surgeries ahead,” Rodriguez said.

Glanville revealed previously that her medical bills had reached upward of $7,000 per week.

‘Real Housewives’ Stars Rally Around Brandi Glanville

Tia Mowry shared a sentimental birthday message for her boyfriend, Javoné Williams.

RELATED: Some Social Media Users Are Telling Tia Mowry To Spin The Block After Cory Hardrict Showed Off His New Smile (VIDEO)

Tia Mowry Shares Sentimental Birthday Message For Boyfriend Javoné Williams

Earlier this week, Tia Mowry took to Instagram to share a carousel post in celebration of her boyfriend, Javoné Williams’ birthday. Furthermore, the carousel featured various photos of them cuddled up together, posing, or sharing kisses. In the caption, she wrote, “Happy birthday, my love🤎 It’s the little things for me. The way you show up, make me laugh, and make it so easy to be myself around you. I could have made a whole dictionary of things I love about you, but I’ll start here. I’m so grateful I get to do life with you.”

Peep her full post below.

Social Media Reacts

Social media users entered TSR’s comment section to react to Tia Mowry’s post about Javoné Williams.

More On Tia Mowry & Her Boyfriend Javoné Williams

As The Shade Room previously reported, last month, Tia Mowry shared photos from her getaway to Joshua Tree with Javoné Williams. Furthermore, the photos showed them snuggling, enjoying the scenery, and sharing kisses.

“Sometimes you don’t realize how much you needed a reset until you finally slow down…Joshua Tree was exactly what I needed,” she captioned the post.

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