#RTD have I got an idea for you

[thelesbianthespianposts]

watched the mark of the rani recently and I need her back. The Doctor and the Master are trying to do their normal routine and she’s standing next to them like

[ramshitposts]

15 acts like if 9 was better at processing his emotions I love him <3

[akajustmerry]

I would also really encourage people to read up about Russell T Davies and Julie Gardner and how they treated Eccleston while shooting season 1 of Doctor Who in 2004/5. A good place to start is Eccleston's memoir where he writes in detail about how insensitive RTD and BBC producers were to his health struggles, and the rights of the crew which Eccleston helped fight for that got him blacklisted by the BBC. There are also plenty of interviews where Eccleston talks about how hard he had to fight Russell on using his natural accent. RTD was also showrunning Doctor Who and Torchwood the whole time John Barrowman was sexually harassing cast and crew. When I say I don't like RTD Who it's not just a subjective thing of not liking his ideas, there's very tangible reasons to do with how he's treated people in the past. I hope he's changed, learned lessons, etc. But the BBC have made a huge effort to bury this stuff because it's bad publicity for them, and people really need to remember he's not the perfect showrunner the PR hype wants you to believe. Don't fall for nostalgia.

[leikeliscomet]

(Reposting from twitter)

My POV as a Black fan that thinks Dot and Bubble's racism commentary is trash

Rewatched Dot and Bubble and I'm gonna break down from my POV as a Black fan why this episode didn't work for me & why it's an awful racism commentary. Long arse post incoming:

The whole "You should've noticed the cast was all white except for fifteen ha your bias is showing" doesn't work for a show that's been predominantly white for 60+ years. D&B casting has been the default for most of the show so its not abnormal enough to be a racial litmus test. An example is the Matt Smith era The only reoccurring character of colour in s5 (2+ appearances) is Liz 10. Artie n Angie in s7. 0 in s6. RTD's own era isn't fully safe either. For many eps Martha or Mickey are the *only* Black characters. Most POC are side characters or extras.

White fans should be aware of the predominantly white casting of the show but this late in the game feels cheap. Most of the show has gone through 100% white episodes including fan faves and it was never an issue back then bc it was beneficial. This is so hollow. Representing racists as cartoon caricatures SEVERLY underestimates the danger of white supremacy irl. White supremacy is system designed and constructed and rebranded over centuries. It is not accidental. People aren't racist bc they don't know they're racist because they *do* They know the system that oppresses POC, Black people especially, benefits them socially and financially and that is why they participate. Its not stupidity it's intention. That should've been the Finetime core not Lindy goofing around bc the arrows are gone or some shit.

Human Nature showed us racist young people that exercised this power bc they knew this. They may be children but they are still dangerous bc of their views. Martha knew this. The silly tech obsessed gen z angle erases this danger and that of actual gen z white supremacy

Instead of the camp goofy tone we could've gotten a serious focused episode. The slugs and millenial/gen z social media silly distracts from what could've been the main theme of colonisation instead of saving it for 10 mins of exposition at the end & scattering microaggressions. Saving Fifteen's racism scene for a goofy episode was a horrid idea. Spending 30 mins on representing racism as silliness then giving a dramatic dangerous score is the definition of tonal whiplash. Representing his oppressor as a blonde bimbo again does not take this seriously. Fifteen went to 1960s BRITAIN & got through it unscathed. Finetime is a fictional futuristic land but the racism of 1960s Britain was real. If anytime was right it could've been Devil's Chord. Distancing yourself from a panto villain is easy but addressing your history is hard.

The scene itself is incredibly performed so I'll give Ncuti his flowers but what he used this skill for could've been so much more. Having his FIRST SCENE begging to save a racist is disgusting. It isn't Black people's responsibility to show compassion to people that want us dead. Yes the Doctor helps the baddies bc they care. But they're aren't ignorant to prejudice. The liberal anti racism of who is so jarring and why I still think Thin Ice is performative. When white people are angry at injustice it's radical. When it's Black people we're aggressive.

Respectability politics is a tool of white supremacy. That if one pleads and is nice enough they can earn liberation. What would white fans think of Fifteen if he DIDN'T beg Lindy? If your allyship with Black people depends on showing kindness to racists you are NOT an ally.

Next up is Ricky. It was established ALL Finetime citizens have white supremacist views yet Ricky September stans refuse to see him in any negative light. Just like Joan Redfern white dw fans refuse to see racism if a character is likeable. If nice guy Ricky's a racist, then anyone no matter the niceness can be racist too and that's a pill white fans aren't ready to swallow. If racism is systemic and not about individual character, then what's keeping them safe? What happens when YOU are under the microscope.

THIS is why we NEED Black writers in Doctor Who. The nuances, depth and complexity of the Black experience can only be told at it's best by Black creatives and not guessed, assumed or spoken over by white fans and white writers. It's okay to put ego aside and say you don't get it.

"Im white but I loved the Doctor's reaction" "I'm white and i thought the racism commentary was great" "I'm white but i-" Yet again, we have to sit through another round of white and non Black fans of colour dictating Black representation for us. I'm so fucking tired man. AGAIN IM YELLING FROM MY HILLTOP TO WATCH SHOWS BY BLACK WRITERS. Almost EVERY single theme in Dot and Bubble and frankly most of the show has been done WAY better in other media. RTD is not the authority on Black stories. We are. Always have been and always will.

Tl;dr Dot and Bubble is an unserious and tacky racism commentary. It's core message is drowned by more RTD Who camp. Don't tell me this episode was good at representating my own experience. It wasn't. S15 having Black writers isn't a need it's a must. Goodbye.

Reblog this version pls

[sadcoms]

until i recently read posts on here about how there is an inherent queerness to the doctor and rose's relationship in how it's unspoken and filled with yearning that i'd never really considered that element, despite knowing for ages that RTD is gay but. man. it's just reframed a lot of the series for me, like the idea that you have this lonely man who's just watched his people die and is self-destructive and misanthropic and traumatised and he can love again and he wants to but it has so many risks.

but especially S3 and how it adds even more weight to the doctor's grieving widower status. how he tells martha that he and rose were together but martha refers to rose as a friend to tallulah; the fact that he can only say they were together once she is gone; how the only other person that both can feel how he feels but also understands the depth of his feelings is jack, a queer man himself. and I've been thinking to myself lately oh, it's ok, the doctor and rose probably accidentally got married on at least one planet or something but also the point is that there was no official title that could convey to people the extent that they meant to each other, that the doctor can really only tell donna that rose was his friend even though it is so wholly inadequate and she comes to see that by the end of the episode (and martha too of course). how people who saw the doctor and rose together assumed they were a couple, like on krop tor, but once there's no more physical evidence of the relationship it becomes more vague (and simultaneously clearer).

anyway something about how christopher eccleston said he based his portrayal of nine on RTD and something about RTD saying that his husband is "in every good man i write now" and how the doctor and ruby seeing each other in the club mimics his first meeting with his husband aka the one moment he would use a time machine to go back to hmmm

[aletterinthenameofsanity]

I would like to thank RTD for making so many people look back at Thirteen's Era and start to go "you know what? Maybe we judged the writing too harshly on this one." Maybe it is a good idea to bring in new writers and more women and people of color behind the scenes and allow them to write and direct things like Demons of the Punjab (top 5 ever Doctor Who episode) and the Haunting of Villa Diodati and Fugitive of the Judoon. Maybe Thirteen WAS camp, because the universe who decided to be a frog and the mud that did witchcraft and the Pting and the plastic that ate birds were unhinged and fun. Maybe we got some GORGEOUS cinematography out of it. Maybe Thirteen's take on gender is more interesting than the 60th anniversary specials. Maybe Yaz DID get an arc in the Flux/standalone specials and people just didn't pay attention. Maybe the Power of the Doctor paid more respect to former eras of Doctor Who than any of the 60th anniversary specials did. Maybe Chibnall acted with far more grace to the RTD Era (Jack) than RTD did to Chibnall (treatment of Yaz and Thirteen). Maybe it was actually cool to see less well-known or underexplored historical figures like Mary Seacole and Ada Lovelace and Nikola Tesla and Noor Inayat Khan end up onscreen. Maybe Thasmin wasn't queerbait, it was an interesting exploration of the doctor/companion romance IN KEEPING with Thirteen's established character with one of its keystone episodes written by a queer woman.

Yes, Chibnall was flawed. I'm never gonna pretend that the Battle of Ranskoor Av Kalos wasn't a piss poor finale that felt like a first draft of themes and idea. I'm not gonna pretend like the multiple companions in the TARDIS ever felt properly balanced or explored. Yes, the moment with the Master and the Nazis was FUCKED UP. The Timeless Child might have deserved more than one episode for the ImplicationsTM to be fleshed out. But EVERY Doctor Who Era has its flaws, ESPECIALLY when it comes to racism, and I'm TIRED pretending as if Chibnall's writing is significantly worse than the other two showrunners.

[macbethz]

ok ive thought about it a bit and i dont like it. sorry. i think it fufills that kind of instant dopamine rush of pure spectacle and the idea of the doctor needing a fucking break is good but essentially splitting a fragment off of him to go have all that off-screen feels like wish fulfillment rather than good story. its also like. RUSSELL THIS IS THE SECOND TIME YOUVE BROUGHT "SPLITTING DAVID TENNANT TO HAVE AN ORDINARY LIFE" TO CLASS. LIKE WE DID THIS BEFORE.

FUNDAMENTALLY the part that most upsets me about it is it feels motivated by the same nostalgic urge that bringing back DT had in the first place, which ended up being a decision I enjoyed but I still think is rooted in this fear of change and this avoidance of tragedy. Tragedy and sadness provide catharsis, they really do, and doctor who is a show about change. It feels...emotionally stunted, in a way. like RTD is giving us pool floaties because he doesn't trust us to swim in the deep end of the pool. Its the same cautiousness that I found particularly upsetting about Chibnals tenure, and the same cautiousness that motivates the endless steam of reboots under late capitalism.

I like to HOPE that this will be resolved in the near future just as I'm HOPING biregeneration will also be explained. At least we got to see Ncuti's ass

EDIT this post i made in 5 minutes intended for my mutuals has brought me nothing but misery. Please take a film class and listen to the new Suede album. thank you

[being-of-rain]

I'm not a massive fan of franchises pulling twists that retcon decades of history without a meaningful reason to do it and a good story to back it up. So Empire of Death saying that Sutekh has been a stowaway on the TARDIS for something like thirteen of the Doctor's lifetimes didn't really do it for me. And if that's the case it does feel like something of a cosmic coincidence (which I know RTD can be fond of in his arcs) that all the signs of the occupation start showing around the exact same time. (Namely: the Susan Twists appearing for the first time to the audience at least; a mystery that intrigues Sutekh enough to bend reality, because I guess no other Dr Who story arcs have been juicy enough; the TARDIS making a weird sound, which was such a strange arc element to put in The Broken Time Ship Makes Strange Sounds show; and other gods infringing on the universe and speaking ominously about him.)

So I do like the idea that it was in fact the thin, lightly salted laws at the edge of the universe that allowed Sutekh to properly climb back into reality and into the TARDIS, and that any retroactive observing of the Doctor or seeding of the universe with Susans he did was through the TARDIS' complicated relationship with spacetime, or any godlihood that the time vortex gave him or whatever. Honestly Sutekh's explanation about how he got to where he is today is vague enough that I don't really feel bad about interpreting it how I want to.

I know I already sound like an awful old fandom grouch, which I'm sure I am, but I also didn't get the Doctor 'bringing death to death' at the end of the episode. Even on a conceptual or symbolic level, to me that feels like adding a negative to a negative. Not to mention the Doctor doing it by dragging Sutekh through the vortex and then seemingly dumping him in it to kill him, despite that purportedly being what he's been doing for the last few thousand years and it turned him into a god. But after rotating it in my mind a bit, it did sort of make sense to me as the Doctor reversing Sutekh down his own timeline, unwriting him (and at least his most recent, largest effects on spacetime) so that his existence unravels. The canon-welder in me can't help but wonder if the Doctor was using his Time Lord knack for dematerialising as seen in The War Games, perhaps even the powerful influence on the universe that the Time Lords have in Death Comes To Time; something he never wants to use as a weapon on principle, and is deeply ashamed to be put in a position where all of the universe can be saved if he just utterly destroys one life.

Or if you think this is all silly, that's okay. This is just how I have fun 😊 I hope everyone else enjoys TV shows in their own way.

Now I just need to do some canon-welding to explain why there's a whistle-activated laser cannon in the TARDIS console.

[skyler10fic]

In the Tyler Family panel, Billie recalls the 2000s fashion as a strange time in fashion history but loved Idiot's Lantern, and they agree Jackie would have shared Rose's clothes to be the Cool Mom. 🤣

Shawn says he was surprised to be asked back at first since his character died, but it made sense for him to come back in a multiverse story.

He says it was easy to come back and Camille adds it's the quality of writing makes it easy because you know who you (the character) are at that point because you can trust the writers are guiding it.

Billie says she struggles with how much she didn't understand how it was going to take over her life before s1 airs. Before social media, even though everyone hated it and the idea of her doing it, but it wasn't the constant stream of trolls the new actors have to hear about now with social media. She says with RTD, Julie, and Phil, there was so much confidence and joy, it was easy to believe it would be good.

Camille says her neighbors and friends were surprisingly fans. She didn't realize how many people she knew who loved it and knew about it.

They talk about how cold it was filming the Cybermen. Billie says her jaw locked because it was so cold!! The trick to getting through them was "youth" and she doesn't do night shoots anymore if possible because of that experience.

Camille talks about how Jackie "grew a pair" lol

Billie: "She's a boss!

Camille: "It's Russell, really."

Billie: "No, it's you!"

Love that Jackie's speech and situation in Love and Monsters got a shout-out. Especially going off on Elton for taking advantage of her: "Many people can relate to that moment, I think."

Talking about Pete not being the perfect husband:

Billie: "Why did they break up again?"

Shawn: "Because I died!"

Billie: "I forgot!!!" 🤣

They banter so well! Total family vibes between them all.

Fun moment where Shawn thought Billie was saying "old Pete" when she was saying "alt Pete!" Lol

Rose having the "rose-colored glasses" taken off: Billie says many can relate to realizing their parents are flawed people, and things are more complicated than you thought.

Camille says the Tylers spoke a language people understood, making something fantasy into a relatable story that was relevant to the audience.

Mod jokes that Rose "parent trapped them" across multiple universes!

Billie talks about how she enjoyed the overall romance and human element of their series, as opposed to the more sci fi feel in other later seasons.

Camille says Chris's intensity helped launch the reboot, but David's "Labrador" energy was different and special too to keep it going.

Billie says there was a totally different energy after they knew it was a success, allowing for more playfulness with David's Doctor and in general on set.

Billie says she always thought there was something complex about the romance with the Doctor, it's weird for a 19 year old to just take off in a box, and maybe wasn't written with Chris but it was there in spirit, and then was written in more explicitly in their relationship with David. Hard to keep that intensity of awe and adoration platonic! Camille adds the chemistry between them was a big element as well.

Billie says it was always a thrill to get the script, eager to read the script as soon as she got it to see what new world they were building with each episode. She says she didn't want to go to set when shooting Tooth and Claw because she was riveted reading the Doomsday script! Haha

Billie says the costume tricks can help body language shifts when changing character, like with Rose possessed by Cassandra, the push-up bra helped develop a unique physicality for the previously (literally) flat character!

Camille says they got in trouble for talking a lot because they got on so well!

Billie says she loves the new episodes, especially the dance numbers and theatrics now, and that's exactly where the show should go. "It's super fun again." Sitting down and watching a family show with the kids, an event for everyone to watch together.

Camille said it was good but it would be better if the Tylers were there! 😁

They love Ncuti as well. Excellent casting.

Billie praises RTD's heart and rooting for all walks of life. Everyone can feel represented. Camille says he is so good at pulling heartstrings and "that's what we want as Doctor Who fans." They also love his joy but also his power if they are being unkind. He defended the actors from stupid questions from the press and "told it like it was" when he needed to be the man in charge.

[roxannepolice]

Just a meta vent for all the bad takes I've seen about the Master, and especially Saxon Master (and still trying to get my ass to work on my thesis, but! it looks like I'm getting another article published so yey, ranting about the raccoon works!!!)

So yeah, this is me, ranting about why I think the reintroduction of the Master into NuWho was absolutely brilliant in s3 and what hot takes I've seen about the way it's been done on da Internet. I'm putting this under a cut, because, weeell, comparing Masters and Doctors, and even companions(!) turns into a kind of beauty paegant that has little to do with how well the author's thought got translated into the final product, AND I GET IT! People have favourites! That's fine! Yes, there's a level at which I just think Tennant and Simm look cute together*! But for full disclosure, they weren't my fisrt thoschei - I watched ALL the stuff I could from classic Who online and decided they're married when Threegado had to actively stop each other from shaking hands in The Sea Devils. Which is why it hurts me all the more when mah twinks get framed as they betrayal of the dynamic.

*But let's be honest, the aesthetical aspect is very much part of the course. Jon Pertwee and Roger Delgado might not exactly look the same, but the outfits do ooze that same 70s two ends of the queer spectrum feel, and this carried over to Anthony Ainley's harem and Paul McGann and Eric Roberts. Picking two white twinks with different shades of brown hair and eyes and rectangular vs. round faces was a conscious choice, as was picking a witchy looking woman in a victorian outfit to match a wizardy looking man in old time-y outfit, both with striking blue yes, as was juxtaposing a light blonde white woman in light outfit with a brown dark haired man in a dark outfit (why. Chibs WHY not go with Whittaker's beautiful natural hair colour unless to underline just how much the reyesque champion of light your Doctor is and cause confusion as to how regeneration works). But anyway.

I think the primary issue I take with complaints about Simm's Master is the idea that he was somehow a hard break from classic who Masters. And yes, RTD definitely went a much more unhinged manic energy way than the more controlled Original and Tremas regenerations, he admits it himself (all of this is very much influenced by me watching DW confidential). And yes, that's absolutely the case! But that's the natural result of making the Doctor, both the Eccleston and Tennant faces, much more unhinged and manic than in the classic era. Whether you frame it watsonianly as the result of the Time War, or doylistly as the result of the way television changed as a medium with the development of home cinema systems and general social shift after the end of cold war (that's me, btw, hello, McLuhan's ghost keeps possessing me), it's up to you, but the point is, if you want to maintain the two sides of the same coin energy, you have to match your earlier choices. So, no, in my opinion this wasn't a hard break from classicWho Masters, but rather cutting through all the aesthetic overgrowth to the essense of the character. Digging down to the core of the character, so to speak. Yes, Saxon Master acts in a misogyinistc manner, which wasn't there before. But that's the natural result of involving the Doctor in explicitly romantic relationships! The flip side of explicit heterosexual attraction is the othering of the "opposite" for lack of the better word sex and when your focus is in domination YOU ARE GOING TO TAKE ADVANTAGE OF WHATEVER POWER IMBALANCES THE SOCIETY PROVIDES YOU WITH!! And that extends to your aesthetics going more in the direction of a noir unhinged gangster villain than a queer coded Bond villain (srsly those of you who don't get where Simm!Master's quirks come from NEED to watch White Heat with James Cagney). Like, srsly, 90% of complaints about the way the Master has changed from classic Who to Saxon is the way politics have changed from cold war "my empire is better than yours but end of the day we're going to be courteous so we don't blow each other up" to post-politics "vote for me, I'm sexy and can make you sexy too" framework of the latest fin de siecle.

But this kind of cuts down to what it the essence and what is incidental. Politeness of classic Who can be traced back to noblesse oblige that was in place in 70s and 80s. But end of of the day, it was just an epiphenomenon of the main axis of power: class. In the merry world of identity politics, it's going to be gender and race. It's all about power relations, though.

Which sort of, very abstractly, relates to the handling of mental illness in NuWho Masters. Now, the yell of "you're insane!" as a general "dude, you're not making any sense :/" has been there in classic Who alright, but this has definitely become more pronounced in NuWho, starting from Saxon possibly because the idea politics involve some element of savoir vivrve has become dismissed as political in its own right rather than giving basic directions in unknown situations but hushhhh. I think the general framing of the Master as "just" needing to "hear the music" (yeah, I hate this line, is it a metaphor Steven? if so, of what?) or generally reconciling with the Doctor, because that's "what the Master really wants is to be loved" is very much rooted in the sort of... Frommian psychoanalysis of society. I would actually argue Fromm is very much present in spirit throughout all of the more refelctive aspects of Doctor Who, the Doctor themself is very much a Frommian hero, classic and new alike, which is great! Seriously, so many of Fromm's reflections cut so deep to the core of many social issues, and I think Escape from freedom has become particularly up-to-date recently, unfortunately. And I think this relates to the general trend in moral philosphy to go from ethical judgement to psyhcological understanding, which is absolutely great as far as realy life is concerned! Yes, if you actually want to prevent violent crimes instead of just reestabslishing social sense of justice through punishment, understanding where the idea to hurt somebody comes from is the way to go! Except... I don't think it's the best way to go when it comes to fiction. Like, fiction is all about putting people in situations. The situation kind of comes before the personality, if you get my drift. There can be aesthetical choices depending on whether you've made your character more decisive or indecisive, but end of the day, you chose to put the character in a situation where they find out their father has been murdered. This, I think, is the bedrock distinction between character relatability and resonance. Can we all relate to Hamlet? Not neccessarily, perhaps you relate to Laertes more. But can we all put ourselves in the situation where we find out something horrible and are called to act upon it? Yes.

Have I drifted off? Maybe.

But my point is, I would say the way in which RTD handled Simm!Master's "insanity" has less to do with any psychological diagnosis that the vague "insanity" of Ophelia, King Lear or Goethe's Gretchen. It's not something that can be "healed", it's the fundamental shine on you crazy diamond mephistophelian elan vital that in real world psychological therapy is redirected in ways that are constructive both for the individual and their surroundings. But in fiction? It's not to be healed. It's the essential driving force, The jester, who’s most lightly weighted. Man’s energies all too soon seek the level, He quickly desires unbroken slumber, So I gave him you to join the number, To move, and work, and play the devil.

Go home, Roxanne, you're drunk, go cry to another fic of the psyche mourning eros.

[oodlyenough]

dw empire of death

spoilers ofc

hm. like many RTD finales, a bit of a mixed bag. i feel less certain of my overall thoughts than last week (which i thought was a blast, tbh).

the good: i'm... pretty happy with the ruby mom reveal. this whole mystery box set up turning out to be "she was just a scared young woman who couldn't raise her baby", an ordinary woman mythologized by ruby and the doctor over the season, etc, is an extremely RTD solution. and as a fan of his stuff I liked seeing that... well... pivot to his roots as opposed to her being part of the pantheon or something (which I admit I did wonder about myself).

the *idea* of her pointing at the sign to name the baby is nice, I like the meaning of it and what Ruby takes from it, but it is a bit of a clumsy set up. very dramatic pointing, ms miller.

also as much as i was dying to see what the screen said lol i DID love the character moment of ruby stepping forward to offer the name to sutekh, only to smash it, and then clip his collar (lmfao btw). i thought that was a nice character moment for ruby. in that moment i thought perhaps we'd never find out the answer, and that would be something ruby sacrificed for the greater good. i wasn't sure how satisfying that would be and I guess I'll never have to find out bc it's not what happened lmao, but it is where i thought we might be headed.

i liked seeing the gloves and the rope from TCORR come back. i like surprise tools that will help us later :)

loved the memory tardis from the time window and the use of that tales from the tardis set. how cool.

loved the time window playing clips of classic who that's so fun. mel's moment with six's outfit awwww. and i'm sure i missed some of the namedrops of planets etc that fifteen was going on about but i liked the ones i caught. shan-shen! oodsphere!!

i thought the effects of the dust wave and the insta-crumbling was pretty good and spooky

i really like having mel around! i hope we get to see her cameo again

the mixed bag:

'the death wave is eating memories and going back through family trees in reverse' is pretty cool as a concept, i thought. where i think this hurts the resolution a bit is that in the moment i thought, "ok, well, ruby's "safe" because there's the Mystery, there's no family tree for it to climb!" but like... there was. does sutekh need to personally be aware of your family tree to kill you?

i really liked the moment of fifteen and ruby watching louise outside the coffee shop, and i really liked the moment where ruby sits down across from her and then the barista calls the name ruby and they have this look. i ... kind of found myself wishing that it would stop there? i mean, i'm happy for ruby, and i think "ruby found her bio fam and now ruby and her big family are together" is a nice ending for the character. but there was something so emotional and bittersweet about that split second of wondering and connection between the two, and ruby having that choice to make...

the goodbye between ruby and fifteen was lovely. millie gibson is so good her big watery eyes make me so sad. i've enjoyed the two of them together and i think they have incredible chemistry as characters and actors, like, what a team of besties. i'll miss ruby on the TARDIS. but ... only 10 episodes, a couple of which didn't feature them much at all... a bond that didn't get super developed on screen ... I dunno. Left me wishing we got more from them through the season.

I do know we'll see more of Ruby next season, so I'm excited for that. an s4 Martha situation. but then I also worry about Varada Sethu's character getting development time too...

the not so good:

killing off rose, kate, etc in the first minute removes stakes, because while you might worry about characters like cherry or carla who won't necessarily stick around when ruby leaves or whose deaths will impact ruby, you know rose and kate are not going to stay dead permanently. also very infinity war (derogatory) where there was the same issue -- no these characters won't stay dead and i'm not going to humour it lol

rose temple sweetie it was nice to see you stand in the background and not speak. what was that about. she FINALLY got all of two lines. it just felt like she didn't serve a lot of purpose in this ep. I mean I liked seeing her but she did not do anything to the story in either part of the ep

the solution of "death kills death" was a bit goofy lol but it's doctor who the solution is always goofy. i didn't care too much about that i guess. but it was goofy

i really think we could've used a more decisive scene with carla and ruby. carla seems to understand ruby's desire to know her bio fam and be supportive of it and that's lovely. obviously ruby loves carla and vice versa. but i think it would've been nice to have a moment of on-screen explicit acknowledgment between carla and ruby that there might be weird feelings there, that louise isn't replacing carla, something like that.

related to the above, the Doctor says Ruby redefined the way he thinks of family, which is a huge thing to say, but I don't feel like I ever saw that happening on screen. it COULD have. all the pieces are there with foundlings and foster care and adoption...

[pagerunner-j]

One of the Doctor Who podcast commentaries I don't think I ever heard when they were first released: the one from The Doctor's Daughter with David Tennant, RTD, and Alice Troughton.

I mean, you can imagine the "so in retrospect..." factor going on here, almost by default. I'm not even 5 minutes in and I'm practically on the floor. For one thing, I'd forgotten that Georgia had initially auditioned for Rose back in the day (can you imagine?). Then that anecdote was followed by this, re: Georgia, of course:

David: "She's terrific in this. She went straight on from this to be one of the leads in--I'm going to forget the name of it--" Alice: "Spooks: Code 9." David: "Spooks: Code 9, which is starting soon. And I got a message from her yesterday saying they'd just done a press day..." RTD: "Oh, God, already?" David: "And all she got asked about was this." RTD: "Welcome to the rest of your life."

...oh, Russell, you have no idea.

(Later: RTD: "Possibly you could argue that's what you'd look like if you were a woman." David: "I should be so lucky." And he fades out on the most wistful sigh, I swear to God. ;) This man was a goner from day one.)

[decepti-thots]

☕ MTOs & specifically what do you think they were going for with that?

MTOs are an interesting narrative thing to me in the sense that they really are so localised to only one part of the canon; they're very clearly Roberts' idea and only really matter, inasmuch as they do matter, in MTMTE. It's pretty clear to me that's the case for one specific reason: they'd actually fit SUPER well into the narrative arc of exRiD, especially early-to-mid RiD, but they basically never come up! You'd think 'neutrals and soldiers stuggling to cohabit socially and politically' would be prime fodder (lmao) for taking advantage of a narrative about mechs born of and into war coming back to a civilian life on a planet they really don't know. And yet.

What they're doing in that comic, in MTMTE, is a little headscratching to me at times. It feels, to be honest, somewhat like worldbuilding put in to make the texture of the backstory of the war feel grander than IDW had really managed up to that point in actual on-panel stuff, without a lot of thought when doing so in the moment as to the knock on implications going forward. MTMTE does this a few times, tries to use vague gestures at important sounding stuff to bring a greater sense of history and depth to the war in the face of the actual stuff we saw in phase one being. Mmmm. Basically just twenty dudes we already know shooting at each other across parking lots. LMAO.

(Sidenote: I know for a fact Roberts watched original flavour nuWho, and this is PEAK Russell T Davies doing worldbuilding when he was on Doctor Who, and I fully believe he was cribbing from that playbook. Every damn episode RTD would make them just sort of say stuff about the Time War that made it sound incredibly vast and textured and complex but which, crucially, never made any actual fucking sense. Good examples of stuff like this would be the Crucible, the Simanzi massacre, etc. This is, to be clear, a neutral observation, not praise or criticism per se.)

I say this because MTOs should probably be a bigger deal in terms of the impact on our cast, and their outlook on life and reasons for joining the quest, than they wind up being. An MTO is a character with no experience of living in peacetime at all, likely no experience of Cybertron, no sense of kinship or home necessarily to the planet they came "back" to. All of this provides a really clear motivation, given the implication most surviving non-neutral Cybertronians are now MTOs due to huge numbers of deaths, to join a quest like the Lost Light's! But it tends not to come up much, and I think it's because it wasn't really part of the plan. Later on, there's room to slot in some details here and there- Riptide talking about his experiences with being infodumped at by the 'training' comes to mind- but it takes a while for the comic to come back round to that.

The two big exceptions, of course, are Getaway and Brainstorm. The idea is definitely interacting with their characters more, though again, it... tends to come up later. Especially for Getaway, who I'm not convinced was originally conceived as an MTO, but had it slotted in a bit later as 'well that works' stuff tbh. (And it does, so that's fine!) Which leaves Brainstorm, who lies about being forged to throw off suspicion, who it's implied never got the time of day from Quark in a way I wouldn't be surprised we're supposed to assume is some kind of remaining bias, perhaps. Who didn't see a future for himself 'back on Cybertron' and so concocted a very weird plan to avoid having to. Who never got a choice about his 'side' in the war, and wound up with no real loyalty for anyone.

I think if there's any avenue I'd have liked to see more about MTOs via, it's Brainstorm. I wish there'd been more room to focus on that instead of (I'm so sorry shippers) his thing with Perceptor as the way to talk about his sense of inadequacy, tbh. What did it feel like, lying to Chromedome about remembering a pre-war life he never got a chance to experience? Being made to shoot people and be shot and escaping the fate of having that be the only thing he ever knew by the skin of his teeth? Not being able to imagine an end to the war, so all he wants to do is save one guy and run off with him as a pipe dream? That seems like the character where a lot of this stuff should naturally lie, to me. And I think it's a shame I've seen very little talk in fandom about it!

[fellthemarvelous]

I can't stop with the Staged parallels (crossing over with Doctor Who and Good Omens)

I think the main takeaway from Staged 3 is that David and Michael are so co-dependent they end up driving each other crazy.

Michael and David were asked to do an advert.

Michael said no, and thought that meant they were both saying no.

Then David said yes after Michael said no.

And neither of them want to do series three, but David thinks Michael is going to do with series three without him and Michael thinks David is going to do series three without him, so they both agree to do it just to spite the other.

And Georgia is just sitting there after they agree to do the third series like

because she got them to do exactly what she wanted them to do while making them think it was their idea. She knows that everyone just really loves to watch David and Michael bicker so she keeps putting them in situations where she knows they are going to do nothing but argue the entire time.

As Lucy said in season two, "I don't have a relationship like that with anybody" (something like that) after Georgia told her that David and Michael's conversations are like gas, just filling the room with their nonsense because neither of them knows when to stop talking.

And all of this is the very reason that Georgia and Anna and Lucy and Lily (Michael's first daughter) and Olivia Coleman all jump in on the call to be like NOTHING LASTS FOREVER because Michael had just told David he thinks they need to take a break from each other and David was refusing to let go because he's clearly not good at letting go of things...

That was the real David talking. David loved being the Doctor so much that those became Ten's last words. (Why do you think RTD trusted David to bring the old era of Doctor Who to a close?)

That is the real fucking David Tennant right there getting a happy ending with his best friend, Catherine Tate, because Doctor Who will always be her home as well even though she still knows absolutely nothing about the show and I love her for that.

Just wait until we see both Crowley and Aziraphale smiling at each other like that.

Anyway, things are going to be okay. Just like Michael said.

[billpottsismygf]

I just watched The Five Doctors to brush up on my Susan returning knowledge, just in case all the build up comes to anything, and it's quite goofy but extremely charming. I was aware ahead of time of Tom Baker's parts being taken from Shada, but it's still executed in quite a funny way. "Oh no, I'm being stolen by a triangle! This was definitely what was originally happening in this shot! And now I'm mysteriously trapped in the vortex all episode, don't worry about it!" The guy in a silver morph suit who is supposedly the deadliest killing machine ever was also a wonderfully silly highlight. It's the first time I've seen this version of the Master as well and he's good fun! He's no Roger Delgado, but Anthony Ainley has such an over the top camp energy to him with his flowing cape etc. that worked really nicely with the tone of the story.

Richard Hurndall makes a valiant effort as the First Doctor. He's not William Hartnell, obviously, and he's still a little brusque but I think he gets One's mannerisms and sense of humour better than David Bradley. Interestingly, this story also has him being misogynistic in a way that then gets reacted to/commented on (eg. telling Tegan to get them some refreshments/to stay in the TARDIS rather than going into the action), which is again not fully in character for One. However, it's nowhere near the level of character assassination in Twice Upon a Time.

One of the reasons I wanted to watch this now was because I'd seen people saying that the Doctor worked out the abandonment stuff with Susan here, but he absolutely doesn't. We don't even see her be collected by the floating triangle to get an idea of her life. She just appears and finds herself with her Grandfather, then we don't get to see their parting. Although there's no apparent animosity between them, and they fall straight back into their old dynamic, there's also nothing in the way of hashing out the whole "I shall come back" thing. If RTD is planning to make good on his many Susan hints, there's definitely still fertile ground there. You could even throw in a line acknowledging that "I saw you in the Death Zone on Gallifrey, but we didn't get to talk" or something similar.

Sidenote, I got extremely excited at Jamie's appearance. I was happy that Two got to hang out with the Brigadier, but I was a little sad it wasn't with Jamie because I thought I recalled Fraser Hines not being able to do this one. I may have been thinking of The Three Doctors, though, so it was such a joyous surprise when he appeared, even though I knew immediately that he and Zoe were illusions. If we do get Susan back properly (and I hope we do, with Carole Ann Ford specifically), can Jamie be next on the list for a main series return? I adored his appearance in Tales of the TARDIS, but I yearn for more!

[hypexion]

Empire of Death thoughts. I don't have a fun intro for this one.

Very obvious from the start everything would be reversed, especially when Rose Noble got dusted. Along with Ruby's entire family

Also why is UNIT having children operate weapons this is unsafe

Luckily even without the TARDIS the Doctor has a spare memory TARDIS (somehow)

The idea of Sutehk clinging onto the TARDIS is very funny but I'm pretty sure it's a metaphor

"I thought it was fun" - buddy it was fun don't let Sutehk ruin the adventures

Powerful new screaming from Fifteen

Strongest scene in the episode is the Sudden Unexplained Spoon Quest

Return of Roger ap Gwilliam, who is now even more obviously fascist. You know if you missed it the first time

However we can use the DNA collection for good instead of evil by finding one woman's mum

It's a mystery so compelling even Sutekh, who's primary goal is destroying all life everywhere wants to know the answer. Surely it will deliver

lol no

There is nothing wrong with Ruby having normal parents with normal lives

However that was not the setup. The mystery is not important because we think it's important, it's important because the text kept saying "woah look at this important mystery!!!"

just don't have a fucking mystery if you don't want one

remember when the Maestro had a moment over how messed-up Ruby was?

how about the snow and changing memories??

But in his attempt to outmaneuver the internet theorists, RTD has merely vindicated those of us who have come to dislike the series arc mysteries. We win!

Also "real mum" what is Ruby talking about we knew her real mum Carla Sunday from the beginning

Tune in next time for the real mystery of Mrs. Flood surely this time it will be good and not a cop-out, a fake-out or just plain stupid. Engage with the thing we just got told was pointless to engage with

Getting back on track the whole idea where in elevating himself to the position of God of Death, Sutekh accidentally made the Doctor into the Champion of Life is cool

also they bring up the perception filter and it working at 73 yards so why not have the fake mystery be built by the TARDIS to outsmart Sutekh???

UNIT must really be going through a personnel crisis if they want to hire Susan Twist who was literally created as part of a plan to kill everyone forever

and yet, I still want more episodes