#Susan Cooke

[causalityparadoxes]

I am Sutekh, the God of Death | Doctor Who, The Legend Of Ruby Sunday

[hauntedbythenarrative]

Wych elm, Susan Smith//House of the Dragon (2022-)

[catboymoses]

[llovelymoonn]

who am i?

mary oliver house of light: “maybe” (via @weltenwellen​) \\ the makanai: cooking for the maiko house (via @idleminds​) \\ andrew wyeth spring (1978) \\ susan sontag as consciousness is harnessed to flesh: journals and notebooks, 1964-1980: “february 17th, 1970” (via @theoptia​)

support me

[starleska]

can we talk about the brilliant execution of Dot and Bubble's big reveal!!!

i am still absolutely gobsmacked by what a well-written episode Dot and Bubble is. startling, disarming, confrontational, and tremendously impactful. and holy shit i really really want to talk about how excellent the 'twist' (which really should've been obvious in retrospect 😭 was done):

as a white person it took me about ten minutes to clock that Lindy's friend group were a nightmare Aryan Tupperware Party collective: all white, all blue-eyed, and even Gothic Paul was dressed in blues and whites, with no black at all. but you know how i responded to that? mentally i went 'oh i'm sure it's nothing!' and shoved it aside. and i think it is exactly that insidious tendency to ignore, normalise, and validate overt and covert racism that the episode does such a tremendous job of tackling! everything in the episode gives us the lore we need to understand Lindy and the people of Finetime are white supremacists. Lindy's disgusted face and immediate blocking of The Doctor versus the amount of time she spends with Ruby. Lindy's shock at the Doctor and Ruby occupying the same room implying segregation on the Homeworld. Lindy calling the Doctor and Ruby 'criminals' not for being in the Bubble, but for breaking segregation. Lindy using Ricky September, a white influencer, to calm herself down not just from the monsters, but from interacting with a Black person. the tradwife aesthetic of the Finetime residents making a comeback in real-life right-wing racist circles. ugh, there's so much and it was all right in our faces!! yet many of us who aren't POC had the privilege of going through the episode baffled and uncomfortable, without being able to put a finger on why until the final bit of the episode. doesn't that tell us how quickly and easily we've all taken to ignoring both micro and macroaggressions? that we needed talk of being 'contaminated', improper use of the word 'voodoo', and Lindy straight up telling the Doctor that face-to-face contact was unacceptable, to understand they're white supremacists? oh my God 😭😭 what a genius play, to make Lindy so detestable from the start. she's an arrogant, vain, self-absorbed, moronic, uncompromising, traitorous bitch...and by layering that abhorrent personality and then giving us the reveal of her white supremacy, there is no argument even the most wishy-washy of people could have re: their awful views. Lindy and her friends are revolting racists who are so wrapped up in their own echo-chamber 'bubble' that they would genuinely rather be devoured alive than challenge their own narrow, bigoted views. i'm still blown away by the power of Ncuti's final scene. the disbelief, the frustration, the sadness and the fury...and yet the Doctor still tries to save them against all odds. i think the most common response to this episode was 'The Doctor should have gone all Time Lord Victorious on them', and you're right - he should have! but doing that would've affirmed the beliefs of the real-life racists viewers. the Doctor responding not with violence or righteous vengeance is a very deliberate writing choice: we are supposed to come away feeling revolted that he needed to behave that way, to almost be supplicant to the white supremacists. because that is the real-life view of so many people who don't even view themselves as racist: Black people need to 'perform' to a higher standard, than white people just to be considered worthy of respect. the more i watch it, the more i'm convinced this is the best episode of the whole season, and one of the best Doctor Who episodes we've ever had. we were taken off-guard by having an episode overtly about racism set in the future rather than the past, because our tendency is to assume equality is a natural consequence of becoming technologically advanced. this clearly isn't the case, and Dot and Bubble is a masterclass in confronting racism head-on rather than dancing around it for the comfort of white viewers. just. aaargh!!!! absolutely amazing 🔥🔥🔥

[vertigoartgore]

The Fantastic Four by Darwyn Cooke (1962-2016).

[sudomanic]

I just wanted to share these photos I found in The Marvin Songs

[bring-cringe-back]

Okay I might just be reading too much into this. But while I was watching the episode *cough cough* procrastinating *cough cough I realised that they don't show how the Doctor and Ruby got there.

And I know that it's probably just meant to be vaguely like 'they just went for fun'.

BUT this is the third episode in a row where we haven't seen them arrive. And for 73 yards it was clearly a doctor who episode when it started but it immediately gets rid of the doctor. ( I know that for 73 yards and for dot and bubble it was because Ncuti Gatwa was filming other stuff but let me cook) In Dot and Bubble you could effectively be forgiven for assuming that it was a random Black Mirror episode or something similar until the Doctor turns up, and tbh if you were just flicking through channels and haven't been watching Doctor Who you could probably basically not know for much longer. In Rogue they are just there, except for the title screen (the same for dot and bubble) you could basically watch it as a Bridgerton episode until the Chuldur turn up.

(And there's whole other rant about how the Chuldur fits into the theory about this basically being a TV show within a TV show, I don't know the name for this theory)

But anyway these episodes are increasingly separated from the Doctor and Ruby as plot points particularly in the beginning of episodes. They are more and more like an excuse to tell the story or explore the topic that the writers want to explore. Which isn't totally different from the occasional episode of previous series, but this is a lot more in my memory at least from previous series. So it feels a lot like they are skimming over the more sci-fi doctor who elements. Which fits in in my mind to the idea that the 'One who waits' is a representation of story telling. I've seen theories that it's Ruby but she doesn't know it which makes sense, I think it would also make sense for it to be her parent(s) who left her, or alternatively just it's own thing all together. But it feels very like that bit where Amy is living a life and starts to realise it's all fake.

The narrowing down of these episodes into not showing them arriving, and at least in Rogue - I can't remember in the others - not showing them leaving the story, feels very different.

It feels more and more like story telling. They have covered fairy tales, Period pieces/Romance, Dystopia, War/SciFi, Musicals, Political Drama. They are also showing the doctor playing his role, something that we see companions doing often enough but we seldom see the doctor doing it.

In Space Babies he is scared of a new creature. In the Devil's Code he sings a song that makes little sense in the story, he doesn't question the road making noise. In Boom he's more himself but it's also the closes to his 'normal' environment. In 73 Yards they just fully remove him from the story, which I realise was done for filming requirements but would have been so interesting to see the doctor in a Political drama. In Dot and Bubble he plays the role of the outsider bringing information to those living under a Dystopia, how is he UNABLE to access the inside, sure he plays a role that's fairly similar to himself but Doctor Who is really Dystopian.

In Rogue he is becoming more and more his role, he is playing the role of a sort of Elizabeth Bennet style character, a strong romantic interest for the brooding man. Which is great, he makes fun of the genre, but he is hyper aware of the genre and still ends up in its pitfalls. He trusts a man so quickly he ends up handing over his sonic, he gets proposed to and basically immediately accepts. Now I am really hoping that Rogue gets to stay around I really liked him as a character, regardless of which theory of his identity if any are true. But the Doctors reaction to him is still a little out of character, he is feeling what he is SUPPOSED to feel and he is acting how he is SUPPOSED to act.

It just feels to me like an increasing number of these episodes are more and more story like and more and more separated from the more Doctor Who elements. And the lack of an introduction of how they get there, and the lack of them leaving in the TARDIS is so unusual to me and stands out to my brain so much.

It feels like they are removing elements that don't fit the genre. Anyway not sure if that makes any sense but I'm vibing with it.

[heavenlymorals]

The Camp Girls: A Pedestal of Morality

Warning: This post contains the exploration of period-typical attitudes that can border on sexism, as well as spoilers for RDR2.

RDR2 is a game, that for the most part, values its historical setting in the sense that the setting actually matters to the story and the characters. The characters are not only reacting to the historical attitudes, but they are a part of it as well. Of course, Red Dead 2 is a bit more tame in some aspects of 1899 America, especially compared to RDR1, which makes SURE to remind you of the prejudices of 1911 America.

For this post, however, I want to talk about more domestic attitudes that were a part of the gang- to be more specific, I want to talk about the Cult of Domesticity or the Cult of Womanhood and how that idea relates back to Dutch's gang.

The Cult of Domesticity or the Cult of Womanhood was an idea that was popularized in the 19th century by the Victorian middle class that spread to America and explained, encouraged, and pushed specific gender roles and cultural ideas to the masses. As the name probably explained, this idea was pushed onto mainly women. There were two main aspects of it- the private sphere and the harbinger of morality.

The Private Sphere had everything to do with a woman's role in the house- hence the private sphere. The Private Sphere had everything to do with housekeeping, childrearing, being a good host, and overall creating a safe haven for the men in their lives. While the men had to deal with the public sphere, which was business, work, protection, etc., women took charge of the private sphere.

The morality aspect of it is about how women were expected to bring morals to the house. Men were expected to hold women in high regard and women provided sectors of emotional safety and humanity to men, as well as providing children with a moral code and instill them with manners.

This excerpt from usahistory.org explains it better than I can: "A TRUE MAN was concerned about success and moving up the social ladder. He was aggressive, competitive, and rational, and channeled all of his time and energy into his work. A TRUE WOMAN, on the other hand, was virtuous. Her four chief characteristics were piety, purity, submissiveness, and domesticity. She was the great civilizer who created order in the home in return for her husband's protection, financial security, and social status."

Of course, men perpetuated this idea, but a lot of women also supported this model of living, believing it to be the way it should be. Writers like Sarah Hale published magazines that explained what should be the behaviors of a proper lady. Women's magazines like Godey's Lady's Book sold 150,000 copies in a year. Catherine Beecher was an advocate for bringing the women's sphere to the classroom in order to instill a proper moral code into their students.

But why does this matter? I mean, the camp girls aren't exactly the moral standard of womanhood in the 1800s. Mary Beth is a thief. Karen is a scam artist. Tilly ran with gangs and murdered a man. Abigail was an ex-prostitute and a thief. Grimshaw was probably all of those things combined at one point or another.

Well, you could argue that because they live unconventional lives, morality was a bit greyer, but overall, the women of the camp still, in one way or another, adhered to this idea regarding the cult of domesticity.

The private sphere and the public sphere definitely existed in the gang, which is why there were so few missions with the camp girls. The girls were mostly resigned to the "house" or to the camp. They worked to make the camp a livable place for the men who gave them protection and financial security.

It is a common sight seeing Tilly washing clothes, or Mary Beth and Karen sewing something, or Abigail wiping down tables, same as Grimshaw. There are all very domestic roles- while in camp, the women are almost always working, except for Molly and Sadie, while the men are almost always lounging around- typical of the 1800s home.

The girls mention this as well through interactions.

Tilly mentions how much she hates washing and mending the men's laundry and how she wishes the men could do their own laundry.

Karen tells Grimshaw to shut up because Grimshaw isn't the one feeding her, so she won't take her bullying.

Abigail screams how the men aren't being men because they couldn't protect Jack from being kidnapped. She also critiques Dutch's philosophy because it doesn't feed them.

Mary Beth is yelled at for not working in the camp as she should by Grimshaw.

There are more examples of this, but we will be here all day if I have to go through all of them.

Grimshaw is kinda obvious. The girls have to work to please this fierce dragon, who is always working. Arthur mentions in the entering Valentine mission whether or not Miss Grimshaw could spare them, showing how the general priority of the girls in the camp is domestic work.

We also know that the girls doing men's work is generally rare due to this one interaction with Karen- "Not so long ago, I was a damsel in distress. Now they got me protecting the men."

The now implies that this isn't a normal routine and that protecting the men is not something that she usually has to do.

So that was just the domestic aspect of it, but there is also the morality part of it.

I think the biggest representation of this is the mini-therapy sessions with the girls, telling you to be better and offering advice to what might make Arthur a better man, with Arthur being more comfortable opening up to them BECAUSE they are women and because he expects their morality to keep them from using such information to hurt him, which is something he has to be careful with when it comes to the men in the camp. But there are more representations of this.

There is Abigail begging John to put his old ways behind and to be a better man, a real man. There is Hosea speaking about Bessie, talking about how while she is in heaven, he will be looking up at her from hell, implying that Bessie had the moral compass that Hosea did not (the interaction also probably destroys the fandom's interpretation of Bessie and Annabelle being very active members in the gang, when that is most likely not the case). Even Mary, though not a camp girl, still acts like a moral harbinger to Arthur, telling him to be a better man and stop being an outlaw.

John has a line in Undead Nightmare that is a complete reference to this thought process: "Abigail, teach the boy right from wrong."

So what am I getting at here? What is the point of all of this? It seems like I am just going off on old historical attitudes, but what does this ultimately mean?

What it means is that Dutch allows women into the gang in order to dignify his ambitions.

Dutch likes to differentiate himself from the other gangs that still roamed in America. While the other gangs stole and robbed for fortune, Dutch robbed for his romantic ideals and to be a western Robinhood. While the other gangs had many men, Dutch had a few strong men whom he knew personally and trusted. While the other gangs targeted innocents, Dutch's gang targeted only those whom they saw as committing the sin of avarice.

Dutch wants to see himself as morally superior to other gangs and other criminals, so what better way to do it than allowing women into the gang? Women who suffered great misfortune in their life and had no other place to go. With women being a pedestal of morality back in that time, Dutch having women in his camp as a way to differentiate himself from other gangs- a way to show people that he is better than them.

Every other gang encountered in the game has no women.

"We are what we are. A bunch of desperados on the run. But with the women, a change of clothes, we're a choir, or a gang of pilgrims, or something."

See, that one line from Guarma from Dutch basically explains the whole concept. Without the women, they are desperate criminals, clinging onto nothing, but with the women, they become virtuous by association. But someone like Micah doesn't care about this virtue or morality because he explains that he would rather just be a criminal and run with a few strong men, which is what he does in the end.

The concept of the private sphere and the public sphere of the camp can also show that Dutch wants to dignify his gang by giving it a sense of civilization to make it truly like a home or family.

What an interesting idea, don't you think?

[comparativetarot]

Three of Swords. Art by Olivia Susan Cook.

[dragon-cookies]

I’ve realized there’s a very real possibility that we might see Rosemary’s death in gruesome detail and I’m not gonna be ready for that

[hauntedbythenarrative]

I am at last myself. With no ambition greater than to walk where I please and to breathe the open air. To die unmarked and unnoticed and be free.

Susan Sontag, from “The Dummy”, featured in I, Etcetera: Stories//“Lilies,” House of Light, Mary Oliver//Postcard from gone, Leila Chatti//Ophelie, Arthur Rimbaud//Advantages of Being Evergreen, Oliver Baez Bendorf//Olivia Cooke as Alicent Hightower in House of the Dragon (2022-))

[catboymoses]

Alison Frasier & Chip Zien, March of the Falsettos 1982

[luchicm04]

2001 VS 2023

"The power of true friendship never ends." ˚₊· ͟͟͞͞➳❥

like / reblog if you use / save !¡

[timeagainreviews]

Bursting Your Bubble

Liam Lynch once said- “The internet is a glimpse into how rude people will be in the future.” At the time it felt like just another funny little line from his song “Internet Killed the Video Star,” (not to be confused with the Limousines’ song of the same name) but nowadays it feels prophetic. Just this morning I made the mistake of reading the comments section and it’s thrown my day off considerably. From the comforts of our keyboards, we can write horrendous things. Treat strangers with contempt. It’s sometimes easy to forget there are actual people on the other end of our glowing screens. Insularity breeds contempt for the different. We live in our little bubbles.

It would be easy to blame the posters, the content creators, the influencers. A few bad apples spoil the bunch. But as psychologist Philip Zimbardo would say- don’t blame the apples, don’t blame the barrel, blame the barrel makers. The people who put the apples into the barrel in the first place. Despite everything Russell T Davies’ “Dot and Bubble,” is trying to say, one question hangs over it and the rest of this season- who is the barrel maker? Things in Finetime are anything but fine, but by whose design? One might assume it’s Susan Twist’s character, but who is she? This is the overarching question of season one, but is the question beginning to feel a bit drawn out?

From the outset, “Dot and Bubble,” acts as a sort of Black Mirror version of “Blink.” We’re given a young blonde woman who finds herself in a dangerous situation that requires her to look at something she would usually ignore. All the while, the Doctor and his companion are forced to talk to the young woman through a screen. The difference here is that while Sally Sparrow had gumption, Lindy Pepper-Bean is about as useful as a wicker toilet. She lives in “Finetime,” an actual bubbled world. Her “Dot,” device then creates yet another bubble around her head. It’s bubble inception. The bubble tells her when to wake up, how to walk, and even when to pee. (Shout out to my boy Dr Pee!) Because of this, Lindy lives an unobserved life where hard questions need not bother her.

Everything about Finetime is a hyper-realistic nightmare of overstimulation. It’s like “A Clockwork Orange,” meets “The Stepford Wives.” Lindy can ignore her problems when there’s always a new Ricky September video on the horizon. As Frank from Brad Neely’s “The Professor Brothers” said- “We danced like those people in the hyper-tight light of fried chicken commercials.” Lindy and her “friends,” can completely ignore the fact that their friends have slowly begun disappearing. They don’t even seem to notice when they’re the only ones in the room, how would they notice gigantic slugs eating each other?

With Ncuti Gatwa away filming season four of “Sex Education,” the show had to do a couple Doctor-lite episodes. These are usually hit-or-miss among fans, but as “Blink,” proved back in 2007, they can become fan favourites. The Doctor and Ruby’s roles are reduced, but this episode does a good job of making them feel like a recurring part of the story. Even though they spend the bulk of the episode in what looks like the intro to “The Brady Bunch,” it never feels like we’re being underserved.

Lindy’s friends float around her like talking heads in her holographic bubble. But she keeps getting interrupted by the Doctor and his bad vibes. Even though Ruby is also invading her privacy despite not being on her friend list, Lindy is willing to hear her out. We’re not told why up front, but there is a reason Lindy can believe Ruby might feasibly be tech support, but the Doctor could not. Due to Lindy’s impatience, Ruby is forced to talk to Lindy as if she were a child, but not so much that she catches on. Anyone who stops Lindy from either working or playing is a massive drag to her. She really just wants Ruby and the Doctor to go away. How do they not know how society works? Why are they asking such stupid questions when the answers have been drilled into everyone since they were children?

We learn that Lindy’s mother is Penny Pepper-Bean, but she’s actually another Susan Twist cameo, so she could be anyone. Thankfully, both the Doctor and Ruby recognise her this time, and it’s not in an aborted timeline. I saw someone mention on Facebook today that they felt the Doctor recognising her felt rushed, and I couldn’t disagree more. It was high time we got something from this storyline. While it has been nice to genuinely be curious about Doctor Who’s mysteries again, this one has felt like a lot of the same. With the Doctor and Ruby now clued in, we have somewhere else to go in the future. Maybe now Susan Twist will come out from behind the mask and we can learn something more about her. Maybe now the Doctor will start looking into her involvement.

I’m usually not interested in fan theories as they’re often filler content when YouTubers and bloggers don’t have anything else to talk about. But here I believe we’ve been given quite a lot to work with to formulate a theory or two. I know I said “It’s probably not the Rani because it’s never the Rani,” but at this point, if she’s not the Rani, they’ve wasted their biggest opportunity to reintroduce audiences to her that the show has ever had. At this point, it would be weird if she wasn’t the Rani. The things she’s been involved with have all of her usual hallmarks. We have genetic manipulation in “Space Babies,” humans are being treated like lab rats in “Dot and Bubble,” and then there’s the whole disguising yourself in plain sight aspect. At this point, the bigger question isn’t whether or not she’s the Rani. The bigger question is why wouldn’t she be? Why would the show come so close to revealing her and then pull back?

Ruby finally convinces Lindy to look beyond her bubble where she witnesses her co-worker being eaten by one of the Man-Traps. Usually Lindy could just ask her Dot to guide her to safety, but for some reason, it feels more than ready to direct her right into the open mouth of a Man-Trap. Lindy must walk without the aid of her Dot, and man does she suck at it. She quite literally cannot walk talk and chew bubblegum at the same time. Part of me was worried the episode was going to spend all of its time making fun of young people and their phones. It’s cliched and honestly, I’m tired of it. But within the context of the episode, Davies isn’t attempting a technophobic condescension toward the youth of today. Instead, the episode endeavours to highlight the danger of relinquishing your thoughts and actions to outside entities. If we let others tell us what to like, who to like, or how to live, you may as well become worm food.

Having narrowly escaped death by slug, Lindy is forced to bumble about outside while the Doctor and Ruby direct her like the most exasperated form of Google Maps ever. An interesting aspect of this scene that I’ve not heard anyone talk about is the greenish-blue blood seen from a body being dragged away. You may not know what I’m talking about, but I’ll post a picture below. You may look at that and say “That’s not blood, that’s slug goo.” But where else in the episode do we actually see the Man-Traps leave behind any kind of snail trail? I’m going to go out on a limb and say I think the people of Finetime are blue-blooded, and considering what we learn about them, it makes sense. Blue blood is often a symbol for aristocracy, but it can also be used as a way to imply an inbred nature. In this case, we could infer that the citizens have blue blood because they don’t “dilute,” it with the blood of non-white people. Oh did I not mention the Finetimers are racists? More on that in a bit.

Throughout most of this episode, only one of Lindy’s friends seems to be concerned with the fact that people are going missing, and that’s Gothic Paul. Gothic Paul was a nice little addition to the episode because a trans man plays him and they didn’t make a big deal about it. He wasn’t even killed for being trans. He was killed for being delicious and too dumb to notice. A diversity win! Compare this to Chibnall’s gay representation where a character says “By the way, I’m gay,” and then spiders eat her face. LGBTQ+ people are allowed to exist in such a manner that it doesn’t feel like “kill your gays,” when they kill our gays. Representation has been so good that it’s not even problematic that a drag queen made a child disappear. You know, the thing all of those conservatives are worried about with drag story hour? That’s just the Maestro’s schtick. 

After the battery in Lindy’s Dot goes dead, she’s basically a sitting duck. That is until she hears a familiar voice call out. A voice belonging to none other than the dreamy Ricky September. Maybe it’s the insular nature of being a pop star, but Ricky isn’t bogged down by his Dot. Instead, he’s learned to appreciate existing offline. Because of this, Ricky reads things about their people’s history. And even luckier for Lindy, Ricky can actually walk and move about in the world. After a bit of starstruck awe, Lindy takes his hand as he leads her away from danger. It’s almost sweet if you don’t suspect what’s coming.

Ricky leads Lindy to Plaza 55 where a door leading to the river flowing beneath the bubble can lead them out into the Wild Woods. Knowing a bit about coding, Ricky simply needs to type in two digits every five seconds and the door will come open eventually. With no Man-Traps about, Lindy needs only to sit tight and let Ricky work his magic. While she waits, Lindy is able to charge her Dot which enables the Doctor and Ruby to contact her again. The Doctor infers that the Dots can see the Man-Traps, but willfully encourage people to walk directly into their mouths. As it turns out, the Dot hates Lindy and her friends about as much as the audience does. The AI has gone rogue and it’s taking these airheads with it. Sadly, this is also when the episode starts to get bogged down by the season's overarching plot.

The Doctor deduces that the Man-Traps are eating the people in alphabetical order. This leads him to believe that the AI must have created the Man-Traps, otherwise they would eat whoever, whenever. The reason I feel this feels bogged down by the overarching plot is that I can’t imagine these golfball-sized Dots being capable of growing creatures in a laboratory. The most they can do against Ricky and Lindy is act as a projectile. They don’t even have thumbs. Because of this, it’s logical to imagine that there is a third party involved. It’s not hard to imagine who that third party is, considering Susan Twist’s cameo. But in the meantime, we as an audience are left in a state of limbo where this is either part of some greater plan, or an unsatisfying plothole. Albeit, not an incredibly episode-breaking one. After all, the Daleks manage quite a bit with only a plunger.

With Lindy’s Dot trying to bash their brains in and Lindy being next in line, alphabetically speaking, we are finally introduced to who Lindy actually is as person. Using her mega fan knowledge about Ricky September, she informs the Dot that Ricky’s name is a stage name and his real name is Coombes. Ricky can barely believe the betrayal from the woman he’s tried so very hard to save. But her gamble pays off as the Dot refocuses its attention on Ricky, giving Lindy enough time to escape to the river while the Dot strikes down poor Ricky. As face turns go, this is one of the worst in Doctor Who history. However, it’s not entirely without warning. Certain lines of dialogue have clued us in to Lindy’s true nature throughout the episode.

Before we leave him behind like Lindy so callously does, I’d like to take a moment to talk about Ricky September, as I don’t think we’ve seen the last of him. It was hard to tell what the Dot does to Ricky because the camera looks away, but he could have survived. Why I think this is because they spend a lot of time building Ricky up as a character. Both the Doctor and Ruby have shown a romantic interest in him. There have even been rumours that there would be a sort of love triangle between the Doctor, Ruby, and Ruby’s boyfriend. On top of that, we’ve got another blonde-haired blue-eyed person with RS for initials. Even further, the S in both names indicates a point in time- September and Sunday. And just because Ricky comes from a community of racists doesn’t mean he is one. Like he said, he does a lot of reading. Perhaps he’s learned better. Or I’m wrong and he has a Dot-sized hole in his head.

Finally, we get to see the Doctor and Ruby in the flesh. Even more finally, we get to see them both in the costumes they wore in their first costume reveal! Lindy gives the Doctor and Ruby some shitty excuse about Ricky turning back to save more people. She even gives a begrudging thank you to them, but ultimately can’t bring herself to let the Doctor help her or her friends. Lindy and her fellow survivors can’t bring themselves to interact with the Doctor because he’s black. It’s as heartbreaking for the Doctor as it is infuriating to Ruby who can only stand there and watch her friend experience this ugliness. But the Doctor is still the Doctor and he’s a bigger man than their small minds. He continues holding out a lifeline to some of the most undeserving group of spoiled narcissists to ever grace the screen of Doctor Who.

I’ve seen people complain that the Doctor does this. That it doesn’t mesh with the same character who once punched a man who was racist toward Bill. But that was the Doctor drawing a line and defending his friend’s honour. The Doctor’s compassion is so great that he’s willing to forego his sense of self-respect to save lives. This is the same man who tries to reason with racist genocidal aliens, he doesn’t stop just because they look human. I know I would have let them die, but the Doctor is a better person than me. That’s not to say any of this is easy for him. It very clearly cuts him to his core. Ncuti Gatwa gives an earth-shattering performance here, and when you consider this is the first scene he filmed after the Giggle, it’s fucking astounding. This is the exact type of range I was hoping they would bring to his character.

As a white member of the audience, I am left with a lot of uncomfortable realisations. Like, I barely batted an eye at the fact that Lindy’s friends were all white. I’m also left wondering how many people the Doctor has saved in the past who might have also treated a black Doctor differently. But I also feel like this ending took me by surprise for a different reason than my own ignorance. I simply never expected Doctor Who to go there. The topic of racism is not new to Doctor Who. Martha experiences quite a bit of it, especially in “Human Nature.” But even their more recent attempt with “Rosa,” fell short by implying that in 3000 years, no other black person would stand up for their rights. It was an oversimplification of the civil rights movement that left me wondering if Doctor Who was capable of tackling such heavy issues. I never felt like the show properly addressed the Doctor being a woman, so believe me when I say how much I appreciate them addressing the Doctor’s race. Even further, I loved that it ultimately isn’t the Doctor who will suffer from their racism. Their prejudice has doomed them without anyone else’s help.

It’s weird to look at this episode on the TARDIS wiki and see the Dots and Man-Traps listed as the main enemy. Because really, it’s Lindy who is the real monster. It’s Hoochy Pie and her wack-ass trumpet. Also, can we not come up with a better name than Man-Trap? What about Erascists? They erase e-racists. Just some good little sluggy bois taking out the trash. I stan a king. The Dots hate those evil trust fund dickweeds, and honestly, same. Evidently, the name Man-Trap was introduced in Doctor Who Unleashed, which for the 4th week in a row, I’ve forgotten to watch. One of the side-effects of Doctor Who’s screwy release schedule is that now I completely forget Doctor Who Unleashed even exists. One benefit, however, is that I often get to rewatch the episodes the next day with my partners who didn’t want to stay up late. The benefit is that I’ll notice things I missed the first time. It also allows me to experience the stories for what they are, as opposed to what I expected them to be.

Being able to watch “Dot and Bubble,” with hindsight has given me an even greater appreciation for this story. Over time, I feel people will eventually regard it as one of Davies’ best. Its tone and themes remind me of something you would find in the Seventh Doctor era, which is high praise coming from me. Ricky feels like the promise of a character like Pex from “Paradise Towers,” properly realised. Hopefully, like the graffiti says- “Pex lives.” Dylan Holmes Williams does a fabulous job directing as the episode wastes nothing. It’s a Doctor-lite episode that manages not to waste a moment of screen time with the Doctor. In less than five minutes, Gatwa manages to be the command performance in an episode of solid performances. But much like “The Fugitive of the Judoon,” this strong episode remains feeling unresolved due to the plotline still hanging over its head. Once we have the hindsight of knowing how it fits into the greater storyline, it could appreciate in value. One can only hope.