#a dalek chorus

[ladydisdainsstuff]

Petition to make Jonathan Groff record the Rogue version of Kristoff's Lost in the Woods

There’s definitely a joke here.

[oppositeshipping-ceo]

You see the thing about infodumping Doctor who lore to non-whovians is.

Every episode will sound like a remix of 𝙏𝙝𝙚 𝙐𝙡𝙩𝙞𝙢𝙖𝙩𝙚 𝙎𝙝𝙤𝙬𝙙𝙤𝙬𝙣 to them.

"Yeah the Royal Family are werewolves"

"Yeah the Beatles defeated a God with the power of music"

"Yeah Shakespeare sent a bunch of witches who were actually aliens to superhell by saying Expelliarmus"

BITCH WHAT THE F-

[regicidal-defenestration]

No-one else is doing it like Doctor Who and the Pirates

Sixth Doctor, spoken: One can almost say that I am the very model of a Gallifreyan buccaneer.

(jaunty music begins)

Evelyn, spoken: Oh no, you are going to sing!

Sixth Doctor, spoken: Well, yes I am!

Sixth Doctor, singing:

I... am the very model of a Gallifreyan Buccaneer.

I've information on all things a Gallifreyan holds most dear.

I've linked into the Matrix through its exitonic circuitry,

I understand dimensional and relative chronometry.

I'm very well acquainted too with matters of the Capitol,

I'll give you verse and chapter on Panopticonian protocol,

I've been into the Death Zone and I've played the Game of Rassilon--

(Rassilon? Assilon, Bassilon-- ah ha!)

With pestilential monsters that I got a lot of hassle from!

Chorus: With pestilential monsters that he got a lot of hassle from! With pestilential monsters that he got a lot of hassle from! With pestilential monsters that he got a lot of hassle hassle from!

Sixth Doctor:

I understand each language and I speak every vernacular.

I'll conjugate each verb obscure, decline each line irregular.

In short in every matter that a Gallifreyan holds most dear,

I am the very model of a Gallifreyan Buccaneer.

Chorus: In short in every matter that a Gallifreyan holds most dear, he is the very model of a Gallifreyan Buccaneer.

Sixth Doctor:

I've tackled shady Castellans with devious behavior.

I've sparred with Time Lord chancellors like Thalia, Goth, or Flavia.

In fact on some occasions I've held office Presidentally,

'though maybe I won't mention I was ousted out eventually.

I know just how it feels to be a wanted man and on the run,

but wouldn't leave the carefree buccaneering life for anyone.

Though sometimes my adventures seem absurdly operatical--

(Operatical? Hatical... patical-- ah ha!)

With ups and down and twists and turns and incidents piratical.

Chorus: With ups and down and twists and turns and incidents piratical! With ups and down and twists and turns and incidents piratical! With ups and down and twists and turns and incidents piratic-ratical!

Sixth Doctor:

I've sailed the seven seas of Earth and all the oceans of the Moon,

my trusty true Type-40 is my Gallifreyan picaroon.

But is this really what the average Galifreyan holds most dear?

I wonder what they think about this Gallifreyan Buccaneer.

Chorus: But is this really what the average Galifreyan holds most dear? We wonder what they think about this Gallifreyan Buccaneer.

Sixth Doctor:

But....

I've defeated evil robots such as Daleks, Quarks, and Cybermen.

I've overthrown dictators from Tobias Vaughn to Mavic Chen.

I've rescued helpless maidens from the devestating Viking hordes.

Vanquished Autons.... Axons... Daemons... Krotons.... Monoids, Vampires, Voords.

I've liberated planets and delivered them from total war.

Saved Earth, Manussa, Dulkis, Skonnos, Earth, Tigella, Earth once more.

In short I know I am the truest Rassilonian legate

(Legate? Decate...Hecate...Hecate? Mm. Not sure if that's canonical... Ah ha, I have it!)

And so to Time Lords all I say remember me to Gallifrey!

Chorus: A sentiment we all agree, remember him to Gallifrey! A sentiment we all agree, remember him to Gallifrey! A sentiment we all agree, remember him to Galli-Gallifrey!

Sixth Doctor:

I'm not content to just observe, I am a bold adventurer.

Though other Time Lords mock this Gallifreyan interventioner.

I know in every matter that a Time Lord really should hold dear

I am the very model of a Gallifreyan Buccaneer!

Chorus: We know in every matter that a Time Lord really should hold dear, he is the very model of a Gallifreyan Buccaneer!

[the-lady-hestia]

I watched the Dr Who season finale, Empire of Death, and I have thoughts!!! Mostly about the end/the season as a whole

Spoilers under the cut

He mentions 2005. Even after all this time he still thinks about Rose. That woman changed his life so fundamentally that even at the death of creation, the doctor still thinks about her specifically.

And oh god that pained scream. He feels the universe die and it tears him apart.

Life inevitably brings death

Death inevitably fosters life

Sutekh in his pursuit of death revives the universe

And the doctor, the champion of life, must kill him

“She was important because we thought she was important” this is RTD’s thesis statement in my opinion. Ruby’s mom wasn’t some big reveal or massive cannon altering thing, she was just a woman. She was 15 and needed to keep her baby a secret. She just happened to do it so well that even a god couldn’t figure it out. RTD continues the chorus of “anyone is important. In the whole of time and space, value and importance come from what we, the silly little humans, believe” and I love him for it.

“In the end, the most important person in the universe was the most ordinary.” Bravisimo. I might get that tattooed across my face that’s such an incredible line.

And at the end of it all, we get a true treat. Ruby isn’t dead, she’s not trapped in a parallel world, she doesn’t get turned into a cyberman or get zapped by a dalek. She just lives her life.

Oh and also Mrs. Flood says some spooky shit again and the Christmas special is teased (yay we don’t have to wait a full calendar year anymore!)

This finale was corny and silly and a little bit weird but you know what, I think it was perfect. Ncuti is quickly becoming top 3 doctors in my opinion. He’s so emotive and passionate. Every time he laughs it’s infectious and every time he cries I feel it in my bones. Incredible acting, incredible man, I love him so much. This whole season felt like a return to form (except for the shorter episode list. I deeply yearn for the days of 12+ episode seasons). Little stories each with hints to the finale, a good mix of goofy, spooky, harsh political criticism, and deeply emotional (examples/highlights in each category: The Devils Chord, 73 yards, Boom and Dot and Bubble, and Rogue [my beloved])

This episode and this season have been truly quintessential RTD Dr. Who. 10/10 in my book all around. I cannot wait for Christmas and I cannot wait for the next season

[dykepaldi]

dalek sec gallifrey cabaret act to naked in manhattan except the chorus is badly dubbed over to say daleks in manhattan. first verse full dalek outfit singing to a blow up doll/cardboard cutout to represent the human guy. pause just before the chorus to play the audio from the scene where they merge. outfit change to hybrid sec. touch me baby (touch me touch me touch me touch me). do u see the vision.

[thesinglesjukebox]

BEN PLATT - "ANDREW"

"Andrew! Andrew! Andrew! You're gonna love meeeeeeeeee..."

[6.36]

Jeffrey Brister: Platt’s an incredibly talented vocalist, there’s no doubt there, and a good performance can do a lot to elevate average material -- like, say, a pleasant but unremarkable folky song about being sad and gay. His delicate falsetto dancing over top of the guitar, how the chorus blooms with yearning in a name, staying away from theatre kid pyrotechnics -- it’s a laundry list of good choices, and I’m just bowled over by its simple and straightforward beauty and earnestness. [8]

Alfred Soto: Depending on my diet that day I can embrace this unmitigated schmaltz or vomit at the sight of it. Neither the falsetto nor the lyrics have heard of subtlety. I am past the age when unrequited lust wears the drag of lachrymosity, but I hope I'm not callous enough to understand when young adults need it. [6]

Hannah Jocelyn: A friend and I made a list of songs about unrequited queer love, specifically when it comes to incompatible orientations. This is Ben Platt’s entry in the canon, and it’s the best song I’ve heard from him, the first that doesn't sound like rejected tracks from either Dear Evan Hansen or Blue Neighborhood -- it starts off very Simon & Garfunkel, but the more ambient Sufjan Stevens territory on the chorus fits him shockingly well. One problem: the Melodyne detracts from how sincere and pure the writing is (isn't Dave Cobb known for his authenticity?), to the point where Platt sings "if I can't get closer then I am destroyed" and sounds like a Dalek. Normally that would be a dealbreaker, and maybe I would dismiss this if I hadn't, in fact, had an Andrew or five. Cobb's production is gentle and tender enough that I can just lie back and think of all the pretty girls. [7]

Isabel Cole: I do appreciate the concept of this aching little ditty about the specific wrenching futility of crushing on a straight guy, and the idea of “wasting heartbreak” on someone who would never even be able to grant you the dignity of being rejected for your actual self is poignant. I can imagine the teen for whom this hits at exactly the right time, and that’s not nothing. But the first-love adolescent yearning of the lyrics fits oddly with the meandering melody and the folky arrangement (it’s giving Harry Styles Presents VH1’s I Love The 60s), and Platt… listen, whatever you think of  Dear Evan Hansen, no one’s ever denied that the guy can sing. Here, it’s hard to shake the sense that he’s deliberately trying to differentiate his solo work from his Broadway past by avoiding sounding too musical theater, choosing instead to flatten his clear, resonant tone into a dull, nasal drone that feels like he’s playing Barefoot Guy With Guitar in a mockumentary about hippies. It doesn’t really work -- his falsetto sounds grating, and like a lot of stage singers trying to branch out, there’s a certain mannered quality he can’t quite shake -- and the few more vibrant lines towards the end make me wish I could hear a version of this aiming for the cheap seats. [4]

Ian Mathers: As someone who has disliked Ben Platt in everything I've seen or heard him in, I was absolutely prepared to reject this song from its Cat Stevens-ass opening, but then I kept listening and... I don't know, I keep thinking about that classic tumblr post that ends with "I am cringe, but I am free." I listened a few more times and... it's kind of lovely? Something about it reminds me of Gordon Lightfoot? I remember how much songs that seemed to speak to my particular romantic torments meant to me as a teen and I can absolutely imagine the kid who is going to play this on a loop like I did Sloan's "Deeper Than Beauty" or whatever? Don't make me regret this, Platt. [8]

Nortey Dowuona: The frustrating parts of this song have nothing to do with Ben Platt's voice. Whatever his faults in Dear Evan Hansen, Ben has a mellifluous tenor that comfortably floats in the higher parts of his range, allowing certain lines that feel clunky ("what a time-wastin', sweet happiness-takin', self-esteem, mess-making, heart-breakin' shame") to float past so pleasantly that when your own voice begins to sing them, they jumble together in your throat until they all flow out with the delivery of "Andrew." Producer Dave Cobb's helium guitar chords are also not the problem -- they lift Platt's voice and remain so close to it that when they lean back and let him take center stage, they allow Platt to send his melody up and catch it comfortably. The frustrating thing is the drums; they are so thin and yet so rigid that when they enter, the song loses the butterfly subtlety it needed to soar. Derrek Phillips, who has played with Vanessa Williams and Rahsaan Barber, somehow had to anchor the song in a way that would give it heft and keep its light, breezy charm, but instead he reinforces the dull structure of a second-verse drum groove, and all the hard work done by Platt and Alex Hope is squandered. A bolder choice by Platt or Cobb would've been to lean into the acoustic guitar arrangement by adding the bass and keyboards, and maybe the percussion (also done by Phillips) would act as the anchoring factor. Instead, the rigid structure kills probably the second-best thing Ben Platt has done. [7]

Jackie Powell: Ben Platt has had difficulty translating his vocal talents from film soundtrack music (the Pitch Perfect trilogy) and show tunes (The Book of Mormon and Dear Evan Hansen) into pop music. On songs like ���Grow as We Go” and “Rain,” he sounded like slightly more adult versions of the characters he played. He’s leaned into motivational songs without any sort of foundation. “Andrew” works better than his previous pop offerings because of the story he paints of falling for a straight (or maybe not) friend who has led him on. A lot of these stories are coming out of the woodwork as of late with tracks such as Reneé Rapp’s “Pretty Girls” and Fletcher’s “Two Things Can Be True."  These stories need to be told and provide a certain type of respite for queer people who too have felt a similar level of pain. Platt calls the situation a “cruel joke” and self-deprecates in a witty but incredibly depressing bridge. He’s not questioning whether falling for “Andrew” wastes his time but rather declares the infatuation as a time vampire that robs more than it gives. What’s less than desired, however, is the Simon & Garfunkel cosplay he attempts in the verses. The Auto-Tune that helps layer his vocals isn’t needed. The folksiness in “Andrew” is a step in the right direction for Platt in his journey to translating better into pop. I just wish he could have paid homage to Simon & Garfunkel in a way that didn’t come across as just another Broadway character he’s playing.  [7]

Taylor Alatorre: I feel the exact same way listening to this as I do when reading the Urban Dictionary definition of any relatively common male first name. [3]

Katherine St. Asaph: What is it about guys named Andrew that inspires plaintive folk songs? Having no longings for any Andrews, I can only connect to these songs through my nostalgia, and thus Platt's is my favorite because it navigates those channels best -- which is to say it sounds exactly like Simon & Garfunkel. [6]

Mark Sinker: Not sure I remember a song where the jump from chest voice to head voice for the high notes feels so extremely foregrounded as a DECISION NOW BEING TAKEN. AND IT'S DONE! I can imagine arrangement where this works with the content: except here’s it’s like literally everything else about the song is funneling your attention to this choice instead, and I don’t think it’s what I’m meant to be thinking about? You have a nice voice mate, sorry your crush didn’t work out, that sucks.  [5]

Jacob Sujin Kuppermann: Every time I've tried to write this blurb it's come out too ironic -- couching my appreciation for it in my disbelief that Dear himself could make such a perfect rendering of the version of Sufjan Stevens' music that exists only in the minds of 2014 Tumblr users, things of that nature. But let me meet sincerity with sincerity and say that "Andrew" wrecks my shit completely every time I listen to it, every achingly beautiful guitar arpeggio and breathy note from Platt activating all of my sentimental impulses. Most of all I admire the commitment here -- there's never a moment of performance from Platt or his producers that shies away from the full teenage gay melodrama of the lyrics. Weaker souls would have tried to subvert the maudlin stuff here. I'm glad they didn't. [9]

[Read, comment and vote on The Singles Jukebox]

[writinglittlemagics]

Forgive my poor citations for this one :[ I’m currently sitting in the nicest amphitheater I've ever been in getting ready to sing a holiday concert! Feeling a little nervous, a little silly, here’s some Freudian Analysis:

Freudian Defenses in The Main Character

“The Main Character” by Will Wood is a satirical song from the perspective of a modern self-obsessed, trope-defined egomaniac. This character is meant to embody someone who speaks without the use of their Freudian superego (see: “Look in the sky, it’s a bird! It’s a plane! No, it’s superego!” as the character watches their superego leave them behind). This speaker utilizes several of the Freudian defense mechanisms to justify their egoic actions and attitudes towards other people. One such example is the speaker’s use of regression. When speaking about being disliked, the narrator becomes incredibly uncomfortable, saying, “Don’t come at me; I’m the main character, and you have to like me.” After this, the narrator regresses into childish villain personas to hide from their actions. One such example is Snidely Whiplash, the villain from the cartoon Rocky and Bulwinkle. This villain is a caricature of evil and is known for tying people to train tracks and twirling his mustache. The speaker is hiding behind this immature cardboard character to hide from the more severe accusations they are being confronted by. Some other such villains are Boris Badenov and “Daleks in high collars,” more foolish villain types.

Another favorite defense mechanism of our narrator is rationalization. The chorus repeats the lines, “So God forbid I’m seen just as an average human being… Don’t come at me; I’m the main character, and you have to like me.” The word “like” here can refer to both “likes” on social media and liking someone as a genuine person. Our narrator easily conflates the two. The phrase “main character energy” is famous on a lot of social media platforms as a way to announce one’s self-importance in one’s life. You are living your life; ergo, you are the main character in your own story. The narrator in this song does not have the superego to recognize that they are not the main character in everyone else’s life, and so lives deluded into thinking that they are. This is exemplified in verse two, stating, “I loot plot armor from NPC’s; Well, they are to me. Trite tropes, traits, traumas, trinkets, and treats; it’s all XP.” To translate some of the slang here, the speaker is calling other people’ Non-Playable Characters’ and deeming them worthless to his endeavors. Plot armor is a film device that describes protagonists who have to stay alive, even in dangerous situations, for the sake of the story. Stripping someone of their plot armor means that they would be expendable to the narrator if they need to gain the ‘XP’ or experience. Because the narrator believes themselves to be the main character of this larger story, mistreating other people is acceptable for the sake of “the plot.”

The final commonly used defense mechanism is denial. The narrator can comfortably live this lifestyle as long as they don’t wake up to the reality that other people are more relevant than themself. The post bridge says, “The court fool got the guillotine, the witches the stake, you the dopamine. And Siemens made the Zyklon B, but we all still get the flu.” These lines all refer to some kind of scapegoat, different groups of people who were blamed for the sake of denying more significant issues. The court fool is executed as an example, witches are burned to defend the church and deny other ideas, and a person takes dopamine to deny their depression. This narrator is a self-aggrandizing, deluded narcissist and can only continue to be this way with the use of defense mechanisms.

(Word Count: 590)

“Will Wood – the Main Character.” Genius, 29 July 2022, genius.com/Will-wood-the-main-character-lyrics.

[theonetruepotato87]

A song for The Doctor❤️

(Verse 1)

In a TARDIS of blue, through the cosmic tide,

The Doctor journeys, time as a guide.

Regenerations like a celestial art,

A hero with two hearts, playing their part.

(Chorus)

Oh, Doctor, a traveler so grand,

Saving worlds with a sonic in hand.

From Gallifrey's echoes to Earth's distant call,

A savior in time, the greatest of all.

(Verse 2)

Through Dalek battles and Cybernetic fight,

The Doctor stands, a beacon of light.

A mysterious smile, an ancient friend,

Defying the end, where adventures never end.

(Chorus)

Oh, Doctor, a traveler so grand,

Saving worlds with a sonic in hand.

From Gallifrey's echoes to Earth's distant call,

A savior in time, the greatest of all.

(Bridge)

Time and space woven in tales,

A face may change, but the spirit prevails.

With companions by their side,

The Doctor's journey, an endless ride.

(Verse 3)

From Rose to Clara, companions in time,

Facing shadows and monsters to climb.

A legacy written in the stars,

A time-traveling hero who breaks all bars.

(Chorus)

Oh, Doctor, a traveler so grand,

Saving worlds with a sonic in hand.

From Gallifrey's echoes to Earth's distant call,

A savior in time, the greatest of all.

(Outro)

Through the vortex, the TARDIS flies,

A madman or a hero, in the Doctor's eyes.

In the tapestry of time, a legend stands,

The Doctor's song, echoing through the lands.

[doctorwhoisadhd]

laying out my concept of a video edit set to this song

here's to who we have left/sift thru cotton and stress — the final scene from exit wounds where jack is folding up owen's lab coat

when i slip away — tosh dying in exit wounds

well i'll talk to her for days/as for now she feels the same — gwen waiting over jacks body in the morgue in end of days

you don't know this guy/he's alright — the bullet wound disappearing from jacks forehead in everything changes & the team gossiping about him in day one

overrated at times/oh chin up — jack smothering gray etc

and if she's lonely/man that's alright/i will stay by her side/we'll be fine — jack and gwens phone call from miracle day where jack says to her "you and me just like the old days"

you ain't worked me out yet — ianto's comment to jack abt how he's just scratched the surface on him

and the future poses a threat — ianto + jack shooting the 456s containment chamber

i'm refreshin' to begin — jack visiting alice at the beginning of coe

and regret starts sinkin' in/and i'll find that hard to forget — that scene where jack is waiting in the hallway and alice comes thru the door and just looks at him and then leaves. and then he does too

second x chorus: the scene w/ jack from the end of time part 2

instrumental bridgey thing: the dancing scene from the end of the doctor dances, jack dancing with tosh in captain jack harkness (and possibly also the real captain jack), jack dancing with gwen and ianto in something borrowed

last x chorus first half (thru "chin up"): jack scenes from revolution of the daleks with a second or so each of 11 and 12 between

last x chorus second half (starting with "and if she's lonely"): jack and 13 scenes :(

you dont know this guy by her's is SUCH a jack and torchwood 3 song

[dweemeister]

2021 Movie Odyssey

This is by far the latest this list has ever appeared. But, as per tradition, this is the complete list of films I saw for the first time in their entirety over the last calendar year. They are ranked in the order of completion. Each score (my ratings system and eligibility rules are explained here) is based on my personal imdb rating. All half-points are rounded down.

April was defined almost entirely by my blog’s annual 31 Days of Oscar marathon (in which I limit myself to watching films nominated for an Academy Award or Honorary Academy Award winning films). June and early July were defined almost entirely by viewing submissions for Viet Film Fest - contributing to a record-shattering number of short films (one will notice tons of MGM short films and Popeye as well) seen this year.

In sum, I saw 329 films that were new to me in 2021. 147 of those were features (films defined as forty-one minutes or longer); 182 were short films (forty minutes or shorter). As I aim to watch at least more than half of pre-1980s movies compared to 1980s and after, VFF put that goal a little under threat this year. But in the end, I saw seven more total films from 1979 and before than 1980 and after (eleven more feature films from 1979 and before than 1980 and after).

Without further ado, the entire Movie Odyssey for 2021 follows:

JANUARY

Wonder Woman 1984 (2020) – 6/10

The Blue Danube (1939 short) – 7.5/10

The Marry-Go-Round (1943 short) – 5/10

City Hall (2020) – 8.5/10

The Five Pennies (1959) – 7/10

Evil Under the Sun (1981) – 7.5/10

Two Rode Together (1961) – 5/10

The Senator Was Indiscreet (1947) – 5.5/10

Middle of Nowhere (2012) – 7/10

Lone Wolf and Cub: Baby Cart in the Land of Demons (1973, Japan) – 6/10

The Bookworm Turns (1940 short) – 6/10

W’ere on Our Way to Rio (1944 short) – 8/10

Tenet (2020) – 6/10

The Dot and the Line: A Romance in Lower Mathematics (1965 short) – 9.5/10

The Anvil Chorus Girl (1944 short) – 6/10

Clue (1985) – 8/10

The Discontented Canary (1934 short) – 6/10

Spinach Packin’ Popeye (1944 short) – 5/10

Lone Wolf and Cub: White Heaven in Hell (1974, Japan) – 6.5/10

Murder Ahoy! (1964) – 7/10

Pitchin’ Woo at the Zoo (1944 short) – 6/10

Daleks’ Invasion Earth 2150 A.D. (1966) – 5.5/10

FEBRUARY

Yi Yi (2000, Taiwan) – 10/10

The Hound of the Baskervilles (1959) – 6/10

Little Rural Riding Hood (1949 short) – 7/10

Moving Aweigh (1944 short) – 6/10

Adoption (1975, Hungary) – 7.5/10

To Each His Own (1946) – 8/10

Madame’s Cravings (1907 short, France) – 9/10

The 3 Worlds of Gulliver (1960) – 6/10

Meek’s Cutoff (2010) – 7.5/10

Pardon Us (1931) – 6/10

Fanchon, the Cricket (1915) – 7/10

The Stalking Moon (1968) – 7/10

Plan 9 from Outer Space (1957) – 2.5/10

ABBA: The Movie (1977) – 7.5/10

Mutts About Racing (1958 short) – 6/10

She-Sick Sailors (1944 short) – 7/10

Going Attractions: The Definitive Story of the Movie Palace (2019) – 6.5/10

MARCH

The Devil and Daniel Webster (1941) – 9/10

Cleaning House (1938 short) – 6/10

Shape Ahoy (1945 short) – 6/10

Our Relations (1936) – 7/10

People Will Talk (1951) – 6/10

Loving Couples (1964, Sweden) – 7/10

Be Natural: The Untold story of Alice Guy-Blaché (2018) – 6/10

Algie the Miner (1912 short) – 6.5/10

The Kids are Alright (1979) – 7.5/10

Down Argentine Way (1940) – 6/10

Bottles (1936 short) – 6.5/10

For Better or Nurse (1945 short) – 6/10

The Cuckoo Clock (1950 short) – 8/10

Us Again (2021 short) – 7/10

Raya and the last Dragon (2021) – 6/10

Tomka and His Friends (1977, Albania) – 7/10

The Dig (2021) – 6/10

Bashful (1917 short) – 7/10

APRIL (31 Days of Oscar begins... two asterisks denotes a film not nominated for an Academy Award)

The Trial of the Chicago 7 (2020) – 7/10

Godzilla vs. Kong (2021) – 6/10**

The Present (2020 short, Palestine) – 8/10

Feeling Through (2020 short) – 9/10

Two Distant Strangers (2020 short) – 6/10

White Eye (2019 short, Israel) – 8/10

The Letter Room (2020 short) – 6/10

Elmer Gantry (1960) – 10/10

Sound of Metal (2019) – 8/10

Jungle Book (1942) – 6/10

Carefree (1938) – 7/10

Genius Loci (2020 short, France) – 8.5/10

Opera (2020 short, South Korea) – 8.5/10

If Anything Happens I Love You (2020 short) – 8/10

Yes-People (2020 short, Iceland) – 6/10

Kapaemahu (2020 short) – 7.5/10

The Snail and the Whale (2019 short) – 6.5/10**

To: Gerard (2020 short) – 6.5/10**

Freedom on My Mind (1994) – 8/10

Nomadland (2020) – 7.5/10

Mank (2020) – 8/10

Promising Young Woman (2020) – 8/10

The 5,000 Fingers of Dr. T (1953) – 7/10

A Love Song for Latasha (2019 short) – 6.5/10

Do Not Split (2020 short) – 8.5/10

Hunger Ward (2020 short) – 6/10

Colette (2020 short) – 6/10

A Concerto Is a Conversation (2020 short) – 6.5/10

The Father (2020) – 9/10

Minari (2020) – 9/10

Judas and the Black Messiah (2021) – 8/10

Silverado (1985) – 7.5/10 (31 Days of Oscar ends)

MAY

Batman: Mask of the Phantasm (1993) – 8.5/10

Cycle (2001 short) – 5/10

Something Fishy (2004 short) – 5/10

The Prescription (2000 short) – 7.5/10

Better Than Friends (2003 short, Vietnam) – 6/10

95.  Watermelon Island (2001 short) – 5/10

96.  Tuesdays After (2004 short) – 7/10

97.  Carmen’s Virtue (2003 short) – 5.5/10

98.  A Sumer Rain (2009 short) – 7/10

99.  Windowbreaker (2006 short) – 6.5/10

The Anniversary (2003 short) – 8/10

The Fading Light (2008 short, Vietnam) – 6/10

Afternoon (2005 short) – 7/10

Romance on the High Seas (1948) – 7/10

Chez moi (My Home) (2014 short, France) – 7/10

My Father’s Truck (2013 short, Vietnam) – 7/10

Like Mother, Like Daughter (2018 short) – 7/10

Bad Luck Blackie (1949 short) – 7.5/10

King-Size Canary (1947 short) – 7/10

T.V. of Tomorrow (1953 short) – 7/10

Symphony in Slang (1951 short) – 8/10

Woman in the Moon (1929, Germany) – 7/10

Doctor X (1932) – 6.5/10

Wild Honey, or How to Get Along Without a Ration Book (1942 short) – 6/10

Klondike Casanova (1946 short) – 7/10

Tex Avery, the King of Cartoons (1988) – 7/10

Fools in the Mountains (1957, Norway) – 7/10

Grand Prix (1966) – 7.5/10

What’s Buzzin’, Buzzard? (1943 short) – 7/10

Peep in the Deep (1946 short) – 6/10

Muppet Treasure Island (1996) – 6.5/10

Berlin: Symphony of a Great City (1927, Germany) – 8/10

À Propos de Nice (1930 short, France) – 8/10

Manhatta (1921 short) – 7/10

Dream Horse (2020) – 6.5/10

A Quiet Place Part II (2020) – 7.5/10

Princess Tam-Tam (1935, France) – 5/10

Daybreak Express (1953 short) – 7.5/10

JUNE (an asterisk denotes VFF submissions)

The Life and Death of Colonel Blimp (1943) – 10/10

Quận 13 (2019 short) – 7.5/10*

Trao Đổi Hạnh Phúc (Trading Happiness) (2020 short, Germany/Vietnam) – 7.5/10*

Angels in the Outfield (1994) – 6/10

Distant Interiors (2019 short) – 6/10*

Fresh Peaches (2021 short) – 6/10*

2020 Be Like (2020 short) – 3/10*

sống ở đây (to live here) (2020 short) – 6.5/10*

SummerWinterSummer (2021 short) – 7/10*

Blue Suite (2020 short) – 7.5/10*

Calling (2020 short) – 7/10*

Mùa hình (Trading-card Season) (2021 short, Vietnam) – 7/10*

The Promise (2020 short) – 6.5/10*

Translation of Silence (2020 short, France) – 7.5/10*

Sáng đi qua trên đường El Cajon (The Morning Passing on El Cajón Boulevard) (2019 short) – 7/10*

The Whistle at Eaton Falls (1951) – 6.5/10

Recovery (2021 short) – 6/10*

Băng ghi âm ma (Ghost Tape #10) (2018 short, Vietnam) – 7.5/10*

In the Heights (2021) – 8.5/10

Billy Boy (1954 short) – 6/10

The Fistic Mystic (1946 short) – 6/10

On with the Show! (1929) – 4/10

Peace (2021 short) – 4/10*

Malabar (2020 short, France) – 7/10*

Thang Máy (The Lift) (2020, Vietnam) – 4/10*

The Mitchells vs. the Machines (2021) – 7/10*

Yến (2021 short, Germany/Vietnam) – 7/10*

Hold Up (2021 short, Australia) – 6/10*

Summer of 2020 (2020 short) – 6/10*

The Missing Piece Project (2018 short) – 6/10*

Tiếng Mẹ Đẻ (Mother Tongue) (2019 short) – 6/10*

Rising from the Fall (2021 short) – 7/10*

Limite (1931, Brazil) – 7.5/10

The Paper Tigers (2021) – 6.5/10*

Fighting for Family (2019 short) – 7.5/10*

At Sea and Free (2021 short) – experimental film; rating withheld*

Erie County Smile (2019 short) – 7/10*

Seven Days and 35 Days: The Diary of Dang Thuy Tran (2021 short) – 6/10*

Moving Mountains (2021 short) – 7/10*

Nostalgia (2021 short) – 7/10*

Raspberry (2020 short) – 6/10*

Amputated Asscheeks (2020 short, Germany) – 6/10*

Field Trip (2020 short, Taiwan) – 6/10*

Confluence (2021 short) – experimental film; rating withheld*

Lion on the Mat (2020 short) – 6/10*

Luca (2021) – 7/10

Tomorrow Never Came (2019 short) – 4/10*

Nhớ bà (Missing You) (2021 short) – experimental film; rating withheld*

No Crying at the Dinner Table (2021 short, Canada) – 8/10*

Savory (2021 short) – 7/10*

Buried Treasure (1938 short) – 6/10

Abusement Park (1947 short) – 6/10

Vào Đời (We Come into Life) (2020, Vietnam) – 7/10*

O Ébrio (1946, Brazil) – 7.5/10

Sài Gòn Trong Cơn Mưa (Saigon in the Rain) (2020, Vietnam) – 6.5/10*

Oklahoma! (1955) – 7.5/10

Rita Moreno: Just a Girl Who Decided to Go for It (2021) – 7/10

Lullaby (Lời Ru) (2021 short) – 6/10*

Emily Has a Body (2021 short) – 7/10*

Three Fish (2019 short) – 5/10

My Mother, the Action Star (2021 short) – 6/10*

Bloodline (2020 short) – 7.5/10*

Lamppost (2021 short) – student film; rating withheld*

Hope and Grace (2020 short) – 6.5/10*

Shades of Trish (2021 short) – 5/10*

Good News (2021 short) – 7/10*

Roll Pin Punch (2019 short) – 6/10*

Happy Rolls (2019 short) – 6.5/10*

Vô Thường (Impermanence) (2020 short, Vietnam) – 6/10*

Goodbye Janet (2021 short) – 4/10*

Giòng Sông Không Nhìn Thấy (The Unseen River) (2020 short, Vietnam) – 8.5/10*

Severed (2021 short) – 5/10*

With Whom Shall We Live? (2021 short) – experimental film; rating withheld*

Things to Do Before I Get Old (2021 short) – 5.5/10*

Interface (2020 short) – 6/10*

Thơ (2020 short) – 7/10*

The Nodey Process (2020, France) – 6.5/10*

Songs of Little Saigon (2021) – 6.5/10*

JULY

Thưa Mẹ Con Đi (Goodbye Mother) (2019, Vietnam) – 7/10*

Người Cần Quên Phải Nhớ (What We Forgot to Remember) (2020, Vietnam) – 6/10*

Les Rivières (The Rivers) (2019, France) – 7/10*

I’ll be Skiing Ya (1947 short) – 7/10

Đoạn trường vinh hoa (The Glorious Pain) (2020, Vietnam) – 7.5/10*

Mắt Biếc (Dreamy Eyes) (2019, Vietnam) – 6/10*

140 Lbs: How Beauty Killed My Mother (2019) – 8/10*

Bố Già (Dad, I'm Sorry) (2020, Vietnam) – 4/10*

Camellia Sisters (2021, Vietnam) – 4/10*

Angel Sign (2019, Japan) – 6/10*

Daughter (2021) – 7.5/10*

Trái Tim Quái Vật (The Instrument of Murder) (2020, Vietnam) – 4/10*

Rừng Thế Mạng (Survive) (2020, Vietnam) – 5/10*

Kissin’ Cousins (1964) – 5/10

Hairspray (1988) – 8/10

Hound Hunters (1947 short) – 6/10

Popeye and the Pirates (1947 short) – 6/10

A Chump at Oxford (1940) – 7.5/10

I Carry You with Me (2020) – 8/10

The Joy Luck Club (1993) – 8.5/10

The Hungry Wolf (1942 short) – 6/10

Safari So Good (1947 short) – 6/10

Jazz on a Summer’s Day (1959) – 8/10

Jammin’ the Blues (1944 short) – 9.5/10

16 Days of Glory (1986) – 7.5/10

Innertube Antics (1944 short) – 5/10

All’s Fair at the Fair (1947 short) – 6/10

AUGUST

Tomorrow’s Leaves (2021 short, Japan) – 6/10

The Suicide Squad (2021) – 7/10

Native Son (1951) – 7/10

So This is Paris (1926) – 8.5/10

The Green Knight (2021) – 7/10

Teen Kanya (1961, India) – 7/10

SEPTEMBER

The Dark Angel (1935) – 7/10

Orchestra Wives (1942) – 6/10

Cloudburst (1951) – 7/10

Paul Robeson: Tribute to an Artist (1979 short) – 7/10

Pie, Pie, Blackbird (1932 short) – 7/10

Take a Giant Step (1959) – 6.5/10

The Red Lily (1924) – 7/10

Field and Scream (1955 short) – 6/10

The End of Summer (1961, Japan) – 7/10

Little Johnny Jet (1953 short) – 7/10

The Card Counter (2021) – 7.5/10

Lady Sings the Blues (1972) – 7/10

The Emperor Jones (1933) – 6/10

Malignant (2021) – 7/10

Intruder in the Dust (1949) – 9/10

Monkey Business (1952) – 7/10

OCTOBER

Cult of the Cobra (1955) – 3/10

G.I. Blues (1960) – 6/10

No Time to Die (2021) – 7/10

Sanders of the River (1935) – 2/10

Fool’s Mate (1956 short, France) – 6.5/10

Abbott and Costello Meet Frankenstein (1948) – 8/10

The Black Rose (1950) – 6/10

Roaring Road (1926) – 6.5/10

Burnt Offerings (1976) – 6.5/10

Bats in the Belfry (1942 short) – 6/10

The Bad Seed (1956) – 8.5/10

NOVEMBER

The Monster (1925) – 5.5/10

The Greatest (1977) – 6/10

My Dear Miss Aldrich (1937) – 6/10

Song of Freedom (1936) – 7/10

Blondie Plays Cupid (1940) – 6/10

Follow That Dream (1962) – 7/10

Belfast (2021) – 8.5/10

Dune (2021) – 7/10

Listen to a Stranger: An Interview with Gordon Parks (1973 short) – 7/10

The Patsy (1928) – 7/10

Chess of the Wind (1976, Iran) – 9.5/10

Scat Cats (1957 short) – 7/10

Swing Shift Cinderella (1945 short) – 7/10

Far from the Tree (2021 short) – 7/10

Encanto (2021) – 7/10

Aladdin and His Wonderful Lamp (1939 short) – 8/10

The Boxing Kangaroo (1920 short) – 7.5/10

The Reunion (1922 short) – 7.5/10

The Cartoon Factory (1924 short) – 7/10

Vacation (1924 short) – 7/10

It’s the Cat’s (1926 short) – 6/10

Come Take a Trip in My Airship (1924 short) – 7/10

Cartoon Carnival (2021) – 7/10

The Milky Way (1940 short) – 7/10

A Wolf in Sheik’s Clothing (1948 short) – 6/10

Hurry Doctor! (1931 short) – 6/10

Betty Boop’s Crazy Inventions (1933 short) – 6.5/10

Let’s Sing with Popeye (1934 short) – 6/10

Betty Boop and Grampy (1935 short) – 6/10

Dancing on the Moon (1935 short) – 7.5/10

DECEMBER

Rocky II (1979) – 6/10

The Lineup (1958) – 8.5/10

What We Left Behind: Looking Back at Star Trek: Deep Space Nine (2018) – 7/10

The Verdict (1946) – 7/10

Onions (2020 short) – 6/10

Man on a Tightrope (1953) – 7.5/10

How to Steal a Million (1966) – 8.5/10

Good Little Monkeys (1935 short) – 6/10

Spinach vs. Hamburgers (1948 short) – 5/10

Tar with a Star (1949 short) – 7/10

Los tallos amargos (1956, Argentina) – 9/10

Olive Oyl for President (1948 short) – 7/10

Pre-Hysterical Man (1948 short) – 6/10

Popeye Meets Hercules (1948 short) – 7/10

West Side Story (2021) – 8.5/10

Symphony in Spinach (1948 short) – 6/10

Popeye’s Premiere (1949 short) – 5/10

Lumberjack and Jill (1949 short) – 6/10

Hot Air Aces (1949 short) – 6/10

A Balmy Swami (1949 short) – 6/10

Silly Hillbilly (1949 short) – 6/10

A Holiday Pageant at Home (1901 short) – 6/10

A Winter Straw Ride (1906 short) – 7/10

Spider-Man: No Way Home (2021) – 7.5/10

A Trap for Santa Claus (1909 short) – 6/10

A Christmas Accident (1912 short) – 6/10

The Adventure of the Wrong Santa Claus (1914 short) – 6/10

Santa Claus vs. Cupid (1915 short) – 5/10

Santa Claus (1925 short) – 8/10

A Christmas Carol (1910 short) – 6/10

The Night Before Christmas (1905 short) – 7.5/10

Let’s Talk Turkey (1939 short) – 6/10

Licorice Pizza (2021) – 8/10

The Bad News Bears (1975) – 7/10

[thecoleopterawithana]

I remember giggling with John as we wrote the lines 'What do you see when you turn out the light? I can't tell you but I know it's mine.' It could have been him playing with his willie under the covers, or it could have been taken on a deeper level; this was what it meant but it was a nice way to say it, a very non-specific way to say it. I always liked that.

Paul McCartney, in Barry Miles’ Many Years From Now (1997).

-

[And because we have the fortune of having a witnessing of the “With A Little Help From My Friends” writing session by Hunter Davies:

In March 1967 they were getting towards the end of the Sergeant Pepper album. They were halfway through a song for Ringo, a Ringo sort of song, which they’d begun the day before.

At two o’clock in the afternoon John arrived at Paul’s house in St John’s Wood. They both went up to Paul’s work room at the top of the house. It is a narrow, rectangular room, full of stereophonic equipment and amplifiers. There is a large triptych of Jane Asher on the wall and a large silver piece of sculpture by Paolozzi, shaped like a fireplace with Dalek heads on top.

John started playing his guitar and Paul started banging on the piano. For a couple of hours, they both banged away. Each of them seemed to be in a trance till the other came up with something good and he would pluck it out of a mass of noises and try it himself.

They’d already got the tune the previous afternoon, a gentle lilting tune, and its name, ‘A Little Help From My Friends’. Now they were trying to polish up the melody and think of some words to go with it.

‘Are you afraid when you turn out the light,’ sang John. Paul sang it after him and nodded. John said they could use that idea for all the verses, if they could think of some more questions on those lines.

‘Do you believe in love at first sight,’ sang John. ‘No,’ he said, stopping singing. ‘It hasn’t got the right number of syllables. What do you think? Can we split it up and have a pause to give it an extra syllable?’ John then sang the line, breaking it in the middle: ‘Do you believe – ugh – in love at first sight.’

‘How about,’ said Paul, ‘Do you believe in a love at first sight.’

John sang it over and accepted it. In singing it, he added the next line, ‘Yes, I’m certain it happens all the time.’

They both then sang the two lines to themselves, la-la-ing all the other lines. Apart from this, all they’d got was the chorus. ‘I’ll get by with a little help from my friends.’ John found himself singing ‘Would you believe,’ which he thought was better.

Then they changed the order round, singing the two lines ‘Would you believe in a love at first sight Yes, I’m certain it happens all the time’, before going on to ‘Are you afraid when you turn out the light’, but they still had to la-la the fourth line, which they couldn’t think of.

It was now about five o’clock. Cynthia, John’s wife arrived, wearing sunglasses, accompanied by Terry Doran, one of their (and Brian Epstein’s) old Liverpool friends. John and Paul kept on playing. Cyn picked up a paperback book and started reading. Terry produced a magazine about horoscopes.

John and Paul were singing their three lines over and over again, searching for a fourth.

‘What’s a rhyme for time?’ said John. ‘Yes, I’m certain it happens all the time. It’s got to rhyme with that line.’

‘How about, “I just feel fine”,’ suggested Cyn.

‘No,’ said John. ‘You never use the word just. It’s meaningless. It’s a fill-in word.’

John sang ‘I know it’s mine’ but nobody took much notice. It didn’t make much sense, coming after ‘Are you afraid when you turn out the light’. Somebody said it sounded obscene.

Terry asked what my birthday was. I said 7 January. Paul stopped playing, although it had looked as if he was completely concentrating on the song, and said, ‘Heh, that’s our kid’s birthday as well.’ He listened while Terry read out the horoscope. Then he went back to doodling on the piano.

In the middle of the doodling, Paul suddenly started to play ‘Can’t Buy Me Love’. John joined in, singing it very loudly, laughing and shouting. Then Paul began another song on the piano, ‘Tequila’. They both joined in again, shouting and laughing even louder. Terry and Cyn went on reading.

‘Remember in Germany,’ said John. ‘We used to shout out anything.’

They played the song again. This time John shouted out different things in each pause in the music. ‘Knickers’ and ‘Duke of Edinburgh’ and ‘tit’ and ‘Hitler’.

They both stopped all the shouting and larking around, as suddenly as they’d begun it. They went back, very quietly, to the song they were supposed to be working on. ‘What do you see when you turn out the light,’ sang John, trying slightly new words to their existing line, missing out ‘afraid’. Then he followed it with another line, ‘I can’t tell you, but I know it’s mine.’ By slightly rewording it, he’d made it fit in.

Paul said yes, that would do. He wrote down the finished four lines on a sheet of exercise paper propped up in front of him on his piano. They now had one whole verse, as well as the chorus. Paul got up and wandered round the room. John moved to the piano.

‘How about a piece of amazing cake from Basingstoke,’ said Paul, taking down a piece of rock-hard cake from a shelf. ‘It’ll do for a trifle,’ said John. Paul made a face. Terry and Cynthia were still quietly reading.

Paul got a sitar from a corner and sat down and started to tune it, shushing John to keep quiet for a minute. John sat still at the piano, looking blankly out of the window.

Outside in the front courtyard of Paul’s house, the eyes and foreheads of six girls could just be seen peering over the front wall. Then the girls dropped, exhausted, on to the pavement beyond. A few minutes later they appeared again, hanging on till their strength gave way. John peered vacantly into space through his round, wire spectacles. Then he began to play a hymn on the piano, singing words that he made up as he went along.

‘Backs to the wall, if you want to see His Face.’

Then he seemed to jump in the air and started banging out a hearty rugby song. ‘Let’s write a rugby song, eh.’ No one listened to him.

Paul had got his sitar tuned and was playing some notes on it, the same ones over and over again. He got up again and wandered round the room. John picked up the sitar this time, but he couldn’t get comfortable with it. Paul told him that he had to sit on the floor with his legs crossed and place it in the bowl of his foot. Paul said that George did it that way; it felt uncomfortable at first, but after a few centuries you got used to it. John tried it, then gave up and placed it against a chair.

‘Heh,’ said John to Terry, ‘did you get to the place?’

‘Yeh, I got you three coats, like George’s.’

‘Great,’ said John, very excited. ‘Where are they then?’

‘I paid by cheque and they wouldn’t let me have them till tomorrow.’

‘Oh,’ said John. ‘Couldn’t you have said who they were for? You should have said they were for Godfrey Winn. I want them now.’

‘They’ll be OK tomorrow,’ said Paul. ‘There’s some more stuff to get tomorrow. Don’t worry.’

Paul then went back to his guitar and started to sing and play a very slow, beautiful song about a foolish man sitting on the hill. John listened to it quietly, staring blankly out of the window, almost as if he wasn’t listening. Paul sang it many times, la-la-ing words he hadn’t thought of yet. When at last he finished, John said he’d better write the words down or he’d forget them. Paul said it was OK. He wouldn’t forget them. It was the first time Paul had played it for John. There was no discussion.

It was getting near seven o’clock, almost time to go round the corner to the EMI recording studios. They decided to ring Ringo, to tell him his song was finished – which it wasn’t – and that they would record it that evening. John picked up the phone. After a lot of playing around, he finally got through, but it was engaged. ‘If I hold on, does that mean I eventually get through?’ ‘No, you have to hang up,’ said Paul.”

[sergeant-angels-trashcan]

YA Accidental time travel to the 1930s, real world. No familiar faces (Steve and Bucky aren't Real after all) and next to no magic (hard to take away, but so very easy to stifle). One of the things they need for David's transdimensional time box requires Kate and Loki to Go Undercover as chorus girls in a musical.

First of all, Loki would be an AMAZING chorus girl, and second, now all I can see is that two-parter Doctor Who episode with Martha--Evolution of the Dalek/Daleks Take Manhattan and the implications that the Doctor is real in a different universe and that David is, unwittingly, trying to build a TARDIS

also Loki and Kate in sequins and lots of feathers please and thank

[penny-anna]

For the doctor who ask game 5, 15, 21, and 29

5. If you could pick any companion to travel with any Doctor, who would it be

Jamie + Eight which is a combo I’ve already written bcos 8 is the one everybody falls in love with & the gayest and Jamie is already super gay for the doctor so it would be off the shits in terms of gay energy

15. If you could travel with one Doctor, who would it be

6! he looks like he’d give good hugs

21. Did you cry whist watching any stories?

off the top of my head. Father’s Day slays me every time. i was also moved to tears by the War Games & Genesis of the Daleks on first viewing. 

29. Thoughts on the current Doctor?

👌👀👌👀👌👀👌👀👌👀 good shit go౦ԁ sHit👌 thats ✔ some good👌👌shit right👌👌there👌👌👌 right✔there ✔✔if i do ƽaү so my self 💯 i say so 💯 thats what im talking about right there right there (chorus: ʳᶦᵍʰᵗ ᵗʰᵉʳᵉ) mMMMMᎷМ💯 👌👌 👌НO0ОଠOOOOOОଠଠOoooᵒᵒᵒᵒᵒᵒᵒᵒᵒ👌 👌👌 👌 💯 👌 👀 👀 👀 👌👌Good shit

[allofthefeelings]

pearwaldorf replied to your post “Yes, hello, it is I, the one (1) person in all of Good Omens-adjacent...”

You can't just say that and not elaborate. *Dalek voice* EXPLAIN! EXPLAAAAIN!!

OKAY YES LET’S TALK ABOUT THIS.

Good Omens- both book and show- are texts that are often reduced to their supernatural creatures. Aziraphale and Crowley are on the cover of most copies of the book (and stars of the TV show) for a reason; other major important characters are angels and demons, the Four Horsepeople, and of course the Antichrist.

The more human characters- the Them besides Adam; Warlock; Newt and Anathema; Shadwell and Madame Tracy; several book characters who were excised from the show- all have ties to supernaturality, but no specific supernatural abilities. And they and the supernatural characters are often parallels, both having things the other cannot- the tradeoff, basically, between powers and humanity.

So much of the discussion of both the show and the book are focused through Aziraphale and Crowley and the powers of Heaven and Hell that most discussion I’ve seen that wrestles with the humans at all uses them as the mirrors. And I get that, on the “the universe was created first” scale and the biblical idea of God creating humans in Her own image and etc. I think that the way that the TV show opts to frame things, with Aziraphale and Crowley as clear POV characters, contributes to that as well.

But for me, the reason I enjoy Good Omens as a book so much- and the reason that I love parts of the TV show but it doesn’t click as much for me- has always been the humans. Aziraphale and Crowley are most interesting to me as, essentially, a supernatural Greek chorus, imbued with plenty of responsibility but (due to their own choices, to their cancelling each other out, and to their limitations as angel or demon) not making much of an impact on the Apocalypse as a whole. As supernatural beings who’ve been on earth for millennia, they highlight the ways that Good and Bad aren’t as simple as people want to make them, but ultimately Aziraphale and Crowley are still hampered by who they were created to be. They’re much more interesting to me as the reflections of parts of the humans, and the biggest part of the narrative they serve for me is how we see pieces of each of them in each and every human. Each person carries bits of the divine and the demonic, and Aziraphale and Crowley can highlight that.

It’s admittedly kind of a semantic distinction, but at the same time, it’s also a question of the framing of the entire narrative, and I feel like it changes a lot of the way the audience may choose to prioritize different characters and events. Neither read is bad or incorrect- given the chosen focus of the TV show, I’d argue if any is wrong, it’s mine- but if nothing else, I feel like it adds a lot to the text to consider.

[tartantardis]

The love Doctor

(This feature originally appeared in the Daily Record on April 30, 2015, with Peter Davison previewing the Doctor Who Symphonic Spectacular. I was over the moon - a Daily Record staff reporter was meant to be doing it, then she went on holiday, so ask they asked the person who knew a wee bit about Doctor Who to do it - I wasn’t complaining!)

DOCTOR Who star Peter Davison has revealed he knew his daughter was going on dates with Scots Time Lord David Tennant before SHE did.

Davison said he knew something was going on after his daughter Georgia Moffett and 10th Doctor Tennant, from Paisley, kept going to the theatre together.

David married Georgia in December 2011 and they have three children, Olive, Wilfred and Tyler, the actress’s son from a previous relationship who David adopted four years ago.

He was speaking before a trip to Glasgow next month to host the Doctor Who Symphonic Spectacular at the Hydro, which celebrates the world’s longest running science-fiction TV series.

Peter, 64, said: “I knew there was something in the air before she did.

“She worked with him and afterwards he kept inviting her to the theatre. She said to me, ‘He’s wanting to take me to Shakespeare shows. He wants to go to the theatre all the time.’ I said, ‘Obviously he likes you,’ and she said, ‘No, I don’t think it’s that – I just think he wants to educate me.’ I told her, ‘No, no, no, that’s not the way it works...’

“When they turned up to one of the shows I was in – I think it was Spamalot – I definitely knew.”

Peter, who played the Fifth Doctor from 1982-84, will be part of the Spectacular at The SSE Hydro, Glasgow on May 29. It features music from Doctor Who, with some of the iconic monsters appearing on stage.

One person who won’t see the show, which is playing at venues around the UK, is Tennant himself. The Broadchurch star is in America shooting Marvel’s Jessica Jones, in which he plays Zebediah Kilgrave, known as the Purple Man.

Peter said: “At the moment he’s in America filming something with Marvel for Netflix, but I’m sure my daughter will come along.”

Working in Scotland is nothing new for Davison.

He said: “My first big job was at the Edinburgh Lyceum. I did a season in the Nottingham Playhouse and then I joined the Young Lyceum Theatre Company, and did the Edinburgh Festival.

“I also did a detective show up in Glasgow as well.”

With Peter Capaldi as the current TARDIS incumbent and the show being produced by Steven Moffat, from Paisley, Davison laughed: “The Scots have taken over the programme – there’s a Scottish producer and a Scottish Doctor, playing it with a Scottish accent.”

With three Scots Time Lords, Sylvester McCoy, from Dunoon, Tennant and Capaldi, from Glasgow, Davison admits family ties sway him to pick his favourite Doctor from north of the Border.

The former All Creatures Great and Small star said: “I would have to say it was David.

“He did a fantastic job, even though he wasn’t playing it as a Scottish Doctor. It’s quite funny when he does the Doctor Who audiobooks, as he reads most of them in a Scottish accent and then does his London Doctor.

“Sylvester was fantastic, but I didn’t get to see much of him. You don’t tend to watch the Doctors immediately after you, not because you don’t like them, but you can’t suspend your sense of disbelief. You know the process by which it’s made, so it’s quite difficult to watch.

“One of the problems we had in my time was no special effects.

“We would also get writers in who had worked on Softly Softly or something like that the previous week, and then they’d come in and knock off a Doctor Who. Nowadays, it’s consistently well-written by people who love the genre.

“It surprised me when it came back as such a prestigious show, but it was brilliant. Russell T. Davies did a great job. The fans have started making the show –  people who had grown up watching myself and other Doctors – they’ve got into the business and wanted to carry on with it.

“When I made it, it was sold to 39 countries and spread far and wide while making the BBC lots of money, but it was never the prestigious programme it is now.”

The Symphonic Spectacular showcases the music written by Murray Gold for the revived TV series since 2005, and features 100 performers including the BBC National Orchestra of Wales and members of the BBC National Chorus of Wales, conducted by Ben Foster. Davison acted as presenter for the show in Australia and New Zealand.

He said: “At heart it’s an orchestral concert playing the music from Doctor Who, but we have lots of extras – it’s done in a very exciting way with a symphonic orchestra, with specially edited clips on big screens, and there’s monsters wandering around with Cybermen, the Silence and the Daleks.

“I then come on and introduce them “When you see it played by musicians together, it’s powerful stuff.”

[theonetruepotato87]

Another song for the doctor

(Verse 1)

In a world of wonders, where time stands still,

There's a blue box that can take you at will,

With a madman inside, who'salways on the run,

Traveling through time, chasing adventures for fun.

(Chorus)

Oh, step inside the TARDIS, hold on tight,

With the Doctor as your guide, we'll take flight,

Through the stars and galaxies, we'll roam,

In the TARDIS, our journey knows no home.

(Verse 2)

The Doctor's a genius, with a heart so kind,

A thousand years old, but forever in his prime,

He'll whisk you away to places unknown,

Where history unfolds and legends are sown.

(Chorus)

Oh, step inside the TARDIS, hold on tight,

With the Doctor as your guide, we'll take flight,

Through the stars and galaxies, we'll roam,

In the TARDIS, our journey knows no home.

(Bridge)

From ancient Egypt to the future's embrace,

We'll witness wonders and explore time's space,

With the TARDIS as our vessel, we'll defy all laws,

Together with the Doctor, we'll conquer any cause.

(Verse 3)

Through Daleks and Cybermen, we'll bravely fight,

Protecting the universe, with all our might,

With each new adventure, we'll learn and grow,

In the TARDIS, there's nowhere we can't go.

(Chorus)

Oh, step inside the TARDIS, hold on tight,

With the Doctor as your guide, we'll take flight,

Through the stars and galaxies, we'll roam,

In the TARDIS, our journey knows no home.

(Outro)

So come along, my friend, let's take a chance,

In the TARDIS, we'll join the cosmic dance,

With the Doctor by our side, we'll never be alone,

In the TARDIS, our travels will forever be known.