#and THEN finally tenthree

[actual-changeling]

watching the agatha christie episode like :D just to see that silence in the library is next.

it is SO much worse once you've watched up to twelve. river song my beloved. you deserved better. it's still a shame we never got to see her with thirteen because my GOD. i'm convinced that's who she meant with second wife though, i will die on that hill

[banaynay-art]

ZOOMIES DOCTOR

[passive-t-u-m-b-l-r-user]

[headcanonsandmore]

Harry Houdini with every Doctor (1-15):

One: Something akin to professional curiosity. One starts chortling during a particularly daring escape, and Houdini decides he likes this stranger.

Two: Houdini flirts with Jamie who, of course, doesn't notice. But the Doctor does, and starts to wonder.

Three: This flamboyant peacock of a man explodes into Houdini's life. Having now understood what his predecessor was trying to figure out, Three takes no time in thoroughly having a lot of fun. Houdini is very happy about this.

Four: An interesting case. Less of a raw physical relationship and more like two colleagues who ended up lounging around each other and thought 'why not?'.

Five: They have tea together. Houdini is amused by the Doctor constantly bickering with the young Australian, whose girlfriend Nyssa is lovely. He isn't sure why the Doctor doesn't seem to notice this about the two women, though.

Six: More raw physicality again. Houdini got used to the coat after a while.

Seven: Houdini doesn't understand why the time lord keeps avoiding introducing him to his young friend Ace.

Eight: Whirlwind romance with lots of day drinking.

War: Houdini wonders why the Doctor hasn't visited in a while, and is faintly worried by the absence.

Nine: The time lord appears on Houdini's door one evening in the rain. They don't speak much at first, so Houdini just cuddles Nine. Sometimes he can see a deep grief in their eyes, and it scares him.

Ten: Houdini would like it to be physical but this face is somehow more depressed than the last. He wonders who this 'Rose' person is. The Doctor tells him to stay away from someone called... Captain Jack? Houdini doesn't understand, but he takes the Doctor at their word.

Eleven: They mostly talk about escapology. Eleven does kiss him once or twice, but they decide it's better to leave things at that.

Twelve: Surprisingly physical and tender. Whose are the names he whispers in quiet moments, seemingly without realising? Who is River? Who is Missy? Who is Clara?

Thirteen: The woman thing wasn't a big deal, but Houdini is baffled by the sheer intensity of the Doctor this time. She apologises whenever he gets close, saying that she isn't really into that at the moment. Houdini asks who this 'Yaz' is; the Doctor waves the question away, with a smile that doesn't reach her eyes and a blush that she doesn't seem to notice.

TenThree/ David Doctor/ Sorry-Mr-Tennant-I-can't-call-you-Fourteen: Houdini is happy that this face seems to have finally gotten some peace. His niece Rose seems lovely.

Fifteen: Houdini is physically reminded of the dandy again. In all the best ways.

[grey-and-green]

“I forgive you”

Right, okay, yes, so.

Been rewatching Good Omens and definitely not also listening to sound recordings of a few choice scenes I made and hyperfixated on and listen to on repeat in the car and I just had some Thoughts about the forgiveness stuff. I have no idea if this really means anything, but the hyperfixation won’t stop until I write it down.

There are four instances where Aziraphale directly references forgiveness to Crowley.

In chronological order:

1. “Then god forgive you”: Job Minisode.

2. “May you be forgiven”: bandstand breakup.

3. “I forgive you”: post bandstand breakup outside the bookshop.

4. “I forgive you”: Final Fifteen

1: This one intrigues me. It’s the only time Aziraphale invokes the idea of God’s forgiveness, but it’s also in response to Crowley following, literally, the will of God. It seems that Aziraphale is saying it’s wrong to follow orders that go against your moral compass and/or your moral compass should say that hurting kids is bad WHILE ALSO accepting that God actively wants the kids to be hurt. And Aziraphale thinks that he, himself, will Fall because the went against the plan - he doesn’t think God will forgive him for saving the kids - so why say “God forgive you” to a demon when he doesn’t expect that same forgiveness? Y’all, I don’t know. Aziraphale’s moral struggles and cognitive coping mechanisms are a mess.

2: In response to Crowley insulting the Great Plan. Interestingly, we’ve moved away from God’s forgiveness specifically. Even more interestingly, Crowley actually responds: “I won’t be forgiven, not ever. Part of a demon’s job description - unforgivable, that’s what I am”. Crowley seems almost upset (?) by this fact, and Aziraphale is definitely pitying after he says it. I feel like this is a moment that impacts Aziraphale’s perception of Crowley’s feelings about being a demon - likely that, in his mind, it confirms his own coping mechanism assumption that Crowley must not like being a demon, because being a demon is bad. That Crowley must, deep down, want to be forgiven. What could go wrong with this line of reasoning????

3: The next time they talk after the bandstand, when Crowley wants to run away. Specifically, after Crowley calls Aziraphale stupid. I think Aziraphale moving to “I forgive you” supports the idea that he thinks Crowley wants forgiveness. And this was such a small ‘offence’ that forgiveness doesn’t even seem necessary? But, in context, it reads as words-of-affirmation and an attempt to show affection. God may not forgive demons, but my angelic forgiveness is something I can give to him.

4: So. The Final Fifteen. It’s mean, it’s hurtful, but it sounds like it hurts Aziraphale as much as it hurts Crowley?

And with the assumptions above, is it code? I know you’re hurt, I can see you lashing out as a coping mechanism, I know how hard this is, even if you can’t be an Angel again, I still love you.

GIFs, in order, from @ineffablyruined, @tenthrees, @fuckyeahgoodomens, and @astrhae.

[clockworkouroboros]

Now that the 60th anniversary specials are all out, I guess I'm gonna share my thoughts about them all, because it's the internet or whatever. Overall, I do think there's a lot of good in these specials. The fan service is absolutely there, but it's been done in a different way than some of the past special episodes, and it really acknowledges I think the many different kinds of Doctor Who fans, from the people who just watch the revived series (or even just bits and pieces of the revived series) to fans of Classic Who and even those of us crazy enough to get into the extended universe. I mean, featuring Beep the Meep and the Toymaker as your two Big Villains is both ridiculous and speaks to the nature of Doctor Who fans that we were all so excited for them. So. A lot of really nice things about these specials all around.

In The Star Beast, we got a really nice blend of nostalgia for the original Tennant era with new, interesting characters and a healthy amount of fan service towards Beep the Meep's half a dozen fans. Between those three things and RTD's obvious love letter to and heartfelt (if perhaps a little clunky) support of queer (and especially trans) people, it's easy to look past the episode's flaws; namely, that it's very light on the plot, and the handwavey bullshit that retcons Donna losing her memories completely undercuts the emotional heavy hitting of Donna losing her memories. You mean it was *always* that easy? Fuck right off.

Wild Blue Yonder really brought in, for me, more than a hint of Wilderness Years Who. The bottle episode slightly claustrophobic feel, the terrifying unexplainable Not-Things, the goddamn salt—I thought this story was the strongest in the set. I think RTD, like many writers, has a tendency to try and make things bigger and bigger and bigger, when really, his best stories tend to be like this. Consider Midnight as another example—brilliant, terrifying, and also very similar to some of the more experimental stories of the wilderness years. If I had a complaint about this story, it's that I would want it to play into more of the sense of sensory deprivation that stories like Midnight and Scherzo did. But honestly, that's a nitpick. It infuriates me a little bit—RTD likes to go in for some spectacle, as seen in The Star Beast and especially in The Giggle (and also the s3 and s4 finales, and also DT's regeneration story, and also and also and also)—but some of his best work is done when he doesn't allow himself the spectacle and instead really pares everything down to the barest of bare bones.

And, honestly? The Giggle was a bit of a letdown. There are so many ways you could bring the Toymaker into Who again, and he ended up sort of being an afterthought. Neil Patrick Harris was obviously having a grand old time in the role, which is great—so why not give him a little more to chew on? I thought there was a lot that was great—Donna and the Doctor in the Toymaker's domain, as an example. I think, building off of Wild Blue Yonder, coming back again and again to just how much the Doctor has been through and how that has affected them, was also a really nice thing to include, and something that I wish had been brought up more during Thirteen's run, because she really went through it.

But that also brings me to my biggest issue with The Giggle, and that is the way David Tennant's Doctor (Fourteen? TenThree? TenTeen?) has been written in a way that still is overshadowing Ncuti Gatwa's Doctor. This was honestly one of my biggest concerns as soon as Tennant's return was announced, and one of RTD's past issues in Who has been his chronic overshadowing of characters of color in favor of a white fan favorite. (Martha and Mickey both get this treatment.) The regeneration scene pissed me off in a way that I didn't think Doctor Who could piss me off—generally speaking, I'm pretty level-headed about most Doctor Who things because this show is ridiculous enough that you sort of have to just roll with it. I already adore Ncuti's Doctor (from his extremely limited amount of screentime), but I can't help but feel that he's been cheated out of a proper introduction because he had to share his limited screentime with David Tennant, the most popular Doctor to ever exist in the show's 60-year history. Likewise, because of this ridiculous Journey's End 2: This Time It's Stupider nonsense, I'm genuinely concerned RTD will randomly bring DT back for some fun multi-Doctor fanwanks, and sort of write all over the first Doctor of color's era with David Tennant. Not that that will happen (I certainly hope not, anyway), but the fact that he's leaving it open as an option already has me worried.

So. Yeah. Maybe I'm being harsher on RTD than I would otherwise be, because the nostalgia for having him back is so ridiculously high that it's driving me a little insane, or maybe these are genuine issues. I'm not upset that he's back, but these specials—and especially The Giggle—left me extremely wary that we're going to get the same exact issues that he brought to Who in his first run. Overall it'll be fine, and again, I did get a lot of enjoyment out of these specials! There's a lot about RTD's writing that is objectively both good and consistent. That doesn't mean I'm not holding my breath going forward.

[thelittlecoughsomewhere]

I intend no harm to the original poster but I disagree fundamentally.

That's one of the main reason why I hated the bigeneration so much. Not a single actor who portrayed the Doctor deserves special treatment! NOT EVER! Tennant is not the Doctor. No one is. Tennant is not the best actor to ever play the doctor nor is he the biggest fan to ever play the doctor.  (These things can't be objectively measured, for crying out loud.) And also if there was someone to exist who was the best Doctor (again they can't), no they shouldn't receive special treatment that sets successors up to fail.

Also, if I see one more person say it was a childhood dream of Tennant to play the doctor and that makes him special: Peter Capaldi was also a Doctor who fan since his childhood, and Peter was older than David when he got the role, so he was longer a fan than David and therefore a bigger fan! (This is meant sarcastically, in case you can't tell)

You can have your favourite Doctor. You can say this one is my Doctor. But no one is the Doctor.

Tennant doesn't deserve special treatment. Fourteen (or as I like to call him TenThree) should have regenerated with his friends on his side this time, and finally accepted regeneration: "It's time. Here we go again. Allons-y". That would have been beautiful. That would have given closure to the loneliness and grief of Ten. And on a Doylian level Tennant would have passed on the torch to Gatwa.

But no, the Tennant doctor doesn't cease to exist and Gatwa becomes another version of the Doctor. Gatwa isn't allowed to be a classical regeneration of the Doctor and I am so so so bitter about it.

I say this and I am a fan of Ten. He's probably my favourite Doctor. (I always say Ten is my favourite Doctor and Nine is my Doctor (don't ask me to explain the difference)). I'm also a massive fan of the RTD era(which is my favourite era). I haven't even watched all of Moffat's era. I only skimmed through the Chibnall episodes. I haven't watched Classic Who.

So imagine, just for a moment, what this special treatment RTD grants Tennant must feel like for Doctor Who fans who prefer the other eras of the show. I am angry on their behalf.

I like Tennant, he is a good actor and probably a nice dude but come on man. I must admit I have lost a little bit of respect for him for allowing the bigeneration to happen. He could have said "No, I don't deserve this special treatment and I won't come back for it, Russel. Give me a normal regeneration and let me pass on the torch."

And omg RTD, I really can't stand this man any more. He also comes across so smug when he talks about the bigeneration, it's infuriating.

[fourteeninafez]

Hey, your community season idea seems really fun and interesting! I just had a few questions about how it would look before I put my hand up to join:

Would each episode be written as Script or Prose?

Is there a specific time frame that you want everything done by, other than a general "before the next series." What would happen in a writer is too busy to complete their ep?

Would the project involve pitching treatments, receiving notes, redrafting, etc., with yourself as "showrunner?"

Do you have any plans with regards to two-parters and splitting writers around them?

With the theme of family and Rose being a companion, would tenthree or Donna be poking their noses into this? Would Wilf?

What level of politics do you want from these eps? (all Black TARDIS, trans companion, queer Doctor, general doccy who shenanigans)

Sorry for flooding you with questions lol. Looking forward to hearing more about this project!

Hiya!! What great questions, I'm glad you're interested!

Each episode would ideally be written prose, though we've had the question before and are open to working in a pair to produce a script then alongside the prose to fit formatting

Before next season is the idea, we are looking at the moment in the earlier stages until we have enough people involved to make decisions on the layout. Currently we have 6 fleshed out ideas, but including the season finale and the first ep (which I need to flesh out) that's 9 out of an ideal 13 ep season! So hopefully more ideas to come and a timeline soon!

Yes!! It would be up to individual writers to write, but it would be in a publicly accessed document. We will assign a beta/continuity officer to each writer, who will go through as you write and bounce ideas off. It's lso going to be well looked at by me and the showrunners!

Very open to any two-parters as ideally we are going for a 13 ep season. You don't have to write your own suggestion, it can be down as just an idea, and in the same way if someone wants to write a 2 parter and needs a buddy to help out, the floor is open to ask for that! very much author driven there!

Again, very happy to discuss which way would be best! We have no set in stone plans, but I'd be surprised to see them not at least mentioned - if not involved in a plot! UNIT is going to feature with any luck!

We are aiming for Rose as a companion with the Doctor, and of course the Doctor himself is inherently queer! We aren't saying no to any ideas that come out of it whether or not they are political, instead we are going to have some sensitivity readers to work with us to ensure it is carefully written :)

Thanks for reaching out!! Will love to see you getting involved :D

[seismologically-silly]

so i've thought about the dr who 60th specials and wanted to write my thoughts down:

i had fun. there was stuff in each episode i liked, but stuff i think could have gone better. the concepts were there, but i think sometimes the execution was a little iffy. i'll detail how i would have done this in the readmore

first of all, we keep the practical effects. no pure cgi here no sirree.

(also) first, we'll start at the 13/tenthree regeneration: david wears jodies's clothes for his first adventure. non-negotiable. at some point he and donna have a trip to the tardis wardrobe and help him find his outfit (like ten but not ten. like this face! donna can keep her snark at his suit but it's more playful). not sure how we would do this without breaking the pacing of the tardis reveal/coffee disaster, but this is an outline i do what i want. no post-regenerative weirdness from the doctor, which is remarked upon.

the star beast: pretty good. i like the doctor saving the world with the power of transgender, so we're keeping that. we're taking out the "male-presenting time lord" bit though. donna and rose survive either by being two people and being able to take the metacrisis or by being human and letting it go. and we don't need rose to be deadnamed. rose is rose.

wild blue yonder: no notes! this was a good episode, i wouldn't tweak anything.

the giggle: the big controversial one: i enjoyed it when watching it. it had stuff in there that cater to me. reality-bending villain, shirley-anne bingham, the fifteenth doctor, all bangers. maybe we do something about the german accent though. on the subject of the toymaker: what was the point of these specials? to be the 60th, yeah, but like. all together? why are THESE the 60th? the toymaker comes from the dungeon dimensions (i've been going through discworld and that'll be apparent, sue me), and he's very likely bored there. he's going to want to play with the doctor again. maybe he sees dhawan!master committing regeneration shenanigans during power of the doctor and decides to take advantage. maybe he's the REASON dhawan!master is committing regeneration shenanigans. thirteen is talking to all those older selves anyway, maybe the toymaker wants to wind the clock back. play with one again (he misses and gets ten again, but he liked ten anyway and can work with that. he also liked ten's dynamic with donna. HEY WAIT-). it can't be that hard for the toymaker to make sure the tardis lands so the first person tenthree sees is donna. it'll be fun to see if he kills her, anyway. or maybe he's like us for the first two episodes and doesn't want her dead and is rooting for her to live. he could be more active and help the metacrisis stabilize or be us, doesn't matter. but then tenthree throws the salt and invokes a superstition at the End in wild blue yonder, and the toymaker can go from Audience to Participant FINALLY.

note: i'd probably split the giggle into two. we could have spent more time with john logie baird, more time with the toyroom, and DEFINITELY more time with Mel. i was overjoyed to have her there, but she could have been any other character and the giggle would have remained the same. if mel's going to be in this story, let's make her a part of the story.

mel works for unit, she's seen some amazing things with the doctor, and was a regeneration companion, she could be set in the toymaker's sights. he starts messing with her, and calls the tardis and tenthree and donna back for another game. let's make him more active in the plot. not sure how the tv storyline can stay, but if we're attached to it we can figure it out. anyway. plot ensues.

we keep the confrontation on the roof. tenthree is still killed by the toymaker. he regenerates into fifteen and things are amazing (ncuti is in david's clothes bc that's how this works after the harnell/troughton regeneration. i'm no unnaturalist but i INSIST on that). Going into the EU a bit to explain what i'm doing here: in Death in the Family, the Seventh Doctor faces a being not from this dimension who can rewrite the rules of reality. familiar? (not the toymaker) seven is killed. dead. no regeneration. but he's got some loophole that lets him be an echo and take his companions to different places and times so that can work on his vague plan to bring him back. shortly after getting them started, this echo fades away. i'm thinking we do something like that. whether because of the toymaker's influence, regeneration being Weird after the thirteenth even with the timeless child, or anything else, fourteen is around for a bit longer as an echo to help fifteen get his bearings. we still have our high-stakes game of catch, doing some character building for fifteen and trying to figure out what the hell just happened, and fifteen is the one who throws the ball outside of the toymaker's reach. he has his first "i am the doctor" speech and claims his prize as the toymaker's banishment. celebrations. we cut to tenthree so is smiling at his friends. he's partially see-through. the echo is fading. he looks at his future, secure. he looks at his friends, safe.

"Let's do this right, this time," he says, more to himself than anything. he turns to the doctor and straightens- it's obvious he's in a lot of pain, but he's steadfast. "This is my prize- i wish you to have a good future. have a good life, Doctor. Remember to tell your loved ones you love them."

He walks over to Donna and gives her the biggest hug she's ever received. He ropes Mel into it as well. And content in the arms of his friends his family, where Ten didn't want to go, Tenthree lets his echo fade peacefully.

The Doctor sees his friends struggling with having him fade to nothing in their arms, so he walks over and completes the hug. They don't let go for a long time.

Cut to the TARDIS. The Doctor is getting ready to go. Donna and Mel, and maybe Shirley-Anne and Kate are next to him. "Any of you want to come with?" he asks. "Big universe, lots to see. Another whirl?"

They look at each other, and with regret, shake their heads. "We've got to tell our loved ones we love them," they say. Fifteen deflates for a moment, before standing straighter and giving them a wink and a wave. Before he can fully disappear into the TARDIS, Donna grabs him.

"But you'll be coming round to visit though. Not letting you say no! Next Friday, 5pm, my house, okay?"

The Doctor laughs and gives her a big kiss on the forehead. "I'll see you then, love."

But first, off to Everywhere.

(we're keeping the jukebox)

[eldestsiblingsyndrome]

I'll say I've enjoyed star beast, the wild blue yonder was my favorite episode of dw in a long time, and I was really loving the giggle until the point where they go outside at the unit tower after that was a nosedive for me.

the bigeneration is stupid and purely exists for a "doctorverse" (i.e endless spin-off potential)

the final game was a let down. they just actually played catch, no need for mind games and tricks to defeat a trickster god anymore i suppose

why wasn't donna more involved in defeating the toy maker

seriously tenthree???

[actual-changeling]

god, thirteen just hurts when you think about it. twelve finally decided to keep living, told her to be kind above everything because that is what he learned. how to be kind, how to be good.

and she tried, she tried, but the first face she saw dies within a day, and there we go again—the blame, the guilt. putting on a mask to make sure they stay, to make sure she looks kind and fun and good. to keep them safe. don't get too close or they will die.

the universe really just broke her more and more, and coming face to face with tecteun and hearing everything she threw at her reinforced her deepest fears. no identity, no home, no home. she was tired.

no wonder ten's face came back. it's not just that she is his best friend but she was there when ten was broken and tired and felt entirely lost.

i love thirteen so much and i relate a scary amount and i hope tenthree is just. healing for all of them. they deserve it.

[ravereviewsbybloom]

The Giggle Review

I haven't watched The Celestial Toymaker. I haven't watched any One stories at all, and a mostly-lost story with an uncomfortably racist villain who literally says a slur is not exactly top of the list if I was going to. But The Giggle does something incredible to an old villain. The Toymaker is reimagined into the kind of threat worthy of a season finale, and a regeneration episode at that. There's not a lot of old antagonists who get that treatment.

The episode picks up from the sequel hook of the last episode-it's the end of the world. Everyone's angry and believes they're right all the time, and they're destroying the world with nobody there to stop it. It's a very topical apocalypse, with Donna joking that the Prime Minister hasn't really changed at all and an american newsreader decrying a device meant to protect people as a tool of control. I've read a few novels that showcase just how much the view of a global disaster has changed in a post-2020 world, and much like them this episode hits hard. I almost feel like the episode could have spent more time exploring this, certainly a standard 2x45 minute two-parter would have had plenty of time to showcase the apocalyptic conflict.

UNIT also features heavily in this episode, which has become rather standard for any high-stakes episode set on present-day-earth. Inexplicably, they seem to have acquired an avengers-style skyscraper with a helipad for their base of operations. It's a bit of a change from the more low-budget portrayals of UNIT in the past, but hey, it's cool. Kate Stewart is still leading UNIT in her brilliantly authoritative way, and Shirley was just far too fun a character not to return. More unexpectedly, however, seventh doctor companion Mel returns, having returned to earth.

And now, onto the real antagonist of this episode. The Toymaker returns after a very, very long absence. He's dropped the "Celestial", and the mandarin-styled costume is dropped in favour of french and german stereotypes, on seperate occasions. Reframing the racist stereotype character as just an actual racist bigot works pretty well. With unfortunate implications out of the way, this episode is free to explore the toymaker a terrifying trickster figure who's bested even the Master. He's an absolute love letter to camp villains too, even more so than the Master. While both of them have done murderous things while dancing to cheesy pop music, only the Toymaker does it in costume. He's even more cruel and ruthless too, as he brings tenthree's short tenure to an abrupt end by just shooting him with an artillery cannon.

But of course, it's not technically the end. Fittingly for an episode with a chaotic and incomprehensible antagonist, the Doctor does something unexpected to best him. Bi-generation is a great name and I will hear nothing against it. And more importantly, it allows the Doctor to finally give themselves a hug, and god knows they need it at this point. The unique nature of this regeneration makes fourteen (fifteen?) a little bit overshadowed in his own debut episode, but there will be plenty of time to get to know him in future episodes and even in this short amount of time, it's clear that he's an exciting and refreshing version of the character. Meanwhile, tenthree finally gets some advice from the one person he's definitely going to listen to, and decides to settle down with Donna and her family for a while. It's a very emotional ending with a powerful message, after an awful lot of trauma what the Doctor really needs is to relax for a while with a nice found family. As with all regeneration stories, the ending is an emotional blend of mourning the previous Doctor while being excited for the next. The Doctor is dead, long live the Doctor, I guess.

[casasupernovas]

i just -

i -

[rowanthestrange]

Thirteen regenerating back into Ten would literally be the ultimate Bad Ending for her.

By which I mean on a narrative level would be amazing, and I would be completely fascinated by, and makes perfect sense.

Because we want and expect Thirteen to ultimately make the ‘right’ choice at the end here. Right for the universe, and her relationship with Yaz, and for herself etc. Because she’s the hero and that’s what a ‘good person’ is supposed to do in a story. But the thing is, anyone with eyes should know by now that just cus she’s the main character, she isn’t a ‘good person’.

We have been watching her bad/Division/Master moments only get more and more blatant, but have yet to have any comeuppance for that. Nor does she even seem to have any conscience about them, not even a little bit. She enjoys being the shark. We have one episode left and that hasn’t been addressed let alone fixed.

So what if she doesn’t make the right decision? Doesn’t break the cycle. Whatever the ‘right’ choices are, it’s Dr Yaz who makes them, she’s the real Doctor in that finale, and she tries to get 13 to make the correct decision etc. But it’s not enough, this doesn’t work, and Yaz technically saves the day and does everything she should, maybe even the Master does, but the Doctor does not.

Maybe it’s not wanting to rewrite the universe to save Tigmi because that means rewriting the universe where it’s her and Yaz. Her Division story is a mirror of River’s after all, and that ends with “Not one line”. 13 does her Time Lord Victorious speech of it being her at the mountainous unreachable summit above the others after saying “You want me to sacrifice you?” versus the safety of the universe.

So maybe rather than doing what’s best for everyone including literally herself, that is what leads to her regenerating. And of course she still loses what she’s grasping onto because Yaz is her own person and will choose what’s right over selfish love every time.

Because this is worse than her regenerating into a Master. This is regression. Completely antithetical to Doctor Who as a show and as a character.

And how obscenely meta. Everyone saying ‘this is going backwards,’ and yes, maybe that’s the point. It’s designed to make you feel the same emotions in the real world, Chibnall style.

She gets those memories back, and turns back into the person defined by his obscenely selfish version of love complete with mindwiping, and never ever learned, and didn’t want to go. He has just been permanently separated from the person that he loves all over again. The Master gone too. But now he knows how to shove an inconceivably large amount of information back into a brain. Lightbulb.

Thirteen - TenThree.

[vm4vm0]

The Artists’ Room - OFFF Barcelona 2018 Film by Mathery from OFFF Festival on Vimeo.

The Artists’ Room

Inspired by the four letters that makes the OFFF festival's name, “The Artists’ Room” tells the story of Oliver, Frida, Federica and Fiona who as they talk, never pronounce their initials.

The O and Fs sounds are indeed saved for the final performance, opening the festival.

Written & Directed by: Mathery Production Company: 1st Ave Machine Producer: Kerry Smart Executive Producers: Isabella Parish Sam Penfield Serge Patzak Director of Photography: Matthew J. Smith Production Designer: Oliver Hogan Costume Designer: Coline Bach Hair & Make Up: Polly Mossman Editor: James Wright Colourist: Danny Wood Flame: Kieran Baxter Music and sound design: Smider Graphic Design: Pietro Tarsitano

CAST: Frida: Emma Laird Federica: Freya Warsi Fiona: Lydia Graham Oliver: Ed Rollit

1st Assistant Director: Sataish Oshea 2nd Assistant Director: Eleri Shone Casting: Hammond & Cox Production Assistant: Neama Batichi Focus Puller: Ran Geffen Clapper Loader: Jean Ash Key Grip: Pete Olney DIT: Jeremy Balderstone Video Playback: Nick Forrester Sound Engineers: Alan Mac Feely, Niall Cropper Gaffer: Neil Blackman Electrician: John Burke, Ricky Churchouse, Seamus Shanley Rigger: Gary Ridgewell, Luke Ridgewell Camera & Grip Equipment: Arri Media Electrical Equipment: Panalux Props Master: Alfie Fielding Props Buyer: Tors Beadles Art Department Assistants: Afra Zamara, Hannah Clarke, Jason Lee Thraves, Lottie Highfield Standby Props: James Middleton Construction Manager: Zane McGill Forest Costume Supplied by: Marios Dressing Room Costume Supplied by: Fantabody Stylist Assistant: Daniel Gray, Mahatma Michael Hair & Make Up Assistant: Nisha Aulum, Hannah Kueck, Helena Jopling Music composition: Guido Smider and Michele Caiati Foley artist and sound fx: Guido Smider, Andrea Pestarino, Daniele De Virgilio. Edit House: TenThree Assistant Editor: Chay MacTavish Post Production House: ENVY

[motioncollector]

DCN Video Pick: The Artists’ Room - OFFF Barcelona 2018 Film by Mathery by OFFF, let's feed the future // The Artists’ Room Inspired by the four letters that makes the OFFF festival's name, “The Artists’ Room” tells the story of Oliver, Frida, Federica and Fiona who as they talk, never pronounce their initials. The O and Fs sounds are indeed saved for the final performance, opening the festival. Written & Directed by: Mathery Production Company: 1st Ave Machine Producer: Kerry Smart Executive Producers: Isabella Parish Sam Penfield Serge Patzak Director of Photography: Matthew J. Smith Production Designer: Oliver Hogan Costume Designer: Coline Bach Hair & Make Up: Polly Mossman Editor: James Wright Colourist: Danny Wood Flame: Kieran Baxter Music and sound design: Smider Graphic Design: Pietro Tarsitano CAST: Frida: Emma Laird Federica: Freya Warsi Fiona: Lydia Graham Oliver: Ed Rollit 1st Assistant Director: Sataish Oshea 2nd Assistant Director: Eleri Shone Casting: Hammond & Cox Production Assistant: Neama Batichi Focus Puller: Ran Geffen Clapper Loader: Jean Ash Key Grip: Pete Olney DIT: Jeremy Balderstone Video Playback: Nick Forrester Sound Engineers: Alan Mac Feely, Niall Cropper Gaffer: Neil Blackman Electrician: John Burke, Ricky Churchouse, Seamus Shanley Rigger: Gary Ridgewell, Luke Ridgewell Camera & Grip Equipment: Arri Media Electrical Equipment: Panalux Props Master: Alfie Fielding Props Buyer: Tors Beadles Art Department Assistants: Afra Zamara, Hannah Clarke, Jason Lee Thraves, Lottie Highfield Standby Props: James Middleton Construction Manager: Zane McGill Forest Costume Supplied by: Marios Dressing Room Costume Supplied by: Fantabody Stylist Assistant: Daniel Gray, Mahatma Michael Hair & Make Up Assistant: Nisha Aulum, Hannah Kueck, Helena Jopling Music composition: Guido Smider and Michele Caiati Foley artist and sound fx: Guido Smider, Andrea Pestarino, Daniele De Virgilio. Edit House: TenThree Assistant Editor: Chay MacTavish Post Production House: ENVY