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timeagainreviews · 11 months ago

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Dance, Magic Dance: The Church on Ruby Road

With the return of Russell T Davies we were given a “new” Doctor Who logo with their revamped take on the classic diamond logo. The diamond logo is everywhere now. Books, web content, episodes, and more are stamped with it. Everything except for the “Doctor Who: The Collection,” blu-rays which continue to display the Jodie Whittaker era logo. The reason for this is simple- spines. Most people display books and physical media with their spines facing outward. If you were to change the font on those spines, they lose their uniformity. For some people, that shit is infuriating. It’s not just Doctor Who fans either. The infamous plastic Homer head box for The Simpsons’ sixth season DVD is still controversial. If Doctor Who fans can get upset about a blu-ray spine, then imagine how they might react if you were to change the Saturday time slot to a Sunday. Or even more brazenly, imagine changing the Christmas episode to a New Year's Eve episode. Should be super easy, barely an inconvenience. Right?

It had been six years since Doctor Who last aired a Christmas special. While I have come to appreciate the importance of a Christmas episode within the fandom, I argued in favour of the change at the time as I am not the biggest fan of Christmas. I have history with the holiday, like many of us do. New Year’s Eve also pertains to time, so it made some sense. And for as cheerful as they tend to be, Doctor Who Christmas specials were becoming a graveyard of regenerating Doctors. I get that Christmas is about renewal, but watching the Doctor die on Christmas isn’t my jam, especially if they’re surrounded by a bunch of tacky Christmas decor. Only one other time do we see a freshly regenerated Doctor at the beginning of a Christmas episode and that was David Tennant in “The Christmas Invasion.” It also consistently ranks as the best of the RTD Christmas specials. Though I believe “The Church on Ruby Road,” may soon challenge that.

Before I get into it, I want to preface this by saying I was on my third flute of Buck’s Fizz by the time the episode started. I don’t usually drink alcohol when I’m about to watch a film or TV show. I once went to see Terry Gilliam’s “The Brothers Grimm,” while drunk and it was a bad time on two fronts. But this was Christmas, I was feeling a bit jolly. I only mention this because I may be a bit fuzzy on the details. It’s funny then that the details are another reason I’m feeling a bit fuzzy. Last night, when I should have been asleep, I was researching runes, glyphs, and symbols in an attempt to identify the symbols drawn on the Doctor’s fingernails. That’s how intriguing this new era of Doctor Who is- it’s got me doing research into the early hours of the morning.

Where I first noticed the symbols drawn on Ncuti’s fingernails was in the below promotional image. They looked like some fan had put them there, but when I saw that it was official, I felt a stir inside. Part of me mourned for the kids who have parents like my mom who would see those symbols, call them Satanic and forbid them from watching Doctor Who. The other part of me questioned their function. I know Ncuti Gatwa is an avid follower of the zodiac, so I was braced for it to be that simple, but I had hoped it was something more. In my research, I had trouble finding an exact match for the two clearest runes in the picture. The character on his ring finger looks a bit like the number three in Psalter Pahlavi or like something from Linear A. While the crescent shape on his middle finger looked a bit like the alchemical symbol for platinum or the zodiac symbols for the Sun and Moon. When you’re a time and space travelling alien, your zodiac and table of elements must reach beyond our solar system. They could be alchemical symbols for Dalekanium or the zodiac symbol for Gallifrey. Maybe with this new magical Whoniverse, the Doctor now writes talismans on his fingers for protection.

It’s an enchanting prospect that we get to discover this new magic through the eyes of a new Doctor and companion. There’s a sort of levelling of the playing field for us as fans to come into this new chapter of Doctor Who slightly off our bearings. Who better to lead us through the chaos of magic than the Doctor himself? If his fingernails are a sign of this change, then he’s already got a leg-up on us, which is an exciting place to be as an audience. It’s so easy to be a pedantic know-it-all when the answer is always “Aliens,” but what about all those times a wizard did it, or in this case, the Toymaker?

Our introduction to Ruby Sunday was a bit surprising. Leaving her on a church doorstep felt like a page out of the Steven Moffat playbook of fairy tale magic. But also grounded in the character development we got with Rose, Martha, and Donna. Ruby’s backstory is a mystery, but her agency is not. Ruby has friends, a band, and a family. We’ve known her for 55 minutes and I already have a decent grasp on who she is as a person. She has a compassion for Lulubelle which goes beyond being kidnapped by Goblins. You can see she feels a kinship as a fellow foundling. She knows how it feels to feel disconnected from her history. Similarly, the Doctor can look at both Ruby and Lulubelle and see himself on their faces. He too was adopted after being left behind.

I enjoyed this aspect of the story as my own family is touched by adoption. My mother found out she was adopted after her adoptive parents died. Coincidentally, she had already adopted a little girl from China a year or so prior. I now have three adopted siblings and I love them all. It means a lot to me to see them portraying Ruby’s family as a realistic depiction of an adopted family. Her adoptive mother, Carla, is as good a mother as one could hope for. When she admits she was nervous about Ruby finding her biological mother, it’s understandable. She doesn’t want to ruin the beautiful family that started when Ruby came into her and her mother Cherry’s lives.

The Davina McCall scene may be the weakest part of the episode. Aside from the prologue, it’s basically the first scene, and much like the other opening scenes in the RTD2 era, it’s a bit wonky. The dialogue lends itself to Ruby’s nervousness being interviewed, but “foundled,” is a bit too close to fondled for my tastes. It’s VOR all over again. The main takeaway from the interview is that Ruby was the baby left at the church (no surprises there) and that Davina’s people are going to try to find her birth parents. Sadly, as we come to find out, Ruby’s parents prove to be untraceable. The interview is cut short when the mics begin picking up the sound of Goblins. I feel like the only reason they were Goblins is because pointy-eared mischief makers called Gremlins ruining Christmas was a bit too close to a certain ‘80s movie. Better to go for a story with musical numbers about Goblins who steal babies for the Goblin King. No ‘80s movies infringed there… wait a minute. I kid of course, there’s nothing wrong with paying homage to the classics.

Before we get too far from the interview scene, I want to talk about Denzel. No, I don’t mean America’s sweetheart, Denzel Washington, I mean the sound guy. Was I drunk, or did Ruby mention he asked her out? I’d heard rumours she was going to have a bit of a love triangle with her boyfriend and the Doctor. I wonder if it’s not him. It would be weird to have a sound guy with a unique name who gets mentioned again if it’s not going to come back into play. I think this might enter the territory of the controversial aspects of the season that Millie Gibson alluded to recently. It’s funny then that the part of me that finds any of that controversial is the part of me that hates the idea of the Doctor being romantic with companions. I’ve never enjoyed it. Rose and Ten? Blech. Yaz and Thirteen? Snore. Representation matters, sure, but what about asexual and aromantic representation? I get that people might fancy the Doctor, especially when they look like Ncuti Gatwa, but I hope the Doctor continues to ward off any advances.

Speaking of representation, I would like to take a smidgen of a moment to talk about Trudy. As a trans woman, it was nice to see her living her best life. Simply letting trans characters exist is better representation than what we got in “The Star Beast.” They didn’t even pat themselves on the backs about it in “Doctor Who Unleashed,” as I worried they might. Regardless, some cis people think that any trans representation is shoving it down their throats. They reject the reality that for many people, trans people are a part of their daily lives. If your average person took the time to learn people’s pronouns, they’d see we’re everywhere. We’re not trying to shove anything in your face. Trust me. You’re not our type.

As I said above, it’s nice to see Ruby’s life play out over this montage. You learn a bit about her life and what she gets up to. Though when I heard she had a band, I was hoping for something more punk than Christmas standards. Ncuti dancing on the dancefloor was joyous, a word which I find myself using about him a lot lately. I love the embracing of his Scottish upbringing with his kilt. When I read RTD’s Doctor Who Magazine article talking about the Doctor dancing, I worried a little bit. Sure, the Ninth Doctor proved the Doctor dances, but I worried the scene would make the Doctor feel too sexy or too human. The Eleventh Doctor’s terrible dancing garnered the name “The Giraffe,” because it was so unflattering. But the Fifteenth Doctor pulls it off in a way few others could. However, I do still take issue with one aspect of that scene and that’s Ruby leaving her drink unattended in a busy club. There are worse people than Goblins mucking about with drinks, Russell. Let’s make a good example for the young members of the audience.

The montage of the Doctor watching Ruby from afar was actually a note from Disney. Test audiences wanted to see the Doctor earlier, and I don’t disagree. In the words of Werner Herzog’s Mandalorian character- “I want to see the baby.” It also explains why we recently saw footage of Ncuti punching through a snowman head when principal photography had ended months ago. This, of course, was due to further meddling from the Goblins, who appear to be everywhere now. They’re like bedbugs who pass from person to person. I loved the line “A pram at midnight. Really?” Such a cheeky Doctor already. Gatwa gives vibes of previous Doctors throughout the entire episode, but the snowman head scene gave us one I didn’t expect. The Doctor telling the policeman to ask his girlfriend to marry him reminded me of the Eighth Doctor’s penchant for fortunetelling. Only this time, he’s not weirdly omniscient, but rather making a wild assumption after his sonic pinged a diamond ring, which is a thing it does now, evidently.

The Doctor’s new sonic screwdriver has been a bit controversial, because what isn’t in this fucking fandom lately? I get the argument that it’s just not to your liking, that’s fair. But I’ve seen some monumentally dumb takes on the subject. I saw someone complain that it wasn’t shaped like a screwdriver. I hate to break it to you, but none of them have been shaped like a screwdriver. Show me on the Third Doctor’s where you fit the Phillips head. I’ve also seen people complain that it looked like tech from the early 2000s. So their biggest complaints are that it looks weird and out of time. How inappropriate for an alien time traveller. Regardless, I loved seeing Fifteen using his assorted gadgets. His intelligent gloves feel like a natural fit amongst his classic instruments and I can see them coming in handy further down the line. There’s also something about seeing the Doctor pull out the psychic paper that brings it home for me. It’s like seeing the Doctor square off with their first Dalek. It makes them feel complete. I know RTD said they’re giving the Daleks a rest for a bit, but I hope we do get to see Ncuti officially call one a “detty pig,” before he bows out.

The Goblin ship was a great way to introduce us to the new magical aspect of the Whoniverse. Not just because it’s fantastical, but also because the Doctor wasn’t able to use his shiny new screwdriver on it. Had it been a normal spaceship with metal and wires, he would only need to point and click. But this ship is all wood and rope, rendering the sonic mostly useless. The Goblins force the Doctor to learn the science of luck, but the ship causes him to learn the language of rope. I adored watching Ruby and the Doctor bicker while he was busy learning about the ship. They’ve not been together five minutes and they’re already getting tied up by baddies. They have an instant Doctor/companion relationship and it’s obvious why they were paired together. Furthermore, Ncuti’s detachment from the danger of the situation, coupled with an admiration for the Goblins’ tech was pure Doctory goodness. I could easily see Tom Baker fiddling with rope while Sarah Jane complained that he was goofing off.

Because of the charity release of “The Goblin Song,” many of us had become intimately familiar with it before the episode. What I doubt many of us were expecting was for Ncuti and Millie to join in on the singing. While I’ve not heard anyone complain about this, I’m sure someone has. To me, it worked. For starters, it’s a Christmas episode. Secondly, the Goblins have a band. It makes sense that the Doctor would try to win them over by speaking their language. It seems to work as the Goblins dance along with the Doctor and Ruby. Much of their logic seems dictated by whimsy. They sing and dance. They cause mischief. And they are attracted to coincidence. It’s not just that Lulubelle is a baby, it’s that she’s flavoured by happenstance. Both she and Ruby are foundlings left on Christmas Eve. It’s like the sound of a dinner bell for these little munchers. While the singing and dancing worked for both the scene and the Goblins, I hope RTD continues to use it sparingly. While I expect to see it return with the Beatles episode, I don’t want the concept to wear out its welcome. Doctor Who can afford the odd musical episode, but let’s not go crazy.

With Lulubelle saved, the Doctor and Ruby get her back home before Carla or Cherry ever notice she’s gone. This gives the family a chance to meet the Doctor, starting with Cherry. Cherry’s reaction to the Fifteenth Doctor was an understandably thirsty one. RTD kind of wrote himself into a corner by casting Gatwa. It must be exhausting to begin every scene with “The Doctor enters the room and people are immediately enamoured.” He exudes charisma in a way that makes you stop looking at David Tennant. Remember the bi-generation scene? Little known fact, but Tennant was also in that scene. Another enjoyable aspect of the Cherry scene was seeing the Doctor flirt back. I know I said I dislike a romantic Doctor, but it was nice to see it with someone more age-appropriate. I kid, but what I did like about the scene was that he spoke to her as if she were a young woman. Because for him, she is. And even further, it didn’t feel like that cutesy old people flirting like “If I were younger,” bullshit. It makes sense that a time traveller would find whoever a person is in the present the most important. You can travel to the past or the future, but it all pivots along you in the present. We stand outside past and future versions of ourselves. To me, this is why the Doctor is compassionate, he sees the pivot people are capable of making. Can you now pivot beyond a dark past into a bright future?

The meeting between Carla and the Doctor was less flirtatious. Carla seemed open to this eccentric Doctor while keeping a concerned mother’s distance. The ironic thing is that not only is the Doctor like Ruby and Lulubelle, but he’s also a lot like Carla. Both of them know the weight that comes with what the Twelfth Doctor would call “duty of care.” Like the Doctor’s long list of previous companions, the photos on Carla’s fridge tell a story of lives touched. This is why when things go bad and Ruby disappears, the missing photos on the fridge cut us to our core. Michelle Greenidge floored me with her performance here. Seeing her claim her life is great because she has no responsibility was harrowing. We’ve seen her real truth. She’s a centre point of light illuminating the lives of many, not this selfish woman in it for the paycheck. Even Cherry now feels forgotten in the other room, waiting out the clock. This is a reality the Doctor cannot tolerate.

Not only are the Goblins little baby-stealing monsters, but they’re also time-hoppers, whatever the hell that means. How it differs from time travel probably has more to do with a Time Lord’s concept of elegance than anything else. But like the Daleks, I doubt Goblins have much of a concept of elegance. If anything it’s a warped admiration for coincidence. And if a baby Lulubelle isn’t a viable meal option, then the other side of that coincidental coin, baby Ruby, would have to suffice. After all, I’m fairly certain if they don’t feed the Goblin King soon, he’s going to start wooing Jennifer Connelly at a masked ball. The Doctor travels back to that church on Ruby Road. Tears still running down his face, we see the mysterious woman leaving Ruby behind. Is it her mother? Is it a younger version of the mysterious Mrs Flood? Is it Ruby herself? The Doctor doesn’t have the time to go chasing after her. He has Gobbos to stop.

Floating above the church steeple like Bowser’s airship, the Goblins begin hauling Ruby onboard. The Doctor climbs to the church roof where he puts the last spark of power in his intelligent gloves to the test. Instead of climbing up to the ship, the Doctor begins pulling the ship back down to earth by its rope ladder. However, the ladder is more likely to give out before his gloves do. So in a last-ditch effort, the Doctor brings all of his weight down using the gloves’ ability to increase mavity (I know) on the ladder. The ship plunges onto the church steeple which stabs up through the hull and into the belly of the Goblin King. With his influence and magic now dispersed, the ship and all of its Goblins disappear with it, leaving baby Ruby in a freefall. No pressure. The Doctor of course catches her using the gloves to cushion her fall. It was all a pretty lucky gamble considering the steeple could have just as easily hit Ruby, but luck is now a tangible thing, so maybe it was lucky. You could say “The Doctor killed a guy,” but you could also say this was the Goblin King’s second chance, and as you remember- “No second chances.” It would appear that the Doctor is still that sort of man.

With the Goblins gone, neither Ruby nor Davina McCall will be plagued with bad luck. Davina even gets so lucky as to have the Doctor appear just in time to prevent her from being brained by a Christmas tree star. The pictures on the fridge are back, and so is the giant crack the Goblins left when they attempted to kidnap Ruby. It makes you wonder just how Carla and Cherry will fair with squirrels getting in through the roof while Ruby is off exploring all of time and space. Does insurance cover acts of Goblin? Who knows, maybe Kate Stewart will stop by with a restoration team. All the Doctor would need to do is make a call. Mrs Flood returns to commend the Doctor for a better parking job. Is it just me or was that a subtle hint of disability representation? A subtle reminder not to block the pavement for the elderly and disabled.

I liked that the TARDIS appeared to invite Ruby inside by opening her doors to her. You could say the Doctor flipped a switch, but he was busy doing his fourth costume change. I like to think she was giving her seal of approval. I never quite understood why the TARDIS didn’t like Clara. It seemed to come out of nowhere. The TARDIS was like, “I dunno why, but I don’t like this bitch.” I guess you could say the whole Impossible Girl thing made her competition, but now it’s just starting to sound like Moffat writing women. But the TARDIS and Ruby? Just gals being pals. Sisters before misters. Empowered women empower women. Yas queen.

In the end, we’re left with Mrs Flood comforting her neighbour Abdul after he sees the TARDIS dematerialise. She gives the camera a devious smile as she says “Never seen a TARDIS before?” This of course is the classic Davies Easter Egg. He knew the fandom would blow up. And dammit, after almost twenty years of saying it, it had better be the Rani. Some people have said Romana or Susan, but she feels a bit more sinister. Besides, if it’s Susan, I’m going to be disappointed because Carol Anne Ford is still alive. If it was Susan, we’re owed a flashback to her regeneration. The reason she feels slightly sinister is the way she gaslights Abdul about the TARDIS. She yells at the poor man like he parked the thing in front of her house even though she apparently knows what it is. Conversely, she could be nobody we’ve seen before. Perhaps she’s an Eternal or “the Boss.” Either way, I’m intrigued.

Ncuti Gatwa is finally the Doctor. It almost feels unreal to be able to say that. Not only have we waited a long time to say it, but what an exciting Doctor he is already. He brings an invigorated energy to the performance. He's full of charm and I can't picture many Doctors pulling off a curtsy as well as he did. I’m still waiting for him to get a bit scary, but his amazed reaction to seeing Goblins about to eat a baby shows me he’s capable of it. I would like to see them show his age a little, but there’s still loads of time. His conversation with Cherry gave us a glimpse at the ancient being behind his eyes, but I would like to see more. While the Doctor may still have hang-ups about his past, it would appear his time with Donna was a time of emotional healing. The Doctor isn’t afraid of his emotions and it’s been a bit of a revelation just how much I like that. This Doctor wears his hearts on his sleeves and it’s surprisingly refreshing. It’s a far cry from “I'm still quite socially awkward,” and I couldn’t be any happier about that. We have a new Doctor. A new companion. New rules. Is anyone else excited for May?

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leffee · 2 months ago

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question for you. What episodes do you think hold the angstiest potential for each pet?

For example: what episode do you think has the most angst potential for Russell etc. It could be an episode that centers around the pet you're talking about, or it doesn't have to be :D

(Am I making sense rn?)

Ok, so per your request I'm only including season 1 and 2 episodes since you haven't seen anything after that for now

Vinnie - "Sunil's Sick Day" - so many choices but I decided to go with this episode. Imagine after all that happened in the episode Vinnie thinks about it all and realizes that technically Sunil got mad at him for nothing. Because in the episode they argued about him breaking Sunil's wand but... the wand was never broken in the first place and Sunil knew that. So once Vinnie realizes that he is so distraught. Did Sunil, his beloved best friend whom he can't live without make up a reason to be mad at him? Why...? Does Sunil secretely not like him and wanted an excuse to be away from him? Lots of doubts appear here. And don't even get me started if he found out Sunil said about him and I quote "Between you and me he's not that good of a dancer." Oof, big big angst potential here.

Pepper - "Sweet Pepper" - pretty much everything you said in this one long post about this episode. The rest of the girls just tried to change her so much and even when Captain liked the way she acted normally they told her not to act like herself. What? Why? Listen, I believe Zoe could act like that but Penny and especially Minka? Nuh-uh. And don't even get me started on the whole "You handed me the picture of a pretty skunk," which implies she doesn't exactly think of herself as pretty. Her angst possibility in this episode basically boils down to it all making her feel worthless and like she needs to change to be loved, drastically change.

Zoe - "Eve of Destruction" - honestly she was really hard, not because it was hard to pick an episode out of many, just because I couldn't think of any episode that has angst potential for her. In the end we have this. Imagine her and Madame Pom went through with this whole modeling content and Madame would somehow be declred a winner. She already lost to her years ago and now again? It's Zoe, and it's something she cares about - modeling, of course she's not gonna be happy. Not to mention how other pets idolized Madame Pom, I mean Vinnie and Penny saw her opinions on their dancing as the most important, and the rest of them admired her pictures and such, yeah, Zoe wouldn't be too happy if that stuck for longer. ...Why do they never act this way with her? Is she not special?

Minka - "Bad Hair Day" - might be kinda obvious but yeah, definitely holds a lot of angst, just canonically. Her friends straight up used her for money, yikes! Aside from the whole thing with her wanting to paint for herself and not for money or fame she could definitely start thinking her friends are only around her for possible monetary value. Not because they like her, but because she can give them money.

Russell - "Russell Up Some Fun" - first scenes of this episode is everyone else criticizing how he is naturally to the point he decided to change himself completely, of course it's huge angst mine. It's basically the same thing as "Sweet Pepper", just Russell feeling the need to change himself drastically so others like him. Not to mention at the end when they begged him to return to being his normal self it could definitely make him feel like others only want him to act his usual way because it benefits them, not because they like it. Do they even like him...?

Sunil - "Lights, Camera, Mongoose!" - bruh, they were so rude to him at the beggining ("Good job, David Copperfied" okay, Vinnie). At least they had a reason. Not a very good one but it's something. Still, if I were him I wouldn't be this happy about returning to them at the end of the episode especially after getting a taste of how appreciated he could be. I bitch about them doing nothing when Vinnie went missing but now that I think about it they didn't do anything about Sunil going missing in this episode either! They barely even acknowledged it before Blythe returned. Also why does Sunil go missing so much in this show smh.

Penny - "So Interesting" - I genuinely feel so bad for her whenever I rewatch this episode, I mean the beginning. Thinking there's nothing interesting about her, oof. The fact that they kept being like "There's gotta be something interesting about you!" like that's just rude, they're basically calling her boring in such a rude way not to mention the pressure. Imagine she never made up that story because she wasn't a good story teller or maybe because of that pressure that would be stressing her out. She would have to live thinking others think she's boring and being so insistent everyone has something super exciting about them. With her sensitivity especially she definitely would be super hurt and I don't blame her. Can't she just have no interesting story involving her but still be liked by them? Doesn't she have any good qualities that make others want to be her friends...?

#lps 2012 #asks

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long-suffering-little-spoon · 11 months ago

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THE GIGGLE SPOILERS!!

I am so serious I think they should've killed off 14/TenAgain lmfao. I think it would have been a more satisfying payoff to 10's regen to have him accept his death and actually die but surrounded by the love of his companions.

I do appreciate that he gets to have a happy life w Donna and her family tho. But then like who gets the trauma. 15 better have a lot cos it's not the Doctor without some juicy angst. Love his current chill vibes tho.

The bigeneration thing just kinda came out of nowhere but that's just like regular DW fare at this point lol. And like yeah I am not immune to David Tennant propaganda he is one of my beloveds but I'm just kinda sick of seeing him in Doctor Who now?? Like how many David Tennants are out here running around the universe lmao. I just want to put his era of DW behind me and let 15 shine.

And shine he did!! I bloody love him already Christmas cannot come soon enough I love him. Ncuti Gatwa is just absolutely brilliant and captivating I can't wait to see more of him.

Overall I liked most of this episode (anything I didn't mention just assume I enjoyed). But my brain does this thing where if something doesn't go the way I expected I tend to treat it as bad lmfao so I am trying to be positive lol. 7.5/10 I didn't enjoy as much as the other specials but there's definitely a lot of good stuff

Also OH MY GOD I AM SO NORMAL ABOUT THE MASTER AND THOSCHEI. OLD MAN TENSIMM ARE THRIVING IN THEIR DOMESTIC LIFE (delusional) AND 15 IS ABOUT TO MARRY A TOOTH. AND I NEED THE MASTER AND WHOEVER PICKED THEM UP TO BE PARTNERS IN CRIME I CANNOT WAIT. RUSSELL T DAVIES YOU HAVE THE POWER TO MAKE THOSCHEI CANON I BEG OF YOU DO IT DO SMTH RIGHT FOR ONCE /hj

#should there be more thoschei i think they should still be allowed to have their weird homo-erotic tensimm dynamic. as a little treat #doctor who #dr who #doctor who spoilers #doctor who 60th anniversary #the giggle #i need a tag for the whole teeth thing

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denimbex1986 · 11 months ago

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'David Tennant reflects on his first Doctor Who tenure, revealing that while he could never guess what the Tenth Doctor's final line would be, he understood how it resonated with an important stage in his life. Tennant is the second actor to play the Doctor in the show's revival, making his first appearance in "The Parting of the Ways". The actor led the series for three seasons and a handful of specials released across 2009, but would rejoin the series as a new incarnation of the Doctor in 2023.

After leading the Doctor Who's 60th-anniversary as the Fourteenth Doctor, Tennant reflected on the final moments of his Tenth Doctor tenure in BBC One's Imagine.... Russell T Davies: The Doctor and Me documentary. In the lead-up to the production of his final story "The End of Time", Tennant never came close to guessing his iconic final words as the Tenth Doctor, "I don't want to go", but truly appreciated the line for how it summarizes the character's journey alongside his and showrunner Russell T Davies' career at the time.

He sort of trailered that, months before by saying "I know what your last line is. And you're not going to be able to guess it." And I didn't. I never got close to it. But when I read it, I went "Of course." Because it's the Doctor's last line, or it's the Tenth Doctor's last line, it's also my last line, and it's Russell's last line, and it meant that it reverberated for all of us, I think.

Does The Tenth Doctor's Final Line Still Hold Up?

As the Doctor stood alone after a lengthy farewell tour in the final moments of "The End of Time", the Time Lord admitted he wasn't ready to change. With Tennant having been the Tenth Doctor for four years, not only had the actor been able to play his childhood hero, but had endeared him to a loyal fanbase who also didn't want to see him depart the role. However, with Tennant having not only returned to Doctor Who as the Tenth Doctor, but an all-new Fourteenth incarnation of the Doctor, it could be argued the impact of the line has been lessened.

While viewers would see Tennant return both on-screen and in Doctor Who's expanded media, "I don't want to go" still remains effective both for those who watched his Doctor, and in terms of its place in the franchise. Within the universe, Tennant stands as the penultimate incarnation of what appeared to be the Doctor's limited regeneration cycle at the time, meaning that it could be interpreted the Doctor's reluctance to change as being due to him entering his final life. But outside the show's universe, "I don't want to go" continues to have an impact on marking the end of an era, as both the showrunner and a star who helped elevate Doctor Who to new heights were prepared to take a final bow.

Regardless of whether the line still holds the same significance as it did upon "The End of Time" released, "I don't want to go" is still a phrase that tugs at the heartstrings of many viewers. Tennant's final Tenth Doctor episode treated the moment as if the series had reached its end, giving viewers one last glimpse at the companions both they and the Doctor cherished. As such, Tennant's recollection is a perfect summary of why the short but bittersweet line continues to impact Doctor Who to this day.'

#“I don't want to go”#The End of Time Part 2 #David Tennant #Russell T. Davies #Doctor Who #The Parting of the Ways #Imagine...Russell T. Davies: The Doctor and Me

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tygerbug · 10 months ago

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DOCTOR WHO: THE CHURCH ON RUBY ROAD (2023): A Christmas special and the first full story for Ncuti Gatwa as the Doctor and Millie Gibson as their friend Ruby Sunday. Unusually, Gatwa got a lot of screen time in the previous special, "The Giggle," presumably so that viewers could get used to the new actor, but this is Gatwa's first proper outing. While the three specials with David Tennant were a much-appreciated throwback to what the show was in 2007, this one shows what the show will be going forward. It immediately feels more modern than the previous specials, despite having the same showrunner (a returning Russell T Davies) and production team. In most respects it's standard Doctor Who fare, but the differences appear in subtler choices about tone and presentation, which show that a lot has changed since 2007.

The good news, and biggest question to be answered, is that Ncuti Gatwa has the charisma to carry the series. There is a lot going on in this performance, some of it unexplained.

What is clear is that Gatwa is extremely charming, to the point where the Doctor's first interactions with other characters tend to raise the question, is this flirting? The performance then goes on to clarify that the answer is no, but we see how people quickly fall under the Doctor's spell, charmed by that smile. This is also the most explicitly queer Doctor Who. While other Doctors had variations on one basic outfit, Gatwa's Doctor changes outfits frequently and cares about being fashionable - fashion which initially mirrors Ruby's. Gatwa is athletic and muscular, and prefers low necklines that show that off. We've seen this Doctor with bare legs and bare arms, and lots of interesting costumes. The actor's reactions to situations often feel gay-coded, or at least unbothered about being perceived that way. Doctor Who has often been very clearly gendered in the past, with the Doctor standing strong against the monsters while the female companion cowers in fear. Gatwa seems happy to play both sides of that role as needed, projecting either unshakeable charisma and confidence, or occasionally the sort of submissive fear response we'd expect from a Jo Grant. What this means for Millie Gibson's Ruby Sunday, we'll have to see.

Their time onboard the goblin ship also involves a full-on musical number, with singing and dancing, although David Bowie (Labyrinth) is not involved, having passed in 2016. Russell T Davies included newly-written musical numbers in his Christmas specials when running the show previously, but it's never been quite this overt.

Earlier, they go out dancing at an LGBT-friendly club, with the Scottish Gatwa in a kilt and yellow tank top, fully raving. Trans actress Mary Malone (The Prince) sings onstage accompanied by Ruby on keyboards. Mary is a minor character but it's enough that she's there. Trans actor Pete McHale has also been cast for the series, and Yasmin Finney (Heartstopper) of course appeared in "The Star Beast." Jinkx Monsoon (RuPaul's Drag Race) has been cast as a villain. Star names include Neil Patrick Harris in The Giggle and Jonathan Groff (Hamilton).

The casual subtext here is that people of color exist, and LGBT people exist, and are important to these stories. People who are not cishet white men exist. This has been the case, behind the scenes, on Doctor Who, since the very beginning, with the first episodes directed by Waris Hussein and produced by Verity Lambert, with a theme produced by Delia Derbyshire. However, this wasn't always reflected onscreen. Classic Doctor Who always had a gay fanbase, and had leaned into that by the 1980s. And Russell T Davies' 2005 Doctor Who worked harder to appeal to women, foregrounding the character of Rose Tyler and playing up the romantic aspect of The Doctor himself. However, there was a strong negative reaction, within the older fandom, to the casting of Jodie Whittaker and Jo Martin as The Doctor. A large chunk of the existing fanbase outed themselves as overtly bigoted.

For his part, Russell T Davies has been including elements in these specials which seem intended to drive these viewers away, such as Donna discussing (in Wild Blue Yonder) how gay the Doctor is really, or the Doctor asking The Meep The Meep's pronouns. Hopefully the bigots have stopped watching by now, so we won't have to hear much more of their whining. I have heard a lot of complaints about the unusual new Sonic Screwdriver, enough that I suspect they're really complaining about the unusual new Doctor Who. There is not, otherwise, much to complain about yet.

The monster of the week plot is a bit weak, and there's a lot about these goblins which isn't explained, and which is handwaved away quickly. The Doctor, at least, gets to waffle on about deciphering a language made up of ropes, knots, accidents, cracks and coincidences. That part sounds interesting, and suggests something evocative which isn't quite explained in full. The goblins also look good - mostly practical suits, and using every penny of the money Disney is adding to the coffers of these specials. An overarching mystery, or two, is also set up, involving Ruby Sunday's parentage … and neighbors. Davies had already hinted that an overarching villain (or villains) was coming, and this is a similar but more subtle way to keep viewers watching, until all is revealed. Running time is a bit of a problem here. The first twenty minutes pass slowly, while the last fifteen minutes cut a lot of corners. We don't have time for that, the show says, or we don't have time for that this week anyway.

Ncuti (pronounced Shuti) also excels at the real-world drama here, especially in a strangely-written scene with Ruby's adoptive mother, in which both are aware that something is missing, or has gone terribly wrong, but they're talking around their feelings about it. Here, Michelle Greenidge dampens the warmth and charm we've seen in other scenes with her, and won't look the Doctor in the eye. We must assume we'll be returning to this situation later, as there is unresolved story and it's populated with character actors -- Angela Wynter as the grandmother, Anita Dobson as the neighbor Mrs Flood, writer Gemma Arrowsmith as a social worker.

As for Millie Gibson as Ruby Sunday, the writing is a bit of a problem here, because it takes the character awhile to warm up. She is written strangely during the first twenty minutes of the special, and has very little reaction to the strange events around her. She is introduced doing an interview with TV presenter Davina McCall, which is not quite as relatable as, say, Rose Tyler eating some chips. But I respect that, for a character who initially appears to be Rose Tyler Again, the writing and performance resists the urge to make her literally that, at least in this episode. In practice this means that the character takes some very strange and disturbing events in stride as if they're normal, or as if they're nothing … then has a delayed reaction to it all at the very end of the special, both emotionally and in terms of figuring out what's just happened. I liked her a lot more in these moments, since we can now actually tell what she's thinking. It is made explicit in the script that she is having a delayed reaction and couldn't stop to think about all of this until now. Which is … strange.

Of course Ruby trusts The Doctor immediately and that explains most of her performance here, but there's something lacking in the writing, in terms of presenting Ruby as an actual normal human woman. (Clara Oswald had a similar problem.) Perhaps it's just that Russell T Davies lacks recent life experience of this kind. It feels like a later Marvel movie, where so many cataclysmic and magical things have occurred that people don't react to them like a normal person would anymore. This extends to the plot as well. Something happens to Ruby's family home which is absolutely a major problem, and which does not get solved during this special. I am reminded of how Rose Tyler, Donna Noble, and Amy Pond had to be relatable, while others like Clara Oswald simply had to be there. Is Ruby, like Clara, simply a mystery to be solved? She certainly has chemistry with Ncuti and fits well enough into (what we used to call) the traditional companion role.

Despite a typical Doctor Who plotline, and the presence of Russell T Davies as showrunner, this doesn't quite feel like 2000s Doctor Who. It's clearly a piece of streaming television in 2023, and that has changed the show in ways which are hard for me to define. I am curious how this will play out in the full series, once I have a better idea of what Russell T Davies and company are up to here.

As far as technical concerns go, it is typical for current television series to be a bit dark and murky. There shows were often shot as low contrast video, which would look very grey as raw footage, and then graded for HDR monitors that do not exist yet for the average viewer. In this respect, this special is a lot better than you'd expect, and actually better than the previous specials. It doesn't have the super-bright, overlit look of Doctor Who of old, but you can see everything, and there's usually a bright, contrasty rim light making Ncuti Gatwa's features stand out, as well as Millie Gibson's. The tradeoff with this is that the photography and editing rely too much on closeups, which are often a bit too close. It's not especially moody, but it's not an especially moody story. It's also fairly colorful. A club scene uses what Youtubers call "bisexual lighting," and most exterior scenes are surprisingly diffuse and subtle, with flatteringly soft visuals. This could pass for a current feature film, on the lower budget side, and the key locations of Ruby's family home and a pirate ship are convincingly portrayed. The audio is where I had the biggest issue, although it may be my setup. It sounded like this was mixed for 5.1 rather than the stereo speakers I was using, although everything was audible and it wasn't as bad as it could have been.

The Church at Ruby Road is a good showcase for Ncuti Gatwa's intensely charismatic and charming Doctor, which is all it really needs to be. Despite the presence of Russell T Davies, and familiar Doctor Who tropes, it feels different from 2000s Doctor Who in ways which aren't easy to define. Stylistic traits from the Chibnall and Moffat eras of the show seem to have survived into this one, more than I would have expected. Millie Gibson's Ruby Sunday is pleasant enough, but frustratingly hard to get a handle on as a character. (Think Clara Oswald rather than Rose Tyler.) The language of television and film has changed in the past two decades, and I think that's affected how these characters are written and portrayed, in ways that feel a bit distancing, at this point. I'll have more of an opinion about this as the series goes. But it's a good start and we'll see where things go from here. It's also a fresh start, with The Doctor alone again, rather than hanging out with Bonnie Langford. It's bold and confident about what it's doing, and overtly queerer than the show has been before, with or without the aid of Bonnie Langford. I am not, at this point, entirely sure what the show is actually doing, but I'm interested in finding out.

#doctor who #the church on ruby road #millie gibson #ruby sunday #ncuti gatwa #russell t davies #15th doctor

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maria-eve-falcon · 3 years ago

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all too well 10 minute version and short film

1. everyone wondering what the ending is.

I have seen people saying it is "oh she thinks they are still in love with her"...etc. etc. etc...

it could indeed be a couple of things

I personally thought it was resemblance to him having a story(the his side) waiting to be explored . also it could be a reminder to the line that he remembers it.

it could also be a resemblance to her current partner(which is very unlikely but) it could also mean that at the places the "he" was not there, the current "he" was

it could be just and ending to the sad love story

or it could be to show a happier ending with him coming back to her and she made that love story forever as a memento in the world's heart by writing about it cause it was that special to her.

or it could just plain be like " I wish you know about me and cherish our memories."

PS : what it can't be is her thinking that he still loves her. all too well is not a song like that. even the line "I hope sometimes you wonder bout me " doesn't suggest that . everyone wonders at a point of life if their exes or lovers before wonder about them. would it be different if one thing was different.

2. eww why did she talk about Jake !!!!!!!!!!!!!!!!! again!!!

she is rerecording it's inevitable

swifties are making it too much of a thing where she did not even name him

she did not even say say anything like maple latte! she is just rerecording

it is a little cringe to hear the "I get older but your lovers stay my age line" but because it's true, and truth bites. but also it's kind of shady so I will give that.

all too well is a beautiful song over all if you umm forget about the punchline line.

also since her, Jake's lovers really did not age. even though it is very wrong of me to judge him cause he dated adults technically. but that is still ok if you date an early 19 to 20 in your 30 to 40s once or twice or thrice. but seriously, he is just like Leo, like always is too much.

PS: Taylor has dated teenager Connor and harry at the age of 23 to 24

Jake is loosing little to nothing in the market or industry cause of Taylor 1 . he is doing a Michael bay(if one wants to argue, Tay did a cameo in David o Russell ) 2. he has a stability in industry and is constantly sued and has been before. it's not like he is losing a James bond role for it.

again. Taylor did not even mention him but never mind

3 the age gap. (reality and the film)

age gap:

people saying she should not make a hand touch thing in public as a huge deal and they should have made the scene like "hey I wanted to be comforted in front of your friends who are older then " 1. she was not an adult. 2. teenagers want the relationships to appreciate and cherish them and if people missed it, a 19 to 21 year old is very young and not an adult developed mind and not everyone is mature at that age. some are exceptions they should not be counted as mature to have a conversation with a man nearly in their thirties about how the relationship should go. 3. teens often do not know how to express their emotions, need and etc. sometimes we don't even know what we feel. even adults do that. 4. and that is when we scream . to feel just the little bit of validity . 5. so those who are saying that she should have wrote the dinner scene as some mature couple talking about their problems, no, because she was a teenager or a 19 year old who will not view or be as mature as the 29 year old to not scream and be mature.

so just like people are saying the dinner scenes should have been mature and should not be the first crack, teenagers are not like that

while taylor (or the character ) was dating the guy (the older 29 year old guy) her other friends or people around her and her aged kids(teens or 20 to early 20 people) had relationships that she idolize. and as any young adult person will imagine their relationship to be open and very free and something beautiful and fun she did too.

as any teen would, she was imagining to have a relationship when he was always there etc etc . because: 1. there is always this innocence of relationships or for relationships in young adults that it's free of problems. they think two people having an affair will always be fun and beautiful and problem free.

but it wasn't. specially an older guy in their 30's won't think like a teen or person in their early 20s. he was more matured and knew his priorities.

but young adults take the relationship as the first priorities. they cherish in the wrongs and find it adventurous. they look for the new and the forever. yes. any young adult or teen would think a relationship is forever. because innocence of the newness. that being said, these are the reasons why people saying the dinner scene is wrong are wrong themselves

a person new in the mature scheme of life will definitely not know how to communicate in it. so over reacting is the most natural and normal thing

it would be a bad thing if the dinner scene was calm and quiet instead of being a noisy loud fight cause that is the relate able part

not being able to tell why you are angry and everything into perfect sensible words.

hence the misunderstanding.

this is why the film was good.

if the scenes was calm it won't show the 19 year's perspective and won't do a justice.

also the older guy is indeed gaslighting. because not talking through and telling the inexperienced one about what went wrong or why they can't hold hands or didn't, he told her it was her fault. making her seem like the one committing a crime leading her to forgive him. and thinking it's her over all. it ends up pressuring her. maybe indirectly so, but it does emotionally messes with a person's head

in conclusion, an young adult dating a person in the their thirties can indeed work out, but only if both parties are matured enough. other than that it can be an emotionally messy and abusive relationship for one or the both of them.

the latter is beautifully shown in the film

#taylor swift #debunks #all too well #all too well 10 minutes version #people #criticism #review #all too well short film #jake gyllenhaal #swifties #red taylor's version #red #red tv #marvel

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thescrapbookingscientist · 2 years ago

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Biweekly Media Roundup

- Dark (TV) - Well into the second season now and while I do still want to finish it, the show has not been nearly as entertaining as it was in season one. I suppose it was inevitable that it would be less interesting once they answered most of the central mystery questions, but also it really feels like they are dragging out the melodrama, and I just can’t bring myself to care about all these boring heterosexuals as they lie to and cheat on each other constantly. Bring back the time travel nuclear fusion death ball and the 50′s lesbians.

- The Thing (Movie) - Was planning on seeing this in theatres for a 40th anniversary special, but there was an issue and the tickets got refunded. Luckily my friend had the Bluray so my homies and I met for a rewatch anyway, dope. Obviously, The Thing is a cult classic for a reason, great sense of suspense, awesome practical effects, awesome concept, tight writing, and a hell of an ending, it’s great. Also, a very good doggo.

- Escape From New York (Movie) - After finishing The Thing, the Kurt Russell + John Carpenter dream team continued with my friend putting on Escape From New York. I’d surprisingly never seen it despite being pretty familiar with the Metal Gear Solid Franchise that it spawned. I do respect the creativity of the premise and the unique look of the film, though I can’t say I’d be interested in watching it again, it’s not really my thing. The politics are still disappointingly relevant though.

- Heartstopper (TV) - Binged almost all of the first season at a friend’s house before finishing it up on my own, as well as reading a good bit of the comic. It was really cute; I liked the little graphic elements they added to the show and how sweet and relatable Charlie and Nick’s romance was. Representation wise it does a great job, and I’m glad a show like this exists for the next generation of queer kids who will really appreciate it.

- Witch Hat Atelier (Manga) - oh man oh man, this has been on my to read list for awhile and now that I’ve finally checked it out I’m in love. The art is gorgeous, the hard magic system is interwoven into the plot so well, the characters are all engaging and well-written, and I love the way it handles it’s themes of teaching and living with a disability. The child characters are precious and some of the best I’ve seen, and I love their little family with their adopted father mentors-both of whom are fantastic characters in their own right and have such a likable dynamic on their own that the author made a whole-ass other series just about them cooking meals for each other and their daughters together, absolutely wholesome. One of the few series that I’m buying the physical books for, which says a lot for how much I plan to reread it. Unfortunately the fandom is moderately small at the moment (at least in the west), so hopefully the upcoming anime will bring in some well-deserved attention to the series.

- Prehistoric Planet (TV) - Hell yeah, high quality dinosaur documentary where the dino’s are treated as actual animals? Some of them have feathers? David Attenborough?! This has been fun, makes me miss my child discovery channel phase.

- Spy X Family (Anime) - They have a dog now, nice.

- Phoenix Wright: Justice For All (Video Game) - Almost through with the second ace attorney game, I am liking Franziska and how petty she is, very Azula energy it’s great. Overall though I’m admittedly not as into it as I was with DGS, the cast isn’t nearly as solid and the Circus case in particular was. Ooof. This last case seems more promising however, and I’ve heard good things about Trials and Tribulations so hopefully the worst is behind me.

- Lot’s of Monster Anime (Multi-Anime) - Still working through these monster anime, been wanting to just skip straight to the good ones like Hanako-kun instead of sitting through all the mediocre ones but eh I dug my own grave, gotta lie in it.

Listening to: Samaritan by ionnalee, Cold Cold Man by Saint Motel, Willow by Taylor Swift, Killin’ It by Foxy Shazam, Atlantis by Seafret, Why Am I Like This? by Orla Gartland, I Won’t Say I’m in Love by Susan Egan, Starry Eyed by Ellie Goulding, Go Get Your Gun by The Dear Hunters, Twilight Princess OST

#weekly roundup #my posts

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fearsmagazine · 4 years ago

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THE SEVENTH DAY - Review

DISTRIBUTOR: Vertical Entertainment

SYNOPSIS: Many years after a tragic event. Father Peter has become a renowned exorcist in the Catholic Church. He is paired up with Father Daniel, who is just returned from his studies in Rome. On his first day in the field, Peter plunges him deep into the battle with hell on earth. When they become involved with the case of a boy accused of murdering his entire family, Daniel is forced to take the lead but the lines between good and evil blur and their own demons emerge.

REVIEW: Too often genre films dealing with the Catholic ritual of exorcism can feel stale, especially when considered against the classic film of all time, “The Exorcist.” Occasionally a film comes along offering a fresh perspective that is engaging and entertaining. Filmmaker Justin P. Lange’s new film THE SEVENTH DAY mixes in themes from a buddy picture with a urban crime drama to tell this tale of modern day exorcism.

What better place to set a film about this very Catholic ritual than the Catholic area of New Orleans, where the boroughs are called parishes. Once Father Peter is introduced to Father Daniel they roll out into the city where Peter tells Daniel he needs to change his clothes because he looks like a priest. Daniel’s first test is among the homeless population of New Orleans. When Daniel is surprised by the situation Peter steps in and saves the day. From then on, the seasoned veteran of the demonic wars takes a backseat and lets Daniel get his hands dirty, or bloody, whatever the situation. And that sets the tone for the film. Daniel is more the “rookie,” fresh from the academy. He has his book smarts, but does he have the conviction, the faith, to draw his holy water and crucifix and do what is required to send these demons back to hell.

Veterna actor Keith David and Stephen Lang are a solid addition to the cast, but Guy Pearce and Vadhir Derbez are in the spotlight. Pearce plays the grizzled street veteran. Peter, to Vadhir Derbez’s book smart Daniel. Pearce does an excellent job of bringing gravitas and grit to the role. At times he presents a “devil-may-care” element to his part that he can quickly turn into an intensity required for the situation. I enjoyed Derbez’s performance. He emulates this bookish boy who is struggling with his faith. You can see it in his face as he performs these rituals, there is an internal struggle going on within. Rounding out the cast is actor Tristan Riggs who plays the young Nicholas Miller, the boy accused of murdering his family and demonically possessed. His performance goes from the innocent child caught up in the confusion and chaos of these murders, to the extreme physical violence of a child possessed by demons.

Lange does an excellent job of crafting a hybrid tale that is engaging, visually compelling, and has just the right amount of scares. He creates some great scenes where the two priests have conversations about their experiences, faith, religion, and the presence of evil in the world. For all the pomp and circumstance of the Catholic Church it never becomes overbearing and offers the viewer something to ponder. I appreciated the way he infused action into some of the more subtler moments of the story, as well as the violentness of the exorcisms. It’s never gratuitous. Working with his actors Lange creates this feeling where you believe these priests are warriors for god.

Justin P. Lange’s THE SEVENTH DAY is a slightly different take on the exorcism genre film. He gets to work with a solid cast of veteran actors, as well as some young and talented performers. There is some thought provoking material, a few twists and surprises, and the solid effects and production values make for an entertaining and thrilling view. Also, if you haven’t seen Lange’s first feature, “Dark,” I highly recommend it. It's currently streaming on Amazon Video.

CAST: Guy Pearce, Vadhir Derbez, Stephen Lang, Keith David, Brady Jenness, Chris Galust, Robin Bartlett, Tristan Riggs, and Heath Freeman.

CREW: Director/Screenwriter - Justin P. Lange; Producers - Dallas Sonnier, Amanda Presmyk, Chelsea Davenport, and Kimberly Hwang; Cinematographer - Nick Remy Matthews; Editor - Josh Ethier; Score - Gavin Brivik; Production Designer - Adam Dietrich; Costume Designer - Charlotte Golden; Special Make-Up Effects - Josh & Sierra Russell; Visual Effects - Brandon Christensen.

OFFICIAL: N.A. FACEBOOK: N.A. TWITTER: N.A. TRAILER: https://youtu.be/d_Dx4xqNwBY RELEASE DATE: In Select Theaters and On Demand on March 26th, 2021

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)

Reviewed by Joseph B Mauceri

#film review #movie review #seventhday #the seventh day #vertical entertainment #justin p lange #joseph mauceri #joseph b mauceri #supernatural #exorcism

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mizgnomer · 5 months ago

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David Tennant and Elisabeth Sladen - Photoshoot for The Wedding of Sarah Jane Smith

Excerpt from DWM #440 - David Tennant on Elisabeth Sladen:

"There was something magical about Lis, something that she had that you can't really bottle. [...] Lis brought this extraordinary kind of febrile, warm, tender, emotional sort of joy to the part. That was Lis." "After all those years, Sarah Jane lived again, and breathed again, and was, if anything, bigger than she had been back in the day... what an extraordinary achievement. Looking back on it now, it probably doesn't seem as massive a gamble as it was, but I remember, at the time, people going, 'This is quite an odd thing to do, to bring back a character from a 1970s television programme, and then give her her own show, and expect everyone to fall in love with her.' Russell knew that it would work. He had absolute belief, and of course he was right, because he understood how great Lis was, how special she was, and that that hadn't been appreciated. There was a lot of potential there. The fact that she came back as the same character... Lis will always be remembered for that."

#david tennant #elisabeth sladen #doctor who #the sarah jane adventures #the wedding of sarah jane smith #not really counting this as one of my behind the scenes posts #but I suppose in a way it is #I do miss sarah jane #stuff i posted #whoBts #whoBtsWedding #sarah jane smith

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duncanwrites · 4 years ago

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All the books I read in 2020, reviewed in two sentences or less

My 2020 in reading was, naturally, a little strange. I had lots of long pauses, did a bad job of keeping track of everything I read, used an e-reader for the first time, and read more for work than I usually do.

So these may not be in strict chronological order as they usually are, and there may be a few missing, but here’s the list, as per tradition:

Rising Tide - John M. Barry: This history of the Mississippi floods of 1927 and the resulting changes in how the US deals with natural disasters is one of those stories about how politics and personality can become a part of the concrete world, and essential for understanding the racial dynamics of disaster response. Well-told, and worth reading.

The Consultant's Calling - Geoffrey M. Bellman: A very useful recommendation from a trusted friend that now has a long-term spot in my office shelf. This book isn't only about consulting, it also offers great thoughts about finding your place and impact in organizations in general.

Range - John Epstein: I think Range is the nonfiction book that had the second- greatest impact on my thinking about myself this year (stay tuned for number 1!): I've always approached my professional and political work as a generalist, and for a long time I felt like that approach was leading me to a dead end. Reading this convinced me that I could be effective and even more useful with my fingers in a lot of different pies, and nudged me to keep searching for my most effective place in the movement.

The Accusation - Bandi: A harrowing work of realist fiction from North Korea that shows the toll authoritarian hero-worship takes on the soul.

The Underground Railroad - Colson Whitehead: I found that the quality of The Underground Railroad did not quite match its notoriety. It felt like two books awkwardly joined, where the more grounded approach to the emotional and interpersonal stakes of slavery and freedom was attached to a poorly-explored fantasy device.

Maus - Art Spiegelman: So much more than a book about the Holocaust, Maus is about parents and how pain is handed down between generations.

I Love Dick - Chris Kraus: After a long enough time, it becomes hard to evaluate books that are meant as a provocation as well as storytelling, but even 20 years on, it's not hard to see why I Love Dick brought us so much of the style and voice of feminist writing on the internet. A unique, itchy, sticky piece of work.

Bloodchild - Octavia Butler: Whenever I see an Octavia Butler book in a used book store, I buy it. This collection of short stories is a fantastic example for what transgressive, visionary speculative fiction should aspire to.

King Leopold's Ghost - Adam Hochschild: What I love about this book and the other I've read by Hochschild (Bury the Chains_ is that he very carefully merges deep explorations of systems of violence with the way that they can be undone by the people who participate in them. King Leopold's Ghost is as much about Belgium's murderous plunder of the Congo as it is about the successful global movement against it.

Priory of the Orange Tree - Samantha Shannon: Priory of the Orange Tree is built on a strong foundation, melding Eastern and Western dragon stories into one universe, but couldn't seem to tie all of its threads together in a compelling way by the end.

Desiring the Kingdom - James K. A. Smith: Smith's point about meaning and desire being embedded in every day practices is a valuable one, but I think I may be just too far outside of his target audience of religious teachers and thinkers to get the most out of his explorations here.

City of Brass, Kingdom of Copper, Empire of Gold (The Daevabad Trilogy) - S. A. Chakraborty: This series is exceptional, and some of my favorite books of any kind that I read this year; I certainly think I recommended them more often than anything else I read in 2020. A high fantasy built on Islamic and Arab cultural iconography, the characters are insightfully developed, the world building grows with precise pacing, and the themes of intergenerational trauma, and sectarianism are handled with expert delicacy.

Leadership and the New Science - Meg Wheatley: While I appreciate the effort to apply metaphors developed from scientific paradigm shifts to provoke paradigm shifts of thinking in other areas of work, I think this book strains its chosen metaphors a bit too far to be useful.

The American Civil War: A Military History - John Keegan: I appreciate that there's a value to these kinds of military analyses of conflicts, but I found this book's neutral tone - and sometimes admiring takes - towards the Confederacy off-putting. Two things I did take from it: the outcome of the war was not certain at the beginning, and speed is truly a critical part of winning conflicts.

To Purge This Land with Blood - Stephen Oates: This was the first substantial reading I had ever done about John Brown, and Oates' book made it very clear why he is still one of the American historical figures most worth talking about today. The contradictions, complexities, and unimpeachable truths caught up in his raids are almost too many to name, but I think he is one of the people most worth thinking about when considering what actually changes the world.

Normal People - Sally Rooney: Anyone who denies that this book is anything less than a truly great novel is not telling the truth, or does not actually care about the feelings people feel. It is a work of keen emotional observation, and perfect, tender language, as well as a pleasingly dirty book -- and there is nothing I would change about it.

Conversations With Friends - Sally Rooney: Still a banger, I think Conversations with Friends struggles somewhat to get to its point, and has less of the pleasing depth and ambiguity of Normal People. Still worth your time and attention, I think.

The Glass Hotel - Emily St. John Mandel: I loved Station Eleven, and I can't imagine having to follow it up, and I unfortunately think The Glass Hotel doesn't quite accomplish all it set out to do. It wandered, hung up on a few strong images, but never progressed towards a point that needed to be made, and I finished it feeling underwhelmed.

The Water Dancer - Ta-Nehisi Coates: Coates is an essential nonfiction writer who can turn a phrase to make devastating, memorable points - but I thought his novel failed to do very many of the things that make his nonfiction great.

A Visit From The Goon Squad - Jennifer Egan: Someone once recommended this book to me as a way to study voice in character development - it is certainly that, as well as a brutally efficient window into hope, fame, and aging.

Trick Mirror - Jia Tolentino: The best parts of Trick Mirror show why Jia Tolentino is one of the writers most worth reading today: she knows how to find the experiences and people that wormhole you into dimensions of American culture that you might not otherwise think carefully about. While I think some of the essays in the book are weaker than her usual work, overall it is still terrific, and her essay on Houston rap, evangelical culture, and drugs is one of the best anythings I read all year.

My Dark Vanessa - Kate Elizabeth Russell: I feel like I'm on very shaky ground making any definitive takes about a book like this that is so fundamentally about gendered violence and what it means to be a victim of that violence. But I will say that I think it's important to recognize how power and charisma can be used to make you want something that actually hollows out your soul.

Prozac Nation - Elizabeth Wurtzel: Without a doubt, this is the nonfiction book that had the greatest personal impact on my life in 2020, and I have much longer things I've written about it that I will probably never share. While I've not ever been to the extremes she describes here, Wurtzel describes so many things that I clearly remember feeling that the shock of recognition still hasn't worn off.

The New Jim Crow - Michelle Alexander: In truth, we should all be shaking with rage at the American justice system every single day. This is certainly not the only book to explain why, but it does a particularly good job of explaining both the deep roots, and rapid expansion of the system we need to dismantle.

The Martians - Kim Stanley Robinson: Getting another little taste of the world Robinson built in the Mars Trilogy only made me want to drop everything and read them again. Well-made, but not stand-alone short stories that are worth reading if you've finished the novels and aren't ready to leave the formally-Red yet.

The Wind’s Twelve Quarters - Ursula K. Le Guin: One of the things that makes Le Guin so special is the sparseness of her prose and world building, and her genius is very much evident in her short stories.

Matter - Iain M. Banks: This is the second Culture series book I've read by Banks, and once again I thought it was inventive, satisfyingly plotted, but not so heady to be imposing. A very solid read.

Ogilvy On Advertising - David Ogilvy and Ogilvy On Advertising in the Digital Age - Miles Young: The original Ogilvy on Advertising is frustratingly smug but at least delivers plain and persuasive versions of advertising first principles. Ogilvy on Advertising in the Digital Age is also frustratingly smug, but is mainly useful as an example of the hubris and narcissism of contemporary advertising executives.

Goodbye to the Low Profile - Herb Schmertz: Schmertz was the longtime public affairs director for Mobil Oil, and in this book he talks about how they worked to manage public debate about the oil industry, without realizing that he's writing a confession. Reading this it is abundantly clear how the oil industry's commitment to making deception respectable led to the collapse of the American public sphere.

The Lean Startup - Eric Ries: I was surprised by how much I liked this book, and wish more people who wanted to start political projects would read it. The Lean method is a way of building organizations that are ruthlessly focused on serving their base of supporters, and evaluate their work against real results - and I think we all could use more of those.

Zero To One - Peter Thiel: Another book that reads like a confession when perhaps not intended to, Zero To One's main point is that the point of building businesses should be to build monopolies, and that competition is actually bad. A great starting point for understanding what's gone wrong in America's tech economy.

The Mother of All Questions - Rebecca Solnit: Of the many things to cherish about Solnit as a writer, the one I needed most when I re-read this book is her ability to gently but doggedly show other ways of imagining the world, and ourselves in it.

Native Speaker - Chang-Rae Lee: I think this is the third time I've read this novel, and the time I've enjoyed it the least: somehow on re-re-reading, the core metaphors became overbearing and over-used, and the plot and characters thinner.

Song of Achilles - Madeline Miller: There are several excellent entries in the sub-genre of classic tales re-told from the perspective of silent women characters, but this is the first I've read re-told from a man's perspective - in this case, the likely-lover of Achilles in the Iliad, Patroclus. While not necessarily a groundbreaking work of literature, it is a very well-executed one that tells a compelling story about how violence can destroy men who carry it out.

Uprooted - Naomi Novik: What makes Uprooted so engrossing is that its magical world feels grounded, and political: magic has consequences for the individuals who use it, and further consequences based on their place in the world. What makes it frustrating is the overwhelming number of things the author has happening in the story, and the difficulty they have bringing them to a conclusion.

#books #reading #booklist

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timeagainreviews · 1 year ago

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Putting the Mid in Midnight: Wild Blue Yonder

If I were to mention the film “The Horror at Party Beach,” no one would blame you for having never heard of it. In the annals of horror history, it left minimal impact on the genre. Why then were audiences asked to sign a “fright waiver,” before being permitted to see the film? Because it was never about the audience dying of fright. It was a dare to the viewer, one almost as old as cinema itself. William Castle used to start his films with a warning to the more delicate members of the audience. Reports of people fainting during “The Exorcist,” or more recently “Terrifier 2,” create a buzz around those films. Can you survive the horror or will you wind up in the hospital? The only way to know for sure is to buy a ticket! This is why when Russell T Davies issued a warning that “Wild Blue Yonder,” was possibly too scary for the kiddies, I saw it for what it was.

While I don’t doubt there was some concern that certain children may be disturbed by the imagery and tone of last night’s episode, it feels more like Davies asking audiences to just go with it. Similarly, Davies also asked us to just go with the idea of David Tennant returning by first introducing us to Ncuti Gatwa. “This isn’t a forever thing or the show moving backwards. Just go it.” After seeing how tumultuous the fandom has been since *checks notes* 1963, it feels like Davies’ tactic to unite the fandom is to encourage them to just go with it. It also feels like Davies is riffing a little, trying new things. “Wild Blue Yonder,” is an engaging exploration of the new while also referencing some of the old. Yet despite all of its experimentation, much of it feels like familiar territory.

First and foremost, I would like to state that I admire the hell out of this episode. On the rad vs trad debate, this puts one giant foot down for rad. With that said and out of the way, we need to talk about that intro. When it comes to the race of Isaac Newton you might say the show should be educational and therefore accurate in its depiction of race. But pretty early on, Doctor Who abandoned all pretence of being educational. And more recent attempts at being educational have left us with Jodie Whittaker spouting off a Wikipedia summary about an asteroid. You could also argue that this is a different type of education. A lesson in what it feels like to see your own people played by someone white. Considering Doctor Who’s history of brownface, I’m gonna say y’all need to chill the fuck out. Just go with it.

My only issue with this scene is much like the issue I had with the Children in Need special. The humour just falls so flat for me. It was a big thud on arrival. From the Kaled anagram sequence to mavity, it just doesn’t work for me. Part of me wonders if this isn’t in part because David Tennant and Catherine Tate were never on set with Nathaniel Curtis. There was no chance of improving with improv. I mentioned last week that some of the representation stuff also felt clunky. It’s weird too because when the show isn’t actively trying to make me laugh or view trans people like myself as valid, it comes off as funny and validating. Sylvia’s tuna masala and or Donna’s love for Rose do such a better job at both, yet they’re the quieter moments of the show thus far. It’s ironic to me that the more powerful moments of the second Davies era have been understated.

It’s easy to write this overstatement off, however. Thinking back to the 50th anniversary special, Clara’s line of turning people into frogs fell flat for me at the time. Now I look back at is as kind of charming. And furthermore, these big events like Children in Need, Christmas, or anniversaries get away with a bit of excess. The humour is more broad because they expect more people to be watching. It’s a time of merriment. It’s also part of why I appreciate “Wild Blue Yonder,” so much. Davies was attempting a weirder “Midnight-esque” episode in the middle of a highly publicised media event. He knew it was a bit of an ask for some audience members. Once again, it feels like an invitation to the rest of the fandom to allow room for exploration. If Doctor Who and the fandom are currently fractured, do we really need to put it back together in the same shape? Does it even need being put back together? Why not just fill the cracks with some seeds and see what grows out of them?

Since “The Star Beast,” aired, I’ve seen some people complaining that the sonic screwdriver has become too OP. Apparently, making sonic barriers is less believable than joining two cut ends of barbed wire. While I do understand that the sonic screwdriver can be a crutch for bad writing, I also understand it to be incredibly cool. Like, I’m sorry, cool beats your need for locked doors any day. If you need absolute realism in what you watch, might I suggest the window? It’s a freaking magic wand, people. Let it be magical. Doctor Who isn’t hard sci-fi. If Doctor Who’s sci-fi were a cheese, it would be brie. It looks hard but it’s gooey at its centre. You can argue that the sonic screwdriver being capable of repairing the TARDIS is too OP, but it’s also the device which removes two major plot conveniences in this episode- the TARDIS and the sonic screwdriver.

The Doctor and Donna are doing this one without a safety net. They’ve both been pared back to who they are as people. I had a feeling going in that this episode was going to have a smaller cast. It feels like Davies taking a stab at a sort of “Heaven Sent,” narrative that dissects the Doctor and Donna. In other ways it feels like an homage to Davies' own pared-back classic “Midnight,” which has gained cult status as one of his best scripts. In the short stories of Robert Aickman, readers are often left unaware when exactly things get strange. His protagonists walk through their worlds unaware of exactly when things turned hostile until they’re in the thick of it. In the same manner, much of the opening scenes of “Wild Blue Yonder,” leave us waiting for the other shoe to drop, and when it does, you may not notice right away.

Coming directly off the tonal whiplash of the Isaac Newton scene to a scenario so dangerous that it set off the H.A.D.S. system, it’s nice that the episode eases into its weirdness. The TARDIS’ eerie recitation of the song “Wild Blue Yonder,” echoes through the air with a reminder from Wilf, via Donna, that the song is not a jolly anthem, but a declaration of war. So we sit in the mystery of this gigantic ship sitting at the edge of the universe with its shifting corridors and its slow robot, as we try to ignore the clanking sound just outside the ship. It feels a bit like Doctor Who doing a haunted house in space, but you’re not exactly sure why. It’s Amityville in Space, but good.

With no sonic or TARDIS at his disposal, the Doctor can’t just point his magic wand. Even worse, the Doctor doesn’t even have the benefit of the TARDIS’ translation circuit. Whatever language this civilization uses on their ship, it’s not one of the 57,000,000,205 languages the Doctor can speak. But one language the Doctor can speak is mathematics. The Doctor may not have his tools, but he still has his mind. Deciphering the base ten of this unknown species, the Doctor can begin piecing together what is going on in this ship. Perhaps if he can figure out why an airlock had been jettisoned in the past, it might give a clue to what is happening. If he can remove the threat from the ship, the TARDIS might return. Otherwise, he and Donna could be forever stranded on this ghost ship hovering over nothingness.

If this ship is haunted, we’re about to meet the ghosts who call this place home. The Not-Things arrive quietly. So quiet that the shot establishing two Doctors and two Donnas in separate rooms initially seemed like a bad edit. When did the two of them get split up? It’s hard to remember. But we’re pretty sure the Doctor who licked the goo on the circuit is the real deal. Tasting things to figure out what they are is a classic Tennant move. The Doctor pretending to have a bad reaction to the goo evoked the Fourth Doctor pretending to go mad with power over the Key to Time. I wonder now if that wasn’t the Doctor testing a theory in the back of his mind because Donna was feeling a bit off. The Doctor has shown in the past that he knows when his companion is compromised in some way. Last week we were given early warning signs that the Doctor was becoming increasingly wary of the Meep.

Having the characters note a fluctuation in the temperature or the line “My arms are too long,” felt right at home with things like “Don’t blink!” or “Hey, who turned out the lights?” Their visible breath as an omen of ill tidings sits comfortably next to having two shadows or marking your skin to remember the Silence. I love how Doctor Who can turn everyday things like statues, shop dummies, or seeing your breath into danger. Those are the moments for the children hiding behind the sofa. One of Doctor Who’s greatest strengths is its ability to use allegory to help children face real fears. These are the modern equivalent of Grimm’s Fairy Tales.

For a brief moment, I worried the Not-Things were going to spend the whole episode with Donkey Kong arms. While an effective and trippy visual, it would have started to look goofy after the initial shock had worn off. Watching “Return to Oz,” as an adult, I’m no longer scared of the Wheelers, but as a child they had me covering my eyes. Seeing the Doctor and Donna in these twisted forms was disturbing and creepy. I can see how this episode will stick with younger members of the audience for years. I also imagine it as future fetish fuel, but that’s unavoidable. In the words of Community’s Dean Pelton- “This better not awaken anything in me.”

Watching the Doctor and Donna drive away from these twisted angry giants reminded me of Leela and K9 fleeing guards in “The Sunmakers,” or even bits from “Terminator 2: Judgement Day.” I also got whiffs of “Sin-Eaters,” from the Titan comics line. While the sharp teeth and asymmetric contortions of the distorted Doctor and Donna do a lot to sell these monsters, it’s the performances of the actors that tip the scale. Other than the times we’re not supposed to know who is who, they feel like different characters. It started tricking my brain into thinking of the Not-Things as completely different actors.

An issue I have seen come up about the Not-Things is their special effects. If you were worried that the Disney+ money was going to make the show look too polished, worry not. While many of the shots in this episode were very good, and I love the continued use of practical effects, some of the effects of the Not-Things were a bit naff. But much like the Power Rangers effects from the acid ocean scene in “The Halloween Apocalypse,” I found it charming. The only one shot from any of these sequences that I would call bad is the shot of the Not-Thing Doctor with his head between his legs. It should have either been cut or reworked.

It’s hard to talk about the plot in this story. Mysteries are looming, but for the most part it’s a series of chases punctuated by “Invasion of the Body Snatchers,” paranoia. But that isn’t to say that the screen time is wasted. Davies uses this as an opportunity to explore the Doctor’s emotional state after the events of the Flux. Something which hadn’t seemed to affect the Doctor much since the end of “The Vanquishers.” It’s also interesting to know Davies hasn’t forgotten that half the universe was destroyed by the Flux, as Chibnall seemed to have forgotten immediately after. A friend even texted me today saying how Davies treated the Flux more seriously than Chibnall, and I don’t disagree. I felt like he did a better job explaining what actually happened during the Flux. Perhaps it was bad writing, or perhaps I had already given up hope on the era, but I had no idea that the Flux had anything to do with the Doctor. I’m not even joking. It wasn’t even apparent how much of the universe had been destroyed until last night. I learned more about the Flux from a couple of lines of dialogue than I did from six episodes of “The Flux.”

After the Doctor and Donna suss out who is who, they manage to put a little space between them and the Not-Things first by way of a line of salt and ultimately by a glass door. It was at this point in the episode that I made the strongest connections to “Midnight.” The doppelgangers watching Donna and the Doctor’s every move, reading every thought, to mimic them perfectly was a lot like the creature on the Midnight tour shuttle. In both stories the creatures even reach a point where they begin studying their prey. Noting every minor movement and tic. In both stories, formless creatures are looking to hitch a ride in someone else’s body to wreak untold havoc elsewhere. Because of these similarities, I see this story as a spiritual sequel to “Midnight.” A sort of loving homage to the Tenth Doctor and Donna era.

The Not-Things dwelled in the vast nothingness at the edge of our universe growing to despise our boiling noisy existence. Like the song “Wild Blue Yonder,” their response to our shouting into the void is a declaration of war. They seemingly hate us for our existence. When the mystery ship arrived, they saw it as a perfect vessel to bring destruction to the universe. The Captain of this ship must have figured this out as it was she who set their demise into motion. Realising that the Not-Things have a harder time mimicking or noticing things that move slowly, the Captain set the ship’s robot on a very slow course to set the ship on self-destruct. She then threw herself out of the airlock to prevent the Not-Things from fully taking her form.

The Doctor and Donna’s discovery of the horselike Captain’s body as the source of the clanging against the ship demands a bit of discussion. In yet another clunky attempt at trans inclusion, the Doctor and Donna try and work out the pronouns of the Captain. The Doctor affirms to Donna that the Captain was a she, but gives no basis as to how he arrived at this conclusion. I find this noteworthy simply because it actually plays into a transphobic meme that says when trans people die, archaeologists will misgender us by our bones. Because by what means did the Doctor know the Captain was a she? He couldn’t even read her language. What if she was the first trans masc horse Captain? Are we really not gonna stan a horse king because of how his bones look? Obviously, I’m taking the piss. But I do feel like this illustrates the responsibility one takes on when they aim toward validating representation. A simple line to clear up how the Doctor knows this would help because otherwise, he’s just guessing with no reasoning to back it up.

Another weird aspect of this episode was the aforementioned glass door. If I had a quid for every time a Doctor Who 60th anniversary special ended with characters being separated by a glass door in a spaceship, I’d have two quid. Which isn’t a lot, but it’s weird that it’s happened twice. Also weird is that this episode marks the second time since we met the Fourteenth Doctor that the TARDIS enters a location by slamming into a wall. The first time being the Children in Need special “Destination: Skaro.” I would say this feels significant, but the TARDIS does land smoothly next to Cyber Dog at the beginning of “The Star Beast.” Another crash landing which could also mean nothing would be the TARDIS slamming into the tree that drops an apple on Isaac Newton’s head. Speaking of meaning nothing, what even was the point of that scene? Was it all to set up the mavity joke and the Doctor’s queerness? Or did it have a greater meaning? If not, they really should have just cut it all together. Perhaps air it as a minisode the day before “Wild Blue Yonder.” As an episode opener, it sticks out like a sore thumb.

After the Doctor almost escapes with the wrong Donna, the TARDIS gets a chance to show off its new ramps by using them to eject Not-Thing Donna like a middle-aged bowling ball. Our little android friend, now sped-up to real-time pushes the destruct button and takes the ship and Not-Things with it, thus finishing the Horse Captain’s brave mission to save the universe. I was sad we never really got to know the little robot. Its design reminded me a bit of Marvin the Paranoid Android from “The Hitchhiker’s Guide to the Galaxy.” I was ready to love its personality and then mourn its sacrifice. It’s weird that in some ways, the fan theory that we would see twisted versions of the Doctor did come halfway true. Only in this version, there was no evil Matt Smith or Peter Capaldi. It’s been a bit interesting to see the fan theories come so close yet remain so far away.

Bookending the episode is another scene removed from the main storyline, only this is a book I actually want to read. Returning the TARDIS back to the Cyber Dog location where it was last seen, we get our first glimpse of Wilfred Mott since “The End of Time.” Sadly, it’s also the final time Bernard Cribbins will grace the screen of Doctor Who ever again. This brief cameo was all they were able to film before Cribbins passed away in 2022. I think it’s safe to assume that most of us got a bit teary-eyed seeing ol’ Wilf one last time. As the Fourteenth Doctor said “I loved that man.” I’ve never met a Whovian who didn’t love his character. Seeing Wilf waiting for the Doctor and Donna to return, still believing in the Doctor after all these years, is exactly how you want to remember him. An ever-loyal soldier who doesn’t leave his post. And so shall he never leave our hearts. It was bitter-sweet, but I’m so glad we got to say goodbye.

Ultimately, this episode kept me engaged throughout its entire runtime. But where it falls short of “Midnight,” is in its inability to create the same level of tension. Perhaps it has to do with the special effects revealing so much under bright lighting. There is less left to our imaginations this time around, and therefore the scares are more on the surface. This doesn’t automatically make them uninteresting, only less engaging. It reminded me at times of the special effects from the new “It,” film series. At times it was creepy and at other times it felt like something from a computer. I’m still deeply interested in the dread the Doctor felt after introducing superstition at the edge of the universe, where the rules of reality are less defined. That seems like a bigger plot point that furthers my belief that RTD plans to continue breaking Doctor Who wide open. If I were to compare the quality of “Wild Blue Yonder,” to previous Doctor Who stories, I would go with “The Idiot’s Lantern,” or maybe “Flatline.” Both of these are episodes I enjoy but they aren’t earth-shattering either. As I said in my “Eve of the 60th” article, I would settle for competent and competent was what we got. I'm still very excited for what's to come.

#Doctor Who #Wild Blue Yonder #Fourteenth Doctor #David Tennant #Donna Noble #Catherine Tate #Not-Things #TARDIS #Russell T Davies #Wilfred Mott #Bernard Cribbins #RIP Bernard Cribbins #60th anniversary #Doctor Who 60th Anniversary #Isaac Newton #Nathaniel Curtis #BBC #timeagainreviews

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yourfanvivitran · 4 years ago

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It should come as no surprise that John Carpenter and Dan O’Bannon were students in the same film class, that they created Dark Star together, and that they both had a great affinity for 1951’s The Thing From Another World. If you put Ridley Scott’s Alien, which O’Bannon wrote, next to Carpenter’s The Thing, the parallels cannot be contended. A group of people, bound together almost exclusively by their careers, are isolated and trapped in their own environment with a murderous monster. One by one, they are picked off by this alien beast and are forced to pull out all the stops just to survive. The tension in both movies is suffocating. The suspense stays well after the credits roll.

So, why did Alien excel and why did The Thing fail?

Alien was heralded as a science fiction-horror masterpiece, raking in over $200 million at the box office. The Thing, although now recognized as one of Carpenter’s best films to rival even the likes of Halloween, barely exceeded its $15 million budget by $4 million. What’s more is that critics panned The Thing almost unanimously after its 1982 release. And to what point?

When you compare the 2 movies, it objectively doesn’t make much sense. When you sit down and watch The Thing, without even thinking of its much more popular predecessor, it still doesn’t quite add up. There is not much I can say about The Thing that hasn’t already been said before. It’s well-known, now - the writing, the acting, the practical effects, the cinematography? Masterfully done. No arguments. So what went wrong?

The most popularly accepted explanation was that it just wasn’t the right year for it. In 1982, The Thing had to contend with the Summer of Spielberg, being critiqued alongside horror giant Poltergeist and science fiction treasure E.T. How could a stark and grim story of distrust and gore stand alongside such beloved classics?

But in tandem with these films and also calling back to the success of Alien, Carpenter cites reception from various focus groups: they hated the ending.

It should be assumed at this point that if you have not yet seen The Thing, you are sorely missing out. All the same, however, be wary of spoilers.

The end of The Thing is bitter, to put it lightly. Childs (Keith David) trudges through Antarctic snow, lit by the burning wreckage of Outpost 31, towards R.J. MacReady (Kurt Russel) who sits alone, already half buried. They observe their inevitable deaths, and drink to the supposed demise of their shapeshifting predator.

A lot is left out to die in the snow.

According to Carpenter, this ending was seen by test audiences as too dismal. And rightfully so, when you take into consideration the other popular releases of 1982. Carol Anne is ultimately saved, along with the rest of her family, at the end of Poltergeist. Elliot embraces E.T. before he finally returns home. And going further back, even Ripley is able to escape the xenomorph by the skin of her teeth and secure herself the title as one of the greatest “Final Girls” ever put to the silver screen.

And what of MacReady and Childs?

Well, that’s up to your imagination, Carpenter told a test audience member who asked who the final host was at the end of the movie.

“Oh, god. I hate that,” they responded.

As a writer, this loose ends style of concluding a story is almost expected from a lot of modern works. It’s written this way in order to haunt the reader, to linger and adhere itself to the real world in the most sardonic of ways. Think Joyce Carol Oates’s “Where Are You Going, Where Have You Been?” or Flannery O’Connor’s “A Good Man Is Hard to Find.” This almost anticlimactic close of the curtain arrived in the literary world long before it found its place in film, but it’s a big point of contention in mainstream criticism.

Dark or incomplete conclusions have been met with the most scathing of responses. Beware the black cutaway of Sopranos fame. Or the near-universal outcry against the third Mass Effect game that grew so much, the developers created a morsel of DLC content that maybe kind of confirmed a more optimistic fate for our dear Shepard.

But even for the horror genre, The Thing seemed unprecedented. The only fate darker to fall upon a mainstream protagonist was Ben’s untimely death in Night of the Living Dead. The tragedy of both movies is palpable - all this trouble to survive against inhuman killers, all this trouble to outlive something gruesome and maybe even make the world a better place, and what was left to show for it?

In short, Carpenter’s science fiction terror was too much of a bummer.

I personally did not take much of a liking to horror until much later in life. My parents didn’t filter the media I consumed as much as they probably should have, and I was scarred early on by movies as cheesy and entertaining as The Lost Boys and Blade. It wasn’t until late adolescence and into college that I set out to catch up.

My roommate at the time of this resolution had been a fan of horror her whole life, her favorites being Halloween, Candyman, and The Thing. Having already known a good deal about the former two, I decided to strap in for The Thing for the first time ever.

These days, I always have several soap boxes on retainer, just waiting for the next unwitting recipient of my usually-beer-induced rants. Brian Jones was killed, Jaws single handedly endangered sharks, banning books is a stupid practice, representation in media is important, etc. Predictably, one of these soap boxes is the general lack of appreciation of The Thing, both at the time of its release and today (it does not even make the top 100 on Rotten Tomatoes’s highest rated horror movies).

And yet, at the same time, if The Thing had achieved the credit it deserved upon release, I may not like it as much as I do today.

I make a point to not read too much about movies I am feverishly anticipating, and revel in the feeling of going into a well-known movie knowing as little as possible. Most of the time, it makes for the best viewing experience, but I’m sure I don’t even have to point this out.

This was my experience seeing The Thing for the first time. I was on winter break, staying at my parents’ house for the holidays. Everyone else had gone to bed, and I stayed up late in the living room, curled up under layers of blankets, content in perfect darkness save for the television.

I had no idea what to expect, as I had not been spoiled by any TV show making any blatant references and had not done any prior reading into the film itself. And I was absolutely delighted from beginning to end.

What stays with me the most is the special effects. It’s true what they say - that practical effects hold up better than CGI alone. And the production team didn’t cut any corners in this department. Stan Winston and his team, who were later responsible for the dinosaurs in Jurassic Park, helped construct one of the best animatronics in the movie. Rob Bottin, who brought this constantly-morphing creature to life from conception to every last slimy detail, went on to be hailed as a genius in his special effects career. And there is definitely something to be said for the work of cinematographer Dean Cundey whose masterful control of lighting and framing is best seen in Who Framed Roger Rabbit?

The extent of my knowledge of the titular creature was that it was an alien. That it was an alien who could consume multiple life forms and take on their shapes was both exciting and terrifying. There’s creative genius in this premise that thrills the science fiction lover in me, and also fascinates the bookworm in me. I had been a fan of Agatha Christie novels as a teenager, and to see a new and outrageous take on the And Then There Were None structure was incredibly novel to me.

The appeal wasn’t just that there was something out there, lying in wait to torturously pick off it’s victims one-by-one. It was that it could have been anyone.

At its core, horror as we know it has deep roots in whodunnit style murder mystery. With the rise of the giallo and the sensation of the slasher, horror movies of this nature are far from uncommon and can be seen as late as 1996 with the Scream franchise. Carpenter himself spurned a new kind of fear with his breakout success with Halloween by refusing to give a bodily face to its main antagonist. Here, with The Thing, he takes the eponymous killer character to the next level by giving it the genetically inherent function of deceiving its prey. Not knowing the true face of your murderer has proven to be inherently bone-chilling.

Even now, hundreds of horror movies under my belt later and still constantly learning, I keep coming back to The Thing. I really cannot think of another movie in my wide array of favorites that I love more than The Thing, and I truly believe it has everything to do with me not knowing anything about it upon my first viewing. Every other movie I can name on my (similar to the subject) constantly changing top 10 list of most beloved horror flicks was, at some point, spoiled for me in some capacity.

Think of how often the twins in The Shining are referenced in cartoons, of all the head spinning jokes made in reference to The Exorcist. Anthony Hopkins’s portrayal of Hannibal Lector in Silence of the Lambs has become so infamous, that I knew his dialogue (and Buffalo Bill’s) long before I ever saw the movie in full.

I don’t blame these references for ruining these movies. As a super fan, I understand that compulsion to pay tribute. It’s no one’s fault and to their credit that these films take lives of their own. But the repercussions don’t age well in terms of initial viewing experiences.

All that being said, I truly cherish how much I was not exposed to this movie. The unpredictability of the creature and the quiet, looming despair that comes with it create a horror unlike any other.

Although it was a box office flop, The Thing is now a welcome and praised name in both science fiction and horror. Even Quentin Tarantino made it known that The Hateful Eight was primarily inspired on several fronts by Carpenter’s underrated work. However, it has not pervaded pop culture like so many other horror classics have left their indelible mark on film vernacular. And to that end, I hope it remains in that slight shadow of anonymity for all future enthusiasts.

#john carpenter #the thing #alien #horror #horror movie #horror film #horror genre

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janephillipsblog · 5 years ago

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My Diary of One Yellow Rabbit’s 34th Annual High Performance Rodeo - January 8 - 26, 2020

Last year I had the opportunity to volunteer for One Yellow Rabbit’s High Performance Rodeo and had such a fantastic time that I decided to do it again this year. The High Performance Rodeo Volunteer Program is proudly sponsored by East Village. There were some differences this year as due to my own theatrical commitments I was not able to attend the volunteer orientation session in November and was also not able to attend as many shows as I would have liked. Even so, I still managed to take in 11 shows and kept a diary a follows:

January 10, 2020

My first show was “bliss (the birthday party play)”, presented by Verb Theatre in The Studio at The Grand, was directed by Karen Hines and performed by Jamie Dunsdon. This was a raw and intimate investigation of ignorance, bliss, self and all the things that we wish we could un-know. The space was set up like a birthday party and the audience were all guests which was very different. I found that Jamie’s performance was thought-provoking and powerful as she took us on a winding road of a journey as she turned back the clock on her life. I very much enjoyed the journey I was taken on, particularly as I had no idea of the destination. I am very much a fan of one-person shows in general and this one did not disappoint.

January 11, 2020

“It’s The End of the World as We Know It (and I Feel Fucked)” was written and performed by The Rude Pundit, a.k.a, Lee Papa, in Motel Theatre, Arts Commons. It was directed by Mike Creter. This was a journey, through the eyes of the Rude Pundit, through Trump’s America. It was exactly what I expected and I enjoyed his diatribe and anger and a Canadian audience can relate when comparing it to what Jason Kenney and people like him want to do.

January 16, 2020

“The Land, The Animals”, took place in the Big Secret Theatre, Arts Commons and was presented by the One Yellow Rabbit ensemble. Written and directed by Blake Brooker, this piece was performed by Denise Clarke, Christopher Hunt and Andy Curtis. This show was first presented in 1991, however it was new to me. I liked that it was based on a true event experienced by Blake and Denise in 1989, which changed the direction the play was going as Blake was writing it at the time. I felt that it was very timeless. It took me to the downtown working world of Calgary, a world which I had been a part of for many years as an employee, especially as I was a lunchtime runner, as was one of the characters in the play. I also enjoyed the original score written and performed by David Rhymer.

January 17, 2020

“Revolution or Slumber”, presented at and by Western Canada High School, was a special show as it was the first time that a high school production has been in the Rodeo. An original piece, it was written and created by students, directed by Caitlin Gallichan-Lowe. I enjoyed it and thought it was well done. The show was set during a slumber party, where the teens presented their anger, worry and despair at the state of the world, whilst in the world of the usual teenage dramas, love, smoking pot, drinking and eating chips (which set off my craving for chips!) It took me back to when I was the same age and I found I related to it in that regard. Perhaps the generations are not so far apart after all. I also really liked that they had screen printed the play’s logo onto second-hand t-shirts and were selling them.

January 18, 2020

“Footnote Number 12” was presented in The Studio at The Grand by Spreafico Eckly & Theatre Replacement. It was directed by Andrea Spreafico and performed by James Long and Nancy Tam. This was a bizarre, challenging, but interesting piece set around a 2006 magazine article, that questioned what that writer had to say through today’s social context. Interesting use of sound and the modulation of the voice.

January 23, 2020

“Queer Blind Date”, was presented by Spontaneous Theatre at The Studio, Vertigo Theatre. Through improvisation and clowning, the play explores human romance, and in this version, queer courtship. As it is a re-imagined version of Rebecca’s Northan’s “Blind Date”, I could easily see how this would work for every kind of human relationship, whether straight, same sex, trans or gender-queer. The performance I saw featured the saucy but adorable female clown, “Mimi”, played by Julie Orton (there were also performances with the clown “Mathieu” played by David Benjamin Tomlinson which I will unfortunately did not get to see). The performance starts with the actors mingling in the lobby to pick Mimi’s blind date and on this particular evening she picked a young woman, with her consent of course and she was such a good sport! The play starts with their first blind date and progresses through their relationship from there and is often quite naughty, particularly with the use of puppets. I loved it, I felt it was really refreshing and well done and a show you could enjoy several times due to it being different every time.

January 24, 2020

“How To Fail As A Popstar”, A Canadian Stage Production, was presented at the Engineered Air Theatre at Arts Commons. Directed by Brendan Healy, in this piece Vivek Shraya (writer and composer) shares her journey and quest to become a popstar. I found Vivek’s performance to be raw and authentic and incredibly relatable due to the world we live in which often focuses on the destination of complete success, rather than for a person to enjoy and appreciate the journey regardless of where they end up. This was one of my top three shows this year.

“Premium Content”, by David Gagnon Walker, directed by Geoffrey Simon Brown, was presented by The Major Matt Mason Collective in The Studio at The Grand. This is the story of five friends, one of whom makes videos. It explores the relationships between these friends and issues of consent in our internet-fueled voyeuristic world. I loved the use of multi-media and though I only got to see one performance, I also loved the idea that each performance was different and would have different relationship dynamics because the actors rotated roles (each actor learnt three roles).

January 25, 2020

“Tomatoes Tried to Kill Me But Banjos Saved My Life”, was presented by Quivering Dendrites, at Lunchbox Theatre. In this piece, creator and performer Keith Alessi, under the direction of Erika Conway, shares his inspirational true story from a rocky childhood, through corporate success to a battle with cancer, during which his passion for the banjo becomes an integral part of saving his life. This was a very authentic piece and I related to it on many levels. I suspect many other people also do, as for many of us, arts unfortunately sometimes end up on the back-burner as we focus on making a living. Keith bought his first banjo as a teenager and collected many throughout the years winding up with 52 of them in a closet! The cancer diagnosis forced him to finally start to really learn to play the banjo and he started jamming with other musicians. The cancer was cured and this piece created which ultimately led to a Broadway debut. I spoke to him after the show as I have guitars and a violin in my closet – well they were until just before Christmas as I have started playing them again! The advice: get out and play regardless of your expertise. The takeaway from this show for anyone is don’t delay your passion, whatever it may be. This was my favourite show this year.

“Gemini”, presented by Defiance Theatre, took place at The Legion. The play was written by Louise Casemore and directed by Mitchell Cushman. Performed by Louise Casemore and Vern Thiessen, the play is set in a bar and was made more real in this presentation by being performed in the Legion’s second floor pub. It explores the relationship between a young, female bartender and a middle-aged, male regular, who ultimately, perhaps in part due to male entitlement, crosses the line by reading more into the relationship than he should have. This was one of my top three shows at this year’s Rodeo as I found I related to it as I was once that bartender. Both characters had a sadness to them, stuck in their situations. It also raised questions about the treatment of workers in the hospitality industry. Bartenders have so much responsibility due to the liability that they take on from serving alcohol and yet the profession is not respected, with workers making most of their income from tips, a practice, that if you think about it, is rather questionable, because it has trickled down from the class system.

“Certified” by Squid Thinks was presented in the Motel Theatre at Arts Commons. In this show, creator and performer JD Derbyshire takes us on a roller coaster of a ride as we accompany her on her journey through the mental health system. This piece was fast-paced and humourous, though with moment of heart-ache, leaving the audience with questions about the definition of insanity.

For the volunteers, the Rodeo wrapped up with a volunteer party a week later, hosted by the Village Brewery Taproom. This year we were treated to a private talk back with artists Blake Brooker, Denise Clarke and Kris Demeanor. I unfortunately did not get to see Kris’ show “Russell: Straight Up” but he gave us a quick taste and I will definitely see it when it is presented again.

The 34th Annual High Performance Rodeo was fantastic and I wish I could have seen more shows, however the ones that I did attend were enjoyable and intriguing, with many that I would happily see again. As a performer and writer I also garnered a lot of inspiration from the work I experienced. Art is truly limitless!

#calgary #hprodeo #theatre

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denimbex1986 · 1 year ago

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'Doctor Who writer Phil Ford opens up about "The Waters of Mars" fourteen years later and reveals why David Tennant's penultimate Tenth Doctor story remains one of the show's scariest episodes to date. The 2009 special starred Tennant as the Doctor, alongside Eternals' Gemma Chan, Dune's Shanon Duncan-Brewster, and Andor's Joplin Sibtain as member of the crew on the first Human colony on Mars. In "The Waters of Mars," the Doctor arrives at the doomed Bowie Base One, forcing him to question what he can do as a time traveler.

While Tennant's return is imminent for Doctor Who's 60th-anniversary specials, Ford sat down with RadioTimes.com to reflect on his contribution to the actor's initial run and why it features one of the Tenth Doctor's most terrifying moments. When discussing what makes the show scary for audiences young and old, the writer stated that many viewers had spoken to him about their appreciation for "The Waters of Mars" before citing it as a personal favorite and explaining how showrunner Russell T Davies aided him in achieving a perfect level of terror for young audiences. Check out Ford's full explanation below:

"I'm not so sure that it's moved away from that so much, I have no doubt that there will be another Doctor Who story coming down the road that will be every bit as scary, if not more than The Waters of Mars. I think scaring kids is what I've always enjoyed doing! Whether it's in Doctor Who or Sarah Jane [Adventures]... I think Russell put it to me a long time ago that it's OK to scare kids, what you don't want to do is terrify them and scar them!

I've met at conventions an awful lot of kids that admitted they were scared by The Waters of Mars, but not so much to traumatise them! They loved it because it's scary.

The Waters of Mars, from my point of view, was always going to be scary because that's what I like to do. I think the team around Doctor Who then and now is just so good at what it does, I think we all have confidence in each other in knowing just how far we can go.

And certainly, whenever I went too far, I knew Russell was going to pull me up on something... my memory of Russell is not so much hauling me back on The Waters of Mars, but on other episodes, him pushing me harder to make things even scarier and even bleaker in some cases! Which is just wonderful, because he has this amazing opinion – and talent to back it up – that really there is no story you can't tell for kids. It's just a question of how you tell that story."

What Makes "The Waters of Mars" David Tennant's Most Scary Doctor Who Story

Tennant's initial Doctor Who tenure had no shortage of standout terrifying episodes that still rank high among the franchise's darkest moments. These episodes range from the Weeping Angels' terrifying debut in "Blink," the unstoppable mimicking menace of "Midnight"'s still an unseen entity, and the gradually worsening bleak what-if scenarios of Donna's alternate timeline in "Turn Left". Despite these story moments, "The Waters of Mars" stands out as the already-overpowering Flood virus is superseded in scariness towards the end by the Tenth Doctor himself, as the show's main hero loses himself.

After grappling with his role in the universe, the Tenth Doctor casts aside every lesson he learned and changes history by saving them, declaring himself as the sole being who could change the Laws of Time. Left with the knowledge that these events should have never happened and would impact her loved ones' fates, Bowie Base One's captain, Adelaide Brook (Duncan), sacrifices herself despite the Doctor rescuing her, leaving him emotionally shattered. "The Water of Mars" isn't just a scary Doctor Who story because of its monsters, but for how far the Doctor falls, as well as showing the negative impact his actions can have on the universe should he ever give in to his darker sides.

While the following adventure, "The End of Time," may overshadow Tennant's other 2009 Doctor Who specials, "The Waters of Mars" stands out for how far it pushes the show's leading character. Rather than relying on monsters, the Tenth Doctor going too far leaves a greater impact by breaking the hero and twisting him into a barely recognizable figure. As such, it is understandable why Ford and viewers continue to rate the Tenth Doctor's penultimate adventure as one of the character's darkest stories.'

#Phil Ford #The Waters of Mars #David Tennant #The End of Time #Russell T. Davies #Gemma Chan #Shanon Duncan-Brewster #Joplin Sibtain #60th Anniversary #Blink #Midnight #Donna Noble #Turn Left #Adelaide Brook

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