#for context i love david tennant he’s just not my favourite doctor

[whooo-eee]

i can’t express how mad i am that david tennant is 14. but ig i will try.

(disclaimer: i love david dearly as an actor and person, although his doctor is not my favourite)

jodie deserves a proper farewell, a moment to be remembered before all anyone thinks about is david’s return (the point of revealing the new doctor beforehand is so that the final episode is about celebrating the former doctor’s run)

ncuti deserves proper hype around the start of his run (and if his entrance into the show is mixed up in david’s specials then it’s not the same as the normal hype leading up to a new doctor’s series)

it feels like they’re just trying to pull back old audiences who stopped watching bc of chibnall and jodie (which feels quite an obvious and cheap trick, and also quite irritating that david’s run is viewed as ‘the good old days’)

the whole point of regeneration is that each doctor is new. like i get revisiting the old faces or whatever but tennants had his run, i don’t get why they should bring him back via regeneration (i could add a lot to this but i will refrain)

edit: so i did not explain this as well at first, i posted it when i was upset just to get it out there and see who agreed, so i’ve added some edits in brackets to clarify a bit. tbh if you get it then you get it, and if you don’t then that’s fine enjoy the specials and everything. jodie was my doctor and if david is yours then i’m happy for you.

[doverstar]

It's such a fun story about how I got into Doctor Who. I was in highschool (around 2007-2008). I'm not sure of the exact date since back then there was a huge delay when the episodes aired in the UK and in Canada. My math teacher kept talking about this sci-fi show and he kept talking about it and it piqued my interest a little. Eventually I was flipping channels (or actually I think this was when you still went to that channel that scrolled through all the stations and showed what was on) and saw Doctor Who was about to be on so I thought 'oh hey. I should check this out!' and put it on. So... that very first episode I saw was 4x12: Stolen Earth... yeah. To say I was confused is an understatement, but 16-year-old me was so intrigued by the characters and setting. The tall, dark-haired man in a suit that said funny things, the creepy robotic voices coming from the transmission, planets in the sky!?, and I could feel there was lots of context I was missing out on. Therefore, after watching Journey's End the following week, I borrowed series 1-4 from the library and was completely caught up by the time The Next Doctor aired. I actually think I started with series 2 not understanding the regeneration thing, but I got there in the end.

I remember when Matt Smith was announced as the next Doctor. (17-year-old me was smitten (and I still am)). I was in grade 12 when Eleventh Hour came out, and I immediately liked his Doctor. I loved the new opening titles, and as soon as he said 'basically run' I was sold to him being the Doctor. By the Pandorica speech in the season finale he became my favourite Doctor. I remember seeing the series 6 premiere with my family and we were all freaking out. I also saw the 50th anniversary special at the movie theatre in 3D!

Fast forward 3 years to Time of the Doctor, I was not ready for him to go. I cried. To this day I still can't watch the behind the scenes stuff for that special.

I couldn't connect to Capaldi in series 8 and I stopped watching the show before the end of that series. Over the years I heard bits of information about what happened over the years.... I remember not being sure about a girl being the Doctor at the time since I also was uneasy about Missy... and then last summer I saw a clip with David Tennant returning and I went '...what!?'. And that re-sparked my interest because WHY is he back!? So I've been rewatching the show from series 1 to current since July 2023 and getting myself all caught up. I saw the 60th specials and Church on Ruby Road, but I'm still working through the Flux season currently, and I regret not watching the show over the years. Capaldi became my second favourite Doctor by the end of his run (I cried just as much as when Matt regenerated), and Jodie is a lot of fun so far There's still a few surprises in her run that I've managed to avoid spoilers about, so I'm looking forward to this last stretch.

That's the end of my story.... but fun tidbit, I got the rest of my family into the show. Their first episode was Silence in the Library.

I especially like that your teacher got you interested in it! I can't imagine Stolen Earth/Journey's End being your introduction to the show; that would have been so weird and so confusing for me. I'm super impressed you decided to catch up and watch the show! It's no surprise you were/are smitten with Matt Smith's Doctor. I'm the same way, especially the older I get. How can you not love him? He was absolutely magical. I got my whole family into the show, too! They loved Silence in the Library, but I remember I actually got my parents interested first with Blink, but I realized my siblings liked it when I saw them watching Fear Her with enthusiasm. This show is so much fun. Thank you for sharing! Loved this.

[iacomary97]

So, hear me out (maybe spoilers)

Let's say 14 (David Tennant) has this face because of the meddling of the Toymaker or whatever character NPH will appear to be, and the clothes regenerating are part of the meddling.

When in the next 3 specials this enemy will be faced, or stopped, or defeated, and whatever they might have done to the doctor be solved, I could be ok, or i might even hope for the regeneration from 14 to 15 (Ncuti Gatwa) to include the clothes.

Like the doctor regenerates and the clothes come back as 13th outfit. I think it could look cool, and bringing a good message too that this fandom really needs.

While i love Tennant, and trust me i do, he is one of my favourite actors ever, and he is probably my favorite Doctor, he is a huge part of the story of this brand, but we need to move forward.

Ncuti Gatwa was immediatly announced as the next Doctor, and honestly seeing him regenerate into 13 clothes is like a way to say that Gatwa is the proper incarnation following Jodie, and Tennant was a beautiful short parenthesis that allowed us to honor the show in his 60th Anniversary Celebration.

Plus, Gatwa has the ability to pull off whatever he has on and this could stop whatever NMD person cause they would just be lying. And by saying this i'm not saying that only women and Gatwa can pull 13th outfit off, or about the outfit not being genderneutral enoght cause i'm not. I've seen many cosplayers of all different genders and ethnicities looking nice and cool. And maybe not on here but I always considered 13 as the most nonbinary doctor of the modern era.

But i've seen edits of Tennant, people awful reaction to those, and I also want to trust RTD's opinion on the matter. Like, honestly he might had some concernes because of possible test screenings of Tennant with those clothes.

So yeah.

I said to myself i wouldn't say anything about the outfit-gate, but here i am... i had this regeneration idea and... to explain this i had to add the rest too for context...

[aion-rsa]

Doctor Who: Perfect 10? How Fandom Forgets the Dark Side of David Tennant’s Doctor

https://ift.tt/2URb21b

As recently as September 2020 David Tennant topped a Radio Times poll of favourite Doctors. He beat Tom Baker in a 2006 Doctor Who Magazine poll, and was voted the best TV character of the 21st Century by the readers of Digital Spy. He was the Doctor during one of Doctor Who‘s critical and commercial peaks, bringing in consistently high ratings and a Christmas day audience of 13.31 million for ‘Voyage of the Damned’, and 12.27 million for his final episode, ‘The End of Time – Part Two’. He is the only other Doctor who challenges Tom Baker in terms of associated iconography, even being part of the Christmas idents on BBC One as his final episodes were broadcast. Put simply, the Tenth Doctor is ‘My Doctor’ for a huge swathe of people and David Tennant in a brown coat will be the image they think of when Doctor Who is mentioned.

In articles to accompany these fan polls, Tennant’s Doctor is described as ‘amiable’ in contrast to his predecessor Christopher Eccleston’s dark take on the character. Ten is ‘down-to-earth’, ‘romantic’, ‘sweeter’, ‘more light-hearted’ and the Doctor you’d most want to invite you on board the TARDIS. That’s interesting in some respects, because the Tenth Doctor is very much a Jekyll and Hyde character. He’s handsome, he’s charismatic, and travelling with him can be addictively fun, but he is also casually cruel, harshly dismissive, and lacking in self-awareness. His ego wants feeding, and once fed, can have destructive results.

That tension in the character isn’t due to bad writing or acting. Quite the contrary. Most Doctors have an element of unpleasantness to their behaviour. Ever since the First Doctor kidnapped Ian and Barbara, the character has been moving away from the entitled snob we met him as, but can never escape it completely.

Six and Twelve were both written to be especially abrasive, then soften as time went on (with Colin Baker having to do this through Big Finish audio plays rather than on telly). A significant difference between Twelve and Ten, though, is that Twelve questions himself more. Ten, to the very end, seems to believe his own hype.

The Tenth Doctor’s duality is apparent from his first full appearance in 2005’s ‘The Christmas Invasion’. Having quoted The Lion King and fearlessly ambled through the Sycorax ship in a dressing gown, he seems the picture of bonhomie, that lighter and amiable character shining through. Then he kills their leader. True, it was in self-defence, but it was lethal force that may not have been necessary. Then he immediately topples the British Prime Minister for a not dissimilar act of aggression. Immediately we see the Tenth Doctor’s potential for violence and moral grey areas. He’s still the same man who considered braining someone with a rock in ‘An Unearthly Child’. 

Teamed with Rose Tyler, a companion of similar status to Tennant’s Doctor, they blazed their way through time and space with a level of confidence that bordered on entitlement, and a love that manifested itself negatively on the people surrounding them. The most obvious example in Series 2 is ‘Tooth and Claw’, where Russell T. Davies has them react to horror and carnage in the manner of excited tourists who’ve just seen a celebrity. This aloof detachment results in Queen Victoria establishing the Torchwood institute that will eventually split them apart. We see their blinkers on again in ‘Rise of the Cybermen’, when they take Mickey for granted. Rose and the Doctor skip along the dividing line between romance and hubris.

Then, in a Christmassy romp where the Doctor is grieving the loss of Rose, he commits genocide and Donna Noble sucker punches him with ‘I think you need somebody to stop you’. Well-meaning as this statement is, the Doctor treats it as a reason to reduce his next companion to a function rather than a person. Martha Jones is there to stop the Doctor, as far as he’s concerned. She’s a rebound companion. Martha is in love with him, and though he respects her, she’s also something of a prop.

This is the series in which the Doctor becomes human in order to escape the Family of Blood (adapted from a book in which he becomes human in order to understand his companion’s grief, not realising anyone is after him), and is culpable for all the death that follows in his wake. Martha puts up with a position as a servant and with regular racist abuse on her travels with this man, before finally realising at the end of the series that she needs to get out of the relationship. For a rebound companion, Martha withstands a hell of a lot, mostly caused by the Doctor’s failings. 

Read more

TV

Why David Tennant Lost Hannibal Role According to Bryan Fuller

By Kirsten Howard

TV

Staged: BBC Comedy Confirms Sheen & Tennant’s Double-Act Greatness

By Louisa Mellor

Series 4 develops the Doctor further, putting the Tenth’s Doctor’s flaws in the foreground more clearly. Donna is now travelling with him, and simply calls him out on his behaviour more than Rose or Martha did. Nonetheless the Doctor ploughs on, and in ‘Midnight’ we see him reduced to desperate and ugly pleas about how clever he is when he’s put in a situation he can’t talk himself out of.

Rose has also become more Doctor-like while trapped in another reality, and brutally tells Donna that she’s going to have to die in order to return to the original timeline (just as the Doctor tells Donna she’s going to have to lose her memories of travelling with him in order to live her previous life, even as she clearly asks him not to – and how long did the Doctor know he would have to do this for? It’s not like he’s surprised when Donna starts glitching). Tied into this is the Doctor’s belief in his own legend. In ‘The Doctor’s Daughter’ he holds a gun to Cobb’s head, then withdraws it and asks that they start a society based on the morals of his actions. You know, like a well-adjusted person does.

What’s interesting here is that despite presenting himself as ‘a man who never would’, the Doctor is a man who absolutely would. We’ve seen him do it. Even the Tenth Doctor, so keen to live up to the absolute moral ideals he espouses, killed the Sycorax leader and the Krillitanes, drove the Cybermen to die of despair, brought the Family of Blood to a quiet village and then disposed of them personally. But Tennant doesn’t play this as a useful lie, he plays it as something the Doctor absolutely believes in that moment, that he is a man who would not kill even as his daughter lies dead. It’s why his picking up a gun in ‘The End of Time’ has such impact. And it makes some sense that the Tenth Doctor would reject violence following a predecessor who regenerated after refusing to commit another double-genocide.

In the series finale ‘Journey’s End‘, Davros accuses the Doctor of turning his friends into weapons. This is because the Doctor’s friends have used weapons against the Daleks who – and I can’t stress this enough – are about to kill everyone in the entire universe. Fighting back against them seems pretty rational. Also – and again I can’t stress this enough – the Daleks are bad. Like, really bad. You won’t believe just how mindbogglingly bad they are. The Doctor has tried to destroy them several times by this point. Here, there isn’t the complication of double-genocide, and instead the very real threat of absolutely everyone in the universe dying. This accusation, that the Doctor turns people into weapons, should absolutely not land.

And yet, with the Tenth Doctor, it does. This is a huge distinction between him and the First Doctor, who had to persuade pacifists to fight for him in ‘The Daleks’.

In ‘The Sontaran Strategem’ Martha compares the Doctor to fire. It’s so blunt it almost seems not worth saying, but it’s the perfect analogy (especially for a show where fire is a huge part of the very first story). Yes, fire shines in dark places, yes it can be a beacon, but despite it being very much fire’s entire deal, people can forget that it burns. And fire has that mythical connection of being stolen from the gods and brought to humanity. The Time Lord Victorious concept fits the Tenth Doctor so well. Of all the Doctors, he’s the most ready to believe in himself as a semi-mythic figure.

Even when regenerating there’s a balance between hero and legend: the Tenth Doctor does ultimately save Wilfred Mott, but only after pointing out passionately how big a sacrifice he’s making. And then he goes to get his reward by meeting all his friends, only to glare at them from a distance. His last words are ‘I don’t want to go’, which works well as clearly being a poignant moment for the actor as well, but in the context of Doctor Who as a whole it renders Ten anomalous: no one else went this unwillingly. And yet, in interviews Russell T. Davies said it was important to end the story with ‘the Doctor as people have loved him: funny, the bright spark, the hero, the enthusiast’.

It’s fascinating then, that this is the Doctor who has been taken to heart by so many viewers because there’s such an extreme contrast between his good-natured front, his stated beliefs, and his actions. He clearly loves Rose and Donna, but leaves them with a compromised version of happiness. They go on extraordinary journeys only to end up somewhere that leaves them less than who they want to be, with Russell T. Davies being more brutally honest than Steven Moffat, who nearly always goes the romance route. Davies once said to Mark Lawson that he liked writing happy endings ‘because in the real world they don’t exist’, but his endings tend towards the bittersweet: Mickey and Martha end up together but this feels like they’re leftovers from the Doctor and Rose’s relationship. The Tenth Doctor doesn’t, as Nine does, go with a smile, but holding back tears.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

It’s a testament to how well written the Tenth Doctor is that the character has this light and shade, and with David Tennant’s immense likeability he can appeal to a wider audience as a result. It’s not surprise he wins all these polls, but I can’t help but feel that if the Doctor arrived and invited me on board the TARDIS, I’d want it to be anyone but Ten.

The post Doctor Who: Perfect 10? How Fandom Forgets the Dark Side of David Tennant’s Doctor appeared first on Den of Geek.

from Den of Geek https://ift.tt/3iaqbDk

[the--highlanders]

Reverse Unpopular Opinion Meme: Something good about your least favourite Doctor. And maybe your favourite Doctor too, just so you have an excuse to talk about them if you like :D

oh interesting!

there’s a couple of Doctors I connect with less than others but I’m going to go with Ten for this (I know this is meant to be a positivity thing but for context - I don’t enjoy the jesus-figure writing, plus I associate him with being a teenager in the superwholock years and people trying to emulate that super-snarky-genius character gjfk)

only... I want to like him! because I really like David Tennant as an actor! I think he’s great in Broadchurch! at the end last year he got cast as a voice actor in my fave game/a spinoff show and I’m massively excited for it!! I was going to go for the ‘no missed opportunities’ version of this meme but you know what I’ll say it. I wish they had’ve let him keep his accent for Ten.

and writing decisions aside, there’s something about him that’s just very likeable. I see gifsets on tumblr and I think ‘oh, that’s such a good bit’. I rewatch episodes and I enjoy them. there’s a lot of episodes from his era that I genuinely love (I have very fond memories of just having gotten into Torchwood, going on holiday without access to the internet/without having bought the dvds yet, and just. rewatching The Stolen Earth/Journey’s End over and over for the Torchwood content ghfjkd). so whenever I rewatch I always feel like I dislike Ten in theory and because of the things I associate him with more than because of what he actually is.

& then my favourite Doctor is obviously Two. who very much is the Doctor to me. I remember earlier in Thirteen’s run a lot of people were wanting for her to get darker, and I was a bit like, no!! let me have a relatively happy fun Doctor again, please!! Two’s fun and friendly and has great found family dynamics with all his companions and he’s personable in a weird sort of way. like, he’s not necessarily likeable in the same way Ten is, he just carries on doing his own thing (sometimes oblivously) until people can’t help but go along with him. which now I think of it seems quite like Eleven (probably deliberately so and, hey, coincidence, Eleven was my favourite new series Doctor for a loong time) - like, that bit in A Christmas Carol where Eleven tells Kazran his bow tie is cool because he wears it and he doesn’t care what people think? Two is that, but not articulated so openly.

but then he also... isn’t entirely cuddly. he’ll send a fleet of Ice Warriors into the sun without a second thought. he doesn’t seem too worried about Salamander being sent into the vortex. he’ll bash a guy over the head and joke about it. and unlike later Doctors, he never seems to angst over it, like he can justify it to himself. his philosophy is probably the definition of ‘total tolerance requires some intolerance’. he figures it’s morally okay because he’s helping people. which is something that the Doctor doesn’t get to do much anymore, and I wonder if it’s because there’s still a little bit of ‘we don’t quite know what the Doctor is and he’s slightly untrustworthy’ about him. but it’s interesting. and it’s often been said that he settles down after meeting Jamie - and he does! and Evil of the Daleks very much shows Jamie as his moral compass. but for all that Jamie has a super strong set of moral codes, they also happen to include ‘it’s ok to bash someone over the head sometimes’. there’s literally a short story where Jamie almost throws someone out of the TARDIS because he thinks they’ve killed Two. so they probably feed into each other with that.

on the other hand Patrick Troughton’s portrayal of him is just so littered with tiny mannerisms and characteristics and he really shows how much input the actors got to have with those sorts of things in the early series, because he feels so organic. he’s kind to Victoria when she’s grieving, and he can relate to that grief. he plays cards when he’s cornered by soldiers. he’s from an alien planet and (badly) pilots a time machine but he hates computers. he’s vain and thinks he looks wonderful but is a complete mess. he’s alien in all sorts of ways, but still feels very much like a person.

[zombiebarbee]

The Sunday Times article

DEMON DAZE

After almost 30 years, Terry Pratchett and Neil Gaiman’s comic fantasy Good Omens has made it to the screen – and in lavish fashion. Benji Wilson discovers how Pratchett’s dying wish came true

Heaven, as it turns out, is in an industrial park in Weybridge. The old Samsung building, with floor-to-ceiling windows and lighting so bright you have to squint, is the celestial set for Good Omens, the BBC and Amazon’s TV adaptation of Terry Pratchett and Neil Gaiman’s beloved fantasy novel. The floor, in particular, is attracting attention from Jon Hamm, who plays the angel Gabriel.

“Did we put this floor in?” he asks, wearing a power suit and looking more Wall Street CEO than heavenly host. When he looks down, he sees his own face reflected. “I mean, who orders up a silver floor? Of all the choices.” Then an angel rides by on a hoverboard. “This,” Hamm says, “is insane.”

Much of Good Omens could be described that way. Were he alive, Terry Pratchett would probably delight in the description. It tells the story of an angel, Aziraphale, and a demon, Crowley, played by Michael Sheen and David Tennant respectively. They have been on Earth since the Garden of Eden, working for their opposing teams in heaven and hell, one lighting fires, the other putting them out. Over the centuries, they have become friends.

We first meet them as the Antichrist is being delivered to Earth – indeed, one of Crowley’s missions is to deliver the Antichrist to the maternity ward. But they both realise this means the end of humanity as we know it, and, as Tennant puts it, “Crowley and Aziraphale have quite a nice time on earth. They quite enjoy the dinners and the wine and the lifestyle.”

So they get together to decide they’re going to try to avert the apocalypse. “But it’s a comedy,” Sheen says. “It’s in the vein of Douglas Adams and Monty Python. When Neil sent me the first draft of the script, it reminded me of Whoops Apocalypse [Andrew Marshall and David Renwick’s 1982 ITV comedy set in the weeks leading up to the end of the world.] I remember watching that when I was a kid and finding it funny but also quite scary. It’s hard to know what my 14-year—old self would think of Good Omens, but I imagine it might be similar.”

This kind of tonal mash-up intermingling humanity’s most momentous concerns with the quotidian minutiae of “where did I leave my keys?”, is notoriously hard to pull off. For a start, there’s the scope of it: Good Omens has been in production since mid-2017 and has had to recreate not merely heaven and hell, but all of Christian history in between. The beginning of episode three features a sequence catching up with Aziraphale and Crowley at the Garden of Eden, Noah’s Ark, the crucifixion, ancient Rome, Shakespeare’s Globe, the crucible of the French Revolution and on, via the world wards, to the present. We see their relationship developing down the aeons. It’s all been done in less than 20 minutes.

“It’s basically a collection of single scenes,” Tennant says when I speak to him in a church in an Oxfordshire village. (He’s about to go outside and take delivery of the Antichrist.) “But for one of those scenes we got Shakespeare’s Globe for a day. For another, we transformed St James’s Park into Edwardian England for a day. For one scene. It’s fantastic to be able to work on something that has those sort of resources. You wouldn’t really be able to tell this story otherwise.”

Resources means Amazon’s money. That, and the allure of Gaiman’s writing, has drawn in a supporting cast including Frances McDormand as the voice of God, alongside Hamm, Jack Whitehall, Michael McKeen and Miranda Richardson. With a Game of Thrones-shaped hole to be filled, Good Omens is supposed to be a very big deal indeed.

Yet Gaiman, who co-wrote the original novel, adapted it for the screen and is the showrunner, would happily not have made it at all. “I didn’t really plan to give 18 months of my life to making a TV show. I’d much rather be writing novels. I would be making a lot more money writing novels. Nobody would be telling me what to do and my wife wouldn’t be complaining about not seeing me. But on the other hand, this,” he says, pointing at the shiny floor and Hamm running through lines as Gabriel, “was what Terry wanted to happen. And he’s not here.”

Good Omens was published in 1990. There followed almost 20 years of fruitless attempts to turn it into a film. Terry Gilliam received a prepublication copy of the book asking for a cover blurb. He misplaced the letter that came with it and thought he was being sent a story that might work for his next film. He loved it, but, as so often with Gilliam’s grand visions, Hollywood got in the way.

“Terry [Pratchett] and I decided that we wanted it to be television six years ago,” Gaiman says. “We went went looking for a writer – both of us were too busy – but basically we couldn’t find one.”

Pratchett died in March 2015. As he was overtaken by Alzheimer’s in his final years, he wrote Gaiman a letter – something he had never done before. “He said, ‘You’re the only other person out there with the same love and understanding and passion for this that I have. I know how busy you are, but I want to see this before the darkness takes me. Will you do this, please?’ In 35 years, he’d never asked me anything before. So I said yes. And then he died. So suddenly I was dealing with a last request. And I’m honouring it.”

Gaiman and Sheen have been friends since the actor mentioned in an interview about a decade ago that Gaiman was one of his favourite writers, across novels and comic books. Gaiman happened to read this, and sent Sheen a selection of special editions with a card saying “From one fan to another.” Since then, Sheen has appeared in Gaiman’s episode of Doctor Who, and now stars in Good Omens. Part of their friendship is based on a shared love of science fiction – Sheen only mentioned Gaiman in that interview in order to make a point about genre snobs. Many of his favourite writers, he said, worked in fantasy and SF.

Sheen says the snobbery still pertains - “If you’re of a mindset that anything written in a science-fiction context just can’t be great literature, then I don’t think anything is going to change your mind” - adding that there’s a similar prejudice against comedy as high art.

“Comedy films are always seen as impossible to be great films. They’re rarely winning Oscars. Good Omens ticks both boxes, comedy and fantasy – and I like that. When I was growing up, two of the biggest influences on me in terms of how I see art were The South Bank Show on TV and Kenneth Tynan, especially his profiles. Neither of them made a distinction between high and low art. One week is was Shostakovich , the next Billy Connolly. Tynan would profile Brecht, then Morecambe and Wise. I loved that.”

Just because Good Omens is funny, he goes on, doesn’t mean that it’s glib. “I was looking at a scene today when one of the angels says it’s been written that the end of the world begins with unrest in the Middle East, and the Antichrist is being taken to the Pains of Megiddo. I’ve seen that being written in newspaper articles – Isis are trying to engineer a situation where this battle takes place in a certain location because that’s ‘what was written’. People actually think that Trump is the coming of the Christ. Or the Antichrist. People are actually talking about this in fairly mainstream circles.

“That gives Good Omens a difficult context to when the book came out. You’ve got these two main characters who are very much in their own echo chambers – or should be. Yet the action of the piece requires them to break out of those bubbles.”

Tennant goes further. “We started making this in 2017. We knew it wouldn’t come out until 2019, and did wonder whether the apocalypse might have hastened towards us by then. It does give an added piquancy that the world might not be as stable as we thought it was a couple of years ago. By the time this article is printed, who knows where we’ll be?”

Good Omens is on Amazon Prime Video from May 31 and will air on BBC2 at the end of the year.