#rtd hit me up

[clarionglass]

for those of you keeping up with the sam reich!master/game master cinematic universe currently being masterminded by the delightful @northernfireart and my good self: oh BOY there's a part 3 coming, and she's a doozy, currently clocking in at 9600+ words with a decent chunk still to go. the end is in sight, though, and while i might split the final post into two or maybe three parts, depending on how i'm feeling, hopefully i'll be able to get the first of those parts out on sunday/monday (time zones...) to fill the hole left by the game changer episode that should be released at that time...

however! delayed gratification is for chumps! so to whet your collective appetite, i've put together a "trailer" of scene fragments >:3 feel free to read on its own, or while listening to this particular track for added ambience!

trailer starts under the cut for those who want to launch into part 3 when it comes out without spoilers :)

The Doctor ran his hands over the TARDIS console, marvelling at her clean lines and metallic flourishes, the way that even now she felt brand new but familiar, and paused. He’d just pop off for a quick adventure, nothing too dangerous, but—where to go?

He could scan for a distress call nearby, and pitch in to help. He could drop in on Donna and Shaun and Rose, beautiful Rose, and see how they were all doing. Or he could just hit the randomiser button, and jump in feet first wherever he ended up.

\\\

This was a game show. And with the Toymaker banished, and Satellite Five not coming into existence for another 198000 years, give or take, the Doctor found himself smiling. Maybe third time would be the charm.

///

“Get ready for a Game Changer!” came the host’s voice from onstage. “Tonight’s guests: he can shoot off a monologue with laser accuracy; it’s Brennan Lee Mulligan!”

Brennan, his back to the camera as the curtains opened, spun on his heel and, with a stone-cold expression, pointed finger guns straight down the barrel, before letting the facade crack open. “Hi!” he exclaimed, and walked over to the leftmost podium.

“It’s his first appearance, but he’s already on fire; it’s the Doctor!”

The Doctor leant against the archway to the stage and flashed a broad smile towards the camera, then in a few skipping steps, had bounded over to the next free podium. 

“And even in the toughest of mazes, you’ll always be able to find him; it’s Grant O’Brien!”

Grant dipped his lanky frame into an approximation of a curtsey, spreading his arms wide, then sauntered over to the closest podium with a grin.

“And your host, me!” Sam Reich announced, a ring of manic white showing around his irises as he beamed down the barrel of the camera. “I’ve been here the whole time!”

\\\

—and then came the crash, the explosive noise of heavy machinery moving relentlessly through a drywall set.

The Doctor was already moving. “Everyone down!”

“Duck!” Brennan yelled at the same time.

The two of them hit the ground within milliseconds of each other, but Grant was still paralysed in the face of the giant, science-fiction type laser cannon that had just ploughed through the wall. 

///

“I’m going to hate this so much,” Brennan muttered.

“So’s he,” Grant smirked, then raised his voice. “Oh, Daddy,” he started in a breathy singsong. “Daddy, do you want to make us play for you, huh? Do you want to degrade us, Daddy? Hurt us?”

\\\

“You’ll never get to them all in time,” came the voice through the speaker, dangerously soft. “You can try, of course, but if you die up here, well. That just leaves your new human friends alone with me while you regenerate, and goodness knows what I can do in that time.”

“You don’t get to do that,” the Doctor growled, even as another detonator deactivated. “You don’t get to hurt them because of me.”

For a moment, only laughter echoed into the room. “Better make your decision now, Doctor. Two detonators down, eleven to go, and they’ll reach spark point in ten… nine…”

///

“But you won't, don't you see? Nobody can win a rigged game—the best you can do is run it through to the end. You're standing at that podium, and we're over here, and that's why you can't win. Because no matter how many points you take away from me, you never had points at all. You want to beat me? Then play.” 

\\\

“Run?” Brennan suggested.

“Run!”

///

“And lastly, Doctor.” Sam’s smile broadened. “Sam says: say my name.”

“You can’t be,” the Doctor breathed. 

Sam smirked, leaning in across his podium. “Oh, but Doctor… I’ve been here the whole time,” he stage-whispered with a wink.

“He said you lost,” the Doctor said, shaking his head, looking wrong-footed for the first time that Brennan and Grant could recall. “You lost, and he trapped you.”

Sam just smiled, drumming his fingers against the podium with an audible beat, fast but distinct. Four taps, four taps, four taps. “I’m waiting.”

The Doctor took a slow, deep breath. Set his jaw. 

“Master.”

[sometimesraven]

Truly boggles my goggles how multiple people on here were praising RTD for the finale explicitly to compare him positively to Moffat like bro is literally just what you think Moffat is (minus straight and minus being the actual devil) like deadass Clara is Ruby except done correctly.

FOR REAL. People hated Clara so much for being "too special" as if it wasn't literally her entire plotline that she's just a regular human woman and it was The Doctor making her out to be special just to use her mystery to distract himself from his own grief, but now the exact same plot is happening with Ruby except the writer has given her even less agency and more weird unexplained phenomena and then pointed at the audience and went "haha you suck for thinking this was special" and it's suddenly okay?

Just saying, if Moff wrote a foundling character he wouldn't make her meet this woman who Did Not Raise Her and then immediately start calling her her "real mum" because really Russell??? REALLY??? What a slap in the face to every adoptive or foster parent who put their entire lives and energy into raising a child only to be told they're still playing second fiddle to someone whose only role in raising that child was to pop them out and dump them on a doorstep 20 years ago

[ozzieinspacetime]

Do I thoroughly dislike Chibnall?? Yes. do I also thoroughly dislike RTD??? Yes!

I've seen a lot of posts where chibnall and rtd critics can't agree without brining up the writer they like more and its REALLY getting on my nerves. Both of them are awful. The setup for the 60th is. Awful. Chibnalls treatment of his characters is awful. So was Davies!!! Old white men should not be trusted to write Doctor who anymore and that's just how it is

[chaotic-autumn]

its important to note that i spent Christmas day rewatching rtd era doctor who christmas specials and then I decided to watch Turn Left because of the iconic "no i shan't, it's Christmas" moment, having forgotten how absolutely brutal that episode is, and then I watched the rest of the season 4 finale and cried and cried and cried

[9hikers]

fun episode overall. i have the same gripes i've had with all of the new RTD era but i do like that they gave the doctor some time to be in his element to show us what that looks like for 15

[stompandhollar]

I have some….. harsh(?) words for rtd.

I miss when Doctor Who was scrappy. Where the working class was at the forefront of our story. Where the hero had a broken time machine and one shitty little gadget that only sometimes could do anything useful. When the TARDIS was cobbled together with glue sticks and a dream.

Rose as a story worked because it was paired down. ALL of good DW works when it’s paired down. The stakes aren’t the whole world or the whole universe ending. The charm and the stakes both come from the same place— focusing on the characters, and making their problems the central focus. Blink was stunning because the world wasn’t in danger, just Sally Sparrow, and for 40 minutes of runtime, she was the focus of the viewer’s world.

The “base under siege” episodes work because it matters just as much to us that the Doctor gets the crew to safety as it would if the whole universe were in danger.

Even Utopia works because while being a high-stakes-for-humanity episode, it’s focused heavily on each character, and on concepts, not flashy visuals and dramatic build ups with no payoff. Utopia has exactly the right level of stakes for the story it’s telling, and the twist at the end delivers because it’s on that same level.

Ncuti is phenomenal. He and Millie are the only reason I’m sticking around (with s14, not with DW. I metaphorically sold my soul to this show a long time ago and that’ll never change) and watching each new episode with the hope that it’ll get better. But good gracious we do not have a lot of substantial evidence to back that hope up right now, lol.

The dialogue is hollow because we don’t sit with any characters long enough for their emotional moments to hit home. These brilliant actors can’t even save the scripts they’re being given.

I liked Rouge so much because it felt so bottled within its own episode. The stakes seemed so low, and it was fun and campy and the energy was electric. But I’m disappointed all over again with the Marvel-ization of the show in the newest episode. We saw it in the 60th specials, and it’s back swinging again in TLORS.

We don’t want Stark Tower SHIELD UNIT and their big flashy technology to save the day. The Doctor running straight to UNIT for help at all was crazy to me.

Part of me got so excited when Death was revealed as the big bad. The deluded part of my brain immediately thought we’d get a paired down concept of Death, like in the Big Finish Master audio drama. And I still really hope that happens, or is at least a little bit alluded to. (or maybe not. maybe i want to write that story myself some day when i’m in the damn writers room for this silly perfect show) But as soon as they got my hopes up, they got dashed again five seconds later when it became evident how overpowered and goofy and trope-y our big bad is shaping up to be.

RTD shines when he’s writing characters full of hope and wonder and a need to see the stars. Moffat shines when he’s writing twisted little think pieces that show the indomitable human spirit. Both of them have had my heart and changed my life with their writing. And right now I need them both to take a back seat and pass the baton. Russel keeps trying to outdo himself, and it’s all become too grandiose.

We need a writer in that room that doesn’t care how The Doctor is going to save the world next, but instead, cares about how he’s going to save that one person right in front of him, who needs his help, now.

[time-is-restored]

What Happened At The Church On Ruby Road?

AKA: Why does RTD want us to watch Ruby's first episode with a ruler and protractor?

Alright, so since I read this article excerpt yesterday night I haven't been able to stop thinking about what trick could be hidden in the sequence between the cloaked woman, the doctor, and baby ruby. While I'm not at all claiming to know the answer, I have a few details to point out that might help with further analysis.

First of all: A Continuity Error (On Purpose?)

At the very beginning of TCORR, when the doctor's giving his 'once upon a time,' speech, we see the TARDIS materialise + the doctor appear, looking in the direction of the cloaked woman, looking distraught. Disney+ is evil so I can't get an accurate screenshot, so take this scuffed photo instead, taken from 1:03. You can see a tear rolling down his cheek (little white dot on the left of his face, in line w this nose).

Later in the episode, when the doctor materialises in the scene for the first time, there is no tear. It's a marginally different shot in several ways, but that's the most noticable to me - screenshot taken from 42:59.

By itself, this is totally negligible. But I think when taken with the opening monologue (which heavily implies that the doctor finds out the cloaked woman's identity - "As for the mother, she was never seen again. No one ever knew her name, until that night a time traveller came to call. A traveller known as the Doctor."), there is possible evidence here that the doctor came to this moment twice. Once in the sequence of events as we see them, rescuing Ruby from the goblins, and once where... something else happened.

Second: The Layout of The Church

We get a few aerial shots of the church when the camera is showing the ascent of the ship, and a lovely wide shot as the doctor decides to not follow the cloaked woman (taken from 46:28 and 44:07).

The most important thing I want to point out is the way the hedge path curves to the right in the direction the doctor and the cloaked lady are facing. You can only really see it in that one shot (so I hope it's not a lens effect!). The aerial shot helps clarify that nothing is obstructing either of the character's view of the church.

We can also see that in this iteration of their encounter, the cloaked woman is standing a little bit to the right of the doctor (thanks to the curved path).

Third: The Timing

The only real indication of how much real time is passing in each scene is the clock striking midnight. So, when does that happen?

In the opening sequence, the clock strikes midnight after the man from the church has found Ruby and picked her up. We then see the woman relatively far down the road that we can see in that above screenshot, and THEN we see the TARDIS apparate and the Doctor appear.

In the goblin sequence, the woman is already far down the road well before it hits midnight, as the doctor sees her walking away before he runs to save baby ruby. Obviously time moves slower than usual in TV actions scenes, but that's not all - we see the clock strike midnight before the man from the church picks Ruby up.

Furthermore, the woman has... barely moved at all in those few minutes. Screenshots from 43:00 and then 46:45.

Okay, that should be all the relevant information from TCORR. Now to get to that point!

Fourth: The Point

This is where things go off the fucking rails. Here's our orienting shots for the Point.

Just to compare the positions of the doctor's shot here, here's the last shot we have of him looking at the lady in TCORR:

While this could just be a fancy camera angle, I think the Doctor is standing more to (his) left of the TARDIS than in this above shot. AKA: he's standing more to the left than she is. That emphasises that, if the woman was to be pointing at him when she turns around, she should be pointing to her right.

But I don't think she is -- especially in that wide shot, her arm looks like it's going wide. It's going more to the left than it should be. If RTD hadn't explicitly said the 'who's pointing at who' was significant, I would be fine with accepting that she's pointing at the doctor -- especially since that's how the doctor reads it.

And if we go back to the layout of the church, the things she could be pointing at are, in order of exactly how far to the left she'd have to point:

something just behind the doctor (would explain how close the point is to him)

the path up to the church

the clock tower

ruby/the baby

Regardless of where she's pointing, I think the implication is that there's someone else at the scene, doing something that the doctor didn't notice (perhaps due to his own bias with mother figures).

Wild Speculation:

Now, what do I think this means? Honestly, no idea LOL. It's still all just vague enough it could go in fifty different directions. But we know for sure that the moment where Ruby Sunday was left at the church is a moment in flux, thanks to the the Doctor's memory changing + the song in the background being different in Devil's Chord.

Part of me wonders if there's something (someone?) hiding inside that memory/moment in time? Like how Thirteen hid her companions inside their own time stream to try and buy time away from the swarm guys? It would explain the Maestro's reaction -- 'he couldn't have been there[...] on the night of her birth' -- in the devil's chord, the young boy is a harbinger. Maybe ruby is the harbinger of something too? That could also explain why it started snowing in the TARDIS after 15 scanned her -- the same thing happened when Maestro started trying to pull out her song.

Then if you go with the changeling angle, it's entirely possible we're about to get a shell game with babies 2: electric boogaloo (thanks russel for saying we should rewatch a good man goes to war, i'll never sleep again 👍). Maybe while the doctor's too busy watching the cloaked woman, someone else is intervening, switching her baby for ruby? Or doing something To her baby that explains why ruby is so... wrong, for lack of a better word?

Also, looking between the opening sequence vs the goblin sequence timing, we have several minutes where the cloaked woman is totally unaccounted for in the latter, as well as an entire interaction between her and the doctor that... didn't happen? Or did happen, but was forgotten? Unwritten? Rewritten? Etc.?

If I had to make a bet (and let's be honest, what else are we doing while theorising LOL), I'd say that something about that night has been memory-holed out of existence. Possibly a doomed timeline that righted itself, ala 73 yards, but left just enough trace that the people involved know something happened (ruby knows she's been to wales three times before, the doctor knows he was pointed at).

I think it was triggered when the lady and the doctor got too close to each other (did she hear that the goblin ship was taking her baby? did she turn around and see something she otherwise would have missed?), and realised something about each other (or ruby?) that needed to stay dormant. the cold opening implies the doctor learns her name, and since there don't appear to be any time of the angels sneaky outfit change moments, i can only assume it happened here, somewhere in this memory.

And hell, in for a penny in for a pound, maybe it all got undone (retconned, in universe, in real time), because the Doctor shouldn't learn about the cloaked woman until the finale? Spoilers? In TV meta, did the director tell all the other actors (the church man + the cloaked lady) to hold in place until the doctor was back in position?

[Final note, regarding the continuity error I noted first up, in TV shows with ad breaks factored in -- brief fades to black at dramatic moments, then the last ten seconds play again to remind the audience what's happening -- sometimes directors would use different takes for before and after the ad break. Maybe that's the explanation for the tear -- in universe, that cold open stopped in its tracks the moment the opening was cued to play. It then started again with a doctor who had last cried several minutes ago, and the scene played out as intended.]

Anyway fellow 'the mistakes are in there on purpose' believers how are we FEELING!!!!!

[ohmerricat]

wait so you prefer moff over rtd right?

i think they both have their strengths and weaknesses. rtd is a good writer and i love the way his first era intersperses social realism among the camp wackiness of alien worlds far more than moffat’s stylised polished view of earth settings BUT he didn’t write s8-10. he didn’t write heaven sent/hell bent. he didn’t write dark water/death in heaven. most of the best rtd-era episodes were also written by moffat. ie they balance each other out and i want to believe boom will be the best episode of s14

on the political side they are both your average liberal gen x uncle with iffy centre-left opinions who mean well (thank god for rose noble in an era of rampant transmisogyny in the british media! moffat giving us the first canon lesbian companion + the first lesbian kiss onscreen! etc) but it doesn’t always land. looking at you “male presenting time lord” and “her name was nina i was going through a phase”. i’m not even going to mention chib. plus rtd seems to have this unquestioning worship of government institutions (all the UNIT bullshit) that he really needs to deconstruct

if we’re going to rescue the show from the inevitable cancellation it will get hit with in ~5 years when the BBC withers away and the increasingly fascist disney corporation realises that a show with a queer Black protagonist isn’t profitable enough (although we could do with another wilderness era, it invented basically everything great about nuwho didn’t it) we’re going to need a younger showrunner that’s not a cishet white man, and a lot of people, me included, have juno dawson in mind. she wrote redacted. she’s a trans woman. she would probably be up for the job.

tldr. i think they’re both good enough. i also think they’re both mid. everything in moderation. juno dawson for showrunner

[waffowo]

While Donna Noble will always be my favourite companion in NuWho, Clara will always be the most multi-faceted and complex (as of now). I think that a lot of divisiveness surrounding Clara stems from 5 common criticisms:

1. Clara’s characterisation in 7B and how Moffat treats her mostly as a mystery box first and character second.

2. The length of Clara’s tenure and how some may have been fatigued due to the many times “she should have left.”

3. The emphasis on Clara’s flaws in Series 8 and how it kind of paints her as unlikable over her Series 7B depiction as at least kind.

4. Clara’s departure in Hell Bent as something that ruins her ending in Face The Raven.

5. The belief of Clara as the most important character in the Doctors life inherently devaluing other companions.

I think while I can understand the reasons leading up to these criticisms, I also think that it does help to look back throughout the Moffat and RTD era as it does help explain a lot of these points imo.

Actually, the character Clara most prominently echoes is Rose. Rose, like Clara, helped the Doctor through a time of extreme emotional vulnerability (for 9th, Time War trauma) and developed a relationship of co-dependency with him (as 10th) which never really went away even after Doomsday. Clara had the luxury of time however, and has undergone more events with the Doctor (Impossible Girl, Trenzalore, 50th Anniversary etc) but also how 12th was undergoing an extreme identity crisis of figuring out whether he’s a good man post-Trenzalore and saving Gallifrey. Clara was the one who facilitated his character growth through the turbulence of the arc in instances like Dark Water, Death In Heaven, Mummy on The Orient Express, Kill The Moon, Last Christmas etc and would naturally result in the Doctor developing an extremely unhealthy reliance on Clara as being his “carer,” his anchor to being The Doctor (refer to her whole “Be A Doctor” spiel in the 50th Anniversary). Series 9 already heavily implied the Doctor’s willingness to engage with destructive measures by choosing to separate Clara and The Doctor almost every episode (Magicians Apprentice/Witch’s Familiar) as the stakes rose and cumulated in Face The Raven.

RTD has also once said when paying tribute to Moffat:

“And nestling at the heart of the show is Doctor Who's very own problem category, the Companion, a title inherently subordinate to the Man. Until Clara comes along!”

Imo, while poorly phrased, I think does also hit another nail on the head to explain how Clara can be so compelling to someone like me but also extremely polarising. RTD is talking less about the companion being “weaker” or “submissive” but how Clara is the NuWho companion that wishes to obliterate the boundaries between the power dynamic of companion/doctor. Series 8 for instances plays on the recurring motif of, “Do as you are told” which the Doctor firstly uses to threaten Clara to keep her safe. However, Clara actively retaliates by parroting the phrase back in an attempt to attain parity. This escalates to the events of Dark Water where she attempts to maintain control of her circumstances by forcing the Doctor to be on equal ground with her. What is so fascinating is that Clara while changing and emulating more of the Doctor’s heroism, she equally begins to absorb his flaws which intensify throughout Series 8-9. Clara becomes more deceitful, egotistical, reckless and cunning as she begins to become more and more like him. The means she lies to Danny, her ability to think more and more like him.

However, what people (fans and haters) also ignore is how nuanced the circumstances are. While Clara’s flaws become more heightened, it is also a fact that she wants to be like the Doctor because of his kindness and heroism. Episodes like Robots of Sherwood, Last Christmas or even Rings of Akhten reveal a lot about how Clara reveres the Doctor as a mythic and heroic figure. Clara’s attitudes towards the children in Forest Of The Night, Name Of The Doctor and Into The Dalek reveal that in spite of her ego and selfishness, she is someone who desires to help people. Thus, her desire to become the Doctor becomes more explainable. What a lot of people can’t really accept is that she can be both egotistical, reckless and kind at once. Her actions in Face The Raven were driven out of the fact that it came from a place of ignorance and impulsiveness (not stupidity, the Doctor would do something similar, it’s just that Clara did not have all the clues) in what she believed would be what the Doctor would do and that she was confident she could match the trickery of the Doctor, and yet it was also driven by her compassion towards Rigsby and her while impulsive, sincere desire to save her friend.

Clara is punished because of this, she forgets that she’s far too human. The Doctor is less breakable. She pays for it and as Ashildr says in Hell Bent:

“She died for who she was and who she loved. She fell where she stood. It was sad. And it was beautiful.”

She died due to her physical fragility, her ego, her ignorance, her impulsiveness/recklessness and yet she also died because she was too brave, she died like the Doctor, who she loved (literally look at how her arms were outstretched as though she was mid-regeneration and how the black smoke parallels the orange glow of regeneration). However, this leads to the fourth main criticism I prior stated, so how does one answer that in relation to her character?

The answer is what Clara does and what the Doctor says towards the end of Hell Bent. Clara after being extracted and is with the Doctor in the TARDIS, spies on him because she is instantly suspicious of his erratic behaviour. Again, Clara shows how much she has become like him, she immediately picks up that he is hiding something because she has begun to think like him. Of course, the Doctor was planning on wiping Clara’s memories similar to what he did to Donna. But what does Clara do? She immediately reverse the polarity of the device that the Doctor was going to use on her and challenges the Doctors actions. Clara states:

“Tomorrow’s promised to no one, Doctor. But I insist upon my past. I am entitled to that. It’s mine.”

Clara’s language indicates her assertiveness and also a kind of last hurrah in her game of parity. She is refusing to submit to the narrative of being reduced to merely a companion that the Doctor moves away from. But more importantly, the Doctor after pressing the device and is losing his memory, states:

“Run like hell because you always need to. Laugh at everything, because it’s always funny (…) Never be cruel and never be cowardly. And if you ever are, always make amends (…) Never eat pears. They’re too squishy. And they always make your chin wet. That one’s quite important. Write it down.”

I think on initial viewing when the show was airing, this wouldn’t make much sense but this really shows the crux of how Hell Bent completes Clara’s arc and the necessity of her resurrection. In Face The Raven, the Doctor tells Clara that she’s more breakable as she questions why she can’t be as reckless as him. However, now the Doctor is instead telling her what would later be repeated in Twice Upon A Time, his regeneration speech. In his eyes, Clara has succeeded in graduating from the Magicians Apprentice and into becoming the Magician herself. He’s instructing her how to properly be The Doctor. As I said, Clara was also motivated by her desire to be kind when she engaged in her reckless gambit but what is so wrong about the desire to be kind? And why should Clara be punished for it? Thus, while Clara MUST die, her final act of kindness at the end of her arc enables the Universe to allow for Clara’s final transformation into the Doctor.

Clara is still dead, it is an unchanged historical event. However, to challenge the status quo and allow for Clara’s ascension, Clara becomes a fairy tale herself. Her body is caught in a permanent form of stasis, signalling her departure from the limits of her physicality (subverting her physical fragility) but also as seen through her last words to the Doctor:

“You said memories become stories when we forget them. Maybe some of them become songs.”

Clara has successfully become what she admired, a myth, a fable. She has become a symbol in a story, a story that would go on to have an infinite number of other stories. She has become the leaf she raises to the monster in the Rings of Akhten, she sails off into narrative ambiguity but also infinity. Clara is so polarising because she challenges the definition of what it means to be The Doctor on a pure metatextual level. It’s a logical progression from the introspection of the question from the Doctor himself in Series 8. To want to resist, I argue, is natural.

I could explore further about her adrenaline addiction in Mummy On The Orient Express or these traits I raised explored in Flatline which I may do another day, but I hope I have provided a new perspective on Clara Oswald.

[biomic]

while he definitely could've worded it better, i think simon bennett actually has a point about power rangers needing to move away from super sentai *dodges tomatoes*

i've lost count of how many times someone's posted the coolest shit i've ever seen from sentai, rider, or ultra, and all people in the comments have to say about it is "oh lol it's like power rangers". power rangers is most people's first impression of tokusatsu, and that's obviously not gonna be indicative of the wider genre unless someone actively chooses to dig a little deeper (which they usually don't)

stuff like godzilla, ultraman, and kamen rider came out of creatives using original, fantastical concepts to say things about the world around them, power rangers came about because an american executive found a cheap way to make half a show and sell toys. that's not to say the latter has never tried to be more than that or that the former is free from capitalism informing/hindering its creative decisions (lol.), but that's why one is an enduring media institution that's jumpstarted countless careers while the other is seen as "that one kid's show from the 90s with the goofy costumes. wait what do you mean it's still going"

a reboot that does something totally new is probably the only way for PR to dig itself out of that reputation with people who aren't hardcore fans. i think about how that voltron cartoon, before that became a shitshow of its own, was a huge hit with an audience who had zero nostalgia for the original show because it was trying to do more than appeal to the people who grew up with the original. similarly, you look at RTD's relaunch of doctor who and most of the things he brought to the series were basically sacrilegious to longtime fans. killing all the time lords, blowing up gallifrey, having the doctor KISS a WOMAN??????? the show's ruined forever now (still going strong 15+ years later)

and most important TO ME is that this is also a definite net positive for sentai too. i don't think it's a coincidence that right around the time toei ended their partnership with power rangers and hasbro we started to get huge shakeups to the series' formula with zenkaiger, donbrothers, and king-ohger, resulting in sentai's first year of being profitable since kyoryuger. they no longer have to consider how concepts will be marketable to an american audience as well as their japanese audience, which means we can do whatever the hell we want now. is that not the ideal scenario? i just don't see how the adaptation process is beneficial to either franchise at this point besides being tradition

[box-dwelling]

There's honestly a really weird thing I've noticed with the legend of ruby in how it's dividing new fans. One part is new who fans feeling more cheated by not seeing Susan fully while classic fans are more excited about getting any information about her. But that's not really what I want to focus on.

The thing that's getting me is the difference between classic and new who fans on the Sutekh reveal. Classic fans have of course been hyped as hell.

But I've seen a lot of sentiment of new who onlys that honestly I think is really valid even though I do watch classic who.

RTD would pull this trick a lot. A finale episode would end on a cliff hanger of an old villain returning. See the master at the end of Utopia or Davros' reaval in season 4. And these worked. In part because they were already hyped up. But truthfully I think this seasons done that too. We have seen who scary the masetro and toymaker are. Even the trickster if you go before second reboot. This is the one they're scared of. His is the being that made them. He is big and intimidating and powerful and that's kinda all we got for the master and Davros' on a first watch too. Some general background context about why they're signifact and why they pose a threat.

But the reason I think this is hitting different is that well, if you were 3-4 seasons in, there was kinda the acknowledgement then that you were going to be missing some context. You would be brought up to speed eventually but still that context is missing and you knew that. If you wanted it you'd have to invest the time in classic who and if you weren't willing to put up that investment you adjusted expectations accordingly. And I want to say that's a completely reasonable thing to do. But everyone was kind of on the same page there. I was rewatching the first season of confidential recently (btw I highly highly recommended it, it's is some genuinely excellent documentary film making) and they'd spend large portions of the episodes talking about the shows history to bring new fans up to speed.

The thing is now, we're 14 seasons and nearly 2 decades in, the show is ment to be a reboot ala season one (which did not expect prior knowledge at all btw) and now the big bad is just some Egyptian god most new who fans have never heard of? I get how that's a let down especially because a lot of fans HAVE invested a ton of time in. They have invested time in 20 years worth of television. But that's still been proven to not be enough. I get why you'd be pissed. It's kinda how I'd feel if a reveal was based on a big finish property. Like I want to get to big finish but TV content comes first. And I don't have unlimited time to give to a show even my favourite show.

But the thing is, I don't know how we solve this. There are interesting bits of the classic canon that haven't been explored yet. Pyramids of mars is an iconic and beloved serial and it hasn't been touched on. I don't want the show to abandon the back catalogue of interesting monsters and charcaters. But I don't know how you thread that needle when new who fans also deserve a return on their time investment. Like if they bring back the rani or Romana they'd deserve so much fan fair and classic fans would feel cheated if it wasn't given. But it's not going to mean shit to new who fans.

Idk, I feel like there's nothing I would do to make the Sutekh reveal hit harder for new who fans. They built him up. They made him scary. They had him be related to other monsters we knew some of whom were entirely new, but I completely get why even that wasn't enough.

[doctorwho-rewatch]

S4E12 & S4E13 - The Stolen Earth & Journey's End

★★★★☆

This is like Doctor Who: The Greatest Hits and I bloody love it. The Doctor? Check. Companions past and present? Check. Torchword? Daleks? The universe about to blow up again? Check, check and check.

Is this the strongest two-parter finale? No. While The Stolen Earth builds up a very horrifying tension with a decent cliffhanger, in Journey's End there's a very rushed resolution that seems unsatisfying - Donna flicking a couple of switches ends the entire Davros strategy and reality bomb? After entire planets were blinked out of existence? But this is is less about plot and more about character fan service. So I'm reviewing how they ended up.

Jackie and Pete 2.0 - they are together and expecting little Pete 3.0. Cute. 5 stars.

Sarah Jane and her kid - safe at home with K9 and Mr Smith. Love that for them. Sarah Jane got her proper goodbye with the Doctor, finally. 5 stars.

Captain Jack and the Torchwood gang - they live another day to keep saving Wales from more sex aliens. Class. 4 stars.

Martha - fuck you RTD for pairing her up with Mickey the Tin Dog. What happened to being engaged to hot Lucifer doctor?? My girl Martha always with the thankless job. 1 star.

Rose - as if Rose hadn't suffered enough heartbreak on a beach, here we are again. The real Doctor is there and dangled in front of her, but here's his Metacrisis human version that she has to settle for knowing that the real Doctor is going to continue on his adventures again and not with her...again. She gets to fix a man, yippee! It's not the happy ending I remember it being when I watched it as a teen. 2 stars.

Donna - oh Donna. You grew on me so much this season and to have your memories wiped in this way is beyond cruel. Hers is the ending of the series that we mourn. All those adventures in time and space that basically never happened. Because you know she's going back to her dull life in Chiswick where her self-esteem drops and her mum berates her all the time. It was painful and so 4 stars for that.

QUOTE: "I just want you know there are worlds out there safe in the sky because of her. And there are people living in the light and singing songs of Donna Noble a thousand million light years away. They will never forget her. While she can never remember. But for one moment, one shining moment, she was the most important woman in the whole wide universe." "She still is. She’s my daughter."

[my-ghost-monument]

while I've firmly decided I don't care about rtd's new era, I have to say the whole thing is really troubling me. The whole he's planning so far ahead. Whatever's happened with Millie Gibson (which, not up to date, but. Mmm.). The seemingly endless leaks, which in combo with the planning - how. how are you meant to be excited? it's running through all of that so fast. Which is what I liked with chibnall's era, that it felt like a slow release capsule of enjoyment, not spectacle after spectacle (and I don't mean spectale to mean amazing here. I mean it as over the top, stuffing it in your face). Even if you are a fan of the new rtd... this can't be fun, right? Seeing all these leaks, speedrunning the series, going into a season knowing the companion's going to leave (possibly with horrible feelings for the actress depending on how this has been handled?)

idk. I'm feeling tired by it all already, the same old rtd hits and worse (like please, please stop bringing up rose. she is one of many loved. chibs imo handled mentioning former loves so much better, like with Bill, River, and even Rose. Mentioning them, but not letting them overshadow the current era).

[oreo102]

Please I'm so so curious to hear your thoughts on 10/14

Ok so my thoughts on 10 are less than 14 so let’s start with him lol. I have not watched 10, so my hatred of him is more hatred by proxy of how the fandom treats him and proxy of 14, but I still do have a few specific thoughts and this will be long and definitely rambly

A) when talking about him I usually refer to him as Fandom’s Favorite White Boy or Pathetic Wet Cat/Twink mostly because it’s funny but for now I’ll use 10. The most I know about 10 is that he is angsty and in love with rose and besties with Donna… also that he’s pathetic but that’s more vibes

So- my hate of 10 is less tangible than 14 but i still have a few points, the main one being the way i see ppl talk about how he treated Martha and how obsessed with rose he was. I don’t think it’s ever compelling to have someone’s main personality trait be loving someone a whole lot which also honestly is my problem with rose (don’t hate her but don’t care about her)

From what I have seen and heard of 10 it’s rather… boring, honestly? Like it’s mostly clips out of context but for 13 and 15 I saw clips out of context and was like “ok wth is happening? /pos” with 10 it’s more like “wtf?” Also pretty sure his episodes were some of the ones I saw when my parents had the show on that played a part in me swearing the show off so

Ok onto the more tangible hatred of 14. A lot of this, admittedly, is more about the writing and showrunner decisions than 14 but those things by proxy makes me hate him

So- I have a lot of feelings on him quite literally starting from his first appearance in power of the doctor. I am SO PETTY that he doesn’t wear 13’s silly little outfit. Like I have gone on full rants about that fact to my friends and family

I’ve seen something claim that rtd didn’t want 14 to wear her outfit because people might be transphobic and derogatory towards him (even tho Dhawan!master wore it, and it’s pretty gender neutral) but then did nothing about the shit ppl said about ruby’s actor or about ppl who would be a bitch about rose the second being nonbinary(also i remember seeing a post about their deadname being mentioned in an episode? Not totally sure that’s true tho)

The 60th anniversary specials themselves don’t really celebrate Dr who as a whole as much as 10’s run with a few old villains but that’s not really my main issue with that. My main issue with the specials is that the Doctor gets their happy ending. With Donna. And her family. When fucking 3-4 episodes prior, their happy ending would’ve been yaz. It would’ve been staying with yaz. But nope! Donna! Because that’s what 10 would’ve wanted.

And I don’t want 14 to be with yaz, btw, I mean I want them to meet and for yaz to hit him, but I don’t want them to be a thing or like be together because I believe yaz is a lesbian but that’s not the point of this so moving on

I also have very much big issues with the scene where 15 and 14 are (presumably, I don’t think I’ve ever seen the full scene) talking about women they love and mention who I assume to be River and rose but not yaz, who again, they wanted to spend forever with 3-4 episodes prior. It makes the doctor seem like a douchebag even if it’s a writing issue and not a character issue

Also 14 being David tenant overshadows 13’s departure and 15’s arrival and since he is most likely going to show up at least a little bit in s14 he’ll overshadow 15 in his own series. It’s icky at the very least.

There’s something inherently bad about having the fandoms Favorite White Boy be with a contentious casting decision (because I have no faith in the Dr who fandom not to be bigoted) and even if no one has an issue with 15 being black and maybe gay (is he gay? He gives gay vibes) it’s still setting him up for failure by pairing him with 14

Also bigeneration is so fucking dumb and I hate it

Also also stop giving the Dr 19 year old companions it’s getting kinda weird now

[demigodofhoolemere]

Things I can’t stop thinking about from Jamie and Zoe’s Tales of the TARDIS episode

- The very concept of them remembering and seeing each other again in general.

- How pointed it is in calling their mindwipe unforgivable and insisting that they’ll definitely never forget again. I get the feeling RTD or someone else involved in the writing of it has been carrying a grudge against their ending for decades and used this as therapy lol. Relatable.

- The recorder and the reverence with which they both treat it. 🥺

- “I missed him every day of my life. Didn’t even realize it.” 😭

- “I’d still be with him now if I could, trying to keep up with him.” This line hits so hard both because Jamie truly never would have left and because Frazer has said this same thing about himself and Pat, that they’d still be doing it if he were alive and if they hadn’t both been convinced that it was time to leave. My heart.

- This is true of these episodes generally but I love so much that they both had happy and fulfilling lives. Jamie got to have a wonderful big family and Zoe was still able to keep her growth from her travels and escape just being “all brain and no heart”.

- ZOE NAMED HER SON JAMES. NOBODY LOOK AT ME.

- ^ Jamie’s reaction to the above. The way his face and voice go so soft, I can’t deal with it.

- The fact that they were still influenced by their experiences even if they couldn’t remember them. Especially meaningful for Zoe because she needed those experiences so badly, so it’s a relief to see that she was able to use them and carve out a happy life for herself because of them even if she couldn’t remember. It brings such a happy bit of closure to the Doctor’s concerned question, “She’ll be alright, won’t she?”

- “I want to forget about the Cybermen!” with Jamie’s shifty eyes of disdain, lol. I bet he does considering he had to see them more times than any other companion!

- Lovely to hear names like the Krotons and the Quarks, along with a classic Jamie-ism in “wee little beasties”.

- I like the specific reference to Jamie’s face mishap lol. It was probably just to bring up a funny part of the story they just reviewed but it also serves as a nice shoutout to Hamish Wilson who passed a few years ago.

- “Well, who’d’a thought? President and a Highlander sharing stories.” That highlights something I love about the 60s era of the show, how you get people from so many times and places who never would have known each other but come to mean the world to each other. Jamie and Zoe couldn’t be farther from one another in time or background and they never should have met but here they are, both sharing so much love for the other and having had a bond so strong that Zoe subconsciously named her son for him.

- Jamie’s, “I could get used to this,” and happy wiggle in the chair, lol. That felt very Jamie and reminds me of his amusing character arc wherein he becomes more and more attached to future conveniences or technologies or comforts. I bet you could easily get used to it, Jamie!

- Jamie suddenly destroying the vibe by wondering if they could be in Heaven, rofl.

- Hearing them talk about Victoria made me so emotional, partly for the characters and partly because Debbie’s passing is still in fairly recent memory and it very much felt just as much like a tribute to her as for the character. I lost it over Jamie’s emotional face and hoping that she had a nice life. It felt so painfully real, an old man looking back on a girl he once knew and loved in his youth and hoping she lived well.

- These two, generally. I love them so much and this was so healing.

[clockworkouroboros]

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

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

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

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

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

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